On 06/03/2025 20:50, Paul Scott wrote:
I posted before about time signatures and/or key changes repeated at
the end of the previous line and was shown that it works correctly.
I finally saw the problem that occasionally effects my normal code
structure.
Could the \endSpanners music function
tly instantiate contexts might
have been the problem. But explicitly instantiating the contexts didn't
fix it either.
I thought that perhaps not having the key change in the dynamics context
could have been the problem. But adding the key change didn't fix it
either.
So I'm stumped.
You have a bar
with too many beats (the line with a comment). Removing the final eighth
note:
8 8 8 8 8 8 4 % \f\< 8 8 8 8 8 4\!
...let's the source code compile without a warning. (Or you could add a
\partial). Then I see that the dynamics stretch into the key change.
Modifying dyn:
dyn = { s1*4 s2\f\< s4 s4\! }
...fixes that problem, but I'm not sure any of this is what you want.
--
Knute Snortum
Hi,
I posted before about time signatures and/or key changes repeated at the
end of the previous line and was shown that it works correctly.
I finally saw the problem that occasionally effects my normal code
structure.
I always separate notes and time and dynamics to be able to use all or
That did the trick! Thank you, Xavier.
> From: "Xavier Scheuer"
> To: "bobroff"
> Cc: "Lillypond Users Mailing List"
> Sent: Monday, March 25, 2024 9:37:38 PM
> Subject: Re: remove key change at end of line
> On Mon, 25 Mar 2024 at 22:19, [ m
On Mon, 25 Mar 2024 at 22:19, bobr...@centrum.is wrote:
>
> I want to remove a key change from the ends of lines/systems. I am *not*
referring to just key cancellation, which I do also want. I mean, at the
end of a line the new key should not appear before the new line. I haven't
wo
On 2024-03-25 2:18 pm, bobr...@centrum.is wrote:
I want to remove a key change from the ends of lines/systems. I am
*not* referring to just key cancellation, which I do also want. I mean,
at the end of a line the new key should not appear before the new line.
I haven't worked i
I want to remove a key change from the ends of lines/systems. I am *not*
referring to just key cancellation, which I do also want. I mean, at the end of
a line the new key should not appear before the new line. I haven't worked it
out.
-David
Le 01/03/2022 à 23:51, Alasdair a écrit :
Dear Jean,
I have just had time to make that change (of key to key-signature).
However, there is still an issue. For example, in change from g major
to g minor, we go from one sharp to two flats. As I have a key
signature in the middle of a bar
On 01/03/2022 22:51, Alasdair wrote:
However, what happens is that the natural sign is printed on top of the
double bar line. So either I need to not print the natural (which would
be my preference), or somehow push the entire new key signature (one
natural and two flats) after the clef sign.
Sunday, 27 February 2022 7:31 PMTo: Alasdair McAndrew; lilypond-user@gnu.orgSubject: Re: Key change with clef after the bar line? Le 27/02/2022 à 08:09, Alasdair McAndrew a écrit :> In my current project, I'm trying as far as possible to replicate the > spirit of the original 18th cent
Samra wrote:
> Le 27/02/2022 à 08:09, Alasdair McAndrew a écrit :
> > In my current project, I'm trying as far as possible to replicate the
> > spirit of the original 18th century publication, in which a key change has
> > a clef printed, and both after the bar line.
Le 27/02/2022 à 09:31, Jean Abou Samra a écrit :
Le 27/02/2022 à 08:09, Alasdair McAndrew a écrit :
In my current project, I'm trying as far as possible to replicate the
spirit of the original 18th century publication, in which a key
change has a clef printed, and both after the bar
Le 27/02/2022 à 08:09, Alasdair McAndrew a écrit :
In my current project, I'm trying as far as possible to replicate the
spirit of the original 18th century publication, in which a key change
has a clef printed, and both after the bar line. In one piece,
there's a segno in the middl
In my current project, I'm trying as far as possible to replicate the
spirit of the original 18th century publication, in which a key change has
a clef printed, and both after the bar line. In one piece, there's a segno
in the middle of a bar, with such a key change. In standar
On Tue, Nov 3, 2020 at 10:31 AM Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:
> Hi Ralph,
> See:
> http://lilypond.1069038.n5.nabble.com/key-change-at-end-of-snippet-td227745.html
> Cheers,
> Pierre
>
> Le mar. 3 nov. 2020 à 16:13, Ralph Palmer a
&g
Hi,
You might test something like "\key a\major s32" at the end of the
score.
Hope this helps,
Jean
Le mardi 03 novembre 2020 à 09:42 -0500, Ralph Palmer a écrit :
> Hi -
>
> I'm trying to add a clef change at the end of a fiddle tune, to show that the
> first section is in a different key tha
Hi Ralph,
See:
http://lilypond.1069038.n5.nabble.com/key-change-at-end-of-snippet-td227745.html
Cheers,
Pierre
Le mar. 3 nov. 2020 à 16:13, Ralph Palmer a
écrit :
> Hi -
>
> I'm trying to add a clef change at the end of a fiddle tune, to show that
> the first section is in a d
From your answer I gather that getting this information this way is fine.
The other, more implicit question: has this change been overlooked when
creating the changes documentation
(http://lilypond.org/doc/v2.20/Documentation/changes-big-page.html)?
cheers
Maurits
> Op 3 sep. 2020, om 21:07 h
On 2020-09-03 5:03 am, Maurits Lamers wrote:
Hi all,
I finally figured out what goes wrong here. The issue is that I get
the key signature and the last key signature from the context in the
following way:
(ly:context-property (ly:translator-context engraver) 'keySignature))
(ly:context-property
ot;found event here")))
>
> \new Voice \with {
> % Using make-engraver macro:
> \consists
> #(lambda (context)
>(make-engraver
> (listeners
>((key-change-event engraver event)
> (format-event engraver event)
>
> % Manually con
input-message origin "found event here")))
\new Voice \with {
% Using make-engraver macro:
\consists
#(lambda (context)
(make-engraver
(listeners
((key-change-event engraver event)
(format-event engraver event)
% Manually constructed:
\consists
-event format-phrasing-slur)
(cons 'breathing-event format-breathe)
(cons 'key-change-event format-key-change)
;(cons 'dynamic-event format-dynamic)
;(cons 'crescendo-event format-cresc)
;(cons 'decre
From: David Kastrup
Subject: Re: key change at end of snippet
Date: Sat, 25 Jan 2020 09:41:45 +0100
> \relative c' {
> \key d \major
> d1
> \key c \major
> \grace s256
> }
Thanks for the suggestion! I'm now trying Thomas's route.
Werner
>> I have to typeset a snippet that is an excerpt of a longer piece,
>> and this snippet ends with a key change:
>>
>> \relative c' {
>> \key d \major
>> d1
>> \key c \major
>> }
>>
>> However, the staff stops righ
Werner LEMBERG writes:
> I have to typeset a snippet that is an excerpt of a longer piece, and
> this snippet ends with a key change:
>
> \relative c' {
> \key d \major
> d1
> \key c \major
> }
>
> However, the staff stops right before the key
Am Sa., 25. Jan. 2020 um 06:31 Uhr schrieb Werner LEMBERG :
>
>
> I have to typeset a snippet that is an excerpt of a longer piece, and
> this snippet ends with a key change:
>
> \relative c' {
> \key d \major
> d1
> \key c \major
> }
>
>
Am 25. Januar 2020 08:17:05 MEZ schrieb Werner LEMBERG :
>
>>> I think it is necessary to somehow keep the staff line alive – I
>>> guess I can probably fake a solution by adding another bar with a
>>> suppressed bar line that contains some invisible music. Not sure
>>> yet whether this is sens
>> I think it is necessary to somehow keep the staff line alive – I
>> guess I can probably fake a solution by adding another bar with a
>> suppressed bar line that contains some invisible music. Not sure
>> yet whether this is sensible, and if yes, how to make the width of
>> this extra bar (alm
gt;> breathing-sign
>> ...
>> key
>> time-signature)),
>>
>> To insert the key change before the bar.
>
>Thanks for the suggestion, but the key change must happen after the
>bar line.
>
>I think it is nec
time-signature)),
>
> To insert the key change before the bar.
Thanks for the suggestion, but the key change must happen after the
bar line.
I think it is necessary to somehow keep the staff line alive – I guess
I can probably fake a solution by adding another bar with a suppress
Werner,
Perhaps using
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3
'( staff-bar clef span-bar breathing-sign . . key time-signature)),
To insert the key change before the bar.
Mark
-Original Message-
From: lilypond-user
[mailto:lil
I have to typeset a snippet that is an excerpt of a longer piece, and
this snippet ends with a key change:
\relative c' {
\key d \major
d1
\key c \major
}
However, the staff stops right before the key change, see attached
image. What can I do to avoid that?
Werner
2018-04-04 17:08 GMT+02:00 David Kastrup :
> Urs Liska writes:
> It's confusing for experienced users but
> not for beginners.
>
> It's designed to work as expected, for completely unrealistic
> expectations.
>
>> Arrgh.
>
> You got that right.
>
> --
> David Kastrup
ROFL
__
Urs Liska writes:
> Am 04.04.2018 um 13:17 schrieb David Kastrup:
[...]
>>> Is it possible to write the Scheme function issuing the key change
>>> with the pitch and the generic mode as input?
>> (key-signature
>> (key
>> (get-meta-optio
h -1 1
where the steps of the scale obviously have already been "transposed"
to reflect d major.
So?
Is it possible to write the Scheme function issuing the key change
with the pitch and the generic mode as input?
(key-signature
(key
(get-meta-option base-path '
gt; (cons 2 0)
>
> (cons 3 1/2)
>
> (cons 4 0)
>
> (cons 5 0)
>
> (cons 6 0)
>
> (cons 0 1/2))
>
> 'tonic
>
> (ly:make-pitch -1 1
>
> where the steps of the scale obviously have already been "transposed"
> to reflect d major.
S
d major.
Is it possible to write the Scheme function issuing the key change with
the pitch and the generic mode as input?
Should I store something else as input instead?
Or should I simply leave it alone and stick to the interspersed LilyPo
Hi Robert,
Am 05.12.2017 um 16:02 schrieb Robert Murdoch:
> It just seemed strange to me that the program would do this.
Lilypond aligns the key signature (only the flats or sharps) and puts
the key cancellation (which is a different object from the key
signature) before the key signature.
Perha
On 05/12/2017 13:12, Phil Holmes wrote:
- Original Message - From: "Robert Murdoch"
To: "Phil Holmes" ; "lilypond-user"
Sent: Tuesday, December 05, 2017 12:33 PM
Subject: Re: Bug regarding transposed key change
Well - it happened as far back as 2.12
- Original Message -
From: "Robert Murdoch"
To: "Phil Holmes" ; "lilypond-user"
Sent: Tuesday, December 05, 2017 12:33 PM
Subject: Re: Bug regarding transposed key change
On 05/12/2017 11:13, Phil Holmes wrote:
- Original Message - From: &qu
On 05/12/2017 11:13, Phil Holmes wrote:
- Original Message - From: "Robert Murdoch"
To: "lilypond-user"
Sent: Tuesday, December 05, 2017 10:58 AM
Subject: Bug regarding transposed key change
See
https://lists.gnu.org/archive/html/lilypond-user/2017-11/msg
- Original Message -
From: "Robert Murdoch"
To: "lilypond-user"
Sent: Tuesday, December 05, 2017 10:58 AM
Subject: Bug regarding transposed key change
Hi, I think I've discovered a bug in 2.19.80.
When I change the key signature midway through a piece, the
Hi, I think I've discovered a bug in 2.19.80.
When I change the key signature midway through a piece, the key of a
transposed part is placed ahead of the key in the other parts. See the
attached file if what I say makes no sense.
\version "2.19.80"
\score {
<<
\transpose bes c' \relati
spoils
the placement of potential post-key-change notes isn't really a drawback
since the problem only occurs at line breaks...).
Best!
L.
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Hi,
> the Key Cancellation in the second staff is printed before (i.e. to the left
> of) the new key signature in the first staff. Is it possible to get them
> aligned?
What about this?
SNIPPET BEGINS
\version "2.19.80"
\layout {
\context {
\Staff
% \consists "Break_align_engra
I want, but the bar line becomes
discontinuous. This problem only occurs if the key change happens at a line
break. (Also, moving the engraver naturally destroys the alignment of the
time signatures at the beginning of the piece.)
Best
Lukas
___
lilypond-user ma
2017-09-03 21:20 GMT+02:00 Caagr98 :
> For the record, how exactly does that space-alist override work?
>
> On 09/03/17 21:08, Thomas Morley wrote:
>>\once \override Staff.KeySignature.space-alist.first-note =
>> #'(fixed-space . 0)
Well, the property 'space-alist for the KeySig
work?
On 09/03/17 21:08, Thomas Morley wrote:
2017-09-03 20:48 GMT+02:00 :
Most obvious approaches would result in the key change being inside the
repeat barline, which doesn't feel right. See attached pic if you don't know
what I'm talking about.
Cheating:
{
r
2017-09-03 20:48 GMT+02:00 :
> Most obvious approaches would result in the key change being inside the
> repeat barline, which doesn't feel right. See attached pic if you don't know
> what I'm talking about.
Cheating:
{
r2. g4->
\once \overri
At 15:42 13/03/2016 +0100, Malte Meyn wrote:
how should I treat a key change in the first alternative of a volta
repeat? I'm not sure whether to print the "change back" at the
beginning of the second alternative (m. 5 of the attached code). I
don't think it's nec
Am 13.03.2016 um 15:46 schrieb David Kastrup:
Malte Meyn writes:
And another thing: I added keyAlterations to the alternativeRestores
context property; shouldn’t this be the default?
Keys are per Staff, alternativeRestores is per Timing (i.e., usually per
Score). In short, the alternative
- Original Message -
From: "Malte Meyn"
To: "lilypond-user"
Sent: Sunday, March 13, 2016 2:42 PM
Subject: Key change in alternative 1
Hi list,
how should I treat a key change in the first alternative of a volta
repeat? I’m not sure whether to print the
Malte Meyn writes:
> Hi list,
>
> how should I treat a key change in the first alternative of a volta
> repeat? I’m not sure whether to print the “change back” at the
> beginning of the second alternative (m. 5 of the attached code).
>
> I don’t think it’s necessary to p
Hi list,
how should I treat a key change in the first alternative of a volta
repeat? I’m not sure whether to print the “change back” at the beginning
of the second alternative (m. 5 of the attached code).
I don’t think it’s necessary to print it if the change coincides with a
line break
2015-12-12 22:41 GMT+01:00 Cynthia Karl :
> I’m engraving a piece that ends with a D.C. al Fine. Also the key at the
> beginning of the piece is different from the key at the end of the piece.
> So, in order to cue the performer, a final key change is issued for the
> initial key:
4 { c d e f }
\endBarDC
\mark\markup { D.C. }
\key g\major
}
\layout {}
}
Cheers
~Pierre
2015-12-13 0:27 GMT+01:00 David Sumbler :
> > > From: Cynthia Karl
> > > To: lilypond-user
> > > Subject: Extending staff lines through key change
> >
> > From: Cynthia Karl
> > To: lilypond-user
> > Subject: Extending staff lines through key change
> > Date: Sat, 12 Dec 2015 15:41:32 -0600
> >
> > I’m engraving a piece that ends with a D.C. al Fine. Also the key
> > at the beginning of the piece i
Just add a "s8" after the key change.
HTH,
Abraham
On Saturday, December 12, 2015, Cynthia Karl [via Lilypond] <
ml-node+s1069038n184706...@n5.nabble.com> wrote:
> I’m engraving a piece that ends with a *D.C. al Fine*. Also the key at
> the beginning of the piece is dif
ferent from the key at the end of the
> piece. So, in order to cue the performer, a final key change is issued for
> the initial key:
>
> \version "2.19.32"
>
> { \relative c'' {
> \key g\major
> \repeat unfold 4 { c d e fis }
> \break
&g
I’m engraving a piece that ends with a D.C. al Fine. Also the key at the
beginning of the piece is different from the key at the end of the piece. So,
in order to cue the performer, a final key change is issued for the initial key:
\version "2.19.32"
{ \relative c''
I have a program which is roughly as below:
\score {
\new staff
{
\key c \major
<<
\new voice
{
musicA
}
\context NoteNames
{
\override NoteName.stencil = #myNoteNames
On 31/08/14 12:47, Pierre Perol-Schneider wrote:
See also :
http://lilypond.1069038.n5.nabble.com/Ossia-staff-is-too-long-when-a-key-change-happend-td165937.html
Cheers,
Pierre
Thanks a lot for the suggestions! My ossia contains a ChoirStaff and at
least one linebreak, so I can't have
See also :
http://lilypond.1069038.n5.nabble.com/Ossia-staff-is-too-long-when-a-key-change-happend-td165937.html
Cheers,
Pierre
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Hi again,
another solution would have been to put the ossia as a markup, e.g. :
\version "2.18.2"
ossia =
\tweak self-alignment-X #RIGHT
\tweak padding #3
\mark\markup\score {
\new Staff
\with {
alignAboveContext = #"myStaff"
\omit Clef
\omit TimeSignature
fontSize = #-3
Hi Peter,
2014-08-30 18:42 GMT+02:00 Peter Van Kranenburg <
peter.van.kranenb...@meertens.knaw.nl>:
I can't figure out how to make the ossia stop right at the bar line.
>
No clue right now but here's a workaround :
\context Staff = "ossia" {
\override Staff.StaffSymbol.width = #73.4 % o
Dear List,
If right after an ossia there is a key change in the other parts, the
staff of the ossia extends with the length of the key signature. See
below for an example. I can't figure out how to make the ossia stop
right at the bar line.
I tried to do
Robert Schmaus writes:
> If you're interested in keeping C major: if you don't supply a key at
> all, the key will be C major before and after transposition. I'm no
> sure this can be done with any other key ...
If there is no \key in the transposed part, the previous key will be
retained. It's
t; }
>
> \violinII = \relative c''' {
> r2 r2 \transpose c d \violinIV
> }
>
> violinI = \relative c'''' {
> r2 r2 r2 \transpose c a \violinIV
> }
>
>
>
> --
> View this message in context:
> http://lilypond.1
MarcM wrote
> How to keep all voices in C major?
Hi, try \modalTranspose
http://lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-pitches#index-_005cmodalTranspose
HTH,
-Paul
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/How-to-avoid-key-change-w
t; \violinII = \relative c''' {
> r2 r2 \transpose c d \violinIV
> }
>
> violinI = \relative c'''' {
> r2 r2 r2 \transpose c a \violinIV
> }
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nab
e c'' {
r2 \transpose c g \violinIV
}
\violinII = \relative c''' {
r2 r2 \transpose c d \violinIV
}
violinI = \relative c'''' {
r2 r2 r2 \transpose c a \violinIV
}
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/How-to-avoi
Hello,
2013/12/16 David Kastrup
> I don't see an obvious solution (but then I don't understand the bug)
> but I boiled down the example somewhat more, killing most of its
> musicality but making the problem more apparent. I was suspecting the
> tuplets to be involved, but no. In the following,
Gentlemen,
In context, Schubert Impromptu D. 899, the command lines
\once\override Score.BarLine #'transparent = ##t
\once\override Score.SpanBar #'transparent = ##t
\bar"|"
Inserted the key change correctly. Lilypond maintained spacing and broke the
line
sibly \bar "" \nobreak would do what you want here. While it will
> "disrupt" the spacing, the bar numbers will stay correct and there
> should (I think) be no break, and the key change is disrupting spacing
> anyway.
>
> --
> David Kastrup
>
___
spacing, the bar numbers will stay correct and there
should (I think) be no break, and the key change is disrupting spacing
anyway.
--
David Kastrup
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Keith
OHara
Sent: Sunday, December 15, 2013 11:40 PM
To: lilypond-user@gnu.org
Subject: Re: mid-measure key change
Mark Stephen Mrotek ca.rr.com> writes:
> The key change in the upper staff can be properly aligned (after the
> “g”)
if I use \bar '' '' and \break. Thi
Mark Stephen Mrotek ca.rr.com> writes:
> The key change in the upper staff can be properly aligned (after the “g”)
if I use \bar '' '' and \break. This disrupts Lilypond’s auto-spacing.
>
> Is another solution possible?
>
You can insert a solid bar li
, December 15, 2013 8:25 PM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org; bug-lilyp...@gnu.org
Subject: Re: mid-measure key change
"Mark Stephen Mrotek" writes:
> Hello,
>
>
>
> The key change in the upper staff can be properly aligned (after the
> "g"
"Mark Stephen Mrotek" writes:
> Hello,
>
>
>
> The key change in the upper staff can be properly aligned (after the "g") if
> I use \bar '' '' and \break. This disrupts Lilypond's auto-spacing.
>
>
>
> Is an
PM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: mid-measure key change
If this is something you're composing, general practice would suggest you
move it to the beginning or end of the bar. That said, you could make time
signatures and bar lines temporarily invisibl
#x27; c, ges' beses ges c, }
}
left = \relative c' {
\global
bes,,1 ( \key ges \major eeses )
}
\score {
\new PianoStaff <<
\new Staff = "right" << \rightOne \\ \rightTwo >>
\new Staff = "left" { \clef bass \left }
>>
\layout { }
}
Hello,
The key change in the upper staff can be properly aligned (after the "g") if
I use \bar '' '' and \break. This disrupts Lilypond's auto-spacing.
Is another solution possible?
Thank you.
Mark
\version "2.16.2"
global = {
\key
Eluze wrote
> Am 19.08.2013 15:56, schrieb Tommaso Gordini:
>> Hello to all,
>> I would like to avoid that the new key appears when I have a key change
>> at
>> the end of the staff. I tried it in the documentation, but I could not
>> find
>> what
2013/8/19 Tommaso Gordini :
> Hello to all,
> I would like to avoid that the new key appears when I have a key change at
> the end of the staff. I tried it in the documentation, but I could not find
> what I need.
>
> Can you help me?
>
> Ciao
> Tommaso
See:
ht
Am 19.08.2013 15:56, schrieb Tommaso Gordini:
Hello to all,
I would like to avoid that the new key appears when I have a key change at
the end of the staff. I tried it in the documentation, but I could not find
what I need.
do you mean:
\layout {
\context {
printKeyCancellation = ##f
Hello to all,
I would like to avoid that the new key appears when I have a key change at
the end of the staff. I tried it in the documentation, but I could not find
what I need.
Can you help me?
Ciao
Tommaso
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Hi Javier,
On Tue, May 29, 2012 at 2:34 AM, J Ruiz wrote:
>
> See my attached image sample. Any suggestions on a workaround
> appreciated.
>
You could use something like this before the key change to C major:
\once \override Staff.KeyCancellation #'stencil
J Ruiz ruiz-alma.com> writes:
>
> I'm setting the printKeyCancellation to false, to avoid Lilypond printing
naturals when switching keys, but no luck; Lily still prints the cancellation
naturals.
..when switching to C major, because the cancellation is the only indication
of
J Ruiz writes:
> I'm setting the printKeyCancellation to false, to avoid Lilypond
> printing naturals when switching keys, but no luck; Lily still prints
> the cancellation naturals.
> What am I missing?
>
> \version "2.14.2"
> \score{
> \new Staff {
> \override Staff.Clef #'full-size-change
I'm setting the printKeyCancellation to false, to avoid Lilypond printing
naturals when switching keys, but no luck; Lily still prints the cancellation
naturals.
What am I missing?
\version "2.14.2"
\score{
\new Staff {
\override Staff.Clef #'full-size-change = ##t
\relative c''{
\cadenz
Kieren MacMillan schrieb:
Hi Marc,
Thank you for the tip, it does the trick. There is a small space between key
signature and
the following repeat bar, but I think I can live with that.
You can also fix it... ;)
Yes, that's the better option ;-)
Here's one possibility:
\versio
Hi Mats,
> Please note that LilyPond currently tries to do something clever, namely
> incorporating standard typesetting practice on how to typeset time and key
> signatures at a bar line. This typesetting practice is specified in the
> break-align-orders property of the BreakAlignment object,
Kieren MacMillan wrote:
Hi James,
One trick that was proposed some week ago in a similar situation, is > > to
use a grace note:
That's nice but a bit 'hacky' and not very intuitive don't you think?
+1
The KeySignature should count as a moment/column/whatever that separates t
Hi James,
> > One trick that was proposed some week ago in a similar situation, is > > to
> > use a grace note:
>
> That's nice but a bit 'hacky' and not very intuitive don't you think?
+1
The KeySignature should count as a moment/column/whatever that separates the
repeat barlines.
Cheers,
Kie
Hi Marc,
> Thank you for the tip, it does the trick. There is a small space between key
> signature and
> the following repeat bar, but I think I can live with that.
You can also fix it... ;)
Here's one possibility:
\version "2.13.13"
mel = \relative c {
\time 3/4
\repeat volta 2 {
c
Hello
Mats Bengtsson wrote:
> One trick that was proposed some week ago in a similar situation, is
> > to
> use a grace note:
That's nice but a bit 'hacky' and not very intuitive don't you think?
Why doesn't the following example work or rather, I know this doesn't
work, and I can't understa
Mats Bengtsson schrieb:
One trick that was proposed some week ago in a similar situation, is
to use a grace note:
\version "2.13.13"
mel = \relative c {
\time 3/4
\repeat volta 2 {
c4 c c | c2
}
\key a \major \grace{s16}
\repeat volta 2 {
c8 c | c4 c c c
}
}
\new Voice { \mel }
Just wat
One trick that was proposed some week ago in a similar situation, is to
use a grace note:
\version "2.13.13"
mel = \relative c {
\time 3/4
\repeat volta 2 {
c4 c c | c2
}
\key a \major \grace{s16}
\repeat volta 2 {
c8 c | c4 c c c
}
}
\new Voice { \mel }
Just watch out that you include a
I don't know whether this is kind of standard notation practice,
but I have to sty as close as possible to the original score, so
I want to achieve something similar to the attached picture.
I tried to work with
\version "2.13.13"
mel = \relative c {
\time 3/4
\repeat volta 2 {
c4 c c | c
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