On 15 March 2017 at 18:12, David Wright <lily...@lionunicorn.co.uk> wrote: > I took your source and changed two things: > a4 → a0 > 64/256 → 1/32 > and it looks superficially ok to me.
Thanks, that was the hint I needed! > Perhaps you just have a room problem. Yes, I guess there are some hidden constraints on spacing around ChordNames which were pushing the bar lines around. It would still be good to understand how LilyPond positions ChordNames, and which parameters could be tweaked to affect this, so that I could get away with bigger fonts ... but this is a good enough solution. > I've made limited use of > proportional notation, very useful for certain pieces, but I > would prefer the music to look like a proper score rather than > have some rigorous mathematical constraint applied to the > notes. So I've never expected the barlines in each system to > line up exactly with the others. Sure, but my use case is different. The goal is not to render a proper score, but to render something for easy comparison of the different chord sequences used in each chorus, and for this vertical alignment is essential. It's especially important in order to show when Coltrane anticipates (pushes) or postpones (pulls) any particular change of tonality, as this forms a crucial part of the tension and release he controls so masterfully. _______________________________________________ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
