glaring over the
> obvious, but I simply can't find it. Maybe I'm just plain stupid,
> that's another possibility, but I'm not willing to accept that yet
The snippet still exists in the GDP docs.
Check out <http://kainhofer.com/~lilypond/Documentation/user/
Reinhold Kainhofer kainhofer.com> writes:
>
> Am Mittwoch, 21. Mai 2008 schrieb Carl D. Sorensen:
> > By way of standard practice, is it better to define
> > figuredBassStackingDirUpOff as an \override (which makes it absolute, but
> > keeps adding to the props list), or as a \revert, which undo
Reinhold Kainhofer kainhofer.com> writes:
>
> PS2: In case you are interested what all my questions are about lately and
> what I really did with all the great answers and your help, I put the first
> seven pages of my latest edition on our web server:
>
http://www.fam.tuwien.ac.at/~reinhold/t
Thomas Scharkowski t-online.de> writes:
>
> Hello,
>
> can the lines of a fret diagram get diffent widths?
> For example 6th string thick, 5th string thinner, 1st thinnest?
>
> Thank you
> Thomas
>
Currently, no.
It would be a relatively simple fix to add this functionality, but it would
r
plasmacarwash yahoo.com> writes:
>
>
> Dear Madames/Sirs,
>
> I was wondering if anyone has already made a template for simple
> contemporary scorebooks consisiting of:
>
> 1. The Vocal melody line.
> 2. The Lyrics
> 3. Notation chords for guitar and
> 4. Fretboard images
>
I'm responding t
Reinhold Kainhofer kainhofer.com> writes:
>
> In Mozarts "Benedictus sit Deus" the figured bass sometimes has figures,
> where
> one of the numbers uses extenders over the whole measure, while the second
> one is repeated. An scan of a hand-engraved score is attached.
>
> How can I do this
Jesse Engle gmail.com> writes:
>
> I hoped there might be a seperate context for roman numerals similar
> to the ChordNames context, in which you would specify the roman
> numeral and its inversion (and any alterations using figured bass),
> along with a duration. Depending on the duration of th
Libero Mureddu gmail.com> writes:
>
> Hi all,
> I'm working, once again, on a polymetric score and I have the
> following problem:
> starting from the example from the 1.2.3.4 section of the doc, "Staves
> with different time signatures, unequal bar lengths",
> I tried to group all the staves i
Arno Rog gmail.com> writes:
>
> Below (and attached) two pieces of score, which should result in
> (approximately) the same figured bass.
>
> A. works great but is far to low positioned
> B. is positioned more closely to the notes, but does not print figures
> and/or lines below rests.
>
> Hop
James E. Bailey mac.com> writes:
>
> http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Text-marks#Text-marks
> Printing marks on every staff
>
> Although text marks are normally only printed above the topmost staff,
> they may also be printed on every staff.
>
> {
>
Carl Sorensen byu.edu> writes:
>
> >
>
> Arno,
>
> There were a couple of problems you had with your figured bass.
>
>
> Here's the code:
>
> Begin code
> <<
> \new Staff = MyStaff
> \figuremode {
> \ove
Carl Sorensen byu.edu> writes:
>
> Carl Sorensen byu.edu> writes:
> [ . . ]
> > < _+ >8 s8 < _! >16 s16*3 < 7 ! >8 < _ >8
> > \set Staff.useBassFigureExtenders = ##t
> > < _! >16 < _! >16 &l
Andrew Hawryluk gmail.com> writes:
>
> That sounds very nice, but here's where I'm stuck:
> <<
> \new Staff { ... }
> \new Lyrics { ... }
> \new Staff { ...}
> >>
> How does LP know which staff the Lyrics should be kept close to?
I haven't searched the internals. I've just looked at the
Arno Rog gmail.com> writes:
>
> In this example, although there is no note in the bass, the continuo
> player has
> to play one chord, starting at the location of the rest and during the
> remainder
> of the example.
>
> It is customary (and is used frequently) to display a line starting from
Libero Mureddu gmail.com> writes:
>
> Hi Carl and list,
> I just realized that for some (to me) strange reason, with your
> solution (using \override StaffGroup.SpanBar #'stencil = ##f instead
> of \remove "Span_bar_engraver"), the grand piano staff doesn't have
> anymore the barline across its
Christopher Suckling googlemail.com> writes:
> So...
>
> Trash the PPC application then install the two Platypus wrapped
> scripts I've dumped here:
>
> http://claviclaws.net/LilyPond/LPHelper.zip
>
This looks really interesting, but I'm enough of a newbie to MacOS that
it's hard for me to fo
cpgray library.uwaterloo.ca> writes:
>
>
> Warning: LilyPond Newbie
>
> I'm trying out LilyPond to see if there is a way to do chord charts in the
> fashion illustrated in the wikipedia article on "Chord Charts". The image
> there illustrates what I'm looking for:
> http://en.wikipedia.org/wi
Johan Vromans squirrel.nl> writes:
>
> Carl Sorensen byu.edu> writes:
>
> > Here is an example.
>
> Very nice!
> Is there a way to avoid the naturals and sharps? They're rather
> meaningless.
>
What version of LilyPond are you using? I'm usin
Oscar gmail.com> writes:
>
>
> Hi,This is great, but Is it possible to insert some melody measures with
> standard notation??
> Thanks,Oscar.
Of course.
% Begin Snippet
mychords = \chordmode {
c1:7
f
}
myrhythm = {
\key f \major
e8 f8 r8 b8 r8 b8 r8 b |
c1
}
%\new Staff
sdfgsdhdshd orange.fr> writes:
>
>
> In a score with 3 notes, is it possible that the first note has a dashed slur
> with the third, while the second note has a solid slur with the third?
>
> Thank.
>
Kieren gave you a great answer on how to get the dashes you need.
Perhaps another answer
his area!
>
> I don't know if there are Lilypond programmers on this list or if there
> is a lilyond-dev-list to post this issue on...?
There is a list -- [EMAIL PROTECTED] But I expect that most of the
people on -devel monitor -user.
Carl Sorensen
Trevor Daniels treda.co.uk> writes:
>
> Eric
>
> \tweak may be the command you need. Have a look at section 4.1.4 Tweaking
> methods in the Learning Manual for release 2.11 to see why this is needed
> and how to use it. The explanation there applies just as well to release
> 2.10. However
Thermo iinet.net.au> writes:
>
>
> I have this to build the guitar chords
> guitarChords = \chordmode {d a/fis g:7 g/a (etc) }
>
> Then I have this to build the whole score:
>
> \score {
<<
\new ChordNames { guitarChords}
>\new GrandStaff <<
>
Arno Rog gmail.com> writes:
> Neil,
>
> This is really great!
> May I suggest a new default value of 0 (zero).
> The present value is really too small in comparison to the numbers
(and to read).
>
> Is there a place where I can make such a siggestion for the
upcoming release?
>
This is the
Mats Bengtsson ee.kth.se> writes:
>
> James E. Bailey wrote:
>
> >
> > in 3.1.3
> > #(ly:set-option 'point-and-click #f)
> >
> > The last one is apparently deprecated.
>
> Why? The first two are only interesting if you have your own standard
> include file with utility functions. I guess that
Trevor Daniels treda.co.uk> writes:
>
> Mark Knoop wrote Monday, July 14, 2008 9:56 AM
>
> > On Mon, 2008-07-14 at 02:21 +0000, Carl Sorensen wrote:
> >> Mats Bengtsson ee.kth.se> writes:
> >> OK, I'll bite.
> >>
> Two good points. S
Thermo iinet.net.au> writes:
>
>
> Spot on Carl Thanks
> What country are you from?
>
Glad I could be of assistance.
I'm from the USA, state of Utah.
Carl
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James E. Bailey mac.com> writes:
>
> I would also add that lilypondtool with jedit is probably the easiest
> method.
>
Can you give me a hint or two about getting lilypondtool to work with OSX?
I'm an OSX newbie, and I haven't been able to get lilypondtool to work
properly.
Thanks,
Carl
Valentin Villenave gmail.com> writes:
>
> 2008/7/24 Trevor Daniels treda.co.uk>:
> > But you were
> > right originally, this is either a bug or LilyPond
> > is overly sensitive.
>
> Greetings Trevor,
>
> I've re-re-read the whole discussion a few times, but I can't manage
> to understand the
Brett Duncan bigpond.net.au> writes:
>
> Carl D. Sorensen wrote:
>
> I have Lilypondtool working for me (OS X 10.4.11 (Intel) jEdit 4.3pre14,
> lilypondtool 2.10.5).
>
> What exactly isn't happening for you Carl? I've never had trouble
> getting it to install, but it did take some fiddling w
Henk van Voorthuijsen xs4all.nl> writes:
>
> ... because otherwise comes out as "Cb/5/
> sus#4/sus#2/add3/add6", which seems a bit silly.
>
> - Henk
>
As I mentioned in my other post (which unfortunately started a new thread),
you can do it easily as
bes:13.11.9-
However, I think that
Francisco Vila gmail.com> writes:
>
> There is a TODO at the end of 2.4.1.6...
>
Francisco,
Thanks for the review.
That TODO is in the snippets, so we felt it was OK to go to public review.
I hope to be able to get that done by tomorrow.
Carl
__
Jonathan Kulp gmail.com> writes:
> Since we're trying to get rid of @example passages and use real musical
> examples instead, I tried to make it work with music. Here's the code I
> used and the non-fatal error message that followed.
Jonathan,
Your code was almost right, but you made two S
Carl Sorensen byu.edu> writes:
>
> Jonathan Kulp gmail.com> writes:
>
> > Since we're trying to get rid of @example passages and use real musical
> > examples instead, I tried to make it work with music. Here's the code I
> > used an
Jonathan Kulp gmail.com> writes:
>
> So, the question is whether it's worth introducing add-grace-property
> and/or remove-grace-property at that point in NR, since it already shows
> how to alter stem direction using \stemDown in a different example right
> before it. Is it sufficiently abn
Graham Percival gmail.com> writes:
\>
> If you look at the latest docs using texi2html, this has already
> been dealt with:
> http://kainhofer.com/~lilypond/texi2html-out/Documentation/index.html
>
Reinhold, this is BEAUTIFUL!
One of my pet peeves with the documentation has been the lack of a
chubb.wattle.id.au> writes:
>
>
> I personally have *never* needed to use \new.
>
> \context implicitly instantiates a new context if the
> one named doesn't yet exist, so \new is redundant, *except* where you
> want multiple distinct contexts with the same name, or you're using
> unnamed c
acation as well).
Graham has passed much of the baton to the "Post-GDP doc team", which
consists of Trevor Daniels, Patrick McCarty, Francisco Vila, Jonathan Kulp,
Neil Puttock, and Carl Sorensen.
We haven't yet figured out the final post-GDP roles and responsibilities,
bu
being described can help understand possibly-confusing wording.
If you could work up a simple example (one bar long) that
demonstrates the point you're trying to make, I'll add it to the
documentation.
Carl Sorensen
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Robin Bannister dataway.ch> writes:
>
> Hallo again!
>
> At the end of LM 3.3.2. there is the caution:
> > Note the distinction between the name of the context type, Staff, Voice,
> > etc,
> > and the identifying name of a particular instance of that type ...
>
> Well, I can manage that, I th
James E. Bailey mac.com> writes:
>
> I don't understand this. Why aren't the last two eighth notes beamed
> together?
> \version "2.11.54"
> \relative { \clef bass << {e8 d d c d8 c } \\ { 4 g 4} >>
> }
>
I think the answer is found in a known issue in the beams section:
The same holds
Kieren MacMillan sympatico.ca> writes:
> Furthermore, there are *many* things about MIDI that are neither
> clear nor simple — witness the number of questions on the list about
> changing MIDI tempo, making dynamics work in multiple staves, etc. I
> think it would be "cleaner" to put MIDI
Patrick Horgan gmail.com> writes:
>
> ayryq wrote:
>
> I believe you can, I was going to clip your stuff, build it on my
> machine, and build an example for you, but this example won't actually
> build on my machine. Just as a hint, in the work I did for O Magnum
> Mysterium, I combined sev
notesetter thenotesetter.com> writes:
>
>
> I'm typing some guitar music with version 2.10.33 to teach myself how to use
> LilyPond. I'm using the command \shiftOn to move inner voices so that they
> are clear and not colliding with other voices. I'm also typing the upper
> voice and lower voic
Kieren MacMillan sympatico.ca> writes:
>
> Hi Graham,
>
> I agree with *most* of your post here… except
>
> > I honestly think that stopping the doc team from disintegrating
> > is more important than nice new features like that.
>
> Depending on the feature, this can be *far* more important
Tom Cloyd comcast.net> writes:
>
> This isn't a path problem, I think. "lilypond -h" may not be quite
> right, but I should have gotten something other than what I got, if the
> "lilypond" script that IS in the dir executed. Here's the script -
>
Tom,
You can tell if it's a path problem by ty
Tom Cloyd comcast.net> writes:
> The only thing here that's looks like it might be the shortcut script is
> "lilypond". My user acct. owns it, and it's marked executable, but...
>
> tomc tomc-desktop:~/bin$ lilypond
> The program 'lilypond' is currently not installed. You can install it
> by
Jonathan Kulp gmail.com> writes:
>
Here's the
> format I tried:
>
> cat file.ly | python lilymusic.py --out_style="nederlands" > file-new.ly
>
Here's a slightly easier (IMO) method of invoking this routine:
python lilymusic.py --out_style="nederlands" < file.ly > file-new.ly
Instead of usi
tool; it just generates a midi file and plays
it. It's standard functionality.
Carl Sorensen
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Lewis Overton chena.fastmail.us> writes:
>
> It appears that 2.11 for Leopard (Mac OS 10.5.x) is on hold. Is there intent
to produce a binary for
Leopard? If so, is there any time frame as in soon, some day, long time,
whatever?Lewy
>
>
Lewy,
It appears that some of the development tools
Johan Vromans squirrel.nl> writes:
>
> Stupic question, I assume...
>
> In a scheme function I have a symbol that is the name of a lilypond
> expression. How can I get its music value?
>
> E.g.
>
> ifDefined =
> #(define-music-function
>(parser location sym)
>(symbol?)
>
>(if
ld a font cache, but
successive times should not be slow.
Please let us know if it stays slow.
Thanks,
Carl Sorensen
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chip wiegand.org> writes:
>
> My short piece prints on two pages, the score that is, not the parts. On
> page one there is a large gap of white space between the two systems,
> but on page 2 there is the expected small gap between them with the
> large white space below the second system. Wha
Jonathan Klein toplinestrategy.com> writes:
>
>
> Any suggestions about where to find a Lilypond developer for contract work?
>
I'd suggest that you post a description of the development you want, and the
price you're willing to pay, on lilyp
今井雄治 ybb.ne.jp> writes:
>
> Hi, users.
>
> i got following result use NoteNames context.
>
> (1st line)
> c' d' e' f' | g' a' b' c''
> (2nd line)
> c' e' d' f' e' g' f' a' | g' b' a' c'' b' d'' c'' e''
> (3rd line)
> c' c' c' | c' g' c' g' c' g
Jonathan Kulp gmail.com> writes:
>
> Grateful Frog wrote:
> > Thanks! That did it perfectly!
> > GF
> >
>
> Glad to help, but beware that transparent objects still take up space so
> if later you have layout problems with respect to fingerings and other
> things, it could have to do with the
ditors on Windows with lilypond. Now I use
LilypondTool for Jedit, and love it.
Carl Sorensen
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score {
{c'4 d' e' f' g' a' b' c'' d'' e'' f'' g''}
}
BTW, if you're using Jedit and not Lilypondtool, you're working a lot harder
than you need to.
Carl Sorensen
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plasmacarwash yahoo.com> writes:
>
> Carl,
>
> The 'simple test' worked eloquently but, they are ascending. I will
> experiment with commas and dbl. commas.
Since the test doesn't have a \relative in it, the notes are absolute. It
doesn't matter whether they are ascending or descending. The
plasmacarwash yahoo.com> writes:
>
> Francisco,
> However, I'm not advanced to run Python. I only know how to save an .ly
> document from jEdit.
> Will jEdit help me with Python?
>
Save the file ran.py from Francisco's message. I saved it in the same folder
where my Lilypond source files (.ly
I'd like to set some single-note beginning piano music for my daughter, and want
to make a piano staff with lyrics between the two staves.
I'd like to have just one voice in the music, and have the voice autochange.
I've reviewed Automatic Staff Changes
(http://lilypond.org/doc/v2.11/Documentatio
ic, you can use a \markup, instead of \chordmode. Then, if
you set your \markup font to Cifrado, you should be able to markup a note (or a
chord) with "ax;", just like you have in other programs, and get your
traditional output.
Carl Sorensen
and you can
send patches to the lilypond-devel list; the patches will either be approved and
applied, or you'll receive suggestions on how to improve the patches to make
them acceptable for Lilypond.
Welcome to the Lilypond developers world. We love to have new contributors.
Carl Soren
english.ly"
\include "Test1.ly"
\layout {
ragged-right = ##t
}
\score {
\TestOne
}
%% End of MyScore.ly
This file sets up the layout, and the language, and the version, then includes
the file Test1.ly, then uses the identifier defined in Test1.ly.
the devel list is to grep the source code files. In this case, I'd
recommend grepping for "staff" and "time". You'll probably be able to find the
files by doing that.
Carl Sorensen
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lilypond-
ages/fishers.gif
>
If you need to get help, you should either attach or allow a link to the .ly
file, as well as the output. Almost always, the trouble comes because you've
made some kind of mistake, and the easiest way to have somebody point it out is
through reviewing your .ly.
Thanks
Damian leGassick mac.com> writes:
>
> (in england) i've been calling them tuplets at least since the mid
> 80's, certainly pre-finale.
>
Wikipedia calls them tuplets, as well.
http://en.wikipedia.org/wiki/Tuplet
Carl
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to work with Scheme code.
It should be added to the docs, IMO.
Perhaps also to the LSR.
Carl Sorensen
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to ragged-bottom=##t and
ragged-last-bottom=##t. When I did that, everything looked fine on my
vocal score.
For me the problem is less the spacing of lyrics, and more the spacing of
staves.
Carl Sorensen
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t example of separating parts and printing out multiple
versions of the score on Mutopia. I noticed this one:
<http://www.mutopiaproject.org/cgibin/make-table.cgi?searchingfor=handel+messiah>
Carl Sorensen
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Mats Bengtsson ee.kth.se> writes:
> Wilbert Berendsen wrote:
> > Op woensdag 7 november 2007, schreef Kieren MacMillan:
> >
> >> \override BarLine #'space-alist #'next-note = #'(semi-fixed-space . 1.2)
> >
> > \override BarLine #'space-alist #'next-note #'semi-fixed-space = 1.2
> >
> It's n
ite stressed as much.
Given Miguel's options, I'd code my pronunciation as [lili:}.
Given what I know of French pronunciation, I'd pronounce the "y" like the "i" in
"lit" or "Lisette". And as I mentioned before, the "i" is like the English
"kill"; I can't think of a French word with the same pronunciation.
Carl Sorensen
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}
I thought you could do it with this method by adding an
\override #'(fret-count . 6), but in the release version it doesn't work. I'm
hoping that over Christmas I'll be able to fix up my challenges with git and get
the latest version of the fret diagram code integrated in Lily
wo hands.
Yes, this can be easily done. All one needs to do is to use the \autochange
keyword. This is described in section 7.1.1 Automatic Staff Changes of the 2.10
documentation. You can also manually change staffs; this is described
r-size outputs for local printing on my
8 1/2x 11 inch paper.
Carl Sorensen
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n the Chord names appear below the staff is you are adding a new staff
(the chord staff) partway through the piece. You'll get what you want if you
put the chord staff in parallel with your music starting from the first measure.
See below.
Carl Sorensen
\header {
title = "Chor
vic.ca/~gperciva/
>
Graham,
I've got some time now. Put me down for Fretted Strings.
Carl Sorensen
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Carl Sorensen byu.edu> writes:
>
> Graham Percival gmail.com> writes:
> >
> Graham,
>
> I've got some time now. Put me down for Fretted Strings.
>
> Carl Sorensen
>
Oops -- I just checked current.txt and found that Jonathan's name is on it
and use Acrobat
Reader to search for things -- it's often more complete than the index.
Carl Sorensen
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Rutger Hofman cs.vu.nl> writes:
>
> Bertalan Fodor wrote:
> >
> >> I also tried this with \voiceOne etc (with version 2.8.8, admittedly),
> >> and couldn't get the first chord to print as 4 different voices of
> >> which three have upward stems. Lilypond gives me "warning: ignoring
> >> too
Rutger Hofman cs.vu.nl> writes:
>
> But the whole point of this \voiceFive thingy is that none of the four
> notes in the first quarter should line up, and especially not the three
> notes with stem upwards.
>
> Rutger
>
I'm not sure I agree with this conclusion. The scan that was provided
Bertalan Fodor organum.hu> writes:
>
> Dear LilyPond users,
>
> LilyPondTool 2.10.3 has been released. This is a bugfix release.
> Changes:
> - files containing spaces and multiple dots handled correctly
> - lilypond all scores works now well
> - better logging with user-settable log level
>
Ted Walther reactor-core.org> writes:
>
> I am using the description of the fermata in the "Sacred Harp" hymnal,
> first published in 1844, now in the 1991 Denson edition. In the preface
> it clearly describes the meaning of the fermata mark, the dot with a
> semicircle around it. Also in all
file and use Reader to do a text search. In this case, I searched for the
word "coda".
Hope this helps,
Carl Sorensen
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Encore 4.6 (not yet released) will export MusicXML, which will then be
convertible by xml2ly.
So if the Encore scores you get are generated by people with 4.6, you could have
them send you MusicXML, instead of native Encore.
Carl SOrensen
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f treble
% \autoBeamOff
\mymus
\bar "||"}
\addlyrics {\mylyr}
}
%% End of snippet
Carl Sorensen
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ntals use the item-interface.
The item-interface has the property break-visibility. One of the predefined
variables for break-visibility is all-invisible, which looks to me like it
should keep accidentals from printing.
But I'm not sure what syntak to use to set break-visibility for the
item-int
break
cis'4
cis'4
cis'4
cis'4
}
%%% END %%%
which works -- the time signatures are all removed, and no space for them is
allowed.
Carl Sorensen
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ay of entering notes.
But I wouldn't want to replace lilypond's current entry method with the one
you've proposed.
Carl Sorensen
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begins with \partial 4, and the
lyrics work just fine.
Carl Sorensen
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uld you be happy
with all the dots having the same symbol, but different from the current circle?
Please take this discussion over to the devel list, so that we can have some
discussion about implementation features.
Carl Sorensen
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rds for sheets for my own
use,
and LilyPond, with melody lines as well as chords and lyrics, for music
that
I
want to share with others.
Hope this helps.
Carl Sorensen
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(ly:make-pitch 1 0 0))
(make-music
'NoteEvent
'duration
(ly:make-duration 2 0 1 1)
'pitch
(ly:make-pitch 0 0 0)))
And you can see that the pitches are
/v2.2/Documentation/user/out-www/lilypond/Metronome-marks.html#Metronome%20marks
This piece of documentation shows how to get a mark like quarter note =
105.
Hope this helps.
Carl Sorensen
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first page
listed above, you'll get the fancy chord names. And then you can put
whatever music you'd like to show up on the staff in the Voice context.
I think that will give you what you're looking for.
HTH,
Carl Sorensen
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t...
Bottom line, IMO, as long as lilypond is a linux/unix based program, I see
it as very hard to get it into the Windows mainline. However, things are
_much_ better on the Windows front in 2.2.x than they were in 1.8.x.
Just my two cents,
Carl Sorensen
On Tue, 2004-08-10 at 04:32, Mats Bengtsson wrote:
> The only problems related to TeX setup I have seen during the last years
> are:
> - That setup.exe doesn't always get the dependencies right, so the
>tetex-* packages are not installed. => Cygwin problem!
I had this problem, but worked my
Kieren MacMillan sympatico.ca> writes:
>
> Hello all,
>
> Is anyone PS-savvy enough to tell me how to draw scalable
> (independently in X and Y) parentheses using \postscript?
>
> Thanks,
> Kieren.
>
There is a bezier-sandwich stencil that is used for slurs and for barre
indicators in fr
Grammostola Rosea gmail.com> writes:
>
> Hi,
>
> I was wondering if there's an easy way to insert Fret Diagrams for
> guitar in Lilypond. Most of the time I use templates from Frescobaldi,
> but I don't see an Fret Diagram option there.
>
> I like to display the fret diagram and the chord n
Hajo Dezelski googlemail.com> writes:
>
> Hello,
>
>
> Are there recommondations for an integrated editorial environment
> using lilypond-book on a windows machine which is easy to use ? I know
> I have to learn some coding but I dont want to dig the next year into
> the internals of TEX to l
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