Glendan
The 'force-hshift override only works if a collision has been
detected and it seems that a collision is not being detected here,
even though there clearly is one. I suspect, but have not
investigated in detail, that it may be due to the nested voices.
Here's a kludgey workaround
No matter how hard I try, I can't seem to reproduce this problem.
With, or without the markup (which includes a variable which hasn't
been described in the snippet), or the notecolumn markup, I still get
the expected output, with the notes properly shifted. Can you send an
example which
James
If you look at the full score which Glendan attached you'll see the
missing bits, and also see that there are voices nested within
voices in the full score. This seems to be a requirement to
demonstrate this bug, although I haven't the time to narrow it down
at the moment.
Trevor
Valentin Villenave wrote Saturday, December 12, 2009 6:04 PM
On Sat, Dec 12, 2009 at 5:58 PM, Trevor Daniels
t.dani...@treda.co.uk wrote:
The half note and eighth note at the start of the second measure
are
incorrectly merged because \mergeDifferentlyHeadedOn cannot
successfully
2009/12/13 Trevor Daniels t.dani...@treda.co.uk:
James
If you look at the full score which Glendan attached you'll see the missing
bits, and also see that there are voices nested within voices in the full
score. This seems to be a requirement to demonstrate this bug, although I
haven't the
2009/12/12 James Bailey derhindem...@googlemail.com:
This means this:
\new Staff = LH \LH \pedal
This will only work if the skips in \pedal coincide with notes in \LH,
otherwise the brackets will still be misaligned.
Regards,
Neil
___
I did it like this. It looks better now. Do you have any idea how I
could fix the position of the pedal? Now it is located at various
heights.
Thank you
Stefan
Am Sonntag, den 13.12.2009, 14:06 + schrieb Neil Puttock:
2009/12/12 James Bailey derhindem...@googlemail.com:
This means this:
Neil Puttock wrote Sunday, December 13, 2009 1:43 PM
2009/12/13 Trevor Daniels t.dani...@treda.co.uk:
If you look at the full score which Glendan attached you'll see
the missing
bits, and also see that there are voices nested within voices in
the full
score. This seems to be a
Hello,
I'm using Lilypond to produce (among other simpler things) the
modern edition of a XVIII century opera for my Ph.D. dissertation. I'm
very happy with it: it's an extremely powerful, flexible piece of software.
In my score, I have to use some modified symbols as editorial
I have a piece that has a decrescendo over the last note - what's the best way
to set this?
I tried c\ \! but it doesn't work. Is the only option to use a s1?
-tom
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lilypond-user mailing list
lilypond-user@gnu.org
Tom,
You may find some clues here:
http://www.mail-archive.com/lilypond-user@gnu.org/msg03101.html
Note that this message refers to a rather outdated version (1.7.3) but
it may help you. Generally, the trick is to attach the termination of
the (de)crescendo to a skip value. You may also
Re: Version 2.12.2-1
Downloaded both documentation and program. Downloaded fine.
Dragged ap to applications folder.
Put documentation folder there too.
Double-clicked the application and I get a text file that says:
save this file
Select 'compiletypeset file' from the menu--
NOTHING comes up when
Did you follow the instructions in the text file? There's no graphical
interface for this program. The text file tells you how you go about
creating a score with Lilypond.
Save the file by doing FileSave Astestfile.ly
Then choose CompileTypeset File (my memory may be faulty here)
It's possible
I don't know if you know about it, but the link from the download
page on lilypond.org for osx 10.5 has several methods of getting
lilypond to work.
http://ivo.bouwmans.name/lilypondleopard/
On 13.12.2009, at 19:14, Robert Ley wrote:
Re: Version 2.12.2-1
Downloaded both documentation and
Which script? What does the site say to do to make it run? I know
there are at least three different methods listed at the website on
ways to use lilypond. At lest two of which, I know from first-hand
experience work perfectly, the others of which, I know from second-
hand experience work
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