I'm only a tongue-tied Englishman, but I quite enjoy following the
occasional thread in another language, partly for the rare chance to
practise some very rusty skills.
Please let's not split the list by language - we'd all be the poorer for
that.
I'd encourage any participant who has difficulty
anford.edu/planetccrma/mirror/all/linux/SRPMS/lilypond-2.4.5-1.src.rpm
and took fright! Definitely time to ask the experts...
--
Graham King <[EMAIL PROTECTED]>
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Just found
http://lilypond.org/download/binaries/Fedora-4/lilypond-2.7.26-1.i386.rpm
How embarrassing! Sorry to waste your time.
On Tue, 2006-01-24 at 16:40 +, Graham King wrote:
> I'd like to install lilypond 2.7 on a Fedora Core 4 box, on which all
> the software is (so far!)
If the files are _required_ to remain until the next time the user runs
OOoLilypond, /tmp might not be the best place. On some unices, /tmp is
a swap-based filesystem that gets trashed at reboot; on others
(including various Linux distros), there's a cron job that removes
anything that has not bee
As a first-time lilypond (2.4.1) user, I'm very pleased at the ease of
input, and quality of output of the score. But when it comes to fixing
the few remaining problems, I'm totally baffled (despite the
documentation).
Here's the first problem:
The two lines
e2~ e8 r \tempo 4=90 r4
Gilles,
thanks for your suggestion. I failed to describe the context of the
question adequately - the tempo change is in the middle of a movement.
Nevertheless your answer solved another of my problems!
Meanwhile, Mats Bengtsson contributed the following, which solved my
problem. Thanks Mats, a
I'm new to this game so the following might not be optimal, but I solved
your first problem thus:
\once \override Score.RehearsalMark #'self-alignment-X = #-1 \mark
\markup \large \bold { Tempo 1 \super \right-align o }
'fraid I can't help with the voltas. Your third problem (key
signatures) has
Try specifying transposition before relative. The following (not quite
minimal) example works for me:
TptOne = \relative c''{
\key c \major % Needed here, or the part in Bb gets no key signature.
% notes .
}
\context Staff {
% \transpose must be outside \relative
% - see
ces a clef problem. For what it's
worth, my \clef declaration is within the voice stanza, as re-instated
below:
On Wed, 2005-02-02 at 18:04, Graham King wrote:
> Try specifying transposition before relative. The following (not quite
> minimal) example works for me:
>
>
The three bars in the example below illustrate a problem in the middle
of a piece I'm transcribing. The composer has written sfz followed by a
diminuendo onto the following note, but lilypond does not make enough
horizontal space for the ">" diminuendo.
Bar 1 illustrates that problem. Bar 2 illu
5:00 AM, Graham King wrote:
>
> > The three bars in the example below illustrate a problem in the middle
> > of a piece I'm transcribing. The composer has written sfz followed by
> > a
> > diminuendo onto the following note, but lilypond does not make enough
>
As a mere new user, I'm not qualified to comment on most of your points,
but there are two I'd like to pick up on:
On Fri, 2005-02-18 at 07:24, [EMAIL PROTECTED] wrote:
> Lilypond makes many assumptions about musical symbols, and notation in
> general, that are very rigidly tied to classical conce
Hi Jonathan,
some suggestions, inline, below...
On Thu, 2015-07-30 at 20:25 +, Jenny^H^H^H^H^HJonathan wrote:
> Hi. I've been using LP 2.18.2 for a few months quite successfully. I'm
> on Windows 7.
>
> Recently I downloaded Frescobaldi. I then started having problems
> running LP, which I th
No error for me on OSX 10.6 with various recent lilyponds. FWIW, here
is my standard copyright header, which searches the include paths for
the eps file:
\version "2.19.16"
copyrightDate = #(strftime "%Y" (localtime (current-time)))
copyright = \markup \center-column {
\vspac
In transcribing a piece of renaissance music, I am trying to refine the
following key signature:
\version 2.19.21
\relative c' {
\set Staff.keyAlterations = #`(((-1 . 6) . ,NATURAL)
(( 0 . 6) . ,FLAT))
R1 b2 bes b' bes
}
Ideally, the flat in the key signature
.
-- Graham
On Wed, 2015-09-30 at 13:58 +0100, Graham King wrote:
> In transcribing a piece of renaissance music, I am trying to refine
> the following key signature:
>
> \version 2.19.21
> \relative c' {
> \set Staff.keyAlterations =
excuse the haiku!
In my first attempt at using ScholarLy, I'm trying to compile the
supplied example, openlilylib/ly/scholarly/usage-examples/annotate.ly
The include path for Frescobaldi 2.18.1 is:
/Users/grahamk/Documents/lilypond/include_gk
/Users/grahamk/Documents/lilypond/mus
On Mon, 2015-10-19 at 16:48 +0200, Urs Liska wrote:
>
>
>
> Am 19.10.2015 um 16:36 schrieb Urs Liska:
>
> >
> > You didn't do anything wrong but stumbled over a stupid bug I didn't
> > have the time to look into. It seems that at some point I have
> > reversed the logic of an 'if' statement s
I'm preparing an edition of sixteenth-century polyphony, using the
book-titling template[1]. The edition would benefit from some
footnotes/endnotes (the sort that say things like: "contratenor 1, bar
99: semiminim A missing in MS"). How best to achieve this, while
preserving the "book-titling" ap
(This note describes an issue arising from the separate thread,
"Scholarly footnotes" [1])
I would like to use Urs' annotate.ily[2] to add some footnotes to an
edition of sixteenth-century polyphony. But, before investing too much
time, I need to check whether there is now a way for it to cope wi
On Mon, 2015-11-09 at 14:55 -0600, Christopher R. Maden wrote:
> On 11/09/2015 02:47 PM, Kieren MacMillan wrote:
> > The very first thing they said to me was, “Add measure numbers.”
> >
> > That’s sufficient reason for me. =)
>
> Good answer.
>
> In that case, I would pick one part, and force t
On Mon, 2015-11-09 at 21:53 -0600, David Wright wrote:
> On Mon 09 Nov 2015 at 23:22:14 (+), Graham King wrote:
> > On Mon, 2015-11-09 at 14:55 -0600, Christopher R. Maden wrote:
> >
> > On 11/09/2015 02:47 PM, Kieren MacMillan wrote:
> > > The very f
> Am 09.11.2015 um 17:33 schrieb Graham King:
>
> >
> > I'm preparing an edition of sixteenth-century polyphony, using the
> > book-titling template[1]. The edition would benefit from some
> > footnotes/endnotes (the sort that say things like: "contratenor 1,
&
On Tue, 2015-11-10 at 10:09 +0100, Urs Liska wrote:
>
>
>
> Am 09.11.2015 um 17:34 schrieb Graham King:
>
> >
> > (This note describes an issue arising from the separate thread,
> > "Scholarly footnotes" [1])
> >
> > I would like
On Tue, 2015-11-10 at 22:50 +0100, Urs Liska wrote:
> Am 10.11.2015 um 18:06 schrieb Graham King:
> > On Tue, 2015-11-10 at 10:09 +0100, Urs Liska wrote:
> >>
> >>
> >> Am 09.11.2015 um 17:34 schrieb Graham King:
> >>
> >>> (This
On Wed, 2015-11-11 at 09:18 +0100, Urs Liska wrote:
>
>
>
> Am 11.11.2015 um 01:32 schrieb Graham King:
>
> >
> > On Tue, 2015-11-10 at 22:50 +0100, Urs Liska wrote:
> >
> > > Am 10.11.2015 um 18:06 schrieb Graham King:
> > > &
On Wed, 2015-11-11 at 18:44 +0100, Urs Liska wrote:
>
>
>
> Am 11.11.2015 um 11:14 schrieb Graham King:
>
> >
> >
> >
> > > > > annotate "installs" itself in the Score context, and in polymetric
> > > &
On Thu, 2015-11-12 at 12:45 +0100, Urs Liska wrote:
>
> Am 12.11.2015 um 09:09 schrieb Urs Liska:
> > Having had a night over it I realized that there is an obvious first
> > step towards b) and c) and that the infrastructure is already there for it!
> > I will add support for writing out the raw
On Thu, 2015-11-12 at 10:38 -0600, David Wright wrote:
> On Tue 10 Nov 2015 at 13:52:33 (+), Graham King wrote:
> > On Mon, 2015-11-09 at 21:53 -0600, David Wright wrote:
> > On Mon 09 Nov 2015 at 23:22:14 (+0000), Graham King wrote:
> > > On Mon, 2
This took a little while to nail down, but it seems that ScholarLy's
annotation engine fails silently when \RemoveEmptyStaffContext is
active. Almost-minimal example attached.
Is there anything I should be doing differently?
And should I be filing ScholarLy issues here or on the openlilylib list
On Mon, 2015-11-16 at 09:24 +0100, David Kastrup wrote:
> Graham King writes:
>
> > This took a little while to nail down, but it seems that ScholarLy's
> > annotation engine fails silently when \RemoveEmptyStaffContext is
> > active. Almost-minimal examp
On Mon, 2015-11-16 at 09:24 +0100, David Kastrup wrote:
> Graham King writes:
>
> > This took a little while to nail down, but it seems that ScholarLy's
> > annotation engine fails silently when \RemoveEmptyStaffContext is
> > active. Almost-minimal examp
Apologies for troubling you with this under-researched problem, but I've
just hit it as a deadline looms.
I'm trying to turn off the colouring of ScholarLy annotations, before
final publication:
\version "2.19.21"
\include "openlilylib"
\useLibrary ScholarLY
On Thu, 2015-11-19 at 13:31 +0100, Urs Liska wrote:
>
>
>
> Am 19.11.2015 um 13:01 schrieb Graham King:
>
> >
> > Apologies for troubling you with this under-researched problem, but
> > I've just hit it as a deadline looms.
> >
> >
On Thu, 2015-11-19 at 13:57 +0100, Urs Liska wrote:
> > > > % ScholarLy options: see
> > > >
> > > > https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations
> > > It looks like you ran into an undocumented change (although I
> > > can't remember). Please
On Sat, 2015-11-21 at 11:56 +, David Sumbler wrote:
> I have not used a Table of Contents before, and I am having some
> difficulty in getting the result I want. I have 2 problems.
>
> 1) I would like to have a dotted line between the title and the page
> number in each line. But if I use
>
I'm trying to enclose some lyrics within square brackets but, for
reasons too tedious to trouble the list with*, I'd like to parameterise
the brackets using the \foo and \fooEnd constructs in the following
pseudocode. Is there a way to do this without causing "[" and "]" to be
set as separate syll
On Thu, 2015-12-03 at 15:12 +0100, Urs Liska wrote:
>
>
>
> Am 03.12.2015 um 15:04 schrieb Graham King:
>
> >
> > I'm trying to enclose some lyrics within square brackets but, for
> > reasons too tedious to trouble the list with*, I'd like to
>
On Thu, 2015-12-03 at 16:57 +0100, Urs Liska wrote:
> Ah, forgot: the ending function would also have to be written before
> the syllable, so
>
> Three \foo deaf and \bar blind mice are \foobar alive.
>
> should return
>
> Three [deaf and blind] mice are [alive]
>
Uh, no. I'd like it to retu
On Thu, 2015-12-03 at 17:12 +0100, Urs Liska wrote:
>
>
>
> Am 03.12.2015 um 17:10 schrieb Graham King:
>
> >
> > On Thu, 2015-12-03 at 16:57 +0100, Urs Liska wrote:
> >
> > > Ah, forgot: the ending function would also have to be written
> > &
Urs, David, Simon: many thanks. I think I can see a way ahead for new
scores. (Migrating old scores will require some editing to change \end
from a postfix operator to a prefix operator.)
You've given me another insight into lilypond's internals. The learning
process is a bit discombobulatin
On Fri, 2015-12-04 at 12:05 +0100, David Kastrup wrote:
> Graham King writes:
>
> > You've given me another insight into lilypond's internals. The
> > learning process is a bit discombobulating: perhaps "internals" is the
> > right word; it feel
I've finally got back to this problem, and have tried to write a wrapper
around Simon's code. However, I now find myself at that peculiarly
humiliating stage of grappling with Scheme code, in which one's
increasingly-desperate random changes to punctuation are beginning to go
round in circles. Pl
Many thanks to both Davids for their help. In case anyone is remotely
interested, here is the working result. There is still a niggling issue
with lyrics that are both coloured and editorial, but I can live with
that for the time being.
-- Graham
\version "2.19.21"
%{
Allow editorial additions
With apologies for continuing to flog this subject...
I've taken David Kastrup's advice, and upgraded to 2.19.32, and I might
now be able to simplify this problem quite radically, and eliminate some
limitations, with a small change of syntax.
Below is the germ of the idea. The thing I'm missing
thanks David,
I guess I'm flogging a dead horse, at least until my understanding is
much deeper. I'm really grateful for your explanation though.
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> - Original Message -
> From: Joseph Breton
> To: lilypond-user@gnu.org
> Sent: Tuesday, December 29, 2015 3:57 PM
> Subject: incorporating .pdf file into a text
>
>
> How can I incorporate my pdf file into a word proc
I've been setting a piece of "modern" (i.e. 19th Century) music and, for
the first time ever, needed to use Da Capo al Fine. Achieving this for
the score and the MIDI output has proved to be surprisingly difficult,
which means I've probably missed something obvious in the manuals!
In case it help
thanks Brian.
authoritative and helpful.
-- Graham
On Mon, 2016-02-01 at 18:13 +, Brian Barker wrote:
> At 17:38 01/02/2016 +0000, Graham King wrote:
> >... for the first time ever, needed to use Da Capo al Fine. [...]
> >If it passes expert inspection, it might make a use
Joram,
I'm glad you found the snippet useful. Maybe it will find its way into
the repository, although I don't know how to make that happen.
Thanks for the reference to the previous thread[1]. It's not hard to
see how the technique in the current thread can be extended to the
various DC/DS/Fine/
I'm working on a book containing twelve short single-movement quintets,
originally with the intention of assembling them into a single volume
with book-titling.ily. However, being unable to make book-titling.ily
deliver a ragged-last-bottom margin for each of the twelve quintets, I'm
now trying to
oops, just found the simple fix (I think):
\version "2.19.35"
music = { \relative { c' d e f }}
\book {
\score {
\music
}
}
One extra pair of braces around the music expression.
Apologies for the noise.
On Tue, 2016-02-16 at 18:36 +0100, David Kastrup wrote:
> Graham King writes:
>
> > oops, just found the simple fix (I think):
> Have you actually _read_ your question?
>
Yes, read the question, but failed to read the rubbish I put forward as
a "simple fix&quo
On Tue, 2016-02-16 at 19:15 +0100, David Kastrup wrote:
>
> However, your original posting stated:
>
> > (Alternatively, if there's a way to make book-titling.ily do a
> > ragged-last-bottom for each piece, that would save even more work).
>
> Have you actually tried
>
> \layout {
> ragged-
On Wed, 2016-02-17 at 00:20 +0100, David Kastrup wrote:
> Graham King writes:
>
> > On Tue, 2016-02-16 at 19:15 +0100, David Kastrup wrote:
> >
> >
> >>
> >> However, your original posting stated:
> >>
> >> > (Alternatively, if
On Tue, 2016-02-16 at 19:27 -0500, Ben Strecker wrote:
> Graham,
>
>
>
> Have you tried putting each score inside it’s own \bookpart?
>
>
> The documentation for ragged-last-bottom says:
>
>
> ragged-last-bottom
>
>
>
> If this is set to false, then the last page,
On Wed, 2016-02-17 at 10:58 +0100, David Kastrup wrote:
> Graham King writes:
>
> > Thanks Ben,
> > that will be useful once I've found a solution to the immediate problem:
> > defining and using a variable within \book{} or \bookpart{} or
> > \book[part]{ \
The sensitivity to changes of the minimal example, below, suggests that
lilypond is already trying to avoid this ugly line-break, but in my
real-life case I'm afraid I need to force her hand. Is there any way to
tell her: "put line breaks wherever you wish, but _not here_" ?
The Notation Referen
On Sun, 2016-02-28 at 07:28 -0500, Kristin Rollins wrote:
> On Sun, Feb 28, 2016, at 07:24 AM, Malte Meyn wrote:
> > Probably you put it at the wrong place. It has to be put at the place
> > where the break would be. The following works for me:
> >
> > \version "2.19.36"
> >
> > \relative c'' {
I've set a \book{} with a table-of-contents and other front-matter on
the inside front cover. How do I persuade lilypond to omit the
page-number on the inside-front-cover, and start numbering pages from
"1" on the next page?
Here's a summary of what I've tried:
\version "2.19.35"
On Tue, 2016-03-01 at 14:31 +0100, Simon Albrecht wrote:
> Hello Graham,
>
> On 01.03.2016 14:18, Graham King wrote:
> > I've set a \book{} with a table-of-contents and other front-matter on
> > the inside front cover. How do I persuade lilypond to omit the
> >
I'm trying to eradicate numerous "Impossible or ambiguous (de)crescendo
in MIDI" errors from a large score, and two problems arise:
1) I'm finding it hard to locate the source of these errors. So far,
I've tried:
* searching the source for all dynamic changes ending with \! and
con
On Wed, 2016-03-02 at 14:37 +, Graham King wrote:
> Is there a magic spell to soothe lilypond in these circumstances? It
> might seem like nit-picking, but there are so many of these errors in
> the score that they are obscuring other, more important, messages.
Brian Barker h
On Fri, 2016-03-04 at 13:33 -0600, Cynthia Karl wrote:
> >
>
> I think I understand why these errors are generated. It would appear that
> \fz is not intended to be used as a dynamic - it is not mentioned in the NR.
> Nevertheless, is is defined as a dynamic script in the LP file
> dynamic-
Anyone affected by the current unavailability of www.lilypond.org might
like to know that a very recent snapshot of that website is available at
the Wayback Machine:
https://web.archive.org/web/20160306123541/http://lilypond.org/
Useful if you don't have a local copy of the documentation.
On Thu, 2016-03-10 at 10:17 -0500, Jaime Oliver wrote:
> thanks again,
> do we have any sense of when it might be up again?
> J
Sorry, I have no idea. I'm just an end-user.
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On Fri, 2016-03-11 at 22:12 +0100, Urs Liska wrote:
> We have *just* begun with a rewrite [of the Edition Engraver]...
Urs,
do you plan to support polymetric scores with the new edition?
all the best
-- Graham
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lilypond-
and I have an idea how to do that. And object/grob-IDs would
> be extremely helpful too.
>
> I am busy this weekend, but I will work on it again next week.
>
> Cheers
> Jan-Peter
>
>
> Am 11.
On Sat, 2016-03-12 at 04:51 -0700, Sharon Rosner wrote:
> After some digging around I found a way to fix this:
>
> \override Dots.avoid-slur = #'ignore
>
> Sharon
>
In general, if you don't like the shape of a slur or tie, it can be
altered. See section 5.5.4 of the Notation Reference:
http
On Fri, 2016-03-18 at 00:13 +0100, Simon Albrecht wrote:
> Hello Graham,
>
> On 17.03.2016 23:51, Graham King wrote:
> > # { c_\markup { \dynamic p \italic { dolce } } Looks like a dynamic,
> > walks like a dynamic, but doesn't quack like one. Replace with {
> &
On Wed, 2016-03-02 at 14:37 +, Graham King wrote:
> I'm trying to eradicate numerous "Impossible or ambiguous
> (de)crescendo in MIDI" errors from a large score...
Well, there's some, qualified, success to report: I've eliminated the
various, sometimes well-h
Following on from an earlier thread[1], I have a snippet, below, that
uses a repeat to create a "D.C. al fine" structure.
The snippet throws two warnings: "cannot end volta spanner" that appear
to be caused by the "\set Score.repeatCommands" line.
Whilst I could just bludgeon these unwelcome mess
On Wed, 2016-03-16 at 10:33 -0700, tisimst wrote:
> \omit Score.VoltaBracket
Many thanks Abraham. Not sure how I missed this in the docs, but it
does the job beautifully.
The real-life score is now giving "programming error: bounds of spanner
are invalid" but that might be an entirely differen
I've adopted Simon Albrecht's excellent suggestion in an earlier thread
[1], and am now using code based on snippet 739 [2] to typeset some long
dynamic markings. This has solved a host of layout problems; however,
it has introduced this nasty spacing issue:
r2 r8 bes8(\mfdolce a bes) |
Ah yes, a minimal compilable example. This is going to be tough,
especially as I've just noticed that some
_functionally_indistinguishable_code_ a few bars earlier yields this:
which is precisely the behaviour I'm after.
Nevertheless, I'll try to produce a minimal compilable example. It
might
Here is a compilable example. It is a bit long, but I think it is
pretty close to minimal.
In its defence: the first 32 lines are, effectively, snippet 739
modified to produce "dynamic text" instead of "text dynamic" (in this
case, "mp dolce" instead of, say, "meno f").
The remaining few lines a
On Tue, 2016-03-22 at 22:18 -0400, Kieren MacMillan wrote:
> Hi Graham,
>
> > The unwelcome spacing between the 4th and 5th notes goes away if one:
>
> … uses
>
> mpdolce = -\tweak X-extent #empty-interval #(make-dynamic-atr-script "mp"
> "dolce”)
>
Thanks Kieran,
that's very helpful. I've
(bug-lilypond: a regression with note-spacing in proximity to dynamic
text.)
On Wed, 2016-03-23 at 11:38 +0100, Thomas Morley wrote:
> a minimal example would have been:
>
> \version "2.19.38"
>
> music = { g'8(\p f'!) s2. }
> \new StaffGroup \new Staff \music
Wow. To get to that, I thin
On Wed, 2016-03-23 at 11:47 +0100, Xavier Scheuer wrote:
> I use Graham (Percival)'s "make-dynamic-extra", which has two main
> advantages :
> 1. The dynamic only, and not the whole "dynamic + text", is centered
> on the note (i.e. like a "normal" dynamic).
> 2. The dynamic is affecting the MIDI.
To generate MIDI output, I use a piece of boilerplate lilypond code,
containing:
\midi { \context { \Score tempoWholesPerMinute = #currentTempo }}
where it is expected that:
currentTempo = #(ly:make-moment TACTUS RF)
I would like to generalise the boilerplate code so that it works with
su
On Sun, 2014-02-02 at 08:51 +0100, Marc Hohl wrote:
> Am 29.01.2014 06:41, schrieb Graham King:
> > To generate MIDI output, I use a piece of boilerplate lilypond code,
> > containing:
> > \midi { \context { \Score tempoWholesPerMinute = #currentTempo }}
> >
On Sun, 2014-02-09 at 12:09 +0100, Marc Hohl wrote:
> I found another solution somewhere buried in my files:
>
> #(define TACTUS
> (if (defined? TACTUS)
> TACTUS
> 50))
>
> Perhaps that's something better suited to your needs?
>
> Marc
>
>
Brilliant! Thanks Marc.
Just on
I'm having a bit of a struggle with the spacing of systems on the final
page of a 12-page score. With
\paper { ragged-last-bottom = ##t }
the final page has three systems crowded together, followed by a sea of
whitespace, then the copyright line. But with
\paper { ragged-last-bottom = ##f }
the
On Sun, 2014-03-30 at 09:37 +0100, Graham King wrote:
> I'm having a bit of a struggle with the spacing of systems on the
> final page of a 12-page score. With
> \paper { ragged-last-bottom = ##t }
> the final page has three systems crowded together, followed by a sea
> of
On Sun, 2014-03-30 at 09:46 +0100, Graham King wrote:
> On Sun, 2014-03-30 at 09:37 +0100, Graham King wrote:
>
> > I'm having a bit of a struggle with the spacing of systems on the
> > final page of a 12-page score. With
> > \paper { ragged-last-bottom = ##t }
On Sun, 2014-03-30 at 12:49 +0200, Thomas Morley wrote:
> Hi Graham,
>
> 2014-03-30 11:23 GMT+02:00 Graham King :
> > On Sun, 2014-03-30 at 09:46 +0100, Graham King wrote:
> >
> > On Sun, 2014-03-30 at 09:37 +0100, Graham King wrote:
> >
> > I'm ha
On Sun, 2014-03-30 at 12:28 +0100, Phil Holmes wrote:
> - Original Message -
> From: Graham King
> To: lilypond-user
> Sent: Sunday, March 30, 2014 9:37 AM
> Subject: Vertical spacing on final page of score
>
>
> > I'm having a bit of a struggle with the
In a vocal score (SATB on separate staves + keyboard), it is useful to
suppress empty staves when all the singers are silent, using:
\score { \layout { \context { \RemoveEmptyStaffContext }}}
Is there a way to suppress this behaviour selectively, when one singer
happens to have a few bars rest? I
On Wed, 2014-04-02 at 07:48 +0200, Jan-Peter Voigt wrote:
> Hi Graham,
>
> you will most likely have a PianoStaff for the keys and a ChoirStaff
> or StaffGroup (or the like) for the choir. You can consist a grouping
> context (ChoirStaff,StaffGroup,...) with:
>
>
> \consists "Keep_alive_together
On Wed, 2014-04-02 at 02:50 +0200, Thomas Morley wrote:
> 2014-04-02 0:42 GMT+02:00 Graham King :
> > In a vocal score (SATB on separate staves + keyboard), it is useful to
> > suppress empty staves when all the singers are silent, using:
> > \score { \layout { \context { \Re
On Sat, 2014-04-12 at 04:38 +, efa...@faswebdesign.com wrote:
> I'm trying to score a piano piece that has cross-staff slurs on
> arpeggios. I've searched the documentation andlooket at the snippets,
> but there’s nothing that’s clear enough (simple enough?) for me to
> understand.
>
>
> Can
On Wed, 2014-05-07 at 19:59 +0200, Jean-Charles Malahieude wrote:
> Hi all!
>
> On my way to typeset a mass by Monteverdi, I'm blocked with some
> ligatures (see
> http://musicofyesterday.com/historical-music-theory/expanded-history-musical-notation-part-4/
>
> for examples)
> I can code the
Is there an efficient way to change the style of every, say, third
barline?
Here's an example of what I'm trying to achieve, but I'd like to do it
without having to insert \bar "|" manually (and of course with real
music rather than \repeat unfold):
\version "2.19.2"
\relative c' {
\set Timing.
On Thu, 2014-05-08 at 07:44 -0700, Gilberto Agostinho wrote:
> What about this?
>
> \version "2.19.2"
>
> barlines = \relative c' {
> \set Timing.defaultBarType = ";"
> \repeat unfold 4 {
> \repeat unfold 3 { s s s s }
> \bar "|"
> }
> }
>
> music = \relative c' {
> \repeat unfo
On Thu, 2014-05-08 at 18:38 +0200, Toine Schreurs wrote:
> On Thu, May 08, 2014 at 04:35:40PM +0100, Graham King wrote:
> > Thanks Gilberto, that's simpler and better than anything I would have
> > cooked up. And by simply using:
> >
> > \version &quo
On Sat, 2014-05-17 at 11:37 -0500, Patrick or Cynthia Karl wrote:
>
> If you are on a unix machine (Mac, PC with Ubuntu, etc) you could do that by
> issuing the following command in a terminal window:
>
> find . -name \*.ly -print | xargs -n 1 convert-ly -e
>
> There is also a (possibly
On Sun, 18 May 2014 08:38:09 +0200 (CEST) Martin Tarenskeen wrote:
> > Luckily I don't need this kind of commandline virtuosity. I think I
> > can do what I need with one of the first and easiest suggestions
> >
> > convert-ly -e **/*.ly
>
I'm glad that you have a solution that works for you. S
On Fri, 2014-06-27 at 08:30 -0500, Andrew A. Cashner wrote:
> Phil,
>
> You're absolutely right (and I apologize if I suggested you didn't
> know that)---as you say, my terms weren't precise either. In medieval
> and Renaissance theory, C is tempus imperfectum cum prolatione minore,
> "cut C" is
In editions of renaissance music, both cautionary accidentals and ficta
may be notated above the staff. I would like to distinguish between
these cases, using parentheses. It is possible to do so, on a
case-by-case basis, using
\once \override Staff.AccidentalSuggestion.parenthesized =
cautionary = {
\ficta \once \override
Staff.AccidentalSuggestion.parenthesized = ##t
}
\relative c'' {
g4 \ficta fis g2
c4 \cautionary b? c2
}
On Thu, 2014-10-02 at 11:29 +0100, Graham King wrote:
>
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