On 3/22/07, Geoff Horton <[EMAIL PROTECTED]> wrote:
A _slightly_ cleaner option might be to leave barAlways set and put a
\noBreak in those spots where a break is unacceptable. If there aren't
many, that might be cleaner. But still not very clean, unfortunately.
I'm not a LilyPond hacker, but c
hy can't
we just use global-staff-size = #16 in a paper block? Speaking of
beaming, where should I use #override-auto-beam-setting if I want to
specify beaming behavior for the entire (polyphonic) piece?
David Feuer
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On 3/1/07, Arvid Grøtting <[EMAIL PROTECTED]> wrote:
I've started using
\override DynamicText #'X-offset = #-2
in vocal pieces now. With 2.11, you only need to move them left; skyline stuff
moves them down if possible. This is way, *way* cool.
With very long dynamic texts, like \, yo
Is there an easy way to deal with skips in lyricsto? My experience
suggests that there need to be as many \skip invocations as there are
notes/melismata to be skipped, and that to avoid bar check failures,
the skips should not span measures. This recently led me to use
\skip 8. \skip 16 \skip
On 3/6/07, David Feuer <[EMAIL PROTECTED]> wrote:
On 3/2/07, Arvid Grøtting <[EMAIL PROTECTED]> wrote:
> \override DynamicText #'X-offset = #-2
I realized that using
\override DynamicText #'self-alignment-X = #1
along with an X-offset makes this work well with dyna
arately for \p, \pp, \ppp, and
\.
David Feuer
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On 3/1/07, Arvid Grøtting <[EMAIL PROTECTED]> wrote:
I've started using
\override DynamicText #'X-offset = #-2
in vocal pieces now. With 2.11, you only need to move them left; skyline stuff
moves them down if possible. This is way, *way* cool.
Ooh! Neat! For some reason, this only see
On 2/28/07, David Feuer <[EMAIL PROTECTED]> wrote:
2. The lyrics aren't positioned so wonderfully. In measures 34-38
and 42-46, where the baritone splits from the bass, I wanted to put
the baritone lyrics above the staff, so both sets of lyrics would be
close to the notes, but t
On 2/28/07, Mats Bengtsson <[EMAIL PROTECTED]> wrote:
Try adding
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
just before the \mark command. You can even use something like
\once \override Score.RehearsalMark #'self-alignment-X = #0.8
(1.0 corresponds to RIGHT, i.e. complete a
sn't accomplish that until the music gets
really tiny.
4. In measure 44, there's a mysterious small dot between and a bit
above the eighth note and the half note in the baritone part (at
least, I see it in GSView).
Many thanks in advance,
David Feuer
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On 2/28/07, Mats Bengtsson <[EMAIL PROTECTED]> wrote:
Maybe something like
\mark \markup { \vcenter "To Coda" \musicglyph #"scripts.coda"}
is close to what you want.
This is close, yes. But the problem is that the final result is
centered above the bar line, when I actually want the coda sign
h \put-adjacent should be able to help
me with this, but I can't for the life of me figure out how to use it.
Thanks in advance,
David Feuer
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ntconfig warning: no elements found. Check configuration.
Fontconfig warning: adding /usr/var/cache/fontconfig
Fontconfig warning: adding ~/.fontconfig
Fontconfig error: out of memory
Can anyone help?
David Feuer
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On 5/2/06, Rick Hansen (aka RickH) <[EMAIL PROTECTED]> wrote:
Thanks, being a musician I was unaware of such a program. I'll go buy the m4
Windows XP version after I look at a demo version.
m4 is free for Cygwin.
David
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On 5/2/06, Rick Hansen (aka RickH) <[EMAIL PROTECTED]> wrote:
Macro pre-processors should generate source code, and stream it in, period.
Macros have nothing to do with compilation or scheme or c++ or anything else
in lilypond.
I much prefer the way Scheme handles macros. It seems somewhat
un
On 4/29/06, Geoff Horton <[EMAIL PROTECTED]> wrote:
I question that. I think it looks easy to you because you already know
how it all works and fits together. I do agree that adding some more
examples to the manual would help greatly.
Agreed. LilyPond is a domain-specific language. It is rat
On 4/27/06, Rick Hansen (aka RickH) <[EMAIL PROTECTED]> wrote:
>
> Whats a grob?
I agree. The user absolutely should not have to know that there is
any such thing.
David
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On 4/19/06, Erik Sandberg <[EMAIL PROTECTED]> wrote:
> In 2.8 there's an essential difference between grob and context properties,
> which is visible for end-users: the \tweak command only makes sense on layout
> object properties, not on context properties. This difference might make it
> easier
On 4/22/06, Han-Wen Nienhuys <[EMAIL PROTECTED]> wrote:
> Hi Graham,
>
> just a short note from FISL, where I just saw a session on documentation.
>
> Wouldn't it be cool to have excercises for each section? Easy ones makes the
> "learning targets" of each part of the manual more explicit, and dif
On 4/19/06, Jennifer Clark <[EMAIL PROTECTED]> wrote:
> That's really cool Mats, I just tried it and it is ideal for jazz
> leadsheets. Is there a way of doing it that would add a vertical bar
> line at the start of each line though, rather than leaving it "blank" as
> it is at the moment?
What w
On 4/17/06, Ben <[EMAIL PROTECTED]> wrote:
>
> Actually, I've found that if you just close the document inside Acrobat
> Reader, the program runs fine. The data simply isn't changed if you leave it
> open. So, just close the document, and leave Reader running. I have had no
> problems doing this.
On 4/17/06, Mats Bengtsson <[EMAIL PROTECTED]> wrote:
> It's a well-known fact that Illustrator is unable to handle
> all features of the Postscript language, even though Adobe
> wrote the specs themselves.
> It's also a well-known fact that LilyPond uses some Postscript
> features that for example
I'm having a worse problem: Often, unpredictably, LilyPond will fail
to open the PDF to write (without Acrobat running), and there seems to
be some kind of filesystem inconsistency (WinXP). Can't delete the
file, can't open it, but it appears in the directory. When I reboot
the computer, the fil
On 4/15/06, Graham Percival <[EMAIL PROTECTED]> wrote:
> Just to completely clarify, my comment about making a tarball available
> was aimed at people working on the docs, but who are not comfortable
> compiling the docs from CVS.
I think it'd be great to make a tarball available that's almost
co
On 4/15/06, Tomas Valusek <[EMAIL PROTECTED]> wrote:
> original message. I'm tired of constant checking if my reply really goes
> to lilypond list, and since all other lists follow the practice
> mentioned above, there's no reason for me to change my habits.
Most other lists I've been on follow t
On 4/15/06, andrea valle <[EMAIL PROTECTED]> wrote:
> Obviously Tomas is not asking about his keyboard bindings. He means
> that when he uses normal reply function he replies to the list member
> and not to the list. Well, I don't like it very much too as I want to
> keep the thread on the list a
I get somewhat different output actually, but with the same collision
problem. My best solution so far is to change the tie to a slur.
Probably if you do this you should tweak whatever slur property
determines how far the slur is from the notes, so it'll look more like
a tie.
\version "2.8.0"
\r
On 4/13/06, Bertalan Fodor <[EMAIL PROTECTED]> wrote:
> Hello,
>
> what is the difference between backend and format (-b and -f switches).
> I see confusion.
This is not the clearest part of the interface. Each backend knows
how to convert LilyPond's internal engraving representations (called
ste
On 4/12/06, Atte André Jensen <[EMAIL PROTECTED]> wrote:
> S L Raymond wrote:
>
> > IMO, the markup "straight" is a bit crowded for just one or two notes.
> > I've considered using a sixteenth-dotted eighth figure, supposing that a
> > performer would interpret the "ahead of the beat" implication.
Do you mean this one:
http://upload.wikimedia.org/wikipedia/en/7/79/Oldbassclef.png ?
David Feuer
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On 4/11/06, Geoff Horton <[EMAIL PROTECTED]> wrote:
> > Unfortunately, although it now *looks* correct, I get the error
> > programming error: unknown prefatory spacing
> > continuing, cross fingers
> > once per affected Staff-measure in the Score.
> >
> > Is there a better method than th
On 4/9/06, Mats Bengtsson <[EMAIL PROTECTED]> wrote:
> Ideally, LilyPond should support all possible notations that anybody
> ever want to use. :-)
> Seriously, the Tips and Tricks document contains an example
> compound-time.ly, which provides a small function to typeset
> time signatures of the f
On 4/6/06, Roland Goretzki <[EMAIL PROTECTED]> wrote:
> So I got the UTF-8-Symbols
>
> Afterwards I wrote the following into my .vimrc:
>
> So I can type ä (a-Umlaut) and get the corresponding UTF-8-Symbol.
> And it works!
Have you looked at the Vim ^k command ? (help i_^k)
That lets you enter a
I want the right side of the Fine mark to line up with the double bar
line, so I did
... music
\override Score.RehearsalMark
#'break-visibility = #begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #right
\mark \markup {\large Fine}
\bar "||"
\key bf \major
...
On 4/3/06, Jos Smeets <[EMAIL PROTECTED]> wrote:
> Hello all,
>
> I am typesetting a score which has a non-standard time signature in the
> original. E.g. for 4/2 it has a half note symbol in the denominator
> instead of the number 2. So, it is like using TimeSignature
> "single-digit", but with th
ws/fonts/ to make this work, ie
>
> cmd ->
>
>cd \windows
> attrib -r -s fonts
>fc-cache.exe fonts
David Feuer
On 4/3/06, Sotaro <[EMAIL PROTECTED]> wrote:
>
>
> Mats Bengtsson-4 wrote:
> >
> > This problem was solved in the 2.8.0-5 package
he notes in 2. drumstaff?
> Why is that, and how do I control the space between 4. notes, 8. notes
> etc...?
You have to put << and >> around the two parts to let Lilypond know
they're supposed to happen at the same time.
David Feuer
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