Re: 1.7.12 - chords & slurs question
Excellent! That's done the trick. Many thanks. A follow up question: Where is this documented? (in other words, what piece of information or web site or mail list have I overlooked?) I have not run across this syntax in the online development user manual documentation. The places I looked in the User manual: slur (http://lilypond.org/development/Documentation/user/out-www/lilypond/Slurs.html#Slurs) do not show chords in examples; chords (http://lilypond.org/development/Documentation/user/out-www/lilypond/Chords.html#Chords) do not show slurs in examples; articulations (http://lilypond.org/development/Documentation/user/out-www/lilypond/Articulations.html#Articulations) do not show either chords or slurs. /Hans Han-Wen Nienhuys wrote: > > all articulations should follow << >> , i.e. > > <>-( <>-) > > -- > Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.cs.uu.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
1.7.12 - chords & slurs question
[EMAIL PROTECTED] writes: > I'm using 1.7.12 (very happily!!!) on Suse 8.0. However, the following > gives a parse error > > <>8 ( ) <> > > which hopefully gives the same result as > > > > Am I writing it wrong in the new chords mode? all articulations should follow << >> , i.e. <>-( <>-) -- Han-Wen Nienhuys | [EMAIL PROTECTED] | http://www.cs.uu.nl/~hanwen ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: How to organize the source?
On Saturday 22 February 2003 02:32 pm, Hans Forbrich wrote: > Graham Percival wrote: > > Your approach looks reasonable. I personally have one \global > > voice, which has all spaces, \breaks, \key, \time, and \mark, but > > there's nothing wrong with spreading that across two voices. If you use sly, you can put that in the rightmost part, which can easily be first in the .ly score. Since everything simultaneous is on the same line, a separate part is just a little extra typing with almost no visible result. For orchestra, you might use a dummy part to keep the different scores aligned. That way you don't need to mark comments. DaveA -- "Melody is the gift of God." --Quincy Jones "No, it isn't." dra@ or http://www.openguitar.com ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: PDF Manual fonts?
Oops, I'm viewing the pdf version on Windows2000 (sp3) using acrobat 4.0. I downloaded the ".ps" version and can view that fine in GSView. Cheers. Jonathan. On Sat, 22 Feb 2003 08:55:46 +1100, you wrote: >Hi there, > >I downloaded the PDF version of the lilypond manual, but when I view >it, it looks like I'm missing the music font; I get the staves but the >note heads and other symbols just look like random characters. > >Any ideas? >Jonathan. > > > >___ >Lilypond-user mailing list >[EMAIL PROTECTED] >http://mail.gnu.org/mailman/listinfo/lilypond-user ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Do have I found a bug ?
On Sat, 22 Feb 2003 15:21:15 +0100
Alexandre Beneteau <[EMAIL PROTECTED]> wrote:
> Has anybody an idea ? Is it my mistake ??? (See png file joined for
> result)
First, I'd try spacing out the source more. I also like to have very
compact source (many bars on one line), but if there's a problem I space
it out. For example, I'd change this:
<\repeat unfold 4 { a'2.-\trill } \\ d,4--_#'(italic "divisi.")
~ d8 r r4 \repeat unfold 3 { d4-- ~ d8 r r4 } >
to this:
<
\repeat unfold 4 { a'2.\trill} \\
d,4-- ~ d8 r r4
\repeat unfold 3 {d4-- ~ d8 r r4}
>
Then I'd try a few things, such as adding {}s. I'd stick everything in
front of the \\ in a {}, and everything behind it in another {}.
> /home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/
> test.ly:9:71: warning: Adding note head to incompatible stem (type =
> 4): < \repeat unfold 4 { a'2.-\trill } \\ d,4--_#'(italic
> "divisi.") ~
> d8 r r4 \repeat unfold 3 { d4-- ~ d8 r r4 } >
This is the kind of error message that you get when you try -- it
looks like your voicifications ( the < blah \\ foo > stuff) aren't working
properly. It'll be a lot easier to see what's happening if you extend each
bar over several lines. Once you've "debugged" this part, then you can
stick the back together in your compact format.
Cheers.
- Graham
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1.7.12 - chords & slurs question
I'm using 1.7.12 (very happily!!!) on Suse 8.0. However, the following gives a parse error <>8 ( ) <> which hopefully gives the same result as Am I writing it wrong in the new chords mode? Thx /Hans ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: Possible bug
On Saturday 22 February 2003 21.50, Beldon Dominello wrote: > I have a piece of music which is in 12/8 time. For the sake of clarity, > the phrase I am trying to score consists of an eigth note f' tied to a > quarter note f' followed by an eigth note g' tied to a dotted quarter g'. > This whole phrase, I'd like to enclose in a phrasing slur. Have you tried this? f'8( ~ f'4 g'8 ~ )g'4. Erik ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Possible bug
I have a piece of music which is in 12/8 time. For the sake of clarity, the phrase I am trying to score consists of an eigth note f' tied to a quarter note f' followed by an eigth note g' tied to a dotted quarter g'. This whole phrase, I'd like to enclose in a phrasing slur. I have tried every permutation of ties, slurs, phrasing slurs, notes, and anythinbg else I can think of and Lilypond refuses to parse it. What I have done in the interim is slur the quarter noe f' to the eigth note g', which at least keeps the score clear and get's the phrasing right with the text. Can anyone help me with this issue, or is there in fact a bug that I've managed to find? I am using Lilypond 1.6.7 compiled from source on SuSE 8.1. Thanks! -Beldon -- A disciple of another sect once came to Drescher as he was eating his morning meal. "I would like to give you this personality test", said the outsider, "because I want you to be happy." Drescher took the paper that was offered him and put it into the toaster -- "I wish the toaster to be happy too". ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
double time signature
Hello all I don't figure out how to typeset something like: 6/4-3/2 DEBUSSY in his "LA CATHEDRALE ENGLOUTIE" wrote that. of course I know \time 6/4 \time 3/2 but not the above. Please, can you point it to me? Thanks in advance. raoul [EMAIL PROTECTED] ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: How to organize the source?
Thanks to all who responded - and special thanks for reminding me of Mutopia. The idea of a \global had not even occured to me - I'm effectively duplicating that the hard way. (Hence the reason for the question!) /Hans Graham Percival wrote: > Not as far as I know. If you're curious about what other people do, you > could look at mutopia -- they have many lilypond files, ranging from > instrumental solo to SATB choir to full orchestra. > > Your approach looks reasonable. I personally have one \global voice, which > has all spaces, \breaks, \key, \time, and \mark, but there's nothing wrong > with spreading that across two voices. > > For most of my files, I have one file with just the music (for example, > tetra.ly) and then a number of individual instruments -- violin1.ly, > violin2.ly, viola.ly, cello.ly, and sc-tetra.ly. "sc" stands for score. > I made a simple script that does "ly2dvi sc-*.ly" (along with xdvi with > my favourite settings), which I can use for any project. When I'm working > on tetra, it complies sc-tetra.ly; when I'm working on my overture, it > complies sc-orch.ly; etc. > (when I'm writing for orchestra, I split the one music file into sections -- > winds.ly, brass.ly, etc) > > Cheers, > - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: caesura
Graham Percival wrote: On Sat, 22 Feb 2003 01:05:41 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: Mats Bengtsson wrote: 2. This symbol needs to be in the staff. It usually cuts the top two lines of the staff. I don't know enough about placing markup or other marks anywhere I want them. This has caused me difficulty for locating other text needed on basic musical parts. Any more hints? Even though I am not complaining since this is a volunteer project I am surprised that no one has needed this common (to me at least) musical notation. I wanted to use this when I was first beginning in Lilypond, but I pretty much only knew about the stuff in the tutorial. I tried using ^#"//", but in the end I gave up and wrote it in by hand. Now I use breath marks and fermatas in an attempt to mimic it -- not perfect, but it's ok. Ok. Maybe we can work something better out here. If I wanted to use it now, I'd try using a bold, smaller-font "//" and use #'extra-offset to lower it until it covers those lines in the staff. I may learn something basic about markup here. Can you give me an example about how to move a specific markup with #'extra-offset? I have tried raise without success before. Also if I can use "//" maybe I can use the actual symbol as defined in my previous post in this thread. Consult the "fine tuning a piece" portion of the tutorial for more details on this. I've been there many times and have learned a lot but not how to do the above. Thanks, Paul ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
line break at breathe mark (was: Re: no flags replace broken beam)
Mats Bengtsson wrote:
> Thomas Willhalm in gnu.lilypond.bugs wrote:
>>
>> melodie = \notes \relative c'' {
>> \partial 2 r8 g g e | g4 g e8()c4. | r8 g' g a g \breathe \bar "empty"
>> \break
>> g g e | f4 f d8()b4. | r8 g' g a g \breathe \bar "empty" \break
>> g g e | g4 g e8()c4. | r8 g' g a g \breathe \bar "empty" \break
>> g g e | g g g g f d4. | c4 r
>> \bar "|."
>> }
>> \score {
>> \context Staff \melodie
>> \paper { }
>> }
>
> I dare say that your example is fairly non-standard.
I have seen it several times that lines are broken at breathe mark.
In particular, the copy of the attached song was set in this way.
(See
http://www.inf.uni-konstanz.de/~willhalm/misc/WennDasBrotDasWirTeilen.pdf
if you don't want to run lilypond yourself.)
I'm seeking for your advice, whether I should set it in the same way.
In my opinion, it's convenient for singing, but if others are irritated
and find it disturbing, I will change it.
Thanks for your advice
Thomas\version "1.6.7"
\paper{ papersize = "a4" }
\include "paper26.ly"
\include "german-chords-init.ly"
Begleitung = \chords {
\property Staff.midiInstrument = "acoustic guitar (nylon)"
\skip 4
d2 b:min e:min a fis:min e:7 a4 e a
}
BegleitungEnde = \chords {
\property Staff.midiInstrument = "acoustic guitar (nylon)"
a4:7 b2:min fis:min e:min a d b:min g:6 a b:min fis:min e:min a b:min e:min
f a:7 d4 b:min g:6 a d2.
\bar "|."
}
Melodie = \notes \transpose d \relative c'' {
\property Staff.midiInstrument = "flute"
\property Staff.transposing = #+12
\time 4/4 \key c \major \partial 4
e8^"Strophe" f | g4 g8 e c4 d8 e | f4 e d \breathe\bar "empty"\break
e8 f | g4 g8 g a4 b8 c | b4 a g \breathe\bar "empty"\break
}
MelodieEnde = \notes \transpose d \relative c''' {
a8^"Refrain" b | c4 c8 c b4 g8 g | a4 a g \breathe\bar "empty"\break
c,8 d | e4 e8 e e4 d8 c | d2. \breathe\bar "empty"\break
a'8 b | c4 c8 c b4 g8 g | a4 a g\breathe\bar "empty"\break
c,8 d | e4 [e8 e] [f8 e] f4 | g2.\breathe\bar "empty"
c,8 d | e4 [e8 e] [f8 e] d4 | c2.
}
textstrophea = \lyrics {
\property LyricsVoice . stanza = "1."
Wenn das Brot, das wir tei -- len, als Ro -- se blüht
und das Wort, das wir spre -- chen, als Lied er -- klingt,
}
textstropheb= \lyrics {
\property LyricsVoice . stanza = "2."
Wenn das Leid je -- des Ar -- men uns Chris -- tus zeigt
und die Not, die wir lin -- dern, zur Freu -- de wird,
}
textstrophec= \lyrics {
\property LyricsVoice . stanza = "3."
Wenn die Hand, die wir hal -- ten, uns sel -- ber hält
und das Kleid, das wir schen -- ken, auch uns be -- deckt,
}
textstrophed= \lyrics {
\property LyricsVoice . stanza = "4."
Wenn der Trost, den wir ge -- ben, uns wei -- ter trägt
und der Schmerz, den wir tei -- len, zur Hoff -- nung wird,
}
textstrophee= \lyrics {
\property LyricsVoice . stanza = "5."
Wenn das Leid, das wir tra -- gen, den Weg uns weist,
und der Tod, den wir ster -- ben, vom Le -- ben singt,
}
textrefrain = \lyrics {
dann hat Gott un -- ter uns schon sein Haus ge -- baut,
dann wohnt er schon in un -- se -- rer Welt.
Ja, dann schau -- en wir heut' schon sein An -- ge -- sicht
in der Lie -- be, die al -- les um -- fängt,
in der Lie -- be, die al -- les um -- fängt.
}
\score {
\notes {
\simultaneous {
\context ChordNames \Begleitung
\addlyrics
\context Staff \Melodie
\context Lyrics <
\context LyricsVoice = "strophe-1" { \textstrophea }
\context LyricsVoice = "strophe-2" { \textstropheb }
\context LyricsVoice = "strophe-3" { \textstrophec }
\context LyricsVoice = "strophe-4" { \textstrophed }
\context LyricsVoice = "strophe-5" { \textstrophee }
>
}
\simultaneous {
\context ChordNames \BegleitungEnde
\addlyrics
\context Staff \MelodieEnde
\context Lyrics \textrefrain
}
}
\paper { linewidth = 6.375 \in indent = 0.0
\translator {\ChordNamesContext chordChanges = ##t }
\translator{ \ScoreContext
StanzaNumber \override #'break-align-symbol = #'begin-of-note }
}
}
\score {
\notes {
\simultaneous {
\context Staff = "begleitung" { \Begleitung \BegleitungEnde }
\context Staff = "melodie" { \Melodie\MelodieEnde }
}
}
\midi { \tempo 4 = 130 }
}
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Do have I found a bug ?
Hello,
Compiling this ly file with lilypond 1.7.12 give me strange results (and
errors messages)
Has anybody an idea ? Is it my mistake ??? (See png file joined for result)
Thanks,
Alex.
\header {tagline = ""}
\score {
\notes \relative c {
\time 3/4
\clef "bass"
% one after the other : no problem
\repeat unfold 4 { a2.-\trill } d,4--_#'(italic "divisi.") ~ d8 r
r4 \repeat unfold 3 { d4-- ~ d8 r r4 }
% the two at the same time, using < \\ > syntax (with repeat unfold
statements)
< \repeat unfold 4 { a'2.-\trill } \\ d,4--_#'(italic "divisi.") ~
d8 r r4 \repeat unfold 3 { d4-- ~ d8 r r4 } >
% the two at the same time (< \\ > syntax), typing all the notes
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 |
d4--_#'(italic "divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 >
}
}
Analyzing test.tex...
Running latex...
Running dvips...
DVI output to `test.dvi'...
PS output to `test.ps'...
bash-2.05a$ ly2dvi -P test.ly 2>&1 > log
ly2dvi (GNU LilyPond) 1.7.12
Running lilypond...GNU LilyPond 1.7.12
Now processing: `test.ly'
Parsing...
Interpreting music...[8]
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:9:71:
warning: Adding note head to incompatible stem (type = 4):
< \repeat unfold 4 { a'2.-\trill } \\ d,4--_#'(italic "divisi.") ~
d8 r r4 \repeat unfold 3 { d4-- ~ d8 r r4 } >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:9:74:
warning: Adding note head to incompatible stem (type = 4):
< \repeat unfold 4 { a'2.-\trill } \\ d,4--_#'(italic "divisi.") ~ d8
r r4 \repeat unfold 3 { d4-- ~ d8 r r4 } >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:82:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~
d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 |
d4--_#'(italic "divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:85:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8
r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 |
d4--_#'(italic "divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:120:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~
d8 r r4 |
d4--_#'(italic "divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:123:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8
r r4 |
d4--_#'(italic "divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:158:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 |
d4--_#'(italic "divisi.") ~
d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:161:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 |
d4--_#'(italic "divisi.") ~ d8
r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:196:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 |
d4--_#'(italic "divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~
d8 r r4 >
/home/alex/documents/partitions/CNSM/Orchestration/Laboratoires/2003/test.ly:11:199:
warning: Adding note head to incompatible stem (type = 4):
< a'2.-\trill a2.-\trill a2.-\trill a2.-\trill \\ d,4--_#'(italic
"divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8 r r4 |
d4--_#'(italic "divisi.") ~ d8 r r4 | d4--_#'(italic "divisi.") ~ d8
r r4 >
[14]
Preprocessing graphical objects...
Calculating line breaks... [3][6][9][12][14]
paper output to `test.tex'...
<>__
Re: How to organize the source?
On Thu, 20 Feb 2003 09:13:25 -0700 Hans Forbrich <[EMAIL PROTECTED]> wrote: > Is there a compendium or discussion of successful styles or methods of > using Lilypond available? This would be beyond the extremely useful Not as far as I know. If you're curious about what other people do, you could look at mutopia -- they have many lilypond files, ranging from instrumental solo to SATB choir to full orchestra. Your approach looks reasonable. I personally have one \global voice, which has all spaces, \breaks, \key, \time, and \mark, but there's nothing wrong with spreading that across two voices. For most of my files, I have one file with just the music (for example, tetra.ly) and then a number of individual instruments -- violin1.ly, violin2.ly, viola.ly, cello.ly, and sc-tetra.ly. "sc" stands for score. I made a simple script that does "ly2dvi sc-*.ly" (along with xdvi with my favourite settings), which I can use for any project. When I'm working on tetra, it complies sc-tetra.ly; when I'm working on my overture, it complies sc-orch.ly; etc. (when I'm writing for orchestra, I split the one music file into sections -- winds.ly, brass.ly, etc) Cheers, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: How to make hairpins not on notes
On Fri, 21 Feb 2003 12:27:22 -0500
Daniel Ashton <[EMAIL PROTECTED]> wrote:
> I need to set cresc/decresc hairpins to begin and end in the middle of a
> measure.
>
>| d2.( )c4 |
>
> I want the vocalist to crescendo to beat 3, then decrescendo to the end
> of the bar.
>
> Using skips, I think I would write it like this:
>
>| s4\< \!s4 s4\> \!s4 |
>
> (I think)
>
> Anyway, the cresc hairpin should begin on beat one, the decrescendo
> hairpin should appear to end on beat 4, and the two should nearly meet
> somewhere in the center of the measure. No? How?
OK... doesn't your skips example work? I'm not certain what your question is...
does this:
| <{d2.( )c4} {s4\< \!s4 s4\> \!s4}>|
work? If not, I'd try making the skips something like "s4. s8 s4. s8" instead.
HTH,
- Graham
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Re: caesura
On Sat, 22 Feb 2003 01:05:41 -0700 Paul Scott <[EMAIL PROTECTED]> wrote: > Mats Bengtsson wrote: > 2. This symbol needs to be in the staff. It usually cuts the top two > lines of the staff. I don't know enough about placing markup or other > marks anywhere I want them. This has caused me difficulty for locating > other text needed on basic musical parts. > > Any more hints? > > Even though I am not complaining since this is a volunteer project I > am surprised that no one has needed this common (to me at least) > musical notation. I wanted to use this when I was first beginning in Lilypond, but I pretty much only knew about the stuff in the tutorial. I tried using ^#"//", but in the end I gave up and wrote it in by hand. Now I use breath marks and fermatas in an attempt to mimic it -- not perfect, but it's ok. If I wanted to use it now, I'd try using a bold, smaller-font "//" and use #'extra-offset to lower it until it covers those lines in the staff. Consult the "fine tuning a piece" portion of the tutorial for more details on this. HTH, - Graham ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
Re: caesura
Mats Bengtsson wrote: If you search for "Breathing sign" at http://lilypond.org/stable/input/regression/out-www/regression.html you will find an example file showing how to change the symbol used. At the end of the users manual, you can find a list of all the symbols in the music font (look in the PS or PDF versions on-line. Unfortunately, there's a bug in the files for the stable version, so click first on lilypond.org/development). I'm not sure if you can find any appropriate symbol there at the moment. It's also possible to use other LaTeX fonts by setting some more properties of the BreathingSign graphical object. 1. I know how to replace a symbol in markup text or the breathing sign as in the regression example with another named character like 'scripts-coda'. I don't know how to use a symbol from another font. 2. This symbol needs to be in the staff. It usually cuts the top two lines of the staff. I don't know enough about placing markup or other marks anywhere I want them. This has caused me difficulty for locating other text needed on basic musical parts. Any more hints? Even though I am not complaining since this is a volunteer project I am surprised that no one has needed this common (to me at least) musical notation. Thanks, Paul Paul Scott wrote: Mats Bengtsson wrote: Do you mean something like http://lilypond.org/stable/Documentation/user/out-www/lilypond/Breath-marks.html All I see there is a breath mark. A caesura is two parallel diagonal lines (similar to repeat slashes but placed higher) indicating a short noticeable pause in the music. It is sometimes called a cutoff or "railroad tracks." A breath mark only indicates a break in the sound not necesarily in the time. It is ID113 in unicode visible here: http://www.unicode.org/charts/PDF/U1D100.pdf (the glossary should probably be extended to include "ceasura" as well). Only if it tells how to get the correct symbol. ___ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
