Hi Marc,
nice to hear, that you have a workflow.
For the record I noted two things in the file. (And if there's some
spare time, I might further work on it.)
1. The durations are tagged by score and stored in an a-list, so you can
first collect durations in multiple scores and display them la
Hi Dimitris,
I think it was a typo:
ot =
#(define-music-function (mus) (ly:music?)
#{
\ottava #1
$mus
\ottava #0
<>^\markup \italic "loco"
#})
Cheers,
Pierre
2016-09-16 1:19 GMT+02:00 dtsmarin :
> UPDATE:
> This worked for me. Thanks again!
>
> ottavaWithLoco =
> #(define-
On Thu 15 Sep 2016 at 17:15:02 (-0600), David F. wrote:
> I have a song in 9/8 time with a pickup of three eighth notes. I expect
> Lilypond to beam those three eighth notes together, but it does not when I
> combine two voices with partcombine.
>
> Am I doing something wrong? Is Lilypond doin
On 9/15/16 5:17 PM, "Chris Yate" wrote:
>Oh yeah, these examples are a case in point! The first seems to suggest
>dots should stay within the area of the chord, while the second suggests
>it's ok to have dots extending the chord as long as they're balanced
>vertically.
The first follows her ru
UPDATE:
This worked for me. Thanks again!
ottavaWithLoco =
#(define-music-function (mus) (ly:music?)
#{
\set Staff.ottavation = #"8va"
$mus
\unset Staff.ottavation
<>^\markup \italic "loco"
#})
HTH,
Dimitris
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Au
Oh yeah, these examples are a case in point! The first seems to suggest
dots should stay within the area of the chord, while the second suggests
it's ok to have dots extending the chord as long as they're balanced
vertically.
Fundamentally the only difference between these situations is the size o
I have a song in 9/8 time with a pickup of three eighth notes. I expect
Lilypond to beam those three eighth notes together, but it does not when I
combine two voices with partcombine.
Am I doing something wrong? Is Lilypond doing something wrong? How might I
work around this?
Thanks!
David
On 9/15/16 4:15 PM, "Chris Yate" wrote:
>
>Please note I'm working without her examples, but I disagree about
>[Lilypond's interpretation of] Gould's rules, because they appear to be
>in contradiction with **every piece of published music I've ever seen**.
>Given just her text, I think she has
On 15.09.2016 22:13, dtsmarin wrote:
Hi everyone!
Is it possible in Lilypond to create a function that detects the last
note\beat
Writing LilyPond code does influence habits…
of a text spanner and then places a markup on the following beat?
e.g. \spanner { %music } r <- here the function
On 09/15/2016 12:41 PM, Chris Yate wrote:
I think the trouble with Gould's rules is that they're inconsistent,
or could at least be interpreted in such a way. She says to use dots
only on the spaces occupied by the chord, and yet says you MAY need to
put a dot a space or more away from the ch
On 15.09.2016 22:25, Malte Meyn wrote:
Am 15.09.2016 um 21:46 schrieb Simon Albrecht:
if in a piano score the right hand begins in bass clef, it is customary
to write a treble clef first and change to bass clef after the time
signature, presumably to draw more attention. Is there any more elegan
On 15 Sep 2016 22:45, "Carl Sorensen" wrote:
>
>
> On 9/15/16 10:41 AM, "Chris Yate" wrote:>
> >
> >I think the trouble with Gould's rules is that they're inconsistent, or
> >could at least be interpreted in such a way. She says to use dots only
> >on the spaces occupied by the chord, and yet sa
On 9/15/16 10:41 AM, "Chris Yate" wrote:
>On Thu, 15 Sep 2016 at 17:33 Carl Sorensen wrote:
>
>
>
>I note that sib1.png is exactly the same chord as in the Gould scan. And
>it has two less dots than Gould shows. So it's not consistent with Gould.
>
>
>
>
>I'm not quite sure what she's showing
Am 15.09.2016 um 21:46 schrieb Simon Albrecht:
if in a piano score the right hand begins in bass clef, it is customary
to write a treble clef first and change to bass clef after the time
signature, presumably to draw more attention. Is there any more elegant
way than this kind of fake in LilyPo
Hello,
if in a piano score the right hand begins in bass clef, it is customary
to write a treble clef first and change to bass clef after the time
signature, presumably to draw more attention. Is there any more elegant
way than this kind of fake in LilyPond?
\version "2.19.47"
{
\clef treb
Not sure if that's also acceptable, but what *does* work is use of
simultaneous voices:
\version "2.19.44"
\new Voice <<
{ a }
{ b\p }
>>
Am 14/09/16 um 14:49 schrieb David Kastrup:
Menu Jacques writes:
Hello folks,
Just for a try:
\version "2.19.44"
\relative { }
On 9/15/16 8:01 AM, "Chris Yate" wrote:
>On Thu, 15 Sep 2016 at 14:36 Chris Yate wrote:
>
>
>> According to Gould, I believe that dots limit 3 is the correct setting.
>
>
>
>
>
>OK. On reflection, perhaps I can see your reasoning, although I disagree
>that the current situation reliably produc
On Thu, 15 Sep 2016 at 17:33 Carl Sorensen wrote:
>
> I note that sib1.png is exactly the same chord as in the Gould scan. And
> it has two less dots than Gould shows. So it's not consistent with Gould.
>
I'm not quite sure what she's showing in that example you scanned, but I
thought it was a
On 9/15/16 10:11 AM, "Chris Yate" wrote:
>For the sake of argument, here's what Sibelius does in similar
>circumstances, and which I think is right, and actually within the spirit
>of Gould's coments.
I note that sib1.png is exactly the same chord as in the Gould scan. And
it has two less dot
For the sake of argument, here's what Sibelius does in similar
circumstances, and which I think is right, and actually within the spirit
of Gould's coments.
Chris
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Kieren MacMillan writes:
> Hi all,
>
> Solved my own problem (I think?): the modified version (below) appears to
> work as expected.
>
> On a related topic: I [clearly] don’t understand when “layout props”
> is necessary, and when it’s not.
It's necessary for functions taking "layout props" arg
On Thu, 15 Sep 2016 at 16:37 Carl Sorensen wrote:That
certainly is strange. I wonder why it drops to four dots instead of
> 5, given that there are 5 notes in the cluster. And the G space dot would
> only be two staff positions away from the E.
>
> I'm looking into the code now. I'll see if I
Kieren MacMillan writes:
> Hello all,
>
> In the snippet included below, I’m hoping the second line of the
> scoreTitleMarkup will take no vertical space. If you comment out that line,
> you’ll see that it *does* take no space, but when it’s included, so is the
> 25mm spacing that is [I though
On 9/15/16 8:35 AM, "Chris Yate" wrote:
>
>Thanks -- but that example is about balancing the dots around a chord,
>which I believe we're not disagreed about. (This scanned example is
>related her statement about not placing the dots in one direction).
I believe the first chord \relative c'{ 4.
Hi all,
Solved my own problem (I think?): the modified version (below) appears to work
as expected.
On a related topic: I [clearly] don’t understand when “layout props” is
necessary, and when it’s not.
Is this explained in the docs somewhere?
Thanks,
Kieren.
SNIPPET BEGINS
\version "2.1
Hello all,
In the snippet included below, I’m hoping the second line of the
scoreTitleMarkup will take no vertical space. If you comment out that line,
you’ll see that it *does* take no space, but when it’s included, so is the 25mm
spacing that is [I thought] conditional on the presence of a ‘t
On Wed 14 Sep 2016 at 18:49:03 (-0700), James Evensen wrote:
> When I said "tie," I meant that general family of expressive marks as I
> wasn't sure how to refer to them in the context of lyrics.
Well I've always called them ties if only because the character
itself is called an undertie (Unicode
On Thu, 15 Sep 2016 at 15:22 Carl Sorensen wrote:
>
>
> On 9/15/16 7:36 AM, "Chris Yate" wrote:
>
> >Carl, the key is the last bit of Gould's text as quoted by Brian above:
> >"When a dot is forced to be two or more stave-spaces from the chord, its
> >function becomes less relevant. In such case
On 9/15/16 7:36 AM, "Chris Yate" wrote:
>Carl, the key is the last bit of Gould's text as quoted by Brian above:
>"When a dot is forced to be two or more stave-spaces from the chord, its
>function becomes less relevant. In such cases, use only as many dots as
>cover the number of stave-spaces t
On Thu, 15 Sep 2016 at 14:36 Chris Yate wrote:
> > According to Gould, I believe that dots limit 3 is the correct setting.
>
OK. On reflection, perhaps I can see your reasoning, although I disagree
that the current situation reliably produces the notation one would expect.
And it's insufficientl
On 9/13/16 11:53 AM, "Chris Yate" wrote:
>
>Thanks Werner. That's potentially a useful workaround. But the default
>behaviour is obviously broken. There's no way I should see a dot placed
>on the space above or below a note on a space -- obviously notes on a
>line are a different matter. As fa
On 9/14/16 9:05 AM, "Chris Yate" wrote:
>
>
>
>Attached with some extra cases I'd forgotten about (the inverted versions
>of the final 6.
According to Gould, I believe that dots limit 3 is the correct setting.
Case 1: Gould says that the dot in the A space is correct. The only dots
she remove
On 15 Sep 2016 14:27, "Carl Sorensen" wrote:
>
>
>
> On 9/14/16 9:05 AM, "Chris Yate" wrote:
> >
> >
> >
> >Attached with some extra cases I'd forgotten about (the inverted versions
> >of the final 6.
>
> According to Gould, I believe that dots limit 3 is the correct setting.
>
> Case 1: Gould sa
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