On 26-May-06, at 2:04 PM, James Wilkinson wrote:
While scrolling through the index I noticed an entry for "The Feta
Font" alphabetized by "The" in the T section. There is no
corresponding entry alphabetized by "Feta" in the F section.
What version? I can't see any "The..." entries in the in
On 26-May-06, at 1:58 PM, James Wilkinson wrote:
I couldn't find "cue" in the index.
Added to CVS, thanks.
- Graham
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On 26-May-06, at 10:34 AM, Kieren Richard MacMillan wrote:
Stephen:
My first reponse is of course you can have only one mark per barline.
Let's say I want a rehearsal letter (e.g., "K") over a barline and
then in the following measure have a tempo change markup -- an
unbelievably common o
G'day all.
Quoting Han-Wen Nienhuys <[EMAIL PROTECTED]>:
> it's possible to design new number glyphs, but it is _a lot_ of work.
> It's much easier to change the positioning of the slash for the 6
> specifically. Have a look at slashed-digit in
> define-markup-commands.scm. I can also do it as a
While scrolling through the index I noticed an entry for "The Feta
Font" alphabetized by "The" in the T section. There is no
corresponding entry alphabetized by "Feta" in the F section.
This seems wrong on both counts.
--
-
Jimmy Wilki
Hi, James:
I couldn't find "cue" in the index.
Look in the docs (User Manual), section 8.3 Orchestral Music.
[BTW: I find the PDF version of the User Manual to be most helpful,
because you can search for things like "cue" more easily...]
Best,
Kieren.
Hi, James:
The "easy" way is to explicitly include a connected beam around the
duration of a quarter note each time, q.v., the second set of six
16th notes in
%% CODE SNIPPET BEGINS
\version "2.9"
\relative c''
{
\set subdivideBeams = ##t
\set Score.beatLength = #(ly:make-mo
My original contains cues: small notes (played by someone else) near
the end of an extended rest that are there to help the player come
back in at the right time.
I suppose that my problem is that I don't know what such notes are
called in Europe. I couldn't find "cue" in the index.
thanks
-
I'm working on a piece that has a long run of triplet 16th notes. In
the original they are printed in groups of six which are subdivided
into subgroups of three. I.e. the top beam covers six stems, and
there are two bottom beams, one for the first three notes and one for
the second three notes
Hi, James:
I had three movements, which I put into separate include files.
I wanted a page break between movement one and movement two.
If you're using \book (implicitly or explicitly), use breakbefore =
##t in the header after the desired page break, e.g.,
\score
{
%% mvt 1 notes,
I couldn't get \pageBreak to work consistently in 2.7.27
I was doing something like this example from the web site:
title = "Konzert Nr. 3 Es dur"
subtitle = "für Horn und Orchester"
composer = "Wolfgang Amadeus Mozart (1756-1791)"
I had three movements, which I put into separate
include
On 5/26/06, Kieren Richard MacMillan <[EMAIL PROTECTED]> wrote:
[ Lilypond 2.9.5 ]Hello, all --Has anyone built their own artificial (string) harmonic function?Specifically, I'm thinking something like \ah { c4 f c'' }to get the c (stopped note) in the given duration, the f (touched
node) as a di
[ Lilypond 2.9.5 ]
Hello, all --
Has anyone built their own artificial (string) harmonic function?
Specifically, I'm thinking something like
\ah { c4 f c'' }
to get the c (stopped note) in the given duration, the f (touched
node) as a diamond-shaped note in the same chord (i.e., sharing
Hello List,
In the past few months, the MusicXML to Lilypond converter has been
developed and improved significantly, sponsored by myself and several
others (thanks a lot to this bunch, including Mark van den Borre and
others... !!!)
We are now facing an additional set of features that would turn
Gianluca D. schreef:
Hi everybody!
I'd like to ask if anyone knows a way to set different margins for odd and
even pages with Lilypond. I've tried to find some information from the manual
of boh 2.8 and 2.9 version, but I couldn't find anything.
I wouldn't like to use lilypond-book to achieve m
Stephen:
My first reponse is of course you can have only one mark per barline.
By "of course" do you mean *Lilypond* doesn't allow multiple, or
*music* doesn't require multiple? ;-)
Let's say I want a rehearsal letter (e.g., "K") over a barline and
then in the following measure have a t
Michael Meixner schreef:
I've included an example image.. taken from the Neue Ausgabe sämtlicher
Werke: Bärenreiter illustrating this.
Also I was looking at making the numbers 10 / 11 / 12 as one symbol. This
would make the numbers as in:
Moreover I would propose to create some additional "st
Trent Johnston schreef:
Hi Han-Wen and Lilyponders,
I am looking at the potential to sponsor more changes to the figured bass
system. While the figured bass system is comphrehensive and looks good it's
placement within a score that needs adjusting. There is often a wide a gap
between the staff a
Hi, Matthijs:
- the last bar of the repeat before the alternative endings ends
with a note with a slur. The slur is finished properly on the first
note of the first alternative, but not so in the second
alternative. Just adding a ")" does not help, Lilypond complains
about not being abl
Stephen wrote:
My first reponse is of course you can have only one mark per barline.
Try combining everything in one \mark statement.
Right (AFAIK) The multiple marks would have to be in one markup, either
side by side or vertically stacked (\column).
Paul Scott
__
Dear friends,
How can I make a dotted phrasing slur? I have tried \phrasingSlurDotted and
also several wild guesses beginning with \once \override Slur...
Using \slurDotted before a phrasing slur makes the next non-phrasing slur to
be dotted. I looked in the user archive, but encountered only opac
The double bar-line followed by a repeat bar-line
is significant for many. Every 32-bar song form of the Twentieth Century needs a
double bar-line after the 4-bar intro and/or a double bar-line
after the 16-bar verse, followed by a 32-bar chorus with repeats and an
alternative. The slur on t
My first reponse is of course you can have only one mark per barline. Try
combining everything in one \mark statement. Perhaps if you placed each mark
in a separate layer it could work, but Lilypond can't know what priority
each mark gets otherwise.
Stephen
From: "Kieren Richard MacMillan" <[
Hello, all --
The code included below clearly doesn't "do the right thing", i.e.,
in the final measure, I want to have a fermata over the (leading)
barline and then the tempo indication, but Lilypond appears to ignore
(or, at least, replace) all but the last \mark it encounters.
Is there
Hello,
With regard to the questions I posed a few days ago:
- the first question has been solved with \hspace (something I thought I
had already tried out, but apparently not correctly). The code now
says:
poet =
\markup { \hspace #10 \center-align { "Words by" "MORE OF
THAT POET" } }
On 26-May-06, at 5:49 AM, Michel Fayard wrote:
I am a recently user of Lilypond 2.8.2, and I'm searching how to change
thickness of the staff lines and other lines (stems, slurs, ties, bar
lines...).
Read chapter 9 Changing defaults.
- Graham
__
Hi, Carrick:
Well, that worked just great. Thanks a lot.
My pleasure!
I never would have guessed how the size increment divisions worked
without your help, as it seems a bit counter-intuitive to me.
It is counter-intuitive if you think of them literally as "divisions"
-- in that case, it
Hello,
I am a recently user of Lilypond 2.8.2, and I'm searching how to change
thickness of the staff lines and other lines (stems, slurs, ties, bar
lines...).
Thanks for your help !
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Hello,
I am a recently user of Lilypond 2.8.2, and I am searching how to change
thickness of the staff lines or other lines (stems, slurs, ties, bar lines... )
before printing.
Thanks for your help !
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Trent Johnston hotmail.com> writes:
>
> Hi Han-Wen and Lilyponders,
>
> I am looking at the potential to sponsor more changes to the figured bass
...
I second this and would gladly participate in sponsoring this.
> I've included an example image.. taken from the Neue Ausgabe sämtlicher
> Werk
Hi, Graham:
mpdolce = #(make-dynamic-script (markup #:hspace 1 #:translate
(cons 5 0) #:line(
#:dynamic "mp" #:text #:italic "dolce" )))
Thanks for the suggestion, but I had already tried the same thing
(that's what is in the docs), and was disappointed by the result --
q.v., the follo
On 25-May-06, at 10:37 AM, Kieren Richard MacMillan wrote:
One last thing I can't seem to do is build into the Scheme definition
itself the X-offset of the "hybrid dynamic". I'd like things like "mf
dolce" to be essentially left-aligned, things like "poco f" to be
essentially center-aligned,
On 23-May-06, at 4:04 AM, Vaclav Smilauer wrote:
I tried to typeset fragments that have slurs and ties that continue to
the part
of music that is not in the fragment. The fragments are block-aligned;
I would
like to produce the slur/tie as if the fragment was line-broken at the
end, but
with
On 25-May-06, at 9:27 AM, Daniel Johnson wrote:
Graham Percival wrote:
On 23-May-06, at 2:29 PM, Christian Conkle wrote:
I'm working on what the Lilypond docs so nicely term a
"musicological document" with lilypond-book excerpts from a Bach
fugue. (fis minor from WTCI) I'm using \set Score
On Wed, 24 May 2006 16:54:50 +0200, Georges Roux <[EMAIL PROTECTED]>
wrote:
> I have two voices and want to connect the arpeggio
> have something like this
>
> << { 4\arpeggio} \\ { 8.\arpeggio} >>
>
> \set PianoStaff.connectArpeggios = ##t dont seem to work
The PianoStaff statement has no effec
I'm using version 2.8.3I've run into a problem with Lilypond getting "stuck" on a file. The score uses relatively complex rhythms combined with text, and I gave up on trying to use \lyricsto - there were just too many melismata that I had to override etc. Instead I've just inserted all the rhythmic
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