[EMAIL PROTECTED] writes:
> I am writing a paper on musical analysis. In there I need score-examples
> where the notes are grouped together. Normally this is done via a horizontal
> bracket underneath the score. As the exmples are musically quit simple I started
> by using slurs. But I ran into tw
[EMAIL PROTECTED] writes:
>
> MB> Others can provide more details, I've never done this
> MB> myself.
>
> Here's how I do it (output in `preview.png') -- of course it must be
> place in context:
Complete snippet (and slightly shorter: )
\header {
texidoc = "Cross staff stem
Thanks Graham for the pointer to the "Thread" message. With that example I
got it in one.
Now, about threads; I have to notate some string parts in which two notes
are sounding but it isn't just plain old double-stops. There is a drone on
an open string with several measures tied together while
[EMAIL PROTECTED] writes:
> Hi,
> I would like to fine tune the chord symbols on my lilypond output.
>
> How do I change to a sans-serif font?
quick & dirty hack: goto font.scm, and replace cmr by cmss everywhere.
> How do I reduce the vertical spacing between the chord symbols and the
> stave
[EMAIL PROTECTED] writes:
> well, i'm not quite sure where the message comes from, because it
> doesn't give a location and my source is 4 pages...
It's caused by unusual combinations of eg. clefs that aren't
followed by notes.
> [localhost:~/concert_choir/an_die_musik] jslootbe% ly2dvi an_
[EMAIL PROTECTED] writes:
> Hi, I've installed LilyPond 1.6.3 on RedHat 7.3 successfully from the source,
> but couldn't "make web" and got error messages like :
> gs invoked by "system()" in lilypond-book.py line 1066 always
> devours terribly much CPU time and makes my harddisk very busy onl
[EMAIL PROTECTED] writes:
> if I comment out the "translator" line, the notes
> are much bigger than with EasyNotation. To make the
> note names easily readable, larger note heads are
> desireable.
Easy notation uses round heads iso. oval ones. They're just as high,
but less wide. Is that what yo
[EMAIL PROTECTED] writes:
> Hi,
> I have compiled up Lilypond 1.6.4 and am having a great time.
> It's brill.
Thanks!
> I've not seen this representation before, as I would have expected the
> key-sig to appear at the beginning of the first bar of the second repeat
> section.
>
> Is this norm
> Mats,
>
> I'm getting weird results as well. PS and PDF output look fine. DVI
> output looks VERY weird. The fonts look square. (but not "dotty" as in
> low resolution dotty, it looks squigly, or something like that)
What DVI file are you refering to? Those produced on your own
system or the
[EMAIL PROTECTED] writes:
>
>
> Agreed- nothing is assumed, although from a theoretical standpoint everything is a
>design decision. (Sorry, I'm being too picky.)
>
> Could this behaviour be made explicit in the docs? I would like to
> suggest a code change or adjustable property setting (t
In the following one measure extract I need a diamond shaped notehead on
the f-sharp. Adding \property Voice.NoteHead \set #'style = #'diamond
before the f-sharp and then reverting to \property Voice.NoteHead \set
#'style = #'default immediately after does not work. Obviously I'm doing
something
On Fri, 04 Oct 2002 20:51:22 +
David Bobroff <[EMAIL PROTECTED]> wrote:
> In the following one measure extract I need a diamond shaped notehead on
> the f-sharp. Adding \property Voice.NoteHead \set #'style = #'diamond
> before the f-sharp and then reverting to \property Voice.NoteHead \set
>
Mats,
I'm getting weird results as well. PS and PDF output look fine. DVI
output looks VERY weird. The fonts look square. (but not "dotty" as in
low resolution dotty, it looks squigly, or something like that)
PDF and PDF output looks flawless. it could be his Tetex installation.
If he is viewin
The \cadenzaOn/Off just tell Lilypond to stop inserting bar lines,
the rhythms in the different staves still has to match.
What you could do is to say \times 2/3{...} in the solo part
(don't forget to turn off the tuplet numbers and brackets).
An alternative is to say e1*3/2 in all the other pa
Hi
I have a Solo + SATB + Piano piece, (in 4/4) and in the last measure the soloist has a cadenza of 6 beats while the chorus sustains the word "home".
Here's the solo notes:
\cadenzaOn bes8 ( des4 ces8 \cadenzaOff [bes8 f8 as8 ges8] [as,8 ) f'8] [es8 () des8]
for the chorus i had to use
| e1 ~
Mats Bengtsson schrieb:
>This is not the problem. If you followed the discussion, you'd see
>that Colin produced a Postscript file which he claims looks weird
>on his screen but fine on printer. His file looks fine over here.
>Check yourself at
>http://www.mail-archive.com/lilypond-user@gnu.org
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This is not the problem. If you followed the discussion, you'd see
that Colin produced a Postscript file which he claims looks weird
on his screen but fine on printer. His file looks fine over here.
Check yourself at
http://www.mail-archive.com/lilypond-user@gnu.org/msg02497.html
I have converted
This is a known limitation. The workaround could be used in most
situations, but if you for example want a fermata centered exactly
above the rest, it's extremely clumsy.
This fairly high on my wish list for new features.
/Mats
> It doesn't seem to be possible to attach articulations to mult
Hi.
The code
\documentclass[a4paper]{article}
\begin{document}
\begin{lilypond}
\score{
\notes {
c' c' c' c'}}
\end{lilypond}
\end{document}
give me, after lilypond-book 1.6.5 and latex,
Overfull \hbox (14.99867pt too wide) in paragraph at lines 357--390
In fact, the score is too much right
- Original Message -
> > in two separate bracketed-voice-contexts, why assume that it's the
> > same Voice?
>
> Nothing is assumed, the names are simply the same: "" -> same voice.
>
> Jan.
Agreed- nothing is assumed, although from a theoretical standpoint everything is a
design deci
I had a quick look at texconfig but wasn't sure what to do - which options
do I select?
C
> Are you using tetex, and is it configured to output PS higher than
> 300dpi??? That could be an explanation as to why the notes output dotty.
> . . .
>
> You can change this configuration using the texco
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Hans Kieserman <[EMAIL PROTECTED]> writes:
> Sorry, I think I understand- the default is to name all of the voices
> the same, so lilypond treats both voices as one.
Yes.
> This default behaviour seems odd, though. If I'm entering note data
> in two separate bracketed-voice-contexts, why assum
Alois Steindl <[EMAIL PROTECTED]> writes:
> Today I re-installed tetex-tiny several times (due to clashes of
> environment variables (TEXMFCNF) settings there where some problems),
> until it produced proper output. Now the spacing looks perfect.
> I had thaught that lilypond already takes care o
Hans Kieserman <[EMAIL PROTECTED]> writes:
> Hi-
> Why does Lilypond try to "join" voices?
I wanted to point you to the documentation, but this is missing from
the tutorial, as it seems.
Voices (and other contexts) are identified by name. If you want two
voices, you must give them different na
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