01-1006_(Bach,_Johann_Sebastian),
bottom of the page.
I clearly support the proposal to change of the voice order to a more
logical top to bottom structure, even though it would break some of my
LilyPond code.
/Mats
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Mats Bengtsson, Prof.
On 08/21/2016 06:26 PM, Mark Knoop wrote:
I've just submitted an additional patch which I think addresses the
uses raised by Mats, Kieren and Abraham. See attached ly and pdf files.
Comments, particularly on usability, appreciated.
Looks good! The possibility to group staves seems intuitive.
On 08/19/2016 08:16 PM, Mark Knoop wrote:
At 18:02 on 19 Aug 2016, Mats Bengtsson wrote:
>I recently typeset a concerto grosso from the baroque period, where
>the solo and tutti parts are identical during long sections and then
>they differ for some bars, every here and there. When
I've been working on some patches to enable more flexible uses for the
Keep_alive_together_engraver. Whilst I've achieved my particular use
case, David K is (rightly) keen that any changes might also address (or
at least not rule out) other potential improvements.
(If you're interested in the
Does anyone recognize the attached marking (*)
It seems to be a spanner of some sort, perhaps indicating a cresc. or
swelling of some sort.
If so, has anyone got some code to generate it? Without a name, it is
difficult to search for ...
Richard
(*)
from an early 18th Italian composer,
N. Andrew Walsh gmail.com> writes:
>
>
> Hi Phil,
> thanks for the tip. Unfortunately, it's iOS-only (I'm on Android), and
doesn't seem to allow finer tuning than whole cents values.
>
> alas! But thanks regardless.
Take a look at PitchLab, which already has a long list of built-in
Johannes Waldmann web.de> writes:
>
> Hi,
>
> How could I get a extra staff temporarily,
> and then a second time, and both at the same distance
> to the staff that is running through?
>
> I am starting from this:
> http://lsr.di.unimi.it/LSR/Item?id=110
> but it does not work two times in a
Simon Albrecht mail.de> writes:
> >> Other than adding \shape overrides
> > Why do you want to avoid \shape overrides?
>
> Because they have to be done for each slur individually?
> At any rate, it would be easier to, say, \override Slur.attachment =
> #'Stem (as opposed to #'NoteHead).
If
Simon Albrecht mail.de> writes:
>
> On 22.09.2015 19:53, T. Michael Sommers wrote:
> > Is it possible to have multiple independent scores in a single document,
>
> Of course it’s possible: just use more than one \score {} block.
>
> > with each score having its own title, composer, arranger,
Gilles harfang.homelinux.org> writes:
>
> On Wed, 16 Sep 2015 13:04:24 +0200, David Kastrup wrote:
> > Gilles harfang.homelinux.org> writes:
> >
> >> Hello.
> >>
> >> On Wed, 16 Sep 2015 11:49:04 +0200, BB wrote:
> >>> I just read
> >>>
> >>>
> >>>
> > Martin Tarenskeen wrote:
> >> This thread makes me wonder: what's the average age of LilyPond users
> >> and developers?
47! I've used LilyPond from the very first versions back in 1996. Actually,
I first used the MPP (MusiXTeX PreProcessor) by Han-Wen and Jan and then
started to test
Marc Hohl marc at hohlart.de writes:
Am 27.05.2015 um 00:12 schrieb Sébastien Besnier:
Hello,
... Is it a way to specify the rhythm, and then
gives the notes ? For example, my snippet could rewrite:
\repeatRythm{8. 16}{c, c f e d d e f}
Have a look at
David Sumbler david at aeolia.co.uk writes:
I often use 's1*0\!' to end a hairpin just before a barline.
Is that needed? If you end it on the first note of the next bar, it should
be typeset to end just before the barline, see
On 04/20/2015 08:01 PM, Kieren MacMillan kieren_macmil...@sympatico.ca
wrote:
1. Shouldn?t we be [heavily] promoting, even in tiny snippets, the use of
global variables to hold \repeat structures that are used in multiple places?
No, that's asking for trouble! The code should primarily
Using the code below, I get the temporary staves vertically offset, as shown
in the attached image. It appears that they are avoiding each others'
non-existent horizontal extent. Is there any was of lining them up
vertically?
This is an old (well, less than 10 years, but still) favorite bug,
Hi Richard,
Your option is more elegant than mine!
In short, yours goes:
\version 2.18.2
bassFig = \figuremode {
5 44 3
}
\new Staff
\bassFig
\new Voice \relative c' { f2 }
For the record, if you want the figures below the stave and want the 3
aligned with the 4, one trick is to
Thomas Spuhler thomas.spuhler at btspuhler.com writes:
On Monday, February 09, 2015 01:52:41 PM Jim Long wrote:
but when I convert this file with the command
convert-ly -edc --from=2.13.8 part-vocal-keyboard.ly
it adds on top of the file \version 2.16.0
I have version
Ali Cuota alicuota618 at gmail.com writes:
Hello,
I want to see exactly what shows this minimal example, except that the
space is not desired.
This is from an hymn melody and I do the SATB setting. So I would like
to have the original optic. And with so short repeats, it doesnt
make
Pierre Perol-Schneider pierre.schneider.paris at gmail.com writes:
Hi All,
On the french list we are working on a Merulo score with an 8 lines staff,
2 clefs and 2 key signature : *
On 2014-06-25 10:19, Jacques Menu wrote:
Hello Mats end Pierre,
For the rest of us: what where the good points at the time in using 8 line
staves?
I guess the idea was to avoid ledger lines.
/Mats
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On 11/19/2013 02:17 PM, janek.lilyp...@gmail.com wrote:
Hi,
2013/11/18 ryanmichaelmcclureryanmichaelmccl...@gmail.com:
Also (forgive my double email), would it be possible to format bar numbers?
For example, making those that are not at the beginning of lines smaller or
larger? This is one
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Signal Processing
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
On 09/02/2013 02:29 PM, Tommaso Gordini wrote:
Thanks to all:-)
My version is 2.16.2.
My difficulties lie in not being able to put the Glissando in the triplet:
I have to treat it like a cadence? If you notice, the first note of
Glissando is the eighth is lacking in the triplet and it is
On 2013-08-02 03:48, lilypond-user-requ...@gnu.org wrote:
To answer your question more directly, I first ran the command,
lilypond --version at the command line. After a very long time, it
returned the following text.
It's perfectly normal that it takes extra time the first time you call
able to handle hyphens correctly.
Regards
/Mats
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Phone
{\hideNotes
es,
\unHideNotes} \new Voice b' \rest r2 |
es,1
}
/Mats
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On 03/08/2013 03:52 PM, lilypond-user-requ...@gnu.org wrote:
Hello,
Some German lyrics from before the times of Neue Deutsche Rechtschreibung
feature ck between two syllables. Without Hyphen it is lecker, with hyphen
it is lek-ker. Using lec -- ker or lek -- ker ( on purpose not le -- cker)
On 01/04/2013 06:00 PM, lilypond-user-requ...@gnu.org wrote:
I have created a new stable version of the windows binary (2.16.2) which
should fix the problem that prevents lilypond-book from being run on 2.16.1.
Before uploading this to the official website, I would appreciate it if
interested
On 12/18/2012 09:31 AM, lilypond-user-requ...@gnu.org wrote:
How will this impact users who receive the list in digest mode each week?
(I don't get it this way, so I don't know)
Jeff
Well, it doesn't matter. Even with normal attachments, we get a
completely unusable link in the digests,
}
{ e4 a g f c2e d8 c f4 d2}
I may be stupid, but it's not obvious to me how this small example would
extend to a longer piece that doesn't fit on a single line in the editor.
/Mats
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Signal
On 09/04/2012 09:55 AM, lilypond-user-requ...@gnu.org wrote:
Hi Jeffrey,
On Mon, Sep 3, 2012 at 7:40 PM, Jeffrey Trevino
jeffrey.trevi...@gmail.com wrote:
Eluze! Exactly. Thank you so much. But the two symbols are overlapping with
one another. How do you think I should make sure that the
Lo?c Chahine loic.chah...@hotmail.fr writes:
Hi all!
I am trying to find a function to simplify repeated rhythm writing. I
have a part with many bars like:
r8 c16( c? c c c c) r8 d16( d? d d d d)
and I think it would be easier to write something like:
\myRh { c d }
I found some Snippets,
(ly:music-property (car pes) 'pitch))
by
(pnew (ly:music-property (list-ref pitches i) 'pitch))
/Mats
On 08/14/2012 09:17 PM, Mats Bengtsson wrote:
Lo?c Chahine loic.chah...@hotmail.fr writes:
Hi all!
I am trying to find a function to simplify repeated rhythm writing. I
have
\relative c, {
\clef bass
c c c c |
}
\new FiguredBass \figuremode{
_+ 82 \markup \vspace #.75 7
}
}
/Mats
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before the ...\\...
section.
/Mats
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SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
That was a quick answer but sadly not to my question.
I did not intend to keep the markup-ting in the bass-notes because it is
clearly something which belongs to the B.c player. Already for part of the
violoncello it would be quite distracting! My markup construction was just a
makeshift prop
Christ van Willegen cvwillegen at gmail.com writes:
On Thu, Oct 20, 2011 at 03:26, David Rogers davidandrewrogers at gmail.com
wrote:
This will alert the singer, at the time they need to know, this is only
half of the word. In your proposal, if another voice (or the accompaniment)
has a
I resend my patch that will do the right thing when just writing
g,4 d'4 b'4 g'2
A couple of comments:
If I were to typeset this chord, my first choice would be to tweak the
duration-log of some of the note-heads within a normal chord, see for
example
James wrote:
#(ly:set-option 'debug-skylines #t)
Thank you that worked.
(in top-level).
I don't know where i learned it and i don't know if it's documented
at all.
Looks really cool, though :D
I did a quick search in the PDFs from the latest doc build and
couldn't find
Nick, Matts and James (et al)
On 30/11/2010 01:12, Nick Payne wrote:
On 30/11/10 10:53, James Bailey wrote:
Hello, I asked this exact same question almost exactly two years ago!
Here is the response I got from Mats. It worked for me, even if it was
a bit fiddly:
Two years
Oscar A. Valdez wrote:
Thanks for your reply and advise. Can attachments be posted to the list?
I can attach sample .jpg or .png images of the scores I'd like to be
able to produce with lilypond.
Certainly, just try to keep the attachments as small as possible.
An even better alternative may
Palmer, Ralph wrote:
Greetings -
I'm running LilyPond 2.10.16 under WinXP SP2.
The default for a hairpin set to end at the first note after a bar line
is to end the hairpin at the barline. I'd like the hairpin to extend
past the barline, to the note where the \! is. I've been able to
change
Good morning LilyPond,
\version 2.13.31 % on Mac OS X
\paper{ raggedright = ##t }
initialAcciaccatura = \relative c' {
\acciaccatura c e g8
d fis a8
}
initialGrace = \relative c'' {
\grace c16
c4
}
initialAppoggiatura = \relative c'' {
\appoggiatura c16
l
There is a snippet in the LSR called Merging rests automatically...
that does merge rests from different Voices into only one
default-position rest.
It is the snippet #336
http://lsr.dsi.unimi.it/LSR/Item?id=336
It does not handle MultiMeasureRests, it's a pity.
I don't remember the
Sorry, I misunderstood NR. But I still need more than 16 sounds. I don't know
the difference between channel and track. Finale and Sibelius can have more
than 32 instruments at once, so I don't know whether Lilypond can reach this
feature.
Regards
Haipeng
In LilyPond terminology, the
://lists.gnu.org/mailman/listinfo/lilypond-user
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Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email
for each track. In order to
get a separate PDF file for each, you can add a \book block around each
\score.
/Mats
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Quoting Ambareesh Pandit ambareesh.pan...@gmail.com:
I am attempting to use LilyPond in Windows XP with MikTeX but am getting the
following error:
C:/Program
Files/LilyPond/usr/share/lilypond/current/scm/backend-library.scm:115:15: In
procedure delete-file in expression (delete-file pdf-name):
-user@gnu.org
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PDF file.
On 15 April 2010 13:00, Mats Bengtsson
mats.bengts...@ee.kth.se wrote:
Quoting Graham Percival gra...@percival-music.ca:
(sorry, forgot to send to the list)
Yes, the eps file must be in the same directory as the ly file
Francisco Vila wrote:
2010/4/16 Mats Bengtsson mats.bengts...@ee.kth.se:
See also http://lsr.dsi.unimi.it/LSR/Item?id=310
Right, but note that I was [partially] wrong here:
Francisco Vila wrote:
Yes, and in order to avoid repeated printing of the first title (score
Quoting Graham Percival gra...@percival-music.ca:
(sorry, forgot to send to the list)
Yes, the eps file must be in the same directory as the ly file.
Or, perhaps, it's rather that it has to be in the working directory
where you run the lilypond command. Don't know how it works if you for
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situations but makes life much harder in all standard situations where
you then would require the user to remember in which order to place things.
/Mats
Cheers,
Kieren.
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School
\removeGracenotes
% Music here
}
I guess the \removeGracenotes command would do something to the effect of
\override Grace_engraver = Harakiri_engraver
but differently, and with different syntax, obviously.
Thanks much.
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Quoting Keith Weintraub kw1...@gmail.com:
Jon,
That worked like a charm. I used 20 for my staff size but that is
obviously not the game changer!
Note also that if you don't specify any line width in your LilyPond
code, then lilypond-book will automatically use the line width from the
text
Quoting Carl Sorensen c_soren...@byu.edu:
On 3/19/10 8:40 AM, Phil Holmes em...@philholmes.net wrote:
According to the documentation for 2.12.3 There is no support for chords
where the same note occurs with different accidentals in the same chord. I
have a situation where this is required
Jay Anderson wrote:
On Tue, Mar 9, 2010 at 3:19 PM, Neil Puttock n.putt...@gmail.com wrote:
\override RhythmicStaff.MultiMeasureRest #'staff-position = #0.01
Thanks. That works great.
Now I just have to deal with
\context{\RemoveEmptyRhythmicStaffContext} killing my settings. I
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Federico Bruni wrote:
Il giorno Fri, 5 Mar 2010 18:32:56 +0100
Francisco Vila paconet@gmail.com ha scritto:
file1.ly
\version 2.13
\include nederlands.ly
This would be the right approach, I think.
Yes, of course. Stupid me..
I thaught \include english was enabled just in
Federico Bruni wrote:
Il giorno Fri, 5 Mar 2010 12:28:51 +0100
Francisco Vila paconet@gmail.com ha scritto:
Does
lilypond -dno-point-and-click book.ly
work?
No it doesn't.
It was my first try...
Weird! Does it work when you try it on a single small file?
/Mats
Federico Bruni wrote:
I have a file (for a book) which includes several files (each piece of
music).
point-and-click is enabled in each of the single files and I want to
keep it.
Do you mean that you explicitly have a line saying
#(ly:set-option 'point-and-click #t)
in every of the
Read again in
http://lilypond.org/doc/v2.13/Documentation/learning/adding-and-removing-engravers#Adding-and-removing-engravers
subsection Changing all context of the same type what syntax to use.
The first thing after \context{ should be the name of the context
where you want to apply the
Mika Kuuskankare wrote:
On 5.3.2010, at 13:42, Francisco Vila wrote:
2010/3/5 Mika Kuuskankare mkuus...@siba.fi:
%%% SNIPPET STARTS %
scresc = #(define-music-function (parser location startDyn endDyn) (string?
string?)
What about
{ c2\fp\
\override
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Phil Holmes wrote:
Sorry about top-posting - it seems I'm the only Outlook Express user
here,
and it's lots of hassle to mid-post...
Thanks to Mats, Neil and Davis for their help. I got the code from
Mats and
David working, and it's possible to shape the slurs very elegantly
this way.
Neil Puttock wrote:
On 2 March 2010 12:18, Mats Bengtsson mats.bengts...@ee.kth.se wrote:
I just uploaded a patch in GIT, adding a related comment in
http://lilypond.org/doc/v2.13/Documentation/notation/common-notation-for-fretted-strings#References-for-fretted-strings
+Scores
James Bailey wrote:
I know that doing \new Score is generally not recommended, but in the
process of helping someone I came across a couple of questions, and
the only solution I could find required me to do \new Score. First,
the goal here is have a score with four separate staves, but an
Ole Schmidt wrote:
Hi,
When I write \times 2/3 { c8 c16 c8. } the second beam of the sixteenth note
goes to the left which in my opinion is wrong.
Am I missing something or do I have to overwrite the default settings? (if yes, how can I do that permanently for the whole score?)
This
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Mats Bengtsson wrote:
David has already provided an excellent answer, namely to insert a
\transposition c
at the top of the music, see
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Displaying-pitches#Instrument-transpositions
Then, there's no need for a separate \score block
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Trevor Daniels wrote:
Mats Bengtsson wrote Monday, March 01, 2010 2:59 PM
The main point of confusion is that you cannot do what seems most
intuitive, namely to use the \\ construct. You will never be
able to make this point in the manual, unless you also include an
example of what
Mika Kuuskankare wrote:
(2) Can I change the number of staff-lines in the middle of a measure (or by
measure at least), say when switching between different percussion instruments?
This is described in one of the examples of
Quoting Phil Holmes em...@philholmes.net:
I have a piece of music which has 3 vocal parts and 2 piano lines (3
voices). It's in 2/4 and starts with an eighth note (a quaver) in
the piano left hand, and 2 16th notes in the piano right hand. I
want to use whole measure rests for the vocal
On Tue, 2010-02-16 at 14:59 +, Phil Holmes wrote:
2010/2/16 Phil Holmes em...@philholmes.net:
accommodate one lyric syllable, rather than the 2 or 4 in the original.
Is
there a way of changing this behaviour so that each beamed quaver
accommodates a syllable, and it's only slurs that
On Sun, 2010-02-14 at 14:16 +0100, Xavier Scheuer wrote:
On 12 February 2010 17:54, Michael J. O'Donnell
I also need to merge whole-measure and multi-measure rests, which, alas,
the snippet doesn't cover. I will poke into extending the snippet. If
you've already tried, and know why it's
On Thu, 2010-02-11 at 08:57 -0500, David Stocker wrote:
Trevor,
I'll prepare a rewrite, perhaps this afternoon.
Thanks!
David
Trevor Daniels wrote:
David, you wrote Wednesday, February 10, 2010 4:53 PM
I just saw the warning about staff spaces at the bottom of the
On Thu, 2010-02-11 at 07:31 -0800, grisu_76 wrote:
Hello!
How to beam 4 16th-notes in a 2/2 automatically? got severe problem with the
override-auto-beam-setting
afraid, I did not get the idea behind..?
Which version of LilyPond are you using? The answer is different for
versions 2.12
On Thu, 2010-02-11 at 11:53 -0500, Kieren MacMillan wrote:
Hi Mats,
I hope you don't forget about
http://code.google.com/p/lilypond/issues/detail?id=216
Hasn't this specific issue been solved by the \bookpart?
i.e., the original problem was that you couldn't produce different staff
Quoting Trevor Daniels t.dani...@treda.co.uk:
Mats Bengtsson wrote Sunday, February 07, 2010 10:45 PM
A better solution is to tell LilyPond that you don't want it to put
rehearsal marks above other objects:
\version 2.12.2
\score {
\relative c' {
\clef G
\time 4/4
c'1 d
Quoting ??? - Hu Haipeng hhpmu...@163.com:
Hello,
I've looked into engraver-init.ly, and
RemoveEmptyRhythmicStaffContext is there. But when I include it with
\RemoveEmptyStaffContext in my orchestral score, LP complains about
such line. Why?
I hope you write the following lines around it:
Quoting Nick Payne nick.pa...@internode.on.net:
\version 2.12.2
\score {
\relative c' {
\clef G
\time 4/4
c'1 d
\once \override Staff.BarLine #'extra-spacing-width = #'(-2 . 2)
\bar || \mark \markup{\box M2} e( \f ^\markup{Tutti} f)
}
}
That's a fairly clumsy solution
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Quoting Neil Thornock neilthorn...@gmail.com:
My understanding is that LilyPond can only take one \layout block -
no? So any subsequent layout block will override the previous one.
No! You can have several layout blocks and the accumulated result of
all settings is used.
I don't think it's
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Werner wrote:
Mats Bengtsson mats.bengtsson at ee.kth.se writes:
By default, LilyPond assumes that the music is normal, that is, that the
time signature is the same in all staves and that the duration of one
beat is the same in all staves. To change that, you have to tell
LilyPond
Martin Tarenskeen wrote:
On Mon, 1 Feb 2010, Michael Kappler wrote:
I'm also still very interested if there are possibilities to increase
LilyPond performance further.
My machine is very slow, though and I cannot speak for many people
when raising performance issues.
Would it be an idea
Federico Bruni wrote:
I guess the problem is that you've inserted \new Voice inside a
variable.
I'm not sure if this is correct.. I think \new commands must be placed
in \score blocks. Right?
Not at all! Read the section on Explicitly Instantiating voices, in the
Learning Manual. Also,
Quoting Federico Bruni brunol...@gmx.com:
But, beside that, the thing is: if I use \new Voice in that example,
LilyPond thinks it's part of a new Staff. Instead, I want to just
create a new voice, which should be then interpreted as
belonging to both (Staff)Voice and TabVoice in the StaffGroup
Oscar van Eijk wrote:
The answer has already been given, namely to use the method shown in
the second example of
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Common-not
ation-for-percussion#Percussion-staves
The trick is to use the standard construct for
polophony. If you use
Quoting James Bailey derhindem...@googlemail.com:
Contexts don't die in 2.13?!
They still do. What happens in 2.13 is that the \\ construct
automatically gives you TabVoices if you are in a TabStaff, DrumVoices
if you are in a DrumStaff and so on.
/Mats
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