This symbol is the time signature, it can be used with any clef. There are many
ways to remove it, the first that comes to mind is
\omit Staff.TimeSignature
Hth
/Leo
> 3 mars 2025 kl. 14:59 skrev Joerg Zahn :
>
>
> He Everyone, i do have a problem setting up a bass clef.
>
> After setting up
Diosnel’s suggestion is by far the most likely in Portuguese, so I would go
with that. All of your sources look like misspellings.
> 17 feb. 2025 kl. 19:53 skrev st...@linuxsuite.org:
>
>Of the 3 versions I have seen It written à Mindinha, and à
> Mindinah. The latter edition by Zi
What is needed is for the secondary beam (the sixteenth beam) to be broken
between each quintuplet group in the first measure of the left hand.
> 7 nov. 2024 kl. 06:11 skrev Jason Yip :
>
> On 2024-11-06 10:57, Richard Gress - rgress(a)nd.edu wrote:
>> Hi everyone,
>> I'm engraving a measure o
The subdivision works well without the manual beaming (the square brackets),
but as Carl says it’s probably impossible to subdivide just the secondary beam
automatically at non-powers-of-a-half:
%
\relative c {
\time 9/8
\set subdivideBeams = ##t
\set baseMoment = #(ly:m
Like this? The staff with the lyrics was being created because in the score
block, when you created the NullVoice it had nowhere to go, so the staff was
implicitly created for it. Here it is created inside the DrumStaff in the
drumsPart variable.
%%% SNIPPET BEGINS
\version "2.22.1"
\header {
Hi Laurie
\addlyrics (like \lyricsto ) discards the lyric's durations and uses durations
from the voice the lyrics are attached to. The twelve ones in the beginning are
creating twelve empty syllables, whose durations are then discarded and
replaced with the twelve ”syllable-places” in the intr
I’m at the hospital, far from my library, and anyways not sure about exactly
how Karim wants them to look or behave. I was just pointing out it’s nothing
really exotic in contemporary music.
Anyway: An alternative approach, somewhat blunter but simpler
\version "2.25.12"
one = {
s2 c'4 c
Common beams for both staves, sometimes pulled outside them are used in contemporary music when the resultant rhythm from both staves of a single instrument are significantly easier to grasp than the separate rhythms of the separate staves. It also hints at both staves having a common voice or musi
Setting
\override Score.RehearsalMark.outside-staff-priority = ##f
could perhaps also be an option.
> 13 juni 2024 kl. 16:49 skrev Federico Sarudiansky :
>
> Hi again, Kieren!
>
> Excellent! However I wonder if there is a more general approach. Something
> «allowing» the slurs not taking th
Expanding on Werner’s example a bit, is this something like what you’re after?
\version "2.25.12"
\markup \with-dimensions #'(0 . 0) #'(0 . 0) {
\translate #'(20 . -20)
\center-column { example-text \concat { \arrow-head #X #LEFT ##t \draw-line
#'(30 . 0) \arrow-head #X #RIGHT ##t }}}
<<
s4*3 after the grace notes (within the grace group) in the lower staff.
> 26 apr. 2024 kl. 17:11 skrev Robert Garrigos :
>
> I have this music to replicate:
>
>
>
> I managed to get this:
>
>
>
> Still, I need to move the lower grace notes to the left. I can only apply
> GraceSpacing on
MacOS 14 (Sonoma) is not the same as OSX 14 (Mojave, would be 10.14 in a more
straightforward numbering). I don’t know about compatibility, though.
> 11 apr. 2024 kl. 16:57 skrev Robert Garrigos :
>
> I’m using it with macosx 14.4.1 since 14.1
>
> Robert
>
>> El 11 abr. 2024, a les 16:28, Ly
Sorry, I got a fudged quote-apostrophe in last answer. It should be:
\markup \box \score { c'1 }
> 22 mars 2024 kl. 15:06 skrev Leo Correia de Verdier
> :
>
> Hi Joop!
>
> Do you mean something like
> \markup \box \score { c’1 }
>
> HTH
> /Leo
>
Hi Joop!
Do you mean something like
\markup \box \score { c’1 }
HTH
/Leo
> 22 mars 2024 kl. 14:40 skrev Go77 :
>
>
> Hi all,
>
> I tried to find how to draw a box around a piece of music. Looked through the
> manual, snippets etc, but didn't find out how to do this yet. See below what
> I
Wow!
That was truly amazing!
/Leo
> 16 mars 2024 kl. 16:46 skrev Valentin Petzel :
>
> Some time ago Jean posted this lovely proof of concept to the list for
> circular staves. I’ve revised this to handle stuff like multiple Staves,
> Spanners and Beams and such stuff. The result looks quite
This happens when different staves have different sizes, giving the bar lines different thickness. There are some strategies to deal with it in the bottom of this manual page: LilyPond Notation Reference: 4.2.2 Setting the staff sizelilypond.orgHTH/Leo5 mars 2024 kl. 13:06 skrev Johannes Roeßler :
CueClef and CueEndClef are their own types of GROB, could \omit
Staff.CueEndClef work?
(sorry for short untried answer, I’m on the phone)
> 24 feb. 2024 kl. 00:27 skrev Gerardo Ballabio :
>
> Hello, please let me ask two questions on the example below:
> 1. how can I move the cue treble clef a
Hi!
There is no predefined double dashed bar line in lilypond, (You can see a list
of those at
https://lilypond.org/doc/v2.25/Documentation/notation/list-of-bar-lines ) so
you’ll have to define it using \defineBarLine , as described here
https://lilypond.org/doc/v2.25/Documentation/notation/b
Sorry for short answer, I’m on the phone:
Try \tweak Tie.minimum-length #10
And then choose an appropriate number.
> 11 feb. 2024 kl. 18:31 skrev George :
>
>
> At the moment I am having an issue with a tie from the alto part where it is
> automatically "squished" by Lillypond. I didn't fin
If you want to avoid some of the jiggery pokery you could do something like:
\version "2.25.12"
#(define ((time-alternate-time upa downa upb downb) grob)
(grob-interpret-markup grob
(markup #:override '(baseline-skip . 0) #:number
There is also some code in the list archives:
https://lists.gnu.org/archive/html/lilypond-user/2018-05/msg00167.html
> 1 feb. 2024 kl. 00:49 skrev Robin Bannister :
>
> Stan Sanderson wrote:
>> Certain marks are used to indicate emphasis (phrase breaking) and
>> across-staff fingering.
>
>
>
Also: your tie needs to end in the same voice it started. \new Voice and the
<<\\>> construct both create other voices. If you remove \new Voice = “melody”
from your first attempt it will work, as the last note of the tie is then in
the same voice as the first.
> 25 jan. 2024 kl. 00:37 skrev M
Sorry, copying error: to avoid confusion, the numbers should be 90.86/4 =
22.715
> 22 jan. 2024 kl. 22:22 skrev Leo Correia de Verdier
> :
>
> Hi Jacopo!
>
> I think
> \set Timing.tempoWholesPerMinute = #(ly:make-moment 24.715) % that is 98.86/4
> should work for t
Hi Jacopo!
I think
\set Timing.tempoWholesPerMinute = #(ly:make-moment 24.715) % that is 98.86/4
should work for the midi output. At least it accepts floats. Combining it with
Michael’s solution for the markup should get you the complete \tempo
I might have heard sometime in the past that tempo
<\tweak duration-log 3 e, b, g e’>2
> 18 jan. 2024 kl. 16:33 skrev Alexander Weidner :
>
>
>
> Hello,
>
> how do I notate a Double stop (German: Doppelgriff), where one note has an
> other duration (see image).
>
> Thanks! Alexander
Does this do what you want or do you want the staff to go on after the bar line?Indenting individual systemsdi.unimi.it22 dec. 2023 kl. 15:47 skrev Cordelia :Thank you, yes this works if the measure is the last one.For exemple in your exemple, I’d need the second staff to have a right indent.On 22
At least for the clef+time signature I prefer the tighter spacing of the first
suggestion. Improvement requires things to change.
> 5 dec. 2023 kl. 07:39 skrev Werner LEMBERG :
>
>
>> please have a look at Merge Request 2188 and comment there on how to
>> proceed with the new distances betwe
I think this sounds like a use case for a long text preface explaining what is
to be performed in what order and why, just notating everything on a treble
clef and doing manual octavations in the midi file. Maybe writing a reminding
1S,2B: or such (not sure I got it completely right from your ex
I’m unsure what of this is relevant today, but maybe you can find help or inspiration in this thread:Re: Extending staff lines through key changelists.gnu.org2 nov. 2023 kl. 12:58 skrev David Kastrup :Peter Mayes writes:Ideally what I want is the first version, but with the stave extendingjust en
Quick answer, and I’m not sure it will help much:
\dynamicUp affects the context (Voice) in which it’s placed. \partCombine
combines its arguments into new Voices and \dynamicUp ended up in a different
voice than the p
> 13 okt. 2023 kl. 12:32 skrev Michael Gerdau :
>
> Hi list,
>
> the fo
Hi Jean!
It was not intentional, that was the actual problem. When I compiled it
without the dynamics it came out in the same order as the input, but that was
only a lucky coincidence then, right?
Do you have any suggestions for how to get them ordered?
Thanks!
/Leo
> 8 okt. 2023 kl. 11:2
Hi Bevan!
I think what you are looking for is:
\override TextSpanner.bound-details.left-broken.text = ##f
HTH
/Leo
> 7 okt. 2023 kl. 21:13 skrev Bevan Broun :
>
> Hi All
>
> When using a text spanner I get the text repeated after a line break,
> followed by new dashes. Can I disable getting
Dear List!
I am trying to put custom notation for a piece for typewriter and electronics
together and have devised a function for merging text and rhythm. It works fine
as long as nothing else is involved, but interferes in some way with scripts
and dynamics. Could any of you figure how and why
Hi Volodymyr!
You can write:
%
acc = \acciaccatura \etc
af = \after \etc
%
\set in lilypond is something completely else.
HTH
/Leo
> 27 juni 2023 kl. 21:57 skrev Volodymyr Prokopyuk
> :
>
> Hello,
>
> I'd like to define a shorter alias to a parametrized command. My
What is aligned in Lilypond is not the bars, but the lengths of the
notes/skips/rests. CadenzaOn allows you to have a bar of arbitrary length, but
does not negate the alignment of the note values (it’s also valid for all
staves, as long as you haven’t moved engravers around). Your harmonies stil
But I have probably understood it wrong, because in that case I cannot see
what’s wrong with the default spacing...
> 30 maj 2023 kl. 13:34 skrev Leo Correia de Verdier
> :
>
> I think what was asked for was for the proportional spacing to be done based
> on the stems position
I think what was asked for was for the proportional spacing to be done based on
the stems position rather than the noteheads, with the result akin to this
horrible hack:
%
up = { \change Staff = "up" \stemDown \temporary\override NoteColumn.X-offset =
#1
event)
(music-is-of-type? m 'note-event))
(make-music 'SkipEvent m)
m))
music))
\convertToSkips { r2\p c'4( d)\ff s4 r4 }
%%
Take care with things that ar still interpreted, like Scripts.
> 26 apr. 2023 kl. 22:55 skrev
Hi Mario!
Like Kieren, I thought you were satisfied with the answers you got, since you
did not send any MWE. Anyway, here is how I would code the passage you sent in
the first mail:
\version "2.25.1"
<<
\new Staff = "upper" <<
\key e \minor
\new Voice \r
You can do like this if it’s useful to you, removing the engravers that read
what you don’t want at a specific place.
%%
\version "2.25.1"
rh = \fixed c' {c4\pp d\p e\f f\ff}
\score {
<<
\new Voice \with {
\remove Dynamic_engraver }
\rh
\new Dynamics %Dynamics cont
Try\set Score.rehearsalMarkFormatter = #format-mark-box-numbersMore details and explanations can be found hereLilyPond Notation Reference: 1.2.5 Barslilypond.org27 mars 2023 kl. 17:49 skrev Dario Marrini :many thanks guys, and what about this : ?the '11 in that box; I found A,B,C,D as progressive
The problem with that solution is that it changes all Scripts, including all
articulations. I would suggest the somewhat hacky solution of redefining just
the commands in case, like
segno = \tweak color #red \segno
coda = \tweak color #red \coda
But if something more elegant is required (for i
Like this?
\version "2.22.2"
ArightOne = \relative c'' {
f4 (e8) s8
}
ArightTwo = \relative c'' {
\crossStaff { a4 g16 }
}
AleftOne = \relative c' {
s4.
}
AleftTwo = \relative c' {
c4~ c16
}
\score {
\new PianoStaff
<<
\new Staff = "right" << \Arigh
lh voice, apparently
>> needed in the the second rh voice?
>>
>> Thanks,
>> Ken
>>
>>> On Mon, Feb 20, 2023 at 11:42 PM Leo Correia de Verdier
>>> wrote:
>>>
>>> I haven’t been able to open your .ly file since I’m on the telephone,
&
;
> Thanks,
> Ken
>
>> On Mon, Feb 20, 2023 at 11:42 PM Leo Correia de Verdier
>> wrote:
>>
>> I haven’t been able to open your .ly file since I’m on the telephone, but
>> that should be an issue 34. Add s8. right after the clef and time signature
&
I haven’t been able to open your .ly file since I’m on the telephone, but
that should be an issue 34. Add s8. right after the clef and time signature in
the right hand, so that the grace note timing matches between the different
staves and voices and the extra clefs and time signatures will d
Dear list!
Is there any way to make lilypond automagically place a reminder of a held
pedal note at the beginning of each system it still sounds, looking somewhat
like the second supplied example, but without having to do it by hand?
\score {
\new StaffGr
Your example doesn’t work because the bars between the staves are in fact not
BarLine grobs, but SpanBar grobs, and they would live in the ChoirStaff context.
The difference between a ChoirStaff and a StaffGroup is that the Choirstaff
doesn’t contain the Span_Bar_Engraver, that creates them. You
The tie ~ and number 1 in measure 3 are in the wrong order, the tie should
come after the number.
What happens is that Lilypond, when it sees a pitch or duration alone
interprets it as a new note, with the missing pitch or duration carried over
from the previous note. So g~1 becomes a g with
If you can use \wordwrap-string you can use \n for hard breaks. This doesn’t
seem to work with \wordwrap though...
> 24 jan. 2023 kl. 01:14 skrev Alasdair McAndrew :
>
> Hello,
>
> I have a paragraph of descriptive text that I'd like to display in a box.
> Currently I have:
>
> \markup \smal
in music practice.
>
> Best to all of you, and thank you for all your comments.
>
> Karim
>
>
>
> On Tue, Jan 17, 2023 at 01:30:49PM +0100, Leo Correia de Verdier wrote:
>> Hi Karim!
>>
>> Your first example seems to work to me (I don’t do irr
Hi Karim!
Your first example seems to work to me (I don’t do irrational meters everyday,
so there might be something I’m missing. I would probably write the tuplets
explicitly rather than use \scaleDurations).
\set Staff.timeSignatureFraction is superfluous, the time signature already
does tha
Other than setting the stems to the same direction you can also use
\once \override NoteColumn.force-hshift = 1
(or -1, depending on what voice you want first).
A clarification: Voices have settings for stem direction and shift. For the
noteheads not to be merged they need to have the same stem
If you use \omit instead of \hide there will be no invisible stem for the
tenuto lines to avoid.
HTH
/Leo
> 11 jan. 2023 kl. 17:43 skrev Johannes Roeßler :
>
>
> Hi Group,
>
> how can I have a "tenuto" line directly at the note (and not above or below
> the invisible stem?).
>
> I have tw
;> \repeat unfold 4 { c c c c }
>> }
>>
>> \score {
>> \m
>> }
>>
>>
>> On Tue, Nov 22, 2022 at 1:15 PM Luca Fascione wrote:
>> It seems to have something to do with this:
>>
>> \override Clef.break-visibility =
bility = #'#(#f #f #f)
>
> I'm working on shortening the source
>
> L
>
> On Tue, Nov 22, 2022 at 12:25 PM Luca Fascione wrote:
> Ha. Ok, I'll whittle it down to something small that repros it then.
> Thanks Leo!
> L
>
> On Tue, 22 Nov 2022, 12:0
Hi Luca!
This works quite well when I try to replicate it, so the code producing the
error is probably needed to solve this. Try to make a minimal example. That
said, one could guess that it could have something to do with break-alignments.
Best
/Leo
> 22 nov. 2022 kl. 11:27 skrev Luca Fascion
In the expression
#:factor (/ staff-height pt 20)
staff-height retrieves the staff height and divides it by 20. It works for any
staff height.
> 21 nov. 2022 kl. 22:23 skrev Yentl Tijssens :
>
> In case you missed it: I was just wondering how I should calculate the
> required #:factor dependi
I think what you are asking for is extra-spacing-width, but it might be easier
to use repeatTie instead of slur.
##
\version "2.23.11"
\relative c'' {
b1
a \repeatTie
\tweak extra-spacing-width #'( -5 . 0 )
c \repeatTie
d, \repeatTie
\tweak extra-spacing-width #'( -5 . 0
This should work regardless of font, right?
\version "2.23.11"
{ s1
\once \override Staff.Clef.font-size = -2 \clef bass s1
\once \override Staff.Clef.font-size = -5 \clef alto s1
\once \override Staff.Clef.font-size = 4 \clef treble s1 }
HTH
/Leo
> 30 okt. 2022 kl. 23:06 skrev Paul Ho
Hi Vlad!
You can specify what context baseMoment and beatStructure should apply to, the
syntax is like
\set Staff.beatStructure = 1,1
The default is Voice, so the reason your beatStructure is not working is more
likely that you have some beamExceptions rule in effect (they take priority
over
Hi Jaques!
The chords do not have any specified duration, so they fall back to the default
duration, which is a quarter note. For them to have a whole notes length at
least the first of them has to have a specified duration, like c1:m . After the
first chord having a specified duration the subs
I think you are looking for the markup commands wordwrap or wordwrap-string,
something like:
\version "2.23.11"
\fixed c' { \cadenzaOn d4 e a g f g f d d e2 g1 f4 e }
\addlyrics { When the stone had been seal -- ed by the Jews.
\markup {
\override #'(line-width . 25)
The easiest way would be to use \voiceOne and \voiceTwo instead of \stemUp and
\stemDown (recommended anyway in most cases). Otherwise _( and ^( works too.
HTH
/Leo
> 30 aug. 2022 kl. 19:30 skrev Greg Lindstrom :
>
>
> I am finishing up engraving my first full score. It's a piece for brass b
l. 09:47 skrev Leo Correia de Verdier
> :
>
> I’d guess it’s a written-out accelerando. For exactly how I would do it could
> depend a bit on circumstances, like tempo and melody, but I think this is
> fairly readable and how I would do it at lest in reasonably slow tempi…
>
I’d guess it’s a written-out accelerando. For exactly how I would do it could
depend a bit on circumstances, like tempo and melody, but I think this is
fairly readable and how I would do it at lest in reasonably slow tempi…
%
\version "2.22.1”
\fixed c' {
\set subdivideBeams = ##t
Thanks!
Thats a better solution. (But I’m still happy about having asked the wrong
question so I could learn about how to find the stencil expression)
Best
/Leo
> 3 aug. 2022 kl. 13:40 skrev Jean Abou Samra :
>
>
>
>> Le 2 août 2022 à 23:34, Leo Correia de Ve
signatures to match the accidentals inside the
music and have to cover my first hack with a second, even worse one…
> 2 aug. 2022 kl. 10:50 skrev Lukas-Fabian Moser :
>
> Hi Leo,
>
> Am 02.08.22 um 09:48 schrieb Leo Correia de Verdier:
>> Is there any way to access the s
Dear list,
Is there any way to access the stencils of individual accidentals in a key
signature?
Thanks
/Leo
Dear list!
I’m quite likely just being somewhat dim, but is there a way to pass additional
arguments to a function used by grob-transformer (or any callback for that
matter)?
Would it be possible to do something equivalent to this following using an
override to the stencil using grob-transforme
I think there might be a more beautiful solutions to your whole situation, but
I’m too tired to figure it out right now, so:
You can change the arpeggio’s Y-extent to prevent it from pushing away the
other staff.
%%%
\version "2.22.2"
rightHand = {
e'2
}
leftHand = \relative {
\clef bass
An addition:
MarkEvent is not added to the note, but to the staff (it’s often used for
things like rehearsal marks), if you want the markup added to the actual note
you can write it like this:
%
\version "2.18.0"
\score {
{
$ (make-sequential-music
(map (lambda (x)
Hi David!
This is our beloved issue 34 again:
https://sourceforge.net/p/testlilyissues/issues/34/
You need to place grace spacers in relevant sequential variables matching the
gracenotes to get them to the right place, as in this fixed code.
%%%
\version "2.22.2"
\includ
I added necessary supporting code like Michael (and a voice filled with
repeated half notes, so I could hear the tempo) and got it to compile compile
correctly with tempo changes (at least alternating fast and slow sections) on
Lilypond 2.19.82 Frescobaldi 3.1.3, so I wouldn't think that is the
Hi David!
The issue, put in a slightly simplified way, is that the Voice context to which
the dynamics are attached has moved away from the Staff under which the
dynamics were originally aligned, leaving lilypond ”in doubt” about under what
staff the \mp should be.
The answer in the linked thr
with \oneVoice I prefer just placing them in parallell in
the same explicitly initiated Staff, as I did.
> 22 mars 2022 kl. 10:27 skrev Rip _Mus :
>
> Thank you so much,
> you offered two similar and valid solutions!
>
> Regards
>
>
>
> Il giorno lun 21 mar 20
I’m not sure I understood your question right, but I think the usual way to do
it would be to write the ”global” variable as a sequence of tempos, time
signatures and other events separated by spacers or skips.
Something like:
%%
\version "2.23.6"
global = { \time 4/4 \tempo "All
While it’s hard to know without seeing the contents of the included files I
would guess you could write \voiceOne before the includes of the voices that
should point up and \voiceTwo before the ones that should point down.
> 21 mars 2022 kl. 00:22 skrev Michael Dykes :
>
>
> I have used the
Entirely replacing the actual syntax would not be desirable in my opinion.
Consider the case when it is used in a “global” part/variable in an orchestral
score that usually contains rehearsal marks, tempo, key and time signature
changes and such. As I understand it having \partial to accept only
The stencil is what’s actually printed from a grob.
> 6 mars 2022 kl. 02:27 skrev Erika Pirnes :
>
>
> Thank you Aaron, it seems to work! But what does stencil mean exactly?
>
> Best,
> Erika
> Lähettäjä: Aaron Hill
> Lähetetty: lauantai 5. maaliskuuta 2022 18.35
> Vastaanottaja: Erika Pirne
You would have to structure your files and variables differently, for instance
something like (in pseudocode):
— foo.ly
\include "bar.ily"
\include ”baz.ily”
\book {
\bookpart {
\header {
title = "Bar One"
}
\score {
\barMusic
\layout{}
}
}
\bookpart {
It’s not that simple, since in the example all the scores are in the same book.
> 17 feb. 2022 kl. 09:58 skrev Michael Gerdau :
>
>> If I have a book that is structured something like below, then LP
>> produces two midi files: foo.midi and foo-1.midi.
>> Is there a way I can coerce the names into
Hi Mark!
Generally I work around this using hidden notes or notes with hidden stems. In
your example I think you want a tie rather than a slur (since it’s a held
note), but they both work in the same way with regard to voices.
In your example it could look like:
\version "2.22"
lowerA = \new
You were almost there:
%%%
\relative {
\time 3/4
\key f \major
\clef bass
\mergeDifferentlyHeadedOn
<<
{ \voiceThree <\tweak duration-log #2 g df'>2 * 1/2 g4 | }
\\
{
\voiceFour \override Beam.details.collision-padding = 0
\scaleDurations 2/3 { g8 bf bf g
If you go for the redefine-solution from the thread the accent is dashLarger
> 10 feb. 2022 kl. 23:59 skrev Leo Correia de Verdier
> :
>
> Hi Erika!
>
> To globally reduce the size of all articulations (I think that could be
> relevant, since many of them will relate
Hi Erika!
To globally reduce the size of all articulations (I think that could be
relevant, since many of them will relate to noteheads in a way similar to
accents) you can use this next to the override for notehead fint size.
\override Script.font-size = #-.5 % or whatever size you want
If yo
I differ on that. For me, (and with the perspective of only this measure) both
the option of respelling the a flat in only that chord (looks like the repeated
a flat moves) and respelling the a flats in the whole measure (and having to
read the second between a flat and b flat as a diminished th
Dear list!
Is there a way to have an \include inside a function?
In the attached file includeinfunction.ly the commented out line doesn’t work
(probably for some very logical reason, but still unknown to me). Is there a
way to work around that and have includes inside functions?
(The function i
> 31 jan. 2022 kl. 15:56 skrev Paulo Matos :
>
> Ah - grobs is the technical term I needed.
> Where's the best place to find the available grobs that I can style?
https://lilypond.org/doc/v2.21/Documentation/internals/all-layout-objects
Here they are. It can sometimes be hard to figure witch o
Depending on how you’ll use it \displayLilyMusic may also be useful.
(Från telefonen)
> 12 jan. 2022 kl. 09:35 skrev Mark Knoop :
>
> You might be interested in python-ly
> (https://python-ly.readthedocs.io/en/latest/) which is actually written by
> the Frescobaldi developers and used within
Hi Yurij
If the question was rather about forcing the beam to be kneed you could do it
like this:
(The auto-knee-gap should be less than the interval between the notes)
\version "2.22.0"
\new Score \new PianoStaff <<
\new Staff = "up" {
\once \override Beam.damping = #+inf.0
\once \override Be
Adding
\once \override Staff.KeySignature. break-visibility = ##(#f #f #f)
\once \override Staff.Clef.break-visibility = ##(#f #f #f)
\once \omit Score.BarNumber
Together with \stopStaff helps avoids some of the strangeness if the new
piece’s start happens to coincide wi
Hi J!
~ is not a slur, it's a tie, so that could be the reason it is not working.
https://lilypond.org/doc/v2.22/Documentation/learning/ties-and-slurs
If not, could you pleas post a minimal example for us to see what could be the
issue?
Slurs across barlines and time signatures are not normally
Hi Valentin!
Thanks very much for your help!
How would I go about to make the function climb the music tree? (There are
nested sequential music expressions, needed for another function to work)
Could I use for-some-music in some way?
> 21 dec. 2021 kl. 00:15 skrev Valentin Petzel :
>
> Hello
Sorry, It was my mistake, I was confusing what of my own code I was trying it
on.
> 21 dec. 2021 kl. 09:03 skrev Jean Abou Samra :
>
> Le 21/12/2021 à 00:12, Leo Correia de Verdier a écrit :
>> Thanks a lot!
>>
>> It’s a perfect solution for the typesetting,
mra :
>
> Le 20/12/2021 à 22:28, Leo Correia de Verdier a écrit :
>> Dear list!
>>
>> Could you help me with a clever way to copy/clone the articulations from
>> simultaneous notes in one sequential expression to another?
>> So that I could for instance enter
Dear list!
Could you help me with a clever way to copy/clone the articulations from
simultaneous notes in one sequential expression to another?
So that I could for instance enter the total articulations of a phrase as
\version "2.23.3"
<<
\new RhythmicStaff \with { \override Script.Y-offset =
Add
\once \omit Accidental
to the overrides before the questionmark-note
> 8 dec. 2021 kl. 21:09 skrev Rajesh Baskar :
>
>
> Thanks Lukas, it works, but for the accidentals. If you see the example code
> below, is there a way to hide the sharp/flat signs also?
>
> \version "2.22.0"
>
> \lan
Hi Adam!
I don’t think you can use \note or \note-by-number any longer when you need
finer control over the output. This snippet can serve as starting point for
more advanced notes and music expressions in markup.
https://lsr.di.unimi.it/LSR/Item?id=1029
HTH
/Leo
> 3 dec. 2021 kl. 13:06 skre
I would have expected
\override DynamicTextSpanner.bound-details.left.stencil-align-dir-y = #DOWN
to work, since I think that is the property to be changed, but it seems it
needs a lower value, like
\override DynamicTextSpanner.bound-details.left.stencil-align-dir-y = #-2
To align properly.
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