On Thu, 2008-03-06 at 13:46 +, Mark Knoop wrote:
> I'm trying to use the line-break-penalty property of the
> paper-column-interface to set some preferred line-breaking positions
> (e.g. to prefer a line break at the start of a variation in a set of
> variations, or at a repeat sign).
>
> How
Hai,
The question I'm asking is very advanced. Some of you probably know the
Beijing opera or other kinds of folk dramatic music in CHina. If I use the
elements of these kinds of music in an instrumental score such as violin or
cello music (Tan Dun did it already, but surely by hand), there mu
> See
> http://lists.gnu.org/archive/html/lilypond-user/2007-11/msg00124.html
> for a hint on how to adjust the spacing after bar lines.
Mats,
That works OK, thanks. I'm puzzled as to the cause of the tight
spacing, though, because the overrides used in the score are not
unusual. The problem se
This has the unfortunate side effect of preventing barlines from
appearing flush right with the staff, so that instead the five lines of
the staff continue past the bar line for whatever amount Y-extent is set
to.
I'm trying Mats' suggestion now.
Steve
> Original Message
> Subj
Hi Valentin (it sound to be an artistic name), =^D
I understood what you said...
Thank you for the suggestion about the title, now, it's really good-looking!
well, i just yould like to separate the dots a bit less close to noteheads,
but I dont know what to do to change the default offset, may
Well,
this solved to me:
\times 2/3 { \f \)} \override Script #'padding = #1
\once \override NoteColumn #'X-offset = #3 2 \fermata \override Script
#'padding = #0 | \break
Thx :drunk:
Zenith wrote:
>
> Well,
> i just would like to move the note to the right, if possible, moving just
> on
2008/3/6, Zenith <[EMAIL PROTECTED]>:
>
> I used the laster version... 1.11.41.
OK. Thanks for having investigated this; having looked at your
indications, I'm not a specialist but I think there's no bug at stake
here.
The thing you marked in blue is explained by what I said about the
inside/out
Well,
I used the laster version... 1.11.41.
It seems to be very strange to me the irregular distance of the dots
sometimes the dots are almost touching the notes... and these notes are not
inside the staff lines...
As it also so strange to see the dot above the slur only in one note! And
Mats Bengtsson-4 wrote:
>
>
>
> sdfgsdhdshd wrote:
>>
>> There is now a problem with the lyric line:
>> My music is SATB+lyric (Win XP+2.11.41). The first word of the second
>> system
>> and the next systems collides with the system vertical bar, if the word
>> is
>> more than 2 or 3 letters.
It didn't work for me in inkscape but with scribus it's really really
amazing what we can do!
thanks a lot
matth
2008/3/6, Mats Bengtsson <[EMAIL PROTECTED]>:
>
> My experience of "final touches" in general is that on the average you
> have to
> repeat the final touch at least 3 times, since you f
Hi,
I uploaded here the .jpg file (from the PDF) that was created by lilypond
here: http://zgurgel.110mb.com/op28.jpg op28.jpg
As you can see, the first situation (dot above the slur), is illustrated by
marks in "red", and the second one(distance between dots and notes), in
"blue".
Sorry for
I'm trying to use the line-break-penalty property of the
paper-column-interface to set some preferred line-breaking positions
(e.g. to prefer a line break at the start of a variation in a set of
variations, or at a repeat sign).
However I'd prefer not to _force_ a line-break with \break as I want
Hi,
Based on the recent discussions on automatic beaming, I got an idea on
a possible improvement/simplification.
Currently, a setting like
#(override-auto-beam-setting '(end 1 16 4 4) 1 4)
means that beams are ended on the first beat if the beamed notes are
16th notes.
What if we changed the i
The list of predefined beaming patterns is far from complete, as you have
noticed. The default rules are also a mix of general rules, for example that
a beam is always ended on the third beat in 4/4 meter, and specific rules
for certain note lenghts, for example that beams with 32nd notes are alwa
My experience of "final touches" in general is that on the average you
have to
repeat the final touch at least 3 times, since you found some other
minor detail
you wanted to fix so that you had to rerun the full process again.
Therefore,
I personally prefer to spend more time on fixing the prob
2008/3/6, Zenith <[EMAIL PROTECTED]>:
Greetings,
> 1) Almost all notes the slur is above the dot of staccato, but one note the
> dot insist to stay above the slur, is there a way to correct this?
Can you provide us with an example?
> 2) on staccato, the distance between the dot and the respe
2008/3/6, David Fedoruk <[EMAIL PROTECTED]>:
> Hello:
>
> It seems when ever I use a grouping like this:
>
> \time 2/4 \acciaccatura d8 4 \times 4/5 { d'16[ b af f d] } |
>
> The bar check sees that as 9/20
Perhaps you're refering to LilyPondTool's automatic barcheck
indications... We
Alright,
Things are unwinding a bit...
With Mats' suggestion to use \override Staff.KeySignature #'avoid-slur
=#'outside [1] and exploiting the example in section "Difficult
tweaks" the results look a bit better. However, the offset is
currently hard-coded in the callback. :-(
There's one questi
You have already done lots of tweaks related to the spacing, so are probably
aware of that the layout decisions on LilyPond are based on a large
number of
different considerations and parameter values.
I admit that you have very tight spacing around some bar lines, for example
in the beginning o
1) Almost all notes the slur is above the dot of staccato, but one note the
dot insist to stay above the slur, is there a way to correct this?
2) on staccato, the distance between the dot and the respective note are not
the same along the music... sometimes que dot are almost touching the head
o
Thanks a lot,
I was a bit afraid to ask this because it's not really a question about
lilypond.
To Kieren, the "final touch" is about the placement of some objects like
rests or harmonics : a few months ago I was working on "In the woods" by
Takemitsu (a piece for guitar) and the notation used for
On 5 Mar 2008, at 23:52, Mats Bengtsson wrote:
Well, believe it or not, it _does_ work "as it should" when I
change the rules to
#(override-auto-beam-setting '(end * * 8 8) 1 4 'Voice)
#(override-auto-beam-setting '(end * * 8 8) 1 2 'Voice)
#(override-auto-beam-setting '(end * * 8 8) 3 4
sdfgsdhdshd wrote:
There is now a problem with the lyric line:
My music is SATB+lyric (Win XP+2.11.41). The first word of the second system
and the next systems collides with the system vertical bar, if the word is
more than 2 or 3 letters.
See the main section called "Vocal music"
/Ma
I'm sorry for so many postings.
On 06/03/2008, Risto Vääräniemi wrote:
> I have a piece of music with many slurs and sometimes I need to make a
> system break during a slur. With the current key (f minor) the default
> results are usually not that pleasing to the eye.
>
> Luckily, I found a Sc
A Graham says, there's no problem with
\include "english.ly"
\relative c'{
\time 2/4 \acciaccatura d8 4 \times 4/5 { d'16[ b af f d] } |
}
in neither 2.11.41 nor 2.10.33. Can you please provide a complete example
that illustrates the problem.
/Mats
Graham Percival wrote:
There's no probl
Mats Bengtsson-4 wrote:
>
> sdfgsdhdshd wrote:
>
>>Is it possible to write the Clef, key and tempo only at the beginning of
the
>>first system of each score?
>>
>>
> Certainly! Just turn off printing of these objects somewhere
> after the first note (but of course before the next line break).
Dear All,
I have a piece of music with many slurs and sometimes I need to make a
system break during a slur. With the current key (f minor) the default
results are usually not that pleasing to the eye.
Luckily, I found a Scheme thingy on the mailing list for tweaking the
broken slur at the beginn
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