nter of the
notehead. (Also in the example with two measures per octavation, which
looks not so nice.)
How can I tweak that?
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2014-09-23 9:55 GMT+02:00 Pierre Perol-Schneider <
pierre.schnei
Dear people,
Was looking for this option on internet and found this interesting link.
https://code.google.com/p/lilypond/issues/detail?id=3154
Tried it, but believe it is not yet implemented. (?)
\version "2.18.2" here.
Kind Regar
2014-09-23 20:07 GMT+02:00 Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:
>
>
> 2014-09-23 15:47 GMT+02:00 Peter Crighton :
>
>> Thanks, Pierre, that is quite good already, but there is an issue with
>> octavation spanning only one note. See this:
&g
Federico Bruni wrote:
> no, as you can see the issue is still open
Okay, thank you for your answer.
Peter
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StyleTable = #(alist->hash-table drums) } <<
\new DrumVoice \drummode {
bd4 bd bd ice
}
>>
}
\layout {}
\midi {}
}
It seems that midiDrumPitches doesn’t get applied. Do I have to do that
manually? What else could be wrong?
--
Peter Crighton |
2014-09-23 20:36 GMT+02:00 Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:
> 2014-09-23 20:26 GMT+02:00 Peter Crighton :
>
>
>> That doesn’t really combine well with the previous code of \myOttavaUp.
>> At least, I can’t get it to work.
>>
>
> I
for
the notes which are included in LilyPond by default (e.g. bassdrum,
crashcymbala, etc.) whereas others (e.g. icebell, snarea, etc.) are
displayed correctly, but don’t produce a MIDI note at all.
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http://www.petercrighto
Dear People,
It works perfect in the example from Lilypond documentation but in my projects
they refuse to go left or right, only up or down.
What am doing wrong ?
Here my .ly file, (left on bar 5):
\version "2.18.2"
\paper {
#(set-paper-size "a4")
#(layout-set-absolute-staff-size (* 22.
Phil Holmes wrote:
> Posting a huge amount of music to illustrate a small point?
>
> Perhaps you could cut this down to a tiny example.
Ah, ..so sorry
Would like to cancel it.
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, how silly of me to forget that.
Thanks!
Peter
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the
spacing problem. As if there was an invisible TabStaff present, that didn’t
take any space.
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2014-09-29 20:57 GMT+02:00 Federico Bruni :
> 2014-09-29 20:50 GMT+02:00 Peter Crighton :
>
>> I’m pretty sure this is not expected output, is it? (See attached image.)
>>
>> \version "2.19.13"
>>
>> <<
>>
>> \override TabStaf
taff.Dots.stencil = ##f
}
I can’t simply put a layout block in there.
So, now by calling \improvisationOn in a score without a TabStaff I came
upon the undesired output.
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ave no real experience with Scheme.
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ngraver from TabStaff in these cases.
Thanks for the suggestions!
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= #RIGHT
\mark \markup {\right-align "Right-Align"}
\relative c' {c d e f g a b c}
}
\paper {indent = 0\cm}
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2014-10-01 16:51 GMT+02:00 Jay Vara :
> I am trying to get the
.
Peter
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https
English.
Peter
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https
asureRest (assoc-ref
> (ly:grob-property grob 'meta) 'name))
> (set! curr-rests (cons grob
> curr-rests))
\new Staff <<
\new Voice {
\voiceOne r2. r4
}
\new Voice {
\voiceTwo r2. r4
}
>
\time 4/4 R1
}
>>
>>
I don’t think this is as it should be. How can I correct this? And should
it be filed as a bug report, or is there some intention behind this
appearance?
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2014-10-05 11:15 GMT+02:00 David Kastrup :
> Simon Albrecht writes:
>
> > Am 04.10.2014 um 23:13 schrieb Peter Crighton:
> >> As you can see in the following code and the attached image, there
> >> is a possible bug when using \RemoveEmptyStaves with voices in
>
2014-10-04 18:21 GMT+02:00 Jay Anderson :
> On Fri, Oct 3, 2014 at 8:30 AM, Peter Crighton
> wrote:
> > I found that dotted rests don’t behave quite satisfyingly with this code
> –
> > there are two dots appearing.
> > How can this be fixed?
>
> I've noticed
Does anybody have more ideas for this (see below)? How can I move the
beginning and end of OttavaBrackets horizontally, or rather change their
alignment to the note head?
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2014-09-25 3:39 GMT+0
2014-09-25 6:32 GMT+02:00 Peter Crighton :
> No, I've checked all the sounds and I also checked the generated MIDI
> file, the notes are actually missing, so the problem is definitely caused
> by LilyPond.
> Am 25.09.2014 04:51 schrieb "tisimst" :
>
>> Just thi
2014-10-05 16:13 GMT+02:00 Thomas Morley :
> 2014-10-05 15:45 GMT+02:00 Peter Crighton :
> > Does anybody have more ideas for this (see below)? How can I move the
> > beginning and end of OttavaBrackets horizontally, or rather change their
> > alignment to the note head?
>
2014-10-07 0:56 GMT+02:00 Peter Crighton :
> 2014-10-05 16:13 GMT+02:00 Thomas Morley :
>
>> 2014-10-05 15:45 GMT+02:00 Peter Crighton :
>> > Does anybody have more ideas for this (see below)? How can I move the
>> > beginning and end of OttavaBrackets horizo
2014-10-05 16:38 GMT+02:00 David Kastrup :
> Peter Crighton writes:
>
> > 2014-10-05 11:15 GMT+02:00 David Kastrup :
> >
> >> Simon Albrecht writes:
> >>
> >> > Am 04.10.2014 um 23:13 schrieb Peter Crighton:
> >> >> As you can see i
2014-10-07 20:16 GMT+02:00 David Kastrup :
> Peter Crighton writes:
>
> > 2014-10-05 16:38 GMT+02:00 David Kastrup :
> >> >
> >> > Okay, thanks for explaining. For now I am content with using “\omit
> >> > Staff.KeySignature” and “\revert Staff.Ke
onome. Here I am using toml only
> because I don't know what percussion instrument is actually involved.
>
> What might be the explanation for this? and how to stop it?
I don’t get this behaviour (in 2.19.13).
How do you playback the MIDI file? Are the metronome-notes actually in the
}
>>
But I would like to be able to use the function as follows, so it doesn’t
only affect the next note, but a sequence of notes enclosed in { … }:
\new Voice <<
\relative c' {
c4 d e f
}
\relative c' {
\bgr { e4 f g a }
}
>>
Can somebody point me in t
2014-10-24 11:05 GMT+02:00 Robin Bannister :
> Peter Crighton wrote:
>
> But I would like to be able to use the function [...]
>>
> > so it doesn’t only affect the next note,
> > but a sequence of notes enclosed in { … }:
>
>
> The source file music-functions
2014-10-24 13:57 GMT+02:00 Peter Crighton :
> 2014-10-24 11:05 GMT+02:00 Robin Bannister :
>
>>
>> The source file music-functions.scm defines
>> music-map
>> which you can use for this:
>>
>>
>> bgr = #(define-music-function (parser location m
ime I dive into Scheming I might be getting further by myself
before I have to ask on the list. :)
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possible?
Cheers,
Joram
Hi Joram,
you can run a python script as a Snippet (Tools -> Snippets). If it's
possible to implement in detail is hard for me to say (without seeing
your code), but I think that is what you could try if you want to do it
within Frescobaldi.
Be
2014-10-24 23:01 GMT+02:00 Peter Crighton :
> 2014-10-24 16:54 GMT+02:00 Robin Bannister :
>
>> So it looks like LilyPond wants to merge the rests,
>> but will do this only if they seem identical.
>>
>>
>> Having read through the regression snippet
>&g
2014-10-25 17:51 GMT+02:00 David Nalesnik :
> Hi Peter,
>
> On Sat, Oct 25, 2014 at 10:41 AM, Peter Crighton
> wrote:
>
>> I now wanted to improve the function to also skip MultiMeasureRests and
>> first tried replacing 'rest-event with 'multi-measure-re
best approach is to run the
python script as a Snippet and to add the functionality to handle this.
Best
Peter
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t;>
}
Is there a solution to this?
Many thanks in advantage.
Peter
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Peter Terpstra wrote:
> Differently headed does not merge.
Thank you so much for your answers, very useful!!
Have solved it a bit like this, as i had already defined the voice, just gave a
limited example.
Just looks wonderful now!
\version "2.18.2"
% here's how I'd
Phil Burfitt wrote:
> If you want to achieve this there's also a quicker way
> [...]
Very nice, thank you!
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which is not desired.
Does anybody know a solution?
Thanks,
Peter
--
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http://www.petercrighton.de
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2014-11-16 0:13 GMT+01:00 Thomas Morley :
> 2014-11-15 23:36 GMT+01:00 Peter Crighton :
> > Hello,
> >
> > I need to offset a repeat bar line at the beginning of a system without
> > moving the bar line at the end of the system above before the line
> break. Is
>
y, both versions are quite inelegant. If somebody has an idea how to
approach this better, I’d be very grateful!
Ideally I could completely separate chords and lyrics at the input stage
and then put them together line by line in a score. But I have no idea how
to even begin with such an approach.
Ch
.avoid-slur = #'ignore
> \tuplet 3/2 { c,2( b'4) } r2
> c,4( b') r2
> }
>
> LilyPond will usually try to place the slur outside of a tuplet number,
> but in certain cases (like this one) the output is nicer when avoid-slur is
> set to ignore.
Also, h
2014-11-17 0:29 GMT+01:00 :
> >>>>> "Peter" == Peter Crighton writes:
>
> Peter> Hello all, I’m in the process of creating sheets that only
> Peter> contain lyrics and correctly aligned chords. (This belongs to
> Peter> other sheets with m
#x27;pitch p)))
music))
naturalizeMusic =
#(define-music-function (parser location m)
(ly:music?)
(ly:message "Test debug 4\n")
(naturalize m))
I an trying to get some debug feedback from the code but ly:message only seems
to allow strings and display reutns nothing. I'll bet
it
8.2 refers.
regards
Peter Gentry
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Thanks Paul. What I have just realised that this is actually from page 18 of
the snippets.pdf manual. I have been using it for
sometime and forgot its origin.
The trouble is that the Scheme code takes no account of the key signature so
that a gflat in transposed music can remain even if the
n
is all
rests as this is just a test.
I have the files available if it's useful.
Is this a known issue? I am not sure yet how to validate that the Finale output
is valid musicxml.
respect…
Peter
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tell from the printout.
Try this:
---
\version "2.18.0"
music= <<
\new Staff <<
\new Voice \relative c' { c4 c c c }
\new Voice \relative c' { \repeat volta 2 { s1 }}
>>
>>
\score {
\music
}
\score {
\unfoldRepeats \music
}
---
And
hom a way to recover key signature details for mods to
enharmonic.ly - currently pondering
key-signature-interface.cc
regards
Peter Gentry
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t been able
to extract it. This has lead me into a crash course
of C++ and Scheme which at 73 is proving interesting but time consuming - (I
was brought up on Basic and Fortran)
_
From: David Nalesnik [mailto:david.nales...@gmail.com]
Sent: Thursday, November 27, 2014 3:17 PM
To:
Thanks for the confirmation that it is "difficult". I won't give up just yet
but have a lot to learn before taking the next step.
_
From: David Nalesnik [mailto:david.nales...@gmail.com]
Sent: Thursday, November 27, 2014 8:40 PM
To: Peter Gentry
Cc: lilypond-user
Subje
Dear people,
In the next score i encountered two problems. The arpeggio travels to the left
when fingerorientations left or right is used.
Also the b4. appears as a b4 when using the \harmonic.
Thank you kindly in advantage.
Peter
Example:
\version "2.18.2"
global = {
\ke
turalize m))
\version "2.18.2"
% Bach Minuet from Partita No1
#(set-global-staff-size 23)
\header { title = "Minuet from Partita No 1"
composer = "J S Bach" }
\include "./ranges/enharmonic.ly"
\score {
\include "Bach Part Notes
Peter Terpstra wrote:
> Also the b4. appears as a b4 when using the \harmonic.
\set harmonicDots = ##t
resolves this issue.
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...
}
}
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http://www.ertos.nicta.com.au ERTOS within National ICT Australia
All things shall perish from under the sky/Music alone shall live, never to die
__
Hi,
How can I notate the (piano) chord 4 without a clash
between e' and f' and change the order of accidentals to the more
logical f-natural, f-sharp?
Many thanks,
Peter
--
//=
-> Peter O'Doherty
-> http://www.peterodoherty.net
->
How can I notate the (piano) chord 4 without a clash
between e' and f' and change the order of accidentals to the more
logical f-natural, f-sharp?
Many thanks,
Peter
Try having a look at the thread entitled "odd output" - we've been
discussing something similar
In the following example, the arpeggio symbol appears over the time signature,
about 1cm from the chord, and the finger number is to the left of the arpeggio
symbol, while I want the finger number to be on the right of the arpeggio
symbol. Suggestions?
\version "2.13.40"
\include "english.ly"
#(s
I want to change the size of the chord names, as in:
\override ChordNames #'font-size = #-1
but I can't find the grob name to do this.
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lilypond doc but also to no avail.
Can someone assist?
Many thanks,
Peter
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//=
-> Peter O'Doherty
-> http://www.peterodoherty.net
-> m...@peterodoherty.net
-> faceboo
On 01/13/2011 02:46 PM, Graham Percival wrote:
On Thu, Jan 13, 2011 at 02:12:30PM +0100, Peter O'Doherty wrote:
\paper {
paper-width = 210\mm
left-margin = 20\mm
right-margin = 30\mm
line-width = 100\mm
}
try:
indent = 0\mm
as long as you have no instrument names, it shou
one pdf using
the pdftk utility.
Regards,
Peter
On 01/13/2011 07:05 PM, Federico Bruni wrote:
2011/1/13 Peter O'Doherty <mailto:m...@peterodoherty.net>>
On 01/13/2011 02:46 PM, Graham Percival wrote:
On Thu, Jan 13, 2011 at 02:12:30PM +0100, Peter O
G'day. Sorry, if I don't use the correct lilypond nomenclature.
Below are two bars of notes. The first bar is done with 2 voices inline and the
second bar is done with 2 voices out-of-line. In the first bar, the string
positions are not on the left of the notes, while they are in the second bar.
I
h ornament go by what sounds best.
A lot of marks in early music just mean, `ornament this note'
with the form of the ornament left to the taste and skill of the
performer.
Peter C
--
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http://www.ertos.nicta.com
I want "rit." to be under the fs/e, and the span line to go all the way to the
final gs *below* the markup "XII harmonics". However, I can't find a place to
start the textspan. Help!!
\version "2.13.40"
\include "english.ly"
#(set-default-paper-size "letter")
#(set-global-staff-size 24)
#(define
I'm attempting to use lilypond-book but have run into the following anomaly.
The latex file below demonstrates the problem. There is a line \input{test.ind}
to include the index file generated by the makeindex command. Normal procedure
is to start with an empty (0 byte) xxx.ind file, do several la
Le 19/02/2011 20:21, Peter Buhr a écrit :
> I'm attempting to use lilypond-book but have run into the following
anomaly.
...
I think you have to put the whole path for test.ind
if your test.ind is one directory upstairs of out2 you could also write:
\input{../test.in
I'm creating a glyph to include in a picture showing the range of notes on a
classical guitar (see below).
1. How do I remove the system_start_delimiter (large opening brace) at the start
of the score? I've tried a number of things to remove the brace but none
were successful.
2. How do I g
I'm trying to factor out common code in some music functions. Below is a
fragment of the code illustrating my problem. It's been years since I've used
Lisp so please appreciate the naivety in this question.
I want to do a computation at the call and pass the result as an argument to
a function par
I want to have a TextSpanner that spans a single chord WITHOUT any spanner line
after the spanner text. In the example below, I want the 3 barre indications to
all line up vertically across the chords at the TextSpanner height. If the
spanner puts a line for the single chord, it forces the text abo
http://lilypond.org/doc/v2.13/Documentation/notation/writing-text#index-text-spanners_002c-formatting
See the two snippets, they might help.
Well, not that helpful. What kind of "Event" should I specify? And my guess is
that span will still try to put a line of some form after the text.
http://marcs.uws.edu.au/links/ICoMusic/Full_Paper_PDF/deGraaff_Schubert.pdf
And I'm sure you've also seen the automatic music performance work
from KTH? http://www.speech.kth.se/music/performance/download/
It's all open source.
--
Dr Peter Chubb
need beams (including simultaneous chords in both hands).
Many thanks,
Peter
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at I would like but
this isn't perfect either as the notes on the lower stave are on the
wrong side of the stems.
Is this possible?
Many thanks again,
Peter
On 03/15/2011 07:28 PM, Phil Holmes wrote:
- Original Message ----- From: "Peter O'Doherty"
To: "lilypond-u
go down and
those on the lower, up. Because of the alignment of the note heads the
stems will not meet. I've also tried tweaking the code for the snippet
of "/Goyescas/ by Enrique Granados" but to no avail.
Best,
Peter
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(and some semi-pro) clarinettists have, we can work out how
to teach them not to.
Peter C
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http://www.ertos.nicta.com.au ERTOS within National ICT Australia
denzaOn
<<
fis'1 \\
{ s8\ppp \< ~ s2. ~ s8 \!\ }
>>
\bar "|"
}
\layout{}
\midi{}
}
but that renders really badly.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http:
>>>>> "Martin" == Martin Tarenskeen writes:
Martin> On Fri, 18 Mar 2011, Peter Chubb wrote:
>> (from Messiaen's `Abime des Oiseaux', bar 13) -- a smooth crescendo
>> over almost the full range of the instrument.
Martin> I love that
nning> Didn’t check: Does articulate handle fermatas/ritardandos?
It handles ritardandos if they're marked rall. or rit.
Fermatas are still on the to-do list.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS with
I also assert my moral right to be identified as the original author of the
code,
Ultimately I expect all this not to be an issue, as the articulate script is
really a hack. Its functionality should really be part of the Performer
context. And I'm hoping th
o to get it merged, but i was hoping it wouldn't
be necessary.
Graham> Isn't that precisely the question? You wrote: "It is not even
Graham> clear that Peter can release/distribute it under GPL version
Graham> 2.0 unless it will work unmodified with a version of Lilypond
Gr
ontext Lyrics=Two \preambleThree
\lyricsto interverse \context Lyrics=Three { \preambleThree
\lastWordFour}
>>
}
--
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http://www.ertos.nicta.com.au ERTOS within National ICT Australia
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eme into C++?). The *only* tricky bit, the
only part of articulate that contains any substantial IP, is
calculating trill timings. And it's a real hack full of mostly but not
perfect heuristics, and should probably be redesigned anyway.
Peter C
--
Dr Peter Chubb http://www.gelato.unsw.edu.au p
Hi,
Is there a way to enable grace notes to be positioned at ends of bars?
Many thanks,
Peter
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> "Father" == Father Gordon Gilbert writes:
Father> Can someone help me here? On this Anglican chant , in the
Father> tenth measure (end of the first section of verse two) the
Father> melody notes are 1/2 notes and the harmony notes are whole
Father> notes, yet in my pdf viewer, they are not
ate
Sorry i can't give a link to the direct download file, as the CMS
generates such links in ways I can't fathom.
--
Dr Peter Chubb http://www.gelato.unsw.edu.au peterc AT gelato.unsw.edu.au
http://www.ertos.nicta.com.au ERTOS within Na
Hi,
I know this has been asked before but I haven't been able to resolve it
satisfactorily. Can anyone suggest a solution to this error?
It occurs in the example below, i.e. when the grace note has more than 4
members.
Many thanks,
Peter
##
\version "2.12.3
On 04/06/2011 07:53 AM, Janek Warchoł wrote:
\acciaccatura { \scaleDurations #' (1 . 2) { c'8[ d' e' f' g'] } }
That works. Thanks a lot.
Regards,
Peter
==
www.peterodoherty.net
___
lilypond-user mailing l
Hi,
How can I adjust \set Staff.ottavation = #"8" to include it in the
layout section so it applies to the whole score?
\layout {
\context {
\Score
%\set Staff.ottavation = #"8"
}
}
Many thanks,
Peter
_
Hi,
Lilypond seems to be selective in applying the \override command to
allow bracket visibility (which I have in the layout section as below).
Is there another way to force it to always do so?
Thanks again,
Peter
\layout {
\context {
\Score
\override TupletBracket
Thanks.
The code you sent applies \ottava #1 to the whole score, whereas I also
have instances of |8vb and 15va etc|. All I need is a way to change the
property to print only 8 or 15 without va, vb etc. to save me typing
\set Staff.ottavation = #"8" each time.
Thanks,
Peter
\sc
Thanks a lot Mike and Nick. Your suggestions have been very helpful.
Regards,
Peter
On 04/07/2011 01:37 AM, Nick Payne wrote:
On 06/04/11 23:26, Peter O'Doherty wrote:
Thanks.
The code you sent applies \ottava #1 to the whole score, whereas I
also have instances of |8vb and 15va etc|.
Hi,
Can someone advise how to adjust this identifier to deal with a group of beamed
grace notes?
Many thanks
Peter
"
Mark Polesky wrote:
... with an identifier:
.. which can be adapted to cope with a group of grace notes:
mygrace = #(define-music-function (parser location
ee Jackson, `Performance Practice: A Dictionary-guide for
Musicians' on articulation. Performance practice varies widely.
--
Dr Peter Chubb peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au ERTOS within National ICT
he final chord of a cadence: and cadences usually fall at the
end of a phrase marked with a phrasing slur or are explicitly marked
tenuto so it isn't an issue. I can see there could be problems in
some music though.
--
Dr Peter Chubb peter DOT chubb AT ni
>>>>> "Graham" == Graham Percival writes:
Graham> On Fri, Apr 15, 2011 at 12:54:53PM +1000, Peter Chubb wrote:
David> A fixed ratio seems a mistake to me: like optical scaling of
David> fonts, the ratio should depend on the length of the note as
David> wel
n anyone suggest a way that this can be changed outside the script?
I tried
legato=#(set! ac:normalFactor '(1 . 1))
in a normal lily file, but it didn't seem to work. The value in the
#(define...) statement in the included file was the one used.
--
Dr Peter Chubb
ate-chord music)
)
used thus:
\unfoldRepeats \nonLegato #'(15 . 16) \yourMusic
15/16 is what some of the writers here suggested.
The other thing that would be worth doing, is adding legato and
non-legato or detached as keywords that alter the articulation factor
in the ac:getaction
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