Re: PDF Links in Windows

Robin Bannister dataway.ch> writes: > Thomas WillNot wrote: > > I looked for settings in Acrobat Reader and found none. > > > > Please let me know if this functionality is possible in > > Microsoft Windows. > > It is possible (without resorting to Frescobaldi). > But there doesn't seem to be a

Re: Voice split across staves?

Joel C. Salomon gmail.com> writes: > my specific > question is how best to show what seems to be a voice split across > staves. The following example should show what I mean: I’ve set the > piece’s first bar twice, the first time as seems logical to me, the > second time as it appears in the pri

Re: midi channel

Rob gmx.de> writes: > for the midi playback > the channel assignment of the staffs > does not always do what I expect it to do. > \new Staff \with { midiChannel = 1} > That control does not yet exist, but there are requests in the bug-tracker http://sourceforge.net/p/testlilyissues/issues/227

Re: Style question for bar checks

Noeck gmx.de> writes: > Would you recommend putting the bar check always after the note or in > some circumstances also after an including brace? > \alternative { > { a2 b } | % wrong > { a2 a } | % wrong > } If there is more than one measure in each alternative sequence, then th

Re: interesting implementation detail of \partcombine

Mike Solomon mikesolomon.org> writes: > > I just realized that when one uses spacer rests instead of full-measure rests in a voice that is being part combined, if there are full-measure rests in the other voice, those rests will be shifted up.Not a biggie, but perhaps it should be documented

Re: Using force-hshift to create a cross-staff chord

Keith OHara oco.net> writes: > Knute Snortum gmail.com> writes: > > > > > I thought the answer would be to force-hshift the lower note but it > > doesn't seem to "move". > We should file a bug-report, to at least left-align before applying

Re: Extend piano sustain pedal indication to end of bar

Andrew Bernard gmail.com> writes: > How would one extend the bracket style sustain pedal indication to the end of a bar or section? I understand from the documentation how to achieve this for the end of a piece, but can this be done mid-piece? > I might be missing the point, but \transpose c

Re: Using force-hshift to create a cross-staff chord

Knute Snortum gmail.com> writes: > > I thought the answer would be to force-hshift the lower note but it > doesn't seem to "move". > Annoyingly, LilyPond left-aligns the groups of clashing chords between different staves. The code history says the reason was to left-align \transpose c c'

Re: Control which voice if shifted left

Kieren MacMillan sympatico.ca> writes: > Curiously, switching voices as [...] > results in a “left-shifted” voicing that closely resembles what the Satie- engraving did. =) > > In any case, it would be great to have a setting like > > Context.voice-shifting = #’(3 1 2 4) > > where one si

Re: Control which voice if shifted left

Simon Albrecht mail.de> writes: > > Am 15.06.2015 um 16:50 schrieb Knute Snortum: > > I haven't had any replies to this. How can I ask the question better? > Probably that’s because there is no way to automate this. At least I’d > be very surprised if there were one. It’s so much of a standard

Re: "Assertion failed!"

Colin Campbell shaw.ca> writes: > Under the assumption that the changed assertion handling is exposing > previously non-fatal bugs, I propose to create separate issues for the 3 > items now known: Daniel's two and another reported by Andrew Barnard. Colin would you let met add the three issu

Re: Problem with shaping chord ties held over several measures

Knute Snortum gmail.com> writes: > I'm having a problem shaping ties of chords after more than one measure.  I have an internal voice that comes in on the third measure and the ties go right through it.  \shape doesn't seem powerful enough to handle this (at least I don't know the syntax).  He

Re: Getting merge-differently-headed to work

Knute Snortum gmail.com> writes: > > I have a piece that I'm working on that has a measure with four very crowded voices.  I expected to have to resolve note collisions, but I'm having some problems with \shiftOn and \mergeDifferentlyHeadedOn. You don't need mergeDifferentlyHeadedOn because t

Re: resetOctaveCheck cannot be removed with a tag

Reinhold Kainhofer kainhofer.com> writes: > I'm trying to store that part into a separate variable and use > resetRelativeOctave for the octave jumps. I'm tagging those > resetRelative and try to filter them out for the first occurrance or for > the repetition. Unfortunately, tagging resetRela

Re: Can't compile after upgrade to 2.19.19

Stan Mulder earthlink.net> writes: > convert-ly will change something like gsharp to g-sharp, but it won't change > gsharp4 to g-sharp4. Anything with a number after it doesn't convert > properly. So I've had to do all those manually (or with search and replace). Oops. The rule in convert-ly wa

Re: Can't compile after upgrade to 2.19.19

Stan Mulder earthlink.net> writes: > I'm getting errors that I cannot fix after upgrading to 2.19.19. These > errors seem to show that lily is not recognizing my english pitch names like > "eflat" even though I've included english.ly near the top of the file. > At version 2.19.16, the name chan

Re: What is the problem with "\relative"? (Was: Do we really offer the future?)

Federico Bruni gmail.com> writes: > 2015-04-23 9:21 GMT+02:00 Martin Tarenskeen zonnet.nl>: > > I often use LilyPond to quickly enter a very simple tune or small pianosheet needing just a simple texteditor (Vim). I use \relative all the time. c g c e g is soo much faster and easier than c'''

Re: Overlapping chords

D'Arcy J.M. Cain druid.net> writes: > GNU LilyPond 2.16.2 > Linux imp 3.13.0-51-generic #84-Ubuntu SMP > Ubuntu 14.04.2 LTS > > > > ef2.:maj13 c4:9.5- > > Not sure how to make it any tinier. Did you mean that you needed more > context? > 'tiny example' is jargon for a complete example that d

Re: Do we really offer the future?

Michael Hendry gmail.com> writes: > I routinely put the bar checks at the _beginnings_ of the bars, thus... > > | a4 b c d > | a8 b c d e f g a > | a16 b c d e f g a b c d e f g a b > That works very nicely. When I had a measure that took more than one line of input, I used

Re: What is the problem with "\relative"? (Was: Do we really offer the future?)

Martin Tarenskeen zonnet.nl> writes: > I often use LilyPond to quickly enter a very simple tune or > small pianosheet needing just a simple texteditor (Vim). I use \relative > all the time. c g c e g is soo much faster and easier than c''' g'' > c''' e''' g''' g'''. If there were a version of

Re: Windows performance

Trevor Daniels treda.co.uk> writes: > Martin Tarenskeen wrote Saturday, April 18, 2015 6:29 PM > > > Just a wild guess: did anyone on Windows try the same speed comparison using > > the --ps option instead of pdf output? > > Just done that. The conversion from ps to pdf takes only a couple o

Re: Windows performance

Keith OHara oco.net> writes: > > Trevor Daniels treda.co.uk> writes: > > > >>> Phil Holmes wrote Thursday, April 16, 2015 2:00 PM > > >>> > > >>>> The performance of LilyPond 2.19.18 on Windows is _much_ better than > > >

Re: Windows performance

Trevor Daniels treda.co.uk> writes: > >>> Phil Holmes wrote Thursday, April 16, 2015 2:00 PM > >>> > The performance of LilyPond 2.19.18 on Windows is _much_ better than > previous versions. Some examples: > > A 26 page multi-score piece I've been working on: > 2.19.16:

Re: How to recognize Voice-continuation?

Thomas Morley gmail.com> writes: > Any chance to have LilyPond identify the second voice-b as a > continuation of the first? This seems to be analogous to the way we need to keep the staff "alive" when we temporarily leave a staff empty in piano music. \new Staff << \new Voice = "a" \with

Re: How to enter explicit voices for use in Staff and TabStaff?

Thomas Morley gmail.com> writes: > Or any chance to get a neutral 'Bottom-context for use with LilyPond-syntax? > We have close, with mus = \relative c'' { << \context Bottom = "1" { \voiceOne c4 r c r } \context Bottom = "2" { \voiceTwo r a r a} >> } << \new Staff << \c

Re: How to remove tags from music returned by \keepWithTag ?

Jim Long umpquanet.com> writes: > > On Tue, Mar 10, 2015 at 10:49:05AM +0100, Thomas Morley wrote: > > > > Something in > > http://lsr.di.unimi.it/LSR/Item?id=871 > > which matches your needs? > > (didn't test myself) > \taggedRep looks especially interesting. I often use the > 'extractMusic'

Re: staffSize music function unreliable at LP v2.19.16

Simon Albrecht mail.de> writes: > > Well, there’s reason enough to redirect this to bug-lilypond, isn’t > it? Thanks for finding the bug, and confirming that it is a bug and not just a misunderstanding, and narrowing down the cause, and posting to bug-lilypond. The relevant code did no

Re: Customizing staff to display Bohlen-Pierce scale?

txikitofandango gmail.com> writes: > #(ly:set-default-scale  >   (ly:make-scale  >    '#(0 1 3/2 2 3 7/2 9/2 5 6)) >   ) > Everything looks great, and the MIDI comes out correct within the octave, with each semitone up the scale going up a MIDI number. EXCEPT, because this is a 13-note scale,

Re: Naming of staff-staff-spacing

Noeck gmx.de> writes: > Wouldn’t it > be more straight-forward to have identical objects (alists) behind these > consistently named properties? I.e. a different name for this function and > reserve the consistent name for what is currently the default-staff-staff- > spacing? > Yes. There is a r

Re: Partcombine and large intervals

Phil Holmes philholmes.net> writes: > Partcombine splits chords where the interval is greater than a ninth: > [...] it's expected behaviour. I can't find this > documented anywhere: is it? Only recently. Dan made the behavior adjustable and then I added a user-interface for version 2.19.1

Re: Key signature and key cancellation need to be aligned

Thomas Morley gmail.com> writes: > 2015-01-28 0:16 GMT+01:00 David Sumbler aeolia.co.uk>: > > On Tue, 2015-01-27 at 20:26 +0100, Thomas Morley wrote: > >> 2015-01-27 12:56 GMT+01:00 David Sumbler aeolia.co.uk>: > >> > The problem is that the actual key signatures on the 2 staves that have > >> >

Re: Pianostaff 4-part writing and rests

Kieren MacMillan sympatico.ca> writes: > The linked issue (https://code.google.com/p/lilypond/issues/detail? id=1228) currently has a > status of “abandoned” — well, at least the associated patch does, if not the whole issue. > > Is there a technical reason why the most up-to-date engraver (e.g

Re: Order of contexts over staves

On Sun, 25 Jan 2015 08:37:16 -0800, Phil Holmes wrote: is there a way of displaying where the various contexts are placed so I can try to see what's going on? I don't know of any built-in option that will help with this, but you could temporarily ask LilyPond to draw Dynamics with one staff-l

Re: instrumentSwitch and addInstrumentDefinition use

On Tue, 20 Jan 2015 08:51:13 -0800, Kieren MacMillan wrote: 2. What would be required so that the \bar "||” \key \default stuff could be avoided It is awkward to make this happen with an add-on to current LilyPond. Jan-Peter took the approach of watching for transposition changes in his au

Re: instrumentSwitch and addInstrumentDefinition use

On Sun, 18 Jan 2015 19:34:24 -0800, Kieren MacMillan wrote: This does have the variable reedPlayer storing written pitches, where we recommend storing concert pitches I would much rather code in concert pitches. What I was suggesting, and what I put into the example, had all the typed inp

Re: instrumentSwitch and addInstrumentDefinition use

On Sun, 18 Jan 2015 21:09:07 -0800, Paul Scott wrote: So I am saying that I would like any new features for instrument switching to suit my need to not always enter the notes in concert pitch. I don't really think that be a problem. Absolutely. There is a set of tests to make sure the ol

Re: Order of contexts over staves

Phil Holmes writes: > > I'm setting some music with temporary staves, and ensuring the the > > temporary staff is above the main staff using > > > > \new Staff \with { alignAboveContext = #"label"} > > > > I'm also using a dynamics context, which is created with > > > > \new Dynamics \with { alig

Re: instrumentSwitch and addInstrumentDefinition use

On Tue, 13 Jan 2015 05:54:48 -0800, Kieren MacMillan wrote: I understand that in realistic cases you probably have the notes in one variable and options for arrangements in another parallel sequence flute_notes = {c'2 c'' } arrangementB = {s1*4 \prep_alto_flute s1*4 \switch_alto_flute

Re: snippet throws programming errors (Jim Long) 53

Cynthia Karl mac.com> writes: > IMO, the problem is that my simple snippet causes LilyPond to declare that > programing errors have occurred. Programming errors are a serious > problem. Programming errors are only > solved by correcting the program, not by avoiding them by modifying the > inp

Re: snippet throws programming errors

Cynthia Karl mac.com> writes: > \score{ > \new Staff << \key c \major \music >> > \layout { > \context { \Voice \consists "Ambitus_engraver" } > } > } > > throws the following two programming errors: "Programming errors" are intended to report conditions that a programmer th

Re: instrumentSwitch and addInstrumentDefinition use

On Mon, 12 Jan 2015 06:36:15 -0800, Kieren MacMillan wrote: how I *want* to use it: flute_part = { c'2 c'' | b'4 g'8 a' b'4 c'' | c'2 a' | g'2. r4 | \prep_alto R1*4 | % [input below in concert pitch] \play_alto a2 f' | %[ desired typeset d'2 bes' ...] e'4 c'8 d' e'4

Re: Overriding preset tablature for ukulele

Ryan Clarin gmail.com> writes: > When I tab the note G4 (treble clef 2nd line G), \tabstaff marks it as 3rd string 3rd fret. I want it to make G as > 4th string open, but cannot find in the manual how exactly to do that. It should be under "string number" in the fretted strings section g\4

Re: bug with compound glyphs and/or diacritical markings?

Werner LEMBERG gnu.org> writes: > For me it works just fine on my GNU/Linux; see attached PDF. Almost certainly the problem with kerning and combining characters when using Pango on Windows, then http://code.google.com/p/lilypond/issues/detail?id=2657 __

Re: instrumentSwitch and addInstrumentDefinition use

On Sun, 11 Jan 2015 12:36:43 -0800, Kieren MacMillan wrote: So LilyPond does not store a global key signature. No, but as you well know, many (most?) Lilypounders abstract the key signature (etc.) into their own global [variable](s). Right, but LilyPond doesn't know if that is the concert

Re: instrumentSwitch and addInstrumentDefinition use

Paul Scott ultrasw.com> writes: > Is anyone using instrumentSwitch that can explain what the various > variables in addInstrumentDefinition mean? Don't use instrumentSwitch. It is a pointless frustrating waste of time. (The same could be said for LilyPond, except that there is sometimes a poin

Re: REQUEST: #'omit and #'include options for \repeat unfold?

Kieren MacMillan sympatico.ca> writes: > I’m just wondering whether it might be easy — and ultimately desireable — to have a built-in method of > choosing which grobs get repeated and/or omitted during an unfold \repeat expression. > Another oft-encountered use case would be > > \repeat u

Re: making a Tie more parabolic

tisimst gmail.com> writes: > > Kieren MacMillan wrote > > Any hints, for example, on what ‘ratio' actually does, or [..] > effect of "ratio". Seems like a "bug" to me that increasing "ratio" > doesn't > change the shape of the tie curve very much if the tie is at its > "height-limit", but maybe

Re: would 'gn' for G-natural be useful in \language "english" ?

Paul Morris paulwmorris.com> writes: > Keith OHara wrote > > > > I'm proposing \language"abbreviated" > > +1 for adding an opt-in way to use 'cn' (etc.) via another version of the > 'english' input language. This allows for use of

Re: Beaming and grace notes

On Mon, 01 Dec 2014 12:28:54 -0800, Knute Snortum wrote: * Is there a way to keep this structure and get rid of the warning? The warning is about being unable to fit the beam between the notes, because you forced the stem directions in such a way to force the beam between the staves LilyPon

Re: Beaming and grace notes

On Sat, 29 Nov 2014 07:44:39 -0800, Knute Snortum wrote: I've attached a picture of the measure. [Debussy Prelude #2, "Voiles"] This piece uses a whole-tone scale (not in the part with the cross-staff grace notes of Knute's example, but most of the rest of the piece) so I would be tempted

Re: Problems with Completion_heads_engraver

Jay Vara diljun.com> writes: > \layout { > \context { > \Staff > \remove Note_heads_engraver > \consists Completion_heads_engraver > } > } We need to remove the Note_heads_engraver from the *Voice* and replace it with Completion_heads_engraver. \new Staff { \new

Re: Beaming and grace notes

On Sat, 29 Nov 2014 07:44:39 -0800, Knute Snortum wrote: Thank you both for your relies. Keith, your second suggestion is what I need, if I could designate a zero length note. Requirements: * An actual eighth note * Grace notes need to "attached" with a beam to the eighth note * Grace notes

Re: Possible Bug with \partcombine?

Joshua Nichols gmail.com> writes: > Is there talk about improving this feature? Yes. Someone recently gave \partcombine an option to double-stem unisons http://code.google.com/p/lilypond/issues/detail?id=4112 The example at the top of this follow-up might make more sense http://code.google.com

Re: Beaming and grace notes

Knute Snortum gmail.com> writes: > I want to start a run of grace notes with a note with a normal head.  > ...but with the c' beamed to the d'. If these notes all happen before the beat, then \relative c' { \grace { <\tweak #'font-size #0 c>32 d e f g a b } c8 } This looks like it might

Re: would 'gn' for G-natural be useful in \language "english" ?

Ralph Palmer gmail.com> writes: > On Sun, Nov 16, 2014 at 11:31 PM, Keith OHara oco.net> wrote:Dear list, > In English, pronouncing the 'natural' in 'C-natural' is required if the note is out-of-key.  LilyPond does not consider the key when reading note- input,

Re: Possible Bug with \partcombine?

Joshua Nichols gmail.com> writes: > I was recently typesetting a song, using part combine, from a hymnal. I ran into a problem: everytime I ran \partcombine, I found that "unterminated slur" and "cannot end slur," were common warnings. I was confused, and so I created this small snippet that s

Re: would 'gn' for G-natural be useful in \language "english" ?

Dear list, In English, pronouncing the 'natural' in 'C-natural' is required if the note is out-of-key. LilyPond does not consider the key when reading note-input, but could easily accept 'cn' as a name for the pitch C-natural. There was a feature request on the bug-list, that LilyPond do so.

Re: MultiMeasureRest.minimum-length only for compressed MMRs

Kieren MacMillan sympatico.ca> writes: > Is there a global/automagic way to make the minimum-length > value apply only to compressed MMRs? > Instead of minimum-length of the rest itself, you can set the minimum-length of the number (which is, maybe non-obviously, also a 'spanner' of the measur

new LSR snippets

It turns out we can use \partcombine for four voices pretty easily http://lsr.di.unimi.it/LSR/Item?id=958 and a minor documentation clarification showing how to print '8' in place of 8va http://lsr.di.unimi.it/LSR/Item?id=950 ___ lilypond-user ma

new LSR snippets

It turns out we can use \partcombine for four voices pretty easily http://lsr.di.unimi.it/LSR/Item?id=492 and a minor documentation clarification showing how to print '8' in place of 8va http://lsr.di.unimi.it/LSR/Item?id=950 ___ lilypond-user mail

Re: possible bug: \change Staff and beam collision

Gilberto Agostinho gmail.com> writes: > but when changing staff the ottava position > gets lower (!) and collides with the beam. LilyPond allows you to beam to any other staff, so in general that beam might have to go up and cross the ottava bracket, while the bracket must stay with the staff.

Re: problem with \autochange and \ottava

Gilberto Agostinho gmail.com> writes: [in the context of music generated by an algorithm] > I am having trouble dealing with ottava changes while using autochange. The example showed \ottava changing the ottavation of staves by hand, but the music moving between staves automatically with \autoc

Re: To many colliding ...

> From: "Dr. Bernhard Kleine" gmx.net> > I have added a file which shows the warning. It compiles but I would like > to know about the warning. LilyPond complains when two voices have the same stem direction and no indication of which note-head to shift horizontally (in the style of Bach-era

Re: \parallelMusic w/ melody, chordmode, & tabs worked in 2.14.0 but not in 2.18.2

Stuart A. Harvey gmail.com> writes: > The snippet of code below used to work in 2.14.0.  Now that I have installed 2.18.2 I get “Bars in parallel music don’t have the same length”.   Is there any way to accomplish this in 2.18.2 where the lead line, chords, and tabs are written in parallel? >

Re: Anacrusis in multiple tunes on page

uot; part and the "B" part > with an anacrusis and end the part with a shorter measure to > make the number of beats work out. > and Keith OHara responded: > > > > From what you wrote I see no problem, > I think what he means is that your "more or le

Re: Anacrusis in multiple tunes on page

Don Gingrich internode.on.net> writes: > Partial works fine for the initial anacrusis, but if the piece has multiple > parts, each with an anacrusis, the processor complains about the > subsequent \partial directives. It also doesn't much like a \partial > at the end of the section. > > I've tri

Re: How to write Non sequential repeat alternatives

MarcM mouries.net> writes: > When i run your code i get this message: "warning: already have a volta > spanner, ending that one prematurely" Oh, so that's why you had the explicit (volta #f) in your version. If I see a warning, but the output is good, I consider myself warned and happy, but I sh

Re: How to write Non sequential repeat alternatives

MarcM mouries.net> writes: > I found the \set Score.repeatCommands and I am getting close but the repeat > bars are not added at the right place. If I understand your comment, It is played as: A , A1, A , A2, A , A3, A , A4, A , A5/End where endings 1 and 3 are the same and you don't want to

Re: Key signatures in hidden staves take up space

Peter Crighton gmail.com> writes: > As you can see in the following code and the attached image, there is a possible bug when using \RemoveEmptyStaves with voices in different keys (such as in a score with transposing instruments): key signatures appearing only in hidden empty staves are still

Re: partcombine/divisi framework - let the fun begin!

The development version 2.19.13 with the expanded remove-staves capability is now available. On Sat, 30 Aug 2014 04:41:15 -0700, Janek Warchoł wrote: 2014-08-29 8:53 GMT+02:00 Keith OHara : But if someone uses these definitions with music that uses tags for some other purpose, the tagged

Re: partcombine/divisi framework - let the fun begin!

Simon Albrecht mail.de> writes: > Am 29.08.2014 um 08:53 schrieb Keith OHara: > > > You should do something similar for the \together segments. > > As you have it now, the together segments are un-tagged, so are > > included in all three staves (two of which are not p

Re: would 'gn' for G-natural be useful in \language "english" ?

On Fri, 29 Aug 2014 03:06:31 -0700, Brian Barker wrote: At 23:41 28/08/2014 -0700, Keith OHara wrote: The suggestion quoted below from the bug-lilypond list <http://lists.gnu.org/archive/html/bug-lilypond/2014-08/msg00037.html> makes sense to me, as an addition to the \language &q

Re: partcombine/divisi framework - let the fun begin!

Janek Warchoł gmail.com> writes: > I'm working on putting together a set of functions for handling parts > that split into multiple voices and/or staves > Attachment (definitions.ily): text/x-lilypond, 2359 bytes > Attachment (example.ly): text/x-lilypond, 825 bytes > Attachment (example.pdf):

would 'gn' for G-natural be useful in \language "english" ?

Dear user list, The suggestion quoted below from the bug-lilypond list makes sense to me, as an addition to the \language "english" note-names. It would not fit in German-style pitch-names, where 'cis' and 'ces' get comple

Re: "Rest" invisible after part combine

Pierre Perol-Schneider gmail.com> writes: > > As far as I remember it was a well known issue. I thougt it was over but I have to admit that I barely use partcombine. > > For more details, see : https://code.google.com/p/lilypond/issues/detail? id=261 > When using partcombine to build an instr

Re: partcombine problems

Orm Finnendahl wrote: Can someone shed a light on this or is it a bug? I just reported it as a bug. It is surprising we have noticed it before. The only workaround I can see is to use a spacer rest with grace-note-timing. \new Staff { \partcombine {b4 b b b R1} {R1 \partcombineSoloII b4

Re: Column line spacing changed with 2.18

Javier Ruiz-Alma ruiz-alma.com> writes: > Need troubleshooting help with a two-line markup block. >   If you can make a *single* block that has the same height as a two-line column, then there is no trouble with the gap. Somebody better at LilyPond' s markup language might be able to do this m

Re: baseline-skip affects font size???

Richard Shann rshann.plus.com> writes: > I see that baseline-skip is affecting the size of the white triangle, > which doesn't seem to be what's in the documentation. The \triangle has behaved that way since its original introduction, at 2005-05-04 * ly/chord-modifiers-init.ly (blackTria

Re: cross-staff bug?

On Sat, 26 Jul 2014 08:41:41 -0700, David Nalesnik wrote: Thank you very much, Keith, for the explanations and the two snippets. They cover the situations I've encountered so far. (The first when there are no scripts present.) I suggest using the simpler first method for all cases. The se

Re: cross-staff bug?

David Nalesnik gmail.com> writes: > Attempting to put dynamics above cross-staff notes using the code below leads to some awful collisions.   LilyPond postpones deciding the placement of things that cross staves, until the staff-spacing is known. A minor variation of your example, with the no

Re: Weird spacing related to barlines

Phil Holmes philholmes.net> writes: > Can anyone explain what's going on here? > > \score { > \new MensuralStaff { > \layout { > \context { > \Score > \override SpacingSpanner #'spacing-increment = #0 > \remove "Default_bar_line_engraver" > }}} The "Default_bar_line_engr

Re: temporarily disable Dot_column_engraver?

On Wed, 25 Jun 2014 10:14:13 -0700, Mark Polesky wrote: Keith OHara wrote: Put the small notes in a temporary Voice and give that Voice a Dot_column_engraver. Having this engraver in both a Voice and Staff is not problem here. You get two DotColumns, but that is what you want, and the Dots

Re: temporarily disable Dot_column_engraver?

Mark Polesky gmail.com> writes: > Normally, the dots on dotted notes in different voicesshould be aligned The textbooks say we should set dots set independently for each voice https://code.google.com/p/lilypond/issues/detail?id=2200 But slightly-misaligned dots in some cases drew some complain

Re: Double key signature

Pierre Perol-Schneider gmail.com> writes: > On the french list we are working on a Merulo score with an 8 lines staff, 2 clefs and 2 key signature > As you can notice, I still have to manually set the distance between the key signatures. LilyPond supports custom key signatures, and will prin

Re: Typesetting chord

Vaughan McAlley mcalley.net.au> writes: > I prefer what Lilypond does. In some modern contexts there might be a > diagonal stem from the B natural to the stem of the B flat, but > leaving it out is definitely easier. There is an example of how to draw that diagonal stem at http://lsr.di.unimi.

Re: Possible Bug with \numericTimeSignature

Joshua Nichols gmail.com> writes: > I've never experienced this before now... Oops, I just realized you mean the grace-note bug. Whenever you write a grace note in LilyPond, you need grace notes or skips of the same duration in every other staff. So here in the upper staff you need \grace {s8}

Re: Possible Bug with \numericTimeSignature

Joshua Nichols gmail.com> writes: > global = { > \key c \major > \numericTimeSignature It is a bug, but you can fix this one yourself if you like. In 'property-init.ly' the definition is numericTimeSignature = \override Staff.TimeSignature.style = #'numbered but we want it to apply to the e

Re: Extra naturals in accidental-style teaching?

Paul Morris paulwmorris.com> writes: > Ariel Barton wrote > > I am trying to use the accidental style "teaching" to make my music a > > little easier to use. The problem is, "teaching" produces a whole lot of > > superfluous natural signs that aren't really helpful; they just clutter up > > the p

Re: 'Accidental' collision in newer versions of lilypond

Joey Di Nardo gmail.com> writes: > Hi all, I am attempting to use Sagittal notation accidentals in my lilypond files (see folder link), and as you can see when you run ratios.ly the accidentals collide with the actual note glyphs. > There was an enhancement to spacing accidentals from their n

Re: Overriding staff-padding for MeasureCounter fails

David Nalesnik gmail.com> writes: > On Fri, Feb 14, 2014 at 3:33 AM, Ed Gordijn gmail.com> wrote:Hi, >     % \override MeasureCounter.staff-padding = #4  % doesn't work either > Huh--that's strange.  This will involve some investigation to get at the cause, determine if there's a bug. The c

Re: How to revert an override in partcombine

Ed Gordijn gmail.com> writes: > I use an override in partcombine to ignore collisions. But how do I > revert this again? Revert the next time that \partcombine output has the same configuration of Voices. As the two parts change in relation to each other, the part-combiner sometimes routes th

Re: Behaviour of TextSpanner dashes

Urs Liska openlilylib.org> writes: > [That's something I often struggle with: I think the function or > parameter definition that is generated from the sources is often quite > sparse] > You are changing behavior rather deep in the details. You can search for stencil-offset in the setup files

Re: Behaviour of TextSpanner dashes

On Wed, 05 Feb 2014 20:05:28 -0800, Kieren MacMillan wrote: Lilypond does use the text baseline as reference point for text. Really? Then why do these texts not align along their baselines: The default settings have the same minimum gap between staff and text, including descenders, as the

Re: Behaviour of TextSpanner dashes

At 15:24 on 05 Feb 2014, Urs Liska wrote: >>>- the vertical position of the dashes (i.e. raise >>> it a little bit relatively to the text) >> >> TextSpanner.bound-details.left.stencil-align-dir-y = #CENTER > >unfortunately doesn't help. I'd need something like raise the dashes >by 0.2 ...

Re: Looking for work arround for partcombine's known issue

On Sat, 25 Jan 2014 01:05:38 -0800, Ed Gordijn wrote: \tag #'partcombineOnly { \once\stemUp \once\override NoteColumn #'ignore-collision =##t } In the particular example you show, of course, the tags are not needed, because the overrides you want for the part-combined music (stem up and un-s

Re: Looking for work arround for partcombine's known issue

On Fri, 24 Jan 2014 12:16:02 -0800, Ed Gordijn wrote: So the as a chord and the a' with two stems. I don't see any way to have \partcombine do that, but you could force the lower e to have a stem up and line up with the upper note. This almost looks like a chord. (If the overrides are in

Re: Looking for work arround for partcombine's known issue

Ed Gordijn gmail.com> writes: > musicI  = { e''2( a'2) } > musicII = { e'2( \partcombineApart a'2) } > { >   \partcombine \musicI \musicII > } You can print the slurs separately musicI = { e''2( a'2) } musicII = {\partcombineApart e'2( a'2) } or together musicI =

Re: [SPAM] Re: Non-standard notation challenges (no game this time...)

Urs Liska openlilylib.org> writes: > The point in the edition of such snippets is to _document_ the actual > state of a manuscript. This isn't _music_ but rather a remainder from > the compositional process. Comparing this with later states allows an > editor to draw conclusions on the genesis

Re: how close are we to having an "addAt" or "insertAt" feature?

Kieren MacMillan sympatico.ca> writes: > What would be involved in developing a feature to add notes or tweaks at an arbitrary moment within a music expression? > > e.g. > > global = \repeat unfold 100 s1 > music = \addAt (4 3/8) \global \once \override RehearsalMark.extra- offset #’(-

Re: problem with the spacing of microtonal accidentals

Stefan Thomas gmail.com> writes: > It uses the true type font HE for special microtonal accidentals.I've found  this font somewhere in the web. > Unfortunately the accidentals are too close to the notes. > How can I give them more space? > I tried everything. > When I compile the file, I get the

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