Keith OHara writes:
> David Kastrup gnu.org> writes:
>
>> That image does not make sense to me at all. Notes appear in key
>> signature (though in a different octave) and still carry an accidental.
>> How do you distinguish a normal key signature (valid across all octaves)
>> from a restrict
Hello,
With the following snippet I obtain a ritardando text with a spanner
(dashed line), but using that \break command results in duplicating the
"rit." text on the next measure.
The same applies with *ottava* line, by the way.
Is there a way to remove/hide that duplicated text?
\override *Text
Found the solution :-)
\override TextSpanner #'(bound-details left-broken text) = ##f
Hope this helps anyone else having this question/problem in the future.
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On 15/08/12 18:04, Daniel E. Moctezuma wrote:
Hello,
With the following snippet I obtain a ritardando text with a spanner
(dashed line), but using that \break command results in duplicating
the "rit." text on the next measure.
The same applies with *ottava* line, by the way.
Is there a way to
I would like to suggest to add this to the official docs (is very useful),
by the way.
Also I did notice that solution *doesn't* work with *ottava*, what would
you suggest in this case?
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On Aug 15, 2012, at 12:18 PM, james wrote:
>
> On Aug 15, 2012, at 9:54 AM, David Kastrup wrote:
>
>> Keith OHara writes:
>>
>>> David Kastrup gnu.org> writes:
>>>
That image does not make sense to me at all. Notes appear in key
signature (though in a different octave) and still
james writes:
> On Aug 15, 2012, at 9:54 AM, David Kastrup wrote:
>
>> Keith OHara writes:
>>
>>> David Kastrup gnu.org> writes:
>>>
That image does not make sense to me at all. Notes appear in key
signature (though in a different octave) and still carry an accidental.
How d
On 14 August 2012 22:53, Mats Bengtsson wrote:
> As a follow-up, you didn't mention the perhaps most powerful LSR snippet of
> this form, namely http://lsr.dsi.unimi.it/LSR/Item?id=346. If you want it to
> work with version 2.15.xx, replace the two lines
>(pes (ly:music-property (l
Hi Daniel,
On 15/08/12 09:28, Daniel E. Moctezuma wrote:
> I would like to suggest to add this to the official docs (is very
> useful), by the way.
>
> Also I did notice that solution *doesn't* work with *ottava*, what
> would you suggest in this case?
>
Maybe
\override OttavaBracket #'(bound-
On 2012-08-14 23:24, David Rogers wrote:
On Tue, 14 Aug 2012 22:58:57 +0200
james wrote:
Honestly, what's most important to me is where the sharps/flats in
the key signature are placed.
Looking at the PDF example, I can't understand which line is supposed
to be the good one. They both look w
On 08/15/2012 04:14 PM, lilypond-user-requ...@gnu.org wrote:
Lilypond docs do not seem to explain any way to print the key signature
>>>accidentals on different lines than standard, except for this crazy method
>>>where the alterations count for just one octave.
>>>
>>>
>>>There was no way to al
For a two flat key, some early music facsimile has two Bb's in the key
signature, one for each octave.
On Wed, Aug 15, 2012 at 10:52 AM, Mats Bengtsson
wrote:
>
> On 08/15/2012 04:14 PM, lilypond-user-requ...@gnu.org wrote:
>
>> Lilypond docs do not seem to explain any way to print the key signat
Hello,
I've been using Lilypond for half a year already and I have managed myself
so far. But now I'm stuck and publisher is already knocking on my door..
I need to add square brackets to noteheads, articulations,
accidentals and noteheads with accidentals for editorial remarks.
I found a snippet \
Hi list,
this is somewhat OT, but only slightly, I think.
In need to insert music glyphs in continuous text (for writing a
revision report) I successfully found out how to insert glyphs from
LilyPond's Emmentaler font in (Xe)LaTeX documents and wrote a few first
commands (thanks to Google and
Mats Bengtsson writes:
> On 08/15/2012 04:14 PM, lilypond-user-requ...@gnu.org wrote:
>>> Lilypond docs do not seem to explain any way to print the key signature
>>> >>>accidentals on different lines than standard, except for this
>>> >>> crazy method
>>> >>>where the alterations count for just o
David Kastrup writes:
> Mats Bengtsson writes:
>
>> I needed the feature while trying to typeset some of the Mystery
>> sonatas by Biber, which are written in scordatura, i.e. a violin with
>> a non-standard tuning. In these pieces, the notation reflects how you
>> should press the fingers, not
On 2012-08-15 17:34, Urs Liska wrote:
this is somewhat OT, but only slightly, I think.
No, it's not at all OT! It's actually very on-topic for all
lilypond-users (in particular also for those who use lilypond-book).
In need to insert music glyphs in continuous text (for writing a
revision r
Hello,
I'll have a look at it in the next few days. As you perhaps saw previously
on this list, I worked last year on a LaTeX package including lilypond
glyphs. If you want to have a look and if you find something usefull in it,
feel free to use, adapt and so on (I don't know when I'll have time t
> Any idea how to make the glyphs available without using xelatex?
For plain LaTeX, I suggest to use the Type 1~fonts (feta-alphabet,
parmesan, etc.). While fontforge is building the Emmentaler fonts
during a `make all' lilypond build, the necessary .enc and .tfm files
are automatically created
Hello,
I overrode the default beam thickness, as the beams looked a tad scrawny to me.
At 0.7 staff spaces, they look much better to my taste. However, increasing
the
thickness makes the lower beams of 16th and 32nd notes run into the upper
beams,
creating the appearance of a single, massi
Hello Ian,
I'm afraid that does *not* work with ottava text spanner.
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I've found a workaround to points 2 and 4:
\new Staff \with { printPartCombineTexts = ##f } <<
\set Staff.instrumentName = \markup \center-column {
"Soprano"
"II & III"
}
\new Voice = "Dynamics" << \dynamicUp \sopranoIDynamics >>
\partcombine \sopranoII \sopranoIII
\new Vo
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