On Thursday 17 February 2005 18.44, Laura Conrad wrote:
I've always found the autobeaming baffling. Can someone tell me the
magic for telling lily (2.0) that in 6/8 time beams start and end only in
the middle of the measure?
I have tried some things that look like they should work, like
I'm sure this question has been answered already. I did try searching
the mail archives, but perhaps my search criteria were not clever
enough.
How does one include feta glyphs in text? Specifically, I want to be
able to indicate an instrument name: Trumpet in Bb. I want to have a
real flat
Hi,
I try to engrave a contemporary piece with LilyPond. This piece has a key
with a c-sharp, f-sharp and a b-sharp in this order. I've tried to
manipulate the key with the following command:
\set Staff.localKeySignature = #'((3 . 2) (3 . 3))
However, there is no result. Has anyone have
ES == Erik Sandberg [EMAIL PROTECTED] writes:
ES abc2ly seems to use a weird method of dividing the music into
ES bars. Remove the \set Score.defaultBarType = empty, and
ES insert a \partial 8 in the beginning of the piece, and it will
ES work fine.
I had actually figured out
David Bobroff wrote:
I'm sure this question has been answered already. I did try searching
the mail archives, but perhaps my search criteria were not clever
enough.
How does one include feta glyphs in text? Specifically, I want to be
able to indicate an instrument name: Trumpet in Bb. I want to
On Friday 18 February 2005 21.47, Han-Wen Nienhuys wrote:
[EMAIL PROTECTED] writes:
OK. How is this different from
\lyricmode { \markup { C \majSymbol \super { 7 9 } }
except for the \lyricmode and \markup ?
(For starters, wouldn't you have to specify another font, since
Hello Han-Wen, all--
Han-Wen, if you do decide to consider my previously mentioned
feature request (if it seems like a worthy feature and feasible
to you in terms of coding complexity, and worthy of your time
when I'm sure there are many things that vie for your attention),
I guess I ought to
[EMAIL PROTECTED] writes:
Han-Wen, all--
Han-Wen, there is a feature for LilyPond that I would be happy to
pay for you to develop, whatever amount you think would be
appropriate.
It is a feature that persons who score for piano would benefit
from and appreciate, so on behalf of myself
[EMAIL PROTECTED] writes:
The Documentation Tips Tricks (and similar) fail to produce graphic
output. Only missing graphic icons (box with question mark) are
shown after each item. Clicking on the box produces the code for the
item.
It's the same for me here (OS X 10.3.8) using
On 20 Feb 2005, at 15:07, Han-Wen Nienhuys wrote:
[...]
I understand what you need, and I'll look into it. I only know this
notation from grace notes writing out an arpeggiated chord. Do you
know whether it is also used without grace notes (ie. with the 16th
notes being normal rhythmic notes?)
On Sunday 20 February 2005 15.11, Laura Conrad wrote:
ES == Erik Sandberg [EMAIL PROTECTED] writes:
ES abc2ly seems to use a weird method of dividing the music into
ES bars. Remove the \set Score.defaultBarType = empty, and
ES insert a \partial 8 in the beginning of the piece,
On Sun, 2005-02-20 at 14:12, Steve D wrote:
David Bobroff wrote:
I'm sure this question has been answered already. I did try searching
the mail archives, but perhaps my search criteria were not clever
enough.
How does one include feta glyphs in text? Specifically, I want to be
able
To show the tempo in a piece I have added the \tempo command in a
ChoirStaff like this:
\context ChoirStaff
\context Staff = women
\key ges \major \clef violin
\set Staff.midiInstrument=choir aahs
\context Voice= sop
{
\tempo 4=72
David Bobroff wrote:
On Sun, 2005-02-20 at 14:12, Steve D wrote:
David Bobroff wrote:
I'm sure this question has been answered already. I did try searching
the mail archives, but perhaps my search criteria were not clever
enough.
How does one include feta glyphs in text? Specifically, I
Hi!
I've just finished a shorter version about how to install lily on mac
os x
I have also some screenshots, but they are too big to send them on the
mailing list.
Let me know if is good.
I'm finishing the longer version, for newbies.
Libero
--- HOW TO INSTALL LILYPOND ON MAC OS X ---
---
[EMAIL PROTECTED] writes:
Using this hypothetical construct:
\extendTies { c16~ e~ g~ } c e g bes4
It would be nice if the block that contains the notes the ties of
which should be extended, were to be able to arbitrarily contain
any of the following in addition to regular notes as
Han-Wen Nienhuys wrote:
[EMAIL PROTECTED] writes:
Using this hypothetical construct:
\extendTies { c16~ e~ g~ } c e g bes4
It would be nice if the block that contains the notes the ties of
which should be extended, were to be able to arbitrarily contain
any of the following in addition to
Hello,
When using Lilypond version 2.4.3, I've noticed that when there is an
upbow and a staccato mark above a note, Lilypond places the staccato
mark above the upbow mark. In addition, if there is also a slur
starting on that note, Lilypond places it above both the staccato and
the upbow mark.
Could someone show me how to modify the following
code so that chord names would appear above the upper staff?
Tanks.
\version 2.4.0
upper = \relative c' { \clef treble \key c
\major \time 4/4
c1 ~
c4. c8~c d4 e8
e4. d8 d2 ~
d4 r4 a'2
}
lower = \relative c { \clef
FYI, I find the midi output of chords useful, for the purpose of proof
listening. Though the midi output isn't very pleasant to listen to, it's
certainly good enough to decide whether the typeset chords fit fairly well
with the rest of the music.
Erik
I'd have to take issue with that,
There is one kind of syntactic sugar that I have been missing:
Imagine that you're typesetting a piece with chords, and that Ignatzek (or
some other chord naming scheme) fits fairly well with what you want. Say 95%
of the chords are typeset the way you want them, and you're dissatisfied with
Quoting [EMAIL PROTECTED]:
FYI, I find the midi output of chords useful, for the purpose of proof
listening. Though the midi output isn't very pleasant to listen to, it's
certainly good enough to decide whether the typeset chords fit fairly
well
with the rest of the music.
Erik
[EMAIL PROTECTED] writes:
In current CVS, we have
\set tieWaitForNote = ##t
\grace { c16[~ e~ g]~ } c, e g4
By toggling tieWaitForNote where necessary, you can get any of the
things you need.
If there is sufficient interest, I will do a backport to 2.4, once
this code
Hello!
Got this problem when doing renaisance music editions and making an
incipit in mensural notation. I some times have to get an f- clef on
third (middle) line. With modern clefs this is easy: you use the
varibariton command or a f3 command But when using historical
clefs mensural or
On 20-Feb-05, at 7:47 AM, Michiel Lange wrote:
To show the tempo in a piece I have added the \tempo command in a
ChoirStaff like this:
Collisions are not checked; this is a known bug. You can increase the
space between the
staff and the metronome marking with this:
\override Score.MetronomeMark
On 2/20/05 4:01 PM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote:
FYI, I find the midi output of chords useful, for the purpose of proof
listening. Though the midi output isn't very pleasant to listen to, it's
certainly good enough to decide whether the typeset chords fit fairly well
with the
I can see that one chord symbol could be interpreted in a variety of
different voicings/inversions/etc. But it is still written with one
indication/symbol.
With conventions that differ widely; hence lilypond enforcing one
system I see as inelegant.
The reason that Lilypond does what it
By now, it is clear to everybody that you consider chord symbols to be
graphical objects and nothing more. Since Lilypond allows that - with
perhaps some tweaking here and there, and perhaps some minor syntactic
sugar to make the process more comfortable - I guess you must be happy.
Then,
On Feb 20, 2005, at 9:05 PM, [EMAIL PROTECTED] wrote:
By now, it is clear to everybody that you consider chord symbols to be
graphical objects and nothing more. Since Lilypond allows that - with
perhaps some tweaking here and there, and perhaps some minor syntactic
sugar to make the process more
On Feb 20, 2005, at 1:12 PM, Libero Mureddu wrote:
Hi!
I've just finished a shorter version about how to install lily on mac
os x
I have also some screenshots, but they are too big to send them on the
mailing list.
Let me know if is good.
I'm finishing the longer version, for newbies.
Your
as == anders stenberg [EMAIL PROTECTED] writes:
as Hello!
as Got this problem when doing renaisance music editions and making an
as incipit in mensural notation. I some times have to get an f- clef on
as third (middle) line. With modern clefs this is easy: you use the
as
Well, I said I wasn't any great shakes at lilypond :-
I can invoke abc2ly and the result is a file I can see has been changed
to what I believe is lilypond syntax. Clearly however this file needs
proper header information and other things to allow lilypond to process
it. If I try to process
how can we have naturals on every note which have no accidentals?
The accidental schemes, as shown in the manual, seem not having a provision
for this type of notation, which is common practice for contemporary atonal
music publishing
Best regards,
Mehmet Okonsar, pianist-composer
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