Re: How to handle changing transpositions

[Jan-Peter Voigt]

Hi Urs,

I updated the snippet in oll (master). It compiles with 2.9.15 (and
should with 2.9.16).
There was an old try to automatically insert a timesignature, when the
transposition changed. I tried with broadcast-stream-event (or thelike),
which didn't do the trick. That part is not essentially needed, but it
would be nice, if time-signatures would be printed, when the
instrument-transposition changes.

For now it should work. If there is a problem, when a music-expression
is used more than once, give me another note.

Best, Jan-Peter


On 07.10.2014 12:03, Urs Liska wrote:
> Unfortunately the snippet doesn't run on current LilyPond versions.
>
> Running on 2.18.2 works
>
> Running 2.19.4 throughout 2.9.11 works but gives a warning:
>
> Interpreting music...
>
> warning: Event class should be a list
>
>
> Running 2.19.16 doesn't compile and outputs:
>
> Parsing...
>
> Interpreting
> music.../home/uliska/git/openlilylib/openlilylib/editorial-tools/auto-transpose/definitions.ily:64:18
> <0>: In procedure ly:make-stream-event in expression
> (ly:make-stream-event (quote key-change-event) (quasiquote #)):
>
> /home/uliska/git/openlilylib/openlilylib/editorial-tools/auto-transpose/definitions.ily:64:18
> <1>: Wrong type argument in position 1 (expecting pair): key-change-event
>
>
> When looking in the definitions file I see that there's nothing I can
> do about it, so I have to ask you politely to update that snippet. If
> it can be fixed it would be good to use the
> lilypond-version-predicates from
> https://github.com/openlilylib/openlilylib/tree/master/general-tools/lilypond-version-predicates
> to make the function generally accessible (i.e. execute the right code
> depending on the used LilyPond version).

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Re: remove first empty staff and ambitus

[Kai Lautenschläger]

Dear Thomas,

Thnx so much. It works perfectly! I have been fiddling around with the problem 
for over half a year. Really: Thanks a lot. Also to Knute and HTH!

Kai

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Am 5.10.2014 um 15:30 schrieb Thomas Morley :

> 2014-10-02 20:50 GMT+02:00 Kai Lautenschläger :
>> Dear list,
>> 
>> a few weeks ago I asked about removing the first empty staff in choir music 
>> and inserting the ambitus in the n-th system for selected voices. From the 
>> answers you gave, I could built the following example, which solved a whole 
>> set of problems.
>> 
>> Now, can anyone come up with an idea how to remove the upper staff in the 
>> first system? I’m grateful for any hints. Thanks
>> 
>> best regards, Kai
>> 
>> \version "2.19.15"
>> 
>> musicI = \relative { \repeat unfold 5 { c'4^"first voice" b' c, g' } }
>> musicII = \relative { \repeat unfold 5 { c''4^"second voice" b' c, g' } }
>> ambitus = \with { \consists "Ambitus_engraver" }
>> noAmbitusAtEnd = {
>>  \override Voice.AmbitusNoteHead.break-visibility = ##(#f #f #t)
>>  \override Voice.AmbitusLine.break-visibility = ##(#f #f #t)
>> }
>> 
>> \score {
>>  <<
>>\new Staff = "StaffI"
>>\new Voice = "VoiceI" { s1*5 \break \new Voice \ambitus \musicI }
>>\new Staff = "StaffII"
>>\new Voice = "VoiceII" \ambitus { \musicII }
 
>>  \layout {
>>\context {
>>  \Staff
>>  \RemoveEmptyStaves
> 
> Delete "Staff" in the following command.
> You are adding something to the Staff-context-definition here.
> LilyPond will be confused by repeating the Staff-context, although you
> are in there already.
> 
>>  \override Staff.VerticalAxisGroup.remove-first = ##t
> 
> I'm surprised the following works, because noAmbitusAtEnd is defined
> for Voice-context
> 
>>  \noAmbitusAtEnd
>> 
>>}
>>  }
>> }
> 
> 
> Though the main problem is that the ambitus appears end-of-line at a
> line-break here This adds note-heads to this lines. And as default
> this will cause this line alive.
> Making them invisible via break-visibility is not enough, they're still there.
> 
> You could try to use settings for keep-AliveInterfaces as described here:
> http://lsr.di.unimi.it/LSR/Item?id=312
> 
> Though, no clue if it will work in real life scores:
> 
> \version "2.19.13"
> 
> keep-AliveInterfaces =
> #'(
>  rhythmic-grob-interface
>  lyric-interface
>  stanza-number-interface
>  percent-repeat-interface
> )
> 
> musicI = \relative { \repeat unfold 5 { c'4^"first voice" b' c, g' } }
> musicII = \relative { \repeat unfold 5 { c''4_"second voice" b' c, g' } }
> ambitus = \with { \consists "Ambitus_engraver" }
> noAmbitusAtEnd = {
>  \override Staff.AmbitusNoteHead.break-visibility = ##(#f #f #t)
>  \override Staff.AmbitusLine.break-visibility = ##(#f #f #t)
> }
> 
> \score {
>  <<
>\new Staff = "StaffI"
>\new Voice = "VoiceI" {
>\set Staff.keepAliveInterfaces = #'()
>s1*5
>\break
>\set Staff.keepAliveInterfaces = \keep-AliveInterfaces
>\new Voice \ambitus
>\musicI
>}
>\new Staff = "StaffII"
>\new Voice = "VoiceII" \ambitus {
>\musicII
>s1*5
>}
>>> 
>  \layout {
>\noAmbitusAtEnd
>\context {
>  \Staff
>  \RemoveEmptyStaves
>  \override VerticalAxisGroup.remove-first = ##t
>}
>  }
> }
> 
> 
> 
> HTH,
>  Harm

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empty left space in measures

[Dr. med. Kai Lautenschläger]

Hi List,

In many of my scores for choral pieces I see an effect, that I could not make a 
minimal example for. So my question is, if anyone has seen this and could point 
me towards the usual suspects of reasons for this behaviour.

Often I see a expanded empty space at the beginning of measures. The measures 
are engraved with lilypond standard (no tweaks or overrides) and it is 
obviously not linked to lyrics (I tried leaving them out and changing the 
length of syllables). I does also not change, if I reduce to one staff or 
voice. I suspect something linked to chopping the music into measures is the 
reason, but I have no clue, how to find out more. Maybe it is connected to 
linebreaking, too. 

Sorry that the question is so fussy, but I cannot make it more clear. Please 
see the png below for an example.

I’ll appriciate any idea!

Best regards

Kai

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Feedback Request for Music Fonts

[Abraham Lee]

Greetings, fellow users!

With the advent of the new music fonts and the accompanying website, I 
just thought I'd open up this thread to any feedback anyone has about 
the fonts and ANYTHING related to them. I think it would also be neat 
for users to also share success stories from using them. I want it all, 
the brags and the drags.


I look forward to hearing from you all!

Regards,
Abraham
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Re: empty left space in measures

[Trevor Daniels]

Kai, you wrote Thursday, October 09, 2014 2:27 PM

> In many of my scores for choral pieces I see an effect, that I could 
> not make a minimal example for. So my question is, if anyone has 
> seen this and could point me towards the usual suspects of reasons for this 
> behaviour.

> Often I see a expanded empty space at the beginning of measures. 
> The measures are engraved with lilypond standard (no tweaks or overrides) and 
> it is obviously not linked to lyrics (I tried leaving them out and changing 
> the 
> length of syllables). I does also not change, if I reduce to one staff or 
> voice. 
> I suspect something linked to chopping the music into measures is the reason, 
> but I have no clue, how to find out more. Maybe it is connected to 
> linebreaking, too. 

No idea.  I think you'll need to post the source of the smallest example you 
can which
shows this effect - no lyrics, one staff, one voice.  And don't forget the 
version!

Trevor
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Re: empty left space in measures

[Dr. med. Kai Lautenschläger]

Thanks Trevor,

Am 9.10.2014 um 15:44 schrieb Trevor Daniels :

> 
> Kai, you wrote Thursday, October 09, 2014 2:27 PM
> 
>> In many of my scores for choral pieces I see an effect, that I could 
>> not make a minimal example for. So my question is, if anyone has 
>> seen this and could point me towards the usual suspects of reasons for this 
>> behaviour.
> 
>> Often I see a expanded empty space at the beginning of measures. 
>> The measures are engraved with lilypond standard (no tweaks or overrides) 
>> and 
>> it is obviously not linked to lyrics (I tried leaving them out and changing 
>> the 
>> length of syllables). I does also not change, if I reduce to one staff or 
>> voice. 
>> I suspect something linked to chopping the music into measures is the 
>> reason, 
>> but I have no clue, how to find out more. Maybe it is connected to 
>> linebreaking, too. 
> 
> No idea.  I think you'll need to post the source of the smallest example you 
> can which
> shows this effect - no lyrics, one staff, one voice.  And don't forget the 
> version!

Since this particular score I am working on is very extensive and some of the 
code goes way over my head, I was hoping for an idea where to start minimizing 
(I was dreaming of something like: start with the vertical spacing - I had that 
once and it was linked to that). Just an idea or an hint rather then an answer. 
The programming pros in the list often showed this gut feeling in what area one 
could look for an error/problem. As soon as I succeeded in making minimal 
example, half (or more ;-)) of my problem will be solved. 

> Trevor

Kai




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Re: empty left space in measures

[David Nalesnik]

Hi Kai,

On Thu, Oct 9, 2014 at 11:05 AM, "Dr. med. Kai Lautenschläger" <
dr.lautenschlae...@gmx.net> wrote:

> Thanks Trevor,
>
> Am 9.10.2014 um 15:44 schrieb Trevor Daniels :
>
> >
> > Kai, you wrote Thursday, October 09, 2014 2:27 PM
> >
> >> In many of my scores for choral pieces I see an effect, that I could
> >> not make a minimal example for. So my question is, if anyone has
> >> seen this and could point me towards the usual suspects of reasons for
> this behaviour.
> >
> >> Often I see a expanded empty space at the beginning of measures.
> >> The measures are engraved with lilypond standard (no tweaks or
> overrides) and
> >> it is obviously not linked to lyrics (I tried leaving them out and
> changing the
> >> length of syllables). I does also not change, if I reduce to one staff
> or voice.
> >> I suspect something linked to chopping the music into measures is the
> reason,
> >> but I have no clue, how to find out more. Maybe it is connected to
> linebreaking, too.
> >
> > No idea.  I think you'll need to post the source of the smallest example
> you can which
> > shows this effect - no lyrics, one staff, one voice.  And don't forget
> the version!
>
> Since this particular score I am working on is very extensive and some of
> the code goes way over my head, I was hoping for an idea where to start
> minimizing (I was dreaming of something like: start with the vertical
> spacing - I had that once and it was linked to that). Just an idea or an
> hint rather then an answer. The programming pros in the list often showed
> this gut feeling in what area one could look for an error/problem. As soon
> as I succeeded in making minimal example, half (or more ;-)) of my problem
> will be solved.
>
>
A start would be to chop out most of the measures from your example.  Why
not try limiting the score to just the measure you've highlighted?

As Trevor says, you will really need to post some sort of example, and the
shorter the better.  Then you will likely get a quick answer to your
problem.

Several questions I have (since you'd like a "hunch"):
--Is there something in another part, not shown, which occupies space?
Like groups of grace notes?
--Is there something hidden at the beginning of measures, like a
TimeSignature?
--Is there some sort of override of the X-extent of BarLine somewhere?

That's all I can think of.


--David
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Re: Key signatures in hidden staves take up space

[Peter Crighton]

2014-10-07 20:16 GMT+02:00 David Kastrup :

> Peter Crighton  writes:
>
> > 2014-10-05 16:38 GMT+02:00 David Kastrup :
> >> >
> >> > Okay, thanks for explaining. For now I am content with using “\omit
> >> > Staff.KeySignature” and “\revert Staff.KeySignature.stencil”
> respectively
> >> > to get rid of the problem.
> >> >
> >> > What I found strange, though, was that in my score the problem only
> >> > appeared when there was a time signature change at the beginning of
> the
> >> > line. I couldn’t reproduce this in a minimal example.
> >>
> >> Huh.  Maybe LilyPond _does_ set the line/horizontal spacing fresh after
> >> determining the break points.  But things like key/time signature
> >> changes are repeated on the _previous_ line.  And maybe it's too late to
> >> redo the line spacing on _that_?
> >>
> >> You can try creating a minimal example with multiple lines by manually
> >> placing breaks with \break.
> >
> >
> > I know, what I meant was that in my minimal example the problem appears
> in
> > every line, not only those with a time signature change.
> >
> >
> > \version "2.19.13"
> >
> > <<
> >   \new Staff <<
> > \relative c'' {
> >   c1 \break
> >   c2.
> >   c \break
> >   c1
> >   c
> > }
> >   >>
> >   \new Staff \with {
> > \RemoveEmptyStaves
> >   } <<
> > {
> >   \key d \major
> >   R1 \break
> >   \time 3/4
> >   R2. \break
> >   R2.
> >   \key c \major
> >   \time 4/4
> >   R1 \break
> >   R1
> > }
> >   >>
> >>>
>
> I don't really see what you are getting at.  The horizontal spacing in
> your example is, as I conjectured first, fixed before removing the
> frenched staff: it is in all cases identical to the version without
> \RemoveEmptyStaves.  Fixing that would require another pass through the
> horizontal spacing, redistributing the additionally available space
> without considering the frenched staff.  I don't know how well this
> could be implemented given current LilyPond's internals, but it is
> certainly going to be a non-trivial expense.


Maybe I misunderstood what you had written before, but you seemed to be
surprised about the problem appearing in my score only at time signature
changes. And that’s the one thing I can’t reproduce in a minimal example,
there the problem appears in every line, regardless of there being a time
signature change or not. In my score there would be no extra space before
the first note at the beginning of the line in a situation like measure 3.

--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de



--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de

2014-10-07 20:16 GMT+02:00 David Kastrup :

> Peter Crighton  writes:
>
> > 2014-10-05 16:38 GMT+02:00 David Kastrup :
> >> >
> >> > Okay, thanks for explaining. For now I am content with using “\omit
> >> > Staff.KeySignature” and “\revert Staff.KeySignature.stencil”
> respectively
> >> > to get rid of the problem.
> >> >
> >> > What I found strange, though, was that in my score the problem only
> >> > appeared when there was a time signature change at the beginning of
> the
> >> > line. I couldn’t reproduce this in a minimal example.
> >>
> >> Huh.  Maybe LilyPond _does_ set the line/horizontal spacing fresh after
> >> determining the break points.  But things like key/time signature
> >> changes are repeated on the _previous_ line.  And maybe it's too late to
> >> redo the line spacing on _that_?
> >>
> >> You can try creating a minimal example with multiple lines by manually
> >> placing breaks with \break.
> >
> >
> > I know, what I meant was that in my minimal example the problem appears
> in
> > every line, not only those with a time signature change.
> >
> >
> > \version "2.19.13"
> >
> > <<
> >   \new Staff <<
> > \relative c'' {
> >   c1 \break
> >   c2.
> >   c \break
> >   c1
> >   c
> > }
> >   >>
> >   \new Staff \with {
> > \RemoveEmptyStaves
> >   } <<
> > {
> >   \key d \major
> >   R1 \break
> >   \time 3/4
> >   R2. \break
> >   R2.
> >   \key c \major
> >   \time 4/4
> >   R1 \break
> >   R1
> > }
> >   >>
> >>>
>
> I don't really see what you are getting at.  The horizontal spacing in
> your example is, as I conjectured first, fixed before removing the
> frenched staff: it is in all cases identical to the version without
> \RemoveEmptyStaves.  Fixing that would require another pass through the
> horizontal spacing, redistributing the additionally available space
> without considering the frenched staff.  I don't know how well this
> could be implemented given current LilyPond's internals, but it is
> certainly going to be a non-trivial expense.
>
> --
> David Kastrup
>
>
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Re: remove first empty staff and ambitus

[Simon Albrecht]

Hello Kai,

HTH would sure be one of the most active contributors to this list if he were 
one, but it's only an abbreviation for 'hope that helps'... I also had to look 
that one up when I first came across it :-)

Yours, Simon

Am 09-Oct-2014 14:21:57 +0200 schrieb kai.lautenschlae...@me.com: 
Dear Thomas,   Thnx so much. It works perfectly! I have been fiddling around 
with the problem for over half a year. Really: Thanks a lot. Also to Knute and 
HTH! Kai   --- kai.lautenschlae...@me.com  
  Am 5.10.2014 um 15:30 schrieb Thomas Morley : 

 2014-10-02 20:50 GMT+02:00 Kai Lautenschläger :

Dear list,

a few weeks ago I asked about removing the first empty staff in choir music and 
inserting the ambitus in the n-th system for selected voices. From the answers 
you gave, I could built the following example, which solved a whole set of 
problems.

Now, can anyone come up with an idea how to remove the upper staff in the first 
system? I'm grateful for any hints. Thanks

best regards, Kai

\version "2.19.15"

musicI = \relative { \repeat unfold 5 { c'4^"first voice" b' c, g' } }
musicII = \relative { \repeat unfold 5 { c''4^"second voice" b' c, g' } }
ambitus = \with { \consists "Ambitus_engraver" }
noAmbitusAtEnd = {
 \override Voice.AmbitusNoteHead.break-visibility = ##(#f #f #t)
 \override Voice.AmbitusLine.break-visibility = ##(#f #f #t)
}

\score {
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Re: Feedback Request for Music Fonts

[Scott Miller]

(edit: forgot to reply to list)

I have had the chance to throw some different scores in front of a few
players. They all seemed to prefer the Profondo font, curiously enough
stating that it looked the most modern.

My favorite is the Scorlatti font which is just brilliant. Thank you for
your hard work on this,
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Re: Feedback Request for Music Fonts

[Guy Stalnaker]

I LOVE what you've done. I them installed on all of my 
lilypond/Frescobaldi intallations (five in total). And you have a 
compliment from a non-LP/Frescobaldi user. The director of my church's 
chancel choir specifically mentioned the beauty and legibility of a 
score I engraved with Haydn :-)


You rock!

On 10/09/2014 11:01 AM, lilypond-user-requ...@gnu.org wrote:

Feedback Request for Music Fonts


--

"There is only love, and then oblivion. Love is all we have
to set against hatred." (paraphrased) Ian McEwan

Guy Stalnaker
jimmyg...@gmail.com

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header markup puzzle

[Flaming Hakama by Elaine]

Hello,

I was wondering if anyone had suggestions for a text formatting challenge
I've been unable to solve.

The format I like to use for header markup (for pages after page 1) is to
have the page number centered with em dashes around it, and then split the
title, with half on the left and half on the right.

The following code is what I am using, but I am not very happy with it.

The issues I'd like to solve are:

  o How do I get the left/right sides of the title to right/left align next
to the page number?  I am doing it with literal spaces, but this is very
unsatisfactory.

  o How do I get an actual em dash rather than use "--"?   I know that the
code is \char ##x2014, but I cannot figure out how to use that in this
header \on-the-fly context.

  o Is there a way to encapsulate this in a function, so I can just say
something like:
\setSplitTitle "Example: Split" "Centered Title"


\version "2.18.2"

\header {
title = \markup { \fontsize #2 \bold "Example: Split Centered Title" }
}

\paper {
print-page-number = ##t
print-first-page-number = ##f
oddHeaderMarkup = \markup {
  \fill-line {
\on-the-fly #print-page-number-check-first
\fromproperty #'header:poet
\on-the-fly #print-page-number-check-first
" Split Centered --"
\on-the-fly #print-page-number-check-first
\fromproperty #'page:page-number-string
\on-the-fly #print-page-number-check-first
"-- Title  "
\on-the-fly #print-page-number-check-first
\fromproperty #'header:composer
  }
}
evenHeaderMarkup = \oddHeaderMarkup
}

\book {
  \score {
\new Staff {
  \relative c' { c1 \pageBreak c }
}
  }
}



Thanks,

David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Time signature differs from measure length

[Noeck]

Hi,

I want to write a piece with a alla-breve time signature but with four
half notes in a measure (4/2).

Is it better to overwrite the time signature stencil and use \time 4/2
(if yes, how?) or do it like this:

\version "2.18.2"

\relative c'' \scaleDurations 1/2 {
  \time 2/2
  r2 g g g | f f g b | b a b1
}

Cheers,
Joram

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Re: header markup puzzle

[Simon Albrecht]

Hello David,

I attach a file which should do what you want, and add some comments below:

Am 09.10.2014 um 23:50 schrieb Flaming Hakama by Elaine:

Hello,

I was wondering if anyone had suggestions for a text formatting 
challenge I've been unable to solve.


The format I like to use for header markup (for pages after page 1) is 
to have the page number centered with em dashes around it, and then 
split the title, with half on the left and half on the right.


The following code is what I am using, but I am not very happy with it.

The issues I'd like to solve are:

  o How do I get the left/right sides of the title to right/left align 
next to the page number?  I am doing it with literal spaces, but this 
is very unsatisfactory.
If you use \fill-line with three markups in its argument, the first is 
flush-left, the second is centered (at least approximately), and the 
third is flush-right.
So use the poet as one markup, the whole split-title-and-page-number 
complex as one second markup (by enclosing it in \line), and the 
composer as third argument.


  o How do I get an actual em dash rather than use "--"?   I know that 
the code is \char ##x2014, but I cannot figure out how to use that in 
this header \on-the-fly context.
It’s easier anyway if you apply \on-the-fly to the entire markup as I 
did in the attached essay. And \char ##x2014 is inserted in precisely 
the same way as any other markup string.


  o Is there a way to encapsulate this in a function, so I can just 
say something like:

\setSplitTitle "Example: Split" "Centered Title"
See 
. 
If you want a command which does not need to be wrapped into \markup {}, 
use #(define-scheme-function ), which should also be explained in the 
Extending Manual.


HTH,
Simon
\version "2.18.2"

title-left = "Example: Split"
title-right = "Centered Title"
em-dash = \markup \char ##x2014

\header {
  title = \markup { \fontsize #2 \bold { \title-left \title-right } }
  poet = "poet"
  composer = "composer"
}

\paper {
  print-page-number = ##t
  print-first-page-number = ##f
  oddHeaderMarkup = \markup {
\on-the-fly #print-page-number-check-first
\fill-line {
  \fromproperty #'header:poet
  \line { 
\title-left
\em-dash
\fromproperty #'page:page-number-string
\em-dash
\title-right
  }
  \fromproperty #'header:composer
}
  }
  evenHeaderMarkup = \oddHeaderMarkup
}

\book {
  \score {
\new Staff {
  \relative c' { c1 \pageBreak c }
}
  }
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\lyricsto and \tag problems

[Noeck]

Hi,

this is the usual way I write a song (melody with lyrics):

\version "2.18.2"

<<
  \new Staff \new Voice = sop { c' d' e' f' }
  \new Lyrics \lyricsto sop \keepWithTag "A" \lyricmode {
An \tag "A" example \tag "B" text
  }
>>

(The melody is usually a variable and the \lyricmode { … }, too.)

It compiles nicely with LP 2.18.2. But it fails with 2.19.2, saying:

tags.ly:5:29: error: syntax error, unexpected MUSIC_FUNCTION, expecting
\sequential or \simultaneous or << or '{'
  \new Lyrics \lyricsto sop
\keepWithTag "S" \lyricmode {
tags.ly:8:1: error: Unfinished main input

Running convert-ly does not change the code. I see no tag related
changes in http://www.lilypond.org/doc/v2.19/Documentation/changes/index

If this is related to the \lyricsto changes, why does convert-ly not
cover it? And how should I write my code properly?

Cheers,
Joram

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RE: Time signature differs from measure length

[Mark Stephen Mrotek]

Noeck,

http://lists.gnu.org/archive/html/lilypond-user/2014-09/msg00603.html
might be of help.

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Noeck
Sent: Thursday, October 09, 2014 4:14 PM
To: lilypond-user
Subject: Time signature differs from measure length

Hi,

I want to write a piece with a alla-breve time signature but with four half
notes in a measure (4/2).

Is it better to overwrite the time signature stencil and use \time 4/2 (if
yes, how?) or do it like this:

\version "2.18.2"

\relative c'' \scaleDurations 1/2 {
  \time 2/2
  r2 g g g | f f g b | b a b1
}

Cheers,
Joram

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Re: transposing quoteDuring music

[Kieren MacMillan]

Hi Paul,

> \version 2.19.15 
> \addQuote cueName \transpose c c, \music
> 
> This was broken for a while but has been fixed some time ago.

Thanks! I tried it a few versions ago, and it didn’t work, so I gave up on 
there being an “easy solution".
Good to know it’s back to working.

Best,
Kieren.

___

Kieren MacMillan, composer
www:  
email:  i...@kierenmacmillan.info


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