Re: Change augmentation dot size

Am 23.12.2016 um 17:19 schrieb liang seng: My questions is, is there a way to change the size of augmentation dots to make it bigger or smaller? Yes, there is: \version "2.18.2" { c'4. \override Dots.font-size = 3 c' } The default font-size is 0, negative values give smaller dots, po

Re: French tablature?

Am 29.12.2016 um 23:15 schrieb Alasdair McAndrew: Is it likely that Lilypond will provide such tablature at some stage? Currently, if I want to typeset tablature, I need to use different software. LilyPond already supports this type of tablature: You have to set the tablatureFormat to #fret-

Re: French tablature?

Am 30.12.2016 um 05:16 schrieb Alasdair McAndrew: Many thanks! I didn't know about RhythmicStaff. Is this all possible in version 2.18.2 (which I'm using)? Not everything is possible: the additionalBassStrings property has been added in 2.19; so 2.18.2 won’t support this. /home/Lilypond

Re: French tablature?

Am 30.12.2016 um 09:09 schrieb Alasdair McAndrew: I tried it without the RhythmicStaff, just to see what the tablature looks like. However, the tablature is written on the lines, rather than between them. I suppose this could be tweaked by moving all the letters up by half the distance betwee

Re: French tablature?

Am 30.12.2016 um 09:27 schrieb Malte Meyn: Then you can add the following code to the \layout-\context-\TabStaff block (f. e. after setting tablatureFormat): \override TabNoteHead.before-line-breaking = #(lambda (grob) (ly:grob-set-property! grob 'Y-o

Re: Problem with partcombine and shape notes

Am 30.12.2016 um 07:27 schrieb Bumby Hymnal: I've run into a problem with using \partcombine while using \aikenHeads. The problem is that under certain circumstances the aiken shape note heads are not used in the output of \partcombine. The strange thing is that it sometimes works. \aikenHe

Re: Problem with partcombine and shape notes

Am 31.12.2016 um 10:57 schrieb Malte Meyn: By the way: what’s this optional \partcombine argument introduced in 2.19? I haven’t found any documentation. Found it. It’s an two year old addition that has been documented only in appendix A.18 of the NR (which seems to be generated directly

Re: Problem with partcombine and shape notes

Am 31.12.2016 um 11:55 schrieb Phil Holmes: I think it's documented in http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining You’re right. (I didn’t notice that my browser chose the german translation which hasn’t included this change yet.) However it wo

\relative { \time 3/4 a' d b c2 \bar "|." }

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Re: How to merge two scores into one?

Am 05.01.2017 um 22:45 schrieb Jeff Epstein: > I'm not understanding how to merge two scores into one. The song just > continues, but it's a different section with a different voice configuration. > The first section has a single voice, the second has two. The only way I can > figure it out so

Re: Changing midi-tempo within score

Am 07.01.2017 um 23:34 schrieb UCas: > I am able to set midi-tempo in my header-file with > > \midi { > \context { > \Score tempoWholesPerMinute = #(ly:make-moment miditempo 4) > } > } > > but how can I change this tempo within the score? \set Score.tempoWholesPerMi

Re: Find out denominator of current time signature

Am 11.01.2017 um 14:00 schrieb Thomas Weber: > Dear all, > > I wonder how I can create a duration that is so to say exactly one time > signature denominator long (e.g. an eigth in 6/8, a quarter in 4/4 > etc.). I thought something like this would work: You can get the duration from the context

Re: Faking a time signature

Am 13.01.2017 um 14:29 schrieb Menu Jacques: > Hello folks, > > In a Canzon by Gabrieli, we have 4/2 time written as slashed C: > \time sets timeSignatureFraction and measureLength. So you can either use time and set one of these context properties or you set both of them and don’t need \time:

Re: beams in treble and bass staff

Am 14.01.2017 um 11:07 schrieb Gianmaria Lari: > Novice question. Attached it's a small music fragment from an harpe > score. How can I write it using lilypond? You have to name your staffs and then use the \change command. \version "2.19.53" \new PianoStaff << \new Staff = "upper" \relative

Re: Removing Barlines

Am 14.01.2017 um 18:16 schrieb Amir Teymuri: > i am a new lilypond user. How can i hide / remove barlines completely? > When i set \override Score.BarLine in each upper and lower staffes of a > piano staff only the line on the systems will be overriden but not the > line between upper and lower s

Re: Lyrics problem

Am 15.01.2017 um 21:58 schrieb Craig Dabelstein: > Has anyone encountered this before? In bars 1 and 19 of this MWE the > lyrics have been put a long way from the staff. In this example it only > occures when \compressFullBarRests is used, but in my full score it is > occurring with other instrum

Re: Faking a time signature

Am 15.01.2017 um 22:00 schrieb Menu Jacques: > Hello, > > Going on with my Gabrieli example, there is a time change to 3/2, and I > can’t get rid of the warning message on the first R1*3/2. > > Thanks again for your help! > > JM You can adjust the measureLength for this last, shorter measure in

Re: Text *in* score - Stopped staves - Horizontal spacing

Am 15.01.2017 um 23:54 schrieb Pierre-Luc Gauthier: > If you comment line 46 and un-comment 48, the R1 rest does not have a > sufficient horizontal spacing to allow for the text to dodge the > skylines. > > Also, could the horizontal spacing be a function of the 'line-width > parameter 40? Try

Re: Distance of secondary beams

Am 17.01.2017 um 11:43 schrieb Urs Liska: > I don't find the appropriate property to modify the distance between > secondary stems. Attached you'll find the result of \override > Beam.beam-thickness = 0.15, and I need to adjust the beams to be closer > together, e.g. to 0.5 staff spaces. I don't

Re: Changing the staff of a note inside of a chord

Am 19.01.2017 um 22:02 schrieb Amir Teymuri: > how can i change the Staff of only one note of a chord? For cross staff stems see http://lilypond.org/doc/v2.19/Documentation/notation/common-notation-for-keyboards#cross_002dstaff-stems ___ lilypond-user

Re: autochange and multiple voices

Am 20.01.2017 um 18:39 schrieb Jérôme Plût: > Problem 1: why, on the third beat, is the alto voice (playing a g') > displayed on the "down" Staff? It doesn’t in LilyPond 2.19.53, which version are you using? > Problem 2: delete the line saying "<>" and recompile. Now > all hell breaks loose: th

Re: change staff

Am 25.01.2017 um 11:55 schrieb Gianmaria Lari: > - Is there a simpler way to write this source code avoiding all these > change staff? You could use a simple music function: l = #(define-music-function (music) (ly:music?) #{ \change Staff = "left" #music \change Staff = "right

Re: offset of chords

Am 26.01.2017 um 04:32 schrieb MING TSANG: > Is it possible to tweak chords outside the four eighth-note beam? Try \once \override NoteColumn.force-hshift = -1.8 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listin

Re: Making end-double barline visible again

Am 28.01.2017 um 15:53 schrieb Amir Teymuri: > i have made barlines for the whole piece invisible using: > > \layout { >\context { > \Score > \omit SpanBar >} >\context { > \Staff > \omit BarLine >} > } > > and want to have the ending barlines at the end of t

Re: can't move note columns in both voices at beginning of a bar

Am 28.01.2017 um 18:16 schrieb Stefan Thomas: > the following example shows, that I can't move NoteColumns in two voices > at the beginning of a measure. It's only possible in one of the voices. > Has someone an idea for a solution? Do you want to have more space after the barline? Try the follo

Re: function/macro for "on the fly" dynamics+text

Am 04.03.2017 um 22:59 schrieb Kieren MacMillan: > Many scores use dynamics like “pp sub.” or “f dolce” etc. In order to build > such a grob as a DynamicText, I use the following: > […] > 1. I have to define a macro for every single combination in every score. For > ppSub and the like, which w

Re: placement of clef before break

Am 08.03.2017 um 08:43 schrieb Juan Cristóbal Cerrillo: > In the following example, I would like to be able to place the clef after the > repeat barline, and the time signature in parenthesis. Time signature in parentheses: http://lsr.di.unimi.it/LSR/Item?id=734 For the order of Grobs at the l

Re: Klammern und verkleinerte Noten

Am 09.03.2017 um 09:59 schrieb Bernhard Kleine: > The problem is with the spacing of the grace notes. Being not a > programmer I do not find enough information in the 2.9.56 manual to do > it by myself: The spacing of parentheses to the graces and the distance > of the grace notes to the notes th

Re: \repeatTie on a single note in a chord

Am 09.03.2017 um 17:07 schrieb Mojca Miklavec: > How can one add "\repeatTie" that only works on a single note in a chord? > > Example where I would only want to add the tie just to "f": > […] > 2 \repeatTie r4 | I think 2 should do what you want. But there’s no visible output

Re: \repeatTie on a single note in a chord

Am 09.03.2017 um 17:35 schrieb Mojca Miklavec: > Should I file a bug report? I think so. Minimal example could look like this (I use \displayMusic to show that the RepeatTieEvent is there): \version "2.19.56" \displayMusic ___ lilypond-user mailing

Re: \repeatTie on a single note in a chord

Am 09.03.2017 um 22:25 schrieb Thomas Morley: > > Another possibility to fake it: > > { > \override LaissezVibrerTie.head-direction = #RIGHT > < b d'^\laissezVibrer > > } This looks like the source of the bug should be easily found. LaissezVibrerTies and RepeatTies are basically the same t

Re: Starting with Lilypond - First Error

Am 13.03.2017 um 22:04 schrieb David Kastrup: > Scoutladen - Ralph Fröhlich writes: > >> Hi everybody, >> >> I try to use Lilypond in our Mediawiki for collection songs for group >> of children (like boyscouts...). >> >> Try to set up the first song with a given .ly I get the first >> errors. T

Re: Problem with bar numbers

Am 14.03.2017 um 09:11 schrieb Don Gingrich: > OK, I'll start by saying that I'm doing some things that > are wrong as far as musical purists are concerned, > but there *is* a reason. > > […] > > So it breaks the rules of music theory, but there is > a reason. If I understand correctly: No, it

Re: Problem with bar numbers

Am 14.03.2017 um 11:35 schrieb David Kastrup: >> Maybe you should use a newer (“unstable”/development version); 2.19.xx >> allows \partial after the start of a piece and handles bar numbers >> correctly. The development versions aren’t unstable in the sense that >> they will crash or damage your

Re: Problem with bar numbers

Am 14.03.2017 um 11:30 schrieb Andrew Bernard: > I had a look into this for Don. The partial after a repeat throws a new > bar number, although it should not. Is there a way to control this, or > is it a defect? I don’t really understand what you mean. Which LilyPond version did you use? Which r

Re: inconsistent bar number placement

Am 17.03.2017 um 21:47 schrieb Juan Cristóbal Cerrillo: > the barnumber in measures 5, 6, 9 and 10 in the following example are placed > so differently as the other bar numbers. Cannot reproduce any inconsistencies. Are you sure you’re using LilyPond 2.18.2? ___

Re: Partial

Am 17.03.2017 um 21:08 schrieb Joseph Austin: > First of all, although I did not see it in the documentation, > the form \partial DUR*NUM, such as \partial 8*5, seems to work, where NUM is > an integer multiplying DUR. > This seems to be sufficient to accommodate any arbitrary anacrusis, > (exc

Re: inconsistent bar number placement

Am 17.03.2017 um 22:54 schrieb Juan Cristóbal Cerrillo: > Yes, my version is 2.18.2 > This is what the top of page 3 looks like with ragged-right and > ragged-bottom ##t The code you posted doesn’t contain these settings. > Are you not seeing the same? No, even if I add \paper { ragged-righ

Re: MIssing semi-sharp, semi-flat , sesqui-sharp, and sesqui-flat names in some languages in LPNR 2.19.56

Am 20.03.2017 um 11:38 schrieb Menu Jacques: > I’ve noticed that only the following languages: > > nederlands deutsch english espanol or espa~nol français italiano > portugues > > are mentioned at page 9 regarding: > > semi-sharp semi-flat sesqui-sharp sesqui-flat > > accidentals

Re: What can Premusic do that others can't?

Am 20.03.2017 um 22:48 schrieb have@anti.capital: > These are the first measures of Beethoven's Fifth in premusic. This is missing tempo, fermatas and dynamics. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinf

Re: Parallel Square Premusic

Am 20.03.2017 um 02:11 schrieb have@anti.capital: > I have invented an extremely robust and perfectly extensible plaintext file > format called Parallel Squares. This sounds very promising, let’s do a partial fact check. > premusic (I use this word to describe instructions for how to play music,

Re: What can Premusic do that others can't?

Am 20.03.2017 um 22:48 schrieb have@anti.capital: > MusicXML […] but it is an unwise solution here. As you mentioned several times, you’re not a programmer so probably others know a little better about how to store music in a way that programs can easily read. > ABC […] lacks the perfect and int

Re: What can Premusic do that others can't?

Am 21.03.2017 um 06:46 schrieb have@anti.capital: > A composer who uses an irrational tuplet is a composer who is going out of > his way to exclude his music from comfortable notation. Oh, I think that these irrational tuplets are comfortable to write easy to understand if you use traditional n

Re: What can Premusic do that others can't?

Am 21.03.2017 um 10:18 schrieb Hans Åberg: > >> On 21 Mar 2017, at 00:40, Werner LEMBERG wrote: >> >>> As an example of what David is mentioning, have a look at the attached >>> png image (taken from Chopin's prelude op. 28/24) and try to notate >>> this. >> >> Oops, wrong image. Here's the ri

Re: Scaled grace

Am 21.03.2017 um 11:04 schrieb Urs Liska: > > > Am 21.03.2017 um 10:46 schrieb Malte Meyn: >> (By the way: I think that the way LilyPond handles it (using “grace” and >> “real time”) is pretty good but not perfect. \grace only needs grace >> time but \afterGrace n

Re: Scaled grace

Am 21.03.2017 um 11:44 schrieb Malte Meyn: > Or if you don’t want variants for all \grace variants (i. e. \grace, > \slashedGrace, \appoggiatura, \acciaccatura, \afterGrace), just make a > function that takes a music expression and scales it to 1. Maybe this > could also be nice for

Re: Parallel Square Premusic

Please always reply to the messages you are actually quoting/referring to so mail clients and archives put the mails in the thread in correct order. Am 22.03.2017 um 02:10 schrieb have@anti.capital: > I'm not sure how the octave of a pitch is ambiguous?? Scientific pitch > notation is pretty well

Re: new to this list - converting from Noteworthy Composer

Am 22.03.2017 um 09:52 schrieb Guido van Harten: > Hi, > > I think I am new to this list. A few years ago I tried Lilypond to > create my music files. It failed, but I do not remember why. > > As of today I will give it a new try. Now I am starting of my current > music notation software, Notew

The End. [Was: Parallel Square Premusic]

Am 22.03.2017 um 11:07 schrieb Urs Liska: > Indeed, I think those last remarks of the OP seem to be bringing this > discussion to an end. Otherwise we might end up engaging in something > like the infamous "maclaren" episode ... I think we can agree on this. One good thing happened in this thre

Re: tweak the position of arpeggio

Am 22.03.2017 um 08:50 schrieb Jinsong Zhao: > In the following code, you may see the arpeggio is far away the notes. > My question is how to make it close to the notes? Thanks in advance. How about \once \override PianoStaff.Arpeggio.padding = -1 ? _

Re: Is it possible \quoteDuring from a different position?

Am 25.03.2017 um 02:23 schrieb caag...@gmail.com: > For example, quoting the start of the music when you are a few measures in? You could use several \addQuotes. But this needs one for every shift, so maybe it’s not the best solution. \version "2.19.56" foo = \relative { c' d e f g2 g a4

Re: LSR down?

Am 26.03.2017 um 07:21 schrieb Andrew Bernard: > Is LSR down for others? Not for me: http://lsr.di.unimi.it/LSR/Search (Probably you know already that dsi.unimi.it changed to di.unimi.it some years ago; but there are old links pointing to the old domain in mail archives etc.) __

Re: LSR down?

> > On 03/26/17 08:48, Malte Meyn wrote: >> >> >> Am 26.03.2017 um 07:21 schrieb Andrew Bernard: >>> Is LSR down for others? >> >> Not for me: http://lsr.di.unimi.it/LSR/Search (Probably you know already >> that dsi.unimi.it changed to di.unimi.

Re: Make dots in repeat barline smaller

Am 26.03.2017 um 09:13 schrieb Andrew Bernard: > When using a smaller staff size than the default, how do you make the > double dots in a repeat barline smaller also? These dots come from the music font, so try \override Staff.Barline.font-size = 6 (negative values for smaller than defa

Re: LSR down?

Am 27.03.2017 um 02:30 schrieb Andrew Bernard: > LSR still down as at 0030 UTC here in Australia. > > Andrew No time zone problems here so http://lsr.di.unimi.it/LSR/Snippet?id=1007 shows up correctly but the search gives no results: http://lsr.di.unimi.it/LSR/Search?q=notehead ___

Re: Unclear doc?

Am 29.03.2017 um 08:41 schrieb Menu Jacques: > Hello folks, > > In appendix A.17 of the LPNR v2.19.57, what doest the « No setting… » > sentence mean? > > alternativeNumberingStyle (symbol) > The style of an alternative’s bar numbers. Can be numbers for going back > to the same number or number

Re: Unexpected Stem behaviour

Hi Gerard, please try to make minimal examples that are easier to understand (http://lilypond.org/tiny-examples.html). These long lines and tons of {} and <<>> aren’t easy to read. Am 31.03.2017 um 11:55 schrieb Gerard: > 1. The stems in red do not match the coding, length should be 8 in stead >

Re: Unexpected Stem behaviour

Am 31.03.2017 um 12:27 schrieb Malte Meyn: > The tie is attached to the note head you attached it to—but this note > head is transparent. If you don’t use \hideNotes you can see that. The > two note heads are printed side by side to prevent collision; you can > turn that

Re: How to force script (articulation custom function) inside staff ?

Am 31.03.2017 um 11:48 schrieb Les Éditions Valmajour - pg: > Dear list members, > I have to use lots of dots and dashes in a score, so I found a snippet > to apply an articulation > (staccato) function to a long passage. I tried to adapt it for another

Re: Unexpected Stem behaviour

Am 31.03.2017 um 16:45 schrieb Gerard: > Any suggestion? Read my previous answer. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: German User Forum down

Am 01.04.2017 um 06:51 schrieb Manuela Gößnitzer: > Hi, > > does anybody know anything about the German forum? The page is down since > yesterday, the site says "End of life". I am really sad because this forum > is very valuable for me, > greetings > Manuela Hi Manuela, fugenkomponist from th

Re: German User Forum down

Am 01.04.2017 um 10:42 schrieb Manuela: > Hi Malte, > > I really do hope this is a joke (not a good one), if not, we can get a > backup of our threads. I would participate in the costs of a new forum, > greetings, > Manuela Maybe it’s not a joke but also not the end of the forum. Might be a ser

Re: Converting a large project from 2.18 to 2.19: what to expect?

Am 05.04.2017 um 08:17 schrieb Shevek: > 1) How stable is 2.19 for end users on a demanding project? It seems like > forever since 2.18, so I'm sort of surprised there hasn't been 2.20 already. > Is there some major problem I should be worried about in 2.19? See https://sourceforge.net/p/testlil

Re: Converting a large project from 2.18 to 2.19: what to expect?

Am 05.04.2017 um 09:15 schrieb Shevek: > In terms of Scheme changes, how does this affect compatibility with snippets > written on 2.16 or 2.18? Most notable change is the change in definition of music function changes: #(define-music-function (parser location arg1 arg2) (type1? type2?) …) bec

Re: Specify output directory *in* the file

Am 05.04.2017 um 11:19 schrieb Urs Liska: > Hi all, > > is it possible to specify an output directory from within the LilyPond > file without going through the hoops of ly:book-process? > > TIA > Urs How about \bookOutputName? This works with absolute paths like \bookOutputName "/home/malte

Re: Incipit default notehead.style

Am 05.04.2017 um 20:06 schrieb Johannes Roeßler: > Hi, > > I'd like to have an incipit with modern notation styles in 2.19 - but > what ever I do - I get neomensural noteheads./ > /I tried to place \override NoteHead.style = #'default or \override > Staff.NoteHead.style = #'default several place

Re: How to shorten a tail on an eighth note?

Am 08.04.2017 um 16:43 schrieb Joseph N. Srednicki: > The other techniques that I have used in this situation are to shift the > note on the right more or to lengthen the stem of the note on the left. How about making the flag narrower? \once \override Flag.stencil = #(lambda (grob) (ly:ste

Re: How to shorten a tail on an eighth note?

Am 08.04.2017 um 18:45 schrieb Malte Meyn: > But I haven’t found a satisfying solution so maybe scaling > the flag, changing horizontal spacing (force-hshift) and different stem > lengths will give a good solution. My suggestion: rightOne = \relative c'' { \globa

Re: Add more space after the composer

Am 08.04.2017 um 19:25 schrieb Son_V: > I've read the manual, > http://lilypond.org/doc/v2.18/Documentation/notation/spacing-issues , and > tried some, no success - may me suggest something? Please always provide a minimal example. \version "2.19.56" \header { composer = "Some guy, probably

Re: "natural width" of a measure

Am 11.04.2017 um 20:36 schrieb Urs Liska: > So, is there any moment in the compilation process where the natural, > unstretched length of a measure can be calculated? It doesn't have to be > an easily-read property and can involve calculation, but actually the x > position of the barlines would b

Re: Slurs within chords, within tuplets -- seem to be ignored (without warnings!)

Am 12.04.2017 um 11:17 schrieb Phil Holmes: > Without actually trying this out, it seems to me that the reason is > likely to be that your slur markings are inside chord notation. Try > putting them outside the chords and see if that helps. You’re right (slurs work but not phrasing slurs; also

Re: Forcing a downward line at the end of a second time bar marking

Am 13.04.2017 um 12:13 schrieb Richard Shann: > can the second time bar be made to look like the first time bar, being > "finished off" with a downward verstical stroke at the double barline? This is done automagically for some bar types like "|." and ":|." but not for "||". But I cannot find wh

Re: Tuplet bracket

Am 14.04.2017 um 06:45 schrieb Andrew Bernard: > Hi Michiel, > > Use shorten-pait to taste. > > %\once \override TupletBracket.positions = #'(3.1 . 3.4) > \once \override TupletBracket.shorten-pair = #'(0 . 0.5) Shouldn’t this be #'(0.2 . 0) or similar but not #'(0 . 0.5) i

Re: lilypond errors on a guitar minor sixth chord

Am 15.04.2017 um 02:36 schrieb Stan Mulder: > Thanks for the clarification on the reply-all. I wasn't sure what to do. > Is there some place on the web were I can see other discussions? There are several archives, f. e. http://lists.gnu.org/archive/html/lilypond-user/ (this is the mailing lists

Re: Last number on a score; but this is the first in the next one...

Am 15.04.2017 um 13:54 schrieb Son_V: > Hi all, Lilypond (using \override Score.BarNumber #'break-visibility = #'#(#t > #t #t) ) writes at the end of a score, the number of the next beam, that is > written at the beginning of the subsequent score; and it writes at the end > of the last score the

Minimal examples (was: Last number on a score; but this is the first in the next one...)

Am 15.04.2017 um 14:30 schrieb Son_V: > I'm not able to make a truly "minimum example", that's what I could do: I’ll show you how this can be simplified. > \version "2.18.2" > \header { > } You don’t need an empty \header, \paper, \layout, … block. > PartPOneVoiceOne = \relative a' { > \ov

Re: Last number on a score; but this is the first in the next one...

Am 15.04.2017 um 15:40 schrieb Son_V: >> And a solution > > Sorry but I wasn't able to find it, surely, my fault. I tried some of your > code without success. I'm using version "2.18.2" on Linux. Maybe try all code, not some code ;) ___ lilypond-user

Re: Last number on a score; but this is the first in the next one...

Am 15.04.2017 um 15:47 schrieb Son_V: >> \override Score.BarNumber.break-visibility = #end-of-line-invisible > > Thanks! That was successful. > > But I'm still in doubt of what should be the correct way. There is no single correct way. In classical music traditionally you have bar numbers onl

Re: Key signatures repeated on every staff

Am 15.04.2017 um 16:41 schrieb Son_V: > I dare to try a minimal example! :-) > But I hope it's self-explaining. \version "2.18.2" { \key d \major R1*20 } That’s not too hard ;) But yes, it’s self-explaining this time. > On my scores, the key signature appears on every beginni

Re: flip clef at end of line only

Am 15.04.2017 um 17:32 schrieb Marc Hohl: > Hi list, > > I am working on a little piece that's played as written; > after that, the musician has to turn the page upside down and play the > resulting notes. > > I managed to get the clef displayed at the beginning and the end of each > line, and

Re: flip clef at end of line only

Am 15.04.2017 um 21:34 schrieb Marc Hohl: > Thanks a lot! Just for clarification: after-line-breaking seems to work > here, too – is there a special reason to use before-line-breaking? No. I thought I had tried it with after-line-breaking first without success but maybe I made another mistake.

Re: Ottava only for Voice

Am 24.04.2017 um 10:23 schrieb zs.has...@gmx.de: > I do not know, how to switch off the influence of \ottava #1 in the upper > voice to the lower voice. \ottava seems to change the middleCPosition for the whole staff so try \set Voice.middleCPosition = 1 in the lower voice. _

Re: German User Forum down

Am 24.04.2017 um 10:49 schrieb zs.has...@gmx.de: > Sagt mal, was ist aus dem Forum geworden. Ich frage, weil ich mir überlege, > dem Domainbesitzer einen Brief zu schreiben, um das Forum, wenn der Aufwand > entsprechend gering ist, zu übernehmen. DE: In den nächsten Tagen übernehme ich die Domain,

New german LilyPond forum | Neues deutschsprachiges LilyPond-Forum

%%% German version (english below) Liebe Freunde des guten Notensatzes, nach einer Auszeit von knapp einem Monat gibt es endlich ein neues deutschsprachiges LilyPond-Forum! Es ist zu finden unter https://lilypondforum.de. Die alten Threads sind nicht verloren, sie werden innerhalb der nächst

Re: New german LilyPond forum | Neues deutschsprachiges LilyPond-Forum

Am 25.04.2017 um 11:36 schrieb Urs Liska: > So weit *ich* das sehen kann, ist die Seite mit einem Let's > Encrypt-Zertifikat versehen (s. Anhang). Richtig. Ich hoste bei Uberspace und habe ein Let’s-Encrypt-Zertifikat für archive.lilypondforum.de und lilypondforum.de eingerichtet. > Musst du vi

Re: New german LilyPond forum | Neues deutschsprachiges LilyPond-Forum

Am 25.04.2017 um 11:39 schrieb Malte Meyn: > > > Am 25.04.2017 um 11:36 schrieb Urs Liska: >> So weit *ich* das sehen kann, ist die Seite mit einem Let's >> Encrypt-Zertifikat versehen (s. Anhang). > > Richtig. Ich hoste bei Uberspace und habe ei

Re: How to move a note just a little

Am 04.05.2017 um 07:47 schrieb Engraver: > > tenor = \relative c' { > \global > a4. d,8 \voiceThree d2 > } > You should move the \voiceThree before the d,8. Then you can use force-hshift, f. e. tenor = \relative c' { \global a4. \voiceThree \once \override NoteColumn.force-hshift

Re: Mark formatting problem

Am 05.05.2017 um 10:35 schrieb Menu Jacques: > Hello folks, > > Mark « B » in the following is not placed in a box, like the others. > > Thanks for your help! > > JM > > — > > \version "2.19.55" > > \relative c'' { >\set Score.markFormatter = #format-mark-box-alphabet >c1 \m

Re: 3 Voices mess

Am 16.05.2017 um 09:53 schrieb Johannes Roeßler: > Hi list :) > > I'm setting an 18th century piano fantasy and need advice. > > There is one spot with 3 Voice in one staff. In the manuscript the direction > of the stem seems (to me) to indicate the hand that should be used. > > Now I have to

Re: Multiple exercises on a single line

Am 07.06.2017 um 08:31 schrieb Gianmaria Lari: I would like to write short exercises of one measure consecutively on the same line. Something similar to what I attached. How I can do it? How about this? You can put \scores in \markups and use things like \column, \fill-line, \table. The inde

Re: How to change the position of an expressive mark relative to a beam in another voice

Am 23.06.2017 um 12:00 schrieb Robert Blackstone: In this particular composition this figure occurs many times in slightly different forms but the main problematic element for me is the extra large marcato mark halfway between two beamed notes, above the beam. The best result I have been ab

Re: lilypond.org down?

Am 24.06.2017 um 08:12 schrieb Andrew Bernard: Is the website offline? Yes. http://downforeveryoneorjustme.com/lilypond.org ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Install LilyBoulez or other alternative fonts on Ubuntu

Am 25.06.2017 um 20:45 schrieb Remy CLAVERIE: I think that you have to donwload the fonts into the '.fonts' directory of your home (beware to the 's' at the end of the name). If it does'nt exist, you must create it. Then, run the 'fc-cache -v- -f' and all the new fonts should be available fo

Re: A contribution (was Re: snippet to properly align dynamics with expressive text)

Am 09.07.2017 um 12:50 schrieb Richard Shann: Thanks - here is such a small patch then. It fixes the centering of isolated accidentals and digits on whole notes which is currently too far to the left. From your patch: +(if (and (eqv? 0 (ly:duration-log (ly:event-property event 'duratio

Re: Fwd: re: removing staff and clef w/o removing bar lines and brackets

Am 11.07.2017 um 18:11 schrieb Reilly Farrell: Hi All, I'm creating some sight-singing examples for a class and would like to start with some examples with no staff,no clef,no key signature, though keeping bar lines and system brackets (for duet examples) (Solfege syllables are provided as l

Re: Adjusting space between a note and the following accidental(s)

Am 15.07.2017 um 20:03 schrieb Risto Vääräniemi: Hi, Is there a way to adjust the space between an accidental and a note that precedes it? The AccidentalPlacement has a right-padding value but not a "left-padding" value so I guess it is handled by the preceding note somehow. I tried to find so

Re: Need help with tuplets on my first score

Am 16.07.2017 um 00:56 schrieb Liam Umbs: For my first score, I am transcribing Chopin’s Waltz in A Minor, and I am having trouble with the tuplets in measure 22. The ly file is how mine looks, and the picture is how it should look. Also confusing to me is the ottava I’m not quite sure

Re: making all grobs breakable (for easier polymetric scores)

Am 04.08.2017 um 19:33 schrieb Kieren MacMillan: Is there any way to avoid this? I'd like to say, in effect, "during this passage, every (e.g.) eighth note should be considered a breakable point for the purposes of layout calculations". \set Staff.barAlways = ##t \set Staff.defaultBarType =

Re: Vertical spacing again

Please always give a *compilable* minimal example. I had to add the following code to be able to test possible solutions: global = {} soprannoten = { c' } altnoten = { c' } tenornoten = { c' } bassnoten = { c' } strophefI = \lyricmode { a } strophefII = \lyricmode { a } strophefIII = \lyricmode

Re: Remove all occurrencies of "0" fingerings

Am 08.08.2017 um 10:23 schrieb Marc Hohl: I wanted to write a little callback to remove all occurrencies of "0" fingerings. This doesn’t empty the stencil but removes the Fingering grobs completely (by suicide): \override Fingering.before-line-breaking = #(lambda (grob) (if

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