Graham, I clearly remember putting together a modified version
(actually two versions) of the SATB example, using alignAboveContext
and sending it to you during the summer. However, now I cannot find any
traces of it, neither in the mailing list archives, nor in my outbox.
Do you remember if you e
[EMAIL PROTECTED] wrote:
Hello,
Does it work just to define this macro at the top level
fraction = \tweak #'text #tuplet-number::calc-fraction-text
No, this doesn't work.
OK, but I have a question. It is common to write such things as
push = \once \over
Thies Albrecht gmx.de> writes:
>
> Hi Marcel!
>
> You don't write, what lily version you use... but have a look at the
definitions to be found here:
> http://lsr.dsi.unimi.it/LSR/Item?id=194
>
> Using them you should be able to raise them as a whole... (I prefer the
extra-offset by the way...)
Hello,
> > Does it work just to define this macro at the top level
> >
> > fraction = \tweak #'text #tuplet-number::calc-fraction-text
> No, this doesn't work.
OK, but I have a question. It is common to write such things as
push = \once \override NoteColumn #'extra-X-extent = #'
What I was getting was the standard Windows "program died" dialog that allows
you to "Send" or "Don't send" an error report. However, I just tried it again
and now it's working. I'll keep an eye on it to see if it crops up again.
I just love it when an OS gets temperamental. Would that I cou
Sean Reed wrote:
I'm getting extremely huge phrasing slurs now and again when the first
note of the phrase is also a short normal slur within the phrasing slur.
\version "2.11.0"
{
r16.[ f'32-. f'8-.] r4 c''32(\([ f') r8 f'32 f'] r8.[ a'16(] |
f'8)[ r8] r8[ a'32 a'\) r16] r16.[ c''32(\( f'8)]
Geoff Horton wrote:
When I need to make a score like that, I use the undocumented but
still working \alignAboveContext command; it seems a little less
confusing to me.
Is this command slated to disappear, or does it need to be in the
manual (I just checked and it still isn't there)?
It's on th
Kress, Stephen wrote:
{ fis->-. }
{ fis-.-> }
Both are accepted syntactically, but cause LilyPond to die.
There are both perfectly acceptable and work without fail on OSX. Are
there any other error messages? What do you mean by "to die" ?
Cheers,
- Graham
___
Am 2006-11-28 um 08:56 schrieb Jean-marc LEGRAND:
Statistically, I'll try Python and Scheme : these are the two most
pointed out in your numerous
replies ! And I have noticed that it is a good way to acquire
programming good habits. So Santa
Claus will have to find a good book on that !
An
Hi Marcel!
You don't write, what lily version you use... but have a look at the
definitions to be found here:
http://lsr.dsi.unimi.it/LSR/Item?id=194
Using them you should be able to raise them as a whole... (I prefer the
extra-offset by the way...)
Kind regards,
Thies Albrecht
--
"Ein Herz f
If I open a new, blank page and enter
\relative{c d e f g a b c }
the result is not what the tutorial says it would be, for it has a
time signature and measure bars, which doesn't bother me, of course,
but which are not there in the tutorial as the desired result.
Manuel
Am 29/11/200
Am 29/11/2006 um 12:46 schrieb Arvid Grøtting:
Manuel limay.de> writes:
I take a different view on this matter. I think that painting was the
first way of writing, letters being a later development. The first
attempts to typesetting music were clumsy indeed, but even now, when
typeset music
I'am trying to place a accordion symbol higher on the staff.
When I use a raise command on the first symbol it goes up. fine.
Now when I raise the dot it all comes down on the same level as before!
I tryed using { } different places for the raise command but no sucses.
Can anyone help me out on
LilyPondTool bugs are better placed at
http://www.sf.net/projects/lily4jedit, to let me track them. Anyway,
thanks for the report.
Bert
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Trevor Bača escreveu:
> Anyone else see the sense in changing Lily's default formatting of
> TupletNumber text? Or much ado about nothing?
sounds like a good idea, and not too difficult either. Patches are welcome.
> http://lists.gnu.org/mailman/listinfo/lilypond-user
--
Han-Wen Nienhuys - [E
On 11/29/06, Korcan Kayrak <[EMAIL PROTECTED]> wrote:
Hi,
I've been dealing with Lilypond for a couple of days and I loved it, perfect
output and 100% control on the music..
Welcome :-)
I've questions that I could not find a solution in help documentations;
Can I customize the key? In Tu
On 11/29/06, Arvid Grøtting <[EMAIL PROTECTED]> wrote:
Manuel limay.de> writes:
> I take a different view on this matter. I think that painting was the
> first way of writing, letters being a later development. The first
> attempts to typesetting music were clumsy indeed, but even now, when
> t
Hey, all.
I was just trying to typeset some articulations and ran into a problem.
The music I'm working on has notes with both an accent and staccato dot above
but there's not a single '-' character to mark this with. I tried this...
{ fis->-. }
and
{ fis-.-> }
Both are accepted syntactica
James E. Bailey mac.com> writes:
>
> I'm having some difficulty with the Metronome_Mark_engraver. I've successfully
> hidden it, but the notes
> are spaced around it so there's some odd spacing. I'm wondering it's possible
> to remove the metronome mark altogether.
Sure! In the \layout block,
I'm having some difficulty with the Metronome_Mark_engraver. I've successfully
hidden it, but the notes are spaced around it so there's some odd spacing. I'm
wondering it's possible to remove the metronome mark altogether.
The code is here:
http://homepage.mac.com/jamesebailey/Musik/hodie/Hodie.t
Apologies to the list if there's a separate place for reporting Lilypond Tool
for JEdit Errors, but . . .
Hi Bert,
I selected a small area of music e.g.
a4 b cs d
and then used the Lilypond | Tags | Crescendo menu option in Jedit. This
then crashes with a beanshell alert box stating]
Parse e
Hi,
There are some rules about the interpretation of tuplet numbers that
Lily doesn't seem to know about yet.
Consider how players interpret these lone numbers inside a tuplet bracket:
3 interprets as 3:2
5 interprets as 5:4
6 interprets as 6:4
7 interprets as 7:4 (though there was confusion a
On 11/29/06, Mats Bengtsson <[EMAIL PROTECTED]> wrote:
No, this doesn't work.
What does work is
\version "2.10.0"
fraction = #(define-music-function (parser location music) (ly:music?)
#{
\tweak #'text #tuplet-number::calc-fraction-text $music
#})
This is exactly what I was
> "anders" == anders stenberg <[EMAIL PROTECTED]> writes:
anders> I'm getting i to trouble when incipit and piece are in
anders> different keys.
I got into enough trouble with enough things on incipits that I
gave up on having them be part of the piece and set them separately.
Then I
Hello,
I have the following code:
{
r4 4 4) |
r4 4 |
} \\%% End upper voice
{
si,,2.( | res2. |
}%% End lower voice
I would like to connect the slur starting in the lower voice with the last
chord in the upper voice. I got
Hi,
I've been dealing with Lilypond for a couple of days and I loved it, perfect
output and 100% control on the music..
I've questions that I could not find a solution in help documentations;
- Can I customize the key? In Turkish Classical Music there are
various keys and I cannot create t
In message <[EMAIL PROTECTED]>, Mats Bengtsson
<[EMAIL PROTECTED]> writes
Either use a separate identifier like
\mypagebreaks = {\skip 4*20 \pageBreak ...}
or use the \tag feature.
Note also that the page breaking algorithm in version 2.10 is much more
clever
than in previous versions, so it sh
Manuel limay.de> writes:
> I take a different view on this matter. I think that painting was the
> first way of writing, letters being a later development. The first
> attempts to typesetting music were clumsy indeed, but even now, when
> typeset music is quite good, no printed score can eq
As it's indicated a few lines below, you should add \relative{...}, i.e.
\relative{c d e f g a b c }
to get the desired octave.
/Mats
Manuel wrote:
If I enter
{
c d e f g a b
}
as per instructions, part 2.1 of the tutorial, the result does not
look at all like the tutorial says it should
On 11/29/06, Mats Bengtsson <[EMAIL PROTECTED]> wrote:
Note also that the page breaking algorithm in version 2.10 is much more
clever
than in previous versions, so it should automatically try to place page
breaks
when there is a long rest.
Actually this feature needs to be enabled manually (a
Either use a separate identifier like
\mypagebreaks = {\skip 4*20 \pageBreak ...}
or use the \tag feature.
Note also that the page breaking algorithm in version 2.10 is much more
clever
than in previous versions, so it should automatically try to place page
breaks
when there is a long rest.
In message <[EMAIL PROTECTED]>, Arjan Bos
<[EMAIL PROTECTED]> writes
When trying to be helpful and create a patch, I noticed that the
development switched from CVS to GIT. Why? Now I have to find out what
git is, how it works and how to get it. First try Fink as that's the
semi-default package
On 11/29/06, Anthony W. Youngman <[EMAIL PROTECTED]> wrote:
The stuff I do is pretty much all setting parts. But I'd also like to
combine those parts into scores. And, while I don't know how the new
page breaking handles it, I have come across plenty of parts that have a
page turn in the middle
In message <[EMAIL PROTECTED]>,
=?UTF-8?Q?Trevor_Ba=C4=8Da?= <[EMAIL PROTECTED]> writes
It just seems like, if ever there were global information in musical
score, that that global information would include line- and
page-breaking information. As it is, line- and page-breaking
informatio
Am 29/11/2006 um 10:54 schrieb Mats Bengtsson:
As far as I know, it stands for "as far as I know".
Regarding the typesetting practice, I often view handwriting as
more or less
clumsy attempts to imitate what is done in well typeset printed
music, not the
other way around.
/Mats
I tak
As a matter of fact, I've always written every C and F clef with two
dots, and it is indeed very useful (since there are many C clefs, and
two F clefs, but only one G clef in modern music).
AFAIK : As Far As I Know
IMHO : In My Humble Opinion
(maye this should be integrated in lilypond docs ...
As far as I know, it stands for "as far as I know".
Regarding the typesetting practice, I often view handwriting as more or less
clumsy attempts to imitate what is done in well typeset printed music,
not the
other way around.
/Mats
Manuel wrote:
What does AFAIK stand for?
Certainly, the d
What does AFAIK stand for?
Certainly, the dots make practical, besides systematical and
didactical, sense in handwriting music; this in itself is a good
reason to transfer their use to typeset music, which should reflect
the way it is written by hand.
Also, that music theory is at the sam
If I enter
{
c d e f g a b
}
as per instructions, part 2.1 of the tutorial, the result does not
look at all like the tutorial says it should.
The page numbers in the tutorial and those in the preview toolbar do
not correspond: I have to type and enter "21" to get to page 12.
Manuel
__
Thanks Matt
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lilypond-user@gnu.org
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> Nick Bailey wrote:
>
> My understanding was that the f dots are the vestiges of the two lines in the
> letter "F"... is that not the case? Hence the C clef and G clef wouldn't have
> them
AFAIK, the dots are usefull when the music is handwritten: it is sometime
difficult to read the exact posit
anders stenberg wrote:
...
ps. I have one other problem but on wich I did find a working if not
an elegant solution. Some historical prints have a "time signature"
wich consists of a mensural sign followed by a numeral. Fidling around
with things i did find out that
\cadenzaOn
...
\once \ov
Please always include a small example that illustrates your problem.
It takes extra time to try to figure out exactly what your problem is
and what aspects are relevant.
I hope you agree that in normal situations where you have a key change
to C major, you need a key cancellation sign, even if you
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