Hello Mason,
I just have an idea how I *would* try to approach a solution. Once I
needed a lyrics syllable attached to an extender line at a given time.
So I used the extender stencil and first attached the syllable on top of
it at a given x-offset. Then I added a property to the corresponding
David Kastrup writes:
> Freeman Gilmore writes:
>
>>
>>
>> Where are the rules for naming a glyph located?And where is the
>> list of *reserved
>> words*?
>
> The latter is in lily/lily-lexer.cc . I have no idea whether there is a
> place in the internals
I mean, a place in the documenta
Freeman Gilmore writes:
>
>
> Where are the rules for naming a glyph located?And where is the
> list of *reserved
> words*?
The latter is in lily/lily-lexer.cc . I have no idea whether there is a
place in the internals where you could see them listed. At least I
don't remember one.
--
Where are the rules for naming a glyph located?And where is the
list of *reserved
words*?
Thank you,
ƒg
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I wrote a function that does something similar to what you need. There may
be newer or better ways to do it, but it's what I use.
Saul
On Fri, May 18, 2018 at 1:12 AM, Davide Liessi
wrote:
> Dear all,
> is there a way to combine the two full bar rests in one multimeasure
> rest in the following
In my music, I frequently use
- glissandi during which the performer rearticulates with a particular rhythm,
represented with headless steams
- glissandi that extend longer than a bar or otherwise require intermediate
headless stems to clarify duration, with a slur indicating that the performer
Torsten Hämmerle writes:
> dak wrote
>> David Kastrup <
>
>> dak@
>
>> > writes:
>>
>> I think it's more likely that LilyPond messes up when reusing fonts with
>> a particular size under different circumstances and your "correction"
>> just keeps it from reusing a font, instead calculating a fre
dak wrote
> David Kastrup <
> dak@
> > writes:
>
> I think it's more likely that LilyPond messes up when reusing fonts with
> a particular size under different circumstances and your "correction"
> just keeps it from reusing a font, instead calculating a fresh one.
By Belenos, right you are!
T
David Kastrup writes:
> Torsten Hämmerle writes:
>
>> Thomas Morley-2 wrote
>>> Hmm, there's still some horizontal difference.
>>
>> Hi Harm,
>>
>> The idea of adding 'pt was brilliant, because it lead me into the right
>> direction:
>>
>> *The exact reason...*
>> ... is the co-operation between
Torsten Hämmerle writes:
> Thomas Morley-2 wrote
>> Hmm, there's still some horizontal difference.
>
> Hi Harm,
>
> The idea of adding 'pt was brilliant, because it lead me into the right
> direction:
>
> *The exact reason...*
> ... is the co-operation between the (outside) Pango world and the (i
Thomas Morley-2 wrote
> Hmm, there's still some horizontal difference.
Hi Harm,
The idea of adding 'pt was brilliant, because it lead me into the right
direction:
*The exact reason...*
... is the co-operation between the (outside) Pango world and the (inside)
TeX-like world:
An American (Pango)
2018-05-19 12:06 GMT+02:00 jasonflatley :
> I am trying to make a jazz lead sheet template. One requirement is that the
> treble clef and key signature should only appear in the first system, and
> the subsequent systems should begin with a bar line. This picture shows what
> I have so far (generat
Davide Liessi writes:
> 2018-05-18 11:02 GMT+02:00 David Kastrup :
>> You'd need to work with tags and alternative passages.
>
>> Thomas Morley writes:
>>> The different length of s1 and R1*2 will always result into a splitted
>>> MultiMeasureRest, afaik.
>
> Thanks for your answers.
>
> For the
2018-05-18 11:02 GMT+02:00 David Kastrup :
> You'd need to work with tags and alternative passages.
> Thomas Morley writes:
>> The different length of s1 and R1*2 will always result into a splitted
>> MultiMeasureRest, afaik.
Thanks for your answers.
For the record, I solved my problem using ta
2018-05-19 16:02 GMT+02:00 Thomas Morley :
> 2018-05-16 16:26 GMT+02:00 David Sumbler :
>> At the moment I define variables for formatting title, composer etc. at
>> the start of a score separately for each staff-size that I use.
>>
>> A simple question: is there a way of getting the same layout an
Thomas Morley writes:
> 2018-05-19 9:45 GMT+02:00 David Kastrup :
>> Thomas Morley writes:
>
> Uh, oh, another typo/oversight.
> Note to self: Don't post anything while being overtired...
>
>>
>> Now if you want to execute only conditionally, you either need to wrap
>> in lambdas or use a macro
2018-05-16 16:26 GMT+02:00 David Sumbler :
> At the moment I define variables for formatting title, composer etc. at
> the start of a score separately for each staff-size that I use.
>
> A simple question: is there a way of getting the same layout and font-
> sizes for the opening headings of, say,
2018-05-19 9:45 GMT+02:00 David Kastrup :
> Thomas Morley writes:
>
>> Hi all,
>>
>> (1)
>> consider the following code (working as expected):
>>
>> \paper {
>> #(if #t (set-paper-size "a8" 'landscape) #(set-paper-size "a8"))
>> }
>>
>> \score { { R1 } \layout { ragged-right = ##f } }
>>
>> Swit
I am trying to make a jazz lead sheet template. One requirement is that the
treble clef and key signature should only appear in the first system, and
the subsequent systems should begin with a bar line. This picture shows what
I have so far (generated by the lilypond code at the end of this message
Amy McGlothlin wrote
> Is there something I can adjust to make the spacing of the stems
> of the gracenotes equal in this case?
Hello Amy,
While, as Andrew pointed out, grace note beaming in general may leave
something to be desired, the special bagpipe grace ornaments are a case of
their own:
Ea
Thomas Morley writes:
> Hi all,
>
> (1)
> consider the following code (working as expected):
>
> \paper {
> #(if #t (set-paper-size "a8" 'landscape) #(set-paper-size "a8"))
> }
>
> \score { { R1 } \layout { ragged-right = ##f } }
>
> Switching from #t to #f results in different paper-size, as d
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