i have made a function (because i hate the way lily handles the
slur/acciaccatura - for guitar anyway). Now I have 2. one is the original
slur as sloppy and mangled in her age as she is, i still find it very
romantic looking. on the other hand, number two is very clean, but I am not
sure it goes
Am 15.05.2015 um 02:57 schrieb Murray-Luke Peard:
This is the solution that worked for me. One problem I had was that if
the note goes over a bar line (as in the first example), the bar line
is drawn before you specify the bar type, and you get two bar lines
(see second example).
In the
Actually, I've found an unintended consequence of this method, in that it
changes the bar for all staves, not just the one in question. See the
circle in the graphic below - all bar lines at this point were changed, not
just the top line (and what's going on with the bottom line, I don't know).
Am 14.05.2015 um 18:25 schrieb Urs Liska:
Second question: is there a way to know which grobs can be used as
the last argument? In examples, it's things like DynamicText or
NoteHead. But I'm not sure what other grobs can be specified. Any
at all? Or are there limits?
As far as I can see
Hi,
David, the code you provided is almost perfect for our purposes.
However, there are still some aspects that need to be refined. I still
don't understand clearly the lilypond code, but so far I have managed to
do the code that I attach.
By the way, following are the aspects that I would
Il 15/05/2015 08:36, Stephen MacNeil ha scritto:
i have made a function (because i hate the way lily handles the
slur/acciaccatura - for guitar anyway). Now I have 2. [...]
http://mglessons.com/lilypond/chordSlur.pdf
http://mglessons.com/lilypond/chordSlur2.pdf
Dear Stephen and all,
I
Hi all,
I've attached an improved version of the file here. It now handles
single-staff situations (as when, for example, you remove non-active staves
using \RemoveEmptyStaves), and it deals properly with name placement when a
name relates to a grouping of staves (a piano part, for example).
On Fri, May 15, 2015 at 8:06 AM, David Nalesnik david.nales...@gmail.com
wrote:
One problem that Kieren noticed is evident in the last example When the
padding is set to 0, all names are as far right as they can go and still be
properly aligned one to another. When, however, the padding is
Hi Andrés,
On Fri, May 15, 2015 at 7:21 AM, Andrés Pérez cont...@andresperezlopez.com
wrote:
Hi,
David, the code you provided is almost perfect for our purposes.
However, there are still some aspects that need to be refined. I still
don't understand clearly the lilypond code, but so far I
Luca
I agree and thanks. I made a change that keeps the natural slur. My
original thought problem is the inconsistency when it is drawn above or
below ... and this varies on stem direction as well. In guitar music with
all voices on a single clef this gets quite cramped. Hence my idea of just
Hi David,
First of all, many [public] thanks for having done this work: it’s remarkable,
and extremely helpful to me.
q.v. On Wednesday night, I was out for a drink with a musician friend, who
“admires” me because I use Lilypond instead of Finale or Sibelius. I used this
exact feature/fix as
Hi Urs,
When I used Finale, I was dissatisfied with a lot
Who wasn’t (or, poor souls, isn’t currently)? ;)
The editors of the last big composers (print) edition, who are just happy
that it is so easy to drag stuff where they want to see it …
Being happy about that (and potentially many
On Fri, May 15, 2015 at 10:04 AM, Urs Liska u...@openlilylib.org wrote:
Am 15.05.2015 um 16:52 schrieb Kieren MacMillan:
Hi David,
When I used Finale, I was dissatisfied with a lot
Who wasn’t (or, poor souls, isn’t currently)? ;)
The editors of the last big composers (print)
Am 15.05.2015 um 17:15 schrieb David Nalesnik:
On Fri, May 15, 2015 at 10:04 AM, Urs Liska u...@openlilylib.org
mailto:u...@openlilylib.org wrote:
Am 15.05.2015 um 16:52 schrieb Kieren MacMillan:
Hi David,
When I used Finale, I was dissatisfied with a lot
Hi all,
I have this rather long chord name that is taking too much horizontal space
in a sheet I’m working on. How can I move the “/F” part beneath the rest of
the chord like in the attached mockup? Ideally I would also like to further
tweak the slash position individually, as it now appears too
I am brand new to Lilypond. I have tried and tried to figure out how to
code SATB four staves of polyphony with different notes, durations and
lyrics, but while I am close, some of the lyrics fall to the very bottom of
the score and will not stick to the staff that I want them to.
Sorry if the
2015-05-15 8:49 GMT+02:00 Murray-Luke Peard murrayluke.pe...@gmail.com:
Actually, I've found an unintended consequence of this method, in that it
changes the bar for all staves, not just the one in question. See the
circle in the graphic below - all bar lines at this point were changed, not
Am 15.05.2015 um 16:52 schrieb Kieren MacMillan:
Hi David,
When I used Finale, I was dissatisfied with a lot
Who wasn’t (or, poor souls, isn’t currently)? ;)
The editors of the last big composers (print) edition, who are just
happy that it is so easy to drag stuff where they want to see
Hi David,
When I used Finale, I was dissatisfied with a lot
Who wasn’t (or, poor souls, isn’t currently)? ;)
it never even occurred to me to speak up and request a fix. Even if I thought
that my idea would be incorporated, it certainly wouldn't happen before the
performance!
Well, let
On Fri, May 15, 2015 at 8:24 AM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi David,
First of all, many [public] thanks for having done this work: it’s
remarkable, and extremely helpful to me.
q.v. On Wednesday night, I was out for a drink with a musician friend, who
“admires”
On Fri, May 15, 2015 at 9:52 AM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi David,
When I used Finale, I was dissatisfied with a lot
Who wasn’t (or, poor souls, isn’t currently)? ;)
In retrospect, I really should have stuck with Score at the time--which I
abandoned mostly
I’m hoping someone will recognize the mark above the sharped note in the
attached screen shot. It is from a capriccio for keyboard by J. J. Froberger
and appears many times.
Thanks- Stan
___
lilypond-user mailing list
lilypond-user@gnu.org
Greetings All,
I have a cadenza that will not break with an explicit bar and break command.
What is going on? Version 2.19.20. The break shown will not be in this
position, but it won’t break anywhere for me.
Andrew
\version 2.19.20
\paper
{
#(set-paper-size a4 'portrait)
Mark,
Thanks! I had just come to the same conclusion - now confirmed. Appreciated.
Andrew
On 16 May 2015 at 12:13:47, Mark Stephen Mrotek (carsonm...@ca.rr.com) wrote:
Lilypond shall not break a beam. If you move the “]” up to just before the
break and start a second beam, “[ …. ]” after the
Knowing this, I find better yet:
\override Beam.breakable = ##t
This achieves the result I am searching for.
Andrew
On 16 May 2015 at 12:13:47, Mark Stephen Mrotek (carsonm...@ca.rr.com) wrote:
Lilypond shall not break a beam. If you move the “]” up to just before the
break and start a
2015-05-16 3:14 GMT+02:00 Peter Crighton petecrigh...@gmail.com:
Hi all,
I have this rather long chord name that is taking too much horizontal space
in a sheet I’m working on. How can I move the “/F” part beneath the rest of
the chord like in the attached mockup? Ideally I would also like to
Andrew,
Lilypond shall not break a beam. If you move the “]” up to just before the
break and start a second beam, “[ …. ]” after the first chord after the break.
It worked for me (2.18).
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
In this snippet, there are pieces of the bar line left between the
staves. Is this a bug?
\version 2.19.20
notes = { c8 d e d e f | e f g f g a | }
rh = \relative c'' \notes
lh = \relative c \notes
global = {
\key c \major
\time 6/8
}
\score {
\new PianoStaff
\new Staff {
Hi Knute,
In this snippet, there are pieces of the bar line left between the staves.
Is this a bug?
No. You’ve only hidden the BarLine (which lives within the Staff), not the
SpanBar (which lives between connected Staff contexts of a PianoStaff).
Instead, use:
notes = { c8 d e d e f | e f
Knute,
On Fri, May 15, 2015 at 12:18 PM, Knute Snortum [via Lilypond]
ml-node+s1069038n176602...@n5.nabble.com wrote:
In this snippet, there are pieces of the bar line left between the
staves. Is this a bug?
Can't say if it's a bug or not, but if you add
\override SpanBar #'transparent =
Luca
shorter would be nice however, minimum-length has no effect since it's not
maximum. I can do it with shape however, the idea is to have a function I
can use on all the acciaccaturas - and on some it has a weird effect (I
find). I can change the ratio -to avoid collision- however as you saw
Hello Thomas,
Am 15.05.2015 um 21:00 schrieb Thomas Schuch:
Am 14.05.2015 um 23:46 schrieb Simon Albrecht:
Hello,
sometimes, if something is very difficult to achieve in Lilypond,
it’s just not a very good idea to do. This is one of those cases:
Lily has a knack of wanting to produce
Il 15/05/2015 17:33, Stephen MacNeil ha scritto:
anyway number 3 is using the natural slur drawn by lilypond.
http://mglessons.com/lilypond/chordSlur3.pdf
Dear Stephen,
as I can see, the acciaccatura slurs are now more harmonious and
consistent. Only, I can add another suggestion, I'd
Thanks, that works.
Knute Snortum
(via Gmail)
On Fri, May 15, 2015 at 11:29 AM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Hi Knute,
In this snippet, there are pieces of the bar line left between the
staves. Is this a bug?
No. You’ve only hidden the BarLine (which lives
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