Yes, changing the font factor will scale all fonts, including notation fonts.
This will result in the noteheads not fitting inside the lines and similar
stuff. So you need to set the factor to 22/20 and then override the font-size
for those texts that need to be bigger. Sadly Lilypond does not a
All you're missing is the closing angle brackets ">>", which maybe your
mail program saw as quote marks.
Paul
On 22/08/2021 22:34:47, "ole" wrote:
>> \new StaffGroup
>> <<
>> \new Staff { b1 \mark \default \bar "p|" b \break \bar "p|" b }
>> \new Staff { b1 b b }
>>
>>
>>
>> H
> Am 22.08.2021 um 18:16 schrieb Thomas Morley :
>
> Am So., 22. Aug. 2021 um 13:42 Uhr schrieb Paul Hodges :
>>
>> Encouraged by the fantastic responses to my first problem, I now offer my
>> other issue.
>>
>> The composer uses a special barline to mark the phrase pattern of a piece.
>>
Don't worry - I wasn't offended.
Anyway, yes - I also found that 18 gives me the same size as Century
Schoolbook. But changing the factor also affects other text, such as
dynamics symbols - so the relationship, e.g. if I want to type "\dynamic
p \italic sempre", is still off unless I change th
Hello Paul. I'm sorry if I offended you. But it's just very simple to change 22
to 20 and see if this solves the problem.
TNR is a smaller font than the Century Schoolbook clone Lilypond uses, so maybe
you need to increase the scale further.
Then, you are not telling Lilypond it's default. The
I'm not arguing - I'm trying to understand. It is not clear to me from
the reference manual that I have to put the default staff size in there.
My mind suggested that telling LilyPond what its own default is would
be redundant, so the other (changed) value should go there. It turns
out it w
Hello Paul. That does not matter. Lilipond will always assume factor 1 to be
staffsize 20.
So when using staffsize 22 you need to use factor 22/20. Please try it out at
least instead of immediately arguing against it.
Valentin
22.08.2021 18:42:07 Paul Hodges :
> On 22/08/2021 17:20:54, "Thomas
Once again - spot on!
I will try to learn from such examples so that I don't need to leech
like this in the future...
Thanks,
Paul
On 22/08/2021 17:16:48, "Thomas Morley"
wrote:
>Am So., 22. Aug. 2021 um 13:42 Uhr schrieb Paul Hodges :
>>
>> Encouraged by the fantastic responses to my first
On 22/08/2021 17:20:54, "Thomas Morley"
wrote:
>Use
>"Times New Roman,"
>Note the trailing comma (see NR for the issue).
Sadly this has no discernible effect.
I may try to get away with only changing the font in the title fields,
using markup, which would be no bother.
Paul
PS:
On 22/08/2021
Am So., 22. Aug. 2021 um 15:54 Uhr schrieb Paul Hodges :
>
> I have been asked to change my serif font to Times New Roman. I have
> done this, using:
>
>#(define fonts
> (set-global-fonts
> #:roman "Times New Roman"
Use
"Times New Roman,"
Note the trailing comma (see NR for the iss
Am So., 22. Aug. 2021 um 13:42 Uhr schrieb Paul Hodges :
>
> Encouraged by the fantastic responses to my first problem, I now offer my
> other issue.
>
> The composer uses a special barline to mark the phrase pattern of a piece.
> The form of this barline is like this:
> (MS) https://cassland.or
On 21/08/2021 06:09, Werner LEMBERG wrote:
Due to security concerns the ` ... ` extension to embed
LilyPond (and ABC) scores in Wikipedia pages that are displayed
automatically were disabled for more than a year.
https://phabricator.wikimedia.org/T257066
This has been reactivated now. It s
Hello Paul,
the default staff-size is 20, not 22, so you need to divide by 20.
Cheers,
Valentin
22.08.2021 15:53:57 Paul Hodges :
> I have been asked to change my serif font to Times New Roman. I have
> done this, using:
>
> #(define fonts
> (set-global-fonts
> #:roman "Times Ne
Hello Paul,
I can't give you a working example becauae I am not at home, but you might
simply override BarLine.stencil. Override it with a function that uses
ly:stencil-combine-at-edges to tie a suitable stencil to (ly:barline::print
grob). You might need to mess a bit with the dimensions of tha
I have been asked to change my serif font to Times New Roman. I have
done this, using:
#(define fonts
(set-global-fonts
#:roman "Times New Roman"
#:factor (/ staff-height pt 22)
))
as documented (the staff-height matches the global staff size). But all
my non-Emmental
It looks to me very close to a repetition sign, is there a Postscript
definition somewhere (which can be tweaked by someone having more knowledge
than me:-))?
> Am 22.08.2021 um 13:41 schrieb Paul Hodges :
>
> Encouraged by the fantastic responses to my first problem, I now offer my
> other
Encouraged by the fantastic responses to my first problem, I now offer
my other issue.
The composer uses a special barline to mark the phrase pattern of a
piece. The form of this barline is like this:
(MS) https://cassland.org/images/PhraseBarMS.jpg
(Printed elsewhere) https://cassland.org/imag
Hi Paul,
This is fairly common in new music. I've found the most consistent way to
get it to look good is by using overrides. Here's how I code it:
-
\override Stem.stemlet-length = #0.5
\override Stem.details.beamed-lengths = #'(4.75)
f16->[ f r f] f-> f f f
\revert Stem.
Brilliant! That's perfect.
I'd tried writing a note with the rest glyph as notehead, but then the
stem was too long - your solution is both easier and more controllable.
Thanks,
Paul
On 22/08/2021 11:33:47, "Thomas Morley"
wrote:
>Am So., 22. Aug. 2021 um 11:41 Uhr schrieb Paul Hodges :
>>
Am So., 22. Aug. 2021 um 11:41 Uhr schrieb Paul Hodges :
>
> I have been asked to set a modern piece for Flute, and it has some
> elements which are new to me, and which I have been unable to find a way
> to present. The first of these is that the composer regularly writes
> rests within (or at th
Hi Paul,
It's hard to understand exactly what you're trying to do without being
able to see it. Does the following in any way resemble what you're
trying to do?
\score {
\new RhythmicStaff {
\set stemLeftBeamCount = #0
c16[]
r8.
}
}
Kevin
On Sun, 22 Aug 2021 at 10:44, Paul Hodge
I have been asked to set a modern piece for Flute, and it has some
elements which are new to me, and which I have been unable to find a way
to present. The first of these is that the composer regularly writes
rests within (or at the ends of) groups of quavers beamed together.
Using manual bea
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