Slurs are better than ties at automatically avoiding collisions

[Nick Payne]

See below. If I have a tie between the two Gs in the top voice, it 
collides with the beam. If I fake the tie with a slur, it automatically 
avoids the beam.


\version "2.13.58"

\relative c'' {
<< { g'2 ~ g }
\\ { s1 }
\\ { b,8 g a b ~ b a b a }
\\ { g,2 g }
>>
}

\relative c'' {
<< { g'2( g) }
\\ { s1 }
\\ { b,8 g a b ~ b a b a }
\\ { g,2 g }
>>
}
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Re: Dividing ties and adjusting ties in an arpeggiated chord

[-Eluze]

hi bruys

bruys . wrote:
> 
> The one disappointing aspect is that (with version 2.13), I get a
> warning that Lilypond couldn't "find the property type-check for
> 'dash-definition'". And, if I comment this line out, the result is
> basically unchanged. Actually, if I leave this line in, it messes up
> the control-points adjustment on the second tie. It would be great if
> this did work. Does anyone know if this is a bug?
> 
did you mean 2.12 ? in fact i was using 2.13.58 and i would recommend to
upgrade occasionally since there are many new features in the (nearly
stable) development release!



> (By the way, it seems the snippet you pointed me to last time, could
> be used to divide the tie in this instance, as there is an accidental
> involved. But, that would be a bit of a hack, as this wouldn't
> generally be the case.)
> 
i don't think hiding away a part of the tie is satisfying because the tie
will always look like coming out of the fis - unless you change the
direction, but then it collides with the next lower note.

Eluze
-- 
View this message in context: 
http://old.nabble.com/Dividing-ties-and-adjusting-ties-in-an-arpeggiated-chord-tp31299849p31362814.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


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Re: status of release

[Jan Nieuwenhuizen]

Graham Percival writes:

> http://lilypond.org/bug-reports

> http://lilypond.org/tiny-examples

Why are these in plural; I would prefer: /bug-report, /tiny-example ?

Jan -- just asking for these in a private mail and mistyping the urls :-)

-- 
Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  

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Re: status of release

[Graham Percival]

On Sun, Apr 10, 2011 at 11:21:17AM +0200, Jan Nieuwenhuizen wrote:
> Graham Percival writes:
> 
> > http://lilypond.org/bug-reports
> 
> > http://lilypond.org/tiny-examples
> 
> Why are these in plural; I would prefer: /bug-report, /tiny-example ?

Because I thought that the phrase "Tiny examples" sounded better
in English.  I mean, the urls come directly from the @node names
in Documentation/web/community.itexi.

*shrug*

I wouldn't mind having extra redirects for important URLs like
this; if you want to add that, then modify
Documentation/web/server/lilypond.org.htaccess

Note that for security purposes, changes in git for that file do
not take effect without manual attention from you, me, or Han-Wen.
See CG 5.2 website uploading and security  for more info.

Cheers,
- Graham

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dampened symbol in tablature when using fonts other than Feta

[Federico Bruni]

I use a different font for TabStaff:

\override TabStaff.TabNoteHead #'font-name = #"Nimbus Sans L Bold"

But when a score contains \deadNote I'm forced to comment the line above
and switch back to Feta, otherwise lilypond can't find noteheads.s2cross
(the Feta glyph for dampened notes).

There's any workaround which allows to have both (different font and
cross glyph on TabStaff)?

Thanks,
Federico


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Re: Dividing ties and adjusting ties in an arpeggiated chord

[bruys .]

Thanks for your persistence, Eluze,

You're right, I'm using version 2.12.3. It's good to know that when I
upgrade to the new version, I should be able to get it to work. In
version 2.12.3, it's not really bad, but the tie clips the bottom of
the sharp sign.

Remember, I started by wanting to reproduce a figure from a book,
which looks just fine with the divided tie. Although, I think you're
probably right: if I was going with the divided tie option, I suspect
I would have to increase the distance between the first two grace
notes, because otherwise there's no much of the tie before it
disappears behind the sharp sign.

Best wishes,
bruys

On Sun, Apr 10, 2011 at 6:51 PM, -Eluze  wrote:
>
> hi bruys
>
> bruys . wrote:
>>
>> The one disappointing aspect is that (with version 2.13), I get a
>> warning that Lilypond couldn't "find the property type-check for
>> 'dash-definition'". And, if I comment this line out, the result is
>> basically unchanged. Actually, if I leave this line in, it messes up
>> the control-points adjustment on the second tie. It would be great if
>> this did work. Does anyone know if this is a bug?
>>
> did you mean 2.12 ? in fact i was using 2.13.58 and i would recommend to
> upgrade occasionally since there are many new features in the (nearly
> stable) development release!
>
>
>
>> (By the way, it seems the snippet you pointed me to last time, could
>> be used to divide the tie in this instance, as there is an accidental
>> involved. But, that would be a bit of a hack, as this wouldn't
>> generally be the case.)
>>
> i don't think hiding away a part of the tie is satisfying because the tie
> will always look like coming out of the fis - unless you change the
> direction, but then it collides with the next lower note.
>
> Eluze
> --
> View this message in context: 
> http://old.nabble.com/Dividing-ties-and-adjusting-ties-in-an-arpeggiated-chord-tp31299849p31362814.html
> Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
>
>
> ___
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> lilypond-user@gnu.org
> http://lists.gnu.org/mailman/listinfo/lilypond-user
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Re: Slurs are better than ties at automatically avoiding collisions

[bruys .]

Dear Nick,

Looks like a good thing to try, when in difficulty.

There isn't any collision avoidance occurring, of course; slurs are
usually placed further away from the notes than ties.

If you make the middle voices vacant, you can see this.

Regards,
bruys

\version "2.12.3"

\relative c'' {
<< { g'2 ~ g }
   %\\ { s1 }
   \\ {}
   % \\ { b,8 g a b ~ b a b a }
   \\ {}
   \\ { g,2 g }
>>
}

\relative c'' {
<< { g'2( g) }
   % \\ { s1 }
   \\ {}
   % \\ { b,8 g a b ~ b a b a }
   \\ {}
   \\ { g,2 g }
>>
}


On Sun, Apr 10, 2011 at 6:35 PM, Nick Payne  wrote:
> See below. If I have a tie between the two Gs in the top voice, it collides
> with the beam. If I fake the tie with a slur, it automatically avoids the
> beam.
>
> \version "2.13.58"
>
> \relative c'' {
> << { g'2 ~ g }
>    \\ { s1 }
>    \\ { b,8 g a b ~ b a b a }
>    \\ { g,2 g }
>>>
> }
>
> \relative c'' {
> << { g'2( g) }
>    \\ { s1 }
>    \\ { b,8 g a b ~ b a b a }
>    \\ { g,2 g }
>>>
> }
>
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>
>
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Re: Slurs are better than ties at automatically avoiding collisions

[Phil Holmes]

"Nick Payne"  wrote in message 
news:4da16be1.7010...@internode.on.net...

See below. If I have a tie between the two Gs in the top voice, it
collides with the beam. If I fake the tie with a slur, it automatically
avoids the beam.

\version "2.13.58"

\relative c'' {
<< { g'2 ~ g }
\\ { s1 }
\\ { b,8 g a b ~ b a b a }
\\ { g,2 g }
>>
}

\relative c'' {
<< { g'2( g) }
\\ { s1 }
\\ { b,8 g a b ~ b a b a }
\\ { g,2 g }
>>
}

Have you tested whether it actually avoids the beam better, or if it's not 
just simply placed differently anyway?




--
Phil Holmes
Bug Squad




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Re: Lyrics - vertical alignments

[Xavier Scheuer]

On 10 April 2011 06:40, Michael Dykes  wrote:
>
> I have read this - well most of this section before, but when I try it I
> still get the same results. Perhaps someone could help me out a little,
> please?

Normally

  \new Lyrics \with {
\override VerticalAxisGroup #'staff-affinity = #CENTER
  }

should do the trick.
But the result does not appear centered in this case.  I suspect it is
due to the fact that you have a voice with stems up in the lower staff
(Tenor) and no voice with stems down in the upper staff (Alto).

So in this case I would "simply" increase the minimum distance between
the Lyrics and the related Staff (upper staff).

  \new Lyrics \with {
\override VerticalAxisGroup #'nonstaff-relatedstaff-spacing
  #'minimum-distance = #6
  }

HTH.

Cheers,
Xavier

-- 
Xavier Scheuer 

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Re: Slurs are better than ties at automatically avoiding collisions

[Nick Payne]

On 10/04/11 22:09, Phil Holmes wrote:
"Nick Payne"  wrote in message 
news:4da16be1.7010...@internode.on.net...

See below. If I have a tie between the two Gs in the top voice, it
collides with the beam. If I fake the tie with a slur, it automatically
avoids the beam.

\version "2.13.58"

\relative c'' {
<< { g'2 ~ g }
\\ { s1 }
\\ { b,8 g a b ~ b a b a }
\\ { g,2 g }
>>
}

\relative c'' {
<< { g'2( g) }
\\ { s1 }
\\ { b,8 g a b ~ b a b a }
\\ { g,2 g }
>>
}

Have you tested whether it actually avoids the beam better, or if it's 
not just simply placed differently anyway?
Yes, the slur really does avoid collisions much better. Here's png 
output from the actual score where I encountered the problem - all 
elements are being placed automatically with no overrides. When using a 
tie, it collides with the beam and the fingering. Replace the ties with 
slurs, and the slur is automatically displaced upwards from its normal 
location to avoid both the beam and fingering.


Nick
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Re: Old English font for titles

[Phil Holmes]

- Original Message - 
From: "Laura Conrad" 

To: "Phil Holmes" 
Cc: "LilyPond User" 
Sent: Saturday, April 09, 2011 10:11 PM
Subject: Re: Old English font for titles




I finally got a trivial test file.  It's a dumb error in my markup.  If
you balance the open parenthesis in the composer name with a close
parenthesis, you don't get the problem, but if you use the close curly
bracket, as in the attached file, you do.



Thanks, Laura.  This stopped working between 13.47 and 13.48.  Not sure if 
this counts as a regression, since I'm not sure it was supposed to work 
before, but it'll start as a regression.


http://code.google.com/p/lilypond/issues/detail?id=1605

--
Phil Holmes



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Re: First page completed; tweaking questions

[Phil Holmes]

- Original Message - 

From: 
> Look at B1 for example.  The triplet bracket circled is
> too short, I want all triplet brackets to take the "entire
> duration", not just go to the last stem.



\set tupletFullLength = ##t
\set tupletFullLengthNote = ##t




Shouldn't this be the default?  My newly-purchased copy of Elaine Gould's 
"Behind bars" explicitly states this, and Gardner Read shows the same.


--
Phil Holmes



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Re: Slurs are better than ties at automatically avoiding collisions

[Phil Holmes]

- Original Message - 
From: "Nick Payne" 

To: 
Sent: Sunday, April 10, 2011 1:23 PM
Subject: Re: Slurs are better than ties at automatically avoiding collisions



On 10/04/11 22:09, Phil Holmes wrote:



Have you tested whether it actually avoids the beam better, or if it's
not just simply placed differently anyway?



Yes, the slur really does avoid collisions much better. Here's png
output from the actual score where I encountered the problem - all
elements are being placed automatically with no overrides. When using a
tie, it collides with the beam and the fingering. Replace the ties with
slurs, and the slur is automatically displaced upwards from its normal
location to avoid both the beam and fingering.

Nick


OK.  Added as http://code.google.com/p/lilypond/issues/detail?id=1606


--
Phil Holmes


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Re: Slurs are better than ties at automatically avoiding collisions

[Nick Payne]

On 10/04/11 23:33, Phil Holmes wrote:


- Original Message - From: "Nick Payne" 


To: 
Sent: Sunday, April 10, 2011 1:23 PM
Subject: Re: Slurs are better than ties at automatically avoiding 
collisions




On 10/04/11 22:09, Phil Holmes wrote:



Have you tested whether it actually avoids the beam better, or if it's
not just simply placed differently anyway?



Yes, the slur really does avoid collisions much better. Here's png
output from the actual score where I encountered the problem - all
elements are being placed automatically with no overrides. When using a
tie, it collides with the beam and the fingering. Replace the ties with
slurs, and the slur is automatically displaced upwards from its normal
location to avoid both the beam and fingering.

Nick


OK.  Added as http://code.google.com/p/lilypond/issues/detail?id=1606


Actually, with a bit more poking around I've found that I did actually have

\override Fingering #'avoid-slur = #'inside

set in an include file in the score. If I comment that out, then the 
slur collides in the same way as the tie, though slightly higher. 
However, there doesn't seem to be an equivalent override available for 
Ties to avoid collisions.


znivk

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RE: First page completed; tweaking questions

[James Lowe]

Hello,

From: lilypond-user-bounces+james.lowe=datacore@gnu.org 
[lilypond-user-bounces+james.lowe=datacore@gnu.org] on behalf of Ivan 
Kuznetsov [ivan.k.kuznet...@gmail.com]
Sent: 09 April 2011 21:54
To: lilypond-user@gnu.org
Subject: First page completed; tweaking questions

I have my first page of music notated with lilypond here:

http://www.flickr.com/photos/61572029@N04/5603253711/


---

Ivan,

Generally it is difficult help without getting some idea of how you have 
constructed your original file, as there are many ways to do the 'same' thing 
in LilyPond which may affect the response you get (if any) so *just* a screen 
shot is not always the best way of conveying what you want.

Always try to include a small example of the .ly file where the issue occurs

See:

http://lilypond.org/website/tiny-examples.html

This helps us help you.

Now to some of your points...

--

CONCERNING area's marked in red A1 and A2:

Sometimes I require one note to have two stems indicating
that the note belongs to two voices.  A2 worked out
as I intended but for A1, ideally I would just like the
half-note G# visible and the triplet eighth-note G# invisible,
so that the first stem of the triplet is the a stem
attached to the half-note G# (and the half-note G# still has
its downward stem also).  How can this be achieved?



I don't really follow what you want here to give you an answer, but it would be 
instructive (I think) if you walk through this 'real world' example in the 
Learning Manual

http://lilypond.org/doc/v2.13/Documentation/learning/real-music-example

as it covers things like this - joining note heads and/or stems.

-


CONCERNING the area's marked B1, B2, B3, and B4:

Look at B1 for example.  The triplet bracket circled is
too short, I want all triplet brackets to take the "entire
duration", not just go to the last stem.



Again it is worth looking at the Learning Manual to learn to find your way 
around the 'Internals Reference' manual as the internal reference manual is the 
place where all these kinds of settings are to be found. It can look quite 
difficult at first (it was for me anyway) but the sections in the Learning 
Manual helped.

See:

http://lilypond.org/doc/v2.13/Documentation/learning/tweaking-basics

and

http://lilypond.org/doc/v2.13/Documentation/learning/the-internals-reference-manual


As to extending the Tuplet Bracket Line (which I think is what you mean) look 
at this simple example to illustrate what I mean.

\relative {
 % Here is a simple example with default output
  \times 2/3 { c d e f } g a b c
 % Here is the same example but with the 'shorten pair' values changed. Play to 
suit your own requirements
 % The right side of the tuplet bracket increases in length without the note 
spacing changing within the staff
  \override Voice.TupletBracket #'shorten-pair = #'(-0.2 . -12)
  \times 2/3 { c d e f } g a b c
}

Also see

http://lsr.dsi.unimi.it/LSR/Snippet?id=398




Also, in the special case of B1, where I have two
voices each with a triplet, notationally only one
bracket is necessary.  Is there any way to make one
of the bracket's "invisible" (like an "s" rest)?



See http://lsr.dsi.unimi.it/LSR/Item?id=337

To remove the number as well you'd need

\override TupletNumber #'stencil = ##f

As the number and the 'bracket' are two different 'grobs'.




CONCERNING the area's marked C1, C2, and C3:
Can I tilt the right side of the triplet bracket
down at C1 and C3?  At C2i, can I tilt the
left side of the beam upwards so it is over the rest?

Again here is a simple example to show you the tweak I think you need here

\relative {
  \times 2/3 { c d e f } g a b c
  \override Voice.TupletBracket #'positions = #'(-6 . -3)
  \times 2/3 { c d e f } g a b c
}

The two numbers will control the overall angle, so you can use them to suit 
your example.

I hope this helps

James

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Self-Publishing (was "Favorite Lilypond-Score Printer?")

[PMA]

My thanks to all for your suggestions!

The upshot -- well, so far -- is that *if* I buy the printer, it will be a
refurbished HP LaserJet 5000.  Am sniffing out reputable vendors.

Meanwhile, I've begun to explore other (no-printer) options for self-
publishing.  The POD outfits (Lulu first) especially, and the archivers
(IMSLP, WIMA) anyway.

Simply -- I want my scores (PDF) available and known to be so by
folks whose taste might incline them to be interested.  (Reckon
it's the "known to be so" part that'll cost me)

I would love to hear your favorite thoughts on this topic.

Thanks again.
Regards,
Pete


 Original Message 
Subject: Favorite Lilypond-Score Printer?
Date: Sun, 27 Mar 2011 19:45:02 -0400
From: PMA 
To: lilypond-user@gnu.org 


Hi List.

If you were shopping for a fine non-feature-crazy laser or inkjet
printer to be used
*only* for private publishing of your LilyPond scores (that trusty old
dot-matrix will
handle everything else), is there a make-&-model you would especially
consider?

One constraint -- it must output comfortably onto 11x17 inch card stock.

I'd much appreciate any thoughts.  The vista of available contraptions
is daunting!

Thanks,
Pete



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Re: Self-Publishing

[Laura Conrad]

> "Pete" == PMA   writes:

Pete> The upshot -- well, so far -- is that *if* I buy the printer,
Pete> it will be a refurbished HP LaserJet 5000.  Am sniffing out
Pete> reputable vendors.

I would recommend against this.  I did that, after the kind of
exploration you did, and if you can pick it up on the third floor in
Cambridge, MA, USA, you can have it free.  I don't think the duplexer
ever worked more than a month at a time, and currently the fuser is
broken as well.  You can buy a duplexing laser printer for less than the
cost of a service call for the HP.

I've had to abandon the large-format idea, but my Brother HL5250DN works
better and more consistently than the HP5000 ever did.

Pete> Simply -- I want my scores (PDF) available and known to be so by
Pete> folks whose taste might incline them to be interested.  (Reckon
Pete> it's the "known to be so" part that'll cost me)

Pete> I would love to hear your favorite thoughts on this topic.

I'm currently using Lulu for printing my stuff for other people
, and I have my own site
 for free distribution.  If I were
starting from scratch now, I might use WIMA, but uploading as much stuff
as I have at the moment would be a major task, and I like that I can
just say "make upload" when I fix something.

I'll be happy to answer any questions you have about why I ended up with
the decisions I did.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I have finally taught Dean that he can do anything he wants, become
mayor of Denver, marry a millionairess, or become the greatest poet
since Rimbaud. But he keeps rushing out to see the midget auto
races. I go with him.

Jack Kerouac, _On the Road_


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Re: Self-Publishing (was "Favorite Lilypond-Score Printer?")

[Tim McNamara]

On Apr 10, 2011, at 11:05 AM, PMA wrote:

> My thanks to all for your suggestions!
> 
> The upshot -- well, so far -- is that *if* I buy the printer, it will be a
> refurbished HP LaserJet 5000.  Am sniffing out reputable vendors.
> 
> Meanwhile, I've begun to explore other (no-printer) options for self-
> publishing.  The POD outfits (Lulu first) especially, and the archivers
> (IMSLP, WIMA) anyway.
> 
> Simply -- I want my scores (PDF) available and known to be so by
> folks whose taste might incline them to be interested.  (Reckon
> it's the "known to be so" part that'll cost me)
> 
> I would love to hear your favorite thoughts on this topic.

Make sure that you are aware of the issues with copyright, having your own 
publishing company, registering your songs with RightsFlow and/or Harry Fox 
Agency, registering with ASCAP or BMI, etc.  (Some of this assumes that you are 
in the US, based on your e-mail address; there are other issues in other 
countries).
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Re: First page completed; tweaking questions

[Ivan Kuznetsov]

m...@apollinemike.com  wrote:
>
> ivan.k.kuznet...@gmail.com wrote:
> >
> > I have my first page of music notated with lilypond here:
> >
> > http://www.flickr.com/photos/61572029@N04/5603253711/
> >
...
> >
> > CONCERNING the area's marked B1, B2, B3, and B4:
> >
> > Look at B1 for example.  The triplet bracket circled is
> > too short, I want all triplet brackets to take the "entire
> > duration", not just go to the last stem.
>
> \set tupletFullLength = ##t
> \set tupletFullLengthNote = ##t


Thanks; I have worked with this a bit, and
I have only been able to get this to work within the tuplet
bracket:

 \times 2/3 { \once \set tupletFullLength = ##t fs'4  d8  }

not for a entire voice.  Also, I just want to
adjust brackets, not _add_ a bracket to a triplet beam
when a bracket is not required (perhaps that was not clear).


> > Also, in the special case of B1, where I have two
> > voices each with a triplet, notationally only one
> > bracket is necessary.  Is there any way to make one
> > of the bracket's "invisible" (like an "s" rest)?
> >
> \once \override Voice . TupletBracket #'transparent = ##t

Great; this worked _except_ that it just removed the
bracket and _not_ the number in the center of the bracket.
I would like to remove both.


I will respond to the others soon.
Thank you very much to everyone for their assistance!
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Re: First page completed; tweaking questions

[Ivan Kuznetsov]

m...@apollinemike.com  wrote:
>
> ivan.k.kuznet...@gmail.com wrote:
> >
> > I have my first page of music notated with lilypond here:
> >
> > http://www.flickr.com/photos/61572029@N04/5603253711/
> >
> >
> > CONCERNING area's marked in red A1 and A2:
> >
> > Sometimes I require one note to have two stems indicating
> > that the note belongs to two voices.  A2 worked out
> > as I intended but for A1, ideally I would just like the
> > half-note G# visible and the triplet eighth-note G# invisible,
> > so that the first stem of the triplet is the a stem
> > attached to the half-note G# (and the half-note G# still has
> > its downward stem also).  How can this be achieved?
> >
>
> \mergeDifferentlyHeadedOn

That worked well.  Thanks!

% m01
<<
  {
\times 2/3 { \mergeDifferentlyHeadedOn  gs,8[ g8 d16 as16] }
\times 2/3 { \once \set tupletFullLength = ##t fs'4  d8  }
\times 2/3 {  e,8[ d8 g8] }
  }
  \\
  { gs,2e,4  }
>>
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Re: First page completed; tweaking questions

[m...@apollinemike.com]

On Apr 10, 2011, at 2:12 PM, Ivan Kuznetsov wrote:

> m...@apollinemike.com  wrote:
> >
> > ivan.k.kuznet...@gmail.com wrote:
> > >
> > > I have my first page of music notated with lilypond here:
> > >
> > > http://www.flickr.com/photos/61572029@N04/5603253711/
> > >
> ...
> > >
> > > CONCERNING the area's marked B1, B2, B3, and B4:
> > >
> > > Look at B1 for example.  The triplet bracket circled is
> > > too short, I want all triplet brackets to take the "entire
> > > duration", not just go to the last stem.
> >
> > \set tupletFullLength = ##t
> > \set tupletFullLengthNote = ##t
> 
> Thanks; I have worked with this a bit, and
> I have only been able to get this to work within the tuplet
> bracket:
> 
>  \times 2/3 { \once \set tupletFullLength = ##t fs'4  d8  }
> 
> not for a entire voice.  Also, I just want to
> adjust brackets, not _add_ a bracket to a triplet beam
> when a bracket is not required (perhaps that was not clear).
> 
> 

There's a bracket-visibility property that you can play around with (ie \once 
\override Voice . TupletBracket #'bracket-visibility = ##t)

> 
> > > Also, in the special case of B1, where I have two
> > > voices each with a triplet, notationally only one
> > > bracket is necessary.  Is there any way to make one
> > > of the bracket's "invisible" (like an "s" rest)?
> > >
> > \once \override Voice . TupletBracket #'transparent = ##t
> 
> Great; this worked _except_ that it just removed the
> bracket and _not_ the number in the center of the bracket.
> I would like to remove both.
> 

\once \override Voice . TupletNumber #'transparent = ##t

> 
> I will respond to the others soon.
> Thank you very much to everyone for their assistance!
> 

Every time someone suggests a property, you should try to find it in the 
notation reference (that's how I learned LilyPond).  By doing so, it'll give 
you better intuition as to how the program works and help you search for 
definitions of things that could be helpful.

Cheers,
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Re: intro; art song example or template?

[Ivan Kuznetsov]

m...@apollinemike.com  wrote:
>
> #(set-accidental-style 'neo-modern) at the beginning of each
> staff when there's no time signature, use \once \override
> Staff . TimeSignature #'stencil = ##f and then use \bar ""
> at each point in time where a line break would be
> acceptable.

There were exactly the kind of "clues" I was looking for; Thanks;


>
> If you're OK with beams over system breaks and glissandi
> over system breaks, set the breakable property to ##t for
> Beam and Glissando.

I am so far not pleased with the default beaming and so I will
definitely need to work with this.

Thanks again.
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Re: First page completed; tweaking questions

[Ivan Kuznetsov]

m...@apollinemike.com  wrote:
>
> There's a bracket-visibility property that you can play
> around with (ie \once \override Voice . TupletBracket #'bracket-visibility
= ##t)
>
...
> >
> > Great; this worked _except_ that it just removed the
> > bracket and _not_ the number in the center of the bracket.
> > I would like to remove both.
>
> \once \override Voice . TupletNumber #'transparent = ##t

Great pointers; thanks!


...
>
> Every time someone suggests a property, you should try to find it in the
> notation reference (that's how I learned LilyPond).  By doing so, it'll
> give you better intuition as to how the program works and help you search
> for definitions of things that could be helpful.

Ok; the only mention of the string "TupletBracket" in
Notation Reference, LilyPond version 2.12.2 is reference
to the Internal Reference document, which as first I found
rather cryptic.  On the second reading however, the Internal
Reference document, is making more sense.  Thanks.
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Re: Dividing ties and adjusting ties in an arpeggiated chord

[James Lowe]

>> The problem is that in this example, there is a collision with the
>> tie, second from the top (d'') and the f# (fis''). Ms. Gould's
>> solution is to "divide" the tie leaving a gap in the tie, so that it
>> doesn't collide. How does one divide a tie with Lilypond?

sorry for the delayed response. Did you try simply to make a White box and then 
put it over the tie but behind the note?

I looked at doing that for a piece recently. it worked but I thought it looked 
awful. So I used \slurDown and that looked better. It was for some single very 
high flute part, so didn't use chords or other voices. 

sorry if this was irrelevant. 

James
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