I'm very new to LilyPond - using 2.12.1
I'm doing some pretty simple stuff at the moment, just for my own use. I am
trying to create a file with some very short single-instrument exercises. Each
one is only a few staves in length, so I don't want them to have a whole page
each.
Titles would be
Using Lilypond 2.12.1
Normally an acciaccatura is slurred to the following note.
However, in wind music for instance, sometimes an acciaccatura occurs
during a passage which is slurred already. In that case there is no
reason to print an extra slur on the acciaccatura.
In Lilypond, if I enter:
On Sat, 2010-05-15 at 16:42 +0100, Graham Percival wrote:
On Sat, May 15, 2010 at 04:35:22PM +0100, David Sumbler wrote:
a4( \acciaccatura b8 c4 d)
Known problem; you can't do this.
Oh! :-(
How can I persuade Lilypond to print a slur correctly from the A to the
D?
You can kind
A steep learning curve, using Lilypond! I've found answers in the
documentation to most of the problems, but after an hour of searching
I'm stumped on this one.
I used '\override TupletNumber #'stencil = ##f' earlier in my file.
Now I want to cancel that setting and restore tuplet numbers.
I
I need to get the whole of a piece (originally 5 pages) onto 1 or 2
sheets of A4. It doesn't matter how small the print is - at the same
time, I don't want to waste space.
I have got a usable result, but it isn't quite what I was hoping for:
ny .ly file produces 4 pages, so by printing from
I am a new user of Lilypond, using v. 2.14.2 on Ubuntu 12.04. I have
read the Learning Manual and Notation Reference twice each, and most of
the other documentation at least once.
Having set two pieces (one for solo marimba, and one for flute and
piano), I hoped that I had reached the stage of
this out, please, or will I have to go back to
using Lilypond 2.14.2 with no help other than the manuals?
David
On Sun, 2014-01-26 at 15:37 -0500, Hwaen Ch'uqi wrote:
Greetings David,
On 1/26/14, David Sumbler da...@aeolia.co.uk wrote:
I am a new user of Lilypond, using v. 2.14.2 on Ubuntu
immense problems, so I have given up on them.
David
On Mon, 2014-01-27 at 16:04 -0500, Hwaen Ch'uqi wrote:
On 1/27/14, David Kastrup d...@gnu.org wrote:
David Sumbler da...@aeolia.co.uk writes:
Thanks to all for your responses to my enquiry about misaligned
dynamics. Thanks especially
On Mon, 2014-01-27 at 18:02 -0500, Hwaen Ch'uqi wrote:
Hmmm. You should have found seven .el files in the original lisp
directory, one of them being lilypond-words.el. Be sure to move them
all into one of the directories in your loadpath. For example, I am
using ubuntu-13.04, and I have
On Mon, 2014-01-27 at 19:54 -0500, Hwaen Ch'uqi wrote:
Just a question or two, based on my own experience. Did you first
remove (or purge) LilyPond 2.14.2 before installing 2.18.0? Otherwise,
your system may still be using the older installation.
Yes, I removed 2.14.2 using the Ubuntu
On Tue, 2014-01-28 at 15:09 +0100, Federico Bruni wrote:
2014-01-28 David Sumbler da...@aeolia.co.uk
What manuals? I don't seem to have any. One of the things I
liked
about the Ubuntu installation of LilyPond 2.14.2 was that the
html
manuals were
Having now got LilyPond 2.18.0 set up on my two machines, thanks to all
the help from the list, I have now started trying to adjust the output
of the pieces I have so far produced.
I have used \header blocks for title, composer etc., and these are
working as I would wish.
However, I should like
On Thu, 2014-01-30 at 11:09 -0800, Mark Stephen Mrotek wrote:
David,
Putting a \pagebreak after the first header and before the first score
seems to accomplish what you want.
Mark
Thanks for that - it seems to be one permutation I hadn't tried!
I must confess that I find some aspects of
Following the problem I was having with dynamics in a flute part and a
piano part not lining up, on the advice of the list I upgraded my
LilyPond from v2.14.2 to 2.18.0.
Problem of non-alignment solved.
But I still find that dynamics often contact or even cross a bar-line.
In the flute part of
Thanks for your reply - it solves the problem of bar-line/dynamic
collisions (or rather, it side-steps the problem). Actually it also
begins to answer what might well have been my next question, because
generally I prefer the left edge of dynamics to be related to the note
position. But I should
I've now had a chance to experiment further with this, and to try the
suggestions you have made, which were very helpful.
For Dynamic-Text objects, the self-alignment-X = #-1 appears to align
the left edge of the dynamic with the left edge of the note;
self-alignment-X = #1 aligns the right edge
Rallentando and accelerando are supported in MIDI output if the
articulate.ly script is used. Looking at the script, I can see how I
can additional synonyms for rall., rit. etc. that the script would then
recognize. I can also begin to see how to change the amount of rall, or
accel. by modifying
Further to my query (below) yesterday about varying ralls and accels in
midi, how do I actually get these to work at all?
At the moment the articulate script is working correctly in executing
trills, slurs etc. But it ignores my rit. markings and suchlike. I
have tried entering these using
On Tue, 2014-12-30 at 22:04 +0100, Simon Albrecht wrote:
Am 30.12.2014 13:16, schrieb David Sumbler:
Further to my query (below) yesterday about varying ralls and accels in
midi, how do I actually get these to work at all?
At the moment the articulate script is working correctly
On Wed, 2014-12-31 at 11:52 +0100, Simon Albrecht wrote:
Am 31.12.2014 00:32, schrieb David Sumbler:
On Tue, 2014-12-30 at 22:04 +0100, Simon Albrecht wrote:
Am 30.12.2014 13:16, schrieb David Sumbler:
Further to my query (below) yesterday about varying ralls and accels in
midi, how do I
On Wed, 2014-12-31 at 18:11 +, Phil Holmes wrote:
Original Message -
From: David Sumbler da...@aeolia.co.uk
Clearly I am doing something wrong - perhaps it is to do with the way I
have entered my tempo markings. Just to make things clearer, I am
setting a saxophone
From: Urs Liska u...@openlilylib.org
To: lilypond-user@gnu.org
Subject: Re: Condensing single-bar rests into a multi-measure rest
Date: Sat, 03 Jan 2015 16:45:27 +0100
Am 03.01.2015 um 16:36 schrieb David Sumbler:
I have now finished setting the saxophone quartet, which is the first
I have now finished setting the saxophone quartet, which is the first
substantial multi-instrument piece I have attempted with Lilypond.
I am very pleased with the result, and I am now at the stage of tweaking
the appearance of the output.
Searching in the Lilypond documentation, one problem I
On Thu, 2015-01-01 at 20:57 +1100, Peter Chubb wrote:
David == David Sumbler da...@aeolia.co.uk writes:
David Which brings me back now to my other question: how do I get
David midi (specifically, the articulate.ly script) to recognize my
David rits and ralls? I have tried entering them
On Mon, 2015-01-12 at 23:17 +0100, Thomas Morley wrote:
2015-01-12 22:37 GMT+01:00 David Sumbler da...@aeolia.co.uk:
The default position of tempo indications is, to my eye, rather too
close to whatever is beneath them, be it a stave, a note or a slur.
I have tried experimenting
in
relation to what is beneath them and also to each other.
David
On 1/14/15, David Sumbler da...@aeolia.co.uk wrote:
On Mon, 2015-01-12 at 23:17 +0100, Thomas Morley wrote:
2015-01-12 22:37 GMT+01:00 David Sumbler da...@aeolia.co.uk:
The default position of tempo indications is, to my
From: Noeck [hidden email]
To: [hidden email]
Subject: Re: Printing titles at a consistent size
Date: Sun, 18 Jan 2015 23:57:09 +0100
Hi,
if I am not mistaken, there was some discussion and a solution how
to get the
line space consistent for different
From: Noeck noeck.marb...@gmx.de
To: lilypond-user@gnu.org
Subject: Re: Printing titles at a consistent size
Date: Sun, 18 Jan 2015 23:57:09 +0100
Hi,
if I am not mistaken, there was some discussion and a solution how to get the
line space consistent for different settings of the staff
As I start to gain experience in setting music in Lilypond I am trying
to understand more about how it works internally. As well as personal
satisfaction, this obviously has a practical aim: it will make it easier
for me to modify or correct things without having to ask so many
questions on this
From: Noeck noeck.marb...@gmx.de
To: lilypond-user@gnu.org
Subject: Re: Understanding Lilypond
Date: Sat, 17 Jan 2015 00:04:34 +0100
Dear David,
as a small addition and a partly similar answer to Urs’, I think the point is:
LilyPond tries to suggest (or even enforce as a default)
On Fri, 2015-01-16 at 14:11 +, Kevin Barry wrote:
Dear David,
\score {
\new StaffGroup
\override Score.MetronomeMark.padding = #2
\topLine
\bottomLine
}
Here if you replace the
I find that tenuto lines in Lilypond are rather too thin and short.
With the help of this list, as well as the Lilypond documentation, I am
gradually starting to understand more about how Lilypond functions. So
I was reasonably confident that I could at least increase the font size
of tenuto
My current project is a quartet. The score and each of the 4 parts are
in separate \book blocks.
I have #(set-global-staff-size 16) before the score \book, and
#(set-global-staff-size 20) before the first of the 4 part \book blocks
which follow.
Today I turned my attention to formatting the
On Sun, 2015-01-18 at 11:25 -0500, Kieren MacMillan wrote:
Hi David,
But is there perhaps a better way of getting the titles to appear the
same size in the score and parts, despite the different staff sizes in
the music that follows the titles?
\markup \abs-fontsize …
is your
On Sun, 2015-01-18 at 12:40 -0500, Kieren MacMillan wrote:
Hi David,
I am getting a bizarre result: the titles
in the score are as specified in my version of bookTitleMarkup; but
although the parts have the correct font-sizes, both vertical spacing of
the lines and horizontal spacing of
From: Patrick Karl patrickk...@me.com
Date: Sat, 14 Feb 2015 11:18:49 -0600
I think the most disturbiing thing is that \articulate is interpreting
rit. to mean ritenuto rather than ritardando, which I think is
the most common interpretation of rit.. It would be great if the
tempo
On Tue, 2015-01-27 at 20:26 +0100, Thomas Morley wrote:
2015-01-27 12:56 GMT+01:00 David Sumbler da...@aeolia.co.uk:
I use Staff.printKeyCancellation = ##f in my score.
At one point the key changes from C major (concert) to C minor. As the
piece is for a standard saxophone quartet
I use Staff.printKeyCancellation = ##f in my score.
At one point the key changes from C major (concert) to C minor. As the
piece is for a standard saxophone quartet, this means that 2 of the
instruments change from D major (notated) to D minor, and the other 2
change from A major to A minor.
A
From: Thomas Morley thomasmorle...@gmail.com
To: David Sumbler da...@aeolia.co.uk
Cc: lilypond-user lilypond-user@gnu.org
Subject: Re: Key signature and key cancellation need to be aligned
Date: Thu, 29 Jan 2015 11:21:15 +0100
2015-01-28 19:00 GMT+01:00 David Sumbler da...@aeolia.co.uk
2015-01-27 12:56 GMT+01:00 David Sumbler da...@aeolia.co.uk:
I use Staff.printKeyCancellation = ##f in my score.
At one point the key changes from C major (concert) to C minor. As the
piece is for a standard saxophone quartet, this means that 2 of the
instruments change from D major
The default position of tempo indications is, to my eye, rather too
close to whatever is beneath them, be it a stave, a note or a slur.
I have tried experimenting with
\override TextScript #'padding = #4
and
\override TextScript.padding = #4
(I was unsure of the syntax) just to see if I can
From: Dominic dominicirv...@gmail.com
To: lilypond-user@gnu.org
Subject: Re: Adjusting the position of tempo indications
Date: Mon, 12 Jan 2015 15:26:56 -0700 (MST)
You probably need to adjust MetronomeMark.padding in the score context rather
than TextScript.padding in the Staff context,
One of my pieces has a lot of crescendo-decrescendo markings, using two
hairpins (i.e. and ).
Mostly these look fine; but just occasionally, because of the contours
of the melodic line above the hairpins, the crescendo and decrescendo
hairpins have different vertical placements and are not
From: Peter Gentry peter.gen...@sunscales.co.uk
Date: Fri, 13 Feb 2015 20:53:15 -
This is too well known to need an example, indeed one is given in the
documentation
http://www.lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-attached-to-notes#dynamics
where the
It's probably a language thing...
My use of the word 'shame' did not in any way imply that I think that
anybody should feel shame, inadequacy or guilt for the fact that
Lilypond does not always do what some of us would like.
The English idiom it's a shame means the same as the similar it's a
On Sat, 2015-02-14 at 15:41 +0100, Werner LEMBERG wrote:
It's probably a language thing...
Indeed. I should have looked up the phrase before writing. Sorry.
The link you included is very interesting - although I won't hold my
breath, because I see that the discussion has been going on
From: Noeck noeck.marb...@gmx.de
Date: Sat, 14 Feb 2015 14:15:35 +0100
Hi David,
It's a shame that Lilypond does not (so far as I know) have any way to
(a) associate one mark with another for positioning purposes
This association can be done quite easily as you can see in my previous
From: Urs Liska u...@openlilylib.org
To: lilypond-user@gnu.org
Subject: Re: Condensing single-bar rests into a multi-measure rest
Date: Sat, 03 Jan 2015 18:59:17 +0100
Am 03.01.2015 um 18:45 schrieb David Sumbler:
From: Urs Liska u...@openlilylib.org
To: lilypond-user@gnu.org
Subject: Re
On Sun, 2015-01-04 at 09:26 +0100, Urs Liska wrote:
I have now corrected my version of the combineMMRests function, but
unfortunately it still leaves my output unaffected.
I can see how something like this could work - unfortunately my
understanding at this stage of Scheme and Lilypond
Before the start of the first staff system, I have the name of each
instrument opposite the appropriate stave. The names are long, so I
have arranged them vertically, e.g.:
\set Staff.instrumentName = \markup {
\center-column { Soprano Saxophone \line { in B \flat }
}
This is
On Sun, 2015-01-04 at 20:22 +0100, Thomas Morley wrote:
2015-01-04 19:37 GMT+01:00 David Sumbler da...@aeolia.co.uk:
Before the start of the first staff system, I have the name of each
instrument opposite the appropriate stave. The names are long, so I
have arranged them vertically, e.g
On Wed, 2015-03-04 at 12:53 +, Kevin Barry wrote:
On Wed, Mar 4, 2015 at 12:39 PM, David Sumbler da...@aeolia.co.uk
wrote:
What I want is for the individual instruments' dynamics to
remain with
and apply to them, but simultaneously to allow any dynamics
The first 2 bars of a score are as follows:
invP = \tweak stencil ##f \p
\parallelMusic #'(mid Vone Vtwo Va Vc) {
% bar 0
\tempo 4 = 152 \partial 2 r2 |
\tempo Allegro non troppo 4 = 152 \partial 2 r2 |
\tempo Allegro non troppo 4 = 152 \partial 2 r2 |
\tempo
about the mid context I'm not sure exactly what
you have done, but it sounds like it's just a standalone music
expression? I would need to see more code to be sure.
Kevin
On Tue, Mar 3, 2015 at 4:12 PM, David Sumbler da...@aeolia.co.uk
wrote:
The first 2 bars of a score are as follows
On Tue, 2015-05-26 at 12:47 -0500, David Nalesnik wrote:
Hi David,
On Tue, May 26, 2015 at 10:32 AM, David Sumbler da...@aeolia.co.uk
wrote:
I often use 's1*0\!' to end a hairpin just before a barline.
But how can a get a dynamic mark (e.g. 'ff') to appear
On Wed, 2015-05-27 at 16:52 -0500, David Nalesnik wrote:
Hi David,
On Wed, May 27, 2015 at 3:03 PM, David Sumbler da...@aeolia.co.uk
wrote:
But both of these are work-arounds for something which is
actually
fairly normal musical notation. They are work
On Wed, 2015-05-27 at 22:14 +0100, Phil Holmes wrote:
- Original Message -
From: David Sumbler da...@aeolia.co.uk
But both of these are work-arounds for something which is actually
fairly normal musical notation. They are work-arounds because one
method implies that a note
Thanks to all for your consideration of the problem I have been having
in placing a dynamic at the end of a bar.
Stephen's 2 solutions are quite effective in some cases, but so far as I
can see cannot be made to work when there is a single note (e.g. a
semibreve) which has to carry the hairpin.
On Mon, 2015-05-25 at 17:47 +0100, Phil Holmes wrote:
- Original Message -
From: David Sumbler da...@aeolia.co.uk
To: lilypond-user@gnu.org
Sent: Monday, May 25, 2015 5:32 PM
Subject: Incomplete final bar with \parallelMusic
I am using the \parallelMusic entry for a string
I am using the \parallelMusic entry for a string quartet.
At the beginning of the 1st movement (which is mostly in 4/4 time) there
is a half bar before the first bar-line, which causes no problem because
I have \partial 2 in each part.
But the corresponding half bar at the end of the movement
David Sumbler wrote Monday, May 25, 2015 5:32 PM
I am using the \parallelMusic entry for a string quartet.
At the beginning of the 1st movement (which is mostly in 4/4 time)
there
is a half bar before the first bar-line, which causes no problem
because
I have \partial 2 in each part
I often use 's1*0\!' to end a hairpin just before a barline.
But how can a get a dynamic mark (e.g. 'ff') to appear at the end of a
bar? In the following example, the first hairpin behaves as I want.
The second one ends with a dynamic, but the new dynamic appears at the
start of the following
Is there a way of using \repeat volta 2 and similar when using
the \parallelMusic command? The following does not work:
\version 2.18.0
\parallelMusic #'(Vone Vtwo) {
%bar 1
\repeat volta 2 { d''1 |
\repeat volta 2 { f'1 |
%bar 2
c''1 } |
e'1 } |
}
\score {
\new Staff
I want to use a marking such as "accel.-alVivace".
However, the following example does not do what I want, because the text
is repeated at the start of each new line of music. I just want the
dotted line to continue without repetition of the text.
\version "2.19.24"
\relative {
Getting 40 newcomers to use Lilypond must be a record, I should think!
Congratulations to you and Aymeric.
I confess that I have only had a chance to watch the first couple of
minutes of the video. And although I can read French pretty well, I
would struggle with 2 hours of spoken French.
tSpan-td180601.html
> >
> > Cheers,
> > Pierre
> >
> >
> > 2015-10-26 21:19 GMT+01:00 David Sumbler <da...@aeolia.co.uk>:
> >>
> >> I want to use a marking such as "accel.-alVivace".
> >>
> >> However, the following e
OK - thanks for that information. And thanks to you and others for all
the hard work that goes into Lilypond.
David
On Tue, 2015-10-27 at 10:35 -0500, David Nalesnik wrote:
> Hi,
>
> On Tue, Oct 27, 2015 at 9:54 AM, David Sumbler <da...@aeolia.co.uk>
> wrote: Has a
(for the
umpteenth time) the whole of the Notation Reference. No doubt I shall
be able to absorb many more details than I could the last time I did it.
David
On Tue, 2015-10-27 at 20:25 +0100, Thomas Morley wrote:
> 2015-10-27 15:54 GMT+01:00 David Sumbler <da...@aeolia.co.uk>:
> > Regardin
\stopTextSpan fs g es fs es fs fs | }
Thanks again.
David
On Tue, 2015-11-03 at 11:39 -0600, David Nalesnik wrote:
> Hi David,
>
> On Tue, Nov 3, 2015 at 11:22 AM, David Sumbler <da...@aeolia.co.uk>
> wrote:
> I have now got around to trying to use
>
, Pierre Perol-Schneider wrote:
> Hi David,
>
>
> See :
> http://lilypond.1069038.n5.nabble.com/Text-centralized-above-a-TextSpan-td180601.html
>
>
> Cheers,
>
> Pierre
>
> 2015-10-26 21:19 GMT+01:00 David Sumbler <da...@aeolia.co.uk>:
> I want to
ine { "*Theme by Louis
> Drouet" }
> c'4
> }
>
>
> Cheers,
>
> Pierre
>
>
> 2015-10-06 16:43 GMT+02:00 David Sumbler <da...@aeolia.co.uk>:
> I want to annotate a particular passage with a footnote.
>
> S
-10-05 19:49 GMT+02:00 David Sumbler <da...@aeolia.co.uk>:
> > For a while I have been thinking about something which I feel could be a
> > useful modification of Lilypond's behaviour.
> >
> > Lilypond defaults to standard choices for musical notation, which
I want to annotate a particular passage with a footnote.
So far I have managed to get what I want in the music itself with:
\override Score.FootnoteItem.annotation-line = ##f
\footnote "*" #'(0 . 3) "Theme by Louis Drouet"
This produces an asterisk over the first note of the relevant passage,
For a while I have been thinking about something which I feel could be a
useful modification of Lilypond's behaviour.
Lilypond defaults to standard choices for musical notation, which
generally saves a lot of work - for instance, it assumes that when we
write c4 we want a standard crotchet to
.
David
On Wed, 2015-08-26 at 17:12 +0200, David Kastrup wrote:
David Sumbler da...@aeolia.co.uk writes:
On Wed, 2015-08-26 at 14:10 +0200, David Kastrup wrote:
David Sumbler da...@aeolia.co.uk writes:
But suppose that the repeat should start in the middle of bar 1 and end
in the middle
On Tue, 2015-08-25 at 18:34 +0200, David Kastrup wrote:
David Sumbler da...@aeolia.co.uk writes:
Is there a way of using \repeat volta 2 and similar when using
the \parallelMusic command? The following does not work:
\version 2.18.0
\parallelMusic #'(Vone Vtwo) {
%bar 1
On Wed, 2015-08-26 at 14:10 +0200, David Kastrup wrote:
David Sumbler da...@aeolia.co.uk writes:
is it
possible to have repeats starting and ending within a bar when using
\parallelMusic?
\version 2.18.0
\parallelMusic #'(Vone Vtwo) {
%bar 1
\repeat volta 2 {
d''2 d
After recently asking about the use of \repeat inside \parallelMusic I
was recommended to download to the latest "development" version of
Lilypond. At the time I said I wouldn't do this, but would wait for the
next "stable" version.
But shortly afterwards, I realised that I needed to use
At a repeat, if there is a clef sign within the first-time-bar, then it
is essential to restate the appropriate clef at the start of the
second-time-bar - but of course the clef sign needs to come after the
repeat barline, not before it in its usual position at a barline.
I tried the solution
I have yet another problem related to repeats. The piece I am setting
has one instrument which is tied from the last note in the
first-time-bar to the note at the start of the repeat. (Moving the
repeats does not help, because there are a lot of overlapping ties.)
I tried to produce an
On Sat, 2015-09-12 at 14:10 -0700, Mark Stephen Mrotek wrote:
> David,
>
> Here is a snippet. I am not sure where it is located in the manual, V 2.18.
>
> \once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3
> '( staff-bar
> clef
> key-cancellation
> key-signature
>
On Sun, 2015-09-13 at 00:46 +0200, Thomas Morley wrote:
> 2015-09-13 0:11 GMT+02:00 David Sumbler <da...@aeolia.co.uk>:
> > I have yet another problem related to repeats. The piece I am setting
> > has one instrument which is tied from the last note in the
> >
I guess I had better join in this "off"-topic.
I use Lilypond and Emacs on Ubuntu 12.04. I previously use Score for
the flute-and-harp arrangements that my former partner and I used to
publish. I found learning to use Lilypond effectively much harder to
than Score was.
It's always much easier
The string quartet I have been working on has a few passages where one
or more of the instruments are playing the same pattern for several bars
in succession.
In the score I want these to be written out in full, but in the parts I
would like to use numbered "percent" repeat marks.
The obvious
t 10:23 +0200, David Kastrup wrote:
> David Sumbler <da...@aeolia.co.uk> writes:
>
> > The string quartet I have been working on has a few passages where one
> > or more of the instruments are playing the same pattern for several bars
> > in succession.
> >
Although I quite often find myself needing to use
\override Voice.Hairpin.minimum-length = #2
or similar, I find that the results are unpredictable (to me!)
Sometimes I have a very short hairpin, perhaps starting on a quaver and
ending on the next quaver. In the output such a hairpin sometimes
> > From: Cynthia Karl
> > To: lilypond-user
> > Subject: Extending staff lines through key change
> > Date: Sat, 12 Dec 2015 15:41:32 -0600
> >
> > I’m engraving a piece that ends with a D.C. al Fine. Also the key
> > at the beginning of the piece is
> > From: David Kastrup
> > To: Andrew Bernard
> > Cc: lilypond-user@gnu.org
> > Subject: Re: Strings as variable names
> > Date: Mon, 28 Dec 2015 12:51:51 +0100
> >
> > Andrew Bernard writes:
> >
> > >
Thank you for the help I received with this problem.
I have finally had time to get back to the project, and have ended up with:
\paper {
inner-margin = 30\mm
outer-margin = 30\mm
print-page-number = ##f
tocTitleMarkup = \markup {
\vspace #10
\fontsize #6
\column {
The markings that have been discussed relate either to "dynamic" (e.g.
"mf" or "dim.), or to tempo (e.g. "Allegro", rit.").
They also indicate either a state ("mf", "Allegro") or a continuous
change ("dim.", "rit."). Both "mf" and "Allegro" could apply to a whole
piece lasting, say, half an
Thanks to all for the various suggestions on this topic.
In particular, Kieren's suggestion is interesting. I must confess that,
having been reading and playing music for a mere 63 years, I had to look
up what the word "custos" means! As you can deduce, I've never really
been "into" early
I have finally got to the stage of tidying up the score I have been
working on.
The top-level .ly file is structured like this:
\book {
\paper { *variables* }
\bookpart { *titlepage* }
\bookpart {
\header { *variables* }
\score {
{ *first-movement-music* }
\header {
Table of Contents, but for the preceding paragraphs of text on the
> same page, you could use
>
> \override-lines #'(line-width . 100) { . . . }
>
> to affect those particular margins.
>
> Hwaen Ch'uqi
>
>
> On 11/21/15, David Sumbler <da...@aeolia.co.uk> wrote:
&g
On Tue, 2015-11-24 at 14:47 +0100, David Kastrup wrote:
> David Sumbler <da...@aeolia.co.uk> writes:
>
> > I have experimented with elements from the all the suggestions made -
> > thanks to all. One thing that has been confirmed is that my
> > understanding
).
I have tried putting an old version number at the top of the snippet
(e.g. "version" 2.16.1) and running convert.ly, but no significant
changes are made to the file.
How can I get this snippet to work?
David
On Sat, 2015-11-21 at 11:56 +, David Sumbler wrote:
> I have not u
Thanks for the answer to my query. I now see that this is mentioned in
section 4.1.5 of the NR. The mistake I was making was in trying to put
indent within a \paper block inside a \layout block.
Best wishes
David
On Thu, 2015-11-19 at 15:31 +, Trevor Daniels wrote:
> David, you wrote
Although many scores use a similar italic font for "rit.", "accel." etc.
as they do for dynamic changes such as "cresc.", I prefer to use an
upright bold font - the same as for other tempo markings such as
"Allegro".
The easiest way for me to do this (at least until now) is to use '\tempo
"rit."'
I have not used a Table of Contents before, and I am having some
difficulty in getting the result I want. I have 2 problems.
1) I would like to have a dotted line between the title and the page
number in each line. But if I use
tocItemMarkup = \tocItemWithDotsMarkup
then there does not seem
Is there a quick way to write repeated notes?
I know that I can write
\repeat unfold 8 { bf8 }
instead of
bf8 bf bf bf bf bf bf bf
But is there a simpler way? Perhaps something along the lines of
bf8*8
(which, as it stands, doesn't work, of course).
David
On Tue, 2016-06-14 at 19:01 +0200, David Kastrup wrote:
> David Sumbler <da...@aeolia.co.uk> writes:
>
> >
> > Is there a quick way to write repeated notes?
> >
> > I know that I can write
> >
> > \repeat unfold 8 { bf8 }
> &
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