Re: Dominant

Thank you for your answers. I found functional-harmony page and I viewed the code. But the problem is now, how to merge functional-harmony letters and figured bass symbols. We have to explain the altering sounds on IVth (Subdominant chord) degree. So I have to use letters and figured bass sy

Re: triangle noteheads

Thanks Thomas Morley and Pierre Perol-Schneider, I have implemented this technique and it looks like it's working very well. Much appreciated! Nick Didkovsky On 6/10/2014 7:51 AM, Thomas Morley wrote: 2014-06-10 9:50 GMT+02:00 Pierre Perol-Schneider : 2014-06-09 22:42 GMT+02:00 Thomas Morley :

Frescobaldi 2.0.16 on MacPorts?

Dear all, Frescobaldi 2.0.16 does not seem to be available yet on MacPorts - has it been submitted? Thanks, Steve ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: \relative versus \absolute (was "Re: Macro/multiply notes")

Knute Snortum writes: > I am still a novice at using LilyPond (maybe a sophomore) but I'd like to > make one case for relative notes. I'm typesetting a piece where there are > a lot of octave scale runs between both hands. It's very nice to be able > to copy several beats or even bars of notes,

Re: \relative versus \absolute (was "Re: Macro/multiply notes")

Another aspect: on english keyboards, the single quote ' is easily reachable. But on german (and maybe other?) keyboards it’s further on the right and you need the shift key to get it; the neo layout (a german ergonomic layout which I use) also needs an extra key (called mod3, at qwerty’s caps

Re: \relative versus \absolute (was "Re: Macro/multiply notes")

I would imagine that kind of practice, just squeeze musical material into instruments into their suitable range will make you less sensitive to which octave you are composing on. If it works for some, then good. Both in terms of timbre and counterpoint I would want to know excacly if I'm working wi

Re: \relative versus \absolute (was "Re: Macro/multiply notes")

I am still a novice at using LilyPond (maybe a sophomore) but I'd like to make one case for relative notes. I'm typesetting a piece where there are a lot of octave scale runs between both hands. It's very nice to be able to copy several beats or even bars of notes, irrespective of the clef, and p

Re: changing the appearance for single dots in fret boards

2014-06-10 9:16 GMT+02:00 Marc Hohl : > Am 08.06.2014 02:49, schrieb Thomas Morley: > >> 2014-06-07 17:33 GMT+02:00 Marc Hohl : >>> >>> Am 07.06.2014 10:02, schrieb Pierre Perol-Schneider: 2014-06-06 9:59 GMT+02:00 Marc Hohl >>> >: I have s

Re: Dominant

Hello, you can try to use either the letter D with stroke (Đ, U+0110) or, if you want a longer an diagonal stroke, a regular D and a combining long solidus overlay from unicode (D̸, U+0044 U+0337): \version "2.19.6" \relative c' { \repeat unfold 8 { } } \addlyrics { T S Đ⁷ T T S D

Re: Dominant

2014-06-14 17:31 GMT+02:00 Server Acim : > Hello, > I am writing an Harmony book with my friend. I want to use "Diminished > Dominant" symbol in figured bass below the note. It has to mark "diminished > fifth" interval with a cross line on "D" letter. > > In our country, some music teachers had got

Dominant

Hello, I am writing an Harmony book with my friend. I want to use "Diminished Dominant" symbol in figured bass below the note. It has to mark "diminished fifth" interval with a cross line on "D" letter. In our country, some music teachers had gotten their education in Germany in 1930'ies. The

Re: Adjusting the upper tie of an octave

Thanks to all who replied to this, especially David Nalesnik. His shapeTieColumn function has been submitted to the openlilylib. And I can continue typesetting Pictures at an Exhibition! Knute Snortum (via Gmail) On Fri, Jun 13, 2014 at 12:36 PM, David Nalesnik wrote: > Hi Knute, > > > On F

Re: conditional markup

Orm Finnendahl writes: > Hi, > > for defining markups which appear selectively either only in the > parts or only in the score I'm trying to use the following strategy: > > I include a "score-defs.ly" or "part-defs.ly" file in the score or > part respectively and define commands like "sMarkup" f

Re: override font name for lyrics

On 14 Jun AD 2014, at 10:25 AM, Phil Holmes wrote: > Works fine for me, Windows Vista, 2.18.2. > > I'd suggest you experiment with fonts that are definitely on your system: > Arial if it's a Windows machine, for example. If they work, then it's not > the syntax that's the problem. Ahhh….

Re: override font name for lyrics

Works fine for me, Windows Vista, 2.18.2. I'd suggest you experiment with fonts that are definitely on your system: Arial if it's a Windows machine, for example. If they work, then it's not the syntax that's the problem. -- Phil Holmes - Original Message - From: Fr. Michael Gilm

override font name for lyrics

Hi everyone! I just downloaded Lilypond 2.18.2-1— previously, I worked with 2.12.3-1. With that version, when I wanted a font on the system to use with the lyrics what used work with this: LyricGaramond = \override LyricText #'font-name = #”Garamond Premier Pro" doesn’t work anymore, i.e, the

Re: conditional markup

Am Samstag, den 14. Juni 2014 um 14:17:44 Uhr (+0100) schrieb Phil Holmes: > Had you considered using tags instead? No, thanks, I wasn't aware of this. Seems to be exactly what I need. -- Orm ___ lilypond-user mailing list lilypond-user@gnu.org https:/

Re: conditional markup

- Original Message - From: "Orm Finnendahl" To: Sent: Saturday, June 14, 2014 2:07 PM Subject: conditional markup Hi, for defining markups which appear selectively either only in the parts or only in the score I'm trying to use the following strategy: I include a "score-defs.ly" or

conditional markup

Hi, for defining markups which appear selectively either only in the parts or only in the score I'm trying to use the following strategy: I include a "score-defs.ly" or "part-defs.ly" file in the score or part respectively and define commands like "sMarkup" for markup only appearing in the score

Re: Whiteout box function by Thomas Morley / need help

Done! :-)     moreWhiteout =#(define-music-function (parser location adds item)(pair? symbol-list-or-music?)  (define more-stencil-whiteout    (lambda (grob)  (let* ((function (assoc-get 'stencil    (reverse (ly:grob-basic-properties grob (stil  

Re: \cadenzaOff resets accidentals too late

On 14/06/14 10:20, James Harkins wrote: > This smells like a bug to me: > > \version "2.18.2" > \language "english" > > \relative c' { > \cadenzaOn > a4 b cs d% accidental is printed > \cadenzaOff > \bar "||" % \time 4/4 > e d cs b% accidental is NOT printed -- huh?? > a b cs d% a

\cadenzaOff resets accidentals too late

This smells like a bug to me: \version "2.18.2" \language "english" \relative c' { \cadenzaOn a4 b cs d% accidental is printed \cadenzaOff \bar "||" % \time 4/4 e d cs b% accidental is NOT printed -- huh?? a b cs d% accidental is printed } I'm aware that \cadenzaOn will rememb

Re: "avoid-slur" does not apply on a tie.

2014-06-14 8:59 GMT+02:00 Simon Albrecht : >Interpretation is a different issue, I think. But the ly > representation may well be a slur, even if it is actually played as a > vibrato or whatever articulation one might apply. > Ok. ___ lilypond-user

Re: "avoid-slur" does not apply on a tie.

2014-06-14 8:58 GMT+02:00 David Kastrup : > The tuning suggests rather a guitar or something. For which bowing > directions don't make a lot of sense. > > A viol would be another possibility, but that is probably not what > Diabelli had been writing for. > Sorry, forgot to tell : it's a guitar

Re: "avoid-slur" does not apply on a tie.

Am 14.06.2014 07:29, schrieb Pierre Perol-Schneider: 2014-06-13 23:53 GMT+02:00 Ralph Palmer >: I think this is, on fact, a slur, not a tie. If the sounding of the notes is separate, as would be implied by the staccato dots, that should make it a bow