Ah yes, I'd forgotten that. It's done in the Lilypond documentation either
by setting paper as part of the lilypond call, or explicitly in the example.
e.g:
@lilypond[verbatim,quote,ragged-right]
...
\paper {
paper-width = 100\mm
paper-height = 100\mm
tagline = ##f
}
}
@end lilypond
Hilary Snaden writes:
> Is there a straightforward way of making tempo markings repeat over
> selected staffs? I'm thinking in particular of SATB + keyboard, where
> it can be useful to have tempo changes marked over each of the choir
> staves and the upper keyboard staff.
Remove the Metronome_m
Is there a straightforward way of making tempo markings repeat over
selected staffs? I'm thinking in particular of SATB + keyboard, where it
can be useful to have tempo changes marked over each of the choir staves
and the upper keyboard staff.
___
li
On Aug 4, 2013 5:30 PM, "Trevor Daniels" wrote:
> Me too. As a singer it looks exactly what I would expect. That's the
> way all vocal music is laid out - with syllables left-aligned on tied
> and slurred notes, wherever they appear.
How is it done in jazz lead sheets?
My situation here, where
- Original Message -
From: "James Harkins"
To: "Trevor Daniels"
Cc: "lily-users"
Sent: Monday, August 05, 2013 3:38 PM
Subject: Re: Maybe bug? Lyrics on a tied note at end of system
On Aug 4, 2013 5:30 PM, "Trevor Daniels" wrote:
Me too. As a singer it looks exactly what I would
On Mon, Aug 5, 2013 at 10:38 AM, James Harkins wrote:
> On Aug 4, 2013 5:30 PM, "Trevor Daniels" wrote:
> > maybe it's as Phil stated in his answer: singers expect the lyric text
> to start with the note and do not follow other/foreign aesthetic styles
>
> Classical or jazz singers?
>
I can't s
Hi:
I am having some problems with repeat volta. I give below the pdf and .ly
version of the code. The bar line ins the 3rd system is not at the and of
the line. If the repeat starts at the beginning of a bar ( now the repeat
start with r4; I remove that and replace the bf2. before it and the bf2.
This is covered very clearly in the Notation Reference:
"When alternate endings are added to a repeat that begins with an incomplete
measure, it becomes necessary to set the Timing.measureLength context property
manually, in the following specific places:"
Please familiarise yourself with that
On Aug 5, 2013 11:07 AM, "Carl Peterson" wrote:
> Seeing a column of flush-left syllables in the middle of a line of lyrics
when there are 3-5 verses just looks *bad*, even if it is technically
correct.
:-D
Anyway, I'll take the vocalists' word for it. I still believe any
professional engraver (
Sebastian:
Some modifications must be made when the repeated section starts with an
incomplete measure. This is covered in the manual at
http://www.lilypond.org/doc/v2.16/Documentation/notation/long-repeats.
Specifically the "Timing.measureLength" has to be reset in both of the
alternatives.
Thank you very much. Your suggestgions work. I looked at the documentation,
but I seemed to have missed that. Unless I
have not upgraded my documentation.
Sebastian Canagaratna
On Mon, Aug 5, 2013 at 12:46 PM, Mark Stephen Mrotek
wrote:
> Sebastian:
>
> ** **
>
> Some modifications must b
It seems to me that when scores are set with lots of white space, the
rules are followed meticulously (and that this is why computer-generated
scores began by being set much too loosely on the page - it's easier to
follow spacing rules when you have lots of room to do so). As scores are
set tighter
On Aug 5, 2013 1:39 PM, "David Rogers" wrote:
> Isolated, your example looks perfect to me. I think what's making it
> look ugly to you is probably that it makes the spacing suddenly wider in
> an otherwise fairly-tight score.
Sure, that sounds right. I don't think I will ever be able to see it a
On Aug 5, 2013 2:59 PM, "James Harkins" wrote:
> I appreciate the thought, but I'm not quite interested in that particular
flavor of Kool-aid. I'll go with my eye on this. I don't like how it looks,
and I get something that is easier to read by fussing with the line breaks.
I'm satisfied with that
Hello all,
> I have found some images of Henle's Moonlight Sonata.
> Old edition: http://www.ackermanmusic.co.uk/img/P/412339_1.jpg
> And the new one (from 2013):
> http://www.di-arezzo.com/multimedia/images/henle/part/hn1062.jpg
> Same publishing house, but so many differences :)
Is there a pre
Kieren MacMillan writes:
> Hello all,
>
>> I have found some images of Henle's Moonlight Sonata.
>> Old edition: http://www.ackermanmusic.co.uk/img/P/412339_1.jpg
>> And the new one (from 2013):
>> http://www.di-arezzo.com/multimedia/images/henle/part/hn1062.jpg
>> Same publishing house, but so m
James Harkins writes:
> On Aug 5, 2013 2:59 PM, "James Harkins" wrote:
>> I appreciate the thought, but I'm not quite interested in that
> particular flavor of Kool-aid. I'll go with my eye on this. I don't
> like how it looks, and I get something that is easier to read by
> fussing with the lin
David Kastrup writes:
> Kieren MacMillan writes:
>
>> Hello all,
>>
>>> I have found some images of Henle's Moonlight Sonata.
>>> Old edition: http://www.ackermanmusic.co.uk/img/P/412339_1.jpg
>>> And the new one (from 2013):
>>> http://www.di-arezzo.com/multimedia/images/henle/part/hn1062.jpg
>
Am 05.08.2013 21:27, schrieb David Kastrup:
Kieren MacMillan writes:
Hello all,
I have found some images of Henle's Moonlight Sonata.
Old edition: http://www.ackermanmusic.co.uk/img/P/412339_1.jpg
And the new one (from 2013):
http://www.di-arezzo.com/multimedia/images/henle/part/hn1062.jpg
S
On Mon, Aug 5, 2013 at 5:10 PM, David Rogers wrote:
> James Harkins writes:
>
> > On Aug 5, 2013 2:59 PM, "James Harkins" wrote:
> >> I appreciate the thought, but I'm not quite interested in that
> > particular flavor of Kool-aid. I'll go with my eye on this. I don't
> > like how it looks, and
On 04/08/2013 13:41, Phil Holmes wrote:
- Original Message - From: "Robert Honore"
OK - this is what I get part way through my lilypond verbose output:
Initializing FontConfig...
Adding font directory: C:/Program Files
(x86)/LilyPondV2.16.2/usr/share/lilypond/current/fonts/otf
Buildi
Am 04.08.2013 18:50, schrieb David Kastrup:
Urs Liska writes:
Hi David,
thank you for the organisation.
I could and should have written earlier, but unfortunately I can't
attend this meeting.
I really would love joining the discussions, and above all have the
opportunity to meet some of you i
On 04/08/2013 15:28, and...@andis59.se wrote:
>Initializing FontConfig...
>Adding font directory:
>C:/Program Files/LilyPond/usr/share/lilypond/current/fonts/otf
>Building font database...^C
Maybe a stupid question but...
Has the directory above been created?
One of the "problems" with Vis
On 04/08/2013 17:22, Trevor Daniels wrote:
and...@andis59.se wrote Sunday, August 04, 2013 8:28 PM
One of the "problems" with Vista is the UAC and you need to have
sufficient rights to write and create files and directories under
\Program Files.
Have you tried to run Lilypond as Administrator
Hi Urs (et al.),
> I'm probably biased but I find the appearance of the 'old' score infinitely
> superior.
Immediately, one notices [in the newer version] what a poor choice it is to
have the triplet number (over the middle of the triplet) above, as it is easily
confused with the fingering num
Am 06.08.2013 01:26, schrieb Kieren MacMillan:
Hi Urs (et al.),
I'm probably biased but I find the appearance of the 'old' score infinitely
superior.
Immediately, one notices [in the newer version] what a poor choice it is to
have the triplet number (over the middle of the triplet) above, as
Carl Peterson writes:
> I'm curious...did you happen to notice any examples where the engraver
> chose to split the measure that might be indicative of an approach? If
> I were to have done something like this for a hymnal/songbook, I would
> have split the measure and would have kept the entire
On Mon, Aug 5, 2013 at 8:55 PM, David Rogers wrote:
> Carl Peterson writes:
>
> > I'm curious...did you happen to notice any examples where the engraver
> > chose to split the measure that might be indicative of an approach? If
> > I were to have done something like this for a hymnal/songbook, I
Hi.
I'm trying to write a conditional version of the \transpose
function, that would work something like this:
input = {
c c
\conditionalTransposition c c' { c c }
}
\input
=> { c c c c }
\processConditionalTransposition \input
=> { c c c' c' }
And I've hit another
Kieren MacMillan writes:
> Hi Urs (et al.),
>
>> I'm probably biased but I find the appearance of the 'old' score
> infinitely superior.
>
> Immediately, one notices [in the newer version] what a poor choice it
> is to have the triplet number (over the middle of the triplet) above,
> as it is eas
Mark Polesky writes:
> I'm trying to write a conditional version of the \transpose
> function, that would work something like this:
>
> input = {
> c c
> \conditionalTransposition c c' { c c }
> }
>
> \input
> => { c c c c }
>
> \processConditionalTransposition \input
> => { c c c' c' }
co
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