Glendan Lawler glendan.lawler at gmail.com writes:
Problem Unresolved and WorsenedSo not only is the old problem of garbled
IPA still there, now I'm having problems with basic Latin as well. For the
staff lyrics, it seems I'm now also having trouble with the letter capital N,
which for
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
Hello all,
Is the fontsize of the lyric tie glyph user-settable?
[v2.13, if it matters...]
Thanks,
Kieren.
I don't see any simple way, but you can copy the default (mostly in
define-markup-commands.scm), tweak it to suit,
Neil Puttock n.puttock at gmail.com writes:
With apologies to Michael, here's a simpler method for centring text
using a grob callback, which effectively does the same as your old
code by retrieving the notehead (or rest) from the PaperColumn then
mimicking the centered_on_x_parent
Wilbert Berendsen lilykde at xs4all.nl writes:
Op zondag 24 mei 2009, schreef madMuze:
perhaps a Schemer could pull the X-extent info from the attachment point
notehead, divide it by 2 and send that to the offset. Meanwhile, it may to
helpful to know that:
quarter-note head width =
, but it's a start--
Hope that's useful--
Michael Lauer
I'm trying to redesign my website, and one idea I have is to have a
graphic in the header with a facsimile on one side and lily's output on
the other. So it's important that people not look at the lilypond
output and say, Wow, that's
-Eluze eluzew at gmail.com writes:
Sven Siegmund wrote:
In my case the vertical line spacing in the left and right column
differ a tiny bit. I wouldn't notice it wouldn't it be for this big
that's probably due to lines with/without ascenders/descenders!
In particular I think
Tao Cumplido tao_lilyponduser at gmx.net writes:
Hi all,
I have a clef change at a line break and would like to make the smaller
changing clef, that is shown just before
the break, invisible.
\set Staff.explicitClefVisibility = #end-of-line-invisible
Tim Slattery Slattery_T at bls.gov writes:
The \bar : gets me the repeat symbol I wanted. But the extra repeat
is still there, and I'm getting more errors from this syntax
alexander2.ly:25:20: warning: not a grob name, `Barline'
{ \partial 8*4 g2
\once \override
Tim Slattery Slattery_T at bls.gov writes:
I still can't get my output to look the way I want it to.Maybe
Lilypond just doesn't do this.
Traditional Sacred Harp music uses four dots, one between each line,
for a repeat symbol. It looks just like what you get when you specify
\bar:. The
Tim Slattery Slattery_T at bls.gov writes:
There are four voice parts, the \repeat volta 2 is in each one at the
same place. I cannot figure out where the extra begin-repeat comes
from.
Here are the four voice parts, if that's not enough, I'll send more.
The entire file is 105 lines
Stefan Waler stefan at waler.at writes:
Great! Could you add petrucci-f5 at the next opportunity?
Thanks,
Stefan
You can do it yourself, by putting this line in your .ly file:
#(append! supported-clefs '((petrucci-f5 . (clefs.petrucci.f 4 0
I don't think the glyph is really
Michael Lauer mrlauer1 at yahoo.com writes:
A somewhat better fix is to copy the old times.ttf (and the bold/italic
versions, and any other system fonts you may want to use)) into
c:\users\username\.fonts\ , and then tell fontconfig to ignore
the system fonts. The only way I can see to do
sdfgsdhdshd discussions-sur-forums at orange.fr writes:
I have a better workaround:
1) write the .ly file on Vista
2) When OK, copy the file on another pc with XP.
3) LLP on XP generates the final pdf file.
Yes, that would work too. :-/
On this Vista pc, i also use Word, with
Laura Conrad lconrad at laymusic.org writes:
The documentation for ancient time signatures
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Ancient-time-signatures
(it doesn't seem to have changed noticeably since 2.10, which is what
I'm actually using) has a circle with a dot
Tao Cumplido tao_lilyponduser at gmx.net writes:
Hi,
is it possible to activate kerning in lyricmode?
regards,
Tao
There's nothing to activate--if your font has kerning information
(as the default Century Schoolbook does) then you should get kerning,
in lyricmode and everywhere else.
Charles Gran sonance at campdeadly.com writes:
I'm copying a choral piece and am finding the spacing too tight, I
want to open it up and also have all hyphens in the lyrics print.
Can anyone help or direct me to the appropriate sections in docs?
I did find:
\override Lyrics.LyricSpace
Charles Gran sonance at campdeadly.com writes:
[I tried resarching this topic on the list archive but most related
topics are too extensive for me to sort out.]
In a choral piece, I have a part that tempoarily divides into (single-
line) polyphony. How do I handle lyrics at this point?
dstutz david.stutz at gmail.com writes:
Thanks to the Lilypond team for creating such a fine piece of software.
I am trying to use the Unicode code points for Byzantine chant notation in
my score, which begin at x1D000. When I try to use ly:wide-char to enter one
of these characters, I
Laura Conrad lconrad at laymusic.org writes:
I think this is a bug, but since I don't usually rely on the default
bar line engraver, I'm sending this to user in case I'm doing
something really dumb.
The attached file is in 2/2, and should start with a partial measure,
in both parts.
Zoltán Selyem sese at elte.hu writes:
Hi,
I'd like to hide staff lines that only have rests,
but I'd like to do this for only one staff,
not all of them. Can LilyPond do that?
Thanks,
Zoltán
Create the staff that can be hidden like this (from the definition of
Bernard Hurley bernard at fong-hurley.org.uk writes:
Hi all,
Is there any way of removing tags from music?
You can write a music function to do it:
stripTags = #(define-music-function (parser loc m) (ly:music?)
(music-map (lambda (x) (ly:music-set-property! x 'tags '()) x) m))
Luc luc at smooth.ch writes:
Hi
Thanks - and sorry if I was not exact in my formulation! I want the triplet/
sextuplets in the 1st measure to have the same appearance as the 2nd measure
-
and not vice versa. Hope this is clearer!
Luc
Setting beatLength seems to work:
\version
AB and_xyz at hotmail.com writes:
Hi list,
for unmetered music, I'm using \cadenzaOn \cadenzaOff but \set
score.currentBarNumber seems not working.
I'm pretty sure I'm missin' something but what?
You need to reset measurePosition to get the bar number to print. You can do
that
madhg d.griffel at bris.ac.uk writes:
In keyboard music, an appoggiatura for the first note in the treble staff
interferes with the clefs in the lower staff. It makes the bass staff start
with a treble clef folllowed immediately by the correct bass clef.
Removing the appogg gets rid
Laura Conrad lconrad at laymusic.org writes:
I'm transcribing a piece that was originally barless, but in lilypond
terms it switches between 2/2 and 3/2 meters. (Actually the 3/2 is
really a 3/4, since there are a lot of quarter notes, but I want it to
print in single-digit style as a 3,
José Luis Cruz joseluisjazz at gmail.com writes:
Well, although in this case it's pretty clear that the dot belongs to
the F (can't be any other way), it's true that the disposition is
somehow odd. I entered the same sequence of music in sibelius to see
how that software dealed with that
Cesar Penagos penagos.cesar at gmail.com writes:
Saludos Lilypond Team:
Thank You Fred for your words, I send this because i have the feel
that I do not explain very clear. Then I go again:
In the News section for the 2.10.20 version of Lilypond appears the
following (Lyrics text may
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