Re: partcombine and instrumentSwitch

eluze gmail.com> writes: > Thomas Morley wrote > > > > But while using separate voices, LilyPond prints the instrumentCueName > > twice, too. > > Or did I sth wrong? > > if in the definition of instrumentSwitch in music-functions-init.ly you > change 'Staff to 'Voice it only prints once. > don'

Re: Decrescendo on last note

Carlo Stemberger gmail.com> writes: > I'd find useful a syntax like this... > > \version "2.14.2" > \relative c'' { >\time 3/4 >e2\((\< d4)\! >c2.\fermata\)\>\! \bar "|." > } > By using \>\! on the last note, the hairpin should simply fill the measure. Only on the last note? or w

Re: Decrescendo on last note

Carlo Stemberger gmail.com> writes: > I'd find useful a syntax like this... > > \version "2.14.2" > \relative c'' { >\time 3/4 >e2\((\< d4)\! >c2.\fermata\)\>\! \bar "|." > } > By using \>\! on the last note, the hairpin should simply fill the measure. There is also \endSpanners

Re: Decrescendo on last note

Carlo Stemberger gmail.com> writes: > > Keith OHara oco.net> writes: > > > There is also \endSpanners > > > > { \endSpanners b1\> } > > Another question: how to get something like [...] \pp at > the end? \endSpanners will not do, because it o

Re: How to reserve more space for fermata mark (to prevent large vertical shifts)

Reinhold Kainhofer kainhofer.com> writes: > Does anyone know a way to make the mark reserve more horizontal space Rehearsal marks are one of the things that has extra-spacing-width set to (inf . -inf) so that it reserves no space during note-spacing \once\override Score.RehearsalMark #'extr

Re: How to reserve more space for fermata mark (to prevent large vertical shifts)

Werner LEMBERG gnu.org> writes: > > Rehearsal marks are one of the things that has extra-spacing-width > > set to (inf . -inf) so that it reserves no space during note-spacing > > Something learned again Could this please be added to the > `Rehearsal marks' section in the documentation? Bett

Re: Grace note aligned to beat

Oscar Dub gmail.com> writes: > Grace notes in LilyPond seem to be engraved before the note they are attached > to by default. Is there an > override or a hack so I can get graces displayed as I'd like (i.e displacing > the note hosting them)? If there are just a few, it is easier to write them

Re: midi and repeated notes

Jean-Alexis Montignies montignies.info> writes: > When presented with a note off and a note on at the same time with > the same note number, my sequencer does not > repeat the note. I think the sequencer should repeat the note. There is some argument about how to interpret overlapping unisons

Re: Using the

Seth gmail.com> writes: > I'd like the F-sharp at the beginning of the second measure to be > printed with both a natural and a sharp sign in acknowledgement of > the F double-sharp in the previous measure. How could I go about > doing this? There are two changes from LilyPond defaults #(s

Re: Merging noteheads with \mergeDifferentlyHeadedOn

Nick Payne internode.on.net> writes: > In the following, why is it that the first C# in the top and middle > voices don't merge unless I also use \once \override NoteColumn > #'ignore-collision = ##t before that note in either one of those voices. Often, the note in voice 4 would prevent the mer

Re: Staff spacing for Z beam

Helge Kruse gmx.net> writes: > I want to write cross staff > beams like you can see in the attached example. >\override VerticalAxisGroup #'staff-staff-spacing #'padding = #10 LilyPond needs to be explicitly told that this applies to a Staff, etc., with \override PianoStaff.VerticalAxisGro

Re: Staff spacing for Z beam

On Thu, 25 Oct 2012 23:42:27 -0700, Helge Kruse wrote: 2012/10/26 Keith OHara Making space locally is probably the better option. You need to find something that does not overlay the staves (that is, not the Stems) and tell LilyPond to give that thing more space Further I have at least

Re: Weird Crescendo/Decrescendo Behavior

Keehun Nam gmail.com> writes: > > So the first [decrescendo], I'm letting it terminate "by itself" > by not declaring a \! Decrescendos in LilyPond do not terminate by themselves. They extend to the next dynamic mark if there is no \! > Then in the next one, [...] it doesn't even reach acr

Re: Accidentals with \modalTranspose

Vaughan McAlley mcalley.net.au> writes: > I want to notate a modal canon at the fifth. \modalTranspose works > well until there are accidentals in the original line. Fiddling with > the scale by adding notes causes problems; what would be nice is to be > able to specify *two* scales: \modalTrans

Re: Square brackets across an entire system?

Aristotle Esguerra esguerra.info> writes: > http://lsr.dsi.unimi.it/LSR/Snippet?id=377 > Is there a similar way to create square brackets that span an entire system? > The answer appears to be no, although it would seem to be useful to have. Drawing one bracket across many staves is more diff

Re: quoteDuring midi

Mogens Lemvig Hansen kayju.com> writes: > > Hi List, > > Music quoted with \quoteDuring does not make it to the midi file. > Is this a known bug? > Yes, it is. http://code.google.com/p/lilypond/issues/detail?id=2250 I suspect that there are few complaints because few people use \quoteDu

Re: hspace behaviour

Eluze gmail.com> writes: > > Phil Burfitt wrote > > > > Has the behaviour of \hspace changed in any way? It does not seem to act > > upon negative values anymore. > > It changed as part of the fix for this bug http://code.google.com/p/lilypond/issues/detail?id=732 ___

Re: hspace behaviour

Phil Burfitt talktalk.net> writes: > >> \markup { > >> \override #'(circle-padding . 0.55) > >> \fontsize #-2.5 { "tune " \circle 3 \hspace #-2 "to f #" } > >> } > though why am I having to do this? why is > there so much space after the circled "3" ? > The attempted fix for another b

Re: review of a Mutopia file (why TabStaff gives error here?)

Federico Bruni gmail.com> writes: I've updated to 2.16 the following piece of Mutopia: http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=636 Can anyone review it? I made one pass through, and made potential-corrections as I went. (attached) Hopefully you can use a 'diff' program to see

Re: review of a Mutopia file (why TabStaff gives error here?)

Federico Bruni gmail.com> writes: > Il 24/11/2012 03:34, Keith OHara ha scritto: > > Federico Bruni gmail.com> writes: > > > >> I've updated to 2.16 the following piece of Mutopia: > >> http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=636 >

Re: Collision avec lignes supplémentaires

elmamyra wrote Je copie une partition polyphonique (à 3 voix), \relative c'' { << \new Voice {\voiceOne \repeat unfold 4 e2} \\ \new Voice {\voiceTwo \scaleDurations 2/3 {\repeat unfold 8 {r8 e, e}}} \\ \new Voice {\voiceFour \repeat unfold 2 e,1} >> } Je trouve que le mi grave

Re: Collision avec lignes supplémentaires

Sorry. Wrong list. (Email is hard.) On Sun, 25 Nov 2012 12:17:58 -0800, Keith OHara wrote: elmamyra wrote Je copie une partition polyphonique (à 3 voix), ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo

Re: review of a Mutopia file (why TabStaff gives error here?)

Nick Payne internode.on.net> writes: > > On 24/11/12 13:34, Keith OHara wrote: > > \once\override TextSpanner #'to-barline = ##t > > <>\startTextSpan > > $music > > <>\stopTextSpan > Why is lilypond thinking that the

Re: printKeyCancellation, a way to never show key cancellations?

Paul Morris paulwmorris.com> writes: > For greater flexibility, would it make sense for PrintKeyCancellation to > have 3 options instead of 2? > 1. show key cancellations > 2. hide key cancellations, except C major / A minor > 3. hide all key cancellations > Maybe it would have, but we ha

Re: removing non-empty staves

gmail.com> writes: > I'm familiar with the instruction > \context { \Staff \RemoveEmptyStaves } > Is there a way to tell Lilypond to stop showing a non-empty staff > (that contains notes) and reclaim its space after the next line break? There is a variable called keepAliveInterfaces

Re: removing non-empty staves

On Tue, 04 Dec 2012 08:25:12 -0800, wrote: hideStaff = \set Staff.keepAliveInterfaces = #'() showStaff = \unset Staff.keepAliveInterfaces Whom should I talk to to suggest putting getting these tweaks predefined in the "shipping" installation of Lilypond and documented in the

Re: Tuplets and partcombine

Daniel Rosen gmail.com> writes: > { \partcombine > { \times 2/3 { f'' f'' f'' } } > { \times 2/3 { bes' bes' bes' } } > } > Gets me this error: > 5:4: warning: No tuplet to end It is a bug LilyPond generates internally a start-bracke

Re: new and context

Trevor Daniels treda.co.uk> writes: > Joram Berger wrote Thursday, December 06, 2012 10:56 PM > > > Am 06.12.2012 23:51, schrieb Trevor Daniels: > >> > >> Have a look. You can see the LilyPond grammar in Appendix C > >> of the Notation Reference. > >> > >> http://www.lilypond.org/doc/v2.17/Do

Re: how to reuse common header attributes

Xavier Noria hashref.com> writes: > I am transcribing a song in C, and would like the same document to > include its transposition in E flat. [...] > 1) The structure and variable usage are idiomatic? > I think so, mostly. Maybe put an extra set of {} around \addlyrics, just in case you forget h

Re: Programming error message

Eluze gmail.com> writes: > Phil Burfitt wrote > > > programming error: cannot evaluate "head-separation-default" in module > > I had previously been running 2.13.17 without any problems until I decided > > to update to 2.17.7 (first uninstalling 2.13.17) a few weeks back. This is > > when the

Re: how to reuse common header attributes

Xavier Noria hashref.com> writes: > > On Mon, Dec 10, 2012 at 12:13 AM, Keith OHara wrote: > > > I think so, mostly. Maybe put an extra set of {} around \addlyrics, > > just in case you forget how \addlyrics works (like I often do). > and don't quite understand

Re: minimal-breaking page breaking algorithm fails

Kieren MacMillan sympatico.ca> writes: > In the docs, it says “The ly:minimal-breaking function performs minimal computations to calculate the > page breaking: it fills a page with as many systems as possible before moving to the next one.” > Can anyone explain what the algorithm is supposed t

Re: minimal-breaking page breaking algorithm fails

Nick Payne internode.on.net> writes: > if you change ragged-bottom and ragged-last-bottom to > ##t, the console outputs two identical warnings: "warning: cannot fit > music on page: ragged-spacing was requested, but page was compressed", > and the output is now over three pages, with four syst

Re: Displaying string number above fingering

Eluze gmail.com> writes: > maybe this could be merged into > https://code.google.com/p/lilypond/issues/detail?id=2830 That issue is about fingering and string numbers inside chord brackets <>, documenting how the order of input works together with script-priority 8( ) ( ) articulatio

Re: Displaying string number above fingering

David Kastrup gnu.org> writes: > Keith OHara oco.net> writes: > > > The irregular behavior Oliver sees occurs when there is no <> chord > > indication. > > Fingering_engraver Well, fingerings go to Fingering_engraver but the string-numbers go to New_finge

Re: Displaying string number above fingering

Keith OHara oco.net> writes: > There are two or > three separate pieces of code setting fingerings and scripts according to > different combinations of rules, > It seems if we give Fingerings and StringNumbers different script-priorities > by default, as David suggested, it

Re: need more help with spacing overrides

ed stuckems gmail.com> writes: > > I'd like to increase the distance between piano staffs \new PianoStaff \with { \override StaffGrouper #'staff-staff-spacing #'basic-distance = #20 } << \new Staff { c'1 } \new Staff { c'1 } >> __

Re: unhiding a hidden staff at the NEXT line break (instead of previous line break)

gmail.com> writes: > > Anyone know how I can get Lilypond to unhide a staff at the NEXT line break? No. It looks like you have a part for a cello section with the form unison |A| simple-divisi |B| complex-divisi where the complex-divisi music demands a separate staff for each part. If

Re: Full bar rests in single-staff polyphony

Daniel Rosen gmail.com> writes: > "So far, there's no automatic support in LilyPond to avoid collisions between > multi-measure rests and other objects." > > Is this still the case? Yes. > If so, is there a reason that this feature can't be added? I think that part of reason full-measure re

Re: minimal-breaking page breaking algorithm fails

Kieren MacMillan sympatico.ca> writes: > > Is there anything you use a lot in your score that could sometimes > > force staves further apart, > > depending on how the note-spacing comes out ? > > My score is frenched, so the estimates could be based on system extents > BEFORE the empty ones ar

Re: brainstorming a really smart system engraver

Kieren MacMillan sympatico.ca> writes: > [...] there are sections where a score COULD be adequately > represented using only 1 choral staff, and other sections that require > 2 or 3 or 4 (or even more) independent staves. > I think I have the PERFECT solution to this problem, > if only \quoteD

Re: markup baselines

Kieren MacMillan sympatico.ca> writes: > What would be required to change all markups so that the baseline is the > reference point, For 'staff-padding, that was the intent, and it seems not-too-hard to repair the code > At least for m

Re: unhiding a hidden staff at the NEXT line break (instead of previous line break)

gmail.com> writes: > This dead-is-alive stuff make it sound like any staff Lilypond would > normally hide is shown and any staff it would normally show is hidden. Yes. > How does that help to defer showing a staff until the next line break? Normally, LilyPond will hide a staff if it is comple

Re: Short stems

Arle Lommel gmail.com> writes: > I have run into an odd little aesthetic issue. I'm finding that > some eighth (or shorter) notes get stems that > are too short when they stick out from the staff. I see you have plenty of answers already, but if you use the list of values that LilyPond uses inte

Re: Measure numbers as rehearsal marks?

Richard Hogg gmail.com> writes: > > I'm transposing a piece where the measure numbers mark the beginning of each (irregular length) section, so I need to notate measure numbers 11, 19, 27, 31, 51, 59, 67, etc.  Is there a way to do this?   I read this differently than the other respondents.

Re: what's the most "efficient" way of doing this?

Kieren MacMillan sympatico.ca> writes: > Essentially. Did you do any performance testing, to see if compilation > times are optimized this way? (I'm finding performance to be somewhat > critical, especially when generating my large opera and musical scores.) > > Has anyone else tried other met

Re: Tuplet Ratios

carltesta wesleyan.edu> writes: > I am working on typesetting another composer's music. In their music they > prefer to notate a 5:4 tuplet (5 sixteenth notes in the space of 4 sixteenth > notes) as 5:1 (5 sixteenths in the space of 1 pulse (quarter note). Is it > possible change Lilypond's MIDI

Re: Pedal Sustain Style changes the alignment of pedals

Noeck gmx.de> writes: > Why are the pedal symbols on a different vertical level with the mixed > and the bracket style but not in the default (text) style? > > \version "2.16.0" > { > \clef bass > \set Staff.pedalSustainStyle = #'text % bracket mixed > a,2\sustainOn a,\sustainOff > a,,1\

Re: MetronomeMark alignment after break

Daniel Rosen gmail.com> writes: > > From: Xavier Scheuer [mailto:x.scheuer gmail.com] > > > > This is indeed a bug. > > Mike encountered it as recently as yesterday. > > > > He is currently fixing it, enjoy! > > http://code.google.com/p/lilypond/issues/detail?id=1263 > > Any ideas as to how

Re: Cross staff beams with subdivision

Helge Kruse gmx.net> writes: > How can I connect the low and upper staffs beams? Moving the manual beam indication ] to the end of the tuplet. > How can I extend the distance between the staffs to make place for > this beams construct? When I want extra space between staves for a few isolated

Re: Cross staff beams with subdivision

Noeck gmx.de> writes: > > \once\override Rest #'minimum-Y-extent = #'(0 . 9) > > r8 gis!32\([ b dis gis! > > \change Staff=upper \times 4/6 { b dis gis! b dis gis!\)] } > > Is there a preferred way using some staff spacing instead of using space > around a rest, that happens to be c

Re: Fingering output change 2.17.9 -> 2.17.10

Nick Payne internode.on.net> writes: > To indicate guide fingering I've been using the code below. In 2.17.10, > the fingering with guide is placed above the stem even though > Fingering.add-stem-support = ##f. In 2.17.9 and earlier it was placed at > the same height as normal fingering. Mike

Re: Fingering output change 2.17.9 -> 2.17.10

Nick Payne internode.on.net> writes: > To indicate guide fingering I've been using the code below. In 2.17.10, > the fingering with guide is placed above the stem even though > Fingering.add-stem-support = ##f. In 2.17.9 and earlier it was placed at > the same height as normal fingering. Mike

Re: multi-instrument parts

Kieren MacMillan sympatico.ca> writes: > Has anyone successfully written multi-instrument player parts [...] > using \addInstrumentDefinition and \switchInstrument [...] ? Almost certainly not. \addInstrumentDefinition is inconvenient. Google says: No results found for instrumentSwitch site:mut

Re: multi-instrument parts

On Tue, 15 Jan 2013 19:41:00 -0800, Kieren MacMillan wrote: Boo. I really wish Lily would Do The Right Thing™ with regard to transposing parts. I want [...] perhaps I'll put together an official feature request… Almost certainly, \instrumentSwitch was written in response to a similar requ

Re: multi-instrument parts

On Tue, 15 Jan 2013 21:43:04 -0800, Kieren MacMillan wrote: I've been using it for 10 years now. Sorry, I've seen so many names they are all a jumble in my head. In that case, for the part where the player switches instruments, you'd probably like to store the as-written pitches along wit

Re: ledger line crash with very high notes in first chord of system

Jeffrey Trevino gmail.com> writes: > the accidentals should be moved to the left to avoid collision with the > ledger lines. Yes, the ledger lines are discontinuous, so they hide the accidental much more than staff lines would. I added a bug report

Re: Transposing instruments

Guy Stalnaker gmail.com> writes: > Thanks everyone who replied. I understand the relationship between > /transpose and /transposition now. FYI the proper commands that produce > the expected outcome is: > > /transpose f c' { >   /transposition c { %{ music in concert pitch ... %} >   } > } A

Re: Overriding Y-extent of Clef doesn't work with v2.17.10

Thomas Morley googlemail.com> writes: > > in some situations I used to override the Y-extent of the Clef. > > With 2.17.10 it doesn't work any more. > I noticed this, too, and found the change that caused it. https://lists.gnu.org/archive/html/lilypond-user/2013-01/msg00559.html Now that I

giving MetronomeMarks the space they need

Kieren MacMillan sympatico.ca> writes: > Almost certainly my #1 frustration with Lily right now is the fact that > MetronomeMark collisions resolve so poorly. > > Why is it so difficult to get them to push remaining MMs to the right > (stretching the music underneath to accomodate, if necessar

Re: giving MetronomeMarks the space they need

On Sat, 09 Feb 2013 05:30:26 -0800, Kieren MacMillan wrote: Um… why? In what universe would that be a good thing By putting this into "real music", I see why the default is a good thing… This override is ONLY useful when the music it precedes is a multi-measure rest — with notes, it wr

Re: giving MetronomeMarks the space they need

On Sat, 09 Feb 2013 11:29:07 -0800, Keith OHara wrote: I have had better luck. Maybe you're not holding your tongue right. Some of my tongue-holding skill is probably my having the fix for issue 1700. This fix appeared in version 2

Re: hidden notes causing semiquaver stems to lengthen

Kevin Patrick Barry tcd.ie> writes: > I frequently have to layer many horizontal brackets over a small number > of notes (motivic analysis), and to do this I use extra voices with hidden > notes.  Mostly this works fine, but sometimes the hidden notes cause some > odd behaviour with stem lengths

Re: giving MetronomeMarks the space they need

On Mon, 11 Feb 2013 18:12:40 -0800, Kieren MacMillan wrote: Mike's hack definitely solves the problem nicely — see other thread. The other thing people do is make a separate context, analogous to Dynamics, usually called MarkLine. This thread has a reasonably modern version

Re: giving MetronomeMarks the space they need

On Tue, 12 Feb 2013 04:31:12 -0800, Kieren MacMillan wrote: The other thing people do is make a separate context, analogous to Dynamics, usually called MarkLine. Yes, I do this (ScoreMarks). You reported a problem with ScoreMarks

Re: giving MetronomeMarks the space they need

On Sat, 09 Feb 2013 05:23:08 -0800, Kieren MacMillan wrote: By default, MetronomeMarks have settings requesting specifically that LilyPond ignore them when spacing notes and rests, analogous to \textLengthOff I use the two overrides below. There are still irregularities Can these things

Re: Is there an easy solution to across voice slurs

Derek shmerek.com> writes: > The attached image is where the slur should start on the high Bb > The stem down things are there because I am transcribing a score and that is > how it is written but they are the part I want the slur to go over. Slurs almost never cross voices (in the musical sen

Re: Proposed new available and recommended behavior of \relative

> Colin Hall gmail.com> writes: > > > In my early days with Lilypond I learned this to my cost. I've never > > used \relative since then. I stopped using \relative about a year ago, because absolute note entry is vastly easier. When writing, I do not generally remember the previous note (more l

Re: Turn placed between notes

Nick Payne internode.on.net> writes: > have to fiddle with the value of halign each time to get > the turn centred between the notes. Is there a more automated way of > positioning the turn? Parallel music. Then I can think in terms of the timing of the turn, rather than the spacing. Usual

Re: Turn placed between notes

David Kastrup gnu.org> writes: > Keith OHara oco.net> writes: > > > \new Voice \relative c'' { > > << f4. {s4 \once\hideNotes f8\turn\noBeam } >> g16-. a-. } > > \once\hideNotes makes me a bit queasy here since it will affect all >

\relative is not the best way of entering complicated music

It took me years to realize that \relative was making LilyPond more difficult for me. I very often forget what was the last pitch I typed, especially when working on a few music expressions in parallel, and even when I do remember the burden of deciding if the interval is a fourth or fifth is distr

Re: Turn placed between notes

David Kastrup gnu.org> writes: > I don't think I get your point. It was that \once\hideNotes works fine. We do not need the complexities of \tweak or the new \single until we start digging into chords. > Keith OHara oco.net> writes: > > > David Kastrup gnu.o

Re: Idle curiousity about ancient Lily-lore

Jim Long umpquanet.com> writes: > Just curious, how did the absolute notation system come about? It is very similar to Helmholtz notation, from his book of 1863 "On the Sensations of Tone as a Physiological Basis for the Theory of Music" The difference being that Hermann von Helmholtz used capi

Re: Key signature shifted

Denis Bitouzé wanadoo.fr> writes: > In that cases, wow, nice and powerful! > > But in my case (empty key after key cancellation), it looks > rather strange, isn't it? > There is a bug report proposing that LilyPond put the key signature

Re: Changing accidental style for one section of a piece

James Harkins gmail.com> writes: > I would like to use one of the more modern accidental styles, > but only in that section. > It wasn't clear if the style could change in the middle of a piece. I would think it should work. So far, it works for me to put \accidentalStyle in the middle of musi

Re: cautionary accidentals based on cautionary in another staff?

Kieren MacMillan sympatico.ca> writes: > Has anyone solved this problem, i.e., including cautionary accidental(s) > in one staff if one was required in the same measure of another staff in the > same score? > Exactly this rule probably won't work for you, but I set a rule to set cautionary acc

Re: Dynamics: widely varying vertical positions

James Harkins gmail.com> writes: > Why is it a good idea to have the "mp" so much higher than the hairpin and > "p"? > Between tight staves, to keep the dynamics close enough to their home staff so they don't look like they might belong to the upper voice on the next staff down. > Is there a s

Re: User comments on R shorthand

David Kastrup gnu.org> writes: > Now look at the output of > music = { \time 4/4 a1 a1 a1 a1 } > \new Staff << \music \\ { f1 \time 12/4 f1 f1 f1 } >> > which is a perfectly valid though slightly capricious LilyPond file. That is how I join parts together with time changes, and I didn't thin

Re: Tempo marking pushes rehearsal mark far above the staff

James Harkins gmail.com> writes: > In this minimal example, there's a collision between the rehearsal and > tempo marks. LP resolves the collision by pushing the rehearsal mark > rather far above the staff. > % No discernible effect, even with much larger numbers > \override Score.Rehearsal

Re: Tempo marking pushes rehearsal mark far above the staff

On Sat, 30 Mar 2013 06:20:55 -0700, Kieren MacMillan wrote: both MetronomeMark and RehearsalMark need to have space reserved. If any two grobs "have space reserved", will collision avoidance always be accomplished horizontally? That is what I meant by "have space reserved", so yes. The

Re: tie between voice & transpose a to g

> 2013/4/11 MING TSANG rogers.com>: > > I have a hard time coding cross voice tie. > > I end up of splitting the chord into two voices. > That is the way to think of the music in LilyPond's terms. The tied note is written with two notes, but is one sound and logically stays in one voice. The

Re: PercentRepeats not centered for more than two bars

Peter Crighton googlemail.com> writes: > Anyway, for me the important part is how to center the > DoublePercentRepeat (as in a two-bar repeat). > \compressFullBarRests This collapses multi-measure rests into one measure for parts, and collapses measures with slash-repeats in a way that /might

Re: sustain pedals way below staff

Derek shmerek.com> writes: > Nevermind i think I sorted it wiht \override VerticalAxisGroup etc etc > In case anybody else has the same problem, His output looked like version 2.14, so let's guess this was the bug http://code.google.com/p/lilypond/issues/detail?id=2102, fixed for 2.16, and tha

Re: Rests in TabVoice

Peter Crighton googlemail.com> writes: > > Peter Crighton googlemail.com> writes: > > > > > Hello there, > > > > > > would it be possible to attach rests in a TabVoice to a different > > > line? At least whole and half rests look terribly vertically > > > off-centered, especially in four-line st

Re: "stacked" tempo indications in one line

Stefan Vollmar nf.mpg.de> writes: > \override Score.RehearsalMark #'extra-spacing-width = #'(-1 . 1) > \override Score.RehearsalMark #'padding = #1.5 > ... > \mark \default > \grace s1 > \tempo "Moderato" 4 = 120 > > I also needed the "extra-spacing-width", the "padding" and (curiously) > the

Re: cre - - sen - - do

Derek shmerek.com> writes: > Thanks for that. I assume this means at this juncture it isn't possible? > cheers Writing a chain of crescendos spelling out each syllable is possible { b2-\tweak#'text"cres"\cresc b b-\tweak#'text"cen"\cresc b b-\tweak#'text"do"\cresc b b1\f }

Re: 2.17.16 vs 2.17.17 Page Breaking

Jay Anderson gmail.com> writes: > Attached is a hymn (with annotated spacing on) which in 2.17.16 was > set nicely onto one page. In 2.17.17 it is now broken onto 2 pages > even though there appears to be room on the first page. I can create a > good test if needed, but I'm wondering if this was

Re: cre - - sen - - do

Derek shmerek.com> writes: > I tried within my dymanic stave and this was the result: > s4 s8 {s8-\tweak#'text"cre"\cresc s4 s8-\tweak#'text"scen"\cresc s8%|28 > s4 s8-\tweak#'text"do"\cresc s8 s4 -\tweak#'text"molto"\cresc s4%|29 > s4\f} s4 s4 s4%|30 >

Re: is MultiMeasureRest breakable?

Kieren MacMillan sympatico.ca> writes: > Is there a way to break MultiMeasureRests in the voice, so that > the piano part is spaced "naturally" (as > opposed to breaking the piano part in order to fit the voice's MMRs)? > Possibly nobody understands the context. Multi-measure rests are always

Re: is MultiMeasureRest breakable?

On Sat, 04 May 2013 19:21:23 -0700, Kieren MacMillan wrote: What I mean is, if the barline in another [polymetric] staff falls in the middle of a MultiMeasureRest, could Lilypond [automatically] split the measure, perhaps putting a parenthesized MMR on the following system? This came up no

Re: is MultiMeasureRest breakable?

David Kastrup gnu.org> writes: > "Keith OHara" oco.net> writes: > > The Bar_line_engraver does two jobs, printing barlines at the right > > places, and forbidding line-breaks at all other places. > > Not really. That is the job of the Forbid_line_break_e

Re: beams and note stems

Mark Stephen Mrotek ca.rr.com> writes: > How can I get all of the notes beamed and the stems of consistent length? >   \once\override Beam.concaveness = 0 % bug 657 before the first note of the beam. ___ lilypond-user mailing list lilypond-user@g

Re: Grace note displayed exactly on beat (and not before)

Siska Ádám sadam.hu> writes: > I was > wondering how I would be able to put the grace note just on the beat. > It is easiest to use normal notes and tell LilyPond that the durations shorter than normal, say 1/4 the written length, with c'16*1/4 and that the following note gets only a fraction

Re: Grace note displayed exactly on beat (and not before)

Keith OHara oco.net> writes: > I could not quickly figure out how to apply all the 'graceSettings > to the normal voice, but there is probably a way to do so and maybe > we should make a short command \graceSettings for that. > Some less-ugly version of graceSettings = \ap

Re: Best practice for parts with varying number of staves

Urs Liska openlilylib.org> writes: > Some parts vary the number of staves along the way (for example the > violas are written on one up to four(!) staves). > b) > I could add some 'padding' empty measures around each additional staff > to ensure that when the music starts in the middle of a sys

Re: Tempo marking pushes rehearsal mark far above the staff

On Sun, 19 May 2013 17:25:32 -0700, Kieren MacMillan wrote: Hi Keith, I'm proposing to make a full self-consistent set of overrides be the new default How's that going? I pushed the change, but then reversed it when I found out t

Re: interesting implementation detail of \partcombine

Mike Solomon mikesolomon.org> writes: > > I just realized that when one uses spacer rests instead of full-measure rests in a voice that is being part combined, if there are full-measure rests in the other voice, those rests will be shifted up.Not a biggie, but perhaps it should be documented

Re: Style question for bar checks

Noeck gmx.de> writes: > Would you recommend putting the bar check always after the note or in > some circumstances also after an including brace? > \alternative { > { a2 b } | % wrong > { a2 a } | % wrong > } If there is more than one measure in each alternative sequence, then th

Re: midi channel

Rob gmx.de> writes: > for the midi playback > the channel assignment of the staffs > does not always do what I expect it to do. > \new Staff \with { midiChannel = 1} > That control does not yet exist, but there are requests in the bug-tracker http://sourceforge.net/p/testlilyissues/issues/227

Re: Voice split across staves?

Joel C. Salomon gmail.com> writes: > my specific > question is how best to show what seems to be a voice split across > staves. The following example should show what I mean: I’ve set the > piece’s first bar twice, the first time as seems logical to me, the > second time as it appears in the pri

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