Reinhold Kainhofer wrote:
> All the choral scores that I have seen put the pickup note before the |: and
> use whole measures for the voltas (like in the attached example).
>
> Patrick Horgan wrote:
> > What else are you going to do if there's a pickup note
> > and the 2nd ending goes on? You
David Biddiscombe wrote on the bug list:
> Below is an input file representing small parts of a file for a four-verse
song.
> The rhythm of the fourth verse, which differs from that of the other verses,
is
> shown in the .pdf file by the small notes above the top staff, except that
the
> two
Graham Percival wrote on -dev
Well, the fact is that most users don't seem interested in
helping with the docs, even to the extent of reading them. :|
I had my first contact with Lilypond over two years ago (2.6.5 on win98).
I was extremely confused before I could get it to compile somethi
I've already had a look at the first few pages of the LM
and this time I'm going to start on it properly.
So I'm back at the web page for the docs. [see webdoc.png]
I click on it's "Learning Manual (LM)" link -
the one saying "(start here)" - and then again on
"Tutorial: A tutorial introd
Graham Percival wrote:
If you look at the latest docs using texi2html, this has already
been dealt with:
http://kainhofer.com/~lilypond/texi2html-out/Documentation/index.html
Well, well, thank you very much.
Robin Bannister had written:
Two further points:
- The tree version will benefit
But could someone please tell me, where I can find this file
For (a default installation on) Windows (de), I suggest
C:\Programme\LilyPond\usr\share\lilypond\current\ly\drumpitch-init.ly
Cheers,
Robin
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There are a few places in the NR (version 2008-08-09)
still mentioning
- program reference
- programmer's reference
i.e. terms obsoleted by GDP.
And in NR 5.2.1 it says
This section will be much more difficult to understand
if you are using the PDF manual.
Did / does / will this exist?
Che
Trevor Daniels wrote
You don't say where these are, but I suspect they are
still in sections not yet completed within GDP, ie
sections 3 onward.
NR sections 5.2.1 to 5.7.1
but I can't see a mention of the PDF version.
Well, er - I was using the PDF version (easier for me to search)
It s
Trevor Daniels wrote
I learned you can have digits in context names! --- as long as the
names are in quotation marks.
which I regard as slightly more confirmation of my fragile suspicion that
in (the current GDP) Learning Manual 3.1.1 - In summary
there shouldn't be a backslash in front of
Trevor Daniels wrote
Thanks, Robin
Well, you're welcome. Glad to be of some use.
But also disappointed,
because I thought I had understood something (from reading the manual!),
and now it seems I hadn't.
Statistics for NR (pdf dated 2008-08-09, only slightly stale):
A: 21 hits for "\co
Robin Bannister wrote
A: 21 hits for "\context Staff"
B: 14 hits for "\context { \Staff"
I think I get it now.
It must be that "\context" is overloaded,
does two quite different things.
Upon meeting a "\context" you must categorise it as A or B
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 think.
Because when I'm looking at the snippets,
these names
Graham Percival wrote
I would prefer that early users placed a \tempo 4 = 60
in their score block, which is easier to understand,
works in MIDI, and permits dotted notes to be used
Early users would think in terms of dotted notes and write
\tempo 4. = 60
But no, no. You had to write
Trevor Daniels wrote
? I don't understand.
\tempo 4.=60
works fine in the \score block.
Sorry.
For "early" read "prehistoric", I suppose.
Because [1] worked, I never needed to do anything differently.
And convert-ly.py (2.10.33) now removes \tempo from my files.
[1] http://lists.gnu.org/arch
2.10.33 on Win XP SP3
I started using XP for Lilypond work about half a year ago,
leaving behind 2.8.6. on Win98, where I had had Adobe Reader for
viewing pdf output.
I thought being on XP might offer the chance of finding a viewer
which didn't get in the way of Lilypond generating its pdf.
James E. Bailey wrote
open the pdf in a web [b]rowser ... and then just refresh the page.
Yes, a copy (like viewer.pdf) would then be held in the browser's cache.
I have the pdf add-on disabled because it obstructs my browsing habits.
But I tried this out just to see how it felt (using AR8 in
Grammostola Rosea wrote:
there are not ties between the and
To get ties between
and
you must put a squiggle between them,
( like you did between a, and ).
This then looks like:
~
the a is now connected to the e which is wrong
You are using "\(" and "\)" for phrasing slurs.
But you
Grammostola Rosea wrote:
1) You see the last two low a's (a,) doesn't have an tie. I like to
have one between them. I can't connect them with ~ cause there are
other notes between the two a's (e.g. gis and b).
...
Ok, I think I solved problem 1 for 90%
...
a,8~4. a,4 (8 ~ 4) a,
You have c
Grammostola Rosea wrote:
Question 2) still remains
There will be other problems like this in the bars to come,
each needing a special effort to overcome,
usually in an unsatisfactory way.
This is because you are trying to put overlapping durations into a single voice.
Try starting aga
Grammostola Rosea wrote
I think I can use this for bends:
http://lilypond.org/doc/v2.9/Documentation/user/lilypond/Falls-and-doits
This 2.9 page doesn't say very much, does it?
Have a look in the 2.11 docs for a bit more.
(You seem to be using 2.11 anyway.)
Cheers,
Robin
__
Cath Downie wrote:
I'd be grateful if anyone could advise me on what I'm doing wrong.
These other things you tried don't belong in \layout.
Look at the Notation Reference [1]
In 4.2.2. the \layout and \paper blocks are contrasted.
You will find the things you tried in 4.1.2,
where it is ta
jo.clarinet wrote:
do padding of some sort -
either to get just the relevant bar numbers moved up a little
(but NOT the rest of them)
Follow the reference to BarNumber in the Notation Reference [1] index.
This talks mostly about moving sideways (using self-alignment-X).
But you probably wan
T Högvall wrote:
I did attempt to put in the real instruments then,
by including lines like
\set Staff.midiInstrument = #"clarinet"
in the score section
...
What am I missing?
Either A or B.
A:
In the score section you have put your \set command
between one "\new Staff" block and the nex
Michae Phillips wrote:
Is there a reason why entering notes in a score is suddenly stopped?
Well, I had a hunch and followed it up.
Lilypad handles up to 3 bytes and no more. [1]
Maybe you are using Lilypad and your file has become too large for it.
By way of explanation:
When you g
Michael Phillips wrote:
Thanks for your input
You're welcome.
It was pretty much a wild guess; there was so little to go on.
And I've never used Lilypad.
there is very little unimportant content I can remove.
Certainly, no music notes
There is another way to reduce the file size sligh
Stefan Thomas wrote:
why in the below quoted example the tuplet bracket is hidden?
But in the example you supplied, both tuplet brackets are visible [1].
Did you test your example before posting?
However,
the tuplet brackets get shorter as additional measures are added.
If enough measures
One way to keep it longer would be to make the tuplet contents wider,
Another way, illustrated in the LSR [1], is easier to apply:
\once \set tupletFullLength = ##t
[1] http://lsr.dsi.unimi.it/LSR/Item?id=398
Cheers,
Robin
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I like the comprehensive navigation of the new layout [1],
but feel there is still something missing.
__
Say I am reading the mailing list, looking at a thread or message.
I see something which gets me thinking about a probl
Sebastian Menge wrote:
But then the second part starts a new staff. How can I prevent that?
One way would be to have just one part,
which starts all three things together (like your second part)
and then make the lyrics skip the intro bars.
To see how, search (twice) for "Skips in lyric mod
And for your second question:
B.
Wha I can make a different size of staff? Upper bigest
look for "Changing the staff size" in
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Staff-notation
Cheers,
Robin
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Reinhold Kainhofer wrote:
Am Montag, 22. September 2008 schrieb Robin Bannister:
> So I propose
>
> A
> Replace the (passive) text "Table of Contents" in the TOC panel,
> with the document title, e.g. "Learning Manual".
> This nearly always visible (on b
Reinhold Kainhofer wrote:
so basically, you want ... a link to the back to the documentation index
No, I didn't mean that.
That is in your TODO, and not at all urgent for regular users.
Robin Bannister wrote:
This is because I regard B as just another entry in the TOC.
The TOC doe
Patrick McCarty wrote:
Okay, see if this design looks better:
...
What do you think?
Well, I ought to be asleep.
But that hasn't worked out too well yet.
I realised I had messed up my last two posts (png uncompressed)
and got back online to patch things up a bit.
What do you think?
We
Kurt Kroon wrote:
the CSS "quasi-frames" already provide the affordance of a fixed navigation
frame, so it isn't necessary to make their backgrounds "matchy-matchy".
I don't understand which background areas you are referring to.
By "navigation bars" I was referring to the horizontal stripes
Reinhold Kainhofer wrote:
This is always a good argument (similar things should look similar), however,
I think in our case we can afford to use a "nicer" color in the sidebar,
since it is already spacially separated from the contents (by having its own
column on the left).
I would turn this
Me answering Rheinhold:
> The pale yellow/light brown would make the navbars almost invisible on TFT
> screens, so I think the current state is much better.
...
So what/where is the current state?
Sorry, I got mixed up; I thought this meant the navbars would disappear.
But now I think it mea
Patrick McCarty wrote:
I agree with yours and Reinhold's idea to remove underlining and
visited link colors in the TOC pane. Should the same apply to the
main doc pane?
NAV BAR
What I said about TOC scanning doesn't apply here; there is no list.
There are probably two main sorts of usage
Patrick McCarty wrote:
I've created another design with a color palette that passes the
W3C Web Content Accessibility guidelines for color contrast
Yes, yes, yes! Thank you very much.
At last I feel the web designer was more concerned about
making it easy to read rather than easy to look at
It's fine having the language bar down at the bottom of a docs page.
But in the bigpage case
you've probably done a lot of reading before you reach it,
and wish you had seen it earlier.
So I suggest something like bighead.png:
I
Put an additional language bar at the top of bigpages.
Che
Some thoughts on searching.
Valentin Villenave wrote:
the search function should show the results in the main "frame"
on the right, without making the tocframe disappear
The toc pane and the main pane are a coherent unit.
The user refers to the toc to see e.g.
- what part of the document
Carl D. Sorensen wrote:
You could also go to the LilyPond Snippet Repository and search for beam:
If you are feeling lucky you could also google for
beam horizontal inurl:v2-11 site:lilypond.org/doc/
Cheers,
Robin
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Francisco Vila wrote [Re: translated big pages]:
Additionally, would it be possible to internationalize
the "Back To Documentation Index" link?
Some usability comments, please, before this gets translated.
This is currently displayed as
<< Back to Documentation Index
_a___
I suppos
Reinhold Kainhofer wrote:
unless someone can come up with something better than "<<",
which also indicates a navigational element
But *you* did, some time ago! [Top][Contents][Index][ ? ]
All you need is the above. See it at
http://lists.gnu.org/archive/html/lilypond-user/2008-10
Reinhold Kainhofer wrote:
How about "Overview" instead of "Index"?
A better choice!
And I counter with "Documentation Home".
But a second word is overkill.
Cheers,
Robin
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Richard Wattenbarger wrote:
the d-flat tie doesn't render in the upper voice
When you ask for tieWaitForNote like this, it gets turned on for the voice
and doesn't affect any other voices, e.g. a voice for the right hand.
The << {} // {} >> construct needs two voices and sets up its own,
an
Reinhold Kainhofer wrote:
No! After all, you are already reading the documentation, so a link
to "Documentation" simply does not make sense.
I was visiting LM 4.6.1 this morning, reading about tweaking output,
and I wondered afterwards if, while there, I could have argued that
a link to "Tw
Patrick McCarty wrote:
I would greatly appreciate any feedback on the new color choices.
My quoted "Yes please" was to "Blue in Green" which really shouted at you.
This one is a lot more restrained but just as easy to read.
OK, the tocpane is not unified with the navbar in any way,
but I
Hallo. Me again, this time with a navbar suggestion.
The first time I saw the navbar it seemed rather indigestible -
so much text to read.
But I did understand that the square brackets were indicating buttons.
The second time was after visiting help, where I came to see that,
for me at any
Joe Mc Cool wrote:
Surely the repeat should play from
d4 d8 e d c.
What am I doing wrong ?
The \bar commands are only graphical.
They make it look, on paper, as if the repeat would start from d4.
But the repeat actually starts where you have placed the \repeat command.
Put the \repeat com
Trevor Daniels wrote:
This is a known bug - see issue 40.
The workaround given there is:
\once \override Glissando #'gap = #0.5
\once \override Glissando #'extra-offset = #'(-0.5 . 0)
Hope that's good enough for you, as the bug priority is low!
I was going to try and answer this one,
havi
Chip wrote:
How do I get a staff line to break when I am using \credenzaOn?
Insert a \bar command where you want to allow a line break
i.e.\bar ""(or \bar "|")
I don't see any info on this in the manuals
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Line-breaking
end
Dmytro O. Redchuk wrote:
You probably can make slur transparent?
Or precede \grace with
\once \override Stem #'stroke-style = #"grace"
Cheers,
Robin
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Mark Polesky wrote:
... with an identifier:
.. which can be adapted to cope with a group of grace notes:
mygrace = #(define-music-function (parser location music) (ly:music?)
#{ \override Stem #'stroke-style = #"grace" \grace $music
\revert Stem #'stroke-style #})
N.B. - any beam
Grateful Frog wrote:
how to get that out in a midi file that plays properly,
and only the melody not the lyrics and chords?
You can get the midi output to do repeats,
but it won't know about the D.C.
So give it a helping hand by defining
myNotesDC = {
\repeat volta
Stefan Waler wrote:
I'm not able anymore to set a
manual shift for a note. Any workaround...?
I'm not sure what you want. How about this?
\once \override NoteColumn #'horizontal-shift = #-1
Cheers,
Robin
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lilypond-
A similar problem was discussed recently
http://lists.gnu.org/archive/html/lilypond-user/2009-01/msg00530.html
Cheers,
Robin
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Stefan Waler wrote:"
\once \override NoteColumn #'horizontal-shift = #-1
As you can see, this is part of my score - but is has no effect.
Please reconsider.
There are two note-column-interface shifts; this is the other one.
And if this turns out to be more like what you are looking for,
y
Simon Bailey wrote:
so basically that paragraph is telling me to NOT use
the manual repeat barlines and use \repeat volta instead.
The documentation uses a lot of different names for repeats.
When you say "manual repeat barlines" it sounds as though
you may not be distinguishing
- manual ba
Stefan Thomas wrote:
Is there a possibilitie to avoid automatically this collision
The eyeglasses example in NR B.8.3.
uses the \with-dimensions command for this.
\with-dimensions #'(0 . 3.5) #'(0 . 4) for your case?
Cheers,
Robin
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Stefan Thomas wrote:
What does this \with-dimensions-command exactly do?
Is it explained in the manual?
It is mentioned right at the end of NR B.8.6.
I think that by "dimensions" you are meant to understand
the X-extent and Y-extent [1] of the markup that follows.
I suppose that if the mark
Well, \repeatTie doesn't take you very far into the ensuing phrase.
And it doesn't swoop properly.
A fairly easy way in this case is to add a hidden grace note:
{ \hideNotes \grace b16\( \unHideNotes c8 g8 c8 \) | }
And you can use the grace pitch to adjust the starting height.
This is usuall
Ed Ravin wrote:
Would the extra grace notes corrupt the MIDI output?
No.
But you can hear them, and you might think that inappropriate. :)
Try out this:
{ \once \override Rest #'transparent = ##t \grace b4\rest\( c8 g8 c8 \) | }
Cheers,
Robin
Ed Ravin wrote:
I'm guessing the silent rest somehow makes the grace note silent?
I wanted a rest (for silence).
If you say just "r32", lilypond gives you silence OK,
but also does the vertical positioning automatically,
so you can't adjust the slur any more.
\rest lets you do the vertica
Chipwrote:
I want a multi-measure rest with no number on it.
This gets rid of the number:
mmrNoNum = \once \override MultiMeasureRestNumber #'stencil = ##f
as in:
\mmrNoNum R1*16
Cheers,
Robin
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Eluze wrote:
looking at the example(s) (\sourcefileline 765 and following) in _notation
reference_ the finger indications seem to be on the same line and so do the
top fret lines (in the pdf and html version).
when i compile these examples the results look different and unbalanced:
I get diff
Jayaratna wrote:
This does not seem to work:
<<{\stemUp c2^~ c4}\\{\stemDown g4 \stemUp a4_~ a}>>
Well, this looks like (part of) what you want!
Or is it that you then don't see how to cope with the d2.?
The manual mentions connecting ties across voices
( Snippets / Rhythms / Making an obj
Carl D. Sorensen wrote:
Please file a bug report
Already started, now done.
http://lists.gnu.org/archive/html/bug-lilypond/2009-02/msg00014.html ?
Cheers,
Robin
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Zbyněk Burget wrote:
How I can write long text to composer to header?
Try
composer = \markup \right-align "Some long text ... "
If this isn't what you want, have a look at NR 3.2.1 where
the demo splits the composer text onto two lines using \center-column.
Why don't hide TimeSignature?
Zbyněk Burget wrote:
Splitting it onto two lines is unavailing. Therefore i want way to expanding
width of
this line.
The default layout puts poet, instrument and composer all on one line.
This is not compatible with the length of your composer text.
Even if instrument is unused, its (centred)
Nick Payne wrote:
I couldn't find anything in the documentation.
This comment in the rest collision source code might be relevant.
TODO: look at horizontal-shift to determine ordering between rests
for more than two voices.
So maybe you just have to ignore it?
Or do something like this
Thomas Scharkowski wrote:
Since Lilypond 2.11. this does not work anymore
I have a lot of single sheets based on a 2.10 template which ensured
I had enough vertical space for pencilling in fingering.
The vertical spacing rework in 2.11 gave me the same problem.
This is probably to do with t
Chip wrote:
Lily still breaks lines where it wants to.
You are fighting something very powerful and don't know it.
All that blank space on those pages!
It is reasonable to think that saying \pageBreak means that you
are quite happy with whatever blank space is needed to skip the rest
of th
Tim McNamara wrote:
Is there a correct way to do this that I haven't been able to figure out?
No. Not yet.
But see the recent thread at
http://lists.gnu.org/archive/html/lilypond-user/2009-02/msg00028.html
Cheers,
Robin
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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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Gilles Sadowski wrote:
This seems to work for me (see attached files).
But don't you need an \instrumentSwitch command near the end?
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 on
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 ChordNames.Cho
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.
T
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 (automatic
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 \unHid
Andrew Wilson wrote:
Shouldn't this be
r2*3/4 \hideNotes d8\glissando \unHideNotes a'8 fs d b
That works too. (Modifying the rest simplifies the beaming.)
A subsequent proposal moved the rest more into the gap:
s8 r2*1/2 \hideNotes a8\glissando \unHideNotes a'8 fs d b
and I suppose the
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) (grob-interpret-
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 some
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 #x066A))
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 ho
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 \colum
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
Ch
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 tha
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 poi
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 (g
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 .. 9)
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