Peter Terpstra in <[EMAIL PROTECTED]> :
> i tried:
> \once \override Stem #'length = #4
> g8 [ a ]
>
> This does not have any effect.
lilypond version is 2.10.25
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e Beam #'positions =
#'($value . $value)" in all cases output was ugly.
Then i found something else:
\once \override NoteColumn #'force-hshift = #0.5
\once \override Stem #'length-fraction = #0.3
These two options make it a lot prettier for me. Not too short and a bit out
of
Dear readers,
How can i change the stem length so that the voice two fits between voice
one and three?
i tried:
\once \override Stem #'length = #4
g8 [ a ]
This does not have any effect.
Kind Regards,
Peter
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Dear readers,
How do i connect a arpeggio between 2 voices?
case:
staffClassicalGuitar = \new Staff {
\set Staff.connectArpeggios = ##t
\relative c' {
<< { \arpeggio }
\\ { e,\arpeggio }
>>
}
}
~ End
This does not work.
Kind Regards,
Peter
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Neil Puttock in
<[EMAIL PROTECTED]> :
> Add the Span_arpeggio_engraver to your Staff context
Thank you very much, this works!, but with the "\set Staff.connectArpeggios
= ##t" option.
Kind Regards,
Peter
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mail
Valentin Villenave in
<[EMAIL PROTECTED]> :
>> Thank you very much, this works!, but with the "\set
>> Staff.connectArpeggios = ##t" option.
>
> Absolutely; I guess you found http://lsr.dsi.unimi.it/LSR/Item?id=294 in
> the LSR
Sometimes i'm just searching for the dot on the i, then i'm glad lil
Dear Readers,
Lilypondtool has prolems with the righthandfingering syntax, lilypond not.
case:
\version "2.10.25"
#(define RH rightHandFinger)
{
\set strokeFingerOrientations = #'(up)
4
\set strokeFingerOrientations = #'(up)
4
}
Any solution for this?
Kin
ot
accessable via usenet i never had started with it.
Kind regards,
Peter
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fting the other notes.
Is this possible?
Kind Regards,
Peter
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Neil Puttock in
<[EMAIL PROTECTED]> :
> Yes, by scaling the dotted note:
>
> a'4.*2/3
Thanks for your answer, but now i get an extra count.
Maybe this is a better example:
\version "2.10.25"
\new Staff
\time 3/4
\relative c'' << {\key g \major
\override Staff.NoteCollision #'merge-differentl
Damian leGassick in <[EMAIL PROTECTED]> :
> the extra count is because the \time 3/4 is ignored as it's not
> between the braces
Indeed, indeed, your'e rigth. Never had this problem with it before, but I'm
a beginner :-)
Kind Regards,
Peter
Neil Thornock in
<[EMAIL PROTECTED]> :
> Here's my path, something I don't fully understand but seems like it
> should work.
#echo $PATH
Should show the path to lilypond.
if not put "PATH=/usr/local/bin/:$PATH; export $PATH" in your ~.profile or
~/.zprofile (if you use zsh). It wil also work in
tieDown e,2. ~ | }\alternative { {e | }
{e\repeatTie | } }
\repeat volta 2 { fis2 \Sup a4 | % 20
fis2 \Sup a4 |
}
}
>>
}
~~ End .ly snippet.
http
\stemUp
> a,8\laissezVibrer \stemDown
> c'8 | % 21
Yes, this works!
> The knee on the beams is a bit ugly, so you might want to override them
> manually.
You mean something with "Stem length-fraction" ?
Kind Regards,
Peter
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_
a have the same problem, trying to study on the answers below.
Typing in the good direction would save a lot off time.
Kind regards,
Peter
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et
Its about the acciaccatura, there should be something wrong with the bracket
but i don' know what.
Kind Regards,
Peter
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pid of me :-)
Thanks for your answer!
Peter
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ve it removed?
Kind Regards,
Peter
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s = #'(right)
\override Fingering #'extra-offset = #'(1.2 . 0)
2.\arpeggio
}
\\
{ a2.\arpeggio }
>>
}
\score {
\staffClassicalGuitar
\layout {
\context { \Staff
\consists "Span_arpeggio_engraver"
}
}
}
~ End .ly snippet
Peter Terpstra in <[EMAIL PROTECTED]> :
> Arpeggio and lefthandfingering
Nobody?
I tried it with " \override Arpeggio #'force-hshift" and differt other
objectnames but the arpeggio doe not want to come close to the notes when
there is lefthandfingering.
Kind Regard
Dear readers,
Is the a barrésign macro created for lilypond?
The barré sign should go over the staff!
Looks a bit like this:
|
|_
Kind Regards,
Peter
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; }
}
% Alt
\\ { \override Stem #'neutral-direction = #up
\override Stem #'length-fraction = #0.2
s2. s % 3
s s % 5
s4. b=8 b b s4 c4. s }
% Bass
\\ { \stemDown
g,=,2. r4 g' r % 3
r8 g4 g g
Peter Terpstra in <[EMAIL PROTECTED]> :
> "Stem #'neutral-direction = #up" versus \stemup
Lilypond version is 2.10.29
P.
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Neil Puttock in
<[EMAIL PROTECTED]> :
Thanks for your answer!
> \once \override Beam #'positions = #'(- 1.5 . -2) %This works better
> than #'length-fraction
This gives me errors and the stem comes down, while "#'length-fraction"
works without any comp
Peter Terpstra in <[EMAIL PROTECTED]> :
> This gives me errors
Sorry errors, but the stem does not get shorter.
Kind regards,
Peter
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wn again.
> Furthermore, I misunderstood why you were using #'length-fraction.
Sorry, i think i was not clear about that.
Kind regards and many thanks for your help!
Peter
~ Start
\new Staff {
\clef "G_8"
\relative c''
% Treble
<< { \time 3/4 \repeat volt
Valentin Villenave in
<[EMAIL PROTECTED]> :
> For instance,
> \override Staff.Arpeggio #'extra-offset = #'(2.2 . 0.0 )
> does the trick.
Thank you very very much! This helps.
Kind Regards,
Peter
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Valentin Villenave in
<[EMAIL PROTECTED]> :
>> Is the a barrésign macro created for lilypond?
>
> Not to my knowledge, but if you post a picture, I'd be glad to write
> it using postscript code.
I would be glad to, its often used.
Kind Regards,
Peter
-
Peter Terpstra in <[EMAIL PROTECTED]> :
> \clef "G_8" % The notation is one octave higher
Found also something else. When the '\clef G_8' is removed, the errors
disappear. But then the notation one octave to low (An i mis the G_8 clef).
Putting the voices back t
like #'(1.5. 1.5) fixes this.
Still learning more, thank you very much.
Kind Regards,
Peter
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he span context, you think this is not
necessary?
Kind Regards,
Peter
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hought maybe i don't need it.
Kind regards,
Peter
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Mats Bengtsson in <[EMAIL PROTECTED]> :
> If you want an arpeggio that spans two separate chords
> in the same stave, then you certainly need the trick to
> add Span_arpeggio_engraver in the Staff context.
Okay, Thanks.
P.
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Thanks for all the music i now can make with lilypond!
I'm happy with it.
Kind regards,
Peter
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script
#"0.2 setlinewidth -0.5 -3 moveto -1 -3 lineto 0 10 rlineto stroke"
}
{ \relative c''
_\barr _\barr _\barr _\barr
}
%%%End
For some strange reason the staff gets broken into two pieces.
Kind Regards,
Peter
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<>___
16] | % 7
d,4 r r | g g, r | % 9
g' g g g | g2 f4 r | % 11
< e g,> | d, cis d s | % 13
f_\f f f | 2 _\p | fis,4 fis | % 15
g r fis f! | c g e g | % 17
4 r r2 | r4 _\f | % 19
r | e\ff e e e | % 21
2 fis | g4\p r
e a lost :-(
my LateX header is
\documentclass[a4paper]{article}
\usepackage[latin1]{inputenc}
\usepackage{palatino}
%
maybe I have to add more... or less?
Can You please help me,
thanks.
all the best,
Peter
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On 25/11 15:57:26, Charles Gran wrote:
> I want to have a score (choir + piano) that always created 2 systems
> per page, right now I'm often getting only one.
Sometimes it can be a *very* narrow margin between getting one or two
(or 2-3) systems per page, especially for SATB-choir-plus-piano scor
On 18/12 03:35:48, henry wrote:
> i just downloaded this today, and tried fiddling with a few
> notes...i just can't figure out how to make the actual sheet music
> document.
Start with a Lilypond text file, eg. "bling.ly", then run (from a
command line) "lilypond bling.ly" - it should create (amo
points, the main lyrics seem to disappear, and so I tried coding them in
alongside the music as in the example above...
Your continued assistance is most gratefully appreciated!
Peter
--
Peter Siepmann BSc (Hons), LRSM, ARCO
Director of Music, St Peter's & All Saints', Nottingham
Bingo. Thank you!!
Mats Bengtsson wrote:
If I'm not mistaken, the simple solution is to remove the \\
in your code.
/Mats
Peter Siepmann wrote:
Thanks, Mats. Though I'm afraid - due probably to my relative
inexperience (I'm quite a recent convert to Lilypond!) - the
Thanks, Mats. Though I'm afraid - due probably to my relative
inexperience (I'm quite a recent convert to Lilypond!) - the solution to
my problem doesn't jump out at me...
Peter
Mats Bengtsson wrote:
As you might know, the documentation is going through a major revision
Occasionally a crescendo or decrescendo needs to begin not at the commencement
of a note's duration, but rather halfway through the note. Can such a situation
be properly typeset using lilypond? If so, how?
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I am interested in making phrasing slurs that are (graphically, not
rhythmically) dotted or dashed, in order to differentiate them visually from
ordinary legato slurs (to be represented with solid slurs). Is there a way to
do this straightforwardly in lilypond? I Was not able to find it in the ma
This question is answered in the second example of the section on
Dynamics in the manual. Peter, can you provide a hint on how to make it
even more clear?
/Mats
It is very difficult to say any of this clearly and concisely. The only
positively misphrased bit seems to be the
om a piece by Messaien)
`perdu', or `comme oiseaux'.
It'd be possible to translate some of these into metronome markings or
\ or similar; others, I have no idea about.
Non-notated repeats are also going to be hard (`dal segno al coda',
`dal segno al fine'
o something like,
{ c16 \pp \< ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 \! ~ c16 \ff ~ c16 \>
~ c16 ~ c16 ~ c16 ~ c16 ~ c16 ~ c16 \! ~ c16 \pp }
and even that doesn't give as smooth a transition as one would like.
Any ideas?
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Dr Peter Chubb http://www.gelato.unsw.edu.au
the two UTF-8 decimal-Codes
2. Type the two Numbers with ALT+0+xxx at your Numpad. Thats it!
For example:
ü
ALT+0195 AlT+0188 -> ü
etc.
(Sorry Pro's for disturbing you)
Peter
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not in this snippet), the
beams are repeated, so a beam of quavers look like semiquavers.
I want the tune in a separate named voice so I can use \lyricsto.
I could put it on a separate stave, but that would make the music
spread over two pages.
Any ideas?
--
Dr Peter Chubb http:
>>>>> "Trevor" == Trevor Daniels <[EMAIL PROTECTED]> writes:
Trevor> Hi Peter Forget \partcombine. Chapter 3.2 in the Learning
Trevor> Manual might help. You just need to put the two voices in
Trevor> parallel, like this:
\version "2.11.41"
pe Em2 chord in chordmode. How can I do
Michael> that? e:m2 doesn't work. Zoltan
Michael> ___
Michael> lilypond-user mailing list lilypond-user@gnu.org
Michael> http://lists.gnu.org/mailman/listinfo/lilypond-user
>>>>> "Peter" == Peter Chubb <[EMAIL PROTECTED]> writes:
>>>>> "Michael" == Michael Watts <[EMAIL PROTECTED]> writes:
Michael> e2:m Now, if only there were a manual..
Zoltan> I would like to type Em2 chord in c
makes the output *look* right without acutally *being* right.
Try, e.g.,
global= { \time 4/4 \key es \major \repeat volta 2 {
s1*2 } }
notes =\relative c' { es4 f es f | es f es f }
\score {
\unfoldRepeats \context Staff << \global \notes >>
\midi{}
on to do this yet? for
example, given e return fis (if the current key is g), or given e return f (if
the current key is c)? I'm a bit stuck, as I can't even work out how
to get at the current key within a music-function.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gel
Dave mho.com> writes:
>
> I'm transcribing a violin piece that
> has divisi and unison. The divisi portions
> are not synchronsous (i.e. they have
> basically different parts) and need to be
> on separate staffs. How would I make a
> score that has 2 staffs for the divisi
> part and 1 st
I see a KeyChangeEvent in the rest of the program I update
ac:current-key.
Is there a better way? Does Lilypond keep track of the current key
signature for me?
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.co
)))
)))
((eq? 'KeyChangeEvent (ly:music-property music 'name))
(set! ac:current-key music)
music
)
(else music))
))
articulate = #(define-music-function (parser location music)
(ly:music?)
"Adjust times of note
)
((equal? t (markup #:line (#:sharp)))
(set! alteration 1/2
but this never matches.
The music looks something like:
d^\markup{\flat}^\turn^\markup{\sharp}
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.co
script-priority
moves both accidentals, not just one, even with \once.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
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>>>>> "Peter" == Peter Chubb <[EMAIL PROTECTED]> writes:
Peter> On my quest for better MIDI, I'm trying to deal with
Peter> alterations on a turn. How do I look `inside' a markup
Peter> sequence?
Peter> What I've tried is:
>>>>> "Peter" == Peter Chubb <[EMAIL PROTECTED]> writes:
Peter> On my quest for better MIDI, I'm trying to deal with
Peter> alterations on a turn. How do I look `inside' a markup
Peter> sequence?
Peter> What I've tried is:
Peter>
pitch new-octave new-notename
new-alteration
Jay> In a few functions I've written they either work correctly inside
Jay> a \relative section or correctly outside but not both. Is there a
Jay> standard way to make them work in both?
Not that I know of.
--
Dr Peter Chubb
he start of the
piece? Inquiring minds want to know.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within National ICT Australia
A university is a non-profit organisation only in the sense that it
spends everything it
mbers, you
Mats> also get multiplication and division for free.
So you're saying a lilypond moment is a duration of musical time, not an
instant in musical time? Is there a function to translate from
lilypond moment to lilypond duration and back?
--
Dr Peter Chubb http://www.gelat
turns. See the code in
http://www.nabble.com/Programming-questions-td16953318.html for
diatonically up one tone, it's easy enough to adjust for down a third.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within N
On 04/05 09:38:29, James E. Bailey wrote:
> Am 04.05.2008 um 05:59 schrieb Paul Scott:
[ snip plasmacarwash's questions ]
>> Have you read the tutorial?
>>
>> We can help you better if you show us what you have tried.
>
> I'm sorry, if this is rude, but this is a real pet peeve of mine.
> Rather th
ht now, e.g., by
<< c1 \\ {s2\< s4. \! s8} >>
but the MIDI output doesn't sound right. I'm trying to get the MIDI
output right, so have to explicitly do things like:
\pp c64 ~ \< c64 ~ c64 ~ c64 ~ c64 ~ c64 ~\!\sf c64 ~ \> c64 ~ c64
~ c64 ~ c64
a colleagues pc and it looked superb, exactly what I need for
scoring music written for our church.
Thanks in anticipation.. Peter Gifford, Radlett, UK
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but I'm sure someone
out there can help.
Many thanks.
Peter
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Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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lilyp
ies.
Should I be moving those to fink?
Does that mean I have to make a package?
Darn it I just want to build the thing in a straightforward way.
Should I just go back to the Terminal and continue doing ./configure;
make; sudo make install as I was doing?
So
Thank you Kris.
I am aware of the .dmg.
But that is merely an install.
I want to build from scratch for a number of reasons.
respect...
Peter
On Aug 16, 2005, at 15:41, Kris Shaffer wrote:
The most "straightforward way" to build Lilypond on Mac OS X now is to
download the DMG packag
t installed and the Distiller appears that a post script error “no
pdf file produced”
I looked at the web site again but I don’t get it??? Please
help
peter tregilgas
cultural and social enterprise services
abn: 66357539575
t: 0400-191054
f/p: 08-82725842
e: [EMAIL PROTECTED]
w: ww
s "r4" seems to cause the the Staff is not hidden even though it is
empty.
Can this be solved?
Peter
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Sorry... I should have search the ML first.
It's the exact same problem as:
http://lists.gnu.org/archive/html/lilypond-user/2005-04/msg9.html
I'd like to second that feature request (including showing R4 as r4,
when not hidde
hestral scores.)
The aim is to be able to easily transpose, quote and extract voices.
It's still plagued by some bugs (lilypond and mine) though.
Is there a place to submit such examples for others to see?
Peter
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lilypon
D Josiah Boothby wrote:
> you might try the lilypond snippet repository:
> http://lsr.dsi.unimi.it/
Thanks... I was wondering. Since there's many ways to do things in
Lilypond, there's also many ways to do them wrong.
Are there some kind of review process when I add to the re
Peter Mogensen wrote:
> Thanks... I was wondering. Since there's many ways to do things in
> Lilypond, there's also many ways to do them wrong.
> Are there some kind of review process when I add to the repository?
Anyway... He're an example (I think there's no cop
with postscript-handling on Windows (which is not something which
surprises me)
If my PS-file works, then why not try to run my .ly file with Lilypond
2.4.5 on Windows and compare at which stages the output differs?
Peter
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Peter Mogensen wrote:
>
> As I said, it's not perfect. When I look at the source, I can think of
> the following problem/hacks:
>
> * Ties are not continued into second endings
oh ... one thing more...
* How do I force page-breaks between ea
es a'4~} \unHideNotes
> a g e d\ | c1 }}
> }
> }
Unfortunately this seems to give the same problem as when the music
starts with a grace note (causing the time sign to be duplicated).
Only now it's the second volta-spanner which is duplicated.
So... two hacks would be required.
Oh... Ap
ater at adjust
it to a new orchestra. (do a few transposed, cut a repetition, insert an
extra voice and so on.)
Lilypond is great for _typesetting_, but all these small hacks makes it
difficult to work with when you do continious re-arranging.
Peter
___
How do I get Lily to use a more sensible font for PDF output? Because
I don't have New Centiury Schoolbok installed on my system, lyrics
come out in Courier (and look awful). The documentation just says
`the default font is set by Pango/font' which helps me not at all...
--
Dr P
Fairchild wrote:
> Graham -
>
> Here's a trim-down of the thread, for sticking in the manual, in the section
> on ties, or repeats, or both. Edit to suit.
>
> There ought to be a better way that makes the tie more pronounced, but a
> simple way eludes me.
>
> - Bruce
>
; }
>>>
>
> This is the proper way to do work around it. (and the manual should perhaps
> mention the trick explicitly).
Define "proper".
The above requires you to add the hack to all staves if you need it in
o
Mats Bengtsson wrote:
> Peter Mogensen wrote:
>> Mats Bengtsson wrote:
>>> See
>>> http://lists.gnu.org/archive/html/lilypond-user/2005-09/msg00444.html
>>> for the simple extra work-around that's needed.
>>
>> Yes... I did read your post.
>&
-
Is there a not-too-much-of-a-hack way to do this?
regards,
Peter
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ntal space in centimeters than in
note-values.
Peter
> Peter Mogensen wrote:
>
>> Hi,
>>
>> I see a lot of scores with a layout like this:
>>
>> Segno CODA
>> / /
>> | intro || A-part | volta1 || volta2 ||
>>
Han-Wen Nienhuys wrote:
> Peter Mogensen wrote:
>
>> Mats Bengtsson wrote:
>>
>>> Read the NEWS in the documentation for version 2.6.
>>
>> Unless I'm mistaken \stopStaff \startStaff doesn't stop output of notes.
>> Only the staff-lines.
>
unified solution alone. I hope
Han-Wen could set up some kind og "vote-with-your-money" system, so we
all could contribute to get something implemented.
Peter
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Han-Wen Nienhuys wrote:
>
> Peter Mogensen wrote:
>
>> If you could specify something like:
>> * Create a new set of staffs, take the music and typeset measures up to
>> #72.
>> * \staffbreak{2cm}
>> * Create new staffs, and typeset the rest.
>>
ether this is the case, since I've
not read the source.
I just wanted to make it possible to "do it right", if you conclude that
the cleanest way to move forward would be changing some fundamental
design. (even if the feature which caused that conclussion was minor).
... and for people
won't work for segno/coda repeats.
At least I can be glad I only have to make changes one place, once the
grace bug is resolved :)
Peter
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than the normal accidental.
I believe this is one of the new features in 2.7.x
See the NEWS page.
\set suggestAccidentals = ##t
Peter
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Han-Wen Nienhuys wrote:
> Peter Mogensen wrote:
>
>> Mats Bengtsson wrote:
>>
>>> Read the NEWS in the documentation for version 2.6.
>>
>> Unless I'm mistaken \stopStaff \startStaff doesn't stop output of notes.
>> Only the staff-lines.
>
so doubt that
the resulting MIDI can be use directly to generate a playable score.
Peter
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Peter Mogensen wrote:
> Mats Bengtsson wrote:
>
>>Read the NEWS in the documentation for version 2.6.
>
>
>
> Unless I'm mistaken \stopStaff \startStaff doesn't stop output of notes.
> Only the staff-lines.
>
> To use this, it would require to insert
ice, and definitely not with anything more
complex than a monophonic intrument.
Peter
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lead instruments) direct from a CD or MP3 disk
I found a piece of software, which tries to help you with the listening
process and a set of links to people having tried to program what you
want. Maybe you find someting useful:
http://www.seventhstring.com/resources/transcri
Hi,
Are there any way to get the tremolo strokes on a beamed note to NOT
align with the beam?
Peter
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