Thank you all very much, especially David for the explanation how the
contexts work. Indeed I didn't know what I was doing.
Forcing a particular context with \context for the first \applyContext call
then solved my issue.
Jakub
ded
> > into a Voice or even Staff context from the surrounding Score context.
> > So \applyContext prints the Stem.length setting for the Score context
> > which has not been changed (you only changed the default for every
> > bottom context).
> >
> > If you want t
ting for the Score context
>> which has not been changed (you only changed the default for every
>> bottom context).
>>
>> If you want to override Stem.length at the Score level, either write
>>
>> \override Score.Stem.length = ...
>>
>> in your \layou
or every
> bottom context).
>
> If you want to override Stem.length at the Score level, either write
>
> \override Score.Stem.length = ...
>
> in your \layout block, or write things like described in the docs,
> namely
>
> \layout {
> \context {
> \Sc
ou picked from LilyPond's documentation, rather like something
you tried out of a whim and decided it must be correct because it worked
in some manner.
Let me quote this:
\layout {
\override Stem.length = #0
}
What you are doing here is putting music into the \layout block that
serve
value set by the override, i.e. 0. But instead, the first call
prints the ly:stem::pure-calc-length function, i.e. the default value of
Stem.length.
If the first \applyContext call happens only after the first note, 0 is
printed as expected.
If the override is placed at the beginning of the music
Yes it does! Thank you.
On Fri, Jan 26, 2024 at 11:23 PM Vaughan McAlley
wrote:
>
> Hi Ivan,
>
> \new PianoStaff \with { \remove "Span_bar_engraver" }
>
> should work!
>
>
On Sat, 27 Jan 2024 at 11:08, Ivan Kuznetsov
wrote:
> "\override BarLine" for a PianoStaff
>
> I frequently use lilypond for short theory
> examples for teaching, and for such examples
> I often use the code:
>
>\override BarLine.transparent = ##t
>
> t
"\override BarLine" for a PianoStaff
I frequently use lilypond for short theory
examples for teaching, and for such examples
I often use the code:
\override BarLine.transparent = ##t
to make bar lines disappear. This has always worked
for me for a single staff, but when I just t
Le dimanche 26 mars 2023 à 14:24 +0200, David Kastrup a écrit :
> Patterns like
>
> ("flageolet" .
>
> (acons "flageolet"
>
> (assoc "flageolet"
Why handle alists with articulation-type keys but not
```
(list "flageolet" ...)
(cons "flageolet" ...)
(hash-ref xxx "flageolet")
```
etc. The poss
Jean Abou Samra writes:
> convert-ly only does text substitutions based on patterns that are
> likely to be old syntax that needs to be converted. It cannot
> understand the logic behind Scheme code. In this snippet, it can't
> determine that what is being looked up in the alist is an
> `articula
Le dimanche 26 mars 2023 à 07:19 -0400, Mark Mathias a écrit :
>
> On Sat, Mar 25, 2023 at 8:36 PM Jean Abou Samra
> <[j...@abou-samra.fr](mailto:j...@abou-samra.fr)> wrote:
>
> > Le samedi 25 mars 2023 à 10:58 -0400, Mark Mathias a écrit :
> >
> > > Oops... Except it doesn't. The accent rema
On Sat, Mar 25, 2023 at 8:36 PM Jean Abou Samra wrote:
> Le samedi 25 mars 2023 à 10:58 -0400, Mark Mathias a écrit :
>
> Oops... Except it doesn't. The accent remains black when I run it in
> 2.24.0. (I'm only beginning to get a glimmer of how to use Scheme with
> LilyPond.)
>
> In 2.24, articul
Le samedi 25 mars 2023 à 10:58 -0400, Mark Mathias a écrit :
> Oops... Except it doesn't. The accent remains black when I run it in 2.24.0.
> (I'm only beginning to get a glimmer of how to use Scheme with LilyPond.)
In 2.24, `articulation-type` is a symbol, not a string. You need to remove the
On 2023-03-25 7:58 am, Mark Mathias wrote:
Oops... Except it doesn't. The accent remains black when I run it in
2.24.0. (I'm only beginning to get a glimmer of how to use Scheme with
LilyPond.)
Hmm... I currently run 2.22 for my scores, and the snippet from the
email thread does appear to work
> The "elegant" solution intrigues me, but the link to the thread
> appears to be down.
Yesterday and today there was a hiccup with gnu.org (and nongnu.org);
see
https://hostux.social/@fsfstatus
It seems to be fixed now.
Werner
On Sat, Mar 25, 2023 at 10:41 AM Mark Mathias wrote:
>
>
> On Sat, Mar 25, 2023, 9:21 AM Aaron Hill wrote:
>
>> On 2023-03-25 6:10 am, Mark Mathias wrote:
>> > On Fri, Mar 24, 2023, 7:59 PM Leo Correia de Verdier <
>> > leo.correia.de.verd...@gmail.com> wrote:
>> >> But if something more elegant
On Sat, Mar 25, 2023, 9:21 AM Aaron Hill wrote:
> On 2023-03-25 6:10 am, Mark Mathias wrote:
> > On Fri, Mar 24, 2023, 7:59 PM Leo Correia de Verdier <
> > leo.correia.de.verd...@gmail.com> wrote:
> >> But if something more elegant is required (for instance if there could
> >> be
> >> conflicting
On 2023-03-25 6:10 am, Mark Mathias wrote:
On Fri, Mar 24, 2023, 7:59 PM Leo Correia de Verdier <
leo.correia.de.verd...@gmail.com> wrote:
But if something more elegant is required (for instance if there could
be
conflicting tweaks) there is a solution in this thread:
https://lists.gnu.org/arch
ied the new
> structure. If I was writing it from scratch rather than re-editing it would
> be simpler.
> >
> > That is indeed the issue, as those marks are a different type. Just
> needs a different override in a different context. Turns out that using the
> \coda and \segno
as those marks are a different type.
Just needs a different override in a different context. Turns out
that using the \coda and \segno commands the symbols created are
handled the same as articulations. That means they fall into the
somewhat more generic Script type, which is handled in the
ting it from scratch rather than re-editing it would be simpler.
That is indeed the issue, as those marks are a different type. Just
needs a different override in a different context. Turns out that
using the \coda and \segno commands the symbols created are handled
the same as articulations
Hi Leo,
On Fri, Mar 24, 2023 at 7:59 PM Leo Correia de Verdier <
leo.correia.de.verd...@gmail.com> wrote:
> The problem with that solution is that it changes all Scripts, including
> all articulations.
A very good point. That's what I get for trying to do too many things at
the same time. :)
"to coda" symbol in bar 48 and three repeated
> sections, I got lost in the nested braces when I tried the new structure. If
> I was writing it from scratch rather than re-editing it would be simpler.
>
> That is indeed the issue, as those marks are a different type. Just needs a
e issue, as those marks are a different type. Just needs a
different override in a different context. Turns out that using the \coda
and \segno commands the symbols created are handled the same as
articulations. That means they fall into the somewhat more generic Script
type, which is hand
2:44 am (GMT+10:00) To: Laurie Savage
Cc: Lilypond-User Mailing List Subject: Re: Coda/Segno
sign color override not working: LiliyPond 2.24.0 Hi Laurie,On Fri, Mar 24,
2023 at 10:56 AM Laurie Savage wrote:Hi,I put this in
my layout block\context { \Score \override CodaMark.color =
Hi Laurie,
On Fri, Mar 24, 2023 at 10:56 AM Laurie Savage
wrote:
> Hi,
>
> I put this in my layout block
>
> \context {
> \Score
> \override CodaMark.color = #red
> \override SegnoMark.color = #red
> \override SectionLabel.color = #red
>
Hi,
I put this in my layout block
\context {
\Score
\override CodaMark.color = #red
\override SegnoMark.color = #red
\override SectionLabel.color = #red
\override SectionLabel.font-size = #3
\override RehearsalMark.font-size = #3
\override RehearsalMark.color
take a look:
> >
> > %%%
> > \version "2.24.0"
> >
> > xclefon = {
> > \set Staff.clefPosition = #3
> > \override Staff.Clef.stencil = #(lambda (grob)
> > (parenth
schrieb Rip _Mus:
> Hello,
> please, take a look:
>
> %%%
> \version "2.24.0"
>
> xclefon = {
> \set Staff.clefPosition = #3
> \override Staff.Clef.stencil = #(lambda (grob)
> (parenthesize-stencil
>
Oh,
it works very well!
Sometimes I get lost in a glass of water..
Thank you!!
Il giorno dom 29 gen 2023 alle ore 12:09 Aaron Hill <
lilyp...@hillvisions.com> ha scritto:
> On 2023-01-29 1:16 am, Rip _Mus wrote:
> > in "\override #'(baseline-skip . 0.8)" I'
On 2023-01-29 1:16 am, Rip _Mus wrote:
in "\override #'(baseline-skip . 0.8)" I'm trying to scale the
baseline-skip according to the part staff size (16), in fact 16/20 =
0.8. I'd like to make this snippet more generic.
I tried to point, from within the markup, to t
Hello,
please, take a look:
%%%
\version "2.24.0"
xclefon = {
\set Staff.clefPosition = #3
\override Staff.Clef.stencil = #(lambda (grob)
(parenthesize-stencil
(grob-interpret-m
Got it. Now I think I agree with you this is better how it is.
Thank you again :)
Tomasz
W dniu 22.01.2023 o 17:46, Jean Abou Samra pisze:
Le 22/01/2023 à 14:11, | || | | a écrit :
Thank you for the really comprehensive answer! You solved a few other
problems I was struggling with in the proce
Le 22/01/2023 à 14:11, | || | | a écrit :
Thank you for the really comprehensive answer! You solved a few other
problems I was struggling with in the process.
I don't get why this kind of diversity with overriding properties
would have any purpose for a user. I mean, I see there are different
hat overrides in the main music do not influence \tempo,
\note or \rhythm is intentional. However, \rhythm has more
flexibility than \note because you can just put overrides
inside it, like
\version "2.24.0"
customFlag = {
\override Score.Flag.stencil = #ly:text-interface::pri
r, \rhythm has more
flexibility than \note because you can just put overrides
inside it, like
\version "2.24.0"
customFlag = {
\override Score.Flag.stencil = #ly:text-interface::print
\override Score.Flag.text = \markup {\raise #-0.2 \beam #1.0 #0.05 #0.5 }
}
\
construct note from the beginning inside
markup and add hidden tempo change for proper tempo export, but it seems
to be overkill for this kind of problem.
\version "2.24.0"
\score {
\new Staff {
\overrideTimeSignatureSettings 4/4 1/8 #'() #'()
\time 4/4
Le 07/11/2022 à 08:23, Tom Campbell a écrit :
Using a rootless version of C13 in the piano left hand makes
Lilypond call it an E variant. I can't figure out how to override
chord names so I'm using markup, like this. What am I doing wrong?
How about this:
\version "2.
Using a rootless version of C13 in the piano left hand makes Lilypond call
it an E variant. I can't figure out how to override chord names so I'm
using markup, like this. What am I doing wrong?
leftHand = \relative c, {
\clef bass
\key c \major
\time 4/4
4^\markup { C13 }
4
Thanks; I think you are right about it being convoluted, and I will just
continue using explicit \tweak and \override statements.
Cheers,
-Ahanu
On Thu, Jun 30, 2022 at 4:18 PM Jean Abou Samra wrote:
>
>
> Le 30/06/2022 à 22:04, Ahanu Banerjee a écrit :
> > Hello,
> >
Ahanu Banerjee writes:
> Hello,
>
> Is it possible to override or tweak multiple properties of one object at
> once, using one statement? i.e., without typing "\tweak" or "\override"
> multiple times? (Of course, defining a new function consisting of multiple
Le 30/06/2022 à 22:04, Ahanu Banerjee a écrit :
Hello,
Is it possible to override or tweak multiple properties of one object
at once, using one statement? i.e., without typing "\tweak" or
"\override" multiple times? (Of course, defining a new function
consisting of mu
Hello,
Is it possible to override or tweak multiple properties of one object at
once, using one statement? i.e., without typing "\tweak" or "\override"
multiple times? (Of course, defining a new function consisting of multiple
statements is possible, but it's not prac
; one workaround is to use a
quarter note value and a spacer rest, but this results in too much
empty space. I tried \override NoteHead.glyph-name = #'"noteheads.s2",
but that did not work.
Example below (the notes are arbitrary):
\version "2.23.7"
\relative
Hello Ahanu,
there is also the option to override NoteHead.style to #'harmonic-black. This
will not give you a round head though.
Cheers,
Valentin
Am Mittwoch, 22. Juni 2022, 21:19:20 CEST schrieb Ahanu Banerjee:
> Hello,
>
> I am trying to create noteheads (without stem
are filled-in. They are meant to
> > represent the notes that will be heard when a harmonic is played. I am
> > not
> > sure how to do this; one workaround is to use a quarter note value and
> > a
> > spacer rest, but this results in too much empty space. I tried
> > \overr
; one workaround is to use a quarter note value and
a
spacer rest, but this results in too much empty space. I tried
\override
NoteHead.glyph-name = #'"noteheads.s2", but that did not work.
Example below (the notes are arbitrary):
\version "2.23.7"
\relative c''
a
spacer rest, but this results in too much empty space. I tried \override
NoteHead.glyph-name = #'"noteheads.s2", but that did not work.
Example below (the notes are arbitrary):
\version "2.23.7"
\relative c''
{ << { \override Parentheses.font-size =
es ranging from six parts to over
twenty, so I need to alter this on the score level and the results
aren't ideal.
\version "2.23.9"
%#(set-global-staff-size 12)
notes = \relative d' { \time 2/2 R1*7 r2 d2 f4 e d2 }
incipitNotes =
\relative c'
{
\time 2/2
r\longa
\ov
gt;>>>
>>>> Also I need to put the "a tempo" above the ottava.
>>>>
>>>> I think I now how to do that in a more simple context, but I'm
>>>> struggling here.
>>>>
>>>> I have attached two screenshots.
>>>>
s weekend) that this is only going to work in 2.23
thanks to \ottava having been converted to a stream event. In 2.22, try
\once \override Staff.OttavaSpanner.outside-staff-priority = 0
\ottava 1
Jean
> will cause the ottava marking to be put closer to the staff than the text
> span.
>
> > > > I think I now how to do that in a more simple context, but I'm
> > > > > struggling here.
> > > > >
> > > > > I have attached two screenshots.
> > > > >
> > > > > The example is the musi
> > I have attached two screenshots.
> > > >
> > > > The example is the music I'm trying to engrave from while the other
> > > > screenshot is what I've asked Lilypond to do,
> > > >
> > > > I have enclosed below an excerpt of my Lilypond cod
>
> > > I have attached two screenshots.
> > >
> > > The example is the music I'm trying to engrave from while the other
> > > screenshot is what I've asked Lilypond to do,
> > >
> > > I have enclosed below an excerpt of my Lilyp
>
> > Thanks in advance for your help.
> >
> > Ken Wolcott
> >
> >
> > \version "2.22.0"
> > ...
> > \language "english"
> > ...
> > a_tempo = ^\markup { \bold "A tempo" }
> >
is what I've asked Lilypond to do,
>
> I have enclosed below an excerpt of my Lilypond code.
>
> Thanks in advance for your help.
>
> Ken Wolcott
>
>
> \version "2.22.0"
> ...
> \language "english"
> ...
> a_tempo = ^\
From: Jon Arnold
Date: Friday, October 15, 2021 at 7:39 PM
To: Carl Sorensen
Cc: Lukas-Fabian Moser , lilypond-user
Subject: Re: Override start of figured bass continuation line
Ah, I think I might have removed the \once command by mistake.
That would explain it.
Carl
ypond-user@gnu.org>
> *Subject: *Re: Override start of figured bass continuation line
>
>
>
> Thank you both. Carl's solution seems to shorten the right side as well,
> so I think I will use Lukas's.
>
>
>
> I’m not trying to argue for my solution, but I
From: Jon Arnold
Date: Friday, October 15, 2021 at 4:43 PM
To: Carl Sorensen
Cc: Lukas-Fabian Moser , lilypond-user
Subject: Re: Override start of figured bass continuation line
Thank you both. Carl's solution seems to shorten the right side as well, so I
think I will use Lukas's
ct 15, 2021 at 2:43 PM Carl Sorensen wrote:
>
>>
>>
>>
>>
>> *From: *lilypond-user > gmail@gnu.org> on behalf of Jon Arnold
>> *Date: *Friday, October 15, 2021 at 1:14 PM
>> *To: *Lukas-Fabian Moser
>> *Cc: *lilypond-user
>>
, 2021 at 1:14 PM
> *To: *Lukas-Fabian Moser
> *Cc: *lilypond-user
> *Subject: *Re: Override start of figured bass continuation line
>
>
>
> Here's an example:
>
> \version "2.22.1"
>
> \score {
> \new Staff {
> {
> <<
From: lilypond-user
on behalf of Jon Arnold
Date: Friday, October 15, 2021 at 1:14 PM
To: Lukas-Fabian Moser
Cc: lilypond-user
Subject: Re: Override start of figured bass continuation line
Here's an example:
\version "2.22.1"
\score {
\new Staff {
{
<<
tens the continuation line on _both_ sides, which is not what you
want. There's probably a more intelligent solution, but the first thing
I could come up with was to partially re-implement the drawing routine
for the continuation line with configurable left- and right-shorten-lengths:
\versio
aff.implicitBassFigures = #'(99)
> \bassFigureExtendersOn
> <99> q8
>
> My teacher is asking me to move the start of it over to the right (but not
> move the end of it). How can I do this with an override? I know I can do:
>
> s16 <99> q8
>
> but this
e end of it). How can I do this with an override? I know I
can do:
s16 <99> q8
but this affects note spacing in a conspicuous way that I don't like
(see attached image).
What's the property to override to increase the start of the line in X
direction.
Please provide a
Hi folks-
I have some figured bass continuation lines like this:
\set Staff.implicitBassFigures = #'(99)
\bassFigureExtendersOn
<99> q8
My teacher is asking me to move the start of it over to the right (but not
move the end of it). How can I do this with an override? I know I can d
Timothy Lanfear writes:
> https://lilypond.org/doc/v2.22/Documentation/extending/intermediate-substitution-functions
> describes \temporary \override and \revert as push/pop pair operating
> on a stack of grob properties so the previous value of the property
> can be recovered. On th
https://lilypond.org/doc/v2.22/Documentation/extending/intermediate-substitution-functions
describes \temporary \override and \revert as push/pop pair operating on
a stack of grob properties so the previous value of the property can be
recovered. On the other hand, the example of \revert in
yway knows the command for making all Custos go up like they do in the
> 1600 century song books I have seen? Thanks!
Hello,
I'm not a specialist of ancient notation. I don't know why Custos does not
have a standard direction setting (like Stem for instance).
With \override Custos #&
Just a minor thing, I tried this out and it work in what sheet and not
the other - what I realized was that it was only working for the middle
Custos. I looked for a command for all Custos, but can't seem to find
it.
Anyway knows the command for making all Custos go up like they do in the
160
Thank you for the link to the new issue tracker, I've missed it.)
сб, 3 квіт. 2021 о 13:58 Hans Aikema пише:
>
>
> On 2 Apr 2021, at 21:46, Dmytro O. Redchuk wrote:
>
> Hi,
>
> as for me, this issue has been fixed in 2.22 in some way.
>
> https://sourceforge.net/p/testlilyissues/issues/5129/
>
> On 2 Apr 2021, at 21:46, Dmytro O. Redchuk wrote:
> Hi,
>
> as for me, this issue has been fixed in 2.22 in some way.
>
> https://sourceforge.net/p/testlilyissues/issues/5129/
Hi Dmytro,
Matches with the new issue-tracker for lilypond:
https://gitlab.com/lilypond/lilypond/-/issues/5129
W
Hi Jean,
> you need \new Voice here or separate staves are created.
D'oh! Just wasn’t thinking… Thanks.
> Other than that, it seems to work fine -- amended input and output attached.
Nice!
> Is there anything wrong with it
I’ll go back to some of my more complicated multi-instrumentalist piec
Le 02/04/2021 à 22:15, Kieren MacMillan a écrit :
Hi Jean,
Something like the attached?
It breaks when I abstract the keys:
%%%
global = {
\key aeses \major
s1
\key cis \minor
s1
}
notes = \relative {
aeses'8 beses ces deses eeses fes ges aeses
cis, dis e fis gis a bis cis
Hello,
Le 30/03/2021 à 03:33, Kieren MacMillan a écrit :
Hi Craig,
That worked for my over-simplified MWE. But here's my real-world problem with
multiple key changes. There are only some that need to be over-ridden
enharmonically. See bar 2 of the Alto Sax where I'd like to ove
Hi Jean,
> Something like the attached?
It breaks when I abstract the keys:
%%%
global = {
\key aeses \major
s1
\key cis \minor
s1
}
notes = \relative {
aeses'8 beses ces deses eeses fes ges aeses
cis, dis e fis gis a bis cis
}
music = <<
<< \global \notes >>
\transpose ees c <
gt; wrote:
> > >
> > > Hi Dmytro,
> > >
> > > Not nice but works:
> > >
> > > \version "2.19.83"
> > > {
> > > r4
> > > %a
> > > a4*1/8 \hideNotes a a a a a a a\unHideNotes
> > > a2
um 01:43 Uhr schrieb Craig Dabelstein <
craig.dabelst...@gmail.com>:
> Thanks Kieren. That worked for my over-simplified MWE. But here's my
> real-world problem with multiple key changes. There are only some that need
> to be over-ridden enharmonically. See bar 2 of the Al
Hi Craig,
> That worked for my over-simplified MWE. But here's my real-world problem with
> multiple key changes. There are only some that need to be over-ridden
> enharmonically. See bar 2 of the Alto Sax where I'd like to override this key
> signature without changing
Thanks Kieren. That worked for my over-simplified MWE. But here's my
real-world problem with multiple key changes. There are only some that need
to be over-ridden enharmonically. See bar 2 of the Alto Sax where I'd like
to override this key signature without changing the whole global
Hi Craig,
> In this snippet, how can I override the Alto Sax key signature so it displays
> as A-flat major instead of G-sharp major?
\transpose ds c'
But then you’ll probably want the old “naturalize notes” snippet (wherever that
is…).
Hope that he
Hi all,
In this snippet, how can I override the Alto Sax key signature so it
displays as A-flat major instead of G-sharp major?
\version "2.20.00"
\language "english"
fluteNotes = { c'4 d' e' f' }
altosaxNotes = \transpose c' ef
{ c'
{
> \cadenzaOn
> \autoBeamOff
> <>^"Defaults"
> \stemUp
>
> c''1:32
>
> c''4:32
>
> c''8:32
>
> c'8:32[
> d''8:32]
>
> c''8:32[
> d'8:32]
>
> \ba
2[
d''8:32]
c''8:32[
d'8:32]
\bar "||"
\stemDown
c''1:32
c''4:32
c''8:32
c'8:32[
d''8:32]
c''8:32[
d'8:32]
\bar "||"
}
Tbh, I can't think of a use-case wher
Hi Pashkuli
Maybe you are confused with how the mailing list works. (Sorry if my
assumption is wrong). This thread isn't related to your thread. It's a
separate thread I started. Because you are subscribed to the mailing list
you receive all the e-mails people sent to the mailing-list.
Dimitris
Hi, Dimitris
What do you mean by tremolostem. I have not shown example with tremolo.
Also, what slope rotation, what real slope?
What space and length fraction, default StemTremolo, not sure what is that
'default'.
The stems for the notes are slightly different - actually quite different -
especial
I understand the reason behind the aesthetic choice of using a different
type of tremolostem for beamed notes but the current implementation IMO
doesn't work as good as the regular StemTremolo.
• Slope is a simple rotation and not a real slope.
• You can't tweak the space (length-fraction) of trem
On 2020-09-03 5:22 pm, Alasdair McAndrew wrote:
Many thanks, both for the event function, and to the blog post. The
latter
looks quite tricky, but when I feel brave enough I'll give it a go.
Meanwhile, I'll experiment with the event function - which might in
fact be
preferable given that some
n my attempt to typeset some early 18th century French music for viola
> da gamba, I'm trying to keep to the original notation as closely as
> possible. Thus I'm using a breath mark to indicate a trill, and a
> sans-serif x for a mordent. So for example, I have
> >
>
ome early 18th century French music for viola da
> gamba, I'm trying to keep to the original notation as closely as possible.
> Thus I'm using a breath mark to indicate a trill, and a sans-serif x for a
> mordent. So for example, I have
>
> mx = \markup {\teeny \
gt;> possible. Thus I'm using a breath mark to indicate a trill, and a
>> sans-serif x for a mordent. So for example, I have
>>
>> mx = \markup {\teeny \sans x}
>>
>> But to put this symbol next to its note (where it belongs), I have to
>> write somet
Errr... because I don't know enough about Lilypond to distinguish between
an override and a tweak. I just happened to have found a Lilypond score
(admittedly an old one) which uses overrides to place special symbols next
to notes, and I'm doing that because I can see that it work
So for example, I have
>
> mx = \markup {\teeny \sans x}
>
> But to put this symbol next to its note (where it belongs), I have to write
> something like
>
> \once \override TextScript #'extra-offset = #'(1.5 . -1.5) f4.^\mx
>
> to ensure it goes in the right place.
Oh sorry - you were actually asking about \once \override. SORRY!
there's a huge discussion about the abbreviation of this on the
development list and I had that in mind.
Andrew
Didn't we already have this conversation? You can make an engraver to
do all the French ornaments. The outline is on Scores of Beauty. I can
help you do it if you like. Anything like what you have suggested is a
just a sort of hack. Even though you can force it to work, it is
suboptimal. It ca
here it belongs), I have to
> write something like
>
> \once \override TextScript #'extra-offset = #'(1.5 . -1.5) f4.^\mx
>
> to ensure it goes in the right place. Is there any way of simplifying
> this? Ideally, it'd be nice to be able to write something like
>
x}
But to put this symbol next to its note (where it belongs), I have to write
something like
\once \override TextScript #'extra-offset = #'(1.5 . -1.5) f4.^\mx
to ensure it goes in the right place. Is there any way of simplifying
this? Ideally, it'd be nice to be able to write
context or grob properties that accept
ly:context-mod?. But who knows what the future might hold.
It could be reasonable that the "\override Foo \with { ... }" pattern
implies the nested use of \with, meaning you could not assign a context
mod in that syntax. You would have to rev
Aaron Hill writes:
> On 2020-08-29 6:44 am, David Kastrup wrote:
>> Hm. \with instead of = would even fit into the parser. But that
>> leaves
>> tweaks in the lurch.
>
> Not sure I am following. Are you indicating that something like...
>
>
> \onc
1 - 100 of 775 matches
Mail list logo