Is
there a way to force the clef to be displayed, even though its "the same"?
Much thanks,
Daniel
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Cygwin selects by default: don't add or remove any
packages from the first install. After that installation finishes, run
setup again to add lilypond, vi or whatever packages interest you.
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get Mozilla or Thunderbird to filter messages. My filter
says "if To or CC contains lilypond, move to local folder . . . "
HTH,
Daniel
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o bash
To see the --help information a page at a time, pipe it through less,
like this:
bash --help | less
You can also buy books about bash. A simple search for bash at
amazon.com turns up some interesting candidates, and I can recommend the
O'Reilly book by Newham & Rosenblatt.
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Mats Bengtsson wrote:
> J. Daniel Ashton wrote:
>> I'm sure these have come up before, but I ran into them again yesterday
>> and wanted to make sure they're in someone's official "consider
>> implementing" list.
>> 1. an easy way to get a
quot;subito pp"
3. ditto for "cresc." without trailing dashes
For any of these that are already implemented, please feel free to
instruct me and/or update the docs. I checked the 2.1.16 docs for all
of these, as well as the tips page, and I also searched the history of
this mailing list, wi
gards,
Daniel
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[
ot;english.ly"
\paper {
papersize = "letter"
}
#(set-global-staff-size 20)
\score {
\notes
\transpose f c' {
\relative c' {
\key df \major
\clef treble
\property Voice.autoBeamSettings \override
#'(end * * * *) = #(ly:make
Anfinn A. Kolberg wrote:
> Can you give me any clue to how I can get guile-1.6.4-8.rpm for RedHat ?
RPMFind.net
http://rpmfind.net/linux/rpm2html/search.php?query=guile&submit=Search+...
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nt to know.
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[EMAIL PROTE
José Luis Cruz wrote:
> change
>
> \translator {\ScoreContext \remove "Time_signature_engraver"}
> -
> to
>
> \translator {\StaffContext \remove "Time_signature_engraver"}
> -
Excellent! Thank yo
J. Daniel Ashton wrote:
> And if so, how do I get rid of the time signature?
To continue this line of thought: In my raggedright "coda", the time
signature is still 4/4, but no time signature should appear at the left
of the staff because the musician doesn't need to know that
J. Daniel Ashton wrote:
> In 2.0.1, is this still the best solution?
And if so, how do I get rid of the time signature?
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ne) ragged-right?
>> I'm using 1.6.7 (have to update sometime).
Jan Nieuwenhuizen wrote:
> Easiest work-around would be to use a second \score block, making it a
> second 'piece' where you use raggedright.
In 2.0.1, is this still the best solution?
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otated.
Jumping from Mats earlier reply, I've taken to re-running ps2pdf under
Linux. I run lilypond under Cygwin, then switch to Linux and re-run
ps2pdf directly, which generates a PDf file in the orientation I expect.
Thanks to all for your help and advice.
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e to work with this
software.
While we offer criticisms and suggestions that (via e-mail) can be
easily mistaken for gripes, I want to be clear in my praise for their
continued efforts and the fruit they have borne.
Good work, y'all!
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7.05. If you want to investigate further, try with
> http://www.cs.wisc.edu/~ghost/
I was guessing that. Thanks for the pointer.
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d a How-To spin
on each of the remaining document sections. Short but complete examples
are intensely useful.
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before I wrote mine. Thanks
for your confirmation. Choral music is such a part of my musical
thinking right now, I can see a strong need for lyrics improvements in
Lilypond.
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e to view it as expected. Can we convince Lilypond
to do differently? I need to e-mail these parts to casual, amateur
singers. I don't want to have to tell them to rotate the parts if we
can get Lilypond to do it.
Thank you again!
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y and .pdf files for your perusal. Perhaps this
will all be clearer by the light of day.
Thanks in advance,
Daniel
PS I switch from addLyrics to lyric timing by hand, and I'm getting
better results, but some words are still appearing to start after the
note. Suggestions on this also hungrily
nd accidentals are implied by the key
signature.
Regards,
Daniel
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Is anyone aware of a way to scan music into lilypond format?
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o.My experience is limited. I would guess that we could
find other examples [of a voice changing staves while under a slur] in
piano literature.
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that would be like \clef, but
would never override the starting clef at the beginning of the piece.
If \clefChange is the first clef command found, then the implicit treble
clef should be visible.
Also, how can I get the curly brace visible to the left of the staves in
this example?
Thanks,
Dan
er S on its side.
I've scanned the measure in question from its original setting, and am
attaching it to this e-mail. If this is truly impossible (as Han-Wen
stated - thanks for the reply, Han-Wen) then I'd like to request this as
a future feature.
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stems up. The slur should be between the staves. It should have it's
left end tilted up, and its right end tilted down. Is this possible?
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Graham Percival wrote:
On Sat, 15 Mar 2003 18:21:13 -0500
Daniel Ashton <[EMAIL PROTECTED]> wrote:
I need an organ right-hand staff in which the first symbols are
G clef, key signature, time signature, F clef, eight rest, notes, etc
The G clef is not visible. How can I force the G c
I need an organ right-hand staff in which the first symbols are
G clef, key signature, time signature, F clef, eight rest, notes, etc
The G clef is not visible. How can I force the G clef to show up, then
display the F clef as a (smaller) clef-change symbol?
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to put \transpose af to move everything down two steps? Or do I have
to go into each of the voices?
Ultimately, I would want to keep the voice definitions (the \notes) in
an original key, and have a given instrument transpose voice(s) for
itself as necessary. Is that possible?
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as if they were stricken with \voiceOne. Which is
exactly what I want, but it was a pleasant surprise.
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e onto the current
page. However, it leaves a fair amount of white space at the bottom of
the page. Is there a way to have lily dynamically spread the extra
white space (or some of it) between the lines?
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Graham Percival wrote:
On Sat, 01 Mar 2003 17:53:32 -0500
Daniel Ashton <[EMAIL PROTECTED]> wrote:
I'd like to set the first note with a tie to the previous non-existent
note, i.e. a hanging tie. Is the possible? What I have looks something
like this:
Take a look at invisible
Along similar lines, I have a note tied into both the first and second
ending measures. (in the real part, not in cues this time) How do I
get the hanging tie into the second ending?
Again, this is with 1.6.8 cygwin or 1.6.5 redhat
Thanks!
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x27;space-function =
#(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
s4 e'2 e4 | e f e d
\property Staff.fontSize\unset
} > |
The G-sharp gets set in the small font. Is there a way to avoid this?
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=
#(lambda (beam mult) (* 0.8 (Beam::space_function beam mult)))
~ f4 f2 e4 ~ | e8 d16 c d4 c b8 a | b2
\property Staff.fontSize\unset
} >
but it doesn't work: the tie doesn't show up.
This is with 1.6.8 or 1.6.5
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Along similar lines, when two voices both have rests of the same
duration, is there an easy way to join the rests?
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\context Voice=four { \voiceTwo \VoiceFour }
>
}
I'd prefer to enter something like the first two measures, but at times
to see what's printed by the second two measures. Is there any way to
have stems joined across two voices?
Thanks,
Daniel
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Mats Bengtsson wrote:
Daniel Ashton wrote:
Is there a way to lengthen the measure when using this technique? The
hairpins so produced appear to be short and fat. I would like to
extend the measure so that the hairpins look more natural.
Just set the minumum-length property of the hairpin
lines aren't being counted? Or comments? or . . . ?
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end
the measure so that the hairpins look more natural.
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_
im. markings are in a
completely different typeface, perhaps as a single ligature, instead of
separate characters set in italic. Are such ligatures available in the
fonts used with Lilypond? How would you attach one of those to a given
note?
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Graham Percival wrote:
Daniel Ashton <[EMAIL PROTECTED]> wrote:
In the manual I find that fingerings can be represented using -N,
where N is a decimal. In string music, shifts from one position to
another are often represented by a straight line connecting two
fingerings. Can this be d
1.6.5.
Thanks again!
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[
s4\> \!s4 |
(I think)
Anyway, the cresc hairpin should begin on beat one, the decrescendo
hairpin should appear to end on beat 4, and the two should nearly meet
somewhere in the center of the measure. No? How?
Thanks in advance,
Daniel
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Greetings,
I've just typeset 8 brass parts, and each part has one or two staves on
page 2. Do you have a checklist of things to adjust, little by little,
to bring all the music onto one page?
Thanks,
Daniel
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m
Greetings, et c.,
In the manual I find that fingerings can be represented using -N, where
N is a decimal. In string music, shifts from one position to another
are often represented by a straight line connecting two fingerings. Can
this be done in lilypond?
Thanks,
Daniel
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er to remove the
in-between notes.)
Thanks in advance,
Daniel
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