Aw: Re: Pseudo-handwritten font

Hello all,my name is Torsten (Be-3) and I happen to be the author of this little Lilypond Jazz excursion. ;)And yes, of course I will publish the coding here, albeit not finished, but I shortly before pressing the send button I got a nice blue screen (thank you, windows!) and had to start over

Aw: Re: Re: Pseudo-handwritten font

Hi Werner, What do you mean with rigid? Some things related to Feta/Emmentaler access are still being handled deep inside non-public scheme coding or even C source code and consequently very hard to tweak.Amongst the most stubborn stencils are multi measure rests where the glyph names are

Aw: Re: Re: Pseudo-handwritten font

Gesendet:Donnerstag, 14. Mrz 2013 um 11:53 Uhr Von:David Kastrup d...@gnu.org I think what we want to arrive at is a way to drop in music fonts into LilyPond in a tolerable workable way. I think that we cant avoid at first the necessity of having the font, if not its glyphs, at least

Aw: Re: Re: Re: Pseudo-handwritten font

Gesendet:Donnerstag, 14. Mrz 2013 um 14:59 Uhr Von:David Kastrup d...@gnu.orgIts not just Jazz. This is pretty much par for the course for Barbershop and quite a few other forms of vocal harmony. Interestingly, not for pop music. I also dont think it is used much for piano or other

Aw: Re: grace note stem lengths

Hi Kevin,Apart from changing the Stem length-fraction (either by scheme commands or an accustomed override), as soon as beams come into play, the beams, i. e. their positions and slopes will determine the stem lengths. Thats why its no use trying to override the Stem #length.So, if anything else

Re: Intervals enharmony question

Karlin High wrote >>> The GHB is tuned to an A at around 480 Hz; some confuse it with a Bb. >>> >> > > In another Hans Åberg message less than a month ago, it was an > abbreviation for Great Highland Bagpipe. I suppose that's why it's called High Landpipe. -- Sent from:

Re: Need someone testing XML file in Finale and Sibelius (and Dorico)

Hi Urs, Sibelius works fine: As my Dorico evaluation period has expired, I can't even start it. All the others allow testing w/o save/export functionality, but Steinberg is much more restrictive in that respect. All the

Re: Trouble with notation fonts when resizing

David Sumbler wrote > set-global-staff-size seems to be very buggy, and the newer magnify- > staff (see Notation Ref. section 4.2.2) is recommended Hi David, I wouldn't call set-global-staff-size buggy, it's still the way to go if you want to change the global stave size. \magnifyStaff is

Re: Attachment of beam to stems

Hi Urs, This turned out to be a bit tricky, because stems and beams are strictly coupled together in a way that the outer beams will always start/end at the end of stems. And vice versa: Changes to beam positioning will always bring along stem length changes. Beam positioning with all the

Re: Trouble with notation fonts when resizing

David Sumbler wrote > [...] whilst \abs-fontsize changes the size of the font, it doesn't > apparently alter its spacing.  Perhaps it should, because I can't imagine > that anyone would ever find that particular characteristic very useful. Hi David, Now I see what you mean and this shouldn't

Re: Maintaining font-size regardless of staff-size

Thomas Morley-2 wrote > Hmm, there's still some horizontal difference. Hi Harm, The idea of adding 'pt was brilliant, because it lead me into the right direction: *The exact reason...* ... is the co-operation between the (outside) Pango world and the (inside) TeX-like world: An American (Pango)

Re: Maintaining font-size regardless of staff-size

dak wrote > David Kastrup > dak@ > writes: > > I think it's more likely that LilyPond messes up when reusing fonts with > a particular size under different circumstances and your "correction" > just keeps it from reusing a font, instead calculating a fresh one. By Belenos, right you are!

Re: spacing of gracenote beams

Amy McGlothlin wrote > Is there something I can adjust to make the spacing of the stems > of the gracenotes equal in this case? Hello Amy, While, as Andrew pointed out, grace note beaming in general may leave something to be desired, the special bagpipe grace ornaments are a case of their own:

Re: naming a glyph

Freeman Gilmore wrote > ​Where are the rules for naming a glyph located? The naming conventions for glyph names can be found in mf/README: mf/README wrote > Glyph name rules > > Most glyph names have the form > > . > > , where > > is defined with the 'fet_begingroup' command, and >

Re: naming a glyph

Freeman Gilmore wrote > ​Say I was going to create the glyph “#” for the first > time. What exactly do you mean by "create the glyph"? The glyph is contained in the music font, and as most of the music glyphs, it doesn't even have a fixed character code and even move around when new glyphs are

Re: Adding stuff to included files without affecting source.

crimsonsunrise wrote > Is there any way to add these small modifications only on the conductor > score file without having them on the source files used to construct the > conductor score? Why not use tags? 3.3.2 Different editions from one source - Using tags

Re: Add 'generic' padding between two staves (once)

SoundsFromSound wrote > How would I use \tag in this situation? You mean, with inserting some > blank empty markup? or something else? Hi Ben, When keeping the music in variables and writing d'1 -\tag #'score _\markup \lower #4 " " instead of d'1_\markup \lower #4 " " you can "deactivate"

Re: Add 'generic' padding between two staves (once)

Hi Andrew, Andrew Bernard wrote > Adding invisible spacers objects always bothered me, personally. Me too, it's kind of a last resort. Andrew Bernard wrote > Have you looked at NonMusicalPaperColumn.line-break-system-details > settings? Please > refer to the NR Section 4.4.2 Explicit staff

Re: DrumStaff question

Menu Jacques wrote > A side question is (I’m no percussionist): how does one chose between > DrumStaff and RythmicStaff? That's how I handle it resp. what I've learned about it. Off the cuff: *Tuned Percussion* Timpani, (and even glockenspiel, xylophone, marimba, vibraphone, tubular bells…) are

Re: Add 'generic' padding between two staves (once)

Hi, A very simple approach would be to just add some (invisble) markup to push the staves away from each other, e.g. a space. Example \version "2.19.81" << \new Staff { \repeat unfold 40 { c''1 } % Let's say I'd like to add some extra padding between these staves so the D/A have

Re: Add 'generic' padding between two staves (once)

SoundsFromSound wrote > If there isn't any real major side-effects to it, then this is awesome, > thank you! This is perfect. The good thing about this approach that the vertical spacing of all the other staves/systems/pages are not affected at all, it's very simple and intuitive (just adding

Re: rehearsal marks above multiple staves

Hi Rick, I think snippet 1010 is a bit overly complicated for this purpose: the new context MarkLine there is just needed because they don't want rehearsal marks above the top stave. The basic trick behind all is that Rehearsal Marks normally are defined in the Score context, i.e. they go on top

Re: Dynamics not centered

SoundsFromSound wrote > Can someone tell me why the dynamics marking is not centered (like the > default) when using it as a 'compound' command/variable markup? Hi Ben, That's because your declaration is a TextScript markup, and by default, a TextScript will be set flush left-aligned. "Real"

Re: Scheme learning

Hans Åberg-2 wrote > The lambda comes from the book by Alonzo Church, "The Calculi of > Lambda-conversion", which is a logic theory about function applications, > but it is unknown why he choose the letter lambda, though a prefix > notation makes it easier to carry out formal proofs. It then

Re: transpose several key signature

Hi Ming, I think there is a general misunderstanding: When saying "\transpose ef d", ef and d do *not* mean key signatures but reference pitches defining an interval, nothing more, nothing less. For specifying a key signature, by the way, you'd also have to state the mode (e.g. minor, major,

Re: transpose several key signature

David Kastrup wrote > Excuse me? Ah, yes, sorry, of course… I just looked at Ming's example, had (for an unknown reason) something *\naturalizeMusic* in mind and completely ignored what I had said before about intervals. When transposing F major down a minor second, we will get E major quite

Re: Bar number position and text (especially for anacruses)

*PS:* I should probably have mentioned that TextScript, Dynamics etc. behave in exactly the same way and the usual remedy to vertically align them on a common baseline is to use staff-padding. The problem with bar numbers is that they are not in a Staff context but in the Score context and

Re: Bar number position and text (especially for anacruses)

Stephen Cummings wrote > Anyone with suggestions for points 1 and 2? > > > > Stephen Cummings wrote on 6/23/2018 8:07 AM: > > >  1. Vertical alignment/positioning of  bar numbers. In the output the > parenthetical bar number for the anacrusis is higher than the remaining > bar numbers. Hi

Re: Reusability of lilypond code?

Hi Markus, \tags are, as Aaron said, the way to go. I'd just like to mention the way I often handle this, perhaps this is on any help: Instead of tagging each and every single dynamic element, I often completely \omit certain stencils of a voice, if applicable. The following example, while not

Re: Repeat question

Hello Jacques, Without knowing the original MusicXML file, the LilyPond solution looks much more like a standard volta repeat with alternatives than the Finale/Musescore output. In any case, nested or not, a repeat barline will have to be set between adjacent volta brackets. Finale/Musescore

Re: Repeat question

Ok, when looking at the XML data, I'll have to admit that Finale, Musescore and Sibelius (just tested it) are closer to the XML reality, whereas LilyPond fills in missing parts. Import into Sibelius: But I think there's

Re: CueVoice issues.

Hi Crimson, It's all about quotes and cues, isn't it, and that's why LilyPond offers some quote and cue functionality. With your original note material as a basis, I've set up a fictional mini score consisting of Violin 1 and Violin 2. Violin 2 should show Violin 1 cue notes in its part, but the

Re: Percussion and tab clefs question

Hello Jacques, Just a few additions to Joram's remarks... Noeck wrote > I guess the pitches are undefined in both the tab clef and the > percussion clef. As for the percussion clef, MusicXML uses treble clef positioning and - obviously - so does Finale. In LilyPond, they are not intended resp.

Re: \bookparts and scaling

Hi Ralph, I'm neither Crimson nor Sunrise, but I guess having both full score and parts together in one PDF is quite a common requirement. Using smaller print for the full score but using larger print for the parts while keeping up natural spacing is not easy to achieve in LilyPond, because

Re: Collision with slash separator and measure numbers

SoundsFromSound wrote > I've tried to fix this collision but I don't understand how I can avoid > it. I believe it has to do with either my Score.BarNumber stencil or > offsets of measure numbers, but I can't get the right combo with the > system padding. Hi Ben, I think this shouldn't

Re: \bookparts and scaling (Karlin High)

Karlin High wrote > The effect of that \staffSize function looks slightly different than > using layout-staff-size. But for me it still shows the same problem: it > makes things smaller, but doesn't change the layout like > set-global-staff-size does. Hi Karlin, The proposed function

Re: Setting up custom scale and accidentals

Hi delboh, Your custom accidental does not show up because it's not contained in the current notation font (i.e. Emmentaler). You can't access it in markup via \musicglyph "tsGlyph", so it won't be printed in music. *Solution:* The standard stencil for accidentals

Re: Intervals enharmony question

Hans Åberg-2 wrote > Flutes have a very definite pitch, making it hard to play in unison, > unlike strings then. Thank you, that's a good explanation. Comparing the harmonic spectra of flutes and violins or when trying to capture the sound characteristics using a synthesizer, this is what usually

Re: Shortcut for Frescobaldi

Hi Tim, Even if this is no Windows forum... ;) In Windows 10, the contents of the Start Menu Folder (including alle the shortcuts) can be found in C:\ProgramData\Microsoft\Windows\Start Menu\Programs There, you'll be able to see the Frescobaldi (and all the other) shortcuts and, more

Re: Altdefault breves in chords

Hi Edward, On the one hand, the altdefault breve notehead needs to align with accidentals, on the other hand it should overlap in collisition with other altdefault breve noteheads in a way that the two lines exactly match. This is rather difficult, because the distance between the two lines even

Re: Intervals enharmony question

Hans Åberg-2 wrote > I play the flute, and I checked with one of my teachers who sits on one of > the operas here. Hi Hans, It's funny that you mention the flute of all instruments. It reminds me of the old joke "How do you get two flute players to play in unison?" - - - "Shoot one!" No offence

Re: Intervals enharmony question

Hans Åberg-2 wrote > I suspect the least pitch-flexible instrument is the oboe, as one > typically uses that for a tuning reference pitch. Yep, and just to keep up tradition, it's the oboe player who operates the digital tuning device. ;D Modern times... Torsten -- Sent from:

Re: DynamicTextSpanner

foxfanfare wrote > I can achieve it for the left part with "stencil-offset", but the same > option didn't work in the right section! Hi, The reason why stencil-offset only works for the "cresc." on the left is because the "cresc." text belongs to the DynamicTextSpanner, whereas the "f" on the

Re: Intervals enharmony question

Jacques Menu Muzhic wrote > Going a bit further, I bumped into this case. > > Since the note at some interval from another one keeps its pitch name in > its different « variants », how about Db’s seconds? > > diminished second Ebbb ??? > minor secondEbb > major secondEb >

Re: Shortcut for Frescobaldi

Tim Slattery wrote >>C:\ProgramData\Microsoft\Windows\Start Menu\Programs > > Yeah, that was the first thing I tried. But it doesn't work that way > in Win10. Hi Tim, That's interesting, because in my Win 10, it worked exactly that way (and I even copy the path from my Windows 10 explorer).

Re: Intervals enharmony question

Jacques Menu Muzhic wrote > Do I get it right that this is key-independent too for the diminished > fifth of E flat? Salut Jacques, Yes, a diminished E flat chord will always be a diminished E flat chord, consisting of the notes E flat + G + B doubleflat. no matter what key you're in. And it's

Re: Another Figured Bass problem

Hi Robert, How about simply flipping the stacking direction? \override BassFigureAlignment.stacking-dir = #UP That way, the bass figures will be piled up from bottom to top. Caveat: the first figure entered will be the lowest. << { 4 4 4 4 4 4 } \figures { \override

Re: An unusual feature request concerning FiguredBass

Ahem, If you want to get rid of the "connecting line", it might helpful to know that this line is called SystemStartBar and it lives in the Score context. So, \omit Score.SystemStartBar will make it disappear without SVG manipulation. HTH, Torsten -- Sent from:

Re: gridlayout of Bars with Clef

Orm Finnendahl-5 wrote > 1. The systemStartDelimiter of the bars of the first row is drawn >across all staves. > > 2. I can't find a straightforward way to add a full size clef on the >bars in the second and third row. Hi Orm, Scores can also be used within markup commands. And all in

Re: \magnifyStaff alters thickness of barlines

Torsten Hämmerle wrote > A factor of 6/7 means a magstep value of approx. -1,3344. Sorry, it's a magstep of -1.3344 (I was using the German decimal comma out of a habit). And concerning the presumed bug, I came to the conclusion that it's rather a feature, not a bug. Changing or not chang

Re: \magnifyStaff alters thickness of barlines

Hi Brent, I'd do it just the way Andrew did it (use the "traditional" fontSize/staff-space approach). I don't know why you need to make one staff in organ music slightly smaller, either, but I'll take it for granted and supposing you need a factor of 6/7: A factor of 6/7 means a magstep value

Re: Left-handed fretboard?

Ah, yes, when in landscape mode, setting a negative string-distance makes the whole diagram flip below the baseline. Oh dear, another effect (in general): capo numbers and other objects that should be placed in the margin of the diagram. When setting a negative string-distance, they flip inside

Re: Left-handed fretboard?

Hi all, In the more recent developer versions, threre's a surprisingly simple way to reverse the order of strings: just set the string-distance to #-1. ;) This doesn't work in 2.18.2, though. \version "2.19.80" \include "predefined-guitar-fretboards.ly" << \new FretBoards { \chordmode {

Re: Left-handed fretboard?

Ooops, in the image, the #-2 should be a #-1, of course, because #-2 would have doubled the string distance... Sorry, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html ___ lilypond-user mailing list lilypond-user@gnu.org

Re: Left-handed fretboard?

Thomas Morley-2 wrote > Meanwhile I think supporting negative string-distance is a bad idea, > because too many detail-problems need adjustments. And using negative > string-distance was not intended as I introduced it. I should have > always gone for (abs ...). But this could be corrected...

Re: Long syllable vs. span bar

Hi Simon, Probably the easiest way to achieve this is just to use *ChoirStaff* and add the Span_bar_engraver to get the bar lines. That way, Lyrics will nonchalantly cross the bar lines as if they weren't there and by setting the whiteout property, you're there. I've just adapted your original

Re: Sessions with Frescobaldi 3.0

Hi Joei, I habe just played around with the Sessions feature (Windows 10 64bit, Frescobaldi 3.0.0). No problems there at first glance. *That's what I did:* (1) Set the "Start with last used session" in Edit > Preferences (2) Create a session containing two lilypond files (I don't use sessions at

Re: Transcriber title

Hi Álvaro, In the very likely case that you're using custom title markup anyway, I'd like to mention the possibility of simply adding any desired non-standard header variable to the \header section: \header { transcriber = "Álvaro Cáceres Muñoz" } ...and retrieving it later in your custom

Re: Left-handed fretboard?

Thomas Morley-2 wrote > commit 3ea80e17452cb1e99aa4b7ff77b0ae2f5293b50d > Author: Thomas Morley > thomasmorley65@ > > Date: Sat Dec 31 12:33:24 2016 + > > Let the distance of strings and frets in fret-diagrams be settable > > Issue 5025 That's funny, indeed, Thanks for the

Re: Left-handed fretboard?

Indeed, Karlin, you are perfectly right - thanks for the observation! This is definitely not a Windows problem, it's an unwanted side effect of using negative string distances: The total width (5 times the string distance on a 6 string instrument) has to be increased by the half the line

Re: Fwd: Re: turning a blind eye to dotted note

David Kastrup wrote > Seriously? It's pretty much standard fare [...] Yes, David, no kidding! I couldn't believe it either... Incidentally, a few months ago someone asked me whether I knew how to do this in MuseScore. My first thought was: well, MuseScore is a non-commercial, non-professional

Re: Force top-system-spacing to be absolute

Urs Liska-3 wrote > What is the correct way to force the first system to be at an absolute > position on the staff, i.e. in the example the center line exactly 16 > staff spaces below the page border? Hi Urs, I may be mistaken, but a minimum-distance of 0 seems to be the cause (event with

Re: Fwd: Re: turning a blind eye to dotted note

Hi Bernhard, a cadenza is rhythmically free, no checks, no limits, no rules. So a combination of \cadenzaOn and | doesn't make any sense. Apart from this - in addition to all the other replies - I'd like to point out that LilyPond's behaviour (allow note durations to stretch out into the next

Re: Pitch inflection

Hi Michael, It probably would have been helpful if you had provided an example (so that we can see how exactly the arrows are supposed to look like). But in the end all boils down to the possibility of replacing a standard accidental by an arbitrary markup. There's a snippet demonstrating how

Re: turning a blind eye to dotted note

BB-3 wrote > Sorry, needed some time to realize that I expect to much from lilypond > to check automatically set bar lines and such "impossible cases" of > 17/16 itself. That's exactly the point: but it isn't a case of "17/16", it's just a case of a quaver note starting at 16/16 (the notehead

Re: aligning lyrics to hidden notes

Hi Sandro, Indeed, Phil's query regarding your LilyPond version is the pivotal question. For two reasons: First reason NullVoice has been introduced in Version 2.18 (as far as I know) Second reason Current development version 2.19.80 (and before) won't have the problem Stripping down your

Re: Gis major key signature; Lily's key signature algorithm

Hi Richard, That's an interesting question, indeed... Richard M wrote > Why does LilyPond notate it one way, [...] LilyPond uses a list keyAlterationOrder containing the order of alterations printed. It is defined as follows in engraver-init.ly: keyAlterationOrder = #`( (6 . ,FLAT) (2

Re: Rhytm problem

Ondokuz Mayıs Üniversitesi Devlet Konservatuvarı wrote > But I want to use > > \clef varpercussion > > When I add this line it turns to Clef G. How can I use Clef varpercussion? Ooops, Sorry, the varpercussion clef is fairly new and only available from 2.19 onwards. That's, by the way, one of

Re: Automatic vertical spacing when *some* values are fixed

Hi Urs, With the top and bottom fixed, the only flexibility left lies in varying the distances between systems and staves. Unfortunately, the system-system-spacing has a default minimum distance of 8 (between the systems) and squeezing three systems into one page seems to be better than

Re: \RemoveAllEmptyStaves and Dyanmics context line for piano pedals

Hi Andrew, The difference between \RemoveEmptyStaves and \RemoveAllEmptyStaves is that \RemoveEmptyStaves will not remove empty staves in the first system, the reason for it being that in orchestral scores it is common to display all instruments involved in the first system - no matter if they

Re: Tromba "mo"

Just out of curiosity - shouldn't it be "tromba prim*a*/second*a*" in Italian (1ma/2da)? I'd be interested in the link, too. Or is it a case of "modo russico" ;) Cheerio, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html ___

Re: make all sharp signs and flat signs visible within one measure

Hi Gert, You can set the \accidentalStyle to "forget": ~~+ \version "2.18.2" \relative { \accidentalStyle forget bes'4 bes bes bes } Does this solve your problem? Groeten, Torsten -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

Re: Rhytm problem

Ondokuz Mayıs Üniversitesi Devlet Konservatuvarı wrote > Is it possible to open the gap between the measurement figures and the > first note? Merhaba Emre, First let me state that I consider using lyrics the best compromise when trying to achieve a half-way rhythmically consistent spacing in

Re: Rhytm problem

Ondokuz Mayıs Üniversitesi Devlet Konservatuvarı wrote > Is there any clef for percussion note? Yes, there is. \clef percussion or \clef varpercussion are two common clefs used for percussion staves. *Caveat:* By default \RhythmicStaff will not print any clef by default, because a non-pitched

Re: Positioning graphic markup inside staff

Torsten Hämmerle wrote > you may even set X-offset to any value inside the staff and the TextScript > will be placed there as desired. Addenda et corrigenda Sorry, I meant Y-offset, of course... -- Sent from: http://lilypond.1069038.n5.nabble.com/User-f

Re: Positioning graphic markup inside staff

Hi delboh, By design, an outside-staff object is not supposed to be placed inside the staff. That's the simple reason why setting Y-offset doesn't help---an outside-staff object just can't cross the border into the stave. *Remedy:* An outside-staff object can be made "inside-staff" by setting

Re: chord name e2:m7(b5)/d

Hi Ming and Robert, While e:min7.5-/d is the correct LilyPond coding for of the chord in question, the standard output still does not match Ming's specification. *"Problem"* (leaving away the /D, just looking at the main chord here) A minor seventh chord with diminished 5th is nothing else but a

Re: Why do lyric extenders require an associated voice?

It's not only about extenders, it's about aligning lyrics to a melody in general. Moreover, the associatedVoice property can be used to switch voice assignment etc. The difference between setting associatedVoice to a nonexistent voice and setting it to ##f (resp. not setting it at all) is that in

Re: Why do lyric extenders require an associated voice?

Hi, As soon as associatedVoice has been set to /anything/, LilyPond will pick the next best voice it can find. The actual value assigned to associatedVoice is only important if there are multiple voices present to choose from. Let me illustrate that with an amended example taken from the

Re: Disable extra space around StaffGroup?

Nathan Sprangers wrote > If it helps, my interest is in creating band scores, which usually place > an > extra bracket or brace around certain families (such as the clarinets, > cornets, etc in Holst's First Suite for Military Band >

Re: Force Lilypond to preserve vertical order of TextScripts?

Hi Joram, TextScript.script-priority has a default value of 200. Each concurrent TextScript will be counted up (starting with 200+0 = 200, 200+1 = 201, 200+2 = 202, etc.) by default. The smaller the number, the closer to the notehead. So, by default, LilyPond will keep the order of TextScripts

Re: Force Lilypond to preserve vertical order of TextScripts?

Hi Kieren, Sometimes, the order of stacks /is/ important and you even can't always put them together into a \markup column: Fingering, for example, uses script-priority, too. This time, it does not depend on any input order, but the script-priority is calculated from the Y-position of the

Re: OT: typewriter LaTeX package

Hugh Myers wrote > I had a good deal of correspondence with folks across the pond and never > thought twice about the double space post-sentence. Your're certainly right, but I strongly suspect that all this correspondence was in English. Let me assure you that Urs is right: in Germany, without

Re: OT: typewriter LaTeX package

mskala wrote > All present tense... there's no doubt that the narrow space is more common > *today*, but typewritten documents in the typewriter era (which ended in > roughly the 1980s) are not necessarily the same story. Sorry, I forgot to mention that DIN 5008 dates back to 1928. My mother, who

Re: Advice on glyph construction

Hi Andrew, It's quite annoying that the Unicode characters differ in size and bounding box (surprisingly, there is no matching circle among the Geometric Shapes U+25A0 to U+25FF)... Andrew Bernard wrote > [...] but I can't figure out how to get the rightmost Unicode glyph to sit > further down

Re: Force Lilypond to preserve vertical order of TextScripts?

How about script-priority? I always thought that concurrent (Text)Scripts will be internally numbered by counting up script-priority in the order given and the first (Text)Scripts will be printed closest to the noteheads (depending on whether the scripts are above or below the stave). So, even

Re: Inserting a verical space, or an empty line, between two markups attached to a note.

Hi Robert, The main problem is the baseline-skip within the columns, i.e. the lines of text are too far apart from each other. If the default skip is too wide, inserting positive \vspace can only make it worse (by the way, it's also possible to insert negative \vspace). The "proper" and most

Re: \pralllUp inside Staff

Ali Cuota wrote > in BWV 572 (trio Sonate d-minor) Ah, I guess you mean BWV 527... ;) Ali Cuota wrote > he wants a prallUp (well I understand it this way) inside the staff (see > picture). I tried with > the 3 ways I found inside the Notation manual (\raise, \super, > \dir-column) (version

Re: \pralllUp inside Staff

Hi Francois, my previous answer probably went amiss, so the 2nd attempt... Ali Cuota wrote > in BWV 572 (trio Sonate d-minor) Ah, I guess you mean BWV 527... ;) Ali Cuota wrote > he wants a prallUp (well I > understand it this way) inside the staff (see picture). I tried with > the 3 ways

Re: Easy Note Heads and colors

rodrigo wrote > Since I am not a programmer , there is certainly a better way to do that, > but at least it works for me. Kept here for reference and eventually > helping > others. Hi Rodrigo, There is a much easier way to do it: The note names used by the standard engraver (just switching

Re: Fingering position in polyphony face to sharp glyph. Bug?

Thomas Morley-2 wrote > […] > \mark "Fingerings right" > \set fingeringOrientations = #'(right) > […] Hi Harm, When setting fingeringOrientations to #'(right), the occasional collision of fingering and dots are a result of dots moving vertically away too far from their noteheads.

Re: changing symbols used by Measure_grouping_engraver

Flaming Hakama by Elaine wrote > In particular, how to change the symbol used to denote the dotted 8th > value > in compund time: > instead of a triangle, how do I get a vertical bar (or slash)? Hi Elaine, The two options "triangle" and "bracket" are pretty much hardcoded. But you can set the

Re: changing symbols used by Measure_grouping_engraver

Thomas Morley-2 wrote > Hi Torsten, > > iiuc, this will result in a _horizontal_ line, not vertical. ;) Drat, this tiny detail makes my simplistic attempt rather useless. Lame excuse: "No, this is not a horizontal line, it's actually a vertical line, just very thick and very short". ;) But,

Re: \textLengthOn in polyphony and over MultiMeasureRests

Trevor Bača-2 wrote > Torsten, how are you achieving the text centered above the pair of half > notes in the original example (ie, in the measure top-headed with > "Minima")? Try as I might, I can't get it! Hi Trevor, You've got me there! ;) Standard \textLengthOn will push away neighbouring

Re: The abyss

Ralph Palmer wrote > I'm surprised no one complained! Sorry, I couldn't find the appropriate complaint form. Ralph Palmer wrote >> "Buck looking into the abyss." Instead of complaining, on that occasion: Thanks a lot for your work on the LilyPond Buck list. Good to see that there is an

Re: Sample string for Emmentaler

Urs Liska-3 wrote > You mean for each LilyPond version? > I'd assume all LilyPond-relatedfonts should be the same in this respect. Yes, For each LilyPond version (because each LilyPond version gets its own current set of Emmentaler). But the same holds true for any other font compatible with

Re: tie direction !?

Thomas Morley-2 wrote > I already thought creating a function for setting tie-direction, _iff_ > the notes are on the middle line, probably taking stem-direction into > account. It would give me more flexibility, though ofcourse the > considerations mentioned above are still valid. Actually, the

Re: Sample string for Emmentaler

David Kastrup wrote > Huh. But at least there some Unicode code points of interest, like > […] > Should we try using them where they coincide with useful Emmentaler > characters? That wouldn't be a bad idea at all to adapt to (any) established standard. The main reason for the original Private

Re: Sample string for Emmentaler

Urs Liska-3 wrote > I'd be happy about getting some examples of strings showing off the > characteristics of a font, with e.g. clefs, flags etc. Not a LilyPond > \markup but something that can be copied and pasted into a word > processor and the Emmentaler font applied to. Hi Urs, I think

Re: tie direction !?

Simon Albrecht-2 wrote > The most sensible solution to me seems to be for Tie to use the > neutral-direction property and heed it in such cases, overriding the > direction if it is set. Using Harm's example, setting Tie.neutral-direction to #DOWN will just flip everything around. Then, the

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