Thank you people for the very useful insight and the links.
First, to clarify that by Tex-like I meant programmatically, either
(La)TeX macros or Scheme plus data.
It looks the task must involve Sibelius at all costs. So migrating is
not going to happen. However I am warm on the idea of creat
ah writes:
> Thank you people for the very useful insight and the links.
>
> First, to clarify that by Tex-like I meant programmatically, either
> (La)TeX macros or Scheme plus data.
>
> It looks the task must involve Sibelius at all costs. So migrating is
> not going to happen. However I am warm
Hi,
I am getting close to what I want, and yet the last bit eludes me. I am
regularly transcribing bass parts from performances played on 5 or
6-string basses. Invariably my intended audience is a 4-string player
and so needs either a modified part or a pencil.
My idea is to accommodate all bas
"p...@equa.co.uk" writes:
> Hi,
> I am getting close to what I want, and yet the last bit eludes me. I
> am regularly transcribing bass parts from performances played on 5 or
> 6-string basses. Invariably my intended audience is a 4-string player
> and so needs either a modified part or a pencil.
> <<{r8 f8 as4}\\b,2>>
Thank you very much :D
--
Markus Grunwald
https://www.the-grue.de/~markus/markus_grunwald.gpg
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On 12.06.19 22:20, Leo Correia de Verdier wrote:
left = \relative c {
\global
<<{r8 f8 as4}\\b,2>> es4 es, \fermata |
}
Sorry, but in this case I have to correct the code formatting. We don’t
have a strict code formatting policy for LilyPond in place, but the
rules followed by the manual
Were is the best place to read about LilyPond glyph metrics?
Thank you,
ƒg
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Simon Albrecht writes:
> On 12.06.19 22:20, Leo Correia de Verdier wrote:
>> left = \relative c {
>> \global
>> <<{r8 f8 as4}\\b,2>> es4 es, \fermata |
>> }
>
>
> Sorry, but in this case I have to correct the code formatting. We
> don’t have a strict code formatting policy for LilyPond in pla
Hey Freeman!
On Thu, Jun 13, 2019 at 1:35 PM Freeman Gilmore
wrote:
> Were is the best place to read about LilyPond glyph metrics?
>
Which metrics are you interested in? There aren’t any predefined metrics,
except for what you may be able to deduce from the metafont source files.
If you’re inte
Abraham:
At this point it is just a curiosity. I want to compare it to the Bravura
metric, i.e. where is a not head place in reference to the staff, what is
the line spacing of the staff, etc.
I still do not have a clue were to find the LilyPond font files. I have
searched the LilyPond file f
On 2019-06-13 5:43 pm, Freeman Gilmore wrote:
Abraham:
At this point it is just a curiosity. I want to compare it to the
Bravura
metric, i.e. where is a not head place in reference to the staff, what
is
the line spacing of the staff, etc.
I still do not have a clue were to find the LilyPon
Thank you Aaron.
ƒg
On Thu, Jun 13, 2019 at 9:14 PM Aaron Hill wrote:
> On 2019-06-13 5:43 pm, Freeman Gilmore wrote:
> > Abraham:
> >
> > At this point it is just a curiosity. I want to compare it to the
> > Bravura
> > metric, i.e. where is a not head place in reference to the staff, what
>
I'm not sure what exactly is going on, but the accidentals and other text
appear way too large and stacked on top of each other. For example, the
instrument name "Piano" appears as all 5 letters the same height as the
entire grand staff and stacked on top of each other on the treble clef.
Thanks f
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