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Yhank you for your answers !
The new scheme you proposed is OK.
But I tried to tune interval between pedal stave et piano staves with :
* \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)*
with no result. It changes extent between the groups of three
A differently phrased answer to the same question:
All commands, like \time, \override, \new, \score, ... are (?) listed
in the index of the manual. In addition, you have all different
properties, both so-called
context properties and layout object properties. These can be found via
Program
But it doesn't work of you include the same music both in an
instrumental part where the rests have to be written out and in a full
score, since then the r4 will be printed as a full
measure rest. One possibility in such a case is to use \tag
to distinguish between the two versions.
/Mats
Quoting Graydon [EMAIL PROTECTED]:
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
If you do \set fingeringOrientations = ...
then then that setting will apply to all future fingerings in that
voice. However, even if you don't have chords, you have to enclose
every note in a chord, like a-3, to make it work.
/Mats
Quoting Allan Spagnol Comar [EMAIL PROTECTED]:
Hi lilypond
Did you take a look at the section on Vertical spacing in the manual,
where this property is described? From that description, it should
hopefully be clear that when you do the setting within a staff, it
affects the amount of space to allocate around a specific Staff. Also,
on that page, you will
I think you should do this in a seperate layout block, likt this:\version 2.8.0\new StaffGroup \with{systemStartDelimiter = #'SystemStartBar } \new PianoStaff \new Staff \relative c' {c d e f }
\new Staff \relative c' {\clef bass c b a g } \new Staff \relative c { \clef bass c1 }\layout {
Ideally, LilyPond should support all possible notations that anybody
ever want to use. :-)
Seriously, the Tips and Tricks document contains an example
compound-time.ly, which provides a small function to typeset
time signatures of the form 6/8 + 5/8. If you or anybody else comes up
with a
Then the setting will apply to all Staff contexts of the full score,
which is not always what you want. In this specific case,
it doesn't affect the two upper staves, since the fixed spacing
set in the PianoStaff overrides it (I think).
/Mats
Quoting Bart Kummel [EMAIL PROTECTED]:
I think
Hello,
I've played a little more with my slur problem. Here's the cod snippet:
%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)
c,( c' g c c, c' g c)
c,( bes' f bes c, bes' f bes)
}
%End code
I'd like slurs to
Hello,
the last example in section 6.6.2 of the User Manual shows how tu have
three-voice part with the upper voice slurred. But what if I need the
last half notes appear as a single chord, not as a gathering of three
voices with three stems? It seems to be quite common in music I'm trying
On 4/9/06, Mats Bengtsson [EMAIL PROTECTED] wrote:
Ideally, LilyPond should support all possible notations that anybody
ever want to use. :-)
Seriously, the Tips and Tricks document contains an example
compound-time.ly, which provides a small function to typeset
time signatures of the form
Hello list, hello David,
You wrote:
Have you looked at the Vim ^k command ? (help i_^k)
That lets you enter a lot of things as two-letter combos. (try, for
example, ^ka: when you're in insert mode).
I've had no time the last days for that, but now. :-)
Knowing a lot of vi, I can't
Hi list,
firstly my gratulation to the new version 2.8.1-3 btw. 2.8.1-4.
Installation is quite easy, and installation of the documentation too.
:-)
Now, because I've still a 56k modem, I would know about a possibility,
not always to fetch the whole stuff, if there is a new version after
fixed
Hi list,
in this documentation for 2.8 I found the \afterGrace command.
Just that I was looking for, but for acciaccatura.
But this I couldn'd find.
Or is ist wrong, to take a \afterAcciaccatura?
In a song score, which I'm typing in, there does it exist ...
Can anybody help me, please?
Best
[ Lilypond 2.8 ]
Hello, all --
I'm trying to even out the first three notes in the attached screenshot:
Trying to move the NoteColumn doesn't seem to work. I can
individually move the NoteHead and Stem (using extra-offset), but
it's awkward. Is there a single grob I can tweak? Or is
How can I write a music function to generate a specific chord, transposed to
the named root and played for the named duration?
It would have 3 parameters:
string = the chord root transposition target, values like (e, ef, b,
IV, V, 2, etc) relative to c, these are my own made up codes.
string =
Roland Goretzki wrote:
Hi list,
in this documentation for 2.8 I found the \afterGrace command.
Just that I was looking for, but for acciaccatura.
But this I couldn'd find.
Or is ist wrong, to take a \afterAcciaccatura?
In a song score, which I'm typing in, there does it exist ...
Can anybody
You have to set the corresponding property manually,
\afterGrace d1 {\once \override Stem #'stroke-style = #grace c8 }
/Mats
Quoting Roland Goretzki [EMAIL PROTECTED]:
Hi list,
in this documentation for 2.8 I found the \afterGrace command.
Just that I was looking for, but for
Please always remember - there are two main methods to get a specific
feature added to LilyPond, either implement it yourself or sponsor
Han-Wen to do it.
As far as I can remember, this was the first time over the 10
years that LilyPond has existed, that anybody has requested the 6+5/8
Why not typeset it as a chord in the upper voice, then?
Or do you want slurs both from the lower and upper voices?
/Mats
Quoting Tomas Valusek [EMAIL PROTECTED]:
Hello,
the last example in section 6.6.2 of the User Manual shows how tu
have three-voice part with the upper voice slurred.
Hello,
Mats Bengtsson napsal(a):
Why not typeset it as a chord in the upper voice, then?
Or do you want slurs both from the lower and upper voices?
I want everything to look the same except of the last chord, which
should look like a chord with slur on top and tie from the added voice
on
Hello,
I'm going to clarify my need. I'd like to achive similar result as Lime
can do in this short example given in attachement. I need both slurs and
the chord with a single stem.
Tomas Valusek
___
lilypond-user mailing list
Musically, this means that two separate music voices merge
into a single chord. Obviously, the main hackers behind LilyPond don't
think that this makes sense, musically. Still, you can obtain the
desired layout by drawing either the
slur or the tie to an invisible note in its own voice and
I seem to recall a question like mine coming up recently, but I can't
figure out how to apply the answers here: is there a way do this with
scheme so that this much typing could be avoided?
Josiah
On 4/9/06, Mats Bengtsson [EMAIL PROTECTED] wrote:
You have to set the corresponding property
[ Lilypond 2.8 ]
Hello, all --
Not sure if this is a bug in Lilypond, an expected behaviour, or
just an artifact of ps2ps (and thus my own problem), but...
When I ps2ps a Lilypond pdf, and then open it in Illustrator (for
fine tweaking), I notice that every grob at the beginning of a
Hi, Mats (et al.):
But it doesn't work of you include the same music both in an
instrumental part where the rests have to be written out and in a
full score,
since then the r4 will be printed as a full measure rest.
Bingo.
One possibility in such a case is to use \tag to distinguish
Hi, Mats:
I think it's great that LilyPond is able to typeset it anyway,
using the relatively easy solution I sent earlier today. Don't you
agree?
I know *I* do! =)
Thanks for the tip -- I rolled it in with the docs example, and it
works perfectly.
Best,
Kieren.
On Sunday 09 April 2006 00:16, Graham Percival wrote:
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
On 9-Apr-06, at 4:26 PM, David Raleigh Arnold wrote:
On Sunday 09 April 2006 00:16, Graham Percival wrote:
In all seriousness, having a \wholeBarRest command would involve a
nontrivial amount of extra programming.
Wouldn't
threst = \times 4/3{R2.}
I think you mean
threst = \times 3/4 {R1}
Actually this does raise a question I have wondered about: What is the
difference between R1 and r1 (or R2 and r2 or whatever)? Seems like in 4/4
you'd get a full-bar rest with either R1 or r1. I will say I've not
experimented that much, and I always use R1*x (or whatever) when doing
multiple-bar
On 9-Apr-06, at 5:38 PM, Carrick Patterson wrote:
Actually this does raise a question I have wondered about: What is the
difference between R1 and r1 (or R2 and r2 or whatever)?
r1 produces a four-beat rest that is typeset at the beginning of the
measure; R1 produces whole bar rest in 4/4
You use \time to define the time signature, so maybe you could alter
it so that it re-defines a whole-bar-rest function to use the
appropriate multiplier.
For instance,
\time 3/4
would have the side-effect of defining
wholeBarRest = \times 3/4 {R1}
--Aaron V.
On Apr 9, 2006, at
Hello,
Mats Bengtsson napsal(a):
Musically, this means that two separate music voices merge
into a single chord. Obviously, the main hackers behind LilyPond don't
think that this makes sense, musically.
Well, there are in fact two kinds of polyphony - melodic and harmonic.
Consider this
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