Hi Graham,
not really a Scheme expert here, but having collected some experience over
time: Feel free to send your code to me. It shouldn't be too hard to make
the necessary adjustments.
Lukas
Graham King schrieb am Fr., 11. Juli 2025, 20:19:
> I think it was in lilypond 2.25.23 that tempoWhol
The whole approach blows up as soon as someone rewrites
ly:key-signature-interface::print in lily/key-signature-interface.cc
(which of course might not happen for quite some time). But if Carren
confirms that the snippet works in a production score, I agree that I
should turn this into a snippe
Hi Werner,
Am 03.07.25 um 05:08 schrieb Werner LEMBERG:
I don't see another possibility. But I'm willing to implement 2) if
it fits your need.
Maybe something like this? [...]
Very nice! I think this would be a good snippet for the LSR.
One person's good snippet is another person's ugly ha
Hi Kim,
Am 03.07.25 um 02:32 schrieb Kim Cascone:
% not sure if cadenza mode can be used with polymetric? and if so, how
that would work
Yes, this should "just work". The price you have to pay for this to work
is that you have to enter your bar lines manually, but maybe that's
preferable t
Hi Carren,
I don't see another possibility. But I'm willing to implement 2) if it
fits your need.
Maybe something like this?
\version "2.25.23"
keysig-colors =
#(list
(cons #{ as #} blue)
(cons #{ es #} green)
(cons #{ ges #} red)
)
%{
keysig stencils have the form:
(translate-stenc
Hi Kim,
Am 02.07.25 um 06:38 schrieb Kim Cascone:
Hello,
need some pointers for a score I wrote out by hand in 2017 for a small
ensemble performance
the score is a collection of fragments on a single 17 x 11 inch page
it is divided into three sections -- each section lasted around 6
minut
Hi Carren,
Am 01.07.25 um 23:29 schrieb Carren Carlsen:
I have an unusual question. I am working on a special project and I
need to color code key signatures in a specific way. For example:
Key D the sharp for F will be blue and the sharp for C will be green.
Is this possible to accomplish
Hi Raphael,
Well, lambdas are an *essential* feature of Scheme and unavoidable if
you want to do deeper modifications in LilyPond. In other words, they
*are* a requirement in some circumstances and can't be avoided.
I do not dispute that lambdas are essential tools in Scheme. My point
is that
Hi Tina,
just as a gut reaction: I think this is a really great idea!
Lukas
Valentin Petzel schrieb am Do., 19. Juni 2025, 18:28:
> Hello Pondmates!
>
> In Lilypond we have this wonderful but weird sugar function `grob-
> transformer`. While this thing is nice it is also a bit awkward. For one
Hi Jun,
Am 01.06.25 um 14:24 schrieb Jun Tamura:
I want to achieve something like in the attached example. For the Viola part in
the example, editorial addition of a series of staccati is indicated with the
left bracket on the first staccato dot and the right bracket on the last
staccato dot.
Hi Knute,
Am 11.05.25 um 22:49 schrieb Knute Snortum:
I have a situation where there is a volta repeat with a first and
second ending. The staff starts in treble clef, then changes to bass
clef at the beginning of the first ending and then back to treble.
Likewise the second ending starts in
Hi David,
I wonder whether it would make sense to use [! or ]! for a forced beam
start/end.
The main use of !? is after pitches to indicate accidental printing
modifications.
The mechanism would likely just tack on a "force" to the respective
music expression, so it would land with the same en
Hi Kieren,
Am 06.05.25 um 23:28 schrieb Kieren MacMillan:
Lukas:
1. I agree with the need for something like this — it’s an issue I definitely
run in to from time to time.
I had a feeling that you might have encountered that issue, yes.
:-)Thanks for commenting!
2. Is \[ \] already used for
Hi,
thanks for your thoughts!
Example: If for some reason, the manuscript I'm copying has exceptional
beams of 4+2+2 instead of the usual 4+4 as in the second bar of
from Scarlatti's Partimenti (and I want to reproduce that beaming
faithfully), I have do to:
c8 c' b a e[ e'] cis'[ d']
If this
Hi Knute,
I may be misinterpreting you but I can reproduce the desired beaming
with:
%%%
\version "2.24.4"
{
\clef bass
c8 c' b a e e' cis'[ d']
}
%%%
Yes, that's true, and I've used this in the past. But, to be honest, I
think this is, while shorter than my original version, also uglier
Folks,
it has bothered me for some time now that if, at some individual point
in a piece, I'm not satisfied with LilyPond's beaming decisions, I have
to resort to specifying the full beams manually.
Example: If for some reason, the manuscript I'm copying has exceptional
beams of 4+2+2 instea
Hi Peter,
Am 23.04.25 um 05:41 schrieb Peter X:
I’m trying to figure out how to print the MIDI number of each note in
a score using a Scheme engraver — for example, I’d like c' to print as
60, d' as 62, etc., during compilation.
Here is a simplified example of the kind of input I’m working wi
Am 22.04.25 um 03:45 schrieb David Wright:
On Mon 21 Apr 2025 at 17:17:03 (+0100), Wol wrote:
Oh - and why does lilypond insist on calling an english half-note a
full note?
Apart from not being sure what you mean by an /english/ half-note,
I can't find the term "full note" in the LP manuals,
Maybe because there is music theoretical reason not to name h with b?
Or because every other musician you are dealing with thinks a b is hes?
Well, actually, every musician I know would be most confused on
finding the note h in a score. Maybe like me they know the dual
notation, but I didn't k
Hi MO,
I don’t understand LilyPond yet (and maybe never will…) with all its files but
trying to. I am not sure if anything else will break if I make my own language
settings file.
You may edit the file define-note-names.scm at your leisure - maybe
there's trouble ahead if you try to use spe
Am 20.04.25 um 17:17 schrieb Mats-Olof Liljegren:
Hello, it is quite common in a Swedish context to write note names
according to the English tradition but in Swedish. This is what I want
to achieve, and it is only h to b with its variations that need to be
changed. Everything else is exactly
Hi,
Am 20.04.25 um 16:44 schrieb Mats-Olof Liljegren:
Yes, that is a good idea.
I can also change in define-note-names.scm to achieve want I want but
then I have to do that every time a new version of Lilypond is
released. But then I can use \language ”svenska” which is what I want
of everyt
Hi MO,
I’m guessing it must be fairly simple to override how LilyPond names
notes, but I’d like to do it in the smartest possible way—without
affecting other functions.
Maybe something like this? Of course, it might be useful to put the part
between the % --- % lines in an include file.
\v
convertly changed "tempoWholesPerMinute" to
"tempoWholesPerMinuteAsMoment"
I have three questions:
1 Do I need to "make a moment" from 4 numbers just to pass it "AsMoment"?
Could I also pass something simpler like 65/2?
2 Is that the way to set midi tempo or could I just use \tempo here?
Is t
Hi Edon,
Am 26.03.25 um 18:34 schrieb Edon Valdman:
I’m having trouble getting a markup list table centered on a page. All
I can get to work is to use commands that wrap the entire thing in a
regular \markup, but then the table content won’t be able to be split
onto separate pages (which is extr
Hi all,
You could write this function more briefly as below. I wonder if there
is any ambiguity about transposition by, for example, one semitone:
should it be \transpose c cis or \transpose c des ?
\version "2.24.0"
#(define pitches (vector #{c#} #{des#} #{d#} #{es#} #{e#} #{f#}
#{fis#} #{g#}
Hi Lucas,
this sounds absolutely possible, but can you please give more details or -
better still - an example of what you want to achieve?
Lukas
Lucas Cavalcanti schrieb am Do., 20. März 2025,
02:05:
> Hello! I'm in need of help in regards to writing a music function that has
> conditions ins
Hi Walter,
You set the default duration for subsequent notes with your long rest R.
Just add an explicit duration to the first note (which now lasts multiple
bars).
Lukas
Walter Conlon schrieb am Fr., 28. Feb. 2025,
17:35:
> Help requested.
>
> Using Frescobaldi 3.3.0, Lily Pond version 2.22.0
Hi Luca,
Am 13.02.25 um 17:52 schrieb Luca Fascione:
for my fingering engraver I'd like to position the fingering mark
differently based on whether the note/chord has a flag or a beam (I
push it out in X a little when there is a flag)
So I thought I could use
(flag (ly:grob-object stem 'flag)
One small thing: when I compile the .ly file, I'm seeing this in the log:
((# . "do")
(# . "re")
(# . "mi")
...more...
(# . "tey"))
It gets noisy, especially with longer pieces. How can I remove this?
(I studied your code for any display or write or format commands, but
I found none)
Whoop
Hi Drew,
... which is great, since it means that the noteNameFunction gets
called with the current context (as opposed to only a pitch),
which means we can read the tonic from the context and do not need
to write our own engraver (whose job it would be to read the
context's t
Hi Andrew,
Am 23.01.25 um 23:41 schrieb Drew Neil:
Is it possible to have note names printed using moveable do solfege?
I've been experimenting with the noteNameFunction(). I can get the
pitch-notename and pitch-alteration, which is a good start. But I
think I need to know the key and tonality
Hi Simon,
Am 06.01.25 um 21:46 schrieb Simon Albrecht:
On 06.01.25 15:33, Lukas-Fabian Moser wrote:
This is possible, but
The issue of “de-whiting” everything that’s supposed to be white
outside of whiteout immediately popped up when applying this to my
example file for LSR…
Let’s keep
I'm afraid so. Whiteout color white is hard-coded in scm/stencil.scm.
This should be re-implemented using either a global variable for the
background color or (much better) a paper variable. But I doubt whether
paper variables can be used in general stencil routines,
Why? Markup commands all get
Maybe it would be possible to refine harm's function (which at the
moment uses stencil-with-color, which simply puts a color-selection
command in front of the stencil expression as far as I can see) so
that it walks through the page stencil expression and turns any
explicit "white" into the sel
Am 06.01.25 um 15:23 schrieb Werner LEMBERG:
I'm afraid so. Whiteout color white is hard-coded in
scm/stencil.scm.
Are you looking at the current development version? In the 'changes'
document you can find the following:
• A new grob property `whiteout-color` is available to set the color
I'm afraid so. Whiteout color white is hard-coded in scm/stencil.scm.
This should be re-implemented using either a global variable for the
background color or (much better) a paper variable. But I doubt whether
paper variables can be used in general stencil routines,
Why? Markup commands all get
Hi Simon,
Am 06.01.25 um 14:40 schrieb Simon Albrecht:
Hi Harm, hello list,
unfortunately Yoshiaki-san’s “issue report” regarding whiteout has me
coming back to you for help, since I don’t understand the mechanisms
of your implementation well enough to start addressing the issue myself.
Are we
Hi Walt,
Am 06.01.25 um 04:38 schrieb Walt North:
I have a case where I will be printing out tablature for two guitarist
that use different tunings.
I will be reusing the same melody notes saved in variables and just
need to supply different tunings and minimum frets for the different
results.
Hi Jun,
Am 04.01.25 um 18:07 schrieb Jun Tamura:
Yes. Thank you.
I now understand that the following are equivalent.
<_>8 \once\bassFigureExtendersOn <_>8
<_>8 \once\bassFigureExtendersOn <_>
<_>8 \once\bassFigureExtendersOn 8
<_>8 \once\bassFigureExtendersOn q
In effect, yes.
On a related n
Am 04.01.25 um 16:18 schrieb Knute Snortum:
On Sat, Jan 4, 2025 at 6:02 AM Jun Tamura wrote:
Hi Lukas,
Thank you!
Would you kindly let me know where I can find the trick of “q” in
the documentation?
https://lilypond.org/doc/v2.24/Documentation/notation/single-voice#chord-rep
Hi Jun,
Am 04.01.25 um 14:01 schrieb Jun Tamura:
I’m trying to typeset J. S. Bach’s Orchestral Suite No. 2 and come across the
attached figured bass. Is there a good way to achieve this in LilyPond? Bach
often uses a short horizontal line, like a minus sign, instead of “3” to
indicate the thi
Hi Valentin, hi Werner,
> you can use `set!`:
>
> {
> \afterGrace c' c' \break
> #(set! afterGraceFraction 999/1000)
> \afterGrace c' c' \break
> s1
> }
>
> But note that this may cause race conditions, and `afterGrace` allows
> specifying the ratio as optional first argument. In this sens
Hi James,
Yes it's a quick one:
"For some layout objects, the minimum-length property becomes effective
only if the set-spacing-rods procedure is called explicitly. To do this,
the springs-and-rods property should be set to
ly:spanner::set-spacing-rods. For example, the minimum length of a
glissa
Hi Matthew,
Am 29.10.24 um 20:33 schrieb msk...@ansuz.sooke.bc.ca:
I'd like to engrave music with quarter-tones in Lilypond, and generate
MIDI that will sound correct when played. Lilypond is supposed to support
that but I've run into some issues with actually doing it.
First: quarter tones a
Hi David,
But even what I asked for isn't what I would really like in a perfect
world, which is as follows.
The items are numbered sequentially, starting with number 1. At the
top of each page, I would like to have (in fairly large print) the
number(s) of the item(s) contained on that page, pl
Hi David,
Am 16.10.24 um 23:03 schrieb David Sumbler:
I am setting a series of items for a single melody instrument (i.e.
using one stave). These items are generally quite short and will fit
on one page. Sometimes I can even get 2 on a page.
But a few of them require 2 pages, and naturally I
Hi Stefano,
Am 01.09.24 um 22:29 schrieb Stefano Antonelli:
On Sun, 2024-09-01 at 13:44 +0200, Lukas-Fabian Moser wrote:
So you want to enter (for instance) the Cr part as a separate
LilyPond voice? In this case something like 1 R1 1 R1 or even \breve
\breve? (The point being is that you
Hi Kieren,
Am 02.09.24 um 14:37 schrieb Kieren MacMillan:
I’m curious… For years I’ve been using the following snippet for absolute font
sizing:
[... allowGrobCallback and absFontSize ...]
For historians: The original seems to be
https://mail.gnu.org/archive/html/lilypond-user/2013-07/msg004
Hi Stefano,
Yes, but it gets more complicated. For example, this is something I
transcribed in drumburp:
Cr|X---||X---||
Hh|--x-x-x-|x-x-x-x-|--x-x-x-|x-x-x-x-|
HT|||||
MT||||-o--|
Sn|--o---o-|--o---o-|--o---o-
Hi Stefano,
What I want to achieve in the end are different voicings for drum
notation using the same input notes. The different voicings are
described here:
https://www.onlinedrummer.com/blogs/drum-lessons/introduction-to-voicing-in-drum-notation
From that web page is a good image showing w
Hi Fennel,
Am 30.08.24 um 01:53 schrieb Fennel:
I have a note object in markup, like so:
|\version "2.24.4" \markup { "blah blah" \note {2} #1 "blah blah" } |
I’d like the note to be a bit smaller relative to the text. How do I
do this?
Believe it or not:
\markup { "blah blah" \smaller \no
Hi Stefano,
Am 30.08.24 um 04:10 schrieb Stefano Antonelli:
Firstly, thanks very much for the help. This approach does not work
well with polyphony as you suggest. I did give it a try.
This new version implemented as an engraver does:
\version "2.24.0"
notehead-stemdirection-dictionary =
#
Hi Stefano,
Am 28.08.24 um 16:59 schrieb Stefano Antonelli:
Would it be possible to change the stem direction of a note based on
it's position on the staff?
This is the easiest of your questions, since this can be done using a
callback on Stem.direction:
\version "2.24.0"
notehead-stemdirect
Hi Werner,
[Being bad at Scheme I also didn't succeed to define a macro
`\absmarkup` that works at the top level as a substitute for
`\markup`.]
Any takers?
I'm skeptical as to whether this is possible: \markup has the effect of
switching the lexer into 'markup' state, and this is hardcoded i
Hi Kieren,
Left to do: We probably also should modify the extents of the resulting stencil
to avoid collisions...
If the thickness of the edge lines are expanded *inwards*, wouldn’t the
original extent still be accurate enough to use?
Yes, good idea. But then we see that for thick lines, Li
Hi Kieren, hi Karim,
Am 09.08.24 um 16:40 schrieb Kieren MacMillan:
Just trying to find out how to manage the thickness of the edges of
tupletbrackets and if this is possible (cf. screenshot). In the documentation
we can adjust the thickness of the whole bracket but not just the edges. Any
id
Hi Luca,
without having tested your code: You're using append! wrong.
>From the Guile documentation: "append! is permitted, but not required, to
modify the given lists to form its return."
So the exclamation mark does not imply that your list gets modified
in-place, but rather that you don't care
[Sorry! I wrote this two days ago on a train in one of the famous German
cell connection dead zones - and then forgot to actually send it later.]
Hi Kieren,
The last "m" in your innermost (if ...) is unnecessary: As with the difference between "for" and
"map" in plain Scheme, the return value
The last "m" in your innermost (if ...) is unnecessary: As with the
difference between "for" and "map" in plain Scheme, the return value of
the lambda function in for-some-music gets discarded ("for" functions
are supposed to _do_ something, not _return_ something).
No, it doesn't. It is a boole
Hi David,
If you don't want to call upon undocumented internals of LilyPond (the
(@@ (lily) ...) bit), you can just use
[with-output-to-string]
Wow, thanks! I hadn't encountered this possibility yet.
Also thanks for pointing out the possibility of in-place modification.
Lukas
Hi Kieren,
for-some-music does not return music. It works on music in-place. So
the last thing in your music function must not be for-some-music but
rather the music that you have been working on.
So…
%%% SNIPPET BEGINS
adjustPitch =
#(define-music-function (pitchIn pitchOut music) (ly:pitc
Hi Kieren,
Am 21.06.24 um 20:25 schrieb Kieren MacMillan:
Hi all,
Thank you for the rapid-iteration non-isochronous Scheme class! :)
Before I do the next step, is this optimal at this point?
%%% SNIPPET BEGINS
\version "2.25.11"
adjustPitch =
#(define-music-function (pitchIn pitchOut music
Hi Kieren,
I’m a little confused that the output of
%%% SNIPPET BEGINS
\version "2.25.11"
adjustPitch =
#(define-music-function (pitchIn pitchOut music) (ly:pitch? ly:pitch? ly:music?)
(music-map
(lambda (m)
(ly:message "Pitch is: ~a" (ly:music-property m 'pitch)) m)
musi
Hi Kieren,
Am 21.06.24 um 16:39 schrieb Kieren MacMillan:
%%% SNIPPET BEGINS
\version "2.25.11"
adjustPitch =
#(define-music-function (pitchIn pitchOut music) (ly:music? ly:music? ly:music?)
(ly:message "Pitch is: ~a" (ly:pitch-notename (ly:music-property pitchIn
'pitch)))
music)
mel
Hi Vaughan,
Am 10.05.24 um 07:44 schrieb Vaughan McAlley:
Hi,
I have a text spanner function that shows a player that they are
playing in simultaneous rhythm with one or more other players. I
adapted it from code I used for indicating colouration in renaissance
music. It works fine, but if it b
Here’s one approach:
%%% SNIPPET BEGINS
\version "2.25.11"
esp = \markup \lower #1 \scale #'(1.375 . 1) \musicglyph #"scripts.espr"
stuff = \relative {
\time 4/4
r4 b'4 a2-\tweak self-alignment-X #-1.25 _\esp ~
a2 b4 4(
c1)-\tweak self-alignment-X #-0.5 _\esp
b2-\tw
Maybe one addition:
fromEnd =
#(define-music-function (delta ev mus) (ly:duration? ly:music? ly:music?)
(_i "Add music @var{ev} with a distance of @var{delta} before the end of
@var{ev} is usually a post-event.")
#{
\context Bottom
<<
{
\skip $(make-duratio
Hi Pierre-Luc,
Am 02.05.24 um 17:02 schrieb Pierre-Luc Gauthier:
Rambling here :
So, I *love* the simplicity and elegance of the \after command and I
am using it pretty much everywhere.
{
<>(
<>\<
\after 2 \>
\after 16*15 )
\after 16*15 \!
\repeat unfold 8 {e''16 d''} |
}
an
Hi Brian,
if you know \bendBefore, you're probably referring to the semi-finished
improved bendAfter/bendBefore pair that I reposted recently. This supports
an arbitrary contour for the bend line by giving a list of tone relations.
See the examples that come with it.
I'll not be at my computer fo
Hi,
Am 12.04.24 um 17:36 schrieb Kieren MacMillan:
Hi Raphael,
I note that in one solution one uses \remove and in the other \omit to achieve
the same thing.
Is there any prospect of moving to a situation where only one operator is used
to achieve a result, possibly by having a preferred a
Hi Michael,
Do you mean the keyboard ostinato motiv?
Chords an lyrics you should easily find on the internet.
Anyway, here's the keyboard motiv. Might have to be transposed.
Thanks for transcribing the keyboard line!
Just one suggestion: While avoiding ces and fes might seem to simplify
the n
e seems to be that now, bends also avoid Dots.
See the attached version.
Lukas
Am 13.04.24 um 10:58 schrieb Benjamin Tordoff:
Hi Greg, the conversation on this list back in Dec'22 and Jan'23 ended
up with Lukas-Fabian Moser sending me the attached script and example.
I was able to use
Hi Morten,
Am 02.04.24 um 10:56 schrieb Morten Lemvigh:
Music objects are created with a name and some properties:
make-music name music-properties
I know how to get the properties from a music object - but how about
the name? I cannot figure out how to get the name from a music object.
It is
Hi David,
David Sumbler schrieb am So., 24. März 2024, 21:29:
> I am running xubuntu 22.04. When I last used Lilypond (November 2023) I
> was probably running a recent version of Ubuntu Unity. But my /home folder
> has not changed significantly, and Lilypond 2.24.1, downloaded from
> lilypond
Hi,
Am 14.03.24 um 17:27 schrieb Kieren MacMillan:
Hi Matthew,
Is there any easy way to find out the time in seconds from the start of a
score to a specified point, corresponding to the timing of the MIDI
output? I can count measures and do math on the tempo, but that's
less than ideal in the
Am 02.02.24 um 01:35 schrieb Leo Correia de Verdier:
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
Hi Silvain,
Am 27.01.24 um 11:12 schrieb Silvain Dupertuis:
/Sorry for my question in French on an English-speaking forum... here
is an Englsh version/
Hello,
Is there a way to automatically repeat the verse numbers on each line
when it is defined by \set stanza = "1."
without repeating this
Hi Werner, hi Pierre-Luc,
Am 19.01.24 um 08:43 schrieb Werner LEMBERG:
Try this with and without the \new Voice commented.
\version "2.25.12"
\language "english"
\score {
%\new Voice
<<
{bf bqf bf}
{g gqs g}
>>
\layout {}
\midi {}
}
Obviously you would need to listen
Hi Raphael,
Am 12.01.24 um 13:32 schrieb Raphael Mankin:
I agree that 0 as a denominator would seem to indicate an infinite
duration, and allow the rest of your argument. However <> still seems
unintuitive.
I agree that <> isn't obvious. But in a complex language like LilyPond,
there's alway
Hi Matthew,
Am 12.01.24 um 00:29 schrieb msk...@ansuz.sooke.bc.ca:
You need to remember lilypond thinks in terms of pitch, not note names. Unlike
some (most?) other music software. So "\transpose g e" says "transpose EVERY
note up A TONE".
I'm not sure it's quite right to say that Lilypond thin
Hi Stanton,
I’m setting various short organ pieces from an old Peters edition,
mostly to prevent my aging brain from forgetting…
One piece is in 8/4 time -the first measure has a whole note and 2
half notes. However, the time signature as printed is the cut time
symbol. How can I reproduce t
Hi Robert,
I'm trying to make an example showing mordent symbols with text
labels. I want the note positions spaced so that the text is all on
one line, with notes placed as needed to fit around it.
The easiest way I can think of doing that would be to put manually
sized 'gap fillers' between t
ersion.
Lukas
Am 27.12.23 um 09:17 schrieb Lukas-Fabian Moser:
Hi Mark,
Am 27.12.23 um 01:54 schrieb Mark Stephen Mrotek:
Knute,
In the original the first beat of the second measure is three against
2. The 5 against 3 does not start until the second beat.
Unfortunately, that can't
Hi Mark,
Am 27.12.23 um 01:54 schrieb Mark Stephen Mrotek:
Knute,
In the original the first beat of the second measure is three against
2. The 5 against 3 does not start until the second beat.
Unfortunately, that can't be true, as with this interpretation, the
measure is over-full. Rather,
Hi Michael,
Am 30.10.23 um 10:42 schrieb Michael Winter:
But I am confused about what you said. For me, it is posting the
accidental on tied notes after line breaks.
No I'm confused. :-) If I do
\transpose a c' \relative
{
a8 gis~ gis g fis g gis a
gis1~ \break gis2 gis
}
in my example f
Hi Michael,
Thanks Lukas!
This works but also forces the accidental on tied notes.
Sorry for not getting back to you sooner.
The following version registers ties and removes our auto-generated
accidentals for notes in which a tie ends. (It's a bit overeager and
also removes tied accidental
Hi Michael,
this is easily accomplished with an custom engraver. (I perfectly
understand that the terms "easily" and "custom engraver" don't seem to
go well together at first - I thought so for many years as well -, but
after some getting used to it, the concept is actually quite simple and
e
Hi Valentin,
Am 01.09.23 um 00:41 schrieb Valentin Petzel:
I don’t think this is a particularly good idea. Lilypond conceptually first
creates data for the sementic meaning of the music (or the actual content) and
have engravers turn this into graphical content.
Mapping pitches to other pitches
Hi Michael,
over time, I found that doing something like this in an engraver (as
opposed to a music function) is actually much easier and conceptually
clear, in spite of the seeming difficulty of the engraver syntax. The
advantage of using an engraver being that you see the "actual" pitches
a
Am 17.08.23 um 13:05 schrieb Jean Abou Samra:
Le jeudi 17 août 2023 à 12:28 +0200, Lukas-Fabian Moser a écrit :
(The even friendlier syntax variant would require changing the
lexer/parser, I think.)
Why don't you just do
<"/">
?
Two reasons:
- I wasn't
The slash is pronounced the best of several possibilites by
C. Ph. E. Bach [...]
Thanks. Please open an issue for SMuFL at
https://github.com/w3c/smufl/issues
so that this slash symbol gets added to the figured bass glyphs.
https://github.com/w3c/smufl/issues/279
Folks (& especially: Dear Werner),
in his "Anleitung zum Generalbasse" (and the accompanying "Practische
Beyspiele") from the early 1800s, E. A. Förster uses a "slash" symbol in
figured bass to denote a chord that is being described relative not to
the current but to the next bass note.
From
Hi Jin,
Am 16.08.23 um 04:48 schrieb Jin Choi:
Is it possible to get this style of s-curve shaped slurs across staves?
It's possible, but it's not fun.
\version "2.24.0"
\new PianoStaff
<<
\new Staff = upper {
<<
{
r8
\shape #'((0 . 0) (4 . -2) (0 . 6) (1 . 3)) Slur
Am 09.08.23 um 13:34 schrieb David Kastrup:
Lukas-Fabian Moser writes:
\new Staff = down \with { \clef bass } {
That sentiment was part of why I chose to switch from tenor to male alto
instead of bass. An easier change for sight-reading.
:-) :-)
All the clefs (and all the keys) are
Am 09.08.23 um 03:12 schrieb William Rehwinkel via LilyPond user discussion:
\version "2.25.7"
\new PianoStaff <<
\new Staff = "up" \relative g' { \voiceTwo g16 e c \change Staff =
"do" \voiceOne g e g \change Staff = "up" \voiceTwo c e}
\new Staff = "do" \with {\clef bass } s2
>>
This
Hi David,
Am 08.08.23 um 15:26 schrieb David Kastrup:
As a side remark: In order to put music into a RhythmicStaff, one
doesn't even have to remove the pitches, they will just be
ignored. But I noticed yesterday that LilyPond does not behave very
well with chords in that situation:
\version "2.
Hi Alasdair,
Thank you very much - that is quite amazing!
You're very welcome.
But it does show what I have long suspected: that without some extra
programming, Lilypond does not have a current facility to extract the
rhythm from a music definition. All of the tablatures I've seen in
Lilypo
Hi David,
arpeggiateChord = #
(define-music-function (chord) (ly:music?)
Just a warning: inventing unconventional formattings like this (putting
# on a different line as the opening paren) carries the danger of
keeping convert-ly (and syntax highlighters and syntax-sensitive
editors) from recog
Hi Alasdair,
Am 07.08.23 um 07:05 schrieb Alasdair McAndrew:
In fact you can just look at the snippet at
https://lsr.di.unimi.it/LSR/Item?id=848 I've set mine up slightly
differently, with letters between the lines, but the principle is the
same. But as you see from this snippet, you have to
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