Hi Jean,
This is great. I installed the latest version and it is all working fine.
Thanks very much. --Jim
Hi Jean,
thanks for pointing that out. It looks like the functionality I need does
not exist in the previous versions of lilypond. And Ubuntu still only
provides 2.20. Hopefully I can build 2.22 by hand. best, Jim
On Sun, 21 Aug 2022, Jean Abou Samra wrote:
Le 21/08/2022 à 22:59, Jean
obaldi-w92qas0f/tmpfkzkv4p5/document.ly"
regards, Jim
Hello, I would like to indicate fingerings for a pitched trill, and also
be able to control where they appear. The
\set fingeringOrientations = #'(left) is ignored in the trill context, and
the fingering is ignored for the secondary note of the trill. Any ideas?
regards, Jim
\version &q
It's nice to feel like my original question was not so dumb after all :)
Hi Jean, this is very useful, thank you! --jim
On Fri, 5 Aug 2022, Jean Abou Samra wrote:
Le 05/08/2022 à 19:49, Jim Cline a écrit :
Hi Kieran,
that's perfect. Now that I've seen this kind of construction before in
several contexts, I feel like I should be able to figure
at the bottom of the page
to learn the name of the thing I'm trying to move. best, Jim
On Fri, 5 Aug 2022, Kieren MacMillan wrote:
Hi Jim,
There are many ways to do this, but the easies would probably be to tweak the
extra-offset:
\version "2.20.0"
\relative c'' {
Hello, I have a passage with a double trill. I think it looks bad to have
the lower trill symbol so far from the note, and would like to have it
closer, overlapping with the staff. Could not find any documentation on
this so far. regards, Jim
\version "2.20.0"
\relative c&
Hi Eef, thanks for that solution. regards, Jim
On Thu, 4 Aug 2022, Eef Weenink wrote:
\version "2.20.0"
upper = \relative c'' {
\clef treble
r2. \hideStaffSwitch\change Staff = "lower" r4*1/2 s8 |
}
lower = \relative c {
\clef bass
b8 ees, aes c, b
p.s. Isn't it also weird that the pedal-off symbol is not horizontally
aligned with the pedal-on symbol?
On Thu, 4 Aug 2022, Jim Cline wrote:
I have a score where the sustain starts in the voice in the bass clef, and
ends after the voice crosses into the treble clef. It compiles but w
eStaffSwitch\change Staff = "lower" r4*1/2 s8 \sustainOff |
}
lower = \relative c {
\clef bass
b8 ees, aes c, b \sustainOn ees' \showStaffSwitch\change Staff = "upper"
aes ees' |
}
\score {
\new PianoStaff <<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
>>
\midi { }
}
regards, Jim
whether \hspace is present. I guess \vspace is not
intended for use within markups? --Jim
Can you provide a MWE? (https://lilypond.org/tiny-examples.html)
--
Knute Snortum
Sure, here is one. The vspace is ignored, no matter what value is given.
%%%
\version "2.20.0"
\relative c {
\time 3/4
g'' e' d_\markup{\hspace #-4 \vspace #-7 x}
}
--Jim
e
over the default output.
In the present example, the accent being so far away from the note leaves
the performer in doubt about whether it applies to the inside voice rather
than the whole chord, so I was trying to make that more clear.
thanks--jim
Hi Knute, thanks, that works. I am also trying to figure out how to do
the analogous thing with the placement of a markup text. Putting the same
tweaks within the markup does not compile. Putting
\markup{\hspace #4 \vspace #-2 text}
applies the hspace but ignores the vspace. --Jim
I
space in markup does not allow me to do it. --Jim
As a programmer in other languages, I like to think of arguments being
enclosed in some kind of brackets, like a function f(x,y(z)). That's why
I alway enclose what I'm marking up within {}; what's inside are the
arguments of the markup. Using your explanation then it looks like
bes^\markup
Hi Aaron, thanks for that. I thought I had tried all permutations of the
order of specifications but I missed that one. It's hard to guess which
one is correct.--Jim
What you have effectively done is this:
\markup {
\smaller { \with-color #blue { \hspace #-3 } }
text
}
You
es^\markup{\smaller \with-color #blue \hspace #-3 text} r4
bes^\markup{\smaller \with-color #blue text}
}
\score {
\new Staff = "lower" \lower
}
The second text has the right font and color, but the first one only has
the right horizontal position. --Jim
the measure in question.
best regards, Jim
On Wed, 27 Jul 2022, William Rehwinkel wrote:
Hey Jim,
A little while ago I found this email which describes enabling the slur
engraver on the staff level instead of voice level. Did you see this before,
or give it a try?
https://lists.gnu.org/archive/ht
he full number of
beats to make a measure. It seems like this issue was last discussed in
2015,
https://lists.gnu.org/archive/html/lilypond-devel/2015-03/msg00288.html
unless I missed something. Has this limitation been addressed since then?
regards, Jim
Hi Knute, that's great, thanks very much!--Jim
I am frequently getting ties that are so short as to be invisible. This
was discussed in a previous thread, and I was happily using the solution
given by
https://lists.gnu.org/archive/html/lilypond-user/2015-02/msg00069.html,
which is to insert \once \override Score.NoteColumn.X-offset = 1.5 b
sorry to all who had responded to this question (with better solutions
than mine). For some reason I didn't get notified of these posts so I
didn't see them until now.
I discovered one needs to override the color change within each voice,
rather than in the staff definition. Probably it's somewhere in the
documentation, though I could not find it. Here is the working version:
\version "2.20.0"
upper = \relative c'' {
\override Fingering.color = #red
\c
ently. Any
suggestions will be appreciated. regards, Jim
\version "2.20.0"
upper = \relative c'' {
\override Fingering.color = #red
\clef treble
\key c \major
\time 4/4
a-1 cis' \tuplet 3/2 {8~ }
}
lower = \relative c {
\override Fingering.color = #red
I want to change the fingering color to red in my piano score.
Using
upper = \relative c'' {
\override Fingering.color = #red
for the upper staff works, but adding the same for the lower staff
lower = \relative c {
\override Fingering.color = #red
leaves the fingering in black in the lowe
ah, newbie mistake!
thanks Jean!
(actually I had searched the documentation but obviously not thoroughly
enough)
On Sun, 17 Jul 2022, Jean Abou Samra wrote:
Le 17/07/2022 à 20:00, Jim Cline a écrit :
Hello, sorry if I missed it, but I did not find it by searching the
archives. I would
but I want it more articulated, hence
the grace notes. regards, Jim
So I figured out how to make and adjust a slur on my own. I am really
wondering though if there is a more elegant way like how simple it is to do
\repeatTie.
\version "2.18.2"
\language "english"
\relative c'' {
\key d \major
\time 4/4
\repeat volta 2 {
d4 d8 d8~ d8 a4 d8(
}
I have an alternative ending that includes a slur. I know there is a
\repeatTie command for ties across alternate endings, but is there anything
as simple for slurs?
ou did
as I'm learning Gradle.
Thanks again,
Jim
From: David F.
Sent: Saturday, December 7, 2019 6:17 PM
To: Jim Duke
Cc: Lilypond User (lilypond-user@gnu.org)
Subject: Re: Complex/Large Lilypond projects and build automation
On Dec 7, 2019, at 2:35 PM, Jim Duke
mailto:j...@dukeboys.
I have a large Lilypond project for several hymnals. The project is organized
into a subdirectory structure with each hymn in a separate directory. For each
hymn I produce several products: an 8.5x11 PDF, a 6x9 PDF, a set of images
formatted for projection at 4x3 and 16x9 aspect ratios, and a
Sorry for all the ? replacing the tabs in my last post -
not sure which step made that transformation -
I try again after removing all the tabs
Jim
I have been using a perl regular expression to parse lilypond notes for my own
application,
which handles guitar notes with possible right hand
I have been using a perl regular expression to parse lilypond notes for my own
application,
which handles guitar notes with possible right hand, left hand, plectrum,
string, glissando markings.
Thus it only includes some of the features of lilypond notes. It assumes
english note names
(easily
.com]
Sent: Friday, November 11, 2016 6:04 PM
To: Lilypond-User Mailing List ; Jim Duke
Subject: Re:Advice about layout / page formatting
-- Forwarded message ------
From: Jim Duke mailto:j...@dukeboys.org>>
To: "Lilypond User (lilypond-user@gnu.org<mailto:lilypond-user@gnu
eeded.
On my Windows computers, the problem showed up for sizes 17, 18, 19, and 20.
Below that range, and above that range had no issues.
-Original Message-
From: David Wright [mailto:lily...@lionunicorn.co.uk]
Sent: Monday, October 31, 2016 3:19 PM
To: Jim Duke
Cc: Phil Holmes ; Tho
se why.
Thanks for all the help
-Original Message-
From: Phil Holmes [mailto:m...@philholmes.net]
Sent: Monday, October 31, 2016 5:06 AM
To: Thomas Morley ; Jim Duke
Cc: lilypond-user@gnu.org
Subject: Re: Shape note font failures
- Original Message -
From: "Thomas Morley&
I'm typesetting some A Capella music for congregational singing the uses the
7-note (Aiken) shape note system. I've found that based on the system size
some of the half note heads for RE (d in the example) are indistinguishable
from quarter notes. Basically the interior of the note head is fil
I'm seeking advice on how to approach typesetting some hymns for use in
worship. The music in our worship is A Capella congregational singing, and we
use both sheet music, which we put in folders in the pews, and slides, which we
project on a large screen at the front of the auditorium. For ea
I need to fill in the end of a score (a melody) with
rests to the end of the final measure, if needed.
Any ideas for how to do that, like writing a new function or ...?
Thanks,
Jim
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https
en't found any variant of this that works.
Thanks!
Jim Garrett
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bels under the pressed keys would be a nice plus.
Thanks,
Jim
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to create individual files
and compile, with perl script.)
Any advice about svg settings, lilypond input format, etc., to create many
icons of short phrases?
Thanks,
Jim
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m the chapters of a book in development.
And no doubt plenty of bugs in what is live ;>)
I thought you lot might like to see how I'm using lilypond.
Peace,
Jim
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Does there exist a directive that will automatically fill
the last measure of a voice with rests?
If not, any pointers for programming such would be welcome.
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cores algorithmically and this
would be a pleasant shortcut ...)
Peace,
Jim
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> groupings, especially
with the right-hand markup syntax as "\RH #2 " (space at the end required) )
Thanks all,
Jim Tisdall
\version "2.18.2"
\language "english"
\score {
\new StaffGroup <<
\new Staff {
\language "english"
\c
I seem to have found a fix ...
Message: 5
Date: Wed, 3 Feb 2016 19:06:21 -0500
From: Jim Tisdall
To: lilypond-user@gnu.org
Subject: mac web fontconfig slowdown
Message-ID: <56b295fd.5040...@tisdall.net>
on mac os x 10.11.2, lilypond 2.18.2, plenty nice mac pro plenty ram
Serious slowdo
on mac os x 10.11.2, lilypond 2.18.2, plenty nice mac pro plenty ram
Serious slowdown due to font configuration - 30 seconds delay
while "FontConfig" is called - happens when you do a
lilypond -V for instance.
Fixed from command line using /opt/local/bin/fc-cache
for each user (root, me, ...)
On Wed, Jun 17, 2015 at 08:33:26PM -0500, Daniel Contreras wrote:
> A common practice in arranging for salsa or Latin music I am
> finding out is that when one is dealing with a d.s. al coda and
> things of that nature, it may require for the staff to stop at the
> double bar line, notate the ds an
On Mon, Apr 27, 2015 at 04:44:52PM +0200, Urs Liska wrote:
>
> What we have in Frescobaldi depends on what we can "catch" by either
> listening through engravers or by redefining command. So far I haven't
> found a notion of a grob knowing if it has been tweaked or not.
As a Scheme/Lilypond nov
On Mon, Apr 20, 2015 at 08:19:37PM -0700, Jim Long wrote:
...
> I'm not I understand
...
I'm not *sure that* I understand
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On Fri, Apr 17, 2015 at 04:45:20PM +0200, Gilles wrote:
> If and when "big" publishers use LilyPond, the result will be more
> restricted access (through cost) to culture (because they won't release
> their proprietary contents).
Forgive me if I've missed important bits of this conversation, but
I
On Mon, Apr 20, 2015 at 01:14:55PM +0200, Federico Bruni wrote:
> 2015-04-07 19:47 GMT+02:00 Joshua Nichols :
>
> > Hello all,
> >
> > I apologize if this question has already been asked.
> >
> > Has the new version of pango been ported to the binaries on
> > mac/windows/linux? I noticed here
> >
ally, I can't get the latter to work on short notice, so here's
the former:
\version "2.18.2"
\score {
\new Staff {
c4 c c c |
R1\fermataMarkup ^"G.P." |
c4 c c c |
c2 r2\fermata ^"G.P." |
c4 c c c |
c2
\once \override S
Disregard the line:
test|\
in that file. That's leftover cruft from testing.
A revised script is attached.
On Sun, Mar 29, 2015 at 12:05:04AM -0700, Jim Long wrote:
>
> usage:
>
> foo.sh (architecture)
>
> where (architecture) is one of:
>
> linux-x86
>
ficiently, or if the directory structure at
linuxaudio.org were to change sufficiently.
HTH,
Jim
foo.sh
Description: Bourne shell script
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On Sat, Mar 28, 2015 at 07:45:51PM +, bobr...@centrum.is wrote:
>
> - Original Message -
> > From: "Noeck"
> >
> > A naive question: Could the \cadenzaOff command be changed in a way that
> > it automatically implies the end of a measure at that point.
>
> I can think of instances w
D'oh! Thanks for catching my proofreading error.
On Sun, Mar 22, 2015 at 12:20:46AM +0100, Noeck wrote:
> > PATH=${PATH}:/Applications/LilyPond.app/Contents/Resources/bin/musicxml2ly
>
> The folder should be in the path, not the executable:
>
> PATH=${PATH}:/Applications/LilyPond.app/Contents/
On Fri, Mar 20, 2015 at 12:20:56AM +0100, Martin Tarenskeen wrote:
>
> I am not a Mac user. But first thing I thought was: doesn't a Mac have a
> PATH variable like Linux and Windows have, where the long path to
> ./bin can be added before having to type such long commands?
Also, like most
On Tue, Mar 17, 2015 at 10:21:55AM -0700, H. S. Teoh wrote:
>
>
> http://lilypond.org/doc/v2.18/Documentation/notation/special-rhythmic-concerns#aligning-to-c
adenzas
Wow, those functions are almost buried in the docs. I don't see
either of them in the index, and I would never have guessed
use that. It's easier than writing
something new that does the same thing.
This does have the limitation that you have to set an arbitrary
size limit, the maximum duration of moments of rest that can be
created via this method. In this example, that limit is set at
50,000 bars.
he global music variable, so that both
your full score and your individual parts will have identical
rehearsal marks.
Jim
On Thu, Mar 12, 2015 at 08:37:13PM +, Craig Dabelstein wrote:
> Hi Jim,
>
> When I put in the "Da Capo" as a text markup in the global section, it
ing with X-extents and offsets, I don't
know how to do anything about it.
My approach uses TextScript markup objects instead of RehearsalMark
objects. I hope it will give you some ideas about alternative
solutions to your problem.
Jim
On Thu, Mar 12, 2015 at 07:35:44PM +, Craig Dabelst
60 % bpm
Although, if you've moved the MetronomeMark engraver into a
different context (other than the default 'Score' context), then
you'll have to change the '\override Score...' to match the
context you used.
Also, two st
rase } s1*11 % copy first 11 bars
d'4 f' e' c' % 12th bar
}
But \taggedRep doesn't quite fit that use case. Hmm, I'll have
to muse over it a while and see if new uses for \taggedRep reveal
themselves to me.
Thanks again!
Jim
\include "extractMusic.ily" % htt
27;' { a a a a }
In other words, I'd like to find a function similar to
\keepWithTag, except that the returned music expression would be
entirely free of all tags. Perhaps even better would be a
general function which simply strips \tag attributes from a music
expression, but leaves th
On Mon, Mar 09, 2015 at 03:01:46PM -0400, st...@linuxsuite.org wrote:
>
> Umm,,, no I don't want a ragged layout. I want the last line on
> the last page to fill the line..
That's ragged-last = ##f (2.18.2 NR 4.1.5). Even better, ##f is
the default value, so you should be fine just searc
e-break-permission = ##f
#music
\revert Score.NonMusicalPaperColumn.line-break-permission
#})
Its usage is:
\noBreak { \music }
around segments of \music where you wish to forbid line breaking.
Regarding the second point, you want ragged-right = ##f, as the
attached example shows.
HTH,
Jim
\version &q
On Tue, Feb 24, 2015 at 10:14:22AM -0700, Paul Morris wrote:
> Jim Long wrote
> > Is there a way I can define a context based on ChordNames and
> > have it automatically inherit all of the properties of a
> > ChordNames context, except the ones that I specifically ch
erties of a
ChordNames context, except the ones that I specifically change in
my custom definition? In other words, a way to eliminate the
need for the second \context {} block in your example?
Jim
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usic on 1 page...
Drawing systems...
Layout output to `foo.ps'...
Converting to `./foo.pdf'...
Success: compilation successfully completed
How can I modify the second score's source to have the scores
engrave the same in the output file?
Thank you!
Jim
\version "2.18.2"
\sc
ssociated my problem with the RhythmicStaff,
because the wider-than-usual system spacing happened whenever
there was a non-hidden RhythmicStaff in a given system.
I can now make some aesthetic improvements to several of my
charts.
Thanks again!
Jim
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d?
Thanks!
Jim
\version "2.18.0"
\paper { ragged-last-bottom = ##f }
melody = \new Staff \with {
\override VerticalAxisGroup.staff-staff-spacing = #'(
(basic-distance . 1)
(minimum-distance . 1)
(padding . 1)
)
} \
http://lilypond.org/doc/v2.18/Documentation/notation/line-length
On Sat, Feb 14, 2015 at 03:58:17PM -0400, William Marchant wrote:
> Hi,
> I have a CODA at the end of a song, which I would like to keep by itself
> on the bottom line. There are three bars with one or two notes each and
> it loo
> It is more complicated than that. Here is the ideal model for
> OpenType ligature handling.
Thank you very much, Werner.
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On Fri, Feb 13, 2015 at 12:36:10AM +0100, Noeck wrote:
> Hi Jim,
>
> concerning ligatures, you can forget about my paper block. It was just there,
> because I know this font has ligatures. This markup line should be all you
> need:
>
> >> \markup "Ligature
the version statement is updated
only to 2.16.0.
Lose the -d switch if you don't want that behaviour.
HTH,
Jim
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utable comes first in the
search path. But no matter.
> Looking into the file /usr/bin/convert-ly shows, it's 2.18.2
What's the URL of the source file you're converting?
Jim
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convert-ly binary
that got installed is the same as the one inside the package
archive.
HTH,
Jim
On Mon, Feb 09, 2015 at 01:47:31PM -0700, Thomas Spuhler wrote:
> -BEGIN PGP SIGNED MESSAGE-
> Hash: SHA1
>
> I am trying to build Messiah I downloaded from a WEB -site. There i
yntax to use in your chord exceptions list?
I can't vouch for whether pop-chords Does The Right Thing (tm) or
not, but
c:sus4.7
is the syntax that works for Lilypond proper.
Jim
\score {
<<
\new ChordNames \chordmode { c1:sus4.7 }
c'
&g
On Mon, Jan 19, 2015 at 06:26:38PM -0800, Jim Long wrote:
>
> That is, a closing volta barline which has no matching opening
> volta barline repeats either to the beginning of the piece, or to
> the nearest double barline, whichever is closer.
My apologies for not describi
piece, by
default.
What I didn't know until somewhat recently, is that a
double barline is handled the same as the beginning of a piece.
That is, a closing volta barline which has no matching opening
volta barline repeats either to the beginn
On Mon, Jan 19, 2015 at 09:36:55AM -0500, Kieren MacMillan wrote:
>
> > Melody + chords (tunes, e.g. Irish or old-timey)
>
> That's a "lead sheet" in my parlance.
IMO, it would be useful to include an (optional) lyric context in
th
* replace "<<...>>" with {...} on the \new Staff statement.
...
That is the correct solution, IMO.
HTH,
Jim
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On Thu, Jan 08, 2015 at 11:19:44AM +1100, Brett Duncan wrote:
>
> Jim, I just tried the above in Lilypond 2.19.15, and it worked fine -
> maybe the simplest solution is an upgrade!
>
> Brett
Thank you very much, Brett! That'
Y'know, one other syntactic oddity this has shown me is that
\chordmode requires the braces around its music expression, even
if it is a single chord:
\chordmode c1
is not okay, it has to be
\chordmode { c1 }
Not a problem, just a curiousity.
On Wed, Jan 07, 2015 at 03:46:39PM -0800
n resulting in a number
of strange chord alterations.
Compilable example attached! It's still somewhat klunky, but it
does at least meet my test of not artificially lengthening the
number of beats/measures of music.
Thanks for getting the thought processes going!
Jim
> But I?m sure someone
hope I've explained this well, I'm not so sure right now! :) If someone
feels like they could help if they had a clearer example, I'll try to cobble
one up.
Thank you!
Jim
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Have a look at:
http://lsr.di.unimi.it/LSR/Item?id=838
Jim
On Mon, Jan 05, 2015 at 01:39:46PM -0700, Jay Hamilton wrote:
> I'm feeling really stupid because I can't find this information (and I
> know it's there) in the manuals either online or in the pdfs.
> basical
On Tue, Dec 23, 2014 at 06:58:58PM +0100, Noeck wrote:
> Am 22.12.2014 um 22:26 schrieb Garrett Fitzgerald:
> > It's actually been discussed on meta - consensus is that people should
> > actually come over here for help. :-)
> >
> > http://meta.stackexchange.com/questions/168297/on-which-site-are-
gt;
> #(define-bar-line "||-r" "||" "||" "||")
>
> \score {
> \new Staff {
> \bar "||-r"
> \repeat volta 2 { c'1 c'1 }
> }
>
> \layout {
> \context {
> \Score
> startRepeatType = #"||-r"
> endRepeatType = #"||-r"
> %% not needed in the minimal example
> %doubleRepeatType = #"||-r"
> }
> }
> }
Thanks, Harm. Hopefully that will solve the OP's needs more
reliably than the crude solution I suggested.
Cheers,
Jim
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On Tue, Nov 11, 2014 at 11:18:55PM +0100, Thomas Morley wrote:
> 2014-11-11 22:31 GMT+01:00 Chris Crossen :
> >
> > On Nov 11, 2014, at 2:02 PM, Jim Long wrote:
> >
> >> On Tue, Nov 11, 2014 at 01:39:23PM -0700, Chris Crossen wrote:
> >>> Is it possib
On Tue, Nov 11, 2014 at 01:39:23PM -0700, Chris Crossen wrote:
> Is it possible to get different repeat bar images when using \repeat volta ?
One way, although probably not the best way, is to simply
specify the bar type with the \bar directive:
\version "2.19.3"
\new Staff {
c'1
\bar "||"
t Lilypond auto-space the systems on the
page to fill the page. To do this, use this paper block instead
of the one above:
\paper {
ragged-last-bottom = ##f
}
HTH,
Jim
On Thu, Nov 06, 2014 at 08:43:29PM -0600, Chris Trahan wrote:
> I'm new to Lilypond. I have a simple score that
If you need to make lots of edits to instances of \relative in
your source code, then:
1) sed(1) is your friend;
2) that's what DEFINE's are for.
On Tue, Nov 04, 2014 at 04:02:21PM +, Mark Veltzer wrote:
> Unfortunately I cannot use convert-ly, since on a large project such as I am
> workin
Apologies if this should be on the developer list; please forward
if so.
How can I search for non-open issues that I have starred? The
search dropdown permits me to search only for open, starred
issues.
http://code.google.com/p/lilypond/issues/list
Thanks,
Jim
Sorry for the noise on this one. It seems I misunderstood how
the tracker defines "Open." I can view all the issues I've
starred.
Jim
On Fri, Oct 31, 2014 at 09:29:54PM -0700, Jim Long wrote:
> Apologies if this should be on the developer list; please forward
> if so.
>
or 4/4 is
a no-op, and can be omitted. But that is a special case.
The general case is that a full-measure rest is always coded as:
R1*(time-sig)
where (time-sig) is the fractional representation of your time
signature.
Jim
On Sat, Nov 01, 2014 at 05:21:54AM +0100, Dr. Bernhard Kl
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