Am 12.06.2016 um 16:31 schrieb Federico Bruni:
This is the "second part" not working? (commented code is helpful...)
I can't understand the error when I uncomment it,
There is no error. This is why one should look at the \version statement
;) Christian’s 2.18.2 works fine, your 2.19.xx (prob
Am 18.06.2016 um 21:00 schrieb Richard Shann:
With this code I get an error and the lowest (re-entrant) string is not used
\version "2.18.0"
\include "predefined-ukulele-fretboards.ly"
%\storePredefinedDiagram #default-fret-table #ukulele-tuning
#"o;o;o;3;"
\score
{
\new FretBoar
Am 19.06.2016 um 11:55 schrieb Andrew Bernard:
You beat me to it. :-) I would agree with the shape of this solution.
Having searched the LSR for something similar, don’t you think it would
make a good candidate for the LSR in fact? These types of brackets are very
useful in general.
If so the
Am 19.06.2016 um 11:55 schrieb Andrew Bernard:
Having searched the LSR for something similar, don’t you think it would
make a good candidate for the LSR in fact?
There is something similar at the LSR:
http://lsr.di.unimi.it/LSR/Item?id=843
This is for Schönberg’s “Hauptstimme” and “Nebenstimm
Am 19.06.2016 um 12:06 schrieb Urs Liska:
It
doesn't have the opening bracket without letter, but that could be
easily achieved (either by adding it to the font or by flipping the
existing glyph). Unfortunately, IIRC Arnold will be one of the first
fonts that won't be released under a free lice
Am 19.06.2016 um 12:13 schrieb Malte Meyn:
Why not add the four characters (start Hauptstimme, start Nebenstimme,
start Stimme (bracket only), end *stimme) to Feta?
See also http://www.smufl.org/version/latest/range/analytics/ for more
related characters (Choralmelodie, Hauptrhythmus and
Am 21.06.2016 um 09:19 schrieb Werner LEMBERG:
Is there a snippet somewhere that explains how to do this? I tried a
quick search without success.
Maybe use \laissezVibrer?
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Am 25.06.2016 um 11:46 schrieb Andrew Bernard:
I don’t want to fudge it by shifting the top notes a little,
as the vertical alignment matters in this score.
This is the only workaround I know but it works with very small values:
\once \override NoteColumn.X-offset = 0.0001
A 10,000th of a s
Am 29.06.2016 um 00:08 schrieb Thomas Morley:
2016-06-28 23:40 GMT+02:00 Br. Gabriel-Marie | SSPX :
In my music I have been using
\set stanza = "1. "
to get line numbering for the lyrics. But this only numbers the beginning
of the lyric's line.
I can manually insert that to get the numbering
Am 30.06.2016 um 22:37 schrieb Br. Gabriel-Marie | SSPX:
\new Lyrics \verseNumber #1
This would have to be \new Lyrics \with { \verseNumber 1 } or, easier to
type, \lyricsWithVerseNumber 1 like in the code below:
\version "2.18.2"
lyricsWithVerseNumber =
#(define-music-function
(p
Am 30.06.2016 um 22:59 schrieb Jeffery Shivers:
Hi Gabriel-Marie,
Could you describe in context what you are trying to achieve? Are you
meaning to apply *stanza* number, rather than instrument names? Have a look
at:
No he doesn’t, he wants stanzas at the beginning of every line, see the
thr
Am 07.07.2016 um 13:48 schrieb Jogchum Reitsma:
In the second Kyrie from J.S. Bach's Hohe Messe, the time signature is
4/4, but the bars are filled with 8 quarter notes or its equivalent in
time.
Are you sure you meant 4/4 which is shown as C? Bach uses the cut C
(alla breve).
\set timeSi
alte,
I didn't have the opportunity to look at Bach's handwriting. I have
checked two edited versions. One uses 4/4, the other C (not cut C). So I
gather that's correct.
regards, Jogchum
Op 07-07-16 om 14:28 schreef Malte Meyn:
Am 07.07.2016 um 13:48 schrieb Jogchum Reitsma:
Is this a bug/regression? 2.18.2 warns about clashing note columns,
2.19.44 does not.
\version "2.19.44"
<<
c''4
\\
\stemUp a'2
>>
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Am 19.07.2016 um 22:39 schrieb Joel C. Salomon:
From “Arrival of the Wolves”: an accidental in the upper Staff’s
voiceOne shifts a chord in its voiceTwo so it no longer aligns with the
corresponding note in the lower Staff, yielding the attached result.
You can force the to the right place
Am 21.07.2016 um 03:14 schrieb Andrew Bernard:
How can one make a laissez vibrer tie dotted or dashed, as can be done for
a normal tie? Using \tieDotted has no effect.
This is because \tieDotted is a shorthand for
\override Tie.dash-pattern = #'((0 1 0.1 0.75))
and laissez vibrer ties are n
Am 24.07.2016 um 06:05 schrieb Robert Edge:
I have no idea why, but this interface won't let me ask a question. It says
I am top posting.
I am not top posting. I have not quoted anything.
Maybe you have some code containing >> ? Such like
<<
\relative { c' d e }
\\
\relative { a b c }
Hi list,
I’m setting Sriabin’s “Vers la flamme” in LilyPond. This piece in 9/8
contains tuplets where 5 quarter notes replace 9 eights, or 4 and a half
quarters. But of course I cannot write \tuplet 5/4½ or \tuplet 5/(9/2).
\tuplet 10/9 won’t help because it prints the numerator 10.
I could
Am 25.07.2016 um 11:44 schrieb Andrew Bernard:
So they are tuplet 10/9. Can you not simply set the tuplet numbers accordingly?
\once \override TupletNumber.text = ""
I could. But like my solutions with scaled durations, the input doesn’t
really reflect the output. And when you have many of
Am 26.07.2016 um 20:34 schrieb David Wright:
>What I didn't take into account is tuplet's optional argument for the
>tuplet spanner duration.
Can you do this in compound time? What would be the syntax?
Of course, you can use scaled and dotted durations like
\time 6/8 \tuplet 7/6 2. { … }
Am 30.07.2016 um 14:53 schrieb Hans Åberg:
When using Graham Breed’s regular.ly, one writes a line like
#(ly:parser-set-note-names parser SomePitchNames)
which worked in LilyPond 2.19.10. But in 2.19.45, there is an error:
error: GUILE signaled an error for the expression beginning here
newgl
Am 30.07.2016 um 18:06 schrieb Hans Åberg:
On 30 Jul 2016, at 15:47, Malte Meyn wrote:
Am 30.07.2016 um 14:53 schrieb Hans Åberg:
When using Graham Breed’s regular.ly, one writes a line like
#(ly:parser-set-note-names parser SomePitchNames)
which worked in LilyPond 2.19.10. But in
Am 30.07.2016 um 18:30 schrieb Hans Åberg:
On 30 Jul 2016, at 18:21, Malte Meyn wrote:
That one, I discovered, but “parser” must be there in another location.
Are you sure? input/regression/note-names.ly doesn’t have parser or (*parser*)
anywhere.
Looking at the file I am actually
Hi list,
I’m planning to publish an arrangement of Grieg’s Holberg Suite on
IMSLP. I experimented with a copyright \header field which contains not
only text but also the Creative Commons logo. Then I thought that the
tagline could have such an eye catcher too, but there seems to be no
LilyPo
Am 03.08.2016 um 16:13 schrieb Malte Meyn:
b/w vector graphic as a logo for LilyPond
This could also be part of the Feta font.
\markup \musicglyph #"logo.waterlily"
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Am 03.08.2016 um 18:07 schrieb Pierre-Luc Gauthier:
2016-08-03 11:03 GMT-04:00 Andrew Bernard :
The concept is fine I am sure, but the execution difficult, and acceptance
problematical.
I know it’s difficult but does that mean one cannot try?
Logo design is fraught with difficulty, and you w
Am 04.08.2016 um 16:43 schrieb Carl Sorensen:
On 8/4/16 7:10 AM, "Andrew Bernard" wrote:
Does lilypond actually need visual
branding? Are we trying to increase market share with a logo?
I think it would be nice to have. As I said in my first post, an eye
catcher would be nice. This idea ca
Am 05.08.2016 um 10:28 schrieb Wols Lists:
On 05/08/16 05:15, tyronicus wrote:
The vectorized image looks very good. It'd be nice, though, to have some sort
of "icon" logo in true black and white. Maybe something like the attached?
It's an Inkscape svg if anyone wants to mess with it.
lp.png
Am 05.08.2016 um 13:52 schrieb Marc Hohl:
Am 05.08.2016 um 11:38 schrieb Werner LEMBERG:
Here are some experiments of mine.
Very nice!
logo1.svg is the one I used in the score, logo_outline.svg is the
outline version, logo2/3/4.svg are some attempts to make it simpler.
I like logo3 mos
Am 05.08.2016 um 14:36 schrieb Alexander Kobel:
Looking at the "original" picture from a distance, I perceive the center
as only one colored patch. Would you mind trying a version with just one
dot in the center?
I used the five dots because the center of a flower has much detail. A
single d
Am 05.08.2016 um 14:40 schrieb Pierre Perol-Schneider:
Here's tests with the different proposition.
I've added mine at last but I'm not satisfied yet.
That’s nice too. A bit more vivid than my “I’ve never really used
inkscape before but the star tool is nice” experiments ;) Did you draw
thi
Am 05.08.2016 um 16:27 schrieb Johan Vromans:
On Fri, 5 Aug 2016 14:01:26 +0200
Malte Meyn wrote:
But maybe less is more and two flower layers are enough; so here is a
combination of logo3 and logo4 (only two flower layers -> less detail,
only one pad but with gap -> more typical).
Am 05.08.2016 um 19:39 schrieb Evan O'Dorney:
\set Staff.timeSignatureFraction = 2/4
\scaleDurations 3/2 { $mus }
\revert Staff.timeSignatureFraction
However, GUILE gives an error at "$mus". What's wrong?
Are you sure? Which LilyPond version are you using? 2.16.2 and 2.18.2
don
Am 05.08.2016 um 22:59 schrieb Werner LEMBERG:
But maybe less is more and two flower layers are enough; so here is
a combination of logo3 and logo4 (only two flower layers -> less
detail, only one pad but with gap -> more typical).
Looks promising! Can you adjust the `packman' to have a so
Am 06.08.2016 um 17:11 schrieb Pierre Perol-Schneider:
Plus pdf
2016-08-06 17:10 GMT+02:00 Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:
Logo test enclosed.
Cheers,
Pierre
My opinions:
- #5 is much better than both #3 and #2 (and #1) because it’s more
realistic (no overlappin
Am 06.08.2016 um 17:51 schrieb Malte Meyn:
- #8 of course would need a pad to recognise it as a water lily rather
than a generic flower; this was just a test to demonstrate a more
realistic (?) positioning of petals, not a complete logo. Maybe I’ll try
to add a pad.
Here is an attempt to use
"clefs.G"
\hspace #-.5 "ond"
}
\markup { \with-color #red \bold "13. " "Music engraving by" \lilypond "
2.19.46—www.lilypond.org <http://2.19.xn--46www-5u3b.lilypond.org>" }
2016-08-06 22:35 GMT+02:00 Pierre Perol-Schneider <
pierre.schn
Am 07.08.2016 um 00:46 schrieb Philip Bergwerf:
This is a alternative notation method called 'Piano_TAB'. Because of the
special staff, lilypond does set the space between the system to 0. How can
i set the minimum system spacing? I hope you guys know how to do it?
It’s not really setting to
Am 10.08.2016 um 22:43 schrieb Philip (Michael) Dykes:
Hi I need to get a section at the beginning of a piece of liturgical
music I have (Only Begotten Son) in which /*sometimes*/ a certain thing
is sung but /not /normally sung indicated. The typical manner I have
seen this done is via the use
Am 10.08.2016 um 23:27 schrieb Malte Meyn:
\defineBarLine "[" #'("|" "[" ".")
An explanation of this: define a bar line style called "[" that normally
prints a "[" bar line. At the end of a line print "|" inst
Am 11.08.2016 um 11:04 schrieb Erik Ronström:
Of course, I can define my own macro, but isn’t there a built-in mechanism to
resolve different fonts of the same typeface/font family?
Do you really want to change only the Lyrics font? Or is it ok to change
the fonts in the whole document? Her
Am 11.08.2016 um 09:54 schrieb Urs Liska:
manually editing Y-offset doesn't
seem like a good idea, as I don't have the impression there's an easy
relation that could be set up between font-size and Y-offset.
There is such a relation: The time signature in the Score context is
aligned to the
Am 11.08.2016 um 13:11 schrieb Erik Ronström:
However, for some reason it doesn’t work: #(define fonts …) seems to have no
effect at all in my document. Any tips for why?
Which version of LilyPond are you using?
You should test whether LilyPond “sees” the CM fonts and how they are
named. T
Am 11.08.2016 um 13:00 schrieb Urs Liska:
After some experimentation I have the impression this is related to a
phenomenon I see in the attached file. The three functions all return
the original music, but somewhat differently. The point I'm wondering
about is: why does the point-and-click link
Am 11.08.2016 um 13:29 schrieb Malte Meyn:
Am 11.08.2016 um 13:00 schrieb Urs Liska:
After some experimentation I have the impression this is related to a
phenomenon I see in the attached file. The three functions all return
the original music, but somewhat differently. The point I&#
Am 12.08.2016 um 15:48 schrieb Kieren MacMillan:
My expectation (and desires) would be that it would say “a2” (or whatever the
aDueText is) in m1.
Instead, it says “solo” (or whatever the soloText is).
Am I misusing either the quote mechanism or the partcombine mechanism? Or is
this expected b
Am 18.08.2016 um 14:16 schrieb Mark Knoop:
Could you both take a look at this and see (a) if it helps, and (b)
what else needs to be achieved.
I didn’t read the whole thread but how to deal with different clefs? For
example, in a choir a tenor is notated with \clef "treble_8" but a
tenor/ba
Am 18.08.2016 um 15:10 schrieb David Kastrup:
Malte Meyn writes:
Am 18.08.2016 um 14:16 schrieb Mark Knoop:
Could you both take a look at this and see (a) if it helps, and (b)
what else needs to be achieved.
I didn’t read the whole thread but how to deal with different clefs?
For example
Am 19.08.2016 um 17:43 schrieb Mark Stephen Mrotek:
Hello,
Please look at the attached snippet.
Thank you.
Mark
Try \laissezVibrer instead of ~.
The poor treatment of broken spanners at volta repeats is a known issue;
probably one of the most mentioned ones on the list.
__
Am 19.08.2016 um 22:52 schrieb Silverlode:
Any ideas what I'm doing wrong? Thanks.
Please give us a complete minimal working example. Where is your context
“mando”?
Sadly, your text and code is horribly formatted and the screen shot
links give a 404 (not found) error; it seems as if Nabbl
Am 19.08.2016 um 23:32 schrieb Andy Deitrich:
It put the mandolin chords on a new, 3rd staff. It probably has something
to do with defining "mando" as a staff. I don't know how else to get the
mandolin chords to appear above the staff.
Does this help explain?
Your code is far from minimal (
Am 20.08.2016 um 12:25 schrieb Pierre Perol-Schneider:
(case duration
((0) (grob-interpret-markup grob (markup "0")))
((1) (grob-interpret-markup grob (markup "1")))
((2) (grob-interpret-markup grob (markup "2")))
Am 20.08.2016 um 16:56 schrieb Erik Ronström:
but \override Dots.dot-count = #1 has no effect.
This is because there is no Dots grob. If I understand correctly one
could create such a grob using ly:engraver-make-grob. But this needs a
reference to the engraver (Dots_engraver in this case) a
Am 20.08.2016 um 19:18 schrieb Mark Stephen Mrotek:
I want the turn to be a little higher than the "bes."
Any instructions would be appreciated.
Try
s2*1/2-\tweak Y-offset 5 \turn
Also, \dolce is unknown to LilyPond, it should be "dolce" ;)
___
Am 25.08.2016 um 21:12 schrieb Pastor Neubauer:
I am not using score blocks. I never really trained in on Lilypond, just sort
of started finding what worked so I am going line by line using addlyrics. I
know I have had some difficulties that could be worked out if I used more
“formal” metho
Pleae always reply to the list (at least as CC) so others can see when
your problem is solved or new questions arise ;)
Am 25.08.2016 um 22:39 schrieb Pastor Neubauer:
Is there any way to not have the first line indent?
Yes: replace line 10 (“indent = #10”) by “indent = #0”. You can also
omi
Oh, and because you mentioned time savers: You don’t have to write the
duration of every note. If you don’t write the duration the last
duration is repeated.
So
c4 d4 e4 r4 f8 e8 f4
is the same as
c4 d e r f8 e f4
Am 25.08.2016 um 23:00 schrieb Malte Meyn:
Pleae always reply to the list
Am 26.08.2016 um 11:32 schrieb Sven Hillebrand:
\version "2.18.2"
{
\repeat unfold 8 {e''8}
\drummode { \clef percussion
hh4. r4. hh4. }
\clef bass d1
}
Is there a way to make it look like the original in the attachment?
Displaying percussion music in \drummode needs a DrumStaf
Am 26.08.2016 um 11:40 schrieb Malte Meyn:
\version "2.18.2"
\new Staff \with {
\accepts DrumStaff
} {
\repeat unfold 8 {e''8}
\drums {
I forgot
\once \omit DrumStaff.TimeSignature
here.
hh4. r4. hh4
% else an additional clef would be pri
Am 27.08.2016 um 01:24 schrieb Timofey Misarenkov:
(DynamicText.extra-offset can help to move, but
vertical space waste remains the same. And using same approach to move
\p and hairpin do not helps either.)
extra-offset only moves the visual appearance of a grob but doesn’t
affect spacing so
Am 15.09.2016 um 21:46 schrieb Simon Albrecht:
if in a piano score the right hand begins in bass clef, it is customary
to write a treble clef first and change to bass clef after the time
signature, presumably to draw more attention. Is there any more elegant
way than this kind of fake in LilyPo
Hi list,
is there a staff-size indepent version of \epsfile like \abs-fontsize
instead of \fontsize?
\markup \abs-fontsize #20 \epsfile #X #10 "foo.eps" seems to have no effect.
Cheers
Malte
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Am 16.09.2016 um 13:37 schrieb Knut Petersen:
Hi everybody!
I used
<<
\new Voice {\voiceTwo e'4. 8 4}
\new CueVoice { \voiceOne
\override NoteColumn.force-hshift = 0.4a,4.
\override NoteColumn.force-hshift = 1.2 8
\overrid
Am 16.09.2016 um 11:53 schrieb Pierre Perol-Schneider:
Hi Malte,
Here is an old thread regarding a similar demand:
http://lilypond.1069038.n5.nabble.com/Absolute-size-for-epsfile-i-e-independent-of-global-staff-size-td161872.html
HTH,
Pierre
Thanks Pierre for the hint and Marc for the soluti
Am 20.09.2016 um 17:28 schrieb Roderick Mackenzie:
I am still trying to print bagpipe tunes with Lilypond, with a repeat
bar at the start of each part. I am almost there; my only problem now
is that the time signature is printed after the first bar line (the
repeat bar line).
How do I get the
Am 20.09.2016 um 19:12 schrieb PMA:
(define (colorNote n)
(cond ((eq? (- n) 1) 'red )
((eq? (- n) 2) 'blue)))
This returns the symbol 'red or the symbol 'blue, not the constant named
red (value (1.0 0.0 0.0)) or the constant named blue.
\override NoteHead.font-size = #offset
Am 27.09.2016 um 23:05 schrieb Ryan Michael:
The problem is the stem does not connect the two staves. Here is the
complete piece:
Are you serious? 290 lines of code producing a three page score? Please
always give a minimal working example and include a version statement.
This time I made
Am 28.09.2016 um 00:01 schrieb Malte Meyn:
\version "2.19.47"
\new PianoStaff \with {
\consists #Span_stem_engraver
} <<
\new Staff { a\harmonic }
\new Staff { \crossStaff a }
This looks like a Span_stem_engraver bug to me: The NoteHeads don’t
share a stem because
Am 28.09.2016 um 11:03 schrieb Simon Albrecht:
I need to tweak (offset) the text(s) produced by the partcombiner, e.g.
"Solo" &c. What grob do I need to tweak?
CombineTextScript (found in the list at the bottom of
http://lilypond.org/doc/v2.18/Documentation/internals/text_002dinterface)
__
Am 30.09.2016 um 15:47 schrieb dtsmarin:
How can I move the pitched trill note so that the ledger lines aren't
connected?
Try using a version ≤ 2.19.40.
This shouldn't happen at all. You have to change the engraving rules for
this specific notation.
This is a bug which was introduced betw
Am 30.09.2016 um 19:56 schrieb dtsmarin:
Unfortunately I can't downgrade to an older version because some files won't
compile at all.
Which features of 2.19.41–48 do need? Maybe there’s an alternative so
you can use 2.19.40.
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Am 01.10.2016 um 18:39 schrieb Paul:
Thanks for the bug report. I posted a comment on the issue here:
https://sourceforge.net/p/testlilyissues/issues/4979/#b111
This comment says:
When two ledger lines are at the same vertical position, in the same note
column, (as I assume is probably th
Am 04.10.2016 um 11:26 schrieb Bernhard Kleine:
%%master: Anton-Bruckner-Messe-in-C.ly
at the end of part3 did not work.
It should be
% -*- master: Anton-Bruckner-Messe-in-C.ly;
(note the semicolon)
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Am 04.10.2016 um 14:10 schrieb Federico Bruni:
Il giorno mar 4 ott 2016 alle 12:48, Bernhard Kleine
ha scritto:
Am 04.10.2016 um 11:55 schrieb Malte Meyn:
% -*- master: Anton-Bruckner-Messe-in-C.ly;
there is obviously an error in Frescobaldis user guide:
LilyPond files that include other
Am 07.10.2016 um 09:35 schrieb Richard Shann:
the R1*6/4 typesets as a classical whole bar
rest
You would need a separate override for MultiMeasureRest:
\override MultiMeasureRest.style = #'neomensural
This is because MultiMeasureRest’s stencil doesn’t look for the style
even thoug
Am 19.10.2016 um 18:59 schrieb Jan-Peter Voigt:
http://lsr.di.unimi.it/LSR/Search
This annoying dead-link came somehow, somewhere into the net ...
This link hasn’t always been dead: Some years ago the computer science
department of the University of Milano changed it’s name/abbreviation
f
Am 23.10.2016 um 10:11 schrieb bart deruyter:
I was wondering if this issue really isn't solved yet after 6 years. If so,
I can't find anything in the documentation, or I must have missed it.
This is issue 2884: https://sourceforge.net/p/testlilyissues/issues/2884/
It really isn’t solved and
Am 04.11.2016 um 22:11 schrieb Peter Lavetti:
Processing `/Users/peterlavetti/Desktop/Untitled.ly'
Parsing...
/Users/peterlavetti/Desktop/Untitled.ly:1: warning: no \version statement
found, please add
\version "2.18.2"
for future compatibility
Success: compilation successfully completed
No
Am 04.11.2016 um 23:15 schrieb Tobin Chodos:
What's the best way to handle a percussion part that has a lot of
pitched and un-pitched material?
You could have a “pitched” Staff accept not only “pitched” Voices but
also DrumVoices:
\version "2.18.2"
\new Staff \with {
\accepts DrumVoice
Am 06.11.2016 um 11:25 schrieb David Sumbler:
How do I find out what changes have been made between (for instance)
2.19.48 and 2.19.49?
You could read the commit messages in the git log:
http://git.savannah.gnu.org/cgit/lilypond.git/log/
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Am 06.11.2016 um 15:41 schrieb jasonsilver:
This is great- but how do I use it for sharp notes in chords?
For example, I get how to do something like c:1.2.3.5 but don't know how to
a chord like Cmin7#5
I don’t find the message you answered to but maybe you are looking for
something like th
Am 09.11.2016 um 21:50 schrieb hbezemer:
I want LP to create a barline at the beginning of every new line, but
so far I can't find the right way to do so.
You can use the define-bar-line command. It takes four arguments:
1. name/default barline
2. barline at end of line
3. barline at begin o
Am 09.11.2016 um 22:27 schrieb Malte Meyn:
c'1 c c c \bar "|" \break
Oh, of course you don’t need \bar "|" here as "|" is the default barline
type.
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Am 09.11.2016 um 22:27 schrieb Malte Meyn:
#(define-bar-line "|" "|" "|" "|")
#(define-bar-line "||" "||" "||" "||")
You might also want
#(define-bar-line ":|." ":|." "|" &quo
Am 13.11.2016 um 15:45 schrieb Urs Liska:
I'm trying to build something like similar to an automated harmonic
display on two staves, and it seems that alternative note head styles
break the cross staff stems:
Is this known (at least not said in the NR)? Is there a way around this
issue?
I fo
Am 14.11.2016 um 09:52 schrieb Mojca Miklavec:
I'm using \markDefault from the following code for marking parts of music:
stdMarkFormat = {
\set Score.markFormatter = #format-mark-box-letters
}
markDefault = {
\stdMarkFormat
\mark \default
}
Why do you use these functions? A \set is ef
Am 16.11.2016 um 08:08 schrieb Johan Vromans:
Still as someone familiar with ASCII control codes, I would expect #20 to
yield T, not U. But that's because the 'I' is missing in the sequence.
This is because LilyPond uses #format-mark-letters as default
(“letters”: A to Z but without I, “alph
Am 28.11.2016 um 08:44 schrieb Menu Jacques:
Hello folks,
I’ve always used \alternative with a list of bracketed elements, and just found
that example in the Notation Reference:
[…]
% to be compared with this:
{
\accidentalStyle modern
\time 2/4
\repeat volta 2 {
c'2
}
\alternat
Am 28.11.2016 um 10:20 schrieb Robert Blackstone:
\set PianoStaff.shortinstrumentName = "B. C."
It has to be shortInstrumentName (with a capital I).
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