It looks like great trick; could you add it to LSR so that it's easier
for other people to find?
Thanks,
- Graham
On 5-Apr-06, at 2:55 PM, Bart Kummel wrote:
Thanks a lot! This simply works. And it's flexible too, since I can
manipulate the %d-%m-%Y string!
Bart Kummel
On 4/5/06, Toine
On 7-Apr-06, at 8:15 PM, bernie arai wrote:
btw, thanks for letting me know that the DVI viewer won't show the
noteheads, but the pdf should. that would be really helpful in the
user's guide. i kept looking at the dvi and assumed the problem must
be somewhere before that in the chain, but i
I'm trying to get a cross-staff slur within a
PianoStaff. I didn't find any easy ways of doing this
in the manual (I'm still using 2.6.5) and so have
tried to fudge it by putting all the notes I need
slurred in one voice and then putting the \change
Staff command within the Voice context.
My
In 2.7.10 I used:
[this is the opening measure of The 79th's Farewell to Gibraltar;
there are bunches of stuff before this invoking default.ly which has
bagpipe.ly in it, and providing header information.]
{
% this is a bagpipe music default
\hideKeySignature
% set time
\time 2/4
% set
Hi list, I am trying to generate a music-function to make
^\markup { \musicglyph #timesig.C44 \vcenter 1 }
for me any time, and the function should receive a string to be placed
where 1 is writed. Is this possible ? if it is how can I do it ? or
where can I find documentation about it ?
Thanks in
Ok I can make some sense of that but Heads up to Graham
in section 6.7.2 the 3rd example has exactly what I'm
trying to do and there is no mention of needing a
\partial at the end of the first set of repeats.
Jay
Carrick Patterson wrote:
You have to do a \partial on the last measure of the
Hello,
in the following piece of code, the slurs should look approximately the
same - but they don't.
%Begin code
\version 2.8.1
\relative c
{
\clef bass
\key c \major
\time 4/4
c8( d' a d c, d' a d)
c,( des' as des c, des' as des)
}
%End code
How to fix this? I'm absolute beginner in
On Friday 07 April 2006 16:39, Mats Bengtsson wrote:
You will probably need some other MIDI tool to postprocess the output
of LilyPond.
Why not mention midge, a text-based GNU midi editor? Adjusting
velocities (volume) and such is very quick and easy. daveA
--
Free download of technical
[ Lilypond 2.8 ; Mac OS X ]
Hello, all!
What's the easiest way to engrave a compound time signature (CTS)
like 2+3 / 4 and split the measure (i.e., with a dotted barline)?
Unfortunately, the example CTS hack outputs 2/4 + 3/4 (not what I
want), and if I have to hack the measure split
Title: Re: problem with \partial repeated in second ending Requires change to manual
If you look at it carefully, the same thing is happening in your example and the example in the manual: The partial measure at the end of the first ending is continued and completed in the first measure of the
Guy Durrieu [EMAIL PROTECTED] writes:
With 2.8, I experience new problems :
- I cannot produce the man pages. help2man complains
help2man: can't get `--help' info from convert-ly.py
If you're using a version of python older than 2.4(?), you need to
download subprocess.py and place it in
To get a |: printed at the start of the piece, use an
explicit \bar |:.
To get time signatures before bar lines instead of after,
you can do
\override Score.BreakAlignment #'break-align-orders =
#(make-vector 3
'(left-edge
ambitus
breathing-sign
clef
time-signature
Look at that! That actually did the trick. Great! Though, I still
think it is better not to do this, but leave it at the defautl of no
initial repeat sign in this case.
--
Sven Axelsson
On 08/04/06, Mats Bengtsson [EMAIL PROTECTED] wrote:
To get a |: printed at the start of the piece, use an
Paul Scott [EMAIL PROTECTED] writes:
2.8.0
Should I expect before-title-space to work between the end a system
and a header consistently only of piece?
I'm not sure to understand the question, but here is an answer :)
It seems that the rule for spacing systems/lines is the following (at
I don't think that helps, since PianoStaff sets a fixed
spacing between its staves.
I would recommend the following solution, which in a
way is easier than what I initially proposed, namely to
use a PianoStaff only for the manual staves and enclose
all three staves in a GrandStaff. The only
I don't think that helps, since PianoStaff sets a fixed
spacing between its staves.
I would recommend the following solution, which in a
way is easier than what I initially proposed, namely to
use a PianoStaff only for the manual staves and enclose
all three staves in a GrandStaff. The only
Carrick Patterson [EMAIL PROTECTED] writes:
I have read and re-read this part of the manual for weeks, and experimented
around and I cannot get it to work unless it also contains a music
expression. All the examples have the padding variable or whatever it is
defined using
Allan Spagnol Comar [EMAIL PROTECTED] writes:
Hi list, I am trying to generate a music-function to make
^\markup { \musicglyph #timesig.C44 \vcenter 1 }
for me any time, and the function should receive a string to be placed
where 1 is writed. Is this possible ? if it is how can I do it ? or
Kieren Richard MacMillan wrote:
[ Lilypond 2.8 ; Mac OS X ]
Hello, all!
What's the easiest way to engrave a compound time signature (CTS)
like 2+3 / 4 and split the measure (i.e., with a dotted barline)?
Unfortunately, the example CTS hack outputs 2/4 + 3/4 (not what I
want),
Well,
Well, then you have to figure out how to typeset the
time signature you want, using text markup.
Is this really ideal? Wouldn't it be better for Lilypond to be able to
typeset these kinds of time signatures? They're not as uncommon as you
might think.
There are several styles:
6+5 / 8
6/8 +
Nicolas Sceaux wrote:
Paul Scott [EMAIL PROTECTED] writes:
2.8.0
Should I expect before-title-space to work between the end a system
and a header consistently only of piece?
I'm not sure to understand the question, but here is an answer :)
It seems that the rule for spacing
Hi, Mats:
The bar numbering shouldn't be any problem, since if you
insert a \bar :, it won't affect the bar numbering.
Good to know -- thanks!
Kieren.
___
lilypond-user mailing list
lilypond-user@gnu.org
Hello,
I stumbled on another weird thing with 2.8.1 on Windows. After
processing following code, I get two extra beats:
%Begin code
\version 2.8.1
\relative c''' {
\clef treble
\key g \major
\time 3/4
R1 R1
r4 r g
}
%End code
Am I doing something wrong?
Tomas Valusek
On 8-Apr-06, at 1:52 PM, Tomas Valusek wrote:
\time 3/4
R1 R1
r4 r g
}
%End code
Am I doing something wrong?
You want to use
R2.
R1 produces 4 beats, just like r1. R2. produces 3 beats.
I'll clarify this in the docs.
Cheers,
- Graham
___
On 8-Apr-06, at 7:30 AM, Tomas Valusek wrote:
%Begin code
\version 2.8.1
\relative c
{
\clef bass
\key c \major
\time 4/4
c8( d' a d c, d' a d)
c,( des' as des c, des' as des)
}
%End code
How to fix this? I'm absolute beginner in LilyPond and this is a small
snippet of my first
Hi lilypond list, I was wondering if it is possible to set
fingerOrientation to one voice, I had re written Bach Bourreé and I am
having some trouble to set finger orientation, I got fingers on every
compass and set position one by one is real hard, considering that I
want the full melody to get
Tomas - seems like 2.8 is much pickier than in the past
and so if you have a time signature of 3/4 all the
'whole measure' rests have to be dotted half rests
instead of whole (note) type rests.
Jay
Tomas Valusek wrote:
Hello,
I stumbled on another weird thing with 2.8.1 on Windows. After
On 8-Apr-06, at 4:41 PM, Jay Hamilton, Sound and Silence wrote:
Tomas - seems like 2.8 is much pickier than in the past and so if you
have a time signature of 3/4 all the 'whole measure' rests have to be
dotted half rests instead of whole (note) type rests.
This is incorrect information.
On Sat, Apr 08, 2006 at 07:56:28PM +0200, Mats Bengtsson scripsit:
To get a |: printed at the start of the piece, use an
explicit \bar |:.
I've been using
\set Timing.whichBar = |:
to (so far as I understand it) over-ride the default Timing value of 'no
bar' for the initial bar, which looks
[ Lilypond 2.8 ; Mac OS X ]
Hello, Lily-dippers!
Just wondering how I can remove empty staves of the first system of
a score when the first measure is a \partial.
Because I can't use R to fill the partial bar (Lilypond makes me use
r explicitly, or complains about ), the measure is not
Many pipe tunes have an initial partial bar and a final partial bar in
the measure, which should between them total an entire bar.
Is there an existing way to barcheck this by telling lilypond that the
first partial and the final partial should be considered together?
I'm not aware of one,
On 8-Apr-06, at 12:38 PM, Dave K. wrote:
Well, then you have to figure out how to typeset the
time signature you want, using text markup.
Is this really ideal? Wouldn't it be better for Lilypond to be able to
typeset these kinds of time signatures? They're not as uncommon as you
might think.
On 8-Apr-06, at 6:56 PM, Kieren Richard MacMillan wrote:
Just wondering how I can remove empty staves of the first system of
a score when the first measure is a \partial.
Because I can't use R to fill the partial bar (Lilypond makes me use r
explicitly, or complains about ), the measure is
Hello,
and thanks for your help.
You want to use
R2.
R1 produces 4 beats, just like r1. R2. produces 3 beats.
I'll clarify this in the docs.
But the point of whole-bar rest is that composer/copyist doesn't need to
care about time signature when using them - at least, that's what I
On 6-Apr-06, at 9:48 AM, Rick Hansen (aka RickH) wrote:
Is there a document or appendix that simply lists all reserved words
that
could possibly occur in an .ly document and their definition, and what
type of constant or funtion or macro, etc. the reserved word is,
also if
it's been
On 8-Apr-06, at 8:13 PM, Tomas Valusek wrote:
You want to use
R2.
R1 produces 4 beats, just like r1. R2. produces 3 beats.
I'll clarify this in the docs.
But the point of whole-bar rest is that composer/copyist doesn't need
to care about time signature when using them - at least, that's
On 8-Apr-06, at 7:26 AM, Jay Hamilton, Sound and Silence wrote:
Ok I can make some sense of that but Heads up to Graham in section
6.7.2 the 3rd example has exactly what I'm trying to do and there is
no mention of needing a \partial at the end of the first set of
repeats.
Huh?
If you are
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