Hi Peter,
What can I do to avoid the outer slur colliding with the inner slurs?
Code the inner slurs as Slurs and the *outer* slur as a PhrasingSlur,
rather than the other way around (as you did):
f4\p\( aes8( des16. c32) |
c8.( bes32 aes) g8\) r8 |
As a secondary question, I always
As a beginner at Lilypond, this is the first time I have seen something
that looks a little ugly "out of the box" (unless, of course, I am doing
something wrong!)
What can I do to avoid the outer slur colliding with the inner slurs?
As a secondary question, I always find that when I use a
Jean Abou Samra writes:
> Le lundi 03 juillet 2023 à 22:08 +0200, David Kastrup a écrit :
>> Ugh, that's a can of worms. #xxx will only accept a context-dependent
>> set of values and reject values not fitting the context. But the
>> context includes whether or not, for example, we are in
Le lundi 03 juillet 2023 à 22:08 +0200, David Kastrup a écrit :
> Ugh, that's a can of worms. #xxx will only accept a context-dependent
> set of values and reject values not fitting the context. But the
> context includes whether or not, for example, we are in lyrics mode.
> For that reason \new
David Kastrup writes:
> Lukas-Fabian Moser writes:
>
>> Or maybe even:
>>
>> \version "2.25.6"
>>
>> parts = {
>> { c' }
>> { d' }
>> { e' }
>> { f' }
>> }
>>
>> group = #
>> (define-music-function (parts) (ly:music?)
>> #{
>> \new StaffGroup
>> $(make-music 'SimultaneousMusic
Lukas-Fabian Moser writes:
> Or maybe even:
>
> \version "2.25.6"
>
> parts = {
> { c' }
> { d' }
> { e' }
> { f' }
> }
>
> group = #
> (define-music-function (parts) (ly:music?)
> #{
> \new StaffGroup
> $(make-music 'SimultaneousMusic parts)
> #})
>
> \group \parts
>
> ? But
That has an awkward look. I'd rather use
```
\version "2.25.6"
parts = {
{c'}
{d'}
{e'}
{f'}
}
group =
#(define-music-function
(parts) (ly:music?)
#{\new StaffGroup << #@(ly:music-property parts 'elements) >>#})
\group \parts
```
Le dim. 2 juill. 2023, à 15 h 28, Valentin Petzel a écrit :
> you should not use for-each in such a case. for-each is essentially a version
> of map that does not return anything.
> …the @ token to tell the parser to insert not the scheme
> object in question, but all
Jean Abou Samra writes:
> Le dimanche 02 juillet 2023 à 15:05 -0400, Pierre-Luc Gauthier a écrit :
>
>> How can I go about using for-each in this example for the group function to
>> accept an arbitrary number of parts ?
>
>
> You can't — for-each is not the ri
Le dimanche 02 juillet 2023 à 15:05 -0400, Pierre-Luc Gauthier a écrit :
> How can I go about using for-each in this example for the group function to
> accept an arbitrary number of parts ?
You can't — for-each is not the right tool for this. for-each is a purely
imperative tool: i
Hello Pierre,
you should not use for-each in such a case. for-each is essentially a version
of map that does not return anything. So
(for-each (lambda (part) part) parts)
does not give you any return, and
(map (lambda (part) part) parts)
would not change anything (it instructs to map
How can I go about using for-each in this example for the group function to
accept an arbitrary number of parts ?
\version "2.25.7"
parts = #(list
#{ {c'} #}
#{ {d'} #}
#{ {e'} #}
#{ {f'} #} )
group =
#(define-music-function
(parts) (list?
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
Hello,
If I have a chord and the notes are one pitch apart, e. g. f g
is it standard that they are not shown in a vertical line but in zig zag
Is there anything I can do about it, or is it how it should?
// Anders
Le 12/10/2021 à 15:33, David Kastrup a écrit :
but I don't even know whether there is a guarantee that
ly:arpeggio::print is happy with the grob being modified after the call
and before the stencil is getting used. Looking at the C++ code, that
appears to be the case. Maybe giving
Lukas-Fabian Moser writes:
>> No. "in some unspecified order":
>>
>> R5RS:
>
> Ah, thanks! I only had the Guile documentation, which is not quite as
> explicit in that respect. (Ok, they mention for let* that _here_ the
> assignments are done from left to right, but ...).
Strictly speaking "in
No. "in some unspecified order":
R5RS:
Ah, thanks! I only had the Guile documentation, which is not quite as
explicit in that respect. (Ok, they mention for let* that _here_ the
assignments are done from left to right, but ...).
Lukas
uble use of the combined stencil calls for a let*
> anyway, but I wondered.)
No. "in some unspecified order":
R5RS:
-- library syntax: let
_Syntax:_ should have the form
(( ) ...,),
where each is an expression, and should be a sequence
of one or more exp
set! is very unidiomatic Scheme. You could use
(let* ((one (begin (ly:grob-set-property! ...) (ly:arpeggio::print grob)))
((two ...
Yes, I'm aware that set! isn't really the essence of what functional
programming languages are meant for. But basically the whole idea of
"putting the
Lukas-Fabian Moser writes:
>> Jean Abou Samra knew how to fix that behaviour of arpeggios, so
>> here's a (I hope) working solution:
>
> It seems we can continue this game of "LilyPond experts explain how to
> do things and I only have to post the resulting, ever simpler
> examples" for some
Hi all,
> It seems we can continue this game of "LilyPond experts explain how to do
> things and I only have to post the resulting, ever simpler examples" for some
> time. :-)
Ha! Looking forward to the inevitable “one-line-of-code” version. ;)
> Harm pointed out in
>
Jean Abou Samra knew how to fix that behaviour of arpeggios, so here's
a (I hope) working solution:
It seems we can continue this game of "LilyPond experts explain how to
do things and I only have to post the resulting, ever simpler examples"
for some time. :-)
Harm pointed out in
The problem is that this arpeggio is not taken into account for spacing: The
next note will be too close. I'm not yet sure what would be The Right Way to
change this, as neither X-extent nor extra-spacing-width of the arpeggio seem
to have an effect for spacing to the right. You can tweak
Hi Lukas,
> One could the default arpeggio stencil machinery do its job twice:
Nice! This is exactly the kind of thing I was thinking of…
> The problem is that this arpeggio is not taken into account for spacing: The
> next note will be too close. I'm not yet sure what would be The Right Way
The problem (shown in the third example) is that it doesn’t stretch to match
the chord height, like a normal arpeggio does. I don’t have time — and maybe
not even the skill — to do this The Right Way™ right now, but hopefully Someone
Else™ will take it to the goal line.
One could the
Hi Jackens,
> I'm trying to find a way to write an arpeggio up and down, like on the
> picture, but no luck so far, the Lilypond manual only deals with one arpeggio
> line cases... Any help would be very appreciated!
Here’s a start:
%%% SNIPPET BEGINS
% LilyBin
updownArpMarkup =
\markup
Hi everyone!
I'm trying to find a way to write an arpeggio up and down, like on the
picture, but no luck so far, the Lilypond manual only deals with one
arpeggio line cases... Any help would be very appreciated!
[image: image.png]
Thanks,
J.
Hello everyone:
I would like to get a turn on each page, rather than just the
odd-numbered pages.
The goal is either an edition for tablet which would minimize the
constraints of synchronization with the turn pedal, or an edition on a
single page to limit the required field of view
: lilypond-user
Subject: Re: How to Label/Title each staff (I'm creating Major Scales)
Hi Jacques;
Attached is a cropped picture containing just the C Major scale with the
hand-written "C" at the front of the staff. I'd like Lilypond to do that so I
would not need to write
Hello Ken,
Can you post an image of what you’re after?
JM
> Le 20 juin 2020 à 02:19, Kenneth Wolcott a écrit :
>
> Hi;
>
> I am puzzled how to label each staff of double octave major scales.
>
> I have successfully generated all of the major scales, but now I
Hi;
I am puzzled how to label each staff of double octave major scales.
I have successfully generated all of the major scales, but now I want
to label them.
This is different than writing tempos or lyrics or piece titles, which
I have not yet experimented with, but read about in the Learning
would be to post-process the final file.
We already have a post-process-hook (see Application Usage). Below I
use it to print the first BarNumber of each page. If you know the used
\tempo it should be straight forward to calculate the passed seconds.
Ofcourse any calculation of passed time fails
mine.
>
> Cheers,
> -- V.
>
I think best bet would be to post-process the final file.
We already have a post-process-hook (see Application Usage). Below I
use it to print the first BarNumber of each page. If you know the used
\tempo it should be straight forward to calculate the passed sec
On 5/30/20, Matt Wallis wrote:
> But I'd still like to know how to find out when a page of a score begins
Well, there is something to be done with the 'page-number and
'rank-on-page properties, as demonstrated in this regtest:
On 29/05/2020 09:38, Valentin Villenave wrote:
That’s the “pools” example. You can try the following:
##
git clonehttps://gitlab.com/sigmate/lilypond-html-live-score
cd lilypond-html-live-score
python2 ./make-live-score -i examples/pools.ly -o pools.html \
On 5/29/20, Matt Wallis wrote:
> BTW, I didn't see a vibraphone example. I scanned a few branches, but
> maybe I didn't try the right branch.
That’s the “pools” example. You can try the following:
##
git clone https://gitlab.com/sigmate/lilypond-html-live-score
cd
); IIRC it uses a Scheme engraver (so no patching
Lily itself) to output svg with additional timing information encoded
as data- attributes for each rhythmic event. Then one can use that to
get a cursor, change CSS attributes on the fly (e.g. noteheads
opacity), switch from one page to the next, etc
tching
Lily itself) to output svg with additional timing information encoded
as data- attributes for each rhythmic event. Then one can use that to
get a cursor, change CSS attributes on the fly (e.g. noteheads
opacity), switch from one page to the next, etc. It’s still very much
WIP, but you ca
On 28/05/2020 19:29, Valentin Villenave wrote:
On 5/28/20, Matt Wallis wrote:
I would like to obtain timing information to tell me at how many seconds
into the score each page begins. I have had a go at this, and failed.
If you’re trying to make videos out of LilyPond scores, here are some
On 5/28/20, Matt Wallis wrote:
> I would like to obtain timing information to tell me at how many seconds
> into the score each page begins. I have had a go at this, and failed.
If you’re trying to make videos out of LilyPond scores, here are some
links for you:
https://lists.gnu.org/a
I would like to obtain timing information to tell me at how many seconds
into the score each page begins. I have had a go at this, and failed. So
I'm now looking for answers to two questions:
1. How to obtain this output from lilypond (e.g. a file listing the
number of seconds into the score
Merci, Pierre.
That succeeded in moving the chord names down to the 5th measure (2nd
system? Not sure of proper term here). However, it made me realize that
all I had to do was add more chords to the Chords block and voila!
Mahalo.
J.
--
Mahalo. Understand.
J.
On 6/10/19 00:57, Simon Albrecht wrote:
> As a small aside, metadata you sent links this e-mail to a thread
> about part names running off the page. Please make sure you keep
> topics separated into their own threads by not replying to unrelated
> messages and instead
Hi John,
Le lun. 10 juin 2019 à 01:35, John Helly a écrit :
> [...]
However, I'm now stuck
> trying to get the guitar chords to appear over each measure of the
> verses and chorus.
>
> Chords = \new ChordNames {
> \chords {
> }
> }
> [...]
>
Try:
Cho
As a small aside, metadata you sent links this e-mail to a thread about
part names running off the page. Please make sure you keep topics
separated into their own threads by not replying to unrelated messages
and instead composing new e-mails from scratch.
Best, Simon
m now stuck
>> trying to get the guitar chords to appear over each measure of the
>> verses and chorus. I've tried a variety of things but they all seem to
>> cause the chords to appear as part of the lyrics. I may have boxed
>> myself in somehow since I'm still a newbie.
> On Jun 9, 2019, at 6:32 PM, John Helly wrote:
>
> Aloha.
>
> With various suggestions that I'm very grateful for, I've mostly gotten
> this guitar and vocal piece to score reasonably. However, I'm now stuck
> trying to get the guitar chords to appear over each me
Aloha.
With various suggestions that I'm very grateful for, I've mostly gotten
this guitar and vocal piece to score reasonably. However, I'm now stuck
trying to get the guitar chords to appear over each measure of the
verses and chorus. I've tried a variety of things but they all seem to
cause
Am 26.03.19 um 13:53 schrieb Kieren MacMillan:
Hi Urs,
On Mar 26, 2019, at 3:44 AM, Urs Liska wrote:
what I would like to know if it is possible *at all* is to simply print stuff
on top of each other, skipping any collision avoidance.
Often, if I’m in a rush, I’ll use my \ignore functions
Hi Urs,
> On Mar 26, 2019, at 3:44 AM, Urs Liska wrote:
> what I would like to know if it is possible *at all* is to simply print stuff
> on top of each other, skipping any collision avoidance.
Often, if I’m in a rush, I’ll use my \ignore functions to "turn off" th
Hi folks,
I'm thinking if it could be possible to create an "engraving mode" where
not one of a number of alternative readings is *selected* but where
these alternatives are printed on top of each other, using various colors.
The idea is for the scholarLY package
(https://
On 1/17/2018 7:59 PM, Vivyan wrote:
\score {
%melody
<<
\new Staff{
\time 4/4
\clef treble
\set Staff.instrumentName = #"Piano"
}
a b f d
>>
}
Hello,
It's because you have a misplaced curly brace:
\version "2.19.80"
\score {
%melody
<<
\new Staff *{*
\time 4/4
why is there a new staff for each note if this code is run?
\score {
%melody
<<
\new Staff{
\time 4/4
\clef treble
\set Staff.instrumentName = #"Piano"
}
a b f d
>>
}
--
Sent from: http://lilypond.1069038.n5.n
t; Look at how lily gets the clef and key signature to print at the start
> of each line, and see if you can do the same with the time signature. My
> guess is it's something to do with which context you attach the engraver to.
Sure, I'm sure if I dig deep enough it c
On 29/08/17 22:02, Evan Laforge wrote:
> On Tue, Aug 29, 2017 at 1:46 PM, Simon Albrecht <simon.albre...@mail.de>
> wrote:
>> Hi Evan,
>>
>>
>> On 29.08.2017 22:26, Evan Laforge wrote:
>>>
>>> In music where the time signature changes a lot,
On Tue, Aug 29, 2017 at 1:46 PM, Simon Albrecht <simon.albre...@mail.de> wrote:
> Hi Evan,
>
>
> On 29.08.2017 22:26, Evan Laforge wrote:
>>
>> In music where the time signature changes a lot, it's nice to show the
>> time signature on each line even when it has
Hi Evan,
On 29.08.2017 22:26, Evan Laforge wrote:
In music where the time signature changes a lot, it's nice to show the
time signature on each line even when it hasn't changed.
Are you sure? Who does that? I looked in the very finely engraved full
score of Stravinsky’s Sacre
In music where the time signature changes a lot, it's nice to show the
time signature on each line even when it hasn't changed. Is there a
way to get that to happen?
I experimented with the (undocumented?)
TimeSignature.break-visibility, but even with (#t #t #t) it doesn't
seem to have any
Petri Moilanen <petri.moila...@newentures.com> writes:
> Can Lilypond be used to import xml piano sheet music
XML import quality is so-so. Expect to hand-edit afterwards.
> and then run a snippet which will calculate a relative position for
> each note against middle c and outpu
2017 à 08:34, Petri Moilanen <petri.moila...@newentures.com> a
>> écrit :
>>
>> Can Lilypond be used to import xml piano sheet music and then run a snippet
>> which will calculate a
>> relative position for each note against middle c and output the same back as
a snippet
> which will calculate a
> relative position for each note against middle c and output the same back as
> pdf having the number
> added below each note on the right and left staff ? The middle c would start
> from 1 and then b would
> be -1.
>
> I would like to automate
Can Lilypond be used to import xml piano sheet music and then run a snippet
which will calculate a
relative position for each note against middle c and output the same back
as pdf having the number
added below each note on the right and left staff ? The middle c would
start from 1 and then b would
Am 21.04.2017 um 15:35 schrieb caag...@gmail.com:
While I agree that keeping lines <80ch is better, that's not always
possible.
Indeed it isn’t. One always has to decide about priorities.
Best, Simon
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Hi
> Indeed, but that's not all Johannes asked about.
>
> On 04/21/17 13:16, Johannes Roeßler wrote:
>> Bt.. On the first page it will appear below(!) title and subtitle - how
>> do I get it above?
Yes… So the superior choice (IMO) is:
1. modify oddHeaderMarkup and evenHeaderMarkup, to
On 04/21/17 15:25, Simon Albrecht wrote:
Please never use tabs for indenting LilyPond code, always two spaces per
indentation level (as Frescobaldi automatically does it, and as the
LilyPond source does).
Sounds like a good idea. I prefer tabs, but I've noticed that doesn't
work very well
Am 21.04.2017 um 13:39 schrieb caag...@gmail.com:
\fromproperty #'header:arranger
}
}
}
}
}
Please never use tabs for indenting LilyPond code, always two spaces per
On 04/21/17 13:45, Kieren MacMillan wrote:
Actually, the header is controlled by oddHeaderMarkup and evenHeaderMarkup:
Indeed, but that's not all Johannes asked about.
On 04/21/17 13:16, Johannes Roeßler wrote:
Bt.. On the first page it will appear below(!) title and subtitle - how do
> nice to see you too Michael... (its you from the HDE? Right?)
Yes.
> Bt.. On the first page it will appear below(!) title and subtitle - how do
> I get it above?
Kieran and caagr98 already gave valueable hints.
You may also have a look at the Lilypond Snippet Repository and there
Hi all,
> The layout of the header is controlled by the `bookTitleMarkup` paper variable
Actually, the header is controlled by oddHeaderMarkup and evenHeaderMarkup:
\version "2.19.59"
\paper {
oddHeaderMarkup = "odd page"
evenHeaderMarkup = "even page"
}
{ \repeat unfold 3 { c'1
-
>
> cheers, Joei
>> Hallo Johannes,
>>
>> nice to see you here!
>>
>>> for printing parts I'd like to place the instruments name on the very top of
>>> each(!) page - I have no idea how this can be done.
>> As already answered
ent = "My wonderful Voice"
}
\repeat unfold 160 { c'4 c' c' c' }
->8
cheers, Joei
> Hallo Johannes,
>
> nice to see you here!
>
>> for printing parts I'd like to place the instruments name on the very top of
>> each(!) page - I have n
Hallo Johannes,
nice to see you here!
> for printing parts I'd like to place the instruments name on the very top of
> each(!) page - I have no idea how this can be done.
As already answered normally the instrument is repeated on every page anyway.
However you write about parts and w
I'm pretty sure the `instrument` header is already printed on each page.
Otherwise, you could try setting `oddHeaderMarkup` and
`evenHeaderMarkup`, or doing #(define make-header (foo)) inside your \paper.
On 04/21/17 11:42, Johannes Roeßler wrote:
Hi,
for printing parts I'd like to place
Hi,
for printing parts I'd like to place the instruments name on the very top of
each(!) page - I have no idea how this can be done.
Any hints?
Cheers, Joei
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On Wed, 19 Oct 2016 11:01:21 -0400, Kieren MacMillan wrote:
Hi Gilles,
?
The initial post was about manually setting the margins for each
page.
The discussion quickly replaced that original query with a two-option
approach. For whatever reason, it's clear that you don’t see how/when
Hello all:
I need to engrave multiple dynamic marks next to each other, indicating
different dynamics for various repeats. Something like this:
xxx x xxx xx (some notes)
p - mf - f - ff
Currently I'm using this snippet:
~~
f
Hi Claus,
I need to engrave multiple dynamic marks next to each other, indicating
different dynamics for various repeats. Something like this:
xxx x xxx xx (some notes)
p - mf - f - ff
Does this do what you need?
\version 2.19.19
pm = #(make-dynamic-script p - mf - f - ff)
\score
Claus,
On Thu, Apr 30, 2015 at 1:09 PM, Claus Atzenbeck [via Lilypond]
ml-node+s1069038n175735...@n5.nabble.com wrote:
Hello all:
I need to engrave multiple dynamic marks next to each other, indicating
different dynamics for various repeats. Something like this:
Try something like
On Thu, 30 Apr 2015 at 12:24pm -0700, tisimst wrote:
Try something like:
\markup { \dynamic ff }
Thanks, Abraham, a perfect solution.
Best,
Claus
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That works quite nicely. Thank you!
I had been using \include satb.ly, so I had to recreate the \score
{}, but it was good practice to combine \lyrics and multiple parts to
one staff.
~Conor
On Thu, Feb 12, 2015 at 6:32 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Conor,
In
Conor Cook wrote Monday, February 16, 2015 5:14 PM
I had been using \include satb.ly, so I had to recreate the \score
{}, but it was good practice to combine \lyrics and multiple parts to
one staff.
Perhaps you had other reasons for recreating the \score { }, but
if it was just to add a
,
Try this:
\layout {
\context {
\Score
\remove Mark_engraver
}
\context {
\Staff
\consists Mark_engraver
}
}
This will mean that you need to put the \mark ... in each staff you want
it to appear, though.
HTH,
Abraham
--
View this message in context:
http://lilypond
Is it possible to place a caesura, contained in a rehearsal mark, over
every staff of a system (like in a choral score, since parts will not
be extracted)? I know that this is not how rehearsal marks are
supposed to work, so is there another way to achieve this? In an
archived thread, David
over each line of system
Conor Cook wrote
Is it possible to place a caesura, contained in a rehearsal mark, over
every staff of a system (like in a choral score, since parts will not
be extracted)? I know that this is not how rehearsal marks are
supposed to work, so is there another way
Hi Conor,
That is beautiful, both in its coding simplicity and in the final product!
Unless you’re planning to have *all* of your marks (including \mark \default,
etc.) above every staff — which is not a usual engraving convention — why not
just put the caesura in a global variable that is
at the appropriate position(s), then make it simultaneous
with a voice in each staff. That way you only have to define where the marks
are once, but it is replicated perfectly. Here's a complete example:
% SNIP
\version 2.18.2
markVoice = {
s1*3
\mark \default
s1*5
Hi Conor,
In the particular score I am working on, I have only this one mark (it's
about 30 measures long total).
What would an example of your suggestion look like, as I can see your concern
applying down the road.
Snippet included below.
1. In both scores, the breath mark appears in all
Kieren,
In the particular score I am working on, I have only this one mark (it's about
30 measures long total).
What would an example of your suggestion look like, as I can see your concern
applying down the road.
~Conor
—
Sent from Mailbox
On Thu, Feb 12, 2015 at 4:44 PM, Kieren
generating MIDI with \unfoldRepeats:
In scores containing multiple voices, unfolding of repeats in MIDI output
will only occur correctly if each voice contains fully notated repeat
indications.
-- Johan
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lilypond-user
Paul
Paul Morris wrote
I'm not sure but what you're trying to do might best be done on the
input
side.
Actually, nevermind since this is before measures/positions have been
determined. My next thought is that you may need to
create custom engraver, but I'm not even sure that that
-measure-position-as-each-note-prints-tp166727p166756.html
Sent from the User mailing list archive at Nabble.com.
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I am not top-posting
I am trying to figure out how measure position and measure length work
so that I can change them to work properly with compound metres with
appropriate bar lines, notes on bars split and tied etc.
Two issues I have are:
1) Where to place the function that prints measure
On 23 September 2014 11:16, Jay Vara j...@diljun.com wrote:
I am not top-posting
I am trying to figure out how measure position and measure length work
so that I can change them to work properly with compound metres with
appropriate bar lines, notes on bars split and tied etc.
Two issues I
Dear people,
Was looking for this option on internet and found this interesting link.
https://code.google.com/p/lilypond/issues/detail?id=3154
Tried it, but believe it is not yet implemented. (?)
\version 2.18.2 here.
Kind Regards,
Peter
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Neil
Add this to your \layout block:
\context {
\Score
\override PaperColumn.stencil = #ly:paper-column::print
}
Great! This works nicely. Now I understand better how this thing works
internally!
You don't set this to anything that the grob will read (see below).
2014-09-23 20:15 GMT+02:00 Peter Terpstra peter.terpst...@gmail.com:
https://code.google.com/p/lilypond/issues/detail?id=3154
Tried it, but believe it is not yet implemented. (?)
no, as you can see the issue is still open
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in context:
http://lilypond.1069038.n5.nabble.com/How-to-print-measure-position-as-each-note-prints-tp166727p166746.html
Sent from the User mailing list archive at Nabble.com.
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that that would allow you to
change the measurePosition like you want.
Cheers,
-Paul
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View this message in context:
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On Thu, Jul 31, 2014 at 2:44 PM, MING TSANG tsan...@rogers.com wrote:
Hi, lilyponders:
I try to engrave a hymn which has two staff - one for SA and one for
TB. At measure 70 to the end (measure 91) SA staff split into two S
A and each contains two voices. TB stays on one staff till the end
Hi,
2014-08-01 8:06 GMT+02:00 Abraham Lee tisimst.lilyp...@gmail.com:
I believe this is what you're looking for:
http://www.lilypond.org/doc/v2.18/Documentation/snippets/staff-notation#staff-notation-adding-indicators-to-staves-which-get-split-after-a-break
I believe this snippet is
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