Hello.
[I'm sorry to bother the list with mail management problems; in case there
is a better place, please let me know.]
Earlier today, I already mentioned there were big delays, and in fact I've
now received the posting (with subject "Auto-beam override") which I thought
was lost.
Here is an ex
Gauvain Pocentek wrote:
> Graham Percival wrote:
>
>>On 21-Feb-06, at 11:50 PM, Gauvain Pocentek wrote:
>>
>>
>>>#(set-global-staff-size 18) doesn't work at all. Is this a bug, or is
>>>there something I missed?
>>
>>This command should go at the top level -- ie in front of your \book
>>command.
>
Hello.
It seems that the message, although now archived at
http://lists.gnu.org/archive/html/lilypond-user/2006-02/msg00357.html
wasn't delivered to the ML recipients (at least I never got a copy)!
Should I re-post it?
For a couple of weeks, I've been experiencing *huge* delays in delivery
from
I really recommend that you learn to use \lyricsto, which
is much more flexible than \addlyrics. If you read in the
section called "More stanzas" in the manual, you can find
an example of exactly your situation.
If you insist on using your current text markup hack,
the trick is to increase the pr
On Wednesday 22 February 2006 03:32 pm, Steve D wrote:
> Manual for 2.7 series, section 6.1.2, Pitches
>
> Suggestion (may or may not be appropriate)--
> It might help beginners, at the point in this section where sharps and
> flats are discussed, to mention and/or illustrate that when a pitch is
I'm on Mac OS X 10.4.4, Using the latest binary (2.7.36) I want to
use Adobe's Garamond Premier Pro (OTF) for all of my lyrics. I know
the several methods for choosing fonts, and they work, but the
kerning is not right. (looks decent, but not great) My understanding
is that this is an issue
If you go to the Lilypond Snippet Repository (LSR), do a search for blank
manuscript paper (staff paper, something like that). There is an expample
there of how to do most of the tings you are asking about, and I think
you've figured out everything else (namely, how to make a landscape page).
On 21-Feb-06, at 11:50 PM, Gauvain Pocentek wrote:
#(set-global-staff-size 18) doesn't work at all. Is this a bug, or is
there something I missed?
This command should go at the top level -- ie in front of your \book
command.
Cheers,
- Graham
_
How to produce left aligned instrument names in the (almost) newest lily?
I have done it this way (so far):
\new Staff \with {
instrument = \markup { \override #'(line-width . 14) \fill-line { \vcenter
"Fagotto" " "} }
}
...
\new Staff \with {
instrument = \markup {\override #'(line-wid
I'm on Mac OS X 10.4.4, Using the latest binary (2.7.35) I want to
use Adobe's Garamond Premier Pro (OTF) for all of my lyrics. I know
the several methods for choosing fonts, and they work, but the
kerning is not right. (looks good, but not great) My understanding is
that this is Pango's fa
Hello to all! They are a chitarrista Italian classic and use Lilypond in order
to rewrite musics to me that sound! But I have a problem with the ditegiatura
of the right hand: To di Anulare comes confused from Lilypond with the note a
that in English it is said exactly a. Some idea? Thanks in ad
Henrik Frisk wrote:
[lilypond svg]
I would really appreciate it if the fonts where included in the
output. As I have not been successful in getting the fonts to load in
They are. The problem is that most SVG renderers (including Inkscape and
Firefox) don't handle the tag, which means that
> Han-Wen Nienhuys writes:
>
> > unlikely, as we're not putting the SVG fonts inside the svg
output anyway.
>
> We are not? Why is that, I'm sure we did before. SVG files
without
> fonts will be useless for use on the web, as we cannot hope that
all
> clients have feta installed?
>
I would
Thank you for opting for the "wordy" explanation. I've never played a
transposing instrument, so the explanation would be directed towards
people like me. The concrete statement "an A is notated as a C" tells me
quickly and unmistakably what the instrument _does_.
>> Consider a part written for
> I've also made one more change: a very new language feature allows
> \new Foo = "bar"
> instead of
> \context Foo = "bar"
> for the first time you're instantiating a Foo.
Thank you! Syntax is important for readability, and
\new Foo = "bar" is _much_ clearer.
-- Tom
___
Title: Mixing Text and Music
I am trying to do a book of cello exercises. Text and music alternate. There can be anything from a line of text to several paragraphs, followed by anything from one staff to a whole page of music. I have studied the manual and am at a complete loss as to how to proc
Below is the error message and the file it refers to.
I've changed everything I can think of to get it to
compile but I don't know why there is a problem either
with line 36 or with the one expression beginning with #.
Jay
# -*-compilation-*-
Changing working directory to `C:/Documents and
Manual Tie Configuration--
In a previous email I asked about how to use LilyPond's new manual tie
configuration for a particular pair of tied chords, in a piano piece I'm
notating, which only share one common pitch and a different number of
notes per chord (2 notes in first chord, 3 notes in secon
Henrik Frisk <[EMAIL PROTECTED]> writes:
> Take the PS output from lilypond and run it through the convert
> utility from the imagemagick package to create an EPS (convert
> output.ps output.eps) import the EPS into Scribus and save as
> SVG. This SVG opens in Scribus (obviously :)), Inkscape and
>
> > Take the PS output from lilypond and run it through the
convert
> > utility from the imagemagick package to create an EPS (convert
> > output.ps output.eps) import the EPS into Scribus and save as
> > SVG. This SVG opens in Scribus (obviously :)), Inkscape and
Adobe
> > Illustrator as it i
First of all, remove the \book{, since having a single \book{...} block in
a .ly file is equivalent to not having one at all (unless you use the
file in
lilypond-book).
Secondly, move the #(set-global-staff-size 18) command outside of
\score{...}.
/Mats
Gauvain Pocentek wrote:
Hi list,
Hi all,
*** PLEASE FORWARD THE FOLLOWING MESSAGE TO ANYONE POTENTIALLY INTERESTED ***
WHAT: introduction to Lilypond music notation software for beginners;
meeting for advanced Lilypond users
WHEN: tuesday 2006/03/21, 9.30am -> 12.30 am
WHERE: Academie Lede http://gamwlede.xuni.be, Lede, Belgium
Hi.
>
> The other thing was the distance of voiceOne to the Staff. It is still too
> much (see attached). Is there a way to make voiceOne ignore the ^\markups? Or
> another way to let voiceOne be printed just as close to the Staff as in the
> other Staffs?
>
I don't understand. Please inclu
Thanks for all the help with using lyrics. I must have read the manual
too quickly and missed the necessity for instatiating a Lyrics context.
It's working well for me now.
Cheers,
Bryan...
___
lilypond-user mailing list
lilypond-user@gnu.org
http:
Graham Percival wrote:
>
> On 21-Feb-06, at 11:50 PM, Gauvain Pocentek wrote:
>
>> #(set-global-staff-size 18) doesn't work at all. Is this a bug, or is
>> there something I missed?
>
> This command should go at the top level -- ie in front of your \book
> command.
Thanks!
Cheers,
Gauvain
Erik Sandberg wrote:
Han-Wen, the intended semantics of neutral-direction are a bit unclear to me.
I have two guesses:
1. If melody spanner can't decide which direction to use, use
neutral-direction instead. This seems to be the intended semantics, from
looking at melody-spanner.cc, but it doe
Regarding the new manual tie configuration, can anyone help with the
following:
{
~
\once \override TieColumn #'tie-configuration = #'( )
}
Only one note of the first chord , the upper A, is tied to the following
chord
Normally, either pairs of numbers specifying the vertical po
Hello.
The attached pdf was produced from the following snippet:
%-
\version "2.6.0"
\score {
\relative c'' {
\time 4/4
<< { b8 d b c16 d g,8 g'16 f g f g32( f e d) |
d8 c16 b d8 e32( d c b) c8 b16 a c8 d32( c b a) | }
{ b8[ d] b c16 d g,8 g'16 f g[ f g32( f e d)] |
On 21-Feb-06, at 4:40 PM, Steve D wrote:
understand. It might be helpful, especially for beginners, to state
that
"\octave a'" and other \octave checks produce no visible output in the
score, but that it is instead strictly a method to verify
I've reworded some of this section with this in m
Hi,
Has anyone created a template for printing blank paper for concert/theatre pipe organ?
Ideally three systems per page, but two might be more reasonable since I need room to enter registrations. I want to reduce symphonic music to concert/theatre organ and would like to have the music paper
Hello,
I'm trying to make lyrics for the bass/tenor lines that
follow different notes
than the soprano/alto lines in the chorus.
Anyway, I couldn't seem to figure out how to do this
with addlyrics, properly,
given the time I had, so I tried text markup, using a
separate markup for
each note
Having often to set songs with perhaps extra verses, I've found that the
most comfortable way of implementing lots of text is by combining
lilypond-book and latex to produce the desired effect, especially if
there's no necessity of fitting the lyrics to the music itself.
Jeffrey
Here's an e
Manual for 2.7 series, section 6.1.2, Pitches
Suggestion (may or may not be appropriate)--
It might help beginners, at the point in this section where sharps and
flats are discussed, to mention and/or illustrate that when a pitch is
followed by both an octave specification and a sharp/flat indicat
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