Hi folks
There's any way to let lilypond print the second mark in this minimal
example?
\version "2.19.31"
\relative {
\repeat unfold 8 c'1
\once \override Score.RehearsalMark.break-visibility =
#end-of-line-visible
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \ma
Hi David,
wow, that's easy to use, many thanks!
all the best, Peter
Am Montag, den 09.11.2015, 14:30 -0800 schrieb Flaming Hakama by Elaine:
[..]
>
>
> % Macro to print single slash
> rs = {
> \once \override Rest #'stencil =
> #ly:percent-repeat-item-interface::beat-slash
> \once \override
On Mon 09 Nov 2015 at 23:22:14 (+), Graham King wrote:
> On Mon, 2015-11-09 at 14:55 -0600, Christopher R. Maden wrote:
>
> On 11/09/2015 02:47 PM, Kieren MacMillan wrote:
> > The very first thing they said to me was, “Add measure numbers.”
> >
> > That’s sufficient reason for
Hi Urs,
What can I do to help you advance ScholarLY (or any of your other
projects)? E.g. do I need to learn scheme? Do I play around with
incorporating ScholarLY into Latex? What would be the most helpful for you?
Craig
On Tue, 10 Nov 2015 at 03:42 Urs Liska wrote:
> Just shortly:
>
> I do t
Hi Graham,
> I've just realised that, under my system as I described it, a part could have
> the same bar number twice.
My proposed solution would be an “analytic continuation” (to borrow a
mathematical term) of the non-polymetric measure numbering scheme:
1. A “reference context” would be est
On 10.11.2015 00:19, Flaming Hakama by Elaine wrote:
In my opinion, yours approach is poorly designed, since it introduces
a problem (notes to represent slashes that will be transposed) that
then requires a solution.
The solution I disseminated avoids that problem in its entirety.
Good point
On Mon, Nov 09, 2015 at 04:12:54PM -0700, zzk wrote:
> Flaming Hakama by Elaine wrote
> > Interestingly (perhaps only to me), the only other place I feel like
> > I took a step backward in changing editors is that the (in-file)
> > find/replace mechanisms in sublime text are clunkier, especially
>
On Mon, 2015-11-09 at 14:55 -0600, Christopher R. Maden wrote:
> On 11/09/2015 02:47 PM, Kieren MacMillan wrote:
> > The very first thing they said to me was, “Add measure numbers.”
> >
> > That’s sufficient reason for me. =)
>
> Good answer.
>
> In that case, I would pick one part, and force t
Simon,
In case you are curious, I read this list in digest form, so sometimes I
reply before I see other people's replies posted.
However, In terms of this topic, yes, I read your replies on this topic.
In fact, it was reading your replies that motivated me to reply with a
better solution.
I
Flaming Hakama by Elaine wrote
> Interestingly (perhaps only to me), the only other place I feel like I
> took
> a step backward in changing editors is that the (in-file) find/replace
> mechanisms in sublime text are clunkier, especially since you can't use
> them macros.
>
> I rather prefer emacs
>> Hello all !
>>
>> Is there a way to modify 7dim (e.g. print "C#7dim"
>
>It's always been C#dim or C#dim7. C#7dim would indicate
>a leading tone or "half diminished" seventh, which is
>not what you apparently want. Regards, Rald
Yes, you can modify the appearance of chord symbols by adding "cho
On 09.11.2015 23:52, Simon Albrecht wrote:
Did you even _read_ my replies to this thread,
Or did the mailing list engine delay posts again, so you couldn’t know
that solutions had already been given?
~ Simon
___
lilypond-user mailing list
lilypond
On 09.11.2015 23:30, Flaming Hakama by Elaine wrote:
>
> I have a "dirty solution" for this percent ( slashes )
>
> \override Stem #'length = #0.0
> #'thickness = #0.0
> b4 b4 b4
> \override Stem #'length = #7.0
> \override Stem #'thickness = #1.3
>
>
>
> >
> > I have a "dirty solution" for this percent ( slashes )
> >
> > \override Stem #'length = #0.0
> > #'thickness = #0.0
> > b4 b4 b4
> > \override Stem #'length = #7.0
> > \override Stem #'thickness = #1.3
> >
> >
> > Looks good on "original sheet" but pretty ugly on the transposed ones.
>
On 09.11.2015 23:01, Jacques Menu wrote:
Hello folks,
How about:
\relative c'' {
\override Staff.NoteHead.style = #'slash
\hide Staff.Stem
\repeat unfold 4 { \tweak staff-position #-0.5 c4 }
}
Which doesn’t deal with transpositions. That’s what the
Pitch_squash_engraver and \improvi
Hi Jacques,
works also fine, thanks a lot!
All the best,
Peter
Am Montag, den 09.11.2015, 23:01 +0100 schrieb Jacques Menu:
> Hello folks,
>
> How about:
>
> \relative c'' {
> \override Staff.NoteHead.style = #'slash
> \hide Staff.Stem
> \repeat unfold 4 { \tweak staff-position #-0.5 c4
Hello Simon,
that was exactly what I'm looking for!
Cool, thank You so much!
all the best,
Peter
Am Montag, den 09.11.2015, 22:46 +0100 schrieb Simon Albrecht:
> Hello Peter,
>
> now the problem is clear. That’s what the Pitch_squash_engraver, used in
> the example from the Notation Reference,
Hello David,
Fine, you hit the point, and the following code avoids the non-appearing notes
problem:
% Music to be used by CueDuring has to start at the same point in time
% as the music that incorporates it!
HautboisAvantChiffreSept = \relative gis' {
\voiceOne
% \tweak staff-position #-1
Hello folks,
How about:
\relative c'' {
\override Staff.NoteHead.style = #'slash
\hide Staff.Stem
\repeat unfold 4 { \tweak staff-position #-0.5 c4 }
}
JM
> Le 9 nov. 2015 à 22:46, Simon Albrecht a écrit :
>
> Hello Peter,
>
> now the problem is clear. That’s what the Pitch_squash_engr
Hello Peter,
now the problem is clear. That’s what the Pitch_squash_engraver, used in
the example from the Notation Reference, is for: it moves all the notes
to the center of the staff, regardless of their pitch. So all you need
to do is insert the following into your file on top level:
\lay
Hello Simon,
Thanks for Help,
here is the code, sorry for length, but if You scroll pdf-output in
viewer You will immediateley know what I mean.
%%%
\version "2.18.2"
\header {
title = "Subterranean Homesick Alien"
composer = "Thomas Yorke"
}
melody = \relative c
On 11/09/2015 02:47 PM, Kieren MacMillan wrote:
The very first thing they said to me was, “Add measure numbers.”
That’s sufficient reason for me. =)
Good answer.
In that case, I would pick one part, and force those measure numbers in
as numeric rehearsal marks in the other parts.
Otherwis
Hi Chris,
> What do you need the bar numbers for? I suspect rehearsal marks would fit
> the bill, no? If not, why not?
The score runs 105 measures in the piano part. I have 9 rehearsal marks (A-I),
for an average of ~12 measures per rehearsal mark.
In anticipation of officially [self-]publis
On 09.11.2015 21:38, Peter Berlau wrote:
Hello Simon, hello All!
a part of my problem is solved
i using now
\omit Stem
b4 b b b
\undo \omit Stem
with the '/' as notehead
But in tramspostion
in Bb b = 'cis'
in Es b = 'gis'
thats pretty ugly...
Could you please post a (small, complete an
Hello Simon, hello All!
a part of my problem is solved
i using now
\omit Stem
b4 b b b
\undo \omit Stem
with the '/' as notehead
But in tramspostion
in Bb b = 'cis'
in Es b = 'gis'
thats pretty ugly...
if i can use the percent and percent - slash the
position of the percent and slash sign
On 11/09/2015 01:47 PM, Kieren MacMillan wrote:
Is there a standard/convention/best practice on measure numbering in
polymetric scores? I’m running into an issue of that myself (in my
song “The Country Wife”), and can’t find anything definitive.
Note: Gould (p. 484) writes, “Bar numbers should n
P.S. Technically, \staccato and similar are not markups (which would
create a TextScript grob), but articulations (which create a Script
grob) – important, when you want to use an override.
On 09.11.2015 18:45, Stephan Neuhaus wrote:
Dear list,
I have a piece that contains phrases that are re
Hi all,
Is there a standard/convention/best practice on measure numbering in polymetric
scores? I’m running into an issue of that myself (in my song “The Country
Wife”), and can’t find anything definitive.
Note: Gould (p. 484) writes, “Bar numbers should not be used in music in which
individua
Hello Stephan,
On 09.11.2015 18:45, Stephan Neuhaus wrote:
Dear list,
I have a piece that contains phrases that are repeated often. For
example, let us assume that the phrase consists of two sixteenth notes.
In the piece in question, the unit of repetition is in fact much longer;
this is just a
On Mon 09 Nov 2015 at 17:00:51 (+0100), Menu Jacques wrote:
> Hello David,
>
> The docs say that the part that « receives » a Cue is usually made of rests,
> but not what happens if they contain actual notes.
> Removing the last eight in the Cue avoids the problem, of course.
>
> I tried with cu
Dear list,
I have a piece that contains phrases that are repeated often. For
example, let us assume that the phrase consists of two sixteenth notes.
In the piece in question, the unit of repetition is in fact much longer;
this is just an example. So I have done this:
phrase = { c16 d16 }
\relativ
Just shortly:
I do think we'll find a good way for you, and I also think this is a
good opportunity to continue work on ScholarLY. Especially considering
that just a few days ago Craig Dabelstein also asked about ScholarLY.
Urs
Am 09.11.2015 um 17:33 schrieb Graham King:
> I'm preparing an edit
Hello the other David,
I’ve found that \compressFullBarRests is too much just before I got your
message, thanks for that one.
And yes, I forgot to comment out:
a8 )
s
at the end of HautboisAvantChiffreSept, hence the difference in length.
But doing so doesn’t solve the problem: the first f
On Mon 09 Nov 2015 at 17:00:51 (+0100), Menu Jacques wrote:
> Hello David,
>
> The docs say that the part that « receives » a Cue is usually made of rests,
> but not what happens if they contain actual notes.
> Removing the last eight in the Cue avoids the problem, of course.
>
> I tried with cu
(This note describes an issue arising from the separate thread,
"Scholarly footnotes" [1])
I would like to use Urs' annotate.ily[2] to add some footnotes to an
edition of sixteenth-century polyphony. But, before investing too much
time, I need to check whether there is now a way for it to cope wi
I'm preparing an edition of sixteenth-century polyphony, using the
book-titling template[1]. The edition would benefit from some
footnotes/endnotes (the sort that say things like: "contratenor 1, bar
99: semiminim A missing in MS"). How best to achieve this, while
preserving the "book-titling" ap
Hello David,
The docs say that the part that « receives » a Cue is usually made of rests,
but not what happens if they contain actual notes.
Removing the last eight in the Cue avoids the problem, of course.
I tried with cueDuringWithClef, but then the four first eights at the beginning
of the c
On Fri, 16 Oct 2015 20:10:14 +0200
Yann wrote:
> Hello all !
>
> Is there a way to modify 7dim (e.g. print "C#7dim"
It's always been C#dim or C#dim7. C#7dim would indicate
a leading tone or "half diminished" seventh, which is
not what you apparently want. Regards, Rald
On Sun, 2015-11-08 at 21:48 -0700, Abraham Lee wrote:
> It looks like they use MusicXML as their main data format then process
> it into LilyPond syntax for engraving on their server.
> Maybe we could work with them to leverage their converter if it works
> well.
This is highly unlikely, I think
On Sun, 2015-11-08 at 21:48 -0700, Abraham Lee wrote:
> It looks like they use MusicXML as their main data format then process
> it into LilyPond syntax for engraving on their server.
> Maybe we could work with them to leverage their converter if it works
> well.
This is highly unlikely, I think
Abraham Lee writes:
> While perusing the main LilyPond website, in the announcements
> section, I only just discovered the online software Scorio that acts
> as a GUI front end to LilyPond 2.16. Does anyone on this list actually
> use it? I don't think I ever will for a number of reasons, but I w
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