On 09/20/2017 11:35 AM, Carl Sorensen wrote:
> On 9/19/17 5:33 PM, "David Kastrup" wrote:
>
>> Shamus Hammons writes:
>>
>>> On 09/17/2017 01:50 AM, David Kastrup wrote:
>>>> Carl Sorensen writes:
>>>>
>>>>> On 9/16/17
On 09/17/2017 01:50 AM, David Kastrup wrote:
> Carl Sorensen writes:
>
>> On 9/16/17 8:09 AM, "Shamus Hammons" wrote:
>>
>>> I have a dream, that one day Lilypond will make codas first class
>>> citizens instead of having to exist as a series of ugl
http://shamusworld.gotdns.org/music/one-small-child.pdf (see page 2,
bars 33-34)
I have a dream, that one day Lilypond will make codas first class
citizens instead of having to exist as a series of ugly hacks. In that
day, I could simply write \coda (with maybe some options) and Lilypond
would aut
That works perfectly. Thank you!
On 09/14/2017 12:18 PM, Robin Bannister wrote:
> Shamus Hammons wrote:
>
>> This gets closer, but the flat sign is sitting all by itself, as if it
>> were a separate word and not part of the chord symbol (like so: "B b
>> maj7")
This gets closer, but the flat sign is sitting all by itself, as if it
were a separate word and not part of the chord symbol (like so: "B b
maj7"). Also, doesn't address the issue of the chord names floating too
high above the diagrams.
On 09/14/2017 11:26 AM, Robin Bannister
fretboard diagrams being too far away from the diagrams. :-/
On 09/14/2017 09:20 AM, Jacques Menu Muzhic wrote:
> Hello Shamus,
>
> Using:
>
> subtitle = \markup {
> \override #'(font-family . sans)
> { \center-column { C9 \fret-d
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Kieren MacMillan wrote:
> Hi Shamus,
>
> Try adding the following to the bottom of pop-chords.ly
>
> chordNamesPop = #(append
> (sequential-music-to-chord-exceptions exceptionsPop #t)
> ignatzekExceptions)
>
&g
'd be more than happy to code it. :-)
Warmest regards,
- -- Shamus
David Stocker wrote:
> Thanks Shamus, this is great.
>
> Incidentally, if you store a copy of "pop-chords.ly" in your lilypond's
> usr/share/lilypond/current/ly folder (or somewhere else in LilyPon
doesn't seem to be much agreement on how chords should be rendered even
in category subsets like jazz or pop for that matter.
So my solution has been to maintain a separate file with chord
definitions that I like (side note: it would be nice to be able to
simply include the file and get resu
ayout {
| \context {
|\ChordNames
|\override ChordName #'extra-spacing-width = #'(-0.5 . 0.5)
|
| }
| }
Thank you very much! That did it!
Warmest regards,
- -- Shamus
-BEGIN PGP SIGNATURE-
Version: GnuPG v2.0.7 (GNU/Linux)
Comment: Using Gnu
ar to this arise quite often. The chords are too
close together for comfortable reading, especially for nearly geriatric
musicians like myself. Any help would be appreciated.
Warmest regards,
- -- Shamus
-BEGIN PGP SIGNATURE-
Version: GnuPG v2.0.7 (GNU/Linux)
Comment: Using GnuPG with Mo
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Do'h!
Trevor Daniels wrote:
|
| Shamus wrote Sunday, August 03, 2008 1:51 PM
|
|> I recently upgraded from 2.10.33 to 2.11.52 and noticed that
|> SeparatingGroupSpanner is no longer available.
|
| You're right. A quick check of
mentation but so far have been unable to find anything suitable.
Thanks,
- -- Shamus
-BEGIN PGP SIGNATURE-
Version: GnuPG v2.0.7 (GNU/Linux)
Comment: Using GnuPG with Mozilla - http://enigmail.mozdev.org
iD8DBQFIlanOmE5b/O3JjkYRAgrTAKDDXqlaaKA+6VOBy2dD+oHiTqxujQCg8bmz
8RjZHmZQC5ZcsCF/rXc
-X = #left
\mark \markup { { \musicglyph #"scripts.coda" } "Coda" }
...
The current bar number is reset in order to make the bar count on
subsequent lines display correctly. Otherwise, your bar count will be
off by one. ;-)
- -- Shamus
-BEGIN PGP SIGNATURE-
quot;3-(;6;;5;4;3-);" }
}
It works, but I also need to be able to put the chord names above the
diagrams. This approach seems really hackish to me--perhaps some kind
soul could point me in the right direction?
Thanks,
- -- Shamus
-BEGIN PGP SIGNATURE-
Version: GnuPG v2.0.7 (GNU/
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Shamus wrote:
| Thanks for that David. I've been doing this to separate out dynamic
| markings, but I didn't know you could do the same with voltas and the
like.
|
| /me goes off to try it
Wow! Works like a charm! This is not only going
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Thanks for that David. I've been doing this to separate out dynamic
markings, but I didn't know you could do the same with voltas and the like.
/me goes off to try it
- -- Shamus
David Bobroff wrote:
| Don't know if there's
s with my
customized chords just by including the pop-chords.ly file *without*
having to stick that \popChords thing in there. Any ideas? Is this
currently impossible?
- -- Shamus
-BEGIN PGP SIGNATURE-
Version: GnuPG v2.0.7 (GNU/Linux)
Comment: Using GnuPG with Mozilla - http://enigmail.
ay to
do it now that I've overlooked? :-) As it is now, I have to specify the
structure in all parts (except chords) if I want to be able to print out
separate parts. Needless to say (but here I am saying it anyway :-P) it
makes part entry more cumbersome and error prone when you have t
f you take out the \break (i.e., it works correctly with the
exception of the case where the bar occurs at a page break).
Bug or feature?
-- Shamus
\version 2.8.0
\score
{
\relative c'
<<
\new Staff
{
c4 d e f | c d e f | c d e f | c d e f |
\break
\once \override Score.RehearsalMark
I don't know if this has been pointed out already but it seems that
\stopStaff followed by a \startStaff causes volta brackets to disappear.
I also don't have the foggiest idea how to fix this either.
-- Shamus
\version "2.8.2"
\score
{
\relative c'
<<
\new Staff
setting up a custom font tree with the font I want in my
header (DomCasual BT) in the sans serif slot. I then override the font
family in the header to use the sans serif font (I also bump up the font
size, since to me the title font is too small). I'm sure ther
handle boundary cases very well. I'm more than willing to code up a
workaround if a kind developer could point me in the right direction.
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
ch other and correctly placed.
As far as I know, the \super command does nothing to the size of the
character it's raising (i.e., it's a shortcut method of doing \raise) so
I'm not sure what the issue is there (though I could be wrong about that).
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
adding a \context for
\ChordNames, but that didn't work either.
I'm attaching the whole chart this time because reducing isn't helping
in this case. I note that when I comment out everything after the first
\stopStaff in StaffRiffs that it works (you can also see that the ossia
}
Well, it turns out this doesn't work for what I'm trying to do. The
example below is a bit long, but it does show the problem with the
\layout block that the example above does not.
-- Shamus
\version "2.8.2"
\include "english.ly"
%
% Lead vocal
%
Lea
opinion) and that lily
no longer keeps track of the rehearsal symbols for you, so you have to
keep track of them yourself. I'm sure there's a better way, but I'm also
pretty sure you can't use \mark \default in combination with any other
text markup. :-/
-- Shamus
___
y to do it with partial exceptions, but I
can't seem to find a quick 'n' dirty example.
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
fluencing the ossia stave when it
shouldn't). Again, I'm not sure exactly how to fix this, or if it's even
fixable.
-- Shamus
\score{
\relative c' <<
\new Staff{ R1 | R1 | \repeat volta 2 { c4 e d f } | \break R1 |
\repeat volta 2 { c4 f e d } | R1 | \break \repeat volta
27;t know that something like that is even possible without
making changes to the backend, but perhaps one of the developers could
weigh in on this issue?
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
I thought I had reduced it (this is NOT my full score--notice no chord
names or chord rhythms). Is this better? Seriously, there isn't much
more I can cut from this.
>> Following the instructions in the manual for getting ossia fragments
>> yielded the results you see in the image. The relevant bi
Following the instructions in the manual for getting ossia fragments
yielded the results you see in the image. The relevant bits are below.
My question is: Is there a way to make these ossia fragments stop where
they're supposed to stop, i.e., well before the repeat sign?
-- Shamus
Staff
that there is a need for such
a thing, but I could be wrong about that.
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
smaller font
(set! (ly:music-property arg 'tweaks)
(acons 'font-size -3.0 (ly:music-property arg 'tweaks))) arg)
I'm not convinced this is the best way to do it (please feel free to
point out a better way), but it'll do for now. :-)
-- Shamus
___
rve space on my chart. Version 2.8.2, and the
documentation and tutorials have exactly nothing to say on the subject.
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
stings?
It sounds like it would be very useful--at least to me. I would be
willing to contribute on the subject of charts for pop/rock/jazz groups,
since what's there doesn't really address how do this and get
professional results.
My 0.02USD.
-- Shamus
_
ertical position of the text markup and hairpins
by hand, but isn't this something that lily should be able to handle on
her own? In other words, does this render this way by design or is it a bug?
-- Shamus
___
lilypond-user mailing list
li
ogramming paradigm of LISP
and its variants (of which Scheme is one), then you shouldn't have too
much difficulty figuring out what you need to do. :-)
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
given; my best guess is that they
would fall on the second to last syllable in each case. This is also
most likely the wrong pronunciation in any case.
So how did I do? Did I get anywhere close? :-)
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
d in the
lilypond manual? Or is having notes/rests nearly flush against the key
signature correct behavior? I would truly like to know. :-)
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
rt
of the piece pictured really is in the key of G.
Anyone?
-- Shamus
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
Stephen wrote:
> How do I install 2.4.7 from
> http://lilypond.org/download/binaries/cygwin/uploads/lilypond/ ?
Just curious, but why 2.4.7 when the 2.8 and 2.9 series are available?
-- Shamus
___
lilypond-user mailing list
lilypond-user@g
behavior I'm seeing here (yes, I know about the (/ num1 num2) construct
in the example--it implied that it would be a value of 1)?
Also, I'm wondering if there's a way to override *just* the sans font
family instead of having to create a font tree--the docs are silent on
this issue.
-- S
and I'd like to put that
chordNameExceptions line in there too so I don't have to tweak every
\chordmode context, i.e., it should be like the english.ly file--you
include it and you're done. Is this even possible?
-- Shamus
___
make the user jump through hoops as per above--after all, they are in
the same \notes{} context. Is this possible? Or would it require major
changes in lily's internal structure?
Again, this is with 2.0.3, but judging from what I've seen (and not
seen) I don't think it has been chan
45 matches
Mail list logo
