Am 13.04.2018 um 21:22 schrieb Federico Bruni:
I don't think this is the problem you think it is. It's actually
myMusic = \relative c' { c4 d e f | } \myMusic
where the definition of myMusic tries to eat itself.
Doh, I forgot the basics. Thanks David.
I've now moved \myMusic into a \score
David Sumbler writes:
> The piece I am setting has a flute cadenza which is notated in standard
> size notes totalling 14 crotchets (quarter-notes) in length. The whole
> cadenza is written between 2 successive barlines.
>
> The prevailing time signature at this point is 6/8, and in the cadenza
Hello folks,
Is there a way to enforce a note name such a D instead of the fret number in a
TabStaff?
That would be nice to display scordaturas.
Thanks for your help!
JM
\version "2.19.80"
\relative c {
\new TabStaff {
\omit Staff.TimeSignature
\hide Stem
\mark "DADGAD"
Il giorno sab 14 apr 2018 alle 10:19, Menu Jacques
ha scritto:
Hello folks,
Is there a way to enforce a note name such a D instead of the fret
number in a TabStaff?
That would be nice to display scordaturas.
Thanks for your help!
JM
\version "2.19.80"
\relative c {
\new TabStaff {
Thank you for the solution to this problem. When I tried \cadenzaOn
etc. before, I clearly did not get things quite right. The example
shown at NR-1.2.3 does not give details of what to do for instruments
in a score which are not involved in the cadenza, and clearly I did not
work out the correct
Am 12.04.2018 um 22:48 schrieb Urs Liska:
> Additionally remove the tuplet bracket
>
> \omit TupletBracket
Or, if you want to keep them in case there is no beam (for quavers etc.):
\override TupletBracket.bracket-visibility = #'if-no-beam
Joram
PS: Why is it "bracket-visibility" and not j
Noeck writes:
> Am 12.04.2018 um 22:48 schrieb Urs Liska:
>> Additionally remove the tuplet bracket
>>
>> \omit TupletBracket
>
> Or, if you want to keep them in case there is no beam (for quavers etc.):
>
> \override TupletBracket.bracket-visibility = #'if-no-beam
>
> Joram
>
>
> PS: Why is i
I don't understand the behaviour of this code:
\version "2.19.81"
var = {a \tag #'here {b} a}
{\var} %Result: a b a
{\removeWithTag #'here \var} %Result: a a
{\pushToTag #'here b! \removeWithTag #'here \var} %Result: a a ; Expected:
a b! a
The result is:
a b a - ok!
a a - ok!
a a - not ok; sh
Gianmaria Lari writes:
> I don't understand the behaviour of this code:
>
> \version "2.19.81"
> var = {a \tag #'here {b} a}
> {\var} %Result: a b a
> {\removeWithTag #'here \var} %Result: a a
> {\pushToTag #'here b! \removeWithTag #'here \var} %Result: a a ; Expected:
> a b! a
>
>
> The result
Dear LilyPond developpers,
I currently play from typical sheet music for songs not produced with
LilyPond and it looks so bad that it’s really not fun to read. (I don’t
know how these scores are produced, it involves JavaScript.)
The issues concern almost everything: horizontal spacing, slurs sha
On 13 April 2018 at 09:47, David Kastrup wrote:
> Gianmaria Lari writes:
>
> > On 13 April 2018 at 09:15, David Kastrup wrote:
> >
> >> Gianmaria Lari writes:
> >>
> >> > I would expect the two scores generated by the following code were the
> >> > same.
> >> >
> >> > \version "2.19.81"
> >> >
On 14 April 2018 at 15:15, David Kastrup wrote:
> Gianmaria Lari writes:
>
> > I don't understand the behaviour of this code:
> >
> > \version "2.19.81"
> > var = {a \tag #'here {b} a}
> > {\var} %Result: a b a
> > {\removeWithTag #'here \var} %Result: a a
> > {\pushToTag #'here b! \removeWithT
Gianmaria Lari writes:
> P.S. It's not long time I'm using the shortcut that avoid to specify a
> pitch when it is the same as the previous pitch (i.e. writing a4 4 4 4 to
> say a4 a4 a4 a4). At beginning I avoided it because I regard with suspicion
> shortcuts.
> But after some time I starte
On 14 April 2018 at 15:34, Gianmaria Lari wrote:
>
>
> On 14 April 2018 at 15:15, David Kastrup wrote:
>
>> Gianmaria Lari writes:
>>
>> > I don't understand the behaviour of this code:
>> >
>> > \version "2.19.81"
>> > var = {a \tag #'here {b} a}
>> > {\var} %Result: a b a
>> > {\removeWithTag
Gianmaria Lari writes:
> On 14 April 2018 at 15:15, David Kastrup wrote:
>
>> Gianmaria Lari writes:
>>
>> > I don't understand the behaviour of this code:
>> >
>> > \version "2.19.81"
>> > var = {a \tag #'here {b} a}
>> > {\var} %Result: a b a
>> > {\removeWithTag #'here \var} %Result: a a
>>
Gianmaria Lari writes:
> I found a not nice solution but something that work:
>
> \version "2.19.81"
> var = {a \tag #'herea {} \tag #'hereb {b} a}
> {\pushToTag #'herea b! \removeWithTag #'hereb \var}
I'd write
var = {a \tag #'herea {\tag #'hereb {b}} a}
instead since it makes the relatio
On 14 April 2018 at 15:46, David Kastrup wrote:
> Gianmaria Lari writes:
>
> > I found a not nice solution but something that work:
> >
> > \version "2.19.81"
> > var = {a \tag #'herea {} \tag #'hereb {b} a}
> > {\pushToTag #'herea b! \removeWithTag #'hereb \var}
>
> I'd write
>
> var = {a \
On Fri, 13 Apr 2018 22:25:17 +0200, Gianmaria Lari
wrote:
> I'm not 100% sure having understood how to use \pushToTag but the
> following are the examples I personally would put in the manual.
I find your examples very enlightening.
___
lilypond-user
Hello,
I would like to align the pedal bracket changes closer to the middle of the
notes they’re attached to, instead of at the beginning of the note.
What is the best way to achieve this? I have been using shorten-pair but that
leaves too much space between the Ped. mark and the start of the b
I usually use an independent voice that can be populated with s values such
that you can fudge the distances. If you have a pedal duration you want
displayed as different from the rhythm for example c2 c4 but you only wish the
pedal mark for quarter beat then s4\sustainOn s4\sustain off.
Regard
Edward,
As Shane suggests, placing the pedal marking in a \new Dynamics allows specific
placement.
Attached is an example.
Mark
-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of Edward Neeman
Sent: Saturday, April 14, 2018 3
Hello Mark and Shane,
Thanks for suggestion! In fact I was doing something very similar, putting the
pedal marking in its own variable (though I added it to the bottom staff of the
piano part). I was hoping to be able to change how the pedal bracket is aligned
with the notes in the same rhythmi
Edward,
If you provide an example, I shall try to comply.
Mark
-Original Message-
From: Edward Neeman [mailto:edward.nee...@gmail.com]
Sent: Saturday, April 14, 2018 6:33 PM
To: Mark Stephen Mrotek
Cc: Lilypond-user
Subject: Re: Pedal bracket alignment
Hello Mark and Shane,
Thanks f
Hello Mark,After playing around with this problem, I’ve found a few ways to get a reasonable result. Some of the strategies I tried are in the attached file. My dream option would be to be able to create a function that would give one set of shorten-pair values at the Ped. marking, and another set
I'm currently using ABC notation for all of the score examples on my
website and converting it to notation using abcm2ps. I have run into a
limitation with it and need something more flexible. However I still wish
to use a textual notation and do not want to hand edit images as this would
make thin
Hi Robert,
Is this of any use?
https://bretpimentel.com/irish-flutewhistle-ornamentation-symbols-a-la-grey-larsen-in-lilypond/
If you need adjustments to anything I can help.
[Lilypond can be made to do pretty much anything as it is powerfully
extensible,]
Andrew
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