Mats Bengtsson wrote:
try to nail down which conversion rule
The rule for 2.1.27 (re tuning) prints this.
Cheers,
Robin
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Kees van den Doel wrote.
on 2.12.2 it does *not* work. The output is attached. Bug?
It seems to me that LSR 258 is demonstrating only whiteout.
It is not demonstrating how to deal with the concomitant
horizontal layout problems, because it cheats here:
- uses ragged-right = ##f (with only
Joseph Haigwrote:
I get the text under the fermata. How can I force it above?
Use
\once \override Script #'script-priority = #-100
as mentioned in Controlling the vertical ordering of scripts in NR 1.3.1.
Cheers,
Robin
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Tim McNamara wrote:
Rather than writing a separate ending, I'd like to just parenthesize
the last three chords over the final two bars so they would render:
F(Ab7Dbmaj7C7)
ChordName outputs via text-interface, so the easiest way should be
\once \override
Robin Bannister wrote:
As addBrackets it wrapped only a single chord, but you could
derive a left_only and a right_only version easily enough.
I wanted to see if I could make such a pair deliver something close
to what the OP illustrated, and managed this using \put-adjacent.
This itself
Hu Haipeng wrote:
I don't know whether this gives two stems
No, it doesn't.
It is just a chord, and a chord (in one voice) has only one stem.
In this case the still active \stemUp makes its stem go in a
different direction to the following \stemDown notes and so the
accompanying
Stefan Thomas wrote:
I can't reduce the distance between the TimeSig and
the first Staff of the Score. How can I do it?
Um, - don't override max-stretch?
Cheers,
Robin
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Chip wrote:
it just resulted in messed up measures
A judicious use of time distortion may help you here.
\transpose c c'{
\hideNotes g,32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
\hideNotes c''32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
a1*3/4\fermata \hideNotes d'4\glissando
Benjamin Smedberg wrote:
the tr mark is still there.
Yes, you can't easily tell how near you are to getting it right.
Try
\override TrillSpanner #'(bound-details left text) = ##f
Cheers,
Robin
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Kees Serier wrote:
I want to have the percent sign for a duplicate chord
in the next measure (in \chordmode).
I don't know how particular you are. Would this be good enough?
percentCN = \once \override ChordNames.ChordName #'stencil =
#(lambda (grob)
Kees Serier wrote:
but it is the normal percent sign with open zeros,
where the repeat sign has filled zeros
Yes, well, those repeat signs are site-mixed as it were,
and I have no idea how to persuade the contractor to do
an unscheduled job in unfamiliar surroundings.
But I did find
Kees Serier wrote:
I get Guile errors
GUILE signaled an error for expression started here:
markup #
:bold #:fontsize 1 #:char #x066A
Well, it works at my end. Something is corrupted.
My best theory is that your version now ends
#'stencil = markup #:bold #:fontsize 1 #:char
Nick Payne wrote:
What I want is the fingering just to the left of the notes
and the arpeggio just to the left of the fingering.
I'm pretty sure you ought to change the order in which
these things are hung onto the side of the notes.
But I'm afraid I can't help you with that.
As regards
Neil Puttock wrote:
it's possible to duplicate its code in Scheme:
Or its appearance in markup ;-)
simile = \markup {
\combine \translate #'(0.3 . 1.5) \draw-circle #0.2 #0 ##t
\combine \translate #'(1.7 . 0.5) \draw-circle #0.2 #0 ##t
\rotate #90 \translate#'(0 . 2) \beam #2 #-1 #0.5
Roel Spruit wrote::
somehow the order in the output is reversed
That's queer.
With me (2.12) they both read R L from top to bottom.
However, with 2.10 they both read L R from top to bottom.
Are you using an intermediate version? ;-)
Is this suitable as a workaround?
LR = \markup
Kees Serier wrote:
Looks good, but how to use it, I'm only a beginning Lilypond user :-(
I have a vague feeling you may not have received
my reply diagnosing your arabic percent problem:
Kees Serier wrote:
I get Guile errors
GUILE signaled an error for expression started here:
markup
Ossie Wilson wrote:
I have attached the Ly file
After a cursory look, I would say this file is
badly mangled as regards key signatures.
In part one at bar 29 it helps to say
\key dfinstead of\key cs
because the subseqent notes are e.g. df, gf, ...
Also part one should declare
Wei-Wei Guo wrote:
I still have no idea how to input some music symbols, such as a short
piece of pure staff, timesignature, keysignature, and so on.
Search the snippet repository for engravers.
In particular, try out the (complete) snippet in
http://lsr.dsi.unimi.it/LSR/Item?id=280
Marek Klein wrote:
I tried it using the commented line, but it didn't work
You can make the cantus more approachable.
Adjust the -2 to taste.
\include gregorian.ly
\score {
\new VaticanaVoice = cantus {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 4)
\[
Nick Payne wrote:
Is this possible without faking the chord by creating two voices?
Sometimes I like to show in my piano fingering that
one finger of a chord should temporarily act as a pivot
while the other fingers are moving to the the next chord.
Maybe there is a recognised symbol for
Kieren MacMillan wrote:
This function should be good at least as far back as v2.10.
\draw-line was introduced after 2.10.
Cheers,
Robin
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Nick Payne wrote:
the laissezVibrer tie specified in the bass voice also appears
on the two simultaneous notes in the treble voice.
This is because of the names you gave your voices.
They happen to be the same as those automatically chosen by
the { } \\ { } construct.
So at this point
Nick Payne wrote:
Is this possible without faking the chord by creating two voices?
Is this more what you are looking for?
It is not all that easy to use:
- you have to work out the position, e.g. -9, by yourself
- and it won't move when you transpose.
See IR 3.2.84.
Miklos Vajna wrote:
First, currently the output has Bm for my chord,
but actually I would like to have it as 'Bm \super omit3/A'.
Like this? (verbatim)
replaceCN = #(define-music-function (parser location new) (markup?)
#{\once \override ChordNames.ChordName #'stencil =
#(lambda
Jonathan Townes wrote:
the use of fingerings would be much faster and require less typing
This nice aspect of fingerings is due to the parser knowing what a
fingering looks like. But this is defined as being a single digit,
so you only have ten things you can ask for (corresponding to 0 ..
Mark Austin wrote:
I'm putting the finishing touches on a book of English folk tunes,
but have a few problems.
I suppose it's rather crude, but I like using \null for things like this.
So, for the footer:
\markup { Engraved ... }
becomes
\markup \fill-line { \null
Boris Lau wrote:
I thought it would be quite natural if this would do the job:
\override Staff.BarLine #'break-visibility = #'#(#t #t #t)
but it doesn't.
Certainly a reasonable expectation.
This is normally #'#(#t #t #f), but there are cases when Lilypond
switches over to #'#(#t #t #t)
Nick Payne wrote:
If I have one note each bar that requires a direction change, then
it's actually simpler to use the \once command,as \stemUp requires
the corresponding \stemDown or \stemNeutral after the note.
I found it quite a disappoinment to discover that apparently
similar things
Does anyone have an idea why the fourth system is put on the second page
I'm out of my depth here, but if your title is done
the normal Lilypond way, with bookTitleMarkup,
it counts as a system too.
So might the pagebreaker be putting 4 systems on all pages?
And have you tried
Mark Austin wrote:
Is it possible to enclose a note in brackets?
Use \parenthesize
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Inside-the-staff#Parentheses
Cheers,
Robin
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Lewis Overton wrote:
I'm curious about what others are doing to print a scoop
I have an occasional need for this when transposing saxophone parts,
and then I use brackettips as you do/did [1].
I first did such bends in a clumsy beginners way and had to put the
brackettips in a dedicated
Chip wrote:
but no matter what numbers I put in the positions parameters the slur
does not move.
The \once makes this override act only on the c'2 and the c'2 has no slur.
The override acts on the slur if it comes after the c'2,
but it moves the slur vertically; not what you wanted.
Kalirren wrote:
Does anyone know of some other workaround?
It's rather crude, but the following override makes your slur horizontal:
\relative c' {
\once \override Slur #'positions = #'(-3 . -3)
\slurDown e8 ( r16 r8.)
}
Cheers,
Robin
Kalirren wrote:
In general, is it possible to create a laissez-vibrer tie that
lasts a certain length of time, or until a certain note?
Probably not, because IR 3.2.85 [1] says it is
A tie which is only on one side connected to a note head.
You could however make it _look_ longer, but then
For starters,
have a look at these snippets in the LSR:
http://lsr.dsi.unimi.it/LSR/Search?q=coda+segno
Cheers,
Robin
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Have a look at LSR 402:
http://lsr.dsi.unimi.it/LSR/Item?id=402
(The \mark command makes a RehearsalMark.)
Cheers,
Robin
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Karenee Herman wrote:
Somehow, the bass line ends up offset from the treble
The second bar of lower should beR2. (for a 3/4 bar).
So it's not really the triplets giving trouble.
please forgive me if this seems simple!
Forgiven.
Cheers,
Robin
Jesús Guillermo Andrade wrote:
How can I put it below the chord symbol?
These marks, i.e. RehearsalMark, are normally put above everything else.
This is done by having the corresponding engraver in the Score context.
You can move the engraver down to where your melody is by doing
\layout {
Adam Good wrote:
I vaguely remember an example
That would be the 'easy play' noteheads mentioned in NR 1.1.4.
But you probably want something more like this:
cabbage = { c a b b a g e }
\score {
\new NoteNames \cabbage
\new Staff { \clef bass \cabbage }
}
Cheers,
Robin
Werner wrote:
% innerhalb des score-Blockes („neben“ dem layout-Block)
% Ausgabe einer Mididatei (zum Anhören/Abspielen)
This bit of comment describes how to get Midi and PDF coming out the same.
When you want them coming out differently, you use _two_ score blocks:
- one score block has
Mark Polesky wrote:
Does anyone have a suggestion?
Some time back I chose this missing bracket as a theme for a Scheme exercise.
Nothing revolutionary, just to get some practice in Scheme.
It has the limitations arising from misusing Arpeggio.
I found it needed a lot of different tweaks
Marc Hohl wrote:
This worked fine with ties, but when I try the same with slurs,
it simply shows no difference.
(display right-bound) says
- Tie: #Grob TabNoteHead
- Slur: #Grob NoteColumn
Cheers,
Robin
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David Bobroff wrote:
for some reason the rs of GFirst is coming out italicized as is.
This is because the voltas use the music font
and it has special letters for doing dynamics like sfz and rfz.
The way described in NR.1.4.1. at Text can be included ...
would in your case define markup
A phrasing slur goes all the way.
(Don't ask me why!)
Cheers,
Robin
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Look for swing in the LSR.
http://lsr.dsi.unimi.it/LSR/Search?q=swing
Cheers,
Robin
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Tim Walters wrote:
Is there any way to [...] leave the same amount of white space
as would be used if lyrics/chords were present?
This amount can vary.
The vertical space allotted depends on what is being typeset;
e.g. Cm needs less height than Cm7
Based on a discussion last September
lelangir wrote:
Running a search for roman numeral on the one big page
If you don't find things in the documentation,
try searching this mailing list and the snippet repository too.
Have a look at this (the example from Matthew Durell):
Maybe it used to read -\tweak #'extra-offset #'(6.2 . -5.6)
Cheers,
Robin
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Christian Henning wrote:
I'm struggling with sus4 chords.
...
unexpected STRINGsus4
This is notemode complaining.
It is the default input mode:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Input-modes
sus4 is meant only for chord mode.
But note mode is digesting your
Denis Roegel wrote:
I am trying to center a markup under a bracket
This was discussed recently here:
http://lists.gnu.org/archive/html/lilypond-user/2009-03/msg00426.html
But, instead of OUHM, you could perhaps do it like the Expressive marks
snippet Center text below hairpin dynamics (cf
Trevor Daniels wrote:
like this:
And staffName wants symbol? notstring?
Cheers,
Robin
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And staffName wants symbol? notstring?
Sorry; forget that.
The parameter given to \ossia should be #main not #'main
Cheers,
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David Stocker wrote:
Any hints on forcing the arpeggio line to the right
to make the placement more natural would be appreciated.
For the first case, fiddle with the padding.
Negative works too, e.g.
\override Staff.Arpeggio #'padding = #-0.4
For situations where this doesn't work, see
James E. Baileywrote:
for example ə?
Here is a rather inconvenient way:
\markup { X:\postscript # -1 1 scale (_e) show }
\markup { Y:\postscript # 1 -1 scale (_e) show }
Cheers,
Robin
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Patrick Schmidt wrote:
is there a way to achieve repeated ties of selected notes of a chord ... ?
This is rather like Nick Payne's LaisserVibrer question in
http://lists.gnu.org/archive/html/lilypond-user/2009-04/msg00313.html
because both are what Lilypond calls semi-ties.
Maybe you
Jonathan Wilkes wrote:
I tried fooling around with tieWaitForNote
You didn't show your code, so it's not easy to guess what you tried.
I have no cross-staff experience, but it looks to me like
the cross-staff run is a lot better supported than
the cross-staff chord (where you have to
Jonathan Wilkes wrote:
I see a cross-staff property for grobs
But this doesn't mean that every sort of grob has it, or uses it.
The file define-grob-properties.scm lists about a dozen grobs which do:
Beam, Stem, Slur, TupletBracket, among others, but not TieColumn.
So your TieColumn
Have a look at
filled: http://lists.gnu.org/archive/html/lilypond-user/2008-10/msg00516.html
hollow: http://lists.gnu.org/archive/html/lilypond-user/2009-05/msg00593.html
Cheers,
Robin
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Torsten Anders wrote:
However, I failed to do the same for chord tones.
Something like this?
%%
tweakAccidental =
#(define-music-function (parser location mkup mus) (markup? ly:music?)
(set! (ly:music-property mus 'tweaks)
(acons 'before-line-breaking
Torsten Anders wrote:
Lilypond does not know about multiple-sign accidentals, so I
somehow have to create more horizontal space for these manually.
The following code tries to adjust this spacing automatically.
But I haven't tested it with your font.
Torsten Anders wrote:
Now, there is only a minor flaw now: the distance between a note and
the related accidentals is rather big. In fact, accidentals are more
close to the preceding note than the note they belong to.
I'm way out of my depth here,
but it looks like markup is appending
Torsten Anders wrote:
I really owe you something :)
Well, it's Mark Polesky we both owe.
Without him, all small-time Schemers like me would still be
believing the very plausible explanation in (the 2.12) NR 5.3.4
of why \tweak cannot be used to modify accidentals.
Cheers,
Robin
Trevor Daniels wrote:
it seems like you're suggesting NR 5.3.4 is not correct.
I was talking about the 2.12 NR.
I understood its unqualified cannot to be the well-meaning advice:
- don't waste your time trying.
So I didn't.
But Mark questioned this in July,
and you updated the
Patrick Schmidt wrote:
How can I center the text vertically
Texts added as in NR 1.8.1 are kept above (or below) the staff.
You will find it difficult to persuade Lilypond to move these inside.
[And as regards c' c' c' c' c' c' c' see \textLengthOn]
[And afterstencil = ##fsay
Jeroen Heijmans wrote:
But I'm not content with the results.
It fills the page better if you don't zero between-system-space.
Cheers,
Robin
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Patrick Schmidt wrote:
is it possible to align the coda signs underneath D.S. al?
Well, this makes the markup narrower
and then you start to see that we had no horizontal centering.
Using a breathing sign instead of a note head makes it easy to
anchor the markup in the middle of the
Jonathan Wilkes wrote:
I've tried zigzag-width, thickness [...] but with no results.
These work if you use the zigzag style (which is not built from glyphs).
\override TrillSpanner #'style = #'zigzag
Cheers,
Robin
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Andrew Giddings wrote:
I've searched the manual, the mailing list archive,
and the web, but I couldn't see anything directly relevant.
Did you see these?
http://lists.gnu.org/archive/html/lilypond-user/2007-07/msg00127.html
http://lsr.dsi.unimi.it/LSR/Search?q=semichoirstaff
Tim McNamara wrote:
The first coda glyph should be at the end of bar 28
See LSR 432.Before the \break, add
\once \override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
LilyPond won't put the coda glyph at the beginning of bar 31.
At
MarcHohl wrote:
Is there a different approach I can use?
If the three-part \fill-line is so dominant,
I suppose you have to cope using ordinary lines.
But \concat and \with-dimensions might make this easier to twiddle:
maintain total \hspace by hand.
matrix = \markup {
fiëé visuëlle wrote:
Would you move the eights in the second measure to the right
or combine the different note heads or what else?
Would you change the stem direction?
I think your specific readability criteria should determine whether
you combine noteheads or change the stem direction
Stefan Thomas wrote:
I don't understand why the distance between the barline and the cis
is better if it is a whole note but not, if it is a quarter note.
Well, the whole note has more room because it isn't sharing the measure
with any other notes.
But the barline
Stefan Thomas wrote:
cis cis cis cis | % the sharp sign is too much left!
gis' gis gis gis | % the note and the sharp sign are too much right!
Well, erm, how far do we want to get into fine-tuning?
OK, it looks like you only want one glyph at a time.
Marc Hohl asked:
why lilypond still (at least sometimes) displays stems
You probably haven't enabled no-stem-extend
Cheers,
Robin
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Kieren MacMillan wrote:
in the second bar, using the same override does nothing to
increase the spacing between the arpeggio and the preceding note.
Hmmm... that's probably because of the multiple-voices... but seems
like maybe a bug?
It is as if Lilypond thinks the span
Nick Payne wrote:
I have no idea why a different override is required just for that one
Oh dear!. More queer things going on.
The picture may give you an idea why (to a certain extent).
I have the impression you missed my suggestion in the last thread.
Nick Payne wrote:
How can I increase the length of the arpeggio bracket on seconds and
thirds, which at their default lengths are ridiculously short.
You can lengthen an arpeggio using the workaround given in
http://code.google.com/p/lilypond/issues/detail?id=794q=arrow
which
fiëé visuëlle wrote:
and since fermata is a TextScript element, I thought this would work
It is a Script element and doesn't use #'text.
You would have to do something like fermataLong
in the code for the initial example (the headword) in NR 2.2
fiëé visuëlle wrote:
The parentheses are a bit too small in comparison to the fermata
You can apply an override for this. See
http://lsr.dsi.unimi.it/LSR/Item?id=421
Cheers,
Robin
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fiëé visuëlle wrote:
I need the alternate voice only in some places.
This may be implying that you don't want to set the main voice as
\voiceOne, but rather keep it as (the implicit) \oneVoice.
If this rest collision behaviour is the only thing that is bothering you,
try the following
Valerio Pelliccioni wrote:
highlighted with a line with square ends lying above the bar
and the word Bis in the middle of the line.
You could use an analysis bracket (see NR 1.7.2) with added text.
Combine
Graham Percival wrote:
in addition to the webpage, the documentation has been slightly reorganized
As regards inurl searching, I assume
- the Kainhofer demo doesn't show me what the urls will be like;
specifically
- the breadcrumb .../Documentation/... will not be right at the top
Frédéric Bron wrote:
Any idea?
Well, there is LSR 428.
http://lsr.dsi.unimi.it/LSR/Item?id=428
From this you would expect
\set Score.voltaSpannerDuration = #(ly:make-moment 7 8)
to work, but it doesn't.
It seems the bracket is hung between barlines
(something this snippet doesn't
And this is my attempt (see droeyende.ly).
For the alignment I used 2 force-hshift overrides (in voices 3 and 4).
You can certainly use arpeggioBracket here, but it is so inconvenient:
- put the Span_arpeggio_engraver in the right place
- turn on
It looks fine here too, with 2.12.1.
But I noticed my editor was garbling some IPA.
It is set to use DejaVu Sans Mono.
If I change your lyrics font override to DejaVu Sans Mono,
then Lilpond garbles my output too.
Cheers,
Robin
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Kim Shrier wrote:
there is something I need
#'outside-staff-priority ##f
Cheers,
Robin
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Kim Shrier wrote:
I am trying to place a right comma just to the right and a little above a note.
This alternative may do the spacing better:
c4 \once \override BreathingSign #'Y-offset = #0 \breathe
Cheers,
Robin
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bradford powell wrote:
This doesn't work, any suggestions?
#(define* (draw hole #:optional (bends 0))
(markup (make-line-markup (make-list bends #:flat )) #:circle hole))
The make-list result is not itself a markup;
for that, it must be passed to something like #:line.
And then
ze patavinas wrote:
I don't understand why it does not print the stem and the notehead
It as if it doesn't like the notehead style being undefined. Just add
#:override '(style . 'default)
Cheers,
Robin
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David Sumbler wrote:
I thought that using the slashSeparator between items
would make things clearer, but I only want it
after each complete item, not after every line.
It sounds as though each of your exercises is a \score block.
You can put (stand-alone) markup between these blocks;
Václav Šmilauer wrote:
other than using \markup{...} in lyrics context for every single chord
If your needs are met by (a possibly modifed) ChordNames most of the time,
you can use replaceCN to deal with the impossible cases.
Jiri Zurek wrote:
What is wrong with my syntax, please?
ly:bar-line::calc-bar-size needs a parameter.
If you get used to writing things like
\override Staff.BarLine #'bar-size = #ly:bar-line::calc-bar-size
you think that is all you ever need to say.
But the functions for grob
MonAmiPierrot wrote:
I also would like to be given the possibility to put the blank space
between different examples from the same musical context
For big gaps you can use \stopStaff and \startStaff and put
suitable spacer rests in between.
For small gaps you could try misusing the
MonAmiPierrot wrote:
But for \stopStaff and \startStaff it won't work at the beginning
with a s invisible pause.
It seems OK to me (with 2.12.1) but maybe you want it effective even earlier.
For that (and the \partial question) you could try using
| \grace s1
to get the music
Hu Haipeng wrote:
This unterminated tie may sound odd,
and will therefore give warning to the user
Maybe, but in my case it was masked by another voice.
What brought it to my attention was the subsequent note not sounding.
See my original report (before it got garbled in 676).
Aaron Dalton wrote:
I want to be able to hide the accidental.
There is Mark Polesky's suppress-accidental
http://lists.gnu.org/archive/html/lilypond-devel/2009-07/msg00384.html
but that is probably overkill in your case.
You can do it by switching the style in a music function
Stefan Kaegi wrote:
It actually should be under the f (in the left hand) and not before.
Then you shouldn't say \sustainOn until the cadenza has been and gone,
i.e. s1\sustainOn is all you need - because the s1 starts when the f starts.
See the bracket example in NR 2.2.2 -
Jay Anderson wrote:
I've attached a picture of the particular chord I was working on
(for viola, alto clef, in 3/4). In this case
I want to keep it explicitly notated and all in the same voice.
I suppose that this is notionally c g e'2.
Something which sounds like that but looks like
c4*3 g e'2.
Mmm, that was where you started.
Sorry for the noise.
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David Nalesnik wrote:
I want [...] a dashed barline between the staves, while
retaining a solid barline within the individual lines.
Add the following to your \layout{\context{\Score block:
\override SpanBar #'glyph-name = #dashed
Cheers,
Robin
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