ehavior that I thought was the purpose of
this snippet? (I don't want it as a one-time tweak, but to
realign all the lyrics in the score.)
--
Thanks
David Rogers
rd is unnecessary. (The number 20 in
that line is not meant to be changed; it is only there to restate
Lilypond’s default staff size. Using set-global-staff-size --
before the \paper block, not after -- is enough.)
--
Thanks
David Rogers
particularly dreadful.
But I often wonder why tablature even needs it - surely it is
obvious that
what follows is tab, and it does not indicate relative pitch.
Well, I am not a guitarist.
Andrew
On 28/11/2020 1:27 pm, David Rogers wrote:
If those letters were human, they’d each be wearing a
particularly dreadful.
But I often wonder why tablature even needs it - surely it is
obvious that
what follows is tab, and it does not indicate relative pitch.
Well, I am not a guitarist.
Andrew
On 28/11/2020 1:27 pm, David Rogers wrote:
If those letters were human, they’d each be wearing a
re just letters. :)
--
David Rogers
mplaining or confused,
then nobody can say you didn’t do your job. But making it look
great certainly has its benefits.
--
David Rogers
st of the time and therefore what people have come to expect. If
I had my own choice to make it look better, I’d pick a very boring
bold sans-serif like bold Helvetica or whatever, but that’s not
what people are used to.
--
David Rogers
score that involve extra Scheme code or tweaks, it will build
from papier-mâché. Consider it an alternative definition of
“object-oriented”. :)
--
David Rogers
ructure of Lilypond,
and to me it makes more sense for them to intentionally neglect a
secondary function than to hold back or limit a primary one.
--
David Rogers
time and effort had been spent on other Lilypond issues instead.
And if working on MIDI would turn into a distraction, or would
“open a can of worms”, then IMO it wouldn’t be worth it. There
certainly is software out there for creating
artistically-orchestrated MIDI.
--
David Rogers
Tom Sgouros writes:
Hello all:
I've recently started using Lilypond and so far it's great. I
don't
think I'm saying anything surprising by observing what seems to
be a
close family resemblance to TeX. Did it start out as TeX macros
and
diverge?
I wonder if there is a document out there t
Hello all
I certainly remember having this same question or confusion. The
fact that there is a specific \cresc led me to believe that there
ought to be a specific \rit as well. May I suggest that a new
Subsection 1.3.4 "Other expressive marks" be added to the Notation
manual, simply explaini
I should point out my own mistake: Breitkopf & Härtel did a great
deal of very good work, and (from a pianist's point of view
anyway) they don't belong in the same paragraph as PWM or Kalmus.
--
David Rogers
ere's
no musical justification for claiming that Lilypond's sloppy and
inconsistent handling of piano pedalling is acceptable. (There's
also no social/political justification for claiming that that fact
obliges any particular person or group to fix it at any particular
time.)
--
David Rogers
lf. (Who knows? That example might be you!)
There's an old joke: When free software is defective, the users
are entitled to a full refund. :)
--
David Rogers
cleaner ways of declaring to
Lilypond that the cadenza is unmetered, and/or clarifying the
structure of what's before and after it, in the hope of preventing
the problem in the first place.
--
David Rogers
David Kastrup writes:
> As I said, replies from a digest rarely make sense because of breaking
> the message threading.
This is true, or at least I'm willing to take it as true - but if a
digest exists, then it would be very strange and frustrating to try to
disallow replying to it. Otherwise, i
Henning Hraban Ramm writes:
> Am 2013-09-06 um 23:12 schrieb David Rogers :
>
>> Hello
>> There have been several methods in the history of LilyPond for
>> integrating LilyPond scores with ConTeXt documents (ConTeXt is a newer
>> more-flexible system somewhat ana
Hello
There have been several methods in the history of LilyPond for
integrating LilyPond scores with ConTeXt documents (ConTeXt is a newer
more-flexible system somewhat analogous to LaTeX).
Right now, which is the best choice for putting ConTeXt and LilyPond
together? (Your answer might be "Don'
Carl Peterson writes:
> On Fri, Sep 6, 2013 at 4:53 AM, Phil Holmes
> wrote:
>
>
>
>
> I have to my right hand "Hymns and Modern, New Standard" and
> behind me "Songs of Praise, New Standard". Both of these use
> separate voices for Sop and Alto; Tenor and Bass. I stro
Carl Peterson writes:
> On Thu, Sep 5, 2013 at 9:44 PM, David Kastrup wrote:
> Why would you use the part combiner? I know SATB as basically
>
> \new ChoirStaff
> << \new Staff { \clef "treble" << { \soprano } \\ { \alto } >> }
> \new Staff { \clef "bass" << { \tenor } \\ {
Werner LEMBERG writes:
> [wearing the FreeType maintainer hat]
> Howver, my opinion is that we don't *need* Multiple Masters in
> general. What we really need is an option to select a stylistic
> variant which contains a set of finely tuned glyphs representing a
> certain style, and OpenType pr
Kieren MacMillan writes:
> This thread reminded me that I wanted to let you all see the first few pages
> of a recent commission, which ended up requiring polymetrics across line
> breaks, etc.
>
> I love the way it turned out, and I can't imagine how difficult it would be
> to engrave in some
Derek Klinge writes:
> For the life of me I cannot figure this out.
> I would like the following example to explicitly include the 7. Is
> there a way to change the way it handles half diminished 7ths?
>
> EXAMPLE
> \chords {
> c4:7.9- c:7.9-/g
> \set slashChordSeparator = \markup { " over "
Robert Schmaus writes:
> Or do you mean bends? Glissandi? Key change, even? Could you maybe
> send (or point to) an example?
>
> It seems unclear what you mean with "crescente/calante" in harmonics
> (as opposed to dynamics) ...
I believe that the intended meaning is "Here are the notes of the
h
Robert Schmaus writes:
> That brings me to my question: I've worked through Phillippe's
> "recipe" faithfully (I think). Now, when I try to launch frescobaldi
> on the Terminal, I get an error message
>
> ImportError: No module named sip
>
> Does anyone know what's the problem there?
According t
k...@kalegood.com writes:
> I see that lilypond supports a cool-looking No. glyph, which is great.
Unless I'm mistaken, it's not Lilypond giving that cool-looking glyph,
it's the font they were using.
The Unicode designation for that glyph is U+2116 Numero Sign
Some fonts have it, others don't.
Richard Shann writes:
> You could have played the entire piece in by the time you have set
> about looking for mistakes in the "automatic" entry systems.
Richard: I think "playing the piece in" is what Johan is asking for, and
is exactly what you're saying is a bad idea. I don't think what Dene
"Mark Stephen Mrotek" writes:
> Andrew,
>
> Thank you for your reply. I know that I could manually beam and that
> would suitably work for a few measures. The piece, Chopin Black Key
> Etude, has 83 measures like this. Some “set it and forget it” global
> command would be most helpful.
Someone h
Martin Tarenskeen writes:
> ... writing LilyPond code directly is in fact easier and much faster
> than ... fixing errors.
Especially this. Most of the export and import processes end up with
some errors, and being forced to find and solve machine-made errors
(maybe obscure ones) is not easy if
Klaus Föhl writes:
> Hello,
>
> When changing font in text processing, you switch to a different font,
> and most time that's it. Relative placement is taken care of
> by the provided font metrics.
>
> In music notation there is a font, but at least within Lilipond objects
> like staves are draw
Andrew Bernard writes:
> Emmentaler is, in effect, proprietary, although free.
I disagree. I think "so poorly documented that in practice almost no one
can understand how it works" still can't qualify as "in effect
proprietary".
It just qualifies as "needing a huge amount of work; work that the
Urs Liska writes:
> Am 06.08.2013 19:46, schrieb David Rogers:
>> Some very significant reasons IMO that the old Henle score looks
>> "Henle":
>>
>> - the notehead shapes
>>
>> - the stem thickness (to my eyes, thinner relative to noteheads tha
David Kastrup writes:
> Kieren MacMillan writes:
>
>> Hi Urs (et al.),
>>
>>> I'm probably biased but I find the appearance of the 'old' score
>> infinitely superior.
>>
>> Immediately, one notices [in the newer version] what a poor choice it
>> is to have the triplet number (over the middle of
Carl Peterson writes:
> I'm curious...did you happen to notice any examples where the engraver
> chose to split the measure that might be indicative of an approach? If
> I were to have done something like this for a hymnal/songbook, I would
> have split the measure and would have kept the entire
David Kastrup writes:
> Kieren MacMillan writes:
>
>> Hello all,
>>
>>> I have found some images of Henle's Moonlight Sonata.
>>> Old edition: http://www.ackermanmusic.co.uk/img/P/412339_1.jpg
>>> And the new one (from 2013):
>>> http://www.di-arezzo.com/multimedia/images/henle/part/hn1062.jpg
>
James Harkins writes:
> On Aug 5, 2013 2:59 PM, "James Harkins" wrote:
>> I appreciate the thought, but I'm not quite interested in that
> particular flavor of Kool-aid. I'll go with my eye on this. I don't
> like how it looks, and I get something that is easier to read by
> fussing with the lin
It seems to me that when scores are set with lots of white space, the
rules are followed meticulously (and that this is why computer-generated
scores began by being set much too loosely on the page - it's easier to
follow spacing rules when you have lots of room to do so). As scores are
set tighter
James Harkins writes:
> I ran into the attached spacing problem while typesetting a lead
> sheet. I can't make a minimal example right this second; will try in
> the next couple of days.
>
> When a tied note has a lyric syllable, LP (2.16.1) left aligns the
> syllable to the note, on the assumpti
Robert Honoré writes:
> It usually does once I change the version string. I had sent the one
> that worked with my previous installation of lilypond (2.12.3).
> Usually, when I do an upgrade, I would change the version string once I
> get the error message when I attempt to process it.
> That is
Marc Hohl writes:
> Hello list,
>
> for my current project I have some scores located in
> individual files:
>
> A.ly
> B.ly
> C.ly
>
> which can be compiled independently, and a latex file
> containing calls like this
>
> \lilypondfile{A.ly}
>
> [... some text ...]
>
> \lilypondfile{B.ly}
>
> [.
Givaldo de Cidra writes:
> Could you help me with a code in lilypond?
>
> I have a musical example it was necessary to change the key signature.
> I made the change with the code below:
>
> \ set Staff.keySignature '= # (((1. 0.), SHARP) ((1. 3.), natural))
>
> Placing a hash in C and makes the n
"Phil Holmes" writes:
> It would certainly be possible and fairly simple to create glyphs like
> this. We would need to be careful about naming, since a shake is
> generally something else.
There are indeed two quite different things both normally called
"shake", one more recent (stereotypically
I've found a piano score that seems, to my eyes, both more "friendly"
and more beautiful than Henle's Beethoven sonatas: the Chopin Nocturnes
from Wiener Urtext, catalogue UT 50065 from 1980. If this turns out to
have been computer-generated, then I'll just have to hang my head in
shame. :)
--
Da
Kieren MacMillan writes:
> Hello all,
>
>> I'm hoping to break out a series of stylesheets (or stylesheet sets):
>> instrument (e.g., violin) solo
>> piano solo
>> piano + vocal
>> piano + solo instrument
>> organ solo
>> instrumental ensemble (e.g., piano quartet)
>>
Kieren MacMillan writes:
> Hello all,
>
> I'm going full-bore on getting some of my scores re-engraved in the
> next month or so. (They tend to be cram-engraved under pressure for
> the premiere, and then never returned to due to the next commission on
> the docket…)
>
> As a result, I'm hoping t
John Kliewe writes:
> Many thanks to the lilypond-user group for their advice on measure #47
> of the Chopin Nocturne #3 (Op 9 No 3). Urs' article on voices was
> particularly helpful.
>
> My next challenge appeared in measure #69. This is working for me :
>
> \version "2.16.0"
> \relative c'
> {
Jacques Menu writes:
> Hello,
>
> Don't know Fraise, but if that may help : you menu entry should run:
>
> /Applications/LilyPond.app/Contents/Resources/bin/lilypond
>
> be that textually placed there or in shell script of yours.
I neglected this point in my hasty instructions; when you u
Hi again Philippe...
If (when) Frescobaldi becomes easy to install on a Mac, definitely use
it instead of Fraise - because Frescobaldi is made for Lilypond, it
provides a lot of nice functions that Fraise will never have.
--
David R
___
lilypond-user
Philippe de Rochambeau writes:
> Hello,
>
> could someone please explain how to run Lilypond from Fraise?
I haven't used Fraise. I did use Smultron a little bit a long time ago.
There may be an elegant way, eliminating the use of the terminal
emulator and making steps 2 through 4 of my descript
Urs Liska writes:
> ... for some reason XeLaTeX/fontspec isn't
> willing to use the bold version of my chosen tt font (Inconsolata) -
> so the listings were without syntax highlighting.
> I have already done a workaround (by using the default tt font).
Inconsolata originally had no bold. A bold
David Kastrup writes:
> Peter Wannemacher writes:
>> ==
>> You wrote on page 4:
>> Editor independent
>> There isn’t a inseparable unit between editing and processing a docu-
>>
>> It is common to write:
>> There isn't an inseparable unit
>
> And not "between" but rather "of
David Kastrup writes:
> It would likely be worth it to have an Emacs window open just for
> reading the documentation...
(... Good point; I'll reserve a space for it on my desktop...) :)
--
David R
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David Kastrup writes:
> When using Emacs, C-h i is just two keystrokes away. No need to reserve
> additional space for the info manual.
You're right - I didn't think of that, because I didn't have Emacs when
I started using Lilypond. I still haven't made the switch, though I
would prefer to.
-
Peter Toye writes:
> Thank you all very much for your help. It's not the most intuitive
> user interface (or should that be language?), and I've only been
> trying it out for a few hours, so I'm coming up with all sorts of
> silly issues.
>
> One problem I'm having is that it's not easy to find t
Davide Liessi writes:
>> direct
> I can't understand this glossary entry, since there isn't enough context.
> I don't think it is specifically a musical term, and I couldn't find
> occurrences of "direct" in NR with a different meaning from the usual,
> literal, common one.
> Why is "direct" in
Carl Peterson writes:
> As I mentioned in another thread, I'm working on a hymnal/psalter project
> and ideally would like to justify both the left and right edges of each
> line of lyrics. I'm willing to settle for the left edge, if the right edge
> is too cumbersome to do. I manually right-just
Ralph Palmer writes:
> Greetings -
>
> I'm running LilyPond 2.16.2 under Windows 7, SP1.
>
> I've copied the *.el files from lilypond\..\site-lisp to
> \emacs\emacs-24.3\site-lisp
> and I've set the PATH and HOME variables so that I think emacs is finding
> lilypond-mode.el, but when I open emacs
Urs Liska writes:
> And is your intention to keep the lilypond source inside the LaTeX
> document? If that's not explicitely wanted you may have a look at my
> musicexamples' package.
> Overview: http://www.openlilylib.org/?/musicexamples/
> The links to the project page and download on SourceFor
Thomas Morley writes:
> Best I can say: It works.
> Though, in german I'd call this "Fischertechnik" (don't know if it's
> understandable outside Germany, otoh, there's an english
> wikipedia-article about it ...)
North American writers use "Tinkertoy" to mean the same thing. :)
--
David R
__
Sarah k Alawami writes:
> Is there a way to memorize or through pattern recognition how many '
> and , symbols it takes to jump octaves? besides writing down a few
> notes and going to the tuneful site to listen to see if I messed up?
> as that's what I've been doing and it yeps but it slows me
David Kastrup writes:
> Eric Pancer writes:
>
>> On Mon, Dec 17, 2012 at 7:09 PM, Thomas Morley
>> wrote:
Is C6 considered "0"?
>>>
>>> Well, here I'm the one who is confused. I never heard "C6" and the
>>> others you mention below.
>>
>> Apologies. "C5" is known as middle C.
>
> It isn't.
Parham Fazelzadeh writes:
> Yeah, it doesn't make sense to tie rests, you are right about that. But the
> behaviour was still unexpected, and unwanted, I would say.
In general, with LilyPond, unexpected input creates unexpected
output.
Often, if you input something that doesn't make sense, LP "
e before
computers became widespread are almost always the best how-to that you
can get.
--
David Rogers
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https://lists.gnu.org/mailman/listinfo/lilypond-user
soundsfromsound writes:
> On a side note, is there any one way that everyone agrees is the "best" way
> to import MusicXML into Lilypond with the cleanest, most accurate conversion
> results?
Yes, absolutely there is.
1. Print the score (not the file, print the musical score) using the
other p
Noeck writes:
> ... I added an *English version*, which should make it readable for a
> wider community. Most of the text consists of Lilypond commands,
> though. There are some places where I am not sure if I found the
> correct translation.
>
> http://arsantiqua-karlsruhe.de/images/pdf/Lilypon
Stefan Thomas writes:
> Are You sure that is an "Urtext" and not a kind of later arrangement of
> this piece?
>
> 2012/10/17 Mark Stephen Mrotek
>
>> The Harvard Concise is not in my possession. I do have a copy of Haydn's
>> Keyboard Concerto No. 11 in D. The acciaccatura (small eight notes wi
I don't have any of the engraving manuals - what is this note called
in those books? It would probably be better to go along with the
"industry standard name", even if that name turns out not to be
perfect.
--
David
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lilyp
On Tue, Oct 16, 2012 at 10:12 AM, Owain Sutton wrote:
> I've always taken 'acciaccatura' and 'grace note' to be synonyms.
I think that's probably correct. Which means that "grace note" would
not be the best name for this notation either.
I jokingly propose Lnwl.
(Little note with line)
--
Da
Appoggiatura is a term in composition for a particular kind of note
that doesn't belong to the harmony.
Acciaccatura ("crushed") is a playing technique that composers can request.
Neither one is really the name of this little note.
The little note isn't stroked OUT, because "stroked out" would me
ole writes:
> thanks, but than my example look like this (see attached .jpg)
That jpg is interesting. I would never have chosen to print it the way
they did, and I think it can and should be done differently. (But still
interesting to try for that result if you want.)
--
David R
Urs Liska writes:
> But F flat _is_ different from E, especially in its relationship to
> other, 'normal' keys. F flat has a quite simple relation to G flat
> that might happen in real music. So I'm happy that LilyPond offers to
> explicitely write it down instead of refusing to do things, _she_
keith Luke writes:
> Does anyone know why the flats appear our of order when the key
> signature is F-flat?
I'm really only summarizing what's been said: that it's probably already
correct, that it's probably a bad idea to use it, and that the score is
truly unreadable with the size mismatch be
james writes:
> I have been looking at this documentation for so long, that I just
> don't understand it anymore. Is it possible to get a line on the
> "text" pedal notation? There are so many contexts and engravers for
> the piano pedals, that I just don't see how to add a line to it.
Do you m
flup2 writes:
> Hello,
>
> No problem with 2.16 or 2.17 on a Mac with Lion or Mountain Lion, either
> with its own interface, or through command line, JEdit, Frescobaldi etc.
> (knowing that JEdit simply calls the command line of LilyPond).
>
> The previous problem of LilyPond on Mac only concern
fabio gabbianelli writes:
> anyone knows if lilypond 2.16 or 2.17 works with osx 10.7? it could work
> through "jEdit" ?
I don't see any news about a version of LilyPondTool for 2.16 or
later. But maybe I just wasn't paying attention. (LilyPondTool is the
best way to use jEdit with Lilypond).
On Fri, 31 Aug 2012 10:55:09 +0200
Marc Hohl wrote:
> Hello all,
>
> I am just about rewriting the bar line user interface and stumbled
> across a serious problem: with my new approach, the valta brackets
> are displaced.
>
> For developing a fix, I need to know how this is properly done.
> Gou
On Tue, 28 Aug 2012 17:50:12 -0700
"Daniel E. Moctezuma" wrote:
>
> Also, after an "attaca" indication should the bar numbers reset or
> continue counting?
I take "attacca" to mean "Go straight on, even though it's a new piece".
Having the bar numbers continue would mean to me "This is not a n
On Fri, 24 Aug 2012 09:19:28 -0300
Felipe Castro wrote:
> 2012/8/24, Phil Holmes :
> >>
> >> Han-Wen, instead of "spanner", in English, would you use
> >> "extender"? I'm not asking to change, just wondering if both words
> >> are equivalent in this case.
> >
> > Replying as a native English spea
On Fri, 24 Aug 2012 13:03:24 +0100
"Trevor Daniels" wrote:
> A spanner implies bridging between two equivalent end points.
> An extender would imply something already exists and is just made
> longer. A direction is often implied - the road was extended from A
> to B.
Therefore, in the musical s
On Thu, 23 Aug 2012 20:56:03 -0400
John Link wrote:
> Well, "male water sheep" is not Italian.
>
> Don't mind me. I had a rough rehearsal today and I'm in a weird mood,
> trying to make a joke with the Italian translation (via google
> translate) of the British meaning of "spanner".
I was in jo
On Thu, 23 Aug 2012 18:33:12 -0400
John Link wrote:
> How about "chiave inglese"?
In this particular context, "male water sheep" would do just as well,
wouldn't it?
--
David
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On Wed, 22 Aug 2012 20:50:29 +1200
wjm wrote:
> You wrote:-
> +
> Hi, I am trying to make a decrescendo end in a subito dynamic for the
> next note. . +++
>
> Given that sfz is equal to subito-forzando
> (see
> http://piano.about.com/od/termsrelatingtodynamics/g/G
On Tue, 14 Aug 2012 23:47:52 +0200
Reinhold Kainhofer wrote:
> Some old handwritings have e.g. the f sharp in the keysignature not
> at the top line, but between the lowest and second-lowest line. If
> you want to create an authentic reprint of the autograph, you might
> also want to preserve the
On Tue, 14 Aug 2012 22:58:57 +0200
james wrote:
> Honestly, what's most important to me is where the sharps/flats in
> the key signature are placed.
Looking at the PDF example, I can't understand which line is supposed
to be the good one. They both look wrong to me.
When I read music, I want th
Hi all
I'm using the following recommended code, which works properly with any
font I've tried:
\version "2.14.2"
\paper {
myStaffSize = #20
#(define fonts
(make-pango-font-tree "fontname-1"
"fontname-2"
On Mon, 13 Aug 2012 15:05:41 +1000
Vaughan McAlley wrote:
> This is a slight variation on:
> http://lilypond.org/doc/v2.14/Documentation/snippets/vocal-music#single-staff-template-with-notes-and-lyrics
>
> I’m trying to apply the idea from Skips in lyric mode[1], so that the
> lyrics start in th
On Sun, 12 Aug 2012 17:58:41 +0100
"Peter Gentry" wrote:
> ... all my attempts to make changes (apart
> from set-global-staff-size) have failed even when the syntax is
> accepted
I missed this part of your post the first time.
Lilypond's silence does not always indicate that your syntax was
ac
On Sun, 12 Aug 2012 17:58:41 +0100
"Peter Gentry" wrote:
> I have a score with many repeated beamed quavers and semi-quavers on
> ledger lines. The default layout is difficult to read as ledger lines
> and the staff produce an almost hypnotic effect which confuses the
> reader. This resuluts in l
On Sat, 11 Aug 2012 15:28:30 +1000
Joe Neeman wrote:
> On Fri, Aug 10, 2012 at 7:28 PM, Federico Bruni
> wrote:
>
> > NR 4.1.6, \paper variable for page breaking
> > http://lilypond.org/doc/v2.15/**Documentation/notation/other-_**
> > 005cpaper-variables#_**005cpaper-variables-for-page-**breaki
On Sun, 05 Aug 2012 00:59:32 +0200
David Kastrup wrote:
>
> That's because parentheses aren't brackets.
>
> () "parentheses"
> [] "brackets"
> {} "curly brackets", occasionally "braces"
> <> "angle brackets"
Absolutely true, from a specialist point of view - but in common usage
(imprecise, y
On Thu, 02 Aug 2012 13:30:19 +0200
Gilles wrote:
> > The request is for six commands (NOT markups, but actual music
> > commands that affect the MIDI output and so on):
> > \segno
> > \fine
> > \tocoda
> > \coda
> > \dacapo
> > \dalsegno
>
> Using the functions described here :
> http://lsr.ds
Hi all
I don't have any money to contribute, nor any coding capability, so
this is not a serious request in anything but tone of voice. :(
It's extremely likely that this request is an obvious one, and that it's
been requested in exactly this way many times, and has never been done
because of imp
Tim McNamara writes:
Some weeks back there was some discussion of the Lilypond
syntax, I made some suggestions and was asked to write up a
sample .ly file with the ideas I had in mind. Basically my
notion was to separate content (notes and chords) from form
(number of bars, repeats, codas,
Janek Warchoł writes:
PS concerning the girl, she's pretty indeed, but some of the
/priests/ using Lily might have a problem with that :)
I'm not a priest. However, I still don't like the picture. I don't
mean that I disapprove, I mean that I don't think it looks good
enough to be used a
On Mon, 9 Jul 2012 16:15:02 +0200
Stefan Thomas wrote:
> Dear community,
> the very nice code, I've copied in the attached file "anweisungen.ly"
> does some things I don't like but I don't know how to change it:
> the page-numbers are at the bottom, not at the head off the page.
> The copyright i
Tim McNamara writes:
Why is it like this? Because the focus of Lilypond has been, to
a great degree, to create something that enables users to
produce beautiful sheet music. That is the raison d'être of
Lilypond. The main focus has not been on user friendliness and
easy useability. As a
David Kastrup writes:
People use more Scheme than they probably realize, and getting
Scheme help by "devs" tends to work mostly unspectacularly.
["unspectacular" often means "not very good". I think you must be
using unspectacular to mean "it just happens, without too much
trouble".]
Tha
Sami writes:
... however the \bar at the beginning of the music seems to be a
problematic issue also.
Normally, \bar "|:" at the very beginning is redundant and should
be left out. Music with no \bar "|:" anywhere is always understood
to go back to the beginning.
[but maybe this isn't rea
"GRAEME F ST CLAIR" writes:
What directives, commands, instructions etc should I be looking
at to put a little more "air" into its appearance?
This may sound mean, but read the manual - it's all in there. When
you get to know the manual you know not only the answer to these
questions but
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