I'm having a weird problem. In the following example I'm able to move a
rehearsal mark but not a \markup. Am I missing something or is this
some sort of bug?
-David
%%* BEGIN LILYPOND *
\version "2.11.40"
\score {
\relative c {
\set Score.skipBars = ##t
\onc
On Thu, 21 Feb 2008 19:17:23 -0800
"Jay Hamilton" <[EMAIL PROTECTED]> wrote:
> What is 'adorned' here?
With decoration added? Musical decoration, though -- turn, trill, prall,
whatever -- though it is obviously text to be attached in a similar way.
From your original question:
> ... but ador
Well, we can't help a user who doesn't search the table of contents
or index for "tremolo".
It just occurred to me that we could probably remove "repeat syntax"
entirely with no ill effects:
1.4.1 Repeating phrases
1.4.1.1 Normal (volta) repeats
1.4.1.2 Written out repeats
%% note that volta and u
I changed it about two years ago; a few users complained
that "perfect repeats" didn't make sense. (a fake musical
term, or wasn't understandable by non-English readers, or
something like that).
Cheers,
- Graham
On Fri, 22 Feb 2008 16:11:00 +0100
Mats Bengtsson <[EMAIL PROTECTED]> wrote:
> Als
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Freitag, 22. Februar 2008 schrieben Sie:
> Sorry for missending files because of errors of my screen reader. I
> again included my piece for orchestra. The Xml file is here too, to see why
> it can't be converted.
Thanks, I found the problem in
Hi Stefan,
Probably it's best to create a macro just like you've done, but use \once
\override. Then you can call the macro immediately before each mute spanner.
And your settings will apply to your mute spanners only.
(On the other hand, if your score contained only these mute spanners, then
it
Dear Trevor,
many thanks for Your very useful tip and Your excellent explanations! It
works exactly, how I want to have it.
One last question: If I use later in the score other text-spanners (like e.g.
ritardando ) do I have to revert the settings? Or would it maybee better to
use \once \override i
How about "Repeating note patterns"? Perhaps an example of
\repeat unfold could be included here too, then.
Trevor D
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> Sent: 22 February 2008 15:11
> To: [EMAIL PROTECTED]
> Cc: lilypond-user@gnu.org; Palmer, Ralph
>
On Fri, Feb 22, 2008 at 9:28 AM, Trevor Bača <[EMAIL PROTECTED]> wrote:
> On Fri, Feb 22, 2008 at 6:06 AM, Stefan Thomas <
> [EMAIL PROTECTED]> wrote:
>
> > Dear lilypond users,
> > in the below quoted file, the end of the text spanner is a little bit to
> > early, in my opinion. What can I do, to
On Fri, Feb 22, 2008 at 6:06 AM, Stefan Thomas <
[EMAIL PROTECTED]> wrote:
> Dear lilypond users,
> in the below quoted file, the end of the text spanner is a little bit to
> early, in my opinion. What can I do, to move it a little to the right?
> Thanks for Your help
> Stefan
>
> mute = {\textSpa
Also, could we find a better term than "Measure repeats", so that it
covers also \repeat percent 4 { c4 }. I think we used to have the title
"percent repeats" in some old version of the manual, but I'm not sure
if that rings a bell either, for most readers.
/Mats
Mats Bengtsson wrote:
Don't f
Don't forget that it probably isn't obvious to most first time readers that
a tremolo or measure repeat is even considered a repeat, i.e. they won't
look in the section called repeats.
Also, don't forget about \repeat unfold, which actually is very useful
in some circumstances, but perhaps doesn't
Hi Ralph
I'd go for the simpler structure:
1.4 Repeats
1.4.1 Repeat syntax
1.4.2 Normal repeats
1.4.3 Manual repeat commands
1.4.4 Tremolo repeats
1.4.5 Measure repeats
This puts the syntax at the front, as you wanted, and
removes the ugly, somewhat artificial, separation into
Writing repeats a
Palmer, Ralph wrote:
Hi, All -
I'm currently working on rewriting Repeats in the Notation Reference,
and I don't care for the existing structure. Currently, it looks like
this:
1.4 Repeats
1.4.1 Writing repeats
1.4.1.1 Repeat syntax
Jay Hamilton wrote:
I knew/know what adorn in English and articulations are in music however in the
context of 1.7.2.1 of the GDP they don't seem to mean that. What is 'adorned'
here? Does it mean enhanced? (not to me) And looking at the code and seeing
the result does anyone see a differen
Hi all,
I've written arpeggios using tuplets with this code:
\times 8/7 { es,,32 g bes es \change Staff = upper g bes es}
\times 8/7 { g es bes g \change Staff = lower es bes g}
\times 8/7 { es g bes es \change Staff = upper g bes es}
\times 8/7 { g es bes g \change Staff = lower es bes g}
It
Dear lilypond users,
in the below quoted file, the end of the text spanner is a little bit to
early, in my opinion. What can I do, to move it a little to the right?
Thanks for Your help
Stefan
mute = {\textSpannerUp \override TextSpanner #'bound-details #'left #'text =
\markup {\italic "mute" } \o
As a little help, there is an LSR snippet that takes given notes and
applies
the same rhythm to them (i.e. it applies certain durations to the passed
notes), so I suppose it should be able to adjust it to your needs:
http://lsr.dsi.unimi.it/LSR/Item?id=346
You have that, too
http://lsr.dsi.u
If you check carefully what line number LilyPond complains about,
you'll probably notice that it's the \layout block within the \book
block. As the following small example shows, it not related to
if you have any \paper block or not.
\book{
{c d e f R1*5 }
\layout{\context{\Score skipBars = ##
Hi Jay
I'd rewite the sentence containing 'adorn' as:
There are two music functions, balloonGrobText and balloonText. The former is
used like rather like \once \override to attach text to any grob, and the
latter is used like \tweak, typically within chords, to attach text to an
individual n
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