Michae Phillips wrote:
Is there a reason why entering notes in a score is suddenly stopped?
Well, I had a hunch and followed it up.
Lilypad handles up to 3 bytes and no more. [1]
Maybe you are using Lilypad and your file has become too large for it.
By way of explanation:
When you g
Michael Phillips wrote:
Thanks for your input
You're welcome.
It was pretty much a wild guess; there was so little to go on.
And I've never used Lilypad.
there is very little unimportant content I can remove.
Certainly, no music notes
There is another way to reduce the file size sligh
Stefan Thomas wrote:
why in the below quoted example the tuplet bracket is hidden?
But in the example you supplied, both tuplet brackets are visible [1].
Did you test your example before posting?
However,
the tuplet brackets get shorter as additional measures are added.
If enough measures
One way to keep it longer would be to make the tuplet contents wider,
Another way, illustrated in the LSR [1], is easier to apply:
\once \set tupletFullLength = ##t
[1] http://lsr.dsi.unimi.it/LSR/Item?id=398
Cheers,
Robin
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I like the comprehensive navigation of the new layout [1],
but feel there is still something missing.
__
Say I am reading the mailing list, looking at a thread or message.
I see something which gets me thinking about a probl
Sebastian Menge wrote:
But then the second part starts a new staff. How can I prevent that?
One way would be to have just one part,
which starts all three things together (like your second part)
and then make the lyrics skip the intro bars.
To see how, search (twice) for "Skips in lyric mod
And for your second question:
B.
Wha I can make a different size of staff? Upper bigest
look for "Changing the staff size" in
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Staff-notation
Cheers,
Robin
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Reinhold Kainhofer wrote:
Am Montag, 22. September 2008 schrieb Robin Bannister:
> So I propose
>
> A
> Replace the (passive) text "Table of Contents" in the TOC panel,
> with the document title, e.g. "Learning Manual".
> This nearly always visible (on b
Reinhold Kainhofer wrote:
so basically, you want ... a link to the back to the documentation index
No, I didn't mean that.
That is in your TODO, and not at all urgent for regular users.
Robin Bannister wrote:
This is because I regard B as just another entry in the TOC.
The TOC doe
Patrick McCarty wrote:
Okay, see if this design looks better:
...
What do you think?
Well, I ought to be asleep.
But that hasn't worked out too well yet.
I realised I had messed up my last two posts (png uncompressed)
and got back online to patch things up a bit.
What do you think?
We
Kurt Kroon wrote:
the CSS "quasi-frames" already provide the affordance of a fixed navigation
frame, so it isn't necessary to make their backgrounds "matchy-matchy".
I don't understand which background areas you are referring to.
By "navigation bars" I was referring to the horizontal stripes
Reinhold Kainhofer wrote:
This is always a good argument (similar things should look similar), however,
I think in our case we can afford to use a "nicer" color in the sidebar,
since it is already spacially separated from the contents (by having its own
column on the left).
I would turn this
Me answering Rheinhold:
> The pale yellow/light brown would make the navbars almost invisible on TFT
> screens, so I think the current state is much better.
...
So what/where is the current state?
Sorry, I got mixed up; I thought this meant the navbars would disappear.
But now I think it mea
Patrick McCarty wrote:
I agree with yours and Reinhold's idea to remove underlining and
visited link colors in the TOC pane. Should the same apply to the
main doc pane?
NAV BAR
What I said about TOC scanning doesn't apply here; there is no list.
There are probably two main sorts of usage
Patrick McCarty wrote:
I've created another design with a color palette that passes the
W3C Web Content Accessibility guidelines for color contrast
Yes, yes, yes! Thank you very much.
At last I feel the web designer was more concerned about
making it easy to read rather than easy to look at
It's fine having the language bar down at the bottom of a docs page.
But in the bigpage case
you've probably done a lot of reading before you reach it,
and wish you had seen it earlier.
So I suggest something like bighead.png:
I
Put an additional language bar at the top of bigpages.
Che
Some thoughts on searching.
Valentin Villenave wrote:
the search function should show the results in the main "frame"
on the right, without making the tocframe disappear
The toc pane and the main pane are a coherent unit.
The user refers to the toc to see e.g.
- what part of the document
Carl D. Sorensen wrote:
You could also go to the LilyPond Snippet Repository and search for beam:
If you are feeling lucky you could also google for
beam horizontal inurl:v2-11 site:lilypond.org/doc/
Cheers,
Robin
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Francisco Vila wrote [Re: translated big pages]:
Additionally, would it be possible to internationalize
the "Back To Documentation Index" link?
Some usability comments, please, before this gets translated.
This is currently displayed as
<< Back to Documentation Index
_a___
I suppos
Reinhold Kainhofer wrote:
unless someone can come up with something better than "<<",
which also indicates a navigational element
But *you* did, some time ago! [Top][Contents][Index][ ? ]
All you need is the above. See it at
http://lists.gnu.org/archive/html/lilypond-user/2008-10
Reinhold Kainhofer wrote:
How about "Overview" instead of "Index"?
A better choice!
And I counter with "Documentation Home".
But a second word is overkill.
Cheers,
Robin
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Richard Wattenbarger wrote:
the d-flat tie doesn't render in the upper voice
When you ask for tieWaitForNote like this, it gets turned on for the voice
and doesn't affect any other voices, e.g. a voice for the right hand.
The << {} // {} >> construct needs two voices and sets up its own,
an
Reinhold Kainhofer wrote:
No! After all, you are already reading the documentation, so a link
to "Documentation" simply does not make sense.
I was visiting LM 4.6.1 this morning, reading about tweaking output,
and I wondered afterwards if, while there, I could have argued that
a link to "Tw
Patrick McCarty wrote:
I would greatly appreciate any feedback on the new color choices.
My quoted "Yes please" was to "Blue in Green" which really shouted at you.
This one is a lot more restrained but just as easy to read.
OK, the tocpane is not unified with the navbar in any way,
but I
Hallo. Me again, this time with a navbar suggestion.
The first time I saw the navbar it seemed rather indigestible -
so much text to read.
But I did understand that the square brackets were indicating buttons.
The second time was after visiting help, where I came to see that,
for me at any
Joe Mc Cool wrote:
Surely the repeat should play from
d4 d8 e d c.
What am I doing wrong ?
The \bar commands are only graphical.
They make it look, on paper, as if the repeat would start from d4.
But the repeat actually starts where you have placed the \repeat command.
Put the \repeat com
Trevor Daniels wrote:
This is a known bug - see issue 40.
The workaround given there is:
\once \override Glissando #'gap = #0.5
\once \override Glissando #'extra-offset = #'(-0.5 . 0)
Hope that's good enough for you, as the bug priority is low!
I was going to try and answer this one,
havi
Chip wrote:
How do I get a staff line to break when I am using \credenzaOn?
Insert a \bar command where you want to allow a line break
i.e.\bar ""(or \bar "|")
I don't see any info on this in the manuals
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Line-breaking
end
Dmytro O. Redchuk wrote:
You probably can make slur transparent?
Or precede \grace with
\once \override Stem #'stroke-style = #"grace"
Cheers,
Robin
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Mark Polesky wrote:
... with an identifier:
.. which can be adapted to cope with a group of grace notes:
mygrace = #(define-music-function (parser location music) (ly:music?)
#{ \override Stem #'stroke-style = #"grace" \grace $music
\revert Stem #'stroke-style #})
N.B. - any beam
Grateful Frog wrote:
how to get that out in a midi file that plays properly,
and only the melody not the lyrics and chords?
You can get the midi output to do repeats,
but it won't know about the D.C.
So give it a helping hand by defining
myNotesDC = {
\repeat volta
Stefan Waler wrote:
I'm not able anymore to set a
manual shift for a note. Any workaround...?
I'm not sure what you want. How about this?
\once \override NoteColumn #'horizontal-shift = #-1
Cheers,
Robin
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A similar problem was discussed recently
http://lists.gnu.org/archive/html/lilypond-user/2009-01/msg00530.html
Cheers,
Robin
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Stefan Waler wrote:"
\once \override NoteColumn #'horizontal-shift = #-1
As you can see, this is part of my score - but is has no effect.
Please reconsider.
There are two note-column-interface shifts; this is the other one.
And if this turns out to be more like what you are looking for,
y
Simon Bailey wrote:
so basically that paragraph is telling me to NOT use
the manual repeat barlines and use \repeat volta instead.
The documentation uses a lot of different names for repeats.
When you say "manual repeat barlines" it sounds as though
you may not be distinguishing
- manual ba
Stefan Thomas wrote:
Is there a possibilitie to avoid automatically this collision
The eyeglasses example in NR B.8.3.
uses the \with-dimensions command for this.
\with-dimensions #'(0 . 3.5) #'(0 . 4) for your case?
Cheers,
Robin
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Stefan Thomas wrote:
What does this \with-dimensions-command exactly do?
Is it explained in the manual?
It is mentioned right at the end of NR B.8.6.
I think that by "dimensions" you are meant to understand
the X-extent and Y-extent [1] of the markup that follows.
I suppose that if the mark
Well, \repeatTie doesn't take you very far into the ensuing phrase.
And it doesn't swoop properly.
A fairly easy way in this case is to add a hidden grace note:
{ \hideNotes \grace b16\( \unHideNotes c8 g8 c8 \) | }
And you can use the grace pitch to adjust the starting height.
This is usuall
Ed Ravin wrote:
Would the extra grace notes corrupt the MIDI output?
No.
But you can hear them, and you might think that inappropriate. :)
Try out this:
{ \once \override Rest #'transparent = ##t \grace b4\rest\( c8 g8 c8 \) | }
Cheers,
Robin
Ed Ravin wrote:
I'm guessing the silent rest somehow makes the grace note silent?
I wanted a rest (for silence).
If you say just "r32", lilypond gives you silence OK,
but also does the vertical positioning automatically,
so you can't adjust the slur any more.
\rest lets you do the vertica
Chipwrote:
I want a multi-measure rest with no number on it.
This gets rid of the number:
mmrNoNum = \once \override MultiMeasureRestNumber #'stencil = ##f
as in:
\mmrNoNum R1*16
Cheers,
Robin
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Eluze wrote:
looking at the example(s) (\sourcefileline 765 and following) in _notation
reference_ the finger indications seem to be on the same line and so do the
top fret lines (in the pdf and html version).
when i compile these examples the results look different and unbalanced:
I get diff
Jayaratna wrote:
This does not seem to work:
<<{\stemUp c2^~ c4}\\{\stemDown g4 \stemUp a4_~ a}>>
Well, this looks like (part of) what you want!
Or is it that you then don't see how to cope with the d2.?
The manual mentions connecting ties across voices
( Snippets / Rhythms / Making an obj
Carl D. Sorensen wrote:
Please file a bug report
Already started, now done.
http://lists.gnu.org/archive/html/bug-lilypond/2009-02/msg00014.html ?
Cheers,
Robin
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Zbyněk Burget wrote:
How I can write long text to composer to header?
Try
composer = \markup \right-align "Some long text ... "
If this isn't what you want, have a look at NR 3.2.1 where
the demo splits the composer text onto two lines using \center-column.
Why don't hide TimeSignature?
Zbyněk Burget wrote:
Splitting it onto two lines is unavailing. Therefore i want way to expanding
width of
this line.
The default layout puts poet, instrument and composer all on one line.
This is not compatible with the length of your composer text.
Even if instrument is unused, its (centred)
Nick Payne wrote:
I couldn't find anything in the documentation.
This comment in the rest collision source code might be relevant.
TODO: look at horizontal-shift to determine ordering between rests
for more than two voices.
So maybe you just have to ignore it?
Or do something like this
Thomas Scharkowski wrote:
Since Lilypond 2.11. this does not work anymore
I have a lot of single sheets based on a 2.10 template which ensured
I had enough vertical space for pencilling in fingering.
The vertical spacing rework in 2.11 gave me the same problem.
This is probably to do with t
Chip wrote:
Lily still breaks lines where it wants to.
You are fighting something very powerful and don't know it.
All that blank space on those pages!
It is reasonable to think that saying \pageBreak means that you
are quite happy with whatever blank space is needed to skip the rest
of th
Tim McNamara wrote:
Is there a correct way to do this that I haven't been able to figure out?
No. Not yet.
But see the recent thread at
http://lists.gnu.org/archive/html/lilypond-user/2009-02/msg00028.html
Cheers,
Robin
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Mats Bengtsson wrote:
try to nail down which conversion rule
The rule for 2.1.27 (re tuning) prints this.
Cheers,
Robin
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Gilles Sadowski wrote:
This seems to work for me (see attached files).
But don't you need an \instrumentSwitch command near the end?
Cheers,
Robin
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Kees van den Doel wrote.
on 2.12.2 it does *not* work. The output is attached. Bug?
It seems to me that LSR 258 is demonstrating only whiteout.
It is not demonstrating how to deal with the concomitant
horizontal layout problems, because it cheats here:
- uses ragged-right = ##f (with only on
Joseph Haigwrote:
I get the text under the fermata. How can I force it above?
Use
\once \override Script #'script-priority = #-100
as mentioned in "Controlling the vertical ordering of scripts" in NR 1.3.1.
Cheers,
Robin
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Tim McNamara wrote:
Rather than writing a separate ending, I'd like to just parenthesize
the last three chords over the final two bars so they would render:
F(Ab7Dbmaj7C7)
ChordName outputs via text-interface, so the easiest way should be
\once \override ChordNames.Cho
Robin Bannister wrote:
As "addBrackets" it wrapped only a single chord, but you could
derive a left_only and a right_only version easily enough.
I wanted to see if I could make such a pair deliver something close
to what the OP illustrated, and managed this using \put-adjacent.
T
Hu Haipeng wrote:
> I don't know whether this gives two stems
No, it doesn't.
It is just a chord, and a chord (in one voice) has only one stem.
In this case the still active \stemUp makes its stem go in a
different direction to the following \stemDown notes and so the
accompanying (automatic
Stefan Thomas wrote:
I can't reduce the distance between the TimeSig and
the first Staff of the Score. How can I do it?
Um, - don't override max-stretch?
Cheers,
Robin
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Chip wrote:
it just resulted in messed up measures
A judicious use of time distortion may help you here.
\transpose c c'{
\hideNotes g,32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
\hideNotes c''32\glissando \unHideNotes c'4*7/8 c'4 c'4 r4 |
a1*3/4\fermata \hideNotes d'4\glissando \unHid
Andrew Wilson wrote:
Shouldn't this be
r2*3/4 \hideNotes d8\glissando \unHideNotes a'8 fs d b
That works too. (Modifying the rest simplifies the beaming.)
A subsequent proposal moved the rest more into the gap:
s8 r2*1/2 \hideNotes a8\glissando \unHideNotes a'8 fs d b
and I suppose the
Benjamin Smedberg wrote:
> the "tr" mark is still there.
Yes, you can't easily tell how near you are to getting it right.
Try
\override TrillSpanner #'(bound-details left text) = ##f
Cheers,
Robin
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Kees Serier wrote:
I want to have the percent sign for a duplicate chord
in the next measure (in \chordmode).
I don't know how particular you are. Would this be good enough?
percentCN = \once \override ChordNames.ChordName #'stencil =
#(lambda (grob) (grob-interpret-
Kees Serier wrote:
but it is the "normal" percent sign with open zeros,
where the repeat sign has filled zeros
Yes, well, those repeat signs are site-mixed as it were,
and I have no idea how to persuade the contractor to do
an unscheduled job in unfamiliar surroundings.
But I did find some
Kees Serier wrote:
I get Guile errors
GUILE signaled an error for expression started here:
markup #
:bold #:fontsize 1 #:char #x066A
Well, it works at my end. Something is corrupted.
My best theory is that your version now ends
#'stencil = markup #:bold #:fontsize 1 #:char #x066A))
Nick Payne wrote:
What I want is the fingering just to the left of the notes
and the arpeggio just to the left of the fingering.
I'm pretty sure you ought to change the order in which
these things are hung onto the side of the notes.
But I'm afraid I can't help you with that.
As regards ho
Neil Puttock wrote:
it's possible to duplicate its code in Scheme:
Or its appearance in markup ;-)
simile = \markup {
\combine \translate #'(0.3 . 1.5) \draw-circle #0.2 #0 ##t
\combine \translate #'(1.7 . 0.5) \draw-circle #0.2 #0 ##t
\rotate #90 \translate#'(0 . 2) \beam #2 #-1 #0.5 }
Roel Spruit wrote::
somehow the order in the output is reversed
That's queer.
With me (2.12) they both read R L from top to bottom.
However, with 2.10 they both read L R from top to bottom.
Are you using an intermediate version? ;-)
Is this suitable as a workaround?
LR = \markup \colum
Kees Serier wrote:
Looks good, but how to use it, I'm only a beginning Lilypond user :-(
I have a vague feeling you may not have received
my reply diagnosing your arabic percent problem:
Kees Serier wrote:
I get Guile errors
GUILE signaled an error for expression started here:
markup #
Ossie Wilson wrote:
I have attached the Ly file
After a cursory look, I would say this file is
badly mangled as regards key signatures.
In part one at bar 29 it helps to say
\key dfinstead of\key cs
because the subseqent notes are e.g. df, gf, ...
Also part one should declare _
Wei-Wei Guo wrote:
I still have no idea how to input some music symbols, such as a short
piece of pure staff, timesignature, keysignature, and so on.
Search the snippet repository for "engravers".
In particular, try out the (complete) snippet in
http://lsr.dsi.unimi.it/LSR/Item?id=280
Ch
Marek Klein wrote:
I tried it using the commented line, but it didn't work
You can make the cantus more approachable.
Adjust the -2 to taste.
\include "gregorian.ly"
\score {
<<
\new VaticanaVoice = "cantus" {
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 4)
Nick Payne wrote:
Is this possible without faking the chord by creating two voices?
Sometimes I like to show in my piano fingering that
one finger of a chord should temporarily act as a pivot
while the other fingers are moving to the the next chord.
Maybe there is a recognised symbol for tha
Kieren MacMillan wrote:
This function should be good at least as far back as v2.10.
\draw-line was introduced after 2.10.
Cheers,
Robin
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Nick Payne wrote:
the laissezVibrer tie specified in the bass voice also appears
on the two simultaneous notes in the treble voice.
This is because of the names you gave your voices.
They happen to be the same as those automatically chosen by
the << { } \\ { } >> construct.
So at this poi
Nick Payne wrote:
Is this possible without faking the chord by creating two voices?
Is this more what you are looking for?
It is not all that easy to use:
- you have to work out the position, e.g. -9, by yourself
- and it won't move when you transpose.
See IR 3.2.84.
%
Miklos Vajna wrote:
First, currently the output has "Bm" for my chord,
but actually I would like to have it as 'Bm \super "omit3"/A'.
Like this? (verbatim)
replaceCN = #(define-music-function (parser location new) (markup?)
#{\once \override ChordNames.ChordName #'stencil =
#(lambda (g
Jonathan Townes wrote:
the use of fingerings would be much faster and require less typing
This nice aspect of fingerings is due to the parser knowing what a
fingering looks like. But this is defined as being a single digit,
so you only have ten things you can ask for (corresponding to 0 .. 9)
Mark Austin wrote:
I'm putting the finishing touches on a book of English folk tunes,
but have a few problems.
I suppose it's rather crude, but I like using \null for things like this.
So, for the footer:
\markup { Engraved ... }
becomes
\markup \fill-line { \null \line
Boris Lau wrote:
I thought it would be quite natural if this would do the job:
\override Staff.BarLine #'break-visibility = #'#(#t #t #t)
but it doesn't.
Certainly a reasonable expectation.
This is normally #'#(#t #t #f), but there are cases when Lilypond
switches over to #'#(#t #t #t) auto
Nick Payne wrote:
If I have one note each bar that requires a direction change, then
it's actually simpler to use the \once command,as \stemUp requires
the corresponding \stemDown or \stemNeutral after the note.
I found it quite a disappoinment to discover that apparently
similar things lik
Does anyone have an idea why the fourth system is put on the second page
I'm out of my depth here, but if your title is done
the normal Lilypond way, with bookTitleMarkup,
it counts as a system too.
So might the pagebreaker be putting 4 systems on all pages?
And have you tried
Mark Austin wrote:
Is it possible to enclose a note in brackets?
Use \parenthesize
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Inside-the-staff#Parentheses
Cheers,
Robin
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Lewis Overton wrote:
I'm curious about what others are doing to print a "scoop"
I have an occasional need for this when transposing saxophone parts,
and then I use brackettips as you do/did [1].
I first did such bends in a clumsy beginners way and had to put the
brackettips in a dedicated a
Chip wrote:
but no matter what numbers I put in the positions parameters the slur
does not move.
The \once makes this override act only on the c'2 and the c'2 has no slur.
The override acts on the slur if it comes after the c'2,
but it moves the slur vertically; not what you wanted.
Ho
Kalirren wrote:
Does anyone know of some other workaround?
It's rather crude, but the following override makes your slur horizontal:
\relative c' {
\once \override Slur #'positions = #'(-3 . -3)
\slurDown e8 ( r16 r8.)
}
Cheers,
Robin
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Kalirren wrote:
In general, is it possible to create a laissez-vibrer tie that
lasts a certain length of time, or until a certain note?
Probably not, because IR 3.2.85 [1] says it is
A tie which is only on one side connected to a note head.
You could however make it _look_ longer, but then
-
For starters,
have a look at these snippets in the LSR:
http://lsr.dsi.unimi.it/LSR/Search?q=coda+segno
Cheers,
Robin
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Have a look at LSR 402:
http://lsr.dsi.unimi.it/LSR/Item?id=402
(The \mark command makes a RehearsalMark.)
Cheers,
Robin
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Karenee Herman wrote:
Somehow, the bass line ends up offset from the treble
The second bar of "lower" should beR2. (for a 3/4 bar).
So it's not really the triplets giving trouble.
please forgive me if this seems simple!
Forgiven.
Cheers,
Robin
_
Jesús Guillermo Andrade wrote:
How can I put it below the chord symbol?
These marks, i.e. RehearsalMark, are normally put above everything else.
This is done by having the corresponding engraver in the Score context.
You can move the engraver down to where your melody is by doing
\layout {
\
Adam Good wrote:
I vaguely remember an example
That would be the 'easy play' noteheads mentioned in NR 1.1.4.
But you probably want something more like this:
cabbage = { c a b b a g e }
\score {
<<
\new NoteNames \cabbage
\new Staff { \clef bass \cabbage }
>>
}
Cheers,
Robin
Werner wrote:
% innerhalb des score-Blockes („neben“ dem layout-Block)
% Ausgabe einer Mididatei (zum Anhören/Abspielen)
This bit of comment describes how to get Midi and PDF coming out the same.
When you want them coming out differently, you use _two_ score blocks:
- one score block has \m
Mark Polesky wrote:
Does anyone have a suggestion?
Some time back I chose this missing bracket as a theme for a Scheme exercise.
Nothing revolutionary, just to get some practice in Scheme.
It has the limitations arising from misusing Arpeggio.
I found it needed a lot of different tweaks to
Marc Hohl wrote:
This worked fine with ties, but when I try the same with slurs,
it simply shows no difference.
(display right-bound) says
- Tie: #
- Slur: #
Cheers,
Robin
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David Bobroff wrote:
for some reason the "rs" of "GFirst" is coming out italicized as is.
This is because the voltas use the music font
and it has special letters for doing dynamics like sfz and rfz.
The way described in NR.1.4.1. at "Text can be included ..."
would in your case define mar
A phrasing slur goes all the way.
(Don't ask me why!)
Cheers,
Robin
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Look for "swing" in the LSR.
http://lsr.dsi.unimi.it/LSR/Search?q=swing
Cheers,
Robin
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Tim Walters wrote:
Is there any way to [...] leave the same amount of white space
as would be used if lyrics/chords were present?
This amount can vary.
The vertical space allotted depends on what is being typeset;
e.g. Cm needs less height than Cm7
Based on a discussion last September
Luca Fascione wrote:
I'm looking for a way to make a "fingering bracket": this would be a
vertical bracket on the left or right of a few simultaneous notes, to
indicate they are all to be fingered with the same finger.
Things to note:
- I can't use the arpeggio mark, because it's not uncommon
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