Conclusion: there is a difference between version 2.11 and 2.10!
/Mats
Fred Leason wrote:
Dmytro:
On Mac OS X I ran your files exactly as published below. Everything
worked fine, even with paper block at the bottom. You can see from the
five eps and pdf files created, lilypond delivered all
As far as I can see from the implementation, this is hard-coded for the
moment.
However, since the whole implementation of fret diagrams is done in Scheme,
you don't have to recompile LilyPond to change it, it should suffice to
include
a modified version of the Scheme code into your .ly file.
My general suggestion is to read sections 4.1 Suggestions for writing
LilyPond files
(including subsections) and 4.5 Troubleshooting (taking it all apart)
in the manual.
There's definitely no need to start from scratch.
From your description, my guess is that you have made a typo that
causes
Hi,
I'd like to use Lilypond's TeX backend, but it keeps telling me that
it can't find the ecrm6 font, even though it lies in
/usr/share/texmf/fonts/tfm/public/ec-fonts-mftraced/ecrm6.tfm
I've figured out that i probably have to set some environment variable
properly, but i can't figure out
See http://lists.gnu.org/archive/html/lilypond-user/2007-02/msg00268.html
and other related discussions on the mailing list archives.
/Mats
Matthias Berndt wrote:
Hi,
I'd like to use Lilypond's TeX backend, but it keeps telling me that
it can't find the ecrm6 font, even though it lies in
Arvid Grøtting wrote:
Hi,
in the category for Coding better typography automation, my choir is willing
to sponsor (within reason) the coding of automatic rest merging within a staff.
Background:
In staffs with multiple voices, common typesetting practice is to merge
simultaneous rests of
2007/3/21, Mats Bengtsson [EMAIL PROTECTED]:
I hope you have tried the workaround described in
http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00020.html
While certainly usable, this workaround requires that I know which
voices I want to go to which staff, at least in the
José Luis Cruz joseluisjazz at gmail.com writes:
Hello,
I've searched in manual and in the list archive, but i've been able to
find a way for substituting the 'x' symbol that denotes a muted string
in a fret-diagram.
I want to be able to use another symbol, like a blank space, or
You probably know about Mutopia's page on copyright. Their rule of
thumb is:
1. The composer, lyricist, arranger and editor all must have
been dead for more than seventy years.
2. The work must have been published prior to 1923.
http://www.mutopiaproject.org/contribute.html
In Canada, it's 50 years after the death of the relevant people.
In many (all?) jurisdictions, a published music manuscript - the
layout, fonts, etc. - is considered artwork, and hence falls under
copyright law, regardless of whether or not the music itself is
in the public domain.
My
I have a little definition (here called chant) which, together with my
standard \layout
block let's me write unmetred music ad infinitum without having to
(explicitly) add
invisible barlines whenever I want the line to break. This
potentially really useful, since otherwise I have to
I was recently typesetting a Gershwin song with a very short (2-note) ottava
bracket, which needed the octavation text 8va bassa ad lib. This text is too
long for the bracket, so I considered reducing text size and using column
markup; but the Staff.octavation property takes text, not markup, and
i'm looking forward to seeing this feature implemented ^^
Yota
On 3/21/07, Arvid Grøtting [EMAIL PROTECTED] wrote:
2007/3/21, Mats Bengtsson [EMAIL PROTECTED]:
I hope you have tried the workaround described in
http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00020.html
While
Monk Panteleimon wrote:
I have a little definition (here called chant) which, together
with my standard \layout
block let's me write unmetred music ad infinitum without having to
(explicitly) add
invisible barlines whenever I want the line to break. This
potentially really useful, since
Mike Blackstock wrote:
In Canada, it's 50 years after the death of the relevant people.
In many (all?) jurisdictions, a published music manuscript - the
layout, fonts, etc. - is considered artwork, and hence falls under
copyright law, regardless of whether or not the music itself is
in the
2007/3/21, Arvid Grøtting [EMAIL PROTECTED]:
Hi,
in the category for Coding better typography automation, my choir is willing
to sponsor (within reason) the coding of automatic rest merging within a staff.
The code that controls this is in rest-collision.cc , and it shouldn't
be hard to
Hello all,
I am typesetting a horn part from a piano concerto, and I'm having
difficulty with the Cadenza rests in the piece. What I would like
is a rest in the staff—it can be a 4-beat rest, like r1, a full-
measure rest, like R1, or a long multi-measure rest, with the
horizontal bar; I
You should definitely use R1^\markup{...}
One method to get the horizontal size the way you want it
is to manually specify the width, such as
\override MultiMeasureRest #'minimum-length = #10
I couldn't find any method to let LilyPond figure out the width
automatically.
/Mats
Benjamin
Please always tell what LilyPond version you use to
be sure to get a relevant answer.
If you use version 2.11.14 or earlier, you can do
\override TextSpanner #'edge-height = #'(0 . 1.2)
if you have a more recent 2.11 version, the solution is
a bit more complicate. The easiest way to figure out is
What I do in similar situations is something like this:
pb = \break
and then insert a \pb at every spot in the music where I'm willing to
tolerate a break. Needless to say, that results in a really messy
input file, but it does get the job done.
Geoff
Thanks, entered as
http://code.google.com/p/lilypond/issues/detail?id=339
Cheers,
- Graham
Mats Bengtsson wrote:
In the source code that handles collisions of note heads
(lily/note-collision.cc)
I found the following comment:
/* For full collisions, the right hand head may obscure dots, so
Copyright question:
I can find folk (or traditional) songs (or dances) from
many countries in Eastern Western Europe
a) in printed publications (from Kammen, Mel Bay, others);
b) in midi files available on the Internet.
In many cases, actually verifying the composition date is not easy.
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