f \with {
\override SpanBar #'glyph-name = #"|" }
<<
\new Staff { c' }
\new Staff { c' }
>>
>>
}
Regards,
Kevin Barry
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Dear Nathan,
Two ways of doing this come to mind:
<<
{ r4 \oneVoice r4 }
\\
{ r4 s4 }
>>
OR
<<
{ r4 b4\rest } %assuming it's on a treble clef;
\\
{ r4 s4 }
>>
Kevin
<<
{ r4 r4 }
\\
{ r4 s4 }
>>
There are two rests printed on beat 1, and as expected they a
Dear LilyPond users,
Am I right in saying that the proposed new \relative {}, where the first
pitch is absolute, is equivalent to simply writing \relative f {} in
current usage? That might make it easier to explain in documentation
than trying to explain that the first note is treated differen
Dear LilyPond users,
Occasionally I find the stem lengths of grace notes to be too long, as
in the following example, where the grace 32s have longer stems than the
normal ones (because of the slope I think):
\version "2.16.2"
\relative a' {
s a32 \afterGrace a { b32[ g] } a8
}
I have tr
Hi Sam,
The solution is to alter the duration of the first eighth note to 4/3
of its normal duration and the second one to 2/3 like in the following
example:
\version "2.18.2"
\relative {
<<
{ g'8*2/3 f e }
\\
{ c8*4/3 e8*2/3 } % note the altered durations
>>
}
hth,
Kevin
On Thu
On Tue, Aug 4, 2015 at 3:53 PM, Cynthia Karl wrote:
> Is there a useful way to get closer association of a staff and a dynamics
> context in the following snippet?
Two things suggest themselves, although you may not like either idea:
1) You could add dynamicsA to the upper Staff (instead of it h
On Tue, Aug 4, 2015 at 5:08 PM, Cynthia Karl wrote:
> Shouldn’t the line:
>
> \new Staff << \dynamicsAHigh \musicA \dynamicsALow >>
>
> resullt in the ordering in the score:
>
> dynamicsAHigh
> musicA
> dynamicsALow
No: the result is that they are all part of the s
Hi Andrew,
If you don't mind manually positioning every single one of these items
then something like this might help. I wrapped your markup in an event
function (for your custom markup you can still keep it in a separate
variable/function). By setting the X and Y offsets you can manually
choose t
On Sun, Aug 9, 2015 at 11:16 AM, Jonathan Scholbach
wrote:
> I would like this system to have the height of the other
> systems in the score and to be placed in the (vertical) center of the
> first page
Have you tried something like
\paper { ragged-bottom = ##t }
(This may have unintended conse
Hi Marek,
Instead of creating a link to the lilypond-book script, could you try
following the instructions here:
http://lilypond.org/macos-x.html
to create executables, and see if that fixes the problem.
Kevin
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lilypond-us
Hi Orm,
On Tue, Aug 11, 2015 at 3:13 PM, Orm Finnendahl
wrote:
> As the instrument names are short, lilypond must know that it isn't at
> the beginning of the piece. It would be preferrable to have unindented
> first staffs, as that would better resemble the final layout, if the
> typesetting (re
start a bikeshed...
>
> --
> Orm
>
> Am Donnerstag, den 13. August 2015 um 13:57:44 Uhr (+0100) schrieb Kevin
> Barry:
>> Hi Orm,
>>
>> On Tue, Aug 11, 2015 at 3:13 PM, Orm Finnendahl
>> wrote:
>> > As the instrument names are short, lilypond must kn
There is a command to tell apt that you have manually installed a
particular package. I can't look it up now as I am doing this on my phone,
but maybe someone else here will know it or you can Google it.
Kevin
On 14 Dec 2015 12:37 p.m., "tapani" wrote:
> I'm trying to install Rumor from the Ubun
Dear All,
I frequently need to have overlapping horizontal brackets. This means that
I have to add hidden notes to my scores to attach them to. (Brackets won't
attach to spacer rests unless they live in a Staff context, in which case
you can't have more than one at a time. Adding brackets to both
>
> i want the stemlet to reach down towards the rest. How?
>
add an override like so:
\override Stem.stemlet-length = 2
(or whatever value you prefer)
> How do i make custom rehersal marks?
> When using \markup { ... } the whole score looses it layout and to add
> insult it does not display a
Hi Ralph,
This snippet might help:
http://www.lilypond.org/doc/v2.19/Documentation/snippets/rhythms#rhythms-changing-time-signatures-inside-a-polymetric-section-using-_005cscaledurations
I've attached my version; the only thing I wasn't able to do was get the
spacing on the ossia staves to ignore
My workflow consists almost exclusively of producing musical examples for
including in Latex. I have the following code in a style file that will
crop things as small as possible. After that you will have to adjust the
line width manually (depending on your latex document's \textwidth).
#(ly:set-o
On 17 January 2016 at 16:56, Carl-Henrik Buschmann
wrote:
> Kevin, please humor a LP novice: Let us say my file was the one you would
> use in a .tex. What would you do?
It depends on the document and the musical example. For a small musical
example that will fit on one page (with no instrument
On 21 January 2016 at 13:02, Ralph Palmer wrote:
> I can't figure out how to revert for that one bar
There are two ways to do this:
1) move your \override from the \with {} block into the beginning of the
music expression so that you can \revert it later on, when you need to
2) check what the d
On 23 January 2016 at 18:01, Charles O. Lawrence <
charlesolawre...@bellsouth.net> wrote:
> For example, what are all the parameters for a TextSpanner?
Do you mean this?
http://lilypond.org/doc/v2.18/Documentation/internals/textspanner
___
lilypond-use
Hi Daniel,
I tried to get this working some years ago. I even went as far as
installing X11 and xpdf, but still couldn't overcome some guile
problems (my memory is hazy). The discussion begins with this message:
https://lists.gnu.org/archive/html/lilypond-user/2013-12/msg00902.html
hth,
Kevin
On
Dear LilyPond users,
A friend recently persuaded me to try emacs for text editing (LaTeX +
LilyPond), however I can't quite understand the instructions for
installing lilypond-mode, as outlined here:
http://lilypond.org/doc/v2.16/Documentation/usage/text-editor-support
'An Emacs mode for ente
Message: 5
Date: Tue, 28 May 2013 22:33:01 +0200
From: Hanns Holger Rutz
To: lilypond-user
Subject: top-aligned superscriptions
Message-ID: <62ad52f5-6186-4452-bf54-b331a3b68...@sciss.de>
Content-Type: text/plain; charset=iso-8859-1
hi,
how can I enforce superscriptions to be vertically aligne
Hi,
Does the piece you are reproducing have two sets of articulations, both
above the staff? I can't remember ever having seen that kind of notation
before.
If you want to remove the articulations from one voice you can add the
following line to it (place it in the same block as the music, befor
There is no misprint in the manual. The way you used \set is also
possible, but because the line in question appears after the closing
bracket on the line before LilyPond does not include it in the variable you
named (organPart). If you enclose the entire variable in curly brackets
(which will ma
Dear Jinsong,
I'm not sure why lilypond adds a bit of extra space between the note and
the fermata when there is text nearby (perhaps it's a deliberate attempt to
increase legibility) but you can remove that padding and allow text above
the articulations with the following code:
\version "2.18.2"
Dear Craig,
Can you provide an example that compiles on its own? A simplified version
of your code is working for me. Also, what font are you using?
Kevin
On Fri, Jan 16, 2015 at 9:00 AM, Craig Dabelstein <
craig.dabelst...@gmail.com> wrote:
> Hi Shane,
>
> \version "2.19.11"
>
> Even with \sma
>
> "\caps" and "\smallCaps" should work with any font since they simply
> iterate through the string and reduce the font size by a scaling factor -2
> for all characters except those already in upper-case.
>
Does this mean that lilypond doesn't use the true small caps that many
fonts include?
___
Dear David,
> > \score {
> > > \new StaffGroup <<
> > > \override Score.MetronomeMark.padding = #2
> > > \topLine
> > > \bottomLine
> > > >>
> > > }
>
Here if you replace the `padding' property with `outside-staff-padding' it
should work, i.e.
\override Score.MetronomeMark.out
>
> Any ideas for the time signatures?
>
As others have suggested you can place it in markup in its own dynamics
context between the staves like this (it's not an elegant solution, but you
only need to do it once):
\version "2.18.2"
fakeThreeFour = {
\override Score.TimeSignature #'stencil = #
On Sun, Jan 18, 2015 at 12:47 PM, Conor Cook wrote:
> Is there a way on Windows to do so?
> Neither my program, Foxit, or the built-in allows that.
>
Sumatrapdf is an auto-updating pdf reader for windows. Maybe take a look at
that.
Or use frescobaldi!
___
Dear openlilylib people,
I have read a few messages about this mysterious editionEngraver and I
would like to try using it, but I am doing something wrong and I don't know
what. I found the folder for it on github and tried to use it by
downloading the three files there (definitions.ily, example.
Dear Cynthia,
The rules about articulation placement are solidly established and differ
depending on whether a staff has a single voice or two. The extract you
quoted from Read is the rule as it applies to a single voice. When two
voices share a staff the articulation placement is reversed (think
Hi David,
In general it is very difficult to make lilypond alter the width of a
single bar (to quote the manual: `There is no convenient mechanism to
manually override spacing'). There are some ad hoc solutions for specific
cases (that mostly make a bar /wider/) but your question doesn't give
enou
On Wed, Jan 21, 2015 at 7:31 PM, bobr...@centrum.is
wrote:
> Actually, making a couple other measures wider would likely also do the
> trick. In trying to create a small file which demonstrates the problem I
> am mystified as when I excerpt the section I want to change the excerpt
> doesn't disp
On Fri, Jan 23, 2015 at 2:34 PM, Jayaratna wrote:
> I'd simply like it to be as large as the textwidth. I have had a good
> result
> by manually inserting a slightly shorter line-width (2mm less than the
> textwidth) in the paper block.
>
There is currently no way to fix the width of a lilypond
On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo wrote:
> I’m trying to add a Ritardando. I’ve searched the user manual and found
> some information but I do not understand how I use it. Exactly where do I
> write!?
Dear Peter,
I'm not sure I understand your question. The piece of code in your me
On Mon, Jan 26, 2015 at 10:57 PM, Flaming Hakama by Elaine <
ela...@flaminghakama.com> wrote:
> (Also, what is wrong with interpreting that the 7th resolve to a 6th?
> That seems pretty coherent.)
This allows for two possible interpretations of the same symbol, which is
why it is preferable to s
!
>
> /Peter
>
>
>
> Peter Danemo
> +46-70-653 21 91
> E-post: m...@danemo.com
> Web: danemo.com
>
>
>
>
>
> 27 jan 2015 kl. 00:55 skrev Kevin Barry :
>
>
> On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo wrote:
>
>> I’m trying to add a R
On Tue, Jan 27, 2015 at 12:48 AM, Tim McNamara wrote:
> I have to take issue with the idea that “sus” could somehow apply to the
> 7th. It can’t. Suspensions specifically apply to replacing the 3rd with
> either the 4th or the 2nd (the latter being rare except in folk music
> played on guitar i
On Tue, Feb 3, 2015 at 2:59 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> This may be related to the fact that I have a ScoreMarks (a.k.a. MarkLine)
> context at the top of my score:
Have you tried removing bar numbers from the Score context and placing them
in the Staff context
On Tue, Feb 3, 2015 at 4:38 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> Nice! This solves the problem completely for this one-Staff score (e.g.,
> linear instrumental part).
> No doubt a similar incantation (e.g., on PianoStaff) will work for my
> other scores — I’ll have to che
This is a hackish solution (it involves a hshift that will need tweaking
once the score is filled up) but it seems to do what you want.
\version "2.18.2"
\language "english"
upperStaffTop = \relative c' {
4 |
}
upperStaffBottom = \relative c' {
\once \override NoteHead.transparent = ##t
On Tue, Feb 3, 2015 at 6:42 PM, Knute Snortum wrote:
> That's quite astounding to me. Okay, so you fake a d to get the note head
> on the other side of the stem. Then in the lower voice you fake another d,
> make it transparent, and shift it right a bit. Have I got it?
Yes that's correct (th
OK I found a much simpler and slightly less hackish way to do it: just add
\once \override Stem.X-offset = #1.25
before the C sharp and that should keep the stem correctly positioned even
if other things change.
On Tue, Feb 3, 2015 at 7:42 PM, Kevin Barry wrote:
>
> On Tue, Feb 3, 2015 a
On Thu, Feb 5, 2015 at 5:54 PM, William Marchant
wrote:
> I am using the below code to place several verses of a song, below the
> music. It works fine except I do not know how to change the font size. I
> need slightly larger type.
> Can someone point me in the right direction please?
>
There a
On Sun, Feb 8, 2015 at 2:03 PM, Cynthia Karl wrote:
> But I don’t want to make it visually that there are two voices here, I
> want to make it visually explicit that there is a single voice. That’s why
> each voice has issued the \oneVoice command before asserting the r2. And
> why is it only r
On Mon, Feb 9, 2015 at 2:01 AM, Craig Dabelstein wrote:
> Does anyone have experience with using both openlilylib and Makefiles? I'm
> using Urs' scholarLy, and have updated to the latest code as of yesterday,
> and through Frescobaldi it all engraves fine. However, when I try to run my
> Makefil
On Mon, Feb 9, 2015 at 4:27 AM, Thomas Spuhler wrote:
> Are you sure:
> see attachment from libreoffice writer, normal and bold
>
When there is no bold face present, a word processor might `fake' one by
modifying the regular (roman) face. I don't know if that is what happened
in your attachment,
On Tue, Feb 10, 2015 at 3:13 PM, William Marchant
wrote:
> I would like to place a natural symbol on the first note of the second
> bar, just to
> remind folks that it is different. I know this is not the convention, but
> I want to do it anyhow.
> Is there a way?
> Bill
>
There's nothing uncon
Hi Stan,
Without seeing some code I can't be very specific, but here are some
thoughts.
The variable system-system-spacing controls the distance between systems
(it can be set in a \paper block or a \layout block I think). I think you
have to set it for a whole score though, that is, you can't ch
Hi Takumi,
Is this what you want?
\version "2.18.2"
tremps = #"
2 setlinewidth
0.07 0.07 scale
-10 7 moveto
-5 3 5 3 10 7 curveto
-10 -7 lineto
-5 -3 5 -3 10 -7 curveto
stroke
"
z-trem =
#(define-music-function (parser location music) (ly:music?)
#{
\override StemTremolo.stencil =
Hi Joram,
I am not sure why \bold and \italic aren't working in your example, but you
can still use overrides within the markup blocks to get what you want, e.g.
\markup { Andante \override #'(font-name . "Century Schoolbook L italic")
con }
If you will be doing the override frequently you can m
I just tested on my own pc (linux, 64bit, 2.18.2) and the ligatures don't
work, either with linux libertine or with century schoolbook.
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On Thu, Feb 12, 2015 at 9:25 PM, H. S. Teoh wrote:
> I've tried various ways of doing this -- putting the commands in a
> variable, using various Scheme make-script / make-music constructs,
> etc., but lilypond keeps coming back with error messages. What's the
> correct syntax for doing this?
>
Thank you for checking. I have checked three systems with the following
results
Mint 17.1 (Ubuntu 14.04) 64 bit, bad
Ubuntu 14.10 64 bit, bad
Fedora 21 64 bit, bad
which also supports the 32 vs 64 bit hypothesis. Is there any possibility
of a workaround for this?
On Thu, Feb 12, 2015 at 9:41 PM
On Thu, Feb 12, 2015 at 10:03 PM, Simon Albrecht
wrote:
> I do think this needs a - before each tweak to attach it to the note as
> post event, but then it should work.
> Yours, Simon
>
I tried with and without the - and both seemed to work the same. What's the
difference?
__
On Thu, Feb 12, 2015 at 10:32 PM, H. S. Teoh wrote:
> Why doesn't it work when I use \override instead of \tweak?
I think \override doesn't work because it gets between the note and
\startTextSpan (which always has to follow a note). \tweak doesn't `break'
that link, so to speak.
__
On Fri, Feb 13, 2015 at 3:26 PM, Simon Albrecht
wrote:
> Concerning the hyphens: When I last tried to pack two tweaks into a
> variable, the hyphens seemed to be necessary in order for the second tweak
> to still belong into the variable definition, else it would have “hung
> around in mid-air”.
Hi William,
Do you mean that you want the last line to be able to be shorter than the
others? You can put ragged-last = ##t in your layout (or paper) block to
make that happen.
i.e.
\layout {
ragged-last = ##t
}
On Sat, Feb 14, 2015 at 7:58 PM, William Marchant
wrote:
> Hi,
> I have a CODA
Hi Charlotte,
You are missing a square bracket to end a beam in the sixth bar of your
example. Instead of
d'16 | 1 |
you should have
d'16] | 1 |
I don't know how you're generating that code (all of the stem up and stem
down stuff is unnecessary), but if you read the output from LilyPond it
u
Hi JM,
To remove the error messages you should replace the R2 with r2 in the cue
part.
To get the slurs etc to appear you should replace Staff.quotedEventTypes
with Staff.quotedCueEventTypes
hth,
Kevin
On Mon, Feb 16, 2015 at 7:16 AM, Menu Jacques wrote:
> Hello folks,
>
> I can’t get the slu
On Sun, Feb 15, 2015 at 9:58 AM, bensonby wrote:
> I have the same problem too. As a quick solution, I split the note into two
> with a tie, one for sustainOff and one for sustainOn.
>
Does that not add an extra note column (affecting layout)?
___
lily
On Fri, Feb 20, 2015 at 8:52 PM, Johan Vromans wrote:
> With 2.18.2 I often get messages like:
>
> the pitch is () compare #
>
> What am I doing wrong?
>
Hi Johan,
Could you please post some LilyPond code that will reproduce this error (a
tiny example if possible)?
Kevin
On Sat, Feb 21, 2015 at 9:48 PM, Johan Vromans wrote:
> The tiniest example I could create reveals that it seems to be related to
> the d:dim7 chord.
>
The example you attached compiles for me without any errors or unusual
messages (on 2.18.2).
___
lil
On Mon, Feb 23, 2015 at 12:32 PM, Simon Albrecht
wrote:
> Thus I’d like to place the ambitus just before the time signature, after
> clef and key signature. How can I do that?
>
Hi Simon,
This should get your part of the way towards what you want. It puts the
ambitus after the key signature, bu
}
\layout {
\context { \Staff
\consists "Ambitus_engraver" }
}
}
On Mon, Feb 23, 2015 at 1:27 PM, Kevin Barry wrote:
>
> On Mon, Feb 23, 2015 at 12:32 PM, Simon Albrecht
> wrote:
>
>> Thus I’d like to place the ambitus just before the time signature, afte
On Tue, Feb 24, 2015 at 1:16 AM, Dominic wrote:
> How can I get both the metronome mark and the tempo spanner to be
> interpreted on a single line in the Score context AND still have full
> independence of text spanners within individual staffs?
>
I think your problem probably is in your newly-d
On Tue, Feb 24, 2015 at 5:44 PM, Siena Kaplan-Thompson
wrote:
> I'm writing up a simple round, and I want the number markers for the parts
> to appear above the chord names. I'm using markup on the notes to add the
> numbers, and it doesn't seem to work to put the markup on the chords
> instead.
On Tue, Feb 24, 2015 at 7:06 PM, Siena Kaplan wrote:
> Sorry, the guide to posting makes a big deal about not including too much
> of the code
Yes, in general you should try and post just enough code that it a) will
compile, and b) illustrates the problem.
The 2 is slightly higher than the 1,
On Sat, Feb 28, 2015 at 3:21 AM, torchflame wrote:
> Any help on this matter would be much appreciated.
Hi Torchflame,
I'm not sure exactly what you're trying to do. If you want to create a
glissando function you have to give it a name. The two examples you posted
have no names so I suppose th
On Sat, Feb 28, 2015 at 6:47 PM, Martin Tarenskeen
wrote:
> Having entered one line of music it occurred to me that the spacing looks
> quite sub-optimal. Not to say plain ugly.
Just as a test, I typeset the music myself again. With 2.18.2 LilyPond
split it onto two lines (which looks good if a
On Sun, Mar 1, 2015 at 1:39 AM, Steve Lacy wrote:
> I'll have to say that I find this perspective a bit short-sighted. (no pun
> intended)
>
> There's *lots* of "short" music that would benefit greatly from beautiful
> typesetting.
>
"Short" music, per se, isn't the problem. The issue is that so
On Sun, Mar 1, 2015 at 4:25 PM, Dave Higgins wrote:
> I understand using \markup \left-column { this that }.
>
> Is there a way to do that within a \tempo context? Some of that Mahler
> has some long tempo markings.
>
> Is there a way to put a glyph mixed with text into a column command?
> Unico
The problem also exists on OSX (10.9.5) with 2.19.16.
2.18.2 still does it correctly.
I will test my linux machine later.
I'd say this constitutes a regression? The staffSize function doesn't seem
to do anything fancy or unusual.
On Tue, Mar 3, 2015 at 3:47 PM, Phil Holmes wrote:
> I can con
Hi David,
I wasn't really able to make sense of everything you said. Have you
considered using a global variable that is in every staff? That can be
useful for adding things (you could put your invisible dynamics in it for
instance).
As for your question about the mid context I'm not sure exactly
On Wed, Mar 4, 2015 at 12:39 PM, David Sumbler wrote:
> What I want is for the individual instruments' dynamics to remain with
> and apply to them, but simultaneously to allow any dynamics in the
> normally invisible midiStaff to apply to all of them. Is this possible?
>
You could try creating
Manually installed fonts are usually placed in a different location to ones
installed by the system. LilyPond looks in a few places to find
user-installed fonts, but I have found that on OSX or Ubuntu that this
location is no longer where user fonts are placed when installed.
To make downloaded fo
Hi Hu,
I'm not sure I understand what you are trying to do. Bar 27 of the
Takemitsu doesn't include any cross staff stems and neither do any of the
examples on the github page. Can you be more specific about what exactly
you want?
Kevin
On Mon, Mar 9, 2015 at 11:45 PM, 良ϖ wrote:
> Hi,
>
> I'v
re-collision = ##t
\omit TupletNumber
\tuplet 3/2 8 { s16 aes'''8~ } aes
}
\new Staff <<
\cadenzaOn
\new Voice \rha
\new Voice \rhb
\new Voice \rhc
\new Voice \rhd
>>
On Tue, Mar 10, 2015 at 11:28 AM, Kevin Barry wrote:
> Hi Hu,
>
> I'm not su
On Tue, Mar 10, 2015 at 12:03 PM, Andrew Bernard
wrote:
> How can I do this in a more idiomatic, and less tedious way than the
> following?
Hi Andrew,
The following should be what you want. It works by setting the baseMoment
to a theoretical value of 1/20 (that is, four fifths of a semiquaver,
On Tue, Mar 10, 2015 at 12:34 PM, Ian Mackinnon
wrote:
> When using `\italic`, it seems that spaces are inserted before and after
> the
> formatted text. Is it possible to disable this, ie, place an italic
> character
> directly next to a non-italic character?
>
Hi Ian,
LilyPond adds space betw
On Tue, Mar 10, 2015 at 12:40 PM, Andrew Bernard
wrote:
> This is good, and helpful, but I was wanting two beams between the groups
> of 32s, not one. [Maybe this is non standard after all.]
Ah my apologies; I misread your mail. A quick search didn't yield what
property sets the default at one
On Wed, Mar 11, 2015 at 12:55 AM, 良ϖ wrote:
> Would you mind to give me a last advice about that bar? Lines 87 sqq. in
> the (now-)working example I set a variable to make sure notes are grouped
> the correct way. It works but would you know anything lighter or is this
> the correct way?
You ca
Dear scheme experts,
I am trying to supply a constructed pair as a value for a grob property in
a music function, but it seems no matter what I try I get an error such as:
`warning: type check for `bracket-flare' failed; value `(num . num)' must
be of type `pair of numbers''. A non-working example
...
>
> \once \override HorizontalBracket.bracket-flare = #(cons num num)
>
> ...
>
>
> should work.
>
>
> HTH,
>
> Pierre
>
> 2015-03-13 11:33 GMT+01:00 Kevin Barry :
>
>> Dear scheme experts,
>>
>> I am trying to supply a constructed pa
On Fri, Mar 13, 2015 at 3:34 PM, Stephen MacNeil
wrote:
> \version "2.18.2"
>
>
> rotateBracket =
>
> #(define-music-function (parser location input) (pair?)
>
> #{
>
> \once \override HorizontalBracket.bracket-flare = $input
>
> #})
>
Actually I wanted to build the bracket flare from a single v
On Sat, Mar 14, 2015 at 8:46 PM, Stephen MacNeil
wrote:
> can I curve a line?
You probably want the \path command which is documented here:
http://lilypond.org/doc/v2.18/Documentation/notation/graphic
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Hi LilyPond experts,
I'm trying to make a function that will draw a curved line given only a
destination point (with some math I'll add later), but I've hit an early
stumbling block: I can't seem to substitute variables for values in the
path/curveto command list. The following code produces a
`wr
Hi Thomas,
Thank you the solution, and for explaining how. I learned a lot from this!
Kevin
On Sun, Mar 15, 2015 at 9:27 PM, Thomas Morley
wrote:
>
>
> 2015-03-15 22:07 GMT+01:00 Thomas Morley :
>
>>
>>
>> 2015-03-15 21:48 GMT+01:00 Kevin Barry :
>>
>>
Just as a follow up to Stephen's question: for analytic examples I have to
draw curved lines all the time, usually with arrow-heads attached at the
end, so I made a function to do it given just the coordinates of the
desired destination. Using curveto is very slow because of all the trial
and error
On Tue, Mar 17, 2015 at 9:48 PM, Carl Sorensen wrote:
> The tangent to a bezier curve at the endpoint is the line that goes from
> the endpoint to the control point. It's really easy to get if you have
> the bezier definition.
>
This seems so obvious I'm surprised I didn't think of it! Thank yo
On Tue, Mar 17, 2015 at 9:21 PM, Thomas Morley
wrote:
> I attach my approach to create arrowed slurs.
This is very useful for me. Thank you!
Kevin
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Hi Holland,
When stems are beamed their lengths are controlled by the Beam's 'positions
property, so something like
\once \override Beam.positions = #'(-5 . -5)
before the first beamed note will change the length of the stems (choose
the values you want).
hth,
Kevin
On Fri, Mar 20, 2015 at 4:2
Hi Michael,
I have a few suggestions based on my own experience, but there are probably
a few ways to approach the problem.
I would recommend that you create a global variable for controlling the
timing in the piece. It need only contain spacer rests, and potential line
breaks (marked by \bar "",
On Fri, Mar 20, 2015 at 10:14 PM, holl...@hollandhopson.com <
holl...@hollandhopson.com> wrote:
> I’d still like to find a way to extend it all the way to the first string
> position (top line of the staff). Any other suggestions?
Did you try different values for the Beam.positions? 0 is the cen
Hi Nikolai,
Can you post a (preferably tiny) example of the variable that produces this
problem? LilyPond may not evaluate variables when they appear but it still
needs to figure out where they begin and end so perhaps that is the source
of the problem? It's hard to know without seeing any code.
K
On Mon, Mar 23, 2015 at 6:16 PM, Mark Knoop wrote:
> Barlines disappear when skipBars is true and a note duration continues
> over the bar. I don't think this should happen.
>
It is consistent with the IR definition of the property: `If set to true,
then skip the empty bars that are produced by
On Tue, Mar 24, 2015 at 9:01 AM, Mark Knoop wrote:
> Tuplets across barlines are a relatively common notational practice and
> work perfectly well in LilyPond. It is undesirable that they should
> require a workaround for use in parts with skipBars.
>
If I understand you correctly it seems that
On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop wrote:
> { \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
>
> { \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
>
At best I would consider these to be non-standard notation. At worst I'd
say it's incorrect. It's possible to write a
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