Hello,
in general it’s helpful if you always include the list in the
addressees, except for really private messages. You needn’t be afraid of
increasing the traffic on ly-user.
For example, someone else might comment on your question ending the
first paragraph below.
Yours, Simon
Am
2015-03-26 2:40 GMT+01:00 Thomas Morley thomasmorle...@gmail.com:
2015-03-26 1:08 GMT+01:00 David Bellows davebell...@gmail.com:
Could you confirm that it works for you?
I copy and pasted it directly in and it doesn't change the behavior.
I've attached my file.
Silly me. Must be heavily
At 17:14 on 25 Mar 2015, MarcM wrote:
thanks that helped: http://lilybin.com/tvja0h/3
Interesting that moving the fingering alters the tie position also. It
doesn't look like the tie would have collided with the fingering in the
tie's default position.
--
Mark Knoop
Another thought, which is a musical solution rather than a lilypond tweak. You
can use an equivalent time signature that may make it preferable in terms of
readability. 12/8 is logically 4/4 (at a different tempo) and you use triplets.
This can be easier one the eyes instead of all those dots.
Re tie collision:
Add something like the following before the tie to adjust its shape:
\override TieColumn.tie-configuration = #'((0.0 . 2))
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote:
Lilyponders:
how to solve the dots after notehead and tie collides.
1.
I am not convinced the dots look awful. It’s perfectly legible to me - just
highly dotted notation. What do you mean by awful, exactly?
Andrew
On 26 March 2015 at 10:29:06, MING TSANG (tsan...@rogers.com) wrote:
Lilyponders:
how to solve the dots after notehead and tie collides.
1. tie
I now understand this can be done using a filled-box markup in white. But how
do you get the box under the notehead and leger lines but above the ties? I am
aware of layer order, but I can’t get the whiteout box just where it should be
in the z-order.
Andrew
On 27 March 2015 at 12:05:33,
Well, answering my own question here. The following works, but now I feel the
need to ask is the best way to do this sort of operation?
\version 2.19.17
treble = \relative c'' {
\override Stem.layer = #3
e'
\change Staff = bass
\override NoteHead.layer = #3
e g,-\markup {
Hello Ming,
here’s the best I could come up with. I remember that in hand-engraved
scores, this is resolved by shifting the two notes further apart and
placing the dots close to each one, which I now mimicked, albeit very
poorly: the dot placement looks very odd now. Perhaps you’ll want to
Hi, Simon:Thank you, but I did not see the attachment.Immanuel,Ming
On Thursday, March 26, 2015 1:30 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Hello Ming,
here’s the best I could come up with. I remember that in hand-engraved scores,
this is resolved by shifting the two
On 2015-03-26 10:53, Simon Albrecht wrote:
The essay
on writing readable tuplets was quite interesting.
From the context I assume you're referring to my post about tuplets on
the LilyPond blog:
http://lilypondblog.org/2014/09/how-to-write-readable-tuplets/. I'm
really glad you found it
Hello,
I’m working on a template for this layout: https://youtu.be/-WHcjH6Am1k
For that video I saved every line from the score as a PNG in Frescobaldi,
and put them together with the header and copyright in GIMP. Then I
combined the resulting images to a video.
For further videos I now want to
Hi Paul
2015-03-24 19:52 GMT+01:00 Paul Morris p...@paulwmorris.com:
Looks good! Thanks for working on this.
Actually I've found it very instructive; I'm re-discovering the power of
the 'path' command (I'm even thinking of writing something about it since -
I think - it is not enough
I think you could do this pretty easily by adding this to your \paper block:
oddHeaderMarkup = \bookTitleMarkup
evenHeaderMarkup = \oddHeaderMarkup
bookTitleMarkup =
Here's your example on LilyBin http://lilybin.com/w3lnok/1 .
Peter Crighton wrote
Hello,
I’m working on a template
Peter, My strange example of tuplets using neither Math Rule nor Nearness
Rule will be clarified if I show the context. Here is that context from a
part of the piece I wrote for solo bassoon:
\version 2.18.2
\language english
\score {
\relative c' {
\partial 4
\clef bass
\key af \major
c,,8(
Peter,
In ly/titling-init.ly, you'll find the following definitions which
contain the title and copyright fields:
bookTitleMarkup = \markup {
\override #'(baseline-skip . 3.5)
\column {
\fill-line { \fromproperty #'header:dedication }
\override #'(baseline-skip . 3.5)
\column {
On 2015-03-26 21:47, Simon Albrecht wrote:
Peter, My strange example of tuplets using neither Math Rule nor
Nearness Rule will be clarified if I show the context. Here is
that context from a part of the piece I wrote for solo bassoon:
\version 2.18.2
\language english
\score {
\relative c'
Howdy!
For some reason this doesn't work as expected.
\once \override NoteColumn.force-hshift
works fine in voiceTwo on beats 1 and 3 but not on beat 2?
I need more space around the rest.
http://www.gooeytar.com/projects/test/test.ly
Steve,
1. Remember that the { } \\ { } ... syntax automatically (implicitly)
applies \voiceXXX in ascending order.
2. Putting notes in proper voices usually eliminates any need to manually
specify \stemUp and \stemDown, note\rest, etc.
3. Here's how I would re-code your score, if I understand
Am 26.03.2015 um 20:59 schrieb Ralph D. Jeffords:
Peter, My strange example of tuplets using neither Math Rule nor
Nearness Rule will be clarified if I show the context. Here is that
context from a part of the piece I wrote for solo bassoon:
\version 2.18.2
\language english
\score {
Am 26.03.2015 um 19:57 schrieb MING TSANG:
Hi, Simon:
Thank you, but I did not see the attachment.
That’s probably because I forgot to attach it…
Here you go :-)
Immanuel,
Ming
On Thursday, March 26, 2015 1:30 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Hello Ming,
here’s the best
It does exactly what I need, thanks again!
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
2015-03-26 23:30 GMT+01:00 tyronicus samuelsp...@gmail.com:
Peter Crighton wrote
For further videos I now want to skip GIMP and just let LilyPond
Schneidy wrote
Actually I've found it very instructive; I'm re-discovering the power of
the 'path' command (I'm even thinking of writing something about it since
-
I think - it is not enough documented).
That sounds good. It probably does deserve some more exposure.
Schneidy wrote
I can't
Peter Crighton wrote
For further videos I now want to skip GIMP and just let LilyPond create
all
the complete PNGs. For that I need on every page the complete header,
copyright, and one line of music, which has to be vertically centered.
...
I’m also pretty clueless so far how to achieve
Of course, I have no idea why I didn’t think of putting the titles into the
header, it’s so obvious …
Thank you both!
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
2015-03-26 23:11 GMT+01:00 tyronicus samuelsp...@gmail.com:
I think you could
What do I whiteout and how exactly to get the chord in the example covering the
leger lines to nicely whiteout just the right things? Notehead, leger lines,
stem? Not real music, just the smallest example I could make.
\version 2.19.17
treble = \relative c'' {
e
\change Staff = bass
e,,,
Simon,Wow! Its perfect. Thank you very much.Immanuel,Ming.
On Thursday, March 26, 2015 4:48 PM, Simon Albrecht
simon.albre...@mail.de wrote:
Am 26.03.2015 um 19:57 schrieb MING TSANG:
Hi, Simon: Thank you, but I did not see the attachment.
That’s probably because I forgot to
Hi,
consider the (artificial) code below.
In my naivity I expected that voice-b would be recognized as it works
for voice-a
I.e. the three triggering features (tieWaitForNote, NoteHead.colors
and assigned Lyrics) would work for the second appearance of voice-b.
Any chance to have LilyPond
Hi all,
consider the following code:
\version 2.19.17
mus =
\relative c'' {
{ \voiceOne c r c r }
{ \voiceTwo r a r a}
}
\new Staff \clef G_8 \mus
\new TabStaff \mus
It returns some warnings.
Although it could be resolved using the {...}\\{...} construct,
let us
Andrew,Thank you for the suggestion. I will try - is this mean I have to update
all beats on the whole song. This will require lot of time.Immanuel,Ming.
On Thursday, March 26, 2015 9:23 AM, Andrew Bernard
andrew.bern...@gmail.com wrote:
#yiv3982050275 body{font-family:Lucida Sans
Silly me. Must be heavily overtired...
It needs to be put into \midi {}, like:
Yep, that does it!
It's now
https://code.google.com/p/lilypond/issues/detail?id=4330
Thanks for this!
On Thu, Mar 26, 2015 at 3:16 AM, Thomas Morley thomasmorle...@gmail.com wrote:
2015-03-26 2:40 GMT+01:00
Andrew,Thank you for the \overrideImmanuel,Ming
On Thursday, March 26, 2015 9:06 AM, Andrew Bernard
andrew.bern...@gmail.com wrote:
#yiv8457135819 body{font-family:Lucida Sans Unicode, Arial;font-size:15px;}Re
tie collision:
Add something like the following before the tie to adjust
Adnrew,Sorry, I choose the wrong word here. I was hoping that the dot will be
displayed closer to the notehead. e.g. 1st bar of bass staff, the dot of
quarter note be displayed closer to quarter note , now it line up with the half
note. This is more evident on bar3.Immanuel,Ming
On
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