I'm not a good schemer, so i cannot fix it, but i've added it to the tracker:
http://code.google.com/p/lilypond/issues/detail?id=1745
Please remember to forward such things to bug-lilypond -
i found this on -user only by accident :)
cheers,
Janek
2011/6/6 Peter Chubb :
> I've taken a look at th
Keith OHara oco.net> writes:
> file: horns.ly
[...]
> \score {
> \keepWithTag#'part \new Staff <<
> \horns_mvt_I
\commonConductor_mvt_I >>
> }
> \score {
> \keepWithTag#'part \new Staff <<
> \horns_mvt_II
\commonConductor_mvt_II >>
I had forgot
couchand gmail.com gmail.com> writes:
>
> I would like to set a large piece with multiple parts, with the option
> of producing single-part scores (e.g. an orchestral piece). I have
> found that very quickly my source files get out of control.
1) http://www.mutopiaproject.org/
Jay Anderso
Jay Lee mac.com> writes:
> #'(
> (place-fret 4 1 5)
> (place-fret 3 4 ,flatThree)
> (place-fret 2 4 5)
> (place-fret 1 4 "R")
>
On 7/7/11 10:21 PM, "Jay Lee" wrote:
> Neil Puttock gmail.com> writes:
>
>
>> The easiest method is to define the markup first, then insert it into
>> the verbose list:
>>
>> flatSeven = \markup { \concat { \flat 7 } }
>>
>> \markup {
>> \override #'(fret-diagram-details . ((finger-code
Neil Puttock gmail.com> writes:
> The easiest method is to define the markup first, then insert it into
> the verbose list:
>
> flatSeven = \markup { \concat { \flat 7 } }
>
> \markup {
> \override #'(fret-diagram-details . ((finger-code . in-dot)))
> \fret-diagram-verbose #`((place-fret 4
At Thu, 7 Jul 2011 14:20:15 +0200,
m...@apollinemike.com wrote:
> > Not bad, though the glisses don't always join exactly. I won't be too fussy
> > at this stage.
> >
>
> That's odd...they should. Could you send an example of them not joining up?
Add this to your example and you'll see it.
\o
> Date: Thu, 7 Jul 2011 09:25:43 -0400
> From: "couch...@gmail.com"
> Subject: Best Practices for Multiple Part Scores
I'm also relatively new to ly so I don't have detailed answers.
> I am specifically looking for advice on the following subjects:
> - Time, key, and tempo changes (and any other
Interesting... I changed my percussion staff to a drum staff and then
used \RemoveEmptyDrumStaffContext and it worked correctly. *shrug*
On Thu, Jul 7, 2011 at 9:52 PM, Brett McCoy wrote:
> Sorry email got sent before I finished!
>
> I meant to say:
>
> I tried this:
>
> \layout {
> \context
Sorry email got sent before I finished!
I meant to say:
I tried this:
\layout {
\context {
\RemoveEmptyStaffContext
}
}
\layout {
\context {
\RemoveEmptyRhythmicStaffContext
}
}
and I tried
\layout {
\context {
\RemoveEmptyStaffContext
}
\context
I have an orchestral score and I am trying to suppress empty staves
from printing in systems, using \RemoveEmptyStaffContext and
\RemoveEmptyRhythmicStaffContext. Going by a previous thread I found,
I have tried this:
\layout {
\context {
\RemoveEmptyStaffContext
}
}
\layout {
\
Hello,
From: lilypond-user-bounces+james.lowe=datacore@gnu.org
[lilypond-user-bounces+james.lowe=datacore@gnu.org] on behalf of Janek
Warchoł [lemniskata.bernoull...@gmail.com]
Sent: 07 July 2011 22:09
To: Xavier Scheuer
Cc: lilypond-user
Subject:
2011/7/7 Xavier Scheuer :
> Maybe I’ve missed some discussions,
nope :)
> but what’s the purpose of this survey ?
> Do you plan to modify LilyPond’s G-clef ?
Yes.
It's been irking me since i began using Lily; I don't like it for
similar reasons as some of you (see attachment).
As you've surely g
2011/7/7 Bill Mooney :
> Greetings all,
> I prefer 2 or 3 before 1.
> Putting them in context - see the attached files, where I have superimposed
> pairs to show the differences as precisely as I could.
Good idea, thanks!
Janek
___
lilypond-user mailing
A lot of this is beyond me, Andrew, but :
On Thu, Jul 7, 2011 at 9:25 AM, couch...@gmail.com wrote:
>
> - Short lived divisi - is there a better method than using < > on
> every note? What about a passage with rhythmic differences? Must
> this be separated into yet another part?
>
I've handled
On 7 July 2011 04:36, Jay Lee wrote:
> Anybody? Or is it really not possible?
The easiest method is to define the markup first, then insert it into
the verbose list:
flatSeven = \markup { \concat { \flat 7 } }
\markup {
\override #'(fret-diagram-details . ((finger-code . in-dot)))
\fret-di
Am Donnerstag, 7. Juli 2011, 16:06:17 schrieb Kieren MacMillan:
> Hi Hilary,
>
> > Is it possible to (1) allow the page-turn-breaker to behave normally but,
> > if the first page number is 2, decrement all of the printed page numbers
> > by 1, (2) place the odd page numbers in the top left corner
On 5 July 2011 23:34, Andrea La Rose wrote:
>
> This snippet seems to do the trick:
>
> global = { \repeat unfold 3 { \time 4/4 \once \override Staff.TimeSignature
> #'stencil = ##f { s1*4 } \bar "" \break { s1*4 }
>
> The override of the stencil removes the extra time signatures; the once
> comma
Am Donnerstag, 7. Juli 2011, 15:25:43 schrieb couch...@gmail.com:
> I would like to set a large piece with multiple parts, with the option
> of producing single-part scores (e.g. an orchestral piece). I have
> found that very quickly my source files get out of control. What are
> the best practic
Hello.
> I'm sure this has been discussed before, but I've been having a heck
> of a time finding previous threads that go into any depth. I see one
> from 2008 (revived in 2010) that references a part of the Learning
> Manual that seems to have moved from section 5 but doesn't really
> contain a
Hi Hilary,
> Is it possible to (1) allow the page-turn-breaker to behave normally but, if
> the first page number is 2, decrement all of the printed page numbers by 1,
> (2) place the odd page numbers in the top left corner of a page and the even
> numbers in the top right corner? This is for a
Hello Andrew,
> What is frustrating to me is that doing something that
> seems to be standard in music notation (such as writing multiple
> parts) takes so much manual effort and so many hacks to look good.
> And there is much more documentation for strange things (like printing
> notes with color
I'm sure this has been discussed before, but I've been having a heck
of a time finding previous threads that go into any depth. I see one
from 2008 (revived in 2010) that references a part of the Learning
Manual that seems to have moved from section 5 but doesn't really
contain all that much infor
On Jul 7, 2011, at 2:16 PM, James Harkins wrote:
> At Thu, 7 Jul 2011 10:21:01 +0200,
> m...@apollinemike.com wrote:
>>
>> Karim Barkati is currently typesetting a score not
>> unlike this for viola & electronics. I'm ccing him to this e-mail: his
>> approach also uses glissandi and looks rea
At Thu, 7 Jul 2011 10:21:01 +0200,
m...@apollinemike.com wrote:
>
> Karim Barkati is currently typesetting a score not
> unlike this for viola & electronics. I'm ccing him to this e-mail: his
> approach also uses glissandi and looks really nice.
>
> For the arrow:
> \relative c' {\override Gl
Is it possible to (1) allow the page-turn-breaker to behave normally
but, if the first page number is 2, decrement all of the printed page
numbers by 1, (2) place the odd page numbers in the top left corner of a
page and the even numbers in the top right corner? This is for a case
where a part
Hello
---
From: lilypond-user-bounces+james.lowe=datacore@gnu.org
[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On Behalf Of
Marc Mouries
Sent: 07 July 2011 03:36
To: lilypond-user
Subject: Re: Lilypond making my Macbook Pro run slow
What exactly does 'keep lilypond
Hello,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of James Harkins
)Sent: 07 July 2011 04:43
)To: lily-users
)Subject: Cues + ties/LV
)
)Was just playing around with cues, and g
Am 07.07.2011 11:37, schrieb Xavier Scheuer:
2011/7/7 Janek Warchoł:
I guess our G-clef is curved partly to distinguish itself from other
software' clefs. Default Finale clef has very straight vertical line
for example.
Maybe I’ve missed some discussions, but what’s the purpose of this
survey
>> The first. IMHO, the other two are too small or should be used for
>> special situations only, like tight full scores.
>
> I've looked on IMSLP and many scores use clefs smaller than left
> one, not only when staves are crowded.
Yes, especially non-German editions use very small clefs. It's
2011/7/7 Werner LEMBERG :
>
>> Which one of the clefs in the attachment do you like best?
>
> The first. IMHO, the other two are too small or should be used for
> special situations only, like tight full scores.
I've looked on IMSLP and many scores use clefs smaller than left one,
not only when s
Hans Aberg writes:
> At another place in Edition Peters, there is a slant to the right -
> these are hand drawn, I think.
More likely hand-engraved. Of course an engraver can tilt the type
before committing to the hammer.
--
David Kastrup
___
lily
> Which one of the clefs in the attachment do you like best?
The first. IMHO, the other two are too small or should be used for
special situations only, like tight full scores.
Werner
___
lilypond-user mailing list
lilypond-user@gnu.org
https://
2011/7/7 Janek Warchoł :
>
> I guess our G-clef is curved partly to distinguish itself from other
> software' clefs. Default Finale clef has very straight vertical line
> for example.
Maybe I’ve missed some discussions, but what’s the purpose of this
survey ? Do you plan to modify LilyPond’s G-c
On 7 Jul 2011, at 10:16, Janek Warchoł wrote:
Examples from Edition Peters (Bach) and Schirmer (Muczynski) have the top
tip and the lowest crossing aligned pretty much vertically. A book by
Hindemith, though smaller in type, typeset by Scott, has slanting to the
left. So the
On Thu 07 Jul 2011, 10:16 Janek Warchoł wrote:
> I guess our G-clef is curved partly to distinguish itself from other
> software' clefs. Default Finale clef has very straight vertical line
> for example.
I would rather not take into account "other software' clefs"..
(Probably, "I simply do not li
Karim Barkati is currently typesetting a score not
unlike this for viola & electronics. I'm ccing him to this e-mail: his
approach also uses glissandi and looks really nice.
For the arrow:
\relative c' {\override Glissando #'bound-details #'right #'arrow = ##t c1
\glissando s1 c1 }
For the c
On 7 Jul 2011, at 08:14, Janek Warchoł wrote:
>> Examples from Edition Peters (Bach) and Schirmer (Muczynski) have the top
>> tip and the lowest crossing aligned pretty much vertically. A book by
>> Hindemith, though smaller in type, typeset by Scott, has slanting to the
>> left. So there is so
2011/7/7 Hans Aberg :
> On 7 Jul 2011, at 08:14, Janek Warchoł wrote:
>
>>> Examples from Edition Peters (Bach) and Schirmer (Muczynski) have the top
>>> tip and the lowest crossing aligned pretty much vertically. A book by
>>> Hindemith, though smaller in type, typeset by Scott, has slanting to
Google let me down on this one -- I'm looking for some advice on notating
aleatoric materials. The piece is for the Chinese instrument sheng and live
electronics (computer running SuperCollider). Many of the computer materials
will start at a specific point in the score, but the exact notes and
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