Re: Implementation of \tuplet allow both incorrect and correct musical expressions

Hello, in general it’s helpful if you always include the list in the addressees, except for really private messages. You needn’t be afraid of increasing the traffic on ly-user. For example, someone else might comment on your question ending the first paragraph below. Yours, Simon Am 26.03.2

Re: placement of dot after notehead

Hello Ming, here’s the best I could come up with. I remember that in hand-engraved scores, this is resolved by shifting the two notes further apart and placing the dots close to each one, which I now mimicked, albeit very poorly: the dot placement looks very odd now. Perhaps you’ll want to fi

Re: Implementation of \tuplet allow both incorrect and correct musical expressions

notice when I was engraving the LilyPond version from his hand-written score. It was only later that I realized that the 5/2 and 7/2 tuplets did not follow the "Math Rule." Food for thought. - Original Message - *From:* Peter Bjuhr <mailto:peterbj...@gma

Re: placement of dot after notehead

Am 26.03.2015 um 19:57 schrieb MING TSANG: Hi, Simon: Thank you, but I did not see the attachment. That’s probably because I forgot to attach it… Here you go :-) Immanuel, Ming On Thursday, March 26, 2015 1:30 PM, Simon Albrecht wrote: Hello Ming, here’s the best I could come up with

Re: Note whiteout

Am 27.03.2015 um 05:28 schrieb Andrew Bernard: Well, answering my own question here. The following works, but now I feel the need to ask is the best way to do this sort of operation? Yes, I think so. Why wouldn’t layer = 3 or = 2 suffice for LedgerLineSpanner also? Yours, Simon \version "2.1

Re: accent diminuendo

Hello Stephen, how about the attached? I implemented it in two different ways: once as an articulation, once as a dynamic script. You also see the line-widths of my long-accent-markup and the default hairpin in comparison. HTH, Simon Am 27.03.2015 um 19:03 schrieb Stephen MacNeil: when compo

Re: accent diminuendo

Am 27.03.2015 um 23:31 schrieb Stephen MacNeil: Thank you very much Simon It gave some great ideas. I do get error: bad grob property path (parent-alignment-X) accD = -\tweak self-alignment-X -1 \tweak parent-alignment-X -1 I think that's because I am using 2.18.2 Yes, this is a quite rec

Re: Defining substitution functions

Hi Timmy, the Lilypond Snippets Repository at lsr.di.unimi.it/ is where to search for such functions. In this case, e.g. or . If you need help on customizing this, please ask the list again. HTH, Simon PS. Alt

Re: parentheses

Am 31.03.2015 um 00:59 schrieb William Marchant: Thanks. I still have to learn a lot about Lilypond, and getting access to the LSR is just another thing for me. I take it that you don’t refer to the actual access on , which is simple :-) However, finding snippets can b

LSR – Colouring editorial annotations function

Hello everybody, I currently enjoy some fruits of continued delving into scheme: I had an exciting new idea for a utility function to conveniently override the colour of objects, as I use to do with editorial annotations, and it worked out excellently, so I’m happy to share

Re: Abbreviations

Am 04.04.2015 um 12:37 schrieb Reedmace Star: * 2015-04-03 10:25 +0200 Andrew Bernard : Can I make a simple abbreviation for input? For example \t instead of \tuplet? Since your question already got answered directly, I hope I can add a piece of advice without sounding too destructive: Don't d

Re: Abbreviations

Am 04.04.2015 um 14:13 schrieb Johan Vromans: On Sat, 04 Apr 2015 12:55:51 +0200 (CEST) Werner LEMBERG wrote: It depends. Especially \tuplet is awfully long, and it makes scores with a lot of triplets extremely hard to read. Maybe we can conceive of a good, intuitive and short alternative no

Re: Abbreviations

Am 05.04.2015 um 09:54 schrieb Johan Vromans: On Sat, 04 Apr 2015 18:56:47 +0200 Simon Albrecht wrote: ... it should be in some way characteristic of a tuplet, A tuplet is nothing more than a sequence of notes that do not have a discrete duration like 1/4 or 1/8. For example, a 3/2 tuplet

Re: Displaying a staff despite \removeEmptyStaves

Am 06.04.2015 um 09:59 schrieb Anton Curl: On 06/04/2015 00:23, Urs Liska wrote: I don't know enough about your setup, but if you'd write \hide MultiMeasureRest it should make the rests invisible but still act as rests. Maybe this helps? Urs ___ l

Re: Score Layout, several questions

Am 06.04.2015 um 15:50 schrieb N. Andrew Walsh: oh, heavens! I'm sorry, I didn't mean I was trying to reproduce them (and yes, that's what I meant about the score: it looks like that, though with oval noteheads. Just figuring out what printing technology they were using would be interesting to

Re: box around notes

Am 07.04.2015 um 00:07 schrieb Pierre Perol-Schneider: BTW, regarding the smiley up on the last rest, did you see this: http://lsr.di.unimi.it/LSR/Item?id=904 What’s your reason to not code that one with smiley = #(define-markup-function …)? Just asking, it might be irrelevant to the output. Bu

Re: Problem with \break command

Am 09.04.2015 um 17:30 schrieb Peter Toye: Re: Problem with \break command Simon, Thanks - it gets somewhere. The \set Timing.defaultBarType = "" command with which Abraham came up gets rid of the gaps. Yours, Simon ___ lilypond-user mailing list lil

Re: Problem with \break command

Hello, the problem seems to be that the Bar_engraver takes part in triggering the clef on the new line, so without it no clef is printed. I tried to come up with a workaround, omitting the bar lines, but it has a major drawback: it still leaves some space for the omitted bar lines, which I ca

Re: Function to add a drone staff?

Am 11.04.2015 um 21:04 schrieb Gilles: Hello. On Sat, 11 Apr 2015 11:19:31 -0700 (MST), Paul Morris wrote: Gilles Sadowski wrote It works but the sound is still cut after every bar: It looks like no tie was added to the last note of a bar. What is the advantage of using "\makeOctaves" wrt hav

Re: centering different time signatures

Am 12.04.2015 um 02:32 schrieb Kieren MacMillan: Hi David, No promises, just something hacked together. This only moves time signatures belonging to the same paper column as a criteron of vertical "relatedness." Can't say if that's a valid assumption. Outstanding! Works great on all the ex

Re: Hymns and justified lyrics

Am 13.04.2015 um 01:55 schrieb David B. Stocker: David, Thank you for this. This is exactly what I'm after. It seems like you're a Scheme guy. Is there a learning resource you would recommend to a very green beginner? I don’t know any basic tutorials for Scheme itself, but concerning Lily the

scm: (apply and …) and alist problem

Hello, once more I have to come up with two scheme problems. I attached small examples. 1) Why can’t ‘apply’ be used with ‘and’ (defined-all.ly example file)? 2) Why does assoc-get return #f instead of a list in the second example file? Help is much appreciated. Yours, Simon \version "2.19

Re: (hypothetical) Availability of LilyPond engravers

Am 16.04.2015 um 20:03 schrieb Urs Liska: Hi all, this is more or less hypothetical and nothing to be excited about. I realize that I don't have a real idea about the size of our community, and particularly regarding the availability of music typesetters who could offer reliably continuous en

Re: Bad extent estimation causing too much vertical spacing

Hello Peter, as a last resort there’s , but that means hard-coding, of course, which loses flexibility. HTH, Simon Am 17.04.2015 um 00:15 schrieb Peter Bašista: Hi LilyPond users, I would like to ask a question about the

Re: mutopia's shortcomings

Am 20.04.2015 um 22:29 schrieb dl.mcnam...@comcast.net: In another thread, it seemed like common knowledge that Mutopia has some serious flaws. Could someone fill me on on what the (most important if there's a whole slew) problems are? I think it’s mainly three problems: – Lilypond versions, as

Re: Paper size survey

Am 20.04.2015 um 08:45 schrieb Andrew Bernard: So Ponders, What size paper do you print scores on? I haven’t yet tried to use any other format than A4 (except for printing brochures on folded A3), although I learned from (only in German,

Re: Slur and tie

Am 21.04.2015 um 09:49 schrieb Noeck: Hi, is this correct? \relative c''' { a,,( e' b' c) ~ c( b a d,) } This was rather common in the 18th and 19th centuries I think and in tight vertical spacing it helps. How is it different from: \relative c''' { a,,( e' b' c ~ c b a d,) } That’s

Re: Paper size survey

Am 21.04.2015 um 14:44 schrieb Mattes: Am Dienstag, 21. April 2015 14:23 CEST, Simon Albrecht schrieb: ... Yet I have taken inspiration from there to create the attached tool for making nice margins, which I’ve been using ever since. Hmm, maybe I miss the obvious, but in your code

Re: Roman Numeral placement

Hello, this becomes much less cumbersome by using \transpose. Also I’d suggest splitting it into individual scores. And there were some code style issues here also – I attach a much cleaner version (attaching is preferrable since nothing may be messed up on the way). HTH, Simon Am 21.04.201

Re: Roman Numeral placement

Hi Harm, very impressive, but don’t you also think that it’s a little overkill to launch such big efforts on this small task? If it were on a larger scale, the automation would be more efficient, but with myself I observe that I tend to invest far more time into using as much automation as po

Re: Roman Numeral placement

Am 22.04.2015 um 04:29 schrieb SonusProj .: Simon, I have several questions now that I have had a chance to review you code. 1) I wish to show the key for each staff line in lieu of showing all the accidentals relative to c. Is this possible with your current strategy? Sorry for overlooking

Re: Do we really offer the future?

Am 22.04.2015 um 17:48 schrieb Kieren MacMillan: Hi Pete, So major compositional changes -- the ones we're calling "structural" here -- are implemented at that first (gen.purp.prog.lang) level, tossing LP not much to trip over then or fail to carry through. My point, then: Why stuff a complica

Re: How do new users feel about LilyPond's documentation?

Am 22.04.2015 um 23:19 schrieb Carl Sorensen: On 4/22/15 1:30 PM, "Martin Tarenskeen" wrote: Stiil, I will try to give a sketch what happens to me again and again: I want to learn about how to change defaults and how to tweak default output so I open the Notation Reference: Notation Refence

Re: How do new users feel about LilyPond's documentation?

Hello, I recall that I was always thinking it would be best to have a person at hand, maybe even sharing a ‘bureau’, who could answer my question. Or attending a class, in which one would for example be guided in coding example scores, and receive immediate feedback. Later I realised that I m

Re: Standard LilyPond score structure (Was: How do new users feel about LilyPond's documentation?)

Am 23.04.2015 um 04:39 schrieb H. S. Teoh: I even apply this structure to long rests -- instead of R1*50 (or however many bars it is), I break it up into groups under passage labels, and within each passage label groups of R1*4 or R1*8 or some multiple thereof, separated by blank lines. Just a

Re: lilypond-user Digest, Vol 149, Issue 155

Am 22.04.2015 um 23:25 schrieb Flaming Hakama by Elaine: > My problem is that too much of it is written like the following response > from Elaine, which looks like Pprogrammers Only Need Apply. There is no getting around the fact that lilypond is a programming language. I don't s

Re: Standard LilyPond score structure (Was: How do new users feel about LilyPond's documentation?)

Am 23.04.2015 um 09:38 schrieb Urs Liska: Am 23. April 2015 09:32:56 MESZ, schrieb Simon Albrecht : Am 23.04.2015 um 04:39 schrieb H. S. Teoh: I even apply this structure to long rests -- instead of R1*50 (or however many bars it is), I break it up into groups under passage labels, and within

Re: What is the problem with "\relative"? (Was: Do we really offer the future?)

Two small thoughts also from me: – I think the preference one will take also depends on musical style: a piece of renaissance vocal music uses so few leaps greater than a fourth that the advantage of relative in typing is huge and it’s ‘error-pronity’ small. On the other extreme, a piano piece

Re: mutopia's shortcomings

Am 24.04.2015 um 12:43 schrieb Federico Bruni: 2015-04-21 1:07 GMT+02:00 Kieren MacMillan mailto:kieren_macmil...@sympatico.ca>>: > Seems to me it has been quite successful in its goals of making sheet music easily available for free, all works in the public domain or under creative co

Re: What is the problem with "\relative"? (Was: Do we really offer the future?)

Am 24.04.2015 um 00:58 schrieb Wols Lists: And then in English we get thoroughly confused, because an American whole note is an English semibreve or, literally, "half note". And we don't use numbers either, we have semibreve, minim, crotchet, quaver, semiquaver, demisemiquaver, hemidemisemiquaver

Re: mutopia's shortcomings

Am 24.04.2015 um 16:35 schrieb Gilles: On Fri, 24 Apr 2015 10:01:29 -0400, Kieren MacMillan wrote: Hi Simon, You forgot the quality of sheets: a (really) digital PDF will always look better than a scanned PDF. I think it depends: firstly, many IMSLP scores are on a level of typographical qual

Limits of algorithmic typesetting (was: Re: mutopia's shortcomings)

ntains nice and affordable reprints of e.g. the Clavierübung volumes by Seb. Bach. :-) LK On Fri, Apr 24, 2015 at 2:11 PM, Simon Albrecht mailto:simon.albre...@mail.de>> wrote: Am 24.04.2015 um 16:35 schrieb Gilles: On Fri, 24 Apr 2015 10:01:29 -0400, Kieren MacMillan wrote

Re: Fixing overlapping notation

Please give us (code, eventually output) examples, else it’s difficult to get your point. Yours, Simon Am 24.04.2015 um 18:09 schrieb Anthonys Lists: You can tell I've looked at the relevant section of the manual ... But I have two problems bugging me at the moment, and it's related to a prob

Re: Creating LilyPond Object Models

Hello Carl, this is a good approach. Am I right in assuming that this is a boiled-down, low-threshold version of the relevant parts in Erik Sandberg’s masters thesis(1) referenced in CG 10.1? Yours, Simon (1) Am 23.04.2015 um 01:29

Re: Fixing overlapping notation

hasn’t been referenced in this thread. Please follow the instructions there and send us a file typesetting just the one or two bars which contain the problem, in one file. Yours, Simon Am 25.04.2015 um 02:41 schrieb Anthonys Lists: On 25/04/201

Re: Bug tracker

Am 25.04.2015 um 11:56 schrieb Noeck: Hi, in reply to this mail: http://www.mail-archive.com/lilypond-user@gnu.org/msg100990.html I would have loved to comment in the bug tracker but if I understand it correctly, I have to have a google account. Is that right? And I don't want to. You might wai

Re: What is the problem with "\relative"? (Was: Do we really offer the future?)

Am 25.04.2015 um 00:38 schrieb Thomas Morley: Hi all, I'm a little late to the party... One very annoying thing about \relative is when you want to use music-functions catching some music doing something with it. Here the less complex function I could think of, returning different results for

Re: odd behavior with acciaccatura in 1st position

Am 25.04.2015 um 04:47 schrieb MarcM: Having an acciaccatura or grace note as the first element of a score makes the key, tempo & time print twice. A ‘classic’ bug, see . Insert \grace { s8 } (or whatever) in all the parallel expressions to

Re: odd behavior with acciaccatura in 1st position

Am 25.04.2015 um 13:52 schrieb Andrew Bernard: I don’t think you can do that in chordmode. Of course you can: chordNames = \chordmode { \global \acciaccatura s8 b1:m } It’s just the \global there adding the extra objects. Isn’t it? It does if the chord names and voice are going out of syn

Re: odd behavior with acciaccatura in 1st position

Am 26.04.2015 um 03:44 schrieb Cynthia Karl: Message: 2 Date: Sun, 26 Apr 2015 10:09:13 +1000 From: Andrew Bernard To: lilypond-user@gnu.org Subject: Re: odd behavior with acciaccatura in 1st position Message-ID: Content-Type: text/plain; charset="utf-8" Aha - of course you are correct! That?s

Re: What is the problem with "\relative"? (Was: Do we really offer the future?)

Am 26.04.2015 um 14:37 schrieb Ali Cuota: Hello, If this is so easy for frescobaldi to have this converter relative2absolute, and so usefull to have input files in absolute, why not implant (implement) a commandline option to lily that would convert the relative blocks founds to absolute? L

Re: Creating LilyPond Object Models

That’s really insightful. Thank you! Regards, Simon Am 26.04.2015 um 17:16 schrieb Paul Morris: Thanks Carl, Johannes, and David for working on this overview. On Apr 23, 2015, at 4:25 AM, Johannes Rohrer wrote: Translators selectively (based on assigned Event Classes) "accept" Events from th

Re: Do we really offer the future?

Am 26.04.2015 um 18:10 schrieb Michael Hendry: On 26 Apr 2015, at 15:16, H. S. Teoh > wrote: On Sun, Apr 26, 2015 at 06:15:13AM +, Keith OHara wrote: Michael Hendry gmail.com > writes: I routinely put the bar checks at the _beginnings_

Re: Do we really offer the future?

Am 26.04.2015 um 23:53 schrieb Michael Hendry: On 26 Apr 2015, at 15:36, H. S. Teoh > wrote: On Sun, Apr 26, 2015 at 10:23:26AM -0400, Kieren MacMillan wrote: Hi, Am I the only one who puts bar checks at *both* the beginning and end of a bar? | a4 b c d | |

Re: Automatically convert beams [ ] into slurs ( ) to indicate melisma (was undefined)

Am 28.04.2015 um 03:44 schrieb Paul Morris: Calixte Faure wrote Traditionally, vocal scores are written without beams, except for melisma. But modern scores tend to keep beams everywhere and put slurs to indicate melisma. Is it possible to have both output with one source, without complicating

Re: Questions about the edition engraver

Am 28.04.2015 um 23:03 schrieb Noeck: 1. Can I use the same tweak at several points in time? Or do I have to add and \editionMod every time. In a recent list post (by Urs, I think) I saw an \editionModList command to do this. 2. What do the letters mean in edition.Staff.A? A numbering? How

Re: Anyone up for a Scheme code review?

Am 29.04.2015 um 00:40 schrieb Steven Weber: And apologies for the formatting. Scheme and I do not get along. Counting parens drives me crazy, so I format it like I do any other language that uses braces instead of parens (expect lots and lots of extra white space!) Here’s an excellent overvie

Re: a proper whiteout function

Another example: it’s currently impossible to whiteout LyricHyphen – which would be nice in combination with SpanBar. Yours, Simon Am 29.04.2015 um 02:44 schrieb Kieren MacMillan: Hi, Forgive my ignorance, but could you just set the color of the grob to white? No: I want a black grob with

Re: 2.19 tempo mark question

Am 30.04.2015 um 22:15 schrieb tisimst: On Thu, Apr 30, 2015 at 1:56 PM, David Nalesnik-2 [via Lilypond] <[hidden email] > wrote: You are probably thinking of the following snippet, which actually adds tempoEquationText as well as several other context properties not part of the of

Re: Suggest a condensed old style or transitional font for lyrics?

Am 30.04.2015 um 20:57 schrieb Urs Liska: Am 30.04.2015 um 17:20 schrieb Joshua Nichols: I'm looking for something other than minion pro. ;-) It also needs to have serifs (if not clear by the indication in the subject). What do you all use (free or otherwise)? Well, apart from Minion Pro

Re: Overlapping chords

Am 03.05.2015 um 10:47 schrieb D'Arcy J.M. Cain: On Sat, 2 May 2015 04:51:34 + (UTC) Keith OHara wrote: In this case, I think it is a bug fixed soon after version 2.16 https://code.google.com/p/lilypond/issues/detail?id=1700 Yes. My NetBSD box running 2.18.2 does not have that issue. I g

Re: no score displayed

Am 03.05.2015 um 14:45 schrieb MING TSANG: Andrew, Thomas, Phil, Brian & Martin: Thank you all for taking time to answer my request. As few of you suggest this may be a bug, how do I report this to bug list. This is explained on . Which is quite easy to fin

Re: Spoken text without

Hello Peter, it is possible to write lyrics with explicitly specified durations, which should also help in your case. I concocted an example (for the future, please always try and provide a small, compiling one yourself), which you find attached. HTH, Simon Am 03.05.2015 um 18:37 schrieb Pe

Re: Spoken text without

Hello everyone, I first thought of another one: switching between the lyrics modes with associated voice and without. But \set associatedVoice = ##f doesn’t do what I might’ve expected (see attachment). Does anybody know of a way to do this or should it be a feature request? Yours, Simon Am

Re: Upper and Lower slurs in \partCombine

You might check out doubleSlurs in the docs. HTH, Simon Am 04.05.2015 um 17:49 schrieb David B. Stocker: Hello, The 2.18 manuals seem to indicate that simultaneous slurs are a no-no, but I thought I'd check here to see if anyone knows of a trick I haven't thought of. In my example, I would

Re: Moving Copyright Notice

Hello everybody, Am 05.05.2015 um 02:02 schrieb Adam Michael Wood: I would like the copyright notice to appear just below the last system of music, flush left. (See for example, the copyright notices under hymns in almost every hymnal.) Is there a way to move the copyright notice this way? Yes

Re: Cross-Staff Kneed Beams; Nested Voices

Hi Sam, welcome to the list! Some notes: – For future posts, it is useful if you include code examples as an attachment, so they won’t get messed up somewhere on the way. That makes it easier for others to help. – On your first question: The problems cease to appear if you use the commands \vo

Re: Cross-Staff Kneed Beams; Nested Voices

And I forgot: Am 05.05.2015 um 22:26 schrieb Sam Bivens: Second, is it possible to create nested multiple voices? What I mean is to insert multiple voices within a single voice of a larger multi-voice context. No, a voice cannot contain another voice. But, as referenced, you can create another

Re: Lyric tie inside word?

Hello Tobias, I’m not sure what you tried previously, but this should do what you want: \markup \override #'(word-space . 0) \tied-lyric #"kö~niglichen" See Admittedly, it’s not as elegant as the one in the EG :-) – that would requir

Re: Lyric tie inside word?

get it to work inside a \lyricmode expression for use in lyrics directly below the notes.) Tobias Am 05.05.2015 um 23:35 schrieb Simon Albrecht <mailto:simon.albre...@mail.de>>: Hello Tobias, I’m not sure what you tried previously, but this should do what you want: \markup \over

Re: Problem with repeats: stray bar line

Well, in Lilypond we always try to represent the musical content appropriately, and contrary to what Steven suggested, the measure length doesn’t change here, only the second alternative ‘misses out one beat’ or starts at another measure position. So setting measurePosition is the way to go her

Re: Problem with repeats: stray bar line

And, an obvious point: If you modify measureLength, you’d have to modify it again after the second alternative, else all following music (if there were any) would go on with 3/4 time (without a printed change of TimeSignature!). Am 05.05.2015 um 23:56 schrieb Tobias Braun: Yes, it does, thank

Re: Lyric tie inside word?

So sorry. I should’ve tested the code before posting… You need to use \line { } instead of a simple string in "". See attachment. Am 06.05.2015 um 00:41 schrieb Tobias Braun: I got it to work in \lyricmode now, but it still won't work in the \markup section. If I do it like you say below, I j

Re: Problem with repeats: stray bar line

Am 06.05.2015 um 00:46 schrieb Tobias Braun: So modifying measureLength, as suggested by the documentation, isn't a good idea after all? Shouldn't the documentation be updated accordingly then? In which place? Please give a link. ~ Simon ___ lilypond

Re: Problem with repeats: stray bar line

Indeed. I’ll make a bug report. Yours, Simon Am 06.05.2015 um 00:55 schrieb Tobias Braun: http://lilypond.org/doc/v2.18/Documentation/notation/long-repeats.html Search for "Timing.measureLength" there. Am 06.05.2015 um 00:52 schrieb Simon Albrecht : Am 06.05.2015 um 00:46 schr

Re: Problem with repeats: stray bar line

reason why the example uses measureLength (which gives the same output, after all). Yours, Simon Am 06.05.2015 um 01:02 schrieb Simon Albrecht: Indeed. I’ll make a bug report. Yours, Simon Am 06.05.2015 um 00:55 schrieb Tobias Braun: http://lilypond.org/doc/v2.18/Documentation/notatio

Re: Lyric tie inside word?

Nice one again, Harm! :-) I love how every ‘normal’ person would come up with some twenty lines of ‘ordinary’ code, whereas you deliver hundreds of lines of code with a fancy solution… Kudos! And, finally, (!) good night :-) Am 06.05.2015 um 01:08 schrieb Thomas Morley: How about: \version

Re: Problem with repeats: stray bar line

Am 06.05.2015 um 01:21 schrieb Mark Stephen Mrotek: Tobias: My understanding, which is certainly limited, is that Lilypond reads the first alternate ending and sees only three beats and assumes that the second alternate starts (read not played) with the fourth beat. Again a case when a human per

Re: Empty Staves

Am 06.05.2015 um 16:59 schrieb Andrew Bernard: Dear Friedrich, That’s because you have unnecessary nesting of staves. Using 2.19.19, do this instead: \new StaffGroup << \new Staff << \set Staff.instrumentName = "Chant" \new Voice = "PartPOneVoiceNone" { \PartPOneVoiceNone }

Re: Start with changed staff

Hallo Helge, it works if you replace %s32 in the example below with s1*0. (There is a warning about \voiceXXX or \shiftOn[nn], which will be easy to fix). Yours, Simon Am 09.05.2015 um 08:25 schrieb Helge: Hi, I have to write some scores where each piece starts with a long note simultaneous

Re: New verses

Am 10.05.2015 um 18:03 schrieb Klaus Blum: Aaaah, that's because the \header part was *inside* the \score part: \score { \header { % title, composer, tagline } << \choirPart >> % etc. } If you change the structure like this... or use \paper { print-all-headers = ##t }

Re: Violin fingering

Am 11.05.2015 um 13:38 schrieb Gianmaria Lari: Merci Pierre, ca marche tres bien!!! Any idea why this is not part of the default Lilypond packages? For a simple reason: nobody implemented it. If you can give examples that this is standard notation, you might raise an enhancement request on

Re: Typesetting renaissance music

Hi, just as a side-note: Research now agrees that contrary to common belief renaissance _scores_ (1) had full barlines, with notes reaching beyond these being split and connected using ties. I’ve not quite come to a conclusion if I want to adopt this practice (as e.g. the new series of Lasso

Re: ossia staff without SystemStartBar / Bracket / Brace

Hello, sometimes, if something is very difficult to achieve in Lilypond, it’s just not a very good idea to do. This is one of those cases: Lily has a knack of wanting to produce output complying to usual notation standards, and it would be perfectly normal to have the span bar span the ossia

Re: ossia staff without SystemStartBar / Bracket / Brace

Am 14.05.2015 um 23:46 schrieb Simon Albrecht: Hello, sometimes, if something is very difficult to achieve in Lilypond, it’s just not a very good idea to do. This is one of those cases: Lily has a knack of wanting to produce output complying to usual notation standards, and it would be

Re: Typesetting renaissance music

Am 15.05.2015 um 02:57 schrieb Murray-Luke Peard: This is the solution that worked for me. One problem I had was that if the note goes over a bar line (as in the first example), the bar line is drawn before you specify the bar type, and you get two bar lines (see second example). In the third

Re: ossia staff without SystemStartBar / Bracket / Brace

Hello Thomas, Am 15.05.2015 um 21:00 schrieb Thomas Schuch: Am 14.05.2015 um 23:46 schrieb Simon Albrecht: Hello, sometimes, if something is very difficult to achieve in Lilypond, it’s just not a very good idea to do. This is one of those cases: Lily has a knack of wanting to produce

Re: Mensural notation: 2 questions

Am 16.05.2015 um 17:20 schrieb Phil Holmes: I've been doing something similar with madrigals from around 1590. You will likely find tags useful, to identify where you need to use different notation for modern and ancient music. If you can't see how this works, please let me know: I don't have

Re: Mensural notation: 2 questions

Am 16.05.2015 um 16:38 schrieb Frauke Jurgensen: Yes, some decades ago (i.e. when Apel was writing), it was common to transcribe mensural music at a value reduction of 4:1 (i.e. 3/4 for Circle); now, 3/2 is a more common transcription level, and most specialist performers prefer to read either

Re: Ottavation text too long for next line

Hi Knute, well this is one of those complicated cases where Lily is not yet smart enough. I’d suggest to make the text ‘shorter’, the following may give some ideas: \version "2.19.20" \language "english" octaveUp = { \set Staff.ottavation = \markup \override #'(baseline-skip . 1.5) \colu

Re: Fine tuning

Hello Bernhard, some more remarks from me: – Generally, I wouldn’t go for one page at any cost. I understand your wish, but it would be easier to read if the choir were on four staves. And that’s what the great 19th century complete works editions used to do. Also, your current setup throws wa

Re: How to avoid a collision?

Am 21.05.2015 um 15:21 schrieb Olivier Vogel: 2015-05-21 13:54 GMT+01:00 Kieren MacMillan mailto:kieren_macmil...@sympatico.ca>>: May I ask why you’re not using Lilypond’s built-in (and generallly excellent) voice-handling? e.g. In the modified snippet (below), I’m using \voiceOn

Re: Finale challenge

Am 22.05.2015 um 00:45 schrieb Jacques Menu: Hello Urs, Sorry, no joke intended actually… I just don’t know what a Finale challenge is! I think the point was about typesetting some complicated music, which Urs will send to anyone interested. Here are the sizes: menu@macbookprojm:~/Documents/

Re: non-greedy regexp don't seem to work

Yours, Simon Am 22.05.2015 um 11:42 schrieb Michael Gerdau: In answering my own post: Hi list, the following two statements should provide the exakt same strings: (match:substring (string-match "_(.*?)_" "a_ä_ö_de_fü_") 1) (match:substring (

Re: Automatically inserting bar lines when a line is broken on an empty bar line

Hi Matie, Am 22.05.2015 um 11:44 schrieb Matie Holtzhausen: Hi, How can I print a bar line if the line-breaker decides to break at an empty bar line: For example: \paper { paper-width = 60\mm } \relative c' {c8 c c c \bar "" c c c c | c c c c} This causes the line-breaker to break at \bar “”.

Re: Dynamic mark at the end of a bar

Am 27.05.2015 um 22:03 schrieb David Sumbler: But both of these are "work-arounds" for something which is actually fairly normal musical notation. They are work-arounds because one method implies that a note is not really the length that it appears to be, and the other method implies that the

Re: Dynamic mark at the end of a bar

Hello David, Am 28.05.2015 um 00:17 schrieb David Sumbler: On Wed, 2015-05-27 at 16:52 -0500, David Nalesnik wrote: Hi David, On Wed, May 27, 2015 at 3:03 PM, David Sumbler wrote: > But both of these are "work-arounds" for something which is actually fairly

Re: lilypond-user Digest, Vol 150, Issue 170

And another policy reminder: always edit the digest subject lines, so threads remain coherent. Thanks, Simon Am 28.05.2015 um 14:54 schrieb Peter Gentry: -Original Message- Date: Thu, 28 May 2015 07:17:42 -0500 From: David Nalesnik To: Peter Gentry Cc: lilypond-user Subject: Re:

Re: Dynamic mark at the end of a bar

Am 28.05.2015 um 22:45 schrieb David Nalesnik: Hi Simon, On Thu, May 28, 2015 at 2:28 AM, Simon Albrecht mailto:simon.albre...@mail.de>> wrote: This sounds like a usecase for \afterGrace. I cooked up a music function for that, which works quite fine. Does that help you? T

Re: Several pieces into one

Am 28.05.2015 um 23:03 schrieb Dr. Bernhard Kleine: Your suggestions worked smoothly. Thank you very much. Now I would like to know how to force a pageBreak before something, e.g after a Solo and before a Tutti, that the Tutti starts the new page. How to code that? Well, use the \pageBreak c

<    4   5   6   7   8   9   10   11   12   13   >