Let's say I have something like:
{
\clef bass
cis1~ cis!1~ cis!1
}
I want all the accidentals to appear and I do not want the tie to be moved
really far away like it is now. I preferred a few versions ago when it
would go right through the accidental.
I realize this is arguably crude and will m
sure. But I can't be doing it manually like that for
every note.
On Wed, Sep 2, 2015 at 11:23 PM, Andrew Bernard
wrote:
> Hi Robert,
>
> Well I am cringing.
>
> But does this come closer to what you are after?
>
>
> \version "2.19.26"
>
> {
&
Without being able to test it right now: my assumption is that the
"\voiceThree" is responsible for the shift right. Have you tried using voiceOne
instead?
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 14 Sep 2015, at 10:43, Menu Jacques wrote:
r less off-center. Is there a way
to get the desired result?
Thank you for your help in advance!
Yours,
Robert Clausecker
[1]: http://imslp.org/wiki/Special:ImagefromIndex/82912
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Am Donnerstag, den 24.09.2015, 19:28 -0400 schrieb Kieren MacMillan:
> Hi Robert,
>
> > The annotations are always more or less off-center.
>
> I’m surprised your Dynamics context attempt produced off-center results.
> Please post a minimal example, so we can hel
{
s1-\regR\p
}
\new Staff \relative c {
c4 d e f |
g a b c |
}
>>
}
Am Donnerstag, den 24.09.2015, 19:28 -0400 schrieb Kieren MacMillan:
> Hi Robert,
>
> &
Thank you! I'm going to try this out!
Yours, Robert Clausecker
2015-09-25 3:11 GMT+02:00, Kieren MacMillan :
> Hi Robert,
>
>> Here is a "minimal" example where the \regR appears off-center. This
>> does not occur if I cut out the \p, but that \p needs to b
> Here’s a really nice version which uses the Stanza_number_engraver
> (normally used in Lyrics contexts) to place the clavier indication
> before the moment for which it applies. Besides, this fortunately
> ensures perfect alignment with the dynamic following.
> Also, the \general-align markup com
Hi T.M.,
Check the Notation Reference, section 5.4.6 - you'll find the answers to your
questions there.
http://lilypond.org/doc/v2.18/Documentation/notation/visibility-of-objects
Best, Robert
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Conn
Actually, so save you some time finding the relevant passages, your question 1
is answered in the section called "Using break-visibility", and Q2 in section
"Visibility of cancelling accidentals".
Best, Robert
__
Truth does not change according to our ability to sto
e default pdf viewer and print
it from there. So the print shortcut just opens the pdf in another program.
I don't know if the windows version reacts the same way, but if you're looking
for a way to send the pdf to acrobat, you could try the print shortcut and see
if it open
ty" and possibly the "printKeyCancellation"
properties - those are also described on that page.
Best, Robert
> --
> T.M. Sommers -- tmsomme...@gmail.com -- ab2sb
>
> ___
> lilypond-user mailing list
> l
a
> cheat sheet for me,
Best, Robert
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who actually carries the main burden of
lilypond development.
Apart from that I'd like to contribute as well - please send me the relevant
information (I live in Germany).
Thanks for your fantastic work, Robert
> On 23 Oct 2015, at 03:10, Simon Albrecht wrote:
>
>> On 22.10.2
ar, i.e. have it end somewhere in the
middle of the page?
If all of the above are wrong, you should probably write down an
example, take a picture of that and send it to the list ...
Best,
Robert
Am 24/10/15 um 16:06 schrieb Karl Husum:
That did the trick, thank you! :-) , but how do you h
7; {
\time 4/4
\clef "alto"
cis4
\clef "treble"
\once \omit Accidental cis % <-- no #
\clef "alto"
cis % <-- # back up
r4 |
}
Best,
Robert
Am 25/10/15 um 11:15 schrieb Noah Fields:
\version "2.18.2"
\relative
ncert pitch). If you entered
those instruments in concert pitch, you'll need to use
\transpose bes c' { ... Music ... }
for the score to appear correct.
If you're compiling your piece to midi as well, then you'll have to use
\transposition on top of that for the midi to b
>>
That is of course not compilable - just to show how I did it ...
Best, Robert
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 13 Nov 2015, at 06:34, Andrew Bernard wrote:
>
> The attached image shows a tempo equivalence
Hi Mike,
this is actually covered in the Notation Reference, more precisely,
right there:
http://lilypond.org/doc/v2.18/Documentation/notation/long-repeats#manual-repeat-marks
Best,
Robert
Am 25/11/15 um 13:57 schrieb Michael Hartl:
Dear Lilypond Experts,
this is my first time posting
quot;)
begin-repeat)
g a b c
}
{
\set Score.repeatCommands = #'((volta #f) (volta "2.-3.") end-repeat)
g f e d
}
}
Best, Robert
Am 25/11/15 um 14:41 schrieb Robert Schmaus:
Hi Mike,
this is actually covered in the Notation Reference,
> But LilyPond's chord-naming names actually played chord notes, not
> anticipated chords.
I agree - it's not a good idea to confuse the chord with the underlying scale.
If you want a minor chord sounding, then use one; you can *add* a 4th (or
better 11th) to tha
lyrics of the second part vertically so that it is centered
with respect to the first part, instead of being in line with "The first time
words".
Thanks in advance.
Best regards,
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Hi,
Ref.: “"
> On 3 Dec 2015, at 04:28 , tisimst wrote:
>
> On a related, but side, note, I wrote a post a while back about a way to deal
> with vertically centering lyrics with the help of a music function. Anyway,
> it may be helpful to someone:
>
> http://leighverlag.blogspot.com/2014/11/v
“Vertically centering a
song test.”
Best regards,
Robert Blackstone
> On 3 Dec 2015, at 03:02 , William Marchant wrote:
>
> In the example snippet quoted below, there is a line:
> skipFour = \repeat unfold 4 { \skip 8 }
>
> I have found this useful on its own, and have saved
blems.
Best regards,
Robert Blackstone
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eems to be solved. Though I have no idea why different
extractors yield different results.
Thanks for your help anway.
Best regards,
Robert Blackstone
On 19 Dec 2015, at 20:10 , Jacques Menu wrote:
>
> Hello Robert,
>
> This works fine for me on OS X 10.11.2:
>
> menu@m
know of a better solution?
Thanks in advance for any suggestions.
Best regards,
Robert Blackstone___
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ike slurs, and in some of his songs one
can find them both, curved and straight slurs, apparently for the same purpose,
judging from his realization.
Best regards,
Robert
> On 20 dec. 2015, at 12:52, Richard Shann wrote:
>
> On Sun, 2015-12-20 at 12:44 +0100, Robert Blackstone w
On 20 Dec 2015, at 14:36 , Richard Shann wrote:
> Is this piece in IMSLP?
>
> Richard
>
Yes, the whole tutorial can be found in
http://imslp.org/wiki/Singe-,_Spiel-_und_Generalbass%C3%BCbungen,_TWV_25:39-85_(Telemann,_Georg_Phil
a "slurred" bass progression.
As for your last remark: I would consider it as a very harmless manifestation
of human greed.
Best regards,
Robert
PS While I was writing this reply your next mail(s) arrived.
Ref.: "I think he should adhere to the original look and feel."
I f
On 21 Dec 2015, at 09:43 , Andrew Bernard wrote:
> How about this:
>
> \version "2.19.33"
>
> {
> \clef bass
> \time 3/8
> c8 a, gis,
> \stemUp a,8 \stemDown a^\markup { \draw-line #'(4 . -1) } g
> }
>
> Andrew
>
Beautiful!
Many thanks.
Robert___
\clef bass
\key c \major
\time 6/8
\repeat volta 2 {\partial 8
c'8
c4. c |
c c |
c r4|
}
c4.~ c \bar "|."
}
}
__
Thanks in advance for any advice,
B
More importantly, this is what the original has, and for many reasons I want to
stick to that.
Maybe it's "illegal" but shouldn't be there some trick to hide my sins?
LilyPond seems full of the most beautiful tricks.
Thanks anyway
.
Best regards,
Robert
On 23 Dec 2015, at 1
Yes, it should be a partial.
But I do not know how to code that, 5 instead of 6 eighth notes, at the end of
a section.
Regards,
Robert
On 23 Dec 2015, at 13:03 , Chris Yate wrote:
> Your 3rd full bar has only 5 quavers. It should be a partial, if that's what
> you want.
gt;
>
> Easiest fix might be:
>
> \relative c {
> \clef bass
> \time 6/8
> \repeat volta 2 { \partial 8 c'8 c4. c | c c | c r4 }
> \set Timing.measurePosition = #(ly:make-moment 6/8)
> c4.~ c \bar "|."
> }
>
> HTH,
> Harm
Thank yo
gt; c4. c |
> c c |
> \partial 8*5
> c r4|
> }
>
> c4.~ c \bar "|."
>
Thank you Chris. This does it.
I did not know how to code this.
Best regards,
Robert
___
lily
hordmode { ... }, the counter works, but I no
longer get ChordNames but stacked notes.
Is something missing from the \with { ... } statement?
Any help appreciated!
Peaceful days to everyone,
Robert
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That works just perfectly - thanks very much!
Best, Robert
> On 23 Dec 2015, at 21:03, David Kastrup wrote:
>
> Robert Schmaus writes:
>
>> Dear Lilyponders,
>>
>> I have the following problem: Within a staff of "normal" written
>> music
>
> Try saving _before_ compiling a file.
At least on the Mac, there's a preference to automatically save the .ly before
running Lilypond ...
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x27;'
% switch to changes
\chords {
\set Staff.countPercentRepeats = ##t
\set Staff.repeatCountVisibility =
#(every-nth-repeat-count-visible 4)
\repeat percent 8 { c1 : maj7 }
}
}
}
It stops working however, if I go from 2.19.18 to 2.19.34. Feature or bug?
Best, Robert
Am 30/12/15 um 20:35 schrieb David Kastrup:
Robert Schmaus writes:
Hi David,
as you pointed out a week ago, this works fine:
\version "2.19.18"
\score {
\new Staff
\with {
\accepts "ChordNames"
\consists Percent_repeat_engraver
} {
% some writ
n number case to the
existing snippet.
If yes, is this post sufficient? I'm fairly new in the LilyPond universe and I
have no clear idea who manages the snippet repository and how.
Best regards,
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go that way is something else.
Best, Robert
> On 17 Jan 2016, at 20:30, Carl-Henrik Buschmann wrote:
>
> Sorry, thought the thread was referenced.
>
> I'm wondering if lilypond is able to notate complex chords, as discussed in
> the before mentioned thread.
> E
..
The chords usually *are* above the staff lines - like here:
The chords of my first posting were from a solo passage (I sometimes engrave
the solo passages separately for easier overview during soloing), and I prefer
solo changes to be placed within the staff for compactness as well as clar
at. What I *am* sure of is that I defined all chord layouts
myself - like the bracketed stacks, or should I use Dø7 or rather Dmin7b5 for
a half-diminished chord and so on.
It is possible though that all tools for doing that are already present in
LilyJazz ... I simply don'
nt edition of the bible. I practically had to kiss the music stand the
whole gig through ...
Cheers, Robert
> Hi Robert,
>
>> It is possible though that all tools for doing that are already present in
>> LilyJazz ... I simply don't remember now.
>
> Sorry, I wasn
pond/v19/LilyPond
2.19.18.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:212:9:
In procedure chordNamer in expression (name-root root lowercase-root?):
/Applications/Lilypond/v19/LilyPond
2.19.18.app/Contents/Resources/share/lilypond/current/scm/chord-ignatzek-names.scm:212:9:
Wron
Hi Nils,
Add
\override Beam. breakable = ##t
before the break in the second example. That should do it ...
Best, Robert
__
The cure for a fallacious argument is a better argument, not the suppression of
ideas.
-- Carl Sagan
> On 23 Jan 2016, at 11:51, Niels wrote:
>
easily, how can I turn off the accidental after
break? I tried
\override Staff.Accidental.after-line-breaking = ##f
but that didn't change anything.
Any help would be appreciated!
Thanks,
Cheers, Robert
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Hi Urs,
You seem to have sent two mails - only got the second one ... strange.
Anyway, thank you for your solution.
I did instal openlilylib during the "Trunkne Lied" project, but haven't
used it outside of that. I'll try that out asap, but I won't be able to
do it t
Hi Simon,
thanks for your repy - I'll keep that in mind as a last resort if I
can't get any other solution to work ...
Cheers,
Robert
Am 24/01/16 um 23:22 schrieb Simon Albrecht:
On 24.01.2016 22:56, Robert Schmaus wrote:
If it can't be fixed easily, how can I turn off the a
I do that?
Best,
Robert
> On 24 Jan 2016, at 23:33, Urs Liska wrote:
>
>
>
>> Am 24.01.2016 um 23:01 schrieb Urs Liska:
>>
>> Am 24. Januar 2016 22:56:56 MEZ, schrieb Robert Schmaus
>> :
>>> Dear Lilyponders,
>>>
>>>
Hi Malte,
Thanks for the reply!
That sounds very good, actually - I'll give it a try tonight.
Best, Robert
> On 25 Jan 2016, at 10:21, Malte Meyn wrote:
>
>
>
>> Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
>>
>> One more thought: My origi
l, and try to get rid
of the after-break accidentals ...
Thanks again,
Robert
Am 25/01/16 um 10:21 schrieb Malte Meyn:
Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
One more thought: My original approach of simply \include-ing LilyJAZZ should
be the standard way of using it. Which mak
counts as "same path" in this case.
There are two files: LilyJAZZ.otf and LilyJAZZText.otf
I haven't changed anything else (like conf files etc).
Am 25/01/16 um 21:38 schrieb Malte Meyn:
Am 25.01.2016 um 21:20 schrieb Robert Schmaus:
Unfortunately, it doesn't work ... LP v2
ation on how to use the fonts.
Thanks for the help!
Best,
Robert
Am 26/01/16 um 21:12 schrieb tisimst:
Robert,
Let me see if I can clarify the confusion going on here. You are using
the LilyJAZZ font files/stylesheets that were originally published by
Torsten Hämmerle. You are using them
Hello Joe,
It should work fine if you add this to the \with - statement of your
ossia staff:
\override BarLine.allow-span-bar = ##f
Best,
Robert
Am 27/01/16 um 01:53 schrieb Joseph N. Srednicki:
Hello:
I am engraving an organ piece in which I want to add an ossia staff
above a measure
st time in looking for
another one.
All the best,
Robert
Am 27/01/16 um 19:21 schrieb Joseph N. Srednicki:
Robert:
Thanks for your response to my inquiry.
The statement that your provided resolved the issue.
Sincerely yours,
Joe Srednicki
__
l 5ths can be tolerated but these could have been
avoided by contrary movement." "The same goes for parallel 8ves."
} %end left-align
} %end Column
}
} % end fill-line
} %end markup
%%%
Thanks in advance for any advice.
Kind regards,
Robert
so pointed out the possibilities to fine-tune the result.
Ref.: "Why adding music, when you ask about toplevel markup?"
It was just part of a testfile. Not functional. My apologies.
Best regards,
Robert
On 5 Feb 2016, at 20:18 , Thomas Morley wrote:
> 2016-02-05 19:53 GMT+
inted out the possibilities to fine-tune the result.
About my "not so minimal example", you are right of course. The music has no
function here. Point taken.
Best regards,
Robert
On 5 Feb 2016, at 20:25 , Noeck wrote:
> Dear Robert,
>
> your example could be much more minim
es to fine-tune the result.
Thanks again.
Best regards
Robert
On 5 Feb 2016, at 20:19 , Abraham Lee wrote:
> Robert,
>
> On Fri, Feb 5, 2016 at 11:53 AM, Robert Blackstone
> mailto:blackstone.rob...@gmail.com>> wrote:
> Dear list
>
> The LilyPond-project that I'm
with LilyPonds own accidentals and perhaps the BC-font.)
Best regards,
Robert Blackstone
On 6 Feb 2016, at 20:58 , Noeck wrote:
> Dear all,
>
> in a recent question on this list [1] about \super in markup text, all
> three replies suggested to tweak the vertical position of super
Dear David,
Thank you very much. Perfect. This is what I had hoped for.
I needed some time to find out how to insert "real" LilyPond accidentals
instead of your "♯" but I think I can manage that now.
(Just curious: What is ♯? Not the normal #.)
Best regards,
Robert Black
ed to anything that could terminate the tie ...
Best,
Robert
Am 08/02/16 um 20:58 schrieb Gregor Giesen:
Hi,
how can I write a dashed tie within a tuplet? In the following example
"\tieDashed" is ignored:
{
\tieDashed \tuplet 3/2 { c' ( e') g' }
}
Alternative
porate the structural elements of your code in
my complete .ly-file to see what happens.
Thanks again.
Best regards,
Robert
On 9 Feb 2016, at 14:21 , Pierre Perol-Schneider
wrote:
> Hi Robert,
> Hi Harm,
> Hi Phil,
>
> AFAI understand the question:
>
> \version "2
Hi Phil,
Thanks for your response.
But no, this is not what I meant, at least not in this simple form.
Meanwhile I have received enough feedback to keep me busy for some time and I
expect, from what I have seen, that my problem will be solved.
Thanks, again.
Best regards,
Robert
On 9 Feb
music-snippet and the next text block,
so I saw no point in including it.
At this moment I have received enough feedback and I think that I can get both
problems solved now.
Thanks for your reaction.
Best regards,
Robert
On 9 Feb 2016, at 13:56 , Thomas Morley wrote:
>
>
> 2016
tem a \unset fontSize g } \bar "||" \new Voice {\voiceTwo
\stemDown { e4 \set fontSize = #-4 \once \hideNotes d^\markup { \combine
\arrow-head #Y #DOWN ##f \draw-line #'( 0 . 2) }
\once \hideNotes d \unset fontSize c } |}
>> \bar "||" }
}%
Thank
Many thanks, Pierre.
It is perfect now with extra-offset #'(0 . -1.2).
Best regards,
Robert
On 14 Feb 2016, at 13:13 , Pierre Perol-Schneider
wrote:
> Hi Robert,
>
> Try:
>
> ^\tweak extra-offset #'(0 . -2) %% <= or whatever is needed
> -\markup
> {
>
separate voices, and put all my voiceOne
> music in one variable and all my voiceTwo in another: much easier to read
... is in all respects far more elegant and it produces what I need.
Thanks for the lesson.
Best regards,
Robert Blackstone
} % End score
\markup {
\column {
\line {Other comments in the original language.}
}
\hspace #14
\column {\italic {
\line {The same translated into some other language.}
}}
}% End markup
%<---
Thanks in advance for any help.
Best regards,
Robert
in my "toolbox".
Thanks again.
Best regards,
Robert lackstone
On 15 Feb 2016, at 18:28 , Federico Bruni wrote:
> Il giorno lun 15 feb 2016 alle 17:52, Robert Blackstone
> ha scritto:
>> What can I do to diminish the vertical space between the score and the next
>&g
mething. I really do not know
where to insert it. But it does not matter at the moment.
Thanks again.
Best regards,
Robert Blackstone
On 15 Feb 2016, at 21:39 , Klaus Blum wrote:
> Hi Robert,
>
>
> Robert Blackstone-3 wrote
>> What can I do to diminish the vertical spa
I'll play with it a but more.
Thanks again.
Best regards,
Robert
On 16 Feb 2016, at 22:10 , Thomas Morley wrote:
> 2016-02-16 13:34 GMT+01:00 Robert Blackstone :
>> Hi Klaus,
>>
>> Thanks for this tip. Indeed these are all very small score blocks and
>> insert
>> If youy choose this, you need to start that first, then in Frescobaldi’s
>> Preferences -> Midi settings, choose qsynth from the pop-up list, for player
>> output.
>
> And unfortunately you need to do this setup every time, Frescobaldi doesn’t
> seem to be able to detect QSynth’s MIDI port
will this program work on an apple computer? i have an i-mac.
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Oh, I like that! I might just make a big band arrangement of this etude and
give that to our bandleader - I'm sure we'd practice this piece quite often.
Thanks for posting!
> On 1 Mar 2016, at 20:03, Abraham Lee wrote:
>
> Fellow Pond Dwellers,
>
> Here's a laugh for everyone today. I was b
27;ll throw warnings ...
Best, Robert
__
The cure for a fallacious argument is a better argument, not the suppression of
ideas.
-- Carl Sagan
> On 26 Mar 2016, at 01:06, Gianmaria Lari wrote:
>
> Hello,
> Is there any automatic tool to shift some lilypond music of a certai
> On 27 Mar 2016, at 01:30, David Raleigh Arnold wrote:
>
> On Sat, 26 Mar 2016 20:42:39 +0100
> David Kastrup wrote:
>
>> Jason Silver writes:
>>
>>> Anyone have thoughts on how to notate a A minor add 9?
>>>
>>> I've tried this:
>>>
>>> chExceptionMusic = {
>>> 1-\markup { \super "add9
Re: Version 2.12.2-1
Downloaded both documentation and program. Downloaded fine.
Dragged ap to applications folder.
Put documentation folder there too.
Double-clicked the application and I get a text file that says:
"save this file"
"Select 'compile>typeset file' from the menu--"
NOTHING comes up w
So i do not think the problem is with you at all.
Thanks. I was beginning to wonder...
Indeed you are able to get this working on an external disk - which
makes no real sense to me, only because if it works on an external
disk it should work on an internal disk, the operating system is the
The hard disc format is determined by the type of processor you have
in the machine: GUID format for Intel chips, MacOS Extended for PPC
chips. I have a G4 [PPC] chip, so both Ext. and Int. are formatted
with MacOS Extended.
The EXTERNAL has a different system, 10.4.11, under which LilyPond
Yup. I don't know enough about using a Terminal program or anything
else to get LilyPond to run without using the GUI. I need the GUI and
that's what doesn't work.
RDL
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Thanks.
I had found most of that.
What I had meant is more along the lines of what Tim McNamara said:
IMHO here is where we run into the issue of what LilyPond *is.*
It's a backend with no face, basically. This is something that most
Windows and Mac users will find hard to grasp initially,
I want to know how to change the font for text inside a \lyricmode tag.
I were able to solve this by simply redefine all fonts, but that wasn't
is not that I wanted to get.
Yours, Robert C.
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Changes like italic or smaller are not my goal. I wanted to set the
font-family to another one.
En detail I made a score for some chinese lyrics. The default fonts
aren't very pretty for chinese, so I wanted to used a special font (For
chinese-speakers: I wanted to use a 楷體/楷体 font) for one lyrics
t
creates two dots in the center between the two staffs and also at the
center of the two staffs:
\new PianoStaff { <<
\new Staff { e2' a' \bar "||:" g1 }
\new Staff { d d d d e g e g }
>> }
Yours, Robert
_
Dear Lilypond Team
Thank you for your quick response. I just upgraded to 2.13.9 and
anything's fine. But I found another error:
Easy noteheads are not working using svg-backend.
Yours, Robert
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I'm sorry. There's no problem with lilypond, but possiby with my
SVG-program (Eyes of gnome, I don't know wich backend they use). Viewing
the file with Inkscape or Opera is no problem.
Yours, Robert
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Dear Lilypond Team
I was copying some notes with lilypond and wondered myself, if lilypond
supports something like shown in the attachment. This is a part of an
orchestral score. Is such a thing supported by lilypond?
Yours, Robert Clausecker
ine-positions = #'(-2 2)
} \bongos
And an half-measure-rest (r2) is positioned just in the center between
the two lines, that looks very uggly. Is there a way to put it right
onto the lower line?
Yours, Robert
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lil
\sustainOff |
}
\new Staff \relative c' {
b1 | c4 d e f | g a b c |
}
>>
}
I hope you can help me.
Yours, Robert Clausecker
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http:/
> I found workaround for the dynamics. But this doesn't work for the
> pedal statements. I add a "\shift" before each item that collides.
Good idea. I think I am also able to add this to a pedal-mark by adding
these lines to the shift-command:
shift = {
\once \override DynamicText #'self-
Is it possible to add e.g. rall. (at the end) to the
> dynamics,
> inorder to align with those?
Yes. Use some construct like c_\markup { \dynamics f \italic rall. }
I hope this is right.
Yours, Robert Clausecker
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c c c c c c c c c c c c c c c c }
\end{lilypond}
\rule{\textwidth}{1pt}
\end{document}
Thanks in advance for any help,
best regards,
Robert Memering
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Am 09.06.2010 13:53, schrieb Marek Klein:
Hi robert,
2010/6/9 Robert Memering mailto:memer...@uni-muenster.de>>
Dear all,
I have the following problem with the line-width parameter used by
lilypond-book:
When I specify the line-width to be exactly the same as my
Am 09.06.2010 14:27, schrieb Marek Klein:
2010/6/9 Robert Memering mailto:memer...@uni-muenster.de>>
Am 09.06.2010 13:53, schrieb Marek Klein:
Have you tried to set indent to 0?
See:
http://lilypond.org/doc/v2.13/Documentation/notation/page-formatting#hori
Am 10.06.2010 22:02, schrieb Neil Puttock:
On 9 June 2010 12:23, Robert Memering wrote:
I'm using Lilypond 2.12.2, with the following commands:
lilypond-book --pdf --format=latex --latex-program=pdflatex minimal.lytex
pdflatex minimal.tex
See
http://lilypond.org/doc/v2.12/Document
7;ve not enough people to look at both lists.
Yours, Robert Clausecker
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