Re: Key signature shifted

Denis Bitouzé wanadoo.fr> writes: > In that cases, wow, nice and powerful! > > But in my case (empty key after key cancellation), it looks > rather strange, isn't it? > There is a bug report proposing that LilyPond put the key signature

Re: Changing accidental style for one section of a piece

James Harkins gmail.com> writes: > I would like to use one of the more modern accidental styles, > but only in that section. > It wasn't clear if the style could change in the middle of a piece. I would think it should work. So far, it works for me to put \accidentalStyle in the middle of musi

Re: cautionary accidentals based on cautionary in another staff?

Kieren MacMillan sympatico.ca> writes: > Has anyone solved this problem, i.e., including cautionary accidental(s) > in one staff if one was required in the same measure of another staff in the > same score? > Exactly this rule probably won't work for you, but I set a rule to set cautionary acc

Re: Dynamics: widely varying vertical positions

James Harkins gmail.com> writes: > Why is it a good idea to have the "mp" so much higher than the hairpin and > "p"? > Between tight staves, to keep the dynamics close enough to their home staff so they don't look like they might belong to the upper voice on the next staff down. > Is there a s

Re: User comments on R shorthand

David Kastrup gnu.org> writes: > Now look at the output of > music = { \time 4/4 a1 a1 a1 a1 } > \new Staff << \music \\ { f1 \time 12/4 f1 f1 f1 } >> > which is a perfectly valid though slightly capricious LilyPond file. That is how I join parts together with time changes, and I didn't thin

Re: Tempo marking pushes rehearsal mark far above the staff

James Harkins gmail.com> writes: > In this minimal example, there's a collision between the rehearsal and > tempo marks. LP resolves the collision by pushing the rehearsal mark > rather far above the staff. > % No discernible effect, even with much larger numbers > \override Score.Rehearsal

Re: Tempo marking pushes rehearsal mark far above the staff

On Sat, 30 Mar 2013 06:20:55 -0700, Kieren MacMillan wrote: both MetronomeMark and RehearsalMark need to have space reserved. If any two grobs "have space reserved", will collision avoidance always be accomplished horizontally? That is what I meant by "have space reserved", so yes. The

Re: tie between voice & transpose a to g

> 2013/4/11 MING TSANG rogers.com>: > > I have a hard time coding cross voice tie. > > I end up of splitting the chord into two voices. > That is the way to think of the music in LilyPond's terms. The tied note is written with two notes, but is one sound and logically stays in one voice. The

Re: PercentRepeats not centered for more than two bars

Peter Crighton googlemail.com> writes: > Anyway, for me the important part is how to center the > DoublePercentRepeat (as in a two-bar repeat). > \compressFullBarRests This collapses multi-measure rests into one measure for parts, and collapses measures with slash-repeats in a way that /might

Re: sustain pedals way below staff

Derek shmerek.com> writes: > Nevermind i think I sorted it wiht \override VerticalAxisGroup etc etc > In case anybody else has the same problem, His output looked like version 2.14, so let's guess this was the bug http://code.google.com/p/lilypond/issues/detail?id=2102, fixed for 2.16, and tha

Re: Rests in TabVoice

Peter Crighton googlemail.com> writes: > > Peter Crighton googlemail.com> writes: > > > > > Hello there, > > > > > > would it be possible to attach rests in a TabVoice to a different > > > line? At least whole and half rests look terribly vertically > > > off-centered, especially in four-line st

Re: "stacked" tempo indications in one line

Stefan Vollmar nf.mpg.de> writes: > \override Score.RehearsalMark #'extra-spacing-width = #'(-1 . 1) > \override Score.RehearsalMark #'padding = #1.5 > ... > \mark \default > \grace s1 > \tempo "Moderato" 4 = 120 > > I also needed the "extra-spacing-width", the "padding" and (curiously) > the

Re: cre - - sen - - do

Derek shmerek.com> writes: > Thanks for that. I assume this means at this juncture it isn't possible? > cheers Writing a chain of crescendos spelling out each syllable is possible { b2-\tweak#'text"cres"\cresc b b-\tweak#'text"cen"\cresc b b-\tweak#'text"do"\cresc b b1\f }

Re: 2.17.16 vs 2.17.17 Page Breaking

Jay Anderson gmail.com> writes: > Attached is a hymn (with annotated spacing on) which in 2.17.16 was > set nicely onto one page. In 2.17.17 it is now broken onto 2 pages > even though there appears to be room on the first page. I can create a > good test if needed, but I'm wondering if this was

Re: cre - - sen - - do

Derek shmerek.com> writes: > I tried within my dymanic stave and this was the result: > s4 s8 {s8-\tweak#'text"cre"\cresc s4 s8-\tweak#'text"scen"\cresc s8%|28 > s4 s8-\tweak#'text"do"\cresc s8 s4 -\tweak#'text"molto"\cresc s4%|29 > s4\f} s4 s4 s4%|30 >

Re: is MultiMeasureRest breakable?

Kieren MacMillan sympatico.ca> writes: > Is there a way to break MultiMeasureRests in the voice, so that > the piano part is spaced "naturally" (as > opposed to breaking the piano part in order to fit the voice's MMRs)? > Possibly nobody understands the context. Multi-measure rests are always

Re: is MultiMeasureRest breakable?

On Sat, 04 May 2013 19:21:23 -0700, Kieren MacMillan wrote: What I mean is, if the barline in another [polymetric] staff falls in the middle of a MultiMeasureRest, could Lilypond [automatically] split the measure, perhaps putting a parenthesized MMR on the following system? This came up no

Re: is MultiMeasureRest breakable?

David Kastrup gnu.org> writes: > "Keith OHara" oco.net> writes: > > The Bar_line_engraver does two jobs, printing barlines at the right > > places, and forbidding line-breaks at all other places. > > Not really. That is the job of the Forbid_line_break_e

Re: beams and note stems

Mark Stephen Mrotek ca.rr.com> writes: > How can I get all of the notes beamed and the stems of consistent length? >   \once\override Beam.concaveness = 0 % bug 657 before the first note of the beam. ___ lilypond-user mailing list lilypond-user@g

Re: Grace note displayed exactly on beat (and not before)

Siska Ádám sadam.hu> writes: > I was > wondering how I would be able to put the grace note just on the beat. > It is easiest to use normal notes and tell LilyPond that the durations shorter than normal, say 1/4 the written length, with c'16*1/4 and that the following note gets only a fraction

Re: Grace note displayed exactly on beat (and not before)

Keith OHara oco.net> writes: > I could not quickly figure out how to apply all the 'graceSettings > to the normal voice, but there is probably a way to do so and maybe > we should make a short command \graceSettings for that. > Some less-ugly version of graceSettings = \ap

Re: Best practice for parts with varying number of staves

Urs Liska openlilylib.org> writes: > Some parts vary the number of staves along the way (for example the > violas are written on one up to four(!) staves). > b) > I could add some 'padding' empty measures around each additional staff > to ensure that when the music starts in the middle of a sys

Re: Tempo marking pushes rehearsal mark far above the staff

On Sun, 19 May 2013 17:25:32 -0700, Kieren MacMillan wrote: Hi Keith, I'm proposing to make a full self-consistent set of overrides be the new default How's that going? I pushed the change, but then reversed it when I found out t

Re: Cross staff/cross voice arpeggio colliding with previous note

Michael Rivers gmail.com> writes: > In this excerpt from a piece I'm typesetting, the first two arpeggios are > fine, but the third collides with the previous note in the right hand's > upper voice. Is there a way to avoid the collision? > When you need more space between notes, you can use ext

Does the optimal-page-breaker work?

For a long time, since version 2.10 or before, LilyPond has broken music into lines while also estimating how many lines will fit on each page. From helping with bug-fixes I know these estimates are messy and difficult. When these estimates are wrong, in either direction, we get poor page-bre

Re: Does the optimal-page-breaker work?

On Mon, 27 May 2013 00:19:06 -0700, Werner LEMBERG wrote: I'm successfully using ly:page-turn-breaking with an organ piece, fitting about 200 bars on 11 pages. Good. Do you let LilyPond find page-turns at rests, or put in \allowPageTurn at every potential turn? The page-turn-breaker does se

Re: problem with \RemoveEmptyStaves

Werner LEMBERG gnu.org> writes: > In a big score, it removes staves even if only a single system > fits on a page, see the attached image. In some big scores (say, Mahler) you need to remove the empty staves just to let the rest fit legibly on a page. You might like it if you restore some stret

Re: Does the optimal-page-breaker work?

Werner LEMBERG gnu.org> writes: > >> I'm successfully using ly:page-turn-breaking with an organ piece, > >> fitting about 200 bars on 11 pages. > > I'm inserting \allowPageTurn commands: In virtually all places where a > turn could happen, one hand plays while the other hand can turn the > page.

Re: problem with \RemoveEmptyStaves

On Wed, 29 May 2013 02:58:44 -0700, Werner LEMBERG wrote: In a big score, it removes staves even if only a single system fits on a page, see the attached image. How can I avoid this? The last time this question came up, the suggestion was http://lsr.dsi.unimi.it/LSR/Item?id=312 Probably yo

Re: problem with \RemoveEmptyStaves

On Fri, 31 May 2013 21:17:02 -0700, Werner LEMBERG wrote: Thanks. *Very* kludgy. No, not at all. But it is a *manual* solution, Yep, but (after looking up 'kludgy' I see that) manual and kludgy are different things. What prevents Lilypond to do this automatically? I want an option th

Re: osia: hide first bar line on left hand of key signature

Konstatin Heuer neophon.eu> writes: > Is it possible to get the same result like with > > \remove "System_start_delimiter_engraver" > > between some Staffs only? > > So as to synchronize several GrandStaffs, that are not meant to be one score. > I suspect that I have misunderstood you, but

Re: Overriding skyline settings (for accidentals) in 2.17 ?

Paul Morris paulwmorris.com> writes: > However, in 2.17 setting the X and Y extent had no effect. The custom accidentals kept the same spacing as the > standard accidentals. > > I'm guessing that this may be due to the new "horizontal-skylines" and "vertical-skylines" properties > for accid

Re: Overriding skyline settings (for accidentals) in 2.17 ?

Paul Morris paulwmorris.com> writes: > > > Yes. If you set them to an empty list, the code uses the extents > > \override Accidental #'horizontal-skylines = #'() > > Thanks for the tip. I tried it and the result was that the space between the accidentals and notes collapsed: > Well, yo

Re: LilyPond identifier restrictions

Urs Liska openlilylib.org> writes: > Am 14.06.2013 15:36, schrieb David Kastrup: > > Everything outside of ASCII is allowed into identifiers. Just within > > ASCII, the rules are more complex. > > > Because it interferes with matching rules for other elements? > Exact. LilyPond's bug/improveme

Re: Aw: Re: Pseudo-handwritten font

Torsten Hämmerle web.de> writes: > I've attached a zip file containing the current (albeit unfinished) > versions of the LilyJAZZ music and LilyJAZZ Text font plus the > corresponding LilyJAZZ.ily include. > The main obstacle is the rigid way Lilypond handles its (her, his?) > internal music

Re: Right Hand Fingering Colision

Kale Good kalegood.com> writes: > I'm working with right hand fingerings and finding some pretty nasty > collisions. Any way to mend this? Probably \override StrokeFinger #'add-stem-support = ##t ___ lilypond-user mailing list lilypond

Re: Nesting \absolute in 2.16 (or alternative) for predefined bass line

Kale Good kalegood.com> writes: > I've got a bass line that I'm reusing with different arpeggios, but > when placed with certain arpeggios, it seems to be deriving its > pitch from the previous note (which happens to be in the other > voice, which is throwing everything off). You

Re: Dynamics, spacers, and partcombine used at once.

Dominic gmail.com> writes: > My goal is to produce an orchestral score which both > - uses *\partcombine* > - has dynamics separately defined To make this go smoothly, you will probably need to keep in mind how \partcombine works. \partcombine takes two music expressions and routes each note

Re: Reverting to atonal or open key

Micah Walter haverford.edu> writes: > Is there a way to revert to a key-free area? The third line below. You might want the first two, as well. \bar "||" \set Staff.lastKeySignature = #'() % if you want to hide the cancellation \set Staff.keySignature = #'() % no key

Re: Rehearsal mark alignment change from 2.16 to 2.17

Jim Long umpquanet.com> writes: > 2.16.2 centers each mark over its alignment symbol (the clef and > the barline, respectively). > > But in 2.17.26, the first mark is left-aligned with the > centerline of the clef, while the second mark is center-aligned > over the barline. > > Is this intentio

Re: Changes to VoltaBracket Y-extent interface since 2.16?

Jim Long umpquanet.com> writes: > > The attached snippet used to work in 2.16.2. Under 2.17.26, the > overrides have no visible effect on the volta brackets. Is > there a new way to control the Y-extent of volta brackets in > 2.17.x? One can still change the Y-extent in the same way, but th

Re: Changes to VoltaBracket Y-extent interface since 2.16?

On Tue, 17 Sep 2013 23:36:46 -0700, Jim Long wrote: On Wed, Sep 18, 2013 at 01:00:16AM +, Keith OHara wrote: The announcement of the change is at http://lilypond.org/doc/v2.17/Documentation/changes/index.html Also noted, thanks again. Here's why I was tweaking voltas to begin

Re: forcing bar number events

Werner LEMBERG gnu.org> writes: > It would be a great simplification if it would not be necessary to > artificially break up `R1*4' into `R1 R1*3'. > The multi-measure rests break on any event, tempo change, double bar..., so you could put a repeating s1*5 in the 'conductor' part if you want t

Re: Force slurs over accents

EdBeesley gmail.com> writes: > > Is there any way to make lilypond automatically slur over accents as in the > example below? See 'avoid-slur at http://www.lilypond.org/doc/v2.16/Documentation/learning/outside_002dstaff- objects You apply this to the Script in your case. Probably you want to

Re: Stuck note after acciaccatura in Midi output

Peter Gentry sunscales.co.uk> writes: > The problem vanishes if the \tempo specification changed to 179 > or slower. When I use LilyPond on the input you posted, the .midi file looks fine. LilyPond uses 384 ticks per crotchet and sets the tick rate based on the tempo. At 180 beats per minute,

Re: Problem with LilyJAZZ.ily

Thomas Morley gmail.com> writes: > 2013/10/8 Steve Noland thenolands.us>: > > Dear all, > > > > On a Mac, when trying to compile the jazz-test-3.ly file, I get the > > following error from Lilypond re: the LilyJAZZ.ily file: > Try replacing #(define (jazz-keysig grob) ...) with Keith's suggest

Re: Slur goes way too high in this passage

ryanmichaelmcclure gmail.com> writes: > That's the best part about Lilypond, > isn't it? :) > I've seen this page before. I'll have to take a stab at it > sometime. I'm heading to bed right now, and I'll work on this > music tomorrow at some point. I'll have to see what I

Re: Overlap markup

EdBeesley gmail.com> writes: > Actually I managed to get it working with \combine and \lower. It's a bit > 'hacky' though as you can see from the random spaces I had to put in: > Out of curiosity I'd love to hear if there are 'cleaner' ways of doing > it Using \combine seems the cleanest wa

Re: ChordNames in Staff context

Robert Schmaus web.de> writes: > The compiling resulted in hundreds of errors (after applying > convert-ly). It took some time to figure out, that the problem was the > statement > > \context { > \Staff > \accepts "ChordNames" > } > > in the score block. A google search turned up th

Re: Padding behaviour

Denis Shulyaka gmail.com> writes: > > I've written a score, but have missed one dynamics sign. Now if I try to add it, > it appear to eat too much space and causes the whole score to mess up. Is there a > way to add a dynamics sign without affecting other objects (there is enough room > to avo

Re: Problem with sustain brackets with polyphony

Christoph googlemail.com> writes: > > I am trying to figure out how to use sustain brackets correctly in polyphony. If > the notes of the two voices are shifted horizontally on the same time, the > bracket end at one note and start again at the other leaving a gap in between > (you can see it in

Re: Weirdness in distribution of systems across pages

Frank Steinmetzger gmx.de> writes: > [...] It's almost perfect, > except for piece 9, which is only three systems big with (relatively) much > space in between. So I tried if it could be 4 systems long and it can. > > However, for some reason, when I do so it messes up piece 2. Although it is

Re: The best way to structure multi-file projects?

Frank Steinmetzger gmx.de> writes: > This work (namely Bach’s Mass in B minor, BWV 232) has 27 pieces, hence I wanted to make it as easy as possible to work on single pieces at a time, but also to compile the whole thing. > > So, of course, each piece is in an own file again. But this time, I

Re: Odd output

Phil Holmes philholmes.net> writes: > > From: "Marco Correia" gmail.com> > > > > \include "english.ly" > > { > > \clef treble > > \time 4/4 > > << > > { fs'4 } > > \\ > > { f'4 } >> > >>> > > This was one of the first issues I raised, in June this year. I think it > was my first bug report: >

Re: Odd output

On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes wrote: The version that Chappell uses in the Mikado is attached. Nice. It does break the usual rules about horizontal placement, and about when to cancel accidentals in another voice. But, with the beaming to clarify the timing and linking the

Docs: automatic accidentals (was: Odd output)

On Fri, 10 Dec 2010 01:46:24 -0500 James Lowe wrote:> PS To anyone else who knows, if this known issue does apply in this case, thenit might be a good idea to not use the word 'chord' as that ca

Re: Note head clashes

On 19/12/10 02:45, Peter O'Doherty wrote: > How can I notate the (piano) chord 4 without a clash > between e' and f' and change the order of accidentals to the more > logical f-natural, f-sharp? Remember, Peter, that the more logical order natural-sharp looks just like the old way of indicating

Re: Odd output

Hello, Jan. The article you pointed out earlier, by J-P Coulon, was more useful than anything I could find. The handbook from the Music Publishers Association of the United States, by contrast, has some mistakes -- such as putting the key cancellation /after/ the new key signature; we in the

Re: Staff change in piano music - a general approach?

Tobias Braun braun-oberkochen.de> writes: > > I've been experimenting with the \partcombine command, which looks like it's > made to do exactly what I want. Tobias, \partcombine is primarily for orchestral scores, with two instruments sharing a staff. Lilypond tries to determine when the two

Re: ottava bassa

> in the piano part of an ensemble piece i need (want, that is) to put > an ottava bassa indication that applies only to the lower chord in the > left hand. the problem is that at the same time a loco chord is tied > above it (see the attached image). This is awkward, because Lilypond appli

Re: ottava bassa

Neil Puttock gmail.com> writes: > > On 11 January 2011 10:45, internet.com.uy> wrote: > > all of them involve somehow "cheating" the pitches, am i right?. > > in other words, "what you see is not what you get", meaning that the midi > > file would have the notes at the wrong octave. Yes, Lil

Re: global staff-staff spacing fails in 2.13.46

James Worlton gmail.com> writes: The following code compiles, but the spacing override in the layout block fails. The layout block code was copied and pasted into my test directly from the NR 4.4.1 "Within-system spacing properties". ... \override VerticalAxisGroup #'staff-staff-spacing #'b

Re: Odd vertical spacing of lyrics

Carl Sorensen byu.edu> writes: > On 1/18/11 8:26 AM, "Mike Solomon" ufl.edu> wrote: > > > > The following snippet is giving me the attached output w/ the soprano line > > shifted way up after the line break. Is there any way to get the soprano > > correctly aligned (w/o changing the distance b

Re: Odd vertical spacing of lyrics

James Bailey googlemail.com> writes: > [off-topic rant] > ... > [/off-topic rant] That was quite topical, for an 'off-topic' rant. You have to tell us how you prefer to enter the lyrics when they are sometimes shared. Is there one Lyrics for alto, one for alto-tenor-together, and one for tenor

Re: Odd vertical spacing of lyrics

Carl Sorensen byu.edu> writes: > Keith OHara oco.net> writes: > > > Carl Sorensen byu.edu> writes: > > > > > > I got it to work successfully with the following change: > > > [...] > > > The lyrics were still a little bit high, how

Re: Odd vertical spacing of lyrics

Mike Solomon ufl.edu> writes: > I'll chime in and say that, although there is a workaround, >the fact that there is not good out-of-the-box > spacing may effect a lot of real world examples of choral music >that is being engraved using lilypond. > > It may be worth it to add this to the issue

Re: Odd vertical spacing of lyrics

James Bailey googlemail.com> writes: > the smallest snippet I could produce (in 10 minutes) is attached. > > Attachment (Funeral Sentences_2.12.ly): application/octet-stream, 2554 bytes > So you use a lyrics line for each of the four SATB parts, with \lyricsto taking timing from the appropriat

Re: engraving rules question - voices with merged heads

Janek Warchoł gmail.com> writes: > recently i was told that this notation > > { \mergeDifferentlyHeadedOn << b'2 \\ { b'8 a' g' f' } >> } > > is not allowed in vocal music (i.e., the noteheads shouldn't be > merged). Is that true? > > By the way, if there is a notehead shared by two voices

Re: 2.13.48 not good IMO

胡海鹏 - Hu Haipeng 163.com> writes: > > Hello,  I think 2.13.48 is not as good as 2.13.46. I compiled the work > I'm working on, in .46, it takes 45 pages, with only a (de)crescendo too > small warning; while in .48, it takes 48 pages, and gives many that warnings. > Haipeng > The were two cha

Re: score missing accidentals

Douglas Ridgway dridgway.com> writes: > Actually, it looks like the score doesn't > contain any accidentals at all, at least in the first movement. Is > there something simple that I'm missing? > I could not resist looking into this. The horn part contains a request to make all accidentals in

Re: score missing accidentals

Douglas Ridgway dridgway.com> writes: > > I'm new to Lilypond, and am taking a look at > http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=686 . I've > successfully used the convert script to update the source files to > 2.12.3, and generated PDFs of the score and parts. However, I noticed >

Re: alpha test, horizontal spacing

On Mon, 27 Sep 2010 21:30:03 +0100 Gerard McConnell wrote: On Mon, Sep 27, 2010 at 7:56 PM, Keith E OHara wrote: So I favor less aggressive tucking of noteheads under other noteheads and their attached accidentals, if that is an option. Other opinions? I agree that in the examples you gave

Re: alpha test, horizontal spacing

On Thu, 10 Feb 2011 01:36:45 -0800, Trevor Daniels wrote: Keith OHara wrote Thursday, February 10, 2011 3:19 AM It is looking better now in 2.13.49. This two-bar example contains several difficult music-engraving issues, especially if I include the enharmonic spellings and key cancellation

Re: Non latin, e.g. Nordic letters in titles, lyrics etc. in the lilypond script

Esa Erola nokia.com> writes: > > I have not found any way - and not any hint in any of the manuals - > to have the Lilypond program understand Nordic letters in the script [...] > > Is there any way to write the Nordic letters directly to the script? > LilyPond simply uses utf-8 encoding, w

Re: english.ly

MING TSANG rogers.com> writes: > I installed v2.13.49 this morning and ran a lily file I have. I did not get > the following syntax error on v2.13.48.  The following error shows up when > I use v2.13.49. Any idea? > c:/Program Files/LilyPond/usr/share/lilypond/current/ly/ > english.ly:23:0: 錯誤: s

Re: Transposition with arrow quarter-tone notation

Joseph Wakeling wrote: I've extended my 'cheat' a bit with the following rules (based on english.ly note names). qs = +999/4000 (as opposed to +1/4) af = -999/4000 (as opposed to -1/4) [...] This setup is aimed allow for a full arrow quarter-tone notation with arrows being preserved acro

Re: Transposition with arrow quarter-tone notation

Joseph Wakeling wrote: This setup is aimed allow for a full arrow quarter-tone notation with arrows being preserved across all regular transpositions Suppose we use arrow notation to represent some just-intonation scheme, in which the 'up-arrow' alterations are some odd fraction : NATURAL

Re: Transposition with arrow quarter-tone notation

Keith OHara oco.net> writes: > Anything larger than a semitone is > reduced to an enharmonic equivalent using \naturalizeMusic. That's not ideal for notation including a sharp-up alteration. It works better for arrow notation if we change the test in the definition of \natura

Re: Beaming eighth notes in threes in 3/4 time

Nick Payne internode.on.net> writes: > Shouldn't this example have the notes in the second bar beamed three > together and three together? > I think it should. For now, you can add a line > \version "2.13.50" [...] \set Timing.beatStructure = #'(3) ___

Re: Partial measure alignment at end of score

Ben Finney benfinney.id.au> writes: > > I'm writing a score that has a partial measure at the beginning and at > the end. LilyPond is complaining that the measure at the end fails its > bar check. > The usual way to handle this is to skip the bar check "|" on the final measure, because you know

Re: Grace notes in multiple voices << {} \ {} >>

MusFelix live.com> writes: > > Thanks. I'll try a hidden grace in the other voice to see what that > produces. [...] > << { \appoggiatura fs'8 es8( ds es-.) } > \\ { gs,4 b8} > >> > Based on your posted image, it looks like you are seeing the problem where Lilypond forgets the voic

Re: String number indication, cross-staff kneed beam

Nick Payne internode.on.net> writes: > > See below. The output is fine until I add the '\3' string number > indication to the last note on the lower stave, at which point the > output gets garbaged. The problem doesn't happen if the string number > orientation is set to down rather than up, no

Re: LilyPond 2.13.52

%% Lyrics overlap the lower staff << \new Staff \new Voice = "a" { b1 } \new Lyrics \lyricsto "a" { first } \new Lyrics \lyricsto "a" { second } \new Lyrics \lyricsto "a" { third } \new Lyrics \lyricsto "a" {

Re: Cue mutually?

Francisco Vila gmail.com> writes: > In this example, partB should include m.2 of partA in measure > two. [...] > instrA = { > \tag #'partA \cueDuring #"instrB" #UP { s1^"(from B)" } > \tag #'sheetA { R1 } > c'1^"Voice A m. 2" > } > \addQuote "instrA" { \instrA } Lilypond sees *three* measu

Re: pick up notes and chord names not lining up with first measure

john ware gmail.com> writes: > I use the "\partial 4" keyword in the melody and "s4" in the chords and > everything looks perfect in the first pdf; nice looking score with chord > names above. > > However, in the second pdf, having the s4 causes > extra bar lines to show up in the alternative

Re: making a TextSpanner not re-print the text after a line break

Roland Goretzki roland-goretzki.de> writes: > > I have a problem concerning textspanner, and found this E-Mail: > > > > > \override TextSpanner #'(bound-details left-broken text) = ##f > > > > This is just half of the solution I'm looking for: > The dashed line after the linebreak should begi

Re: Putting fret diagrams in a separate score

Marc Hohl hohlart.de> writes: > > I try to put fret diagrams at the beginning of a piece. > My input file looks like this: > > << > \new ChordNames \chordmode { >g:m > } > \new Lyrics \lyricmode { >\markup { \fret-diagram #"w:4;4-o;3-o;2-1;1-3;" } > } > >> >

Re: 2.13.54 breaks NoteNames vertical spacing

Michael Ellis gmail.com> writes: > In 2.12, the NoteNames output lays close beneath the lyric line. > In 2.13.54 the gap is quite large and the output collides with > markup above the next staff. Is there a workaround? > > Try \layout { \context { \NoteNames \override VerticalAxisGroup

Re: no natural sign when clef changes

Bernhard Ott gmx.net> writes: > > IMHO there should be a natural sign showing the f' after the > clef-change: am I wrong? > > music = \relative c' { > c8 d e fis > c d e f > c8 d e fis > \clef "alto" c d e f > } This is a bug, listed at http://code.google.com/p/lilypond/iss

Re: no natural sign when clef changes

David Kastrup gnu.org> writes: > I think the solution would be to replace the presumably existing list of > "currently altered accidentals" not by an empty list but rather by a > list where every such accidental is replaced with a non-existing "dirty" > accidental. That sounds right. I'll add

Re: programming error: Going back in MIDI time

Peter O'Doherty gmail.com> writes: > I know this has been asked before but I haven't been able to resolve it > satisfactorily. Can anyone suggest a solution to this error? Make the grace notes take less time with a *1/2 or something similar. The midi output gives grace notes 1/4 the duration

Re: status of mutopia project

steve linuxsuite.org> writes: >What is the status of the mutopiaproject ?? > It needs people to take over from the one person who has done most of the work for the past decade. You can see the recent history at the list archive http://news.gmane.org/gmane.music.mutopia.discuss where Chris

Re: status of release (was: status of mutopia project)

On Fri, 08 Apr 2011 19:34:05 -0700, Graham Percival wrote: On Fri, Apr 08, 2011 at 06:02:01PM +, Keith OHara wrote: A recent stable LilyPond version would also help. I converted the scores I was working on from 2.12 to 2.13, to avoid difficulties with \partcombine, but then 2.13 kept

Re: status of release (was: status of mutopia project)

bruys . gmail.com> writes: > I wondered if > \partcombine is supposed to work with more than two parts. The > documentation refers to combining "several" parts, but only shows > examples with two parts. \partcombine does not try to combine more than two parts. > P.S. As an aside, the Scheme f

Re: Bad slur default (when rests are within)

MusFelix live.com> writes: > When a slur connects two notes that have a rest in between, the slur is > placed up, even if it would otherwise be down. This looks like a bug. Would you consider reporting on the mailing list bug- lilypond? I noticed a while ago that LilyPond treats rests as if th

Re: Non-standard tuning in 2 or more voices

Richard Sabey hotmail.co.uk> writes: > How come LilyPond can't output the correct MIDI for 2 or more > simultaneous notes in a non-standard tuning? I believe the stable version 2.12.3 works correctly in this area. > Is LilyPond actually assigning the notes to the same channel despite my > eff

Re: quoteDuring or cueDuring forward reference

Paul Scott ultrasw.com> writes: > If the > music is in score order it's easy to quote or cue a flute part in the > bassoon part but how can I quote or cue the bassoon part in the flute part? > You may use \cueDuring #"bassoon" in the flute part, even if it is defined *before* \addQuote "bassoo

MIDI file organization, request advice

Dear list, LilyPond produces MIDI output that is very useful for checking accuracy of the .ly file. (A) We need a mechanism to put several Voices on one MIDI channel, because scores often have more than 16 voices, but a MIDI port has only 16 channels (and I don't know anybody with a multi-port

request for advice, MIDI file organization

Dear list, LilyPond produces MIDI output that is very useful for checking accuracy of the .ly file. (A) We need a mechanism to put several Voices on one MIDI channel, because scores often have more than 16 voices, but a MIDI port has only 16 channels (and I don't know anybody with a multi-por

Re: MIDI notes in wrong instrument if Staff_performer is in Voice context

Richard Sabey hotmail.co.uk> writes: > I am getting notes in Lilypond's MIDI output being played by > the MIDI "piano" instrument rather than the instrument I specify. > \version "2.13.61" This looks like the strange bug reported at

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