Melanie Grouse wrote:
I am getting better at putting the code in (is that what you call
entering the notation?), and I am getting good results most of the
time, however, I have come unstuck today. I have checked and
rechecked what I have put into my notepad file, but the music that is
generat
I am getting better at putting the code in (is that what you call entering the notation?), and I am getting good results most of the time, however, I have come unstuck today. I have checked and rechecked what I have put into my notepad file, but the music that is generated doesn't match it. I am
Nick Prömper <[EMAIL PROTECTED]> writes:
> What's the command to enable automatic line-wrapping?!
\justify or \wordwrap
See the list of markup commands.
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Hi all,
before I place my very first question here in that mailing list, I'd like to
say a big thank-you to all the people envolved in developing this great
program. It is really the very first tool, that meets my needs. By now, there
is nothing, that cannot be done with it. THANKS!!
I believe
Tomas Valusek <[EMAIL PROTECTED]> writes:
> Hello,
>
> can anyone explain me the trick used in the code cited below?
>
>> %-
>> \version "2.6.3"
>> \relative c'' {
>> a1 c f g
>> \override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible
>
> The line above confuses me tota
Quoting Geoff Horton <[EMAIL PROTECTED]>:
As LilyPond has matured, has its ease of use has quite kept pace with
its output capabilities? If the goal is to make it easy for many
people to make beautiful-looking music, isn't it worth checking now
and then to see if there are simple ways to make tha
This is the point I really want to jump on. After the first two or
three emails, this descended into the usual pointless spat over
ease-of-use and documentation. Stop talking about it, and start doing
something! If we all spent half as much time _working_ on the docs
that we've spent _talking_
Hello,
can anyone explain me the trick used in the code cited below?
%-
\version "2.6.3"
\relative c'' {
a1 c f g
\override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible
The line above confuses me totally.
\once \override Score.RehearsalMark #'self-alignment-X
On 30-Apr-06, at 3:49 AM, Nicolas Sceaux wrote:
"David Feuer" <[EMAIL PROTECTED]> writes:
On 4/29/06, Geoff Horton <[EMAIL PROTECTED]> wrote:
I question that. I think it looks easy to you because you already
know
how it all works and fits together.
I'm tired of these kinds of remarks.
I don't understand the point of this discussion.
I do appreciate the help that you and others so readily give, and I'm
sorry you didn't like my statement, but I stand by it. (Please note
that I'm not arguing for a large change in the way things work--that's
David's argument, if he wants to make
Nicolas Sceaux wrote:
Paul Scott <[EMAIL PROTECTED]> writes:
Why doesn't this code right align the text on the bar line?
\version "2.8.1"
\relative c'' {
a1 c f g^\markup{ \right-align{ "D.S. al Coda" } }
f
}
TIA,
Paul Scott
If you want to align something on a bar line, you'd
Paul Scott <[EMAIL PROTECTED]> writes:
> Why doesn't this code right align the text on the bar line?
>
> \version "2.8.1"
>
> \relative c'' {
> a1 c f g^\markup{ \right-align{ "D.S. al Coda" } }
> f
> }
>
> TIA,
>
> Paul Scott
If you want to align something on a bar line, you'd better use \ma
"David Feuer" <[EMAIL PROTECTED]> writes:
> On 4/29/06, Geoff Horton <[EMAIL PROTECTED]> wrote:
>
>> I question that. I think it looks easy to you because you already know
>> how it all works and fits together.
I'm tired of these kinds of remarks. When someone asks here a specific
question about
Hi.
> Why doesn't this code right align the text on the bar line?
>
> \version "2.8.1"
>
> \relative c'' {
> a1 c f g^\markup{ \right-align{ "D.S. al Coda" } }
> f
> }
>
Where do you tell it should? [As expected, the text is right-aligned
with respect to the note it is attached to.]
Try thi
Why doesn't this code right align the text on the bar line?
\version "2.8.1"
\relative c'' {
a1 c f g^\markup{ \right-align{ "D.S. al Coda" } }
f
}
TIA,
Paul Scott
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