Anyone know of a way to include a note in the "meter" line of the
header? For example:
\header {
title = "Old MacDonald Had a Farm"
meter = "** = 60"
}
only with ** replaced by a quarter note.
Thanks,
Russ
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I'm a bit confused about how to use repeats with lyrics. I've
included a snippet from a chorale below. As is, it gives one warning
and points to part of the repeat statement in the lyrics:
warning: no one to print a repeat brace:
\repeat fold 2 {
} \alternative {
but
On Mon, 26 Jul 2004 17:39:49 -0400, Julian Squires <[EMAIL PROTECTED]> wrote:
> On Mon, Jul 26, 2004 at 08:44:01PM +0200, [EMAIL PROTECTED] wrote:
> > I just found that a Sun Sparc is, as second hand not expensive at all
> > (well, that is a matter of "taste") but I have no idea, what models are
>
I'm using the cygwin version of Lilypond 2.2.5 and noticed that tempo
markings seem to have gone away since 2.2.2. An unchanged source file
that included:
\tempo 4=58
printed =58 using 2.2.2 and nothing under 2.2.5. I ran the file
through convert-ly in case anything had changed in the syntax, b
I've noticed a problem with slurs and grace notes:
\version "2.2.5"
\score {
\notes { \appoggiatura f''8 d''[ \appoggiatura f''8 d''] }
\paper { raggedright=##t }
}
In this example, the slur on the first grace note is printed correctly
but the slur on the second grace note is printed down bel
I'm setting vocal music, and I've noticed that beaming seems to follow
normal rules within a melisma. I normally turn off autobeaming for
vocal lines, but within a long melisma the conventions on old scores
seems to be to follow normal beaming conventions, so I frequently end
up with sections like
Thanks for the tip. What I ended up doing was writing a script to
introduce a new syntax. I find \melisma ... \melismaEnd quite
cumbersome so I now use [[ to start a melisma and ]] to end it. The
Makefile runs it through a simple perl script to convert foo[[ into
\autoBeamOn foo\melisma and ]] i
This looks like a bug to me:
\version "2.2.2"
\score {
\notes \relative c'' { \autoBeamOn c8 b \autoBeamOff a c r2 }
\paper { raggedright = ##t }
}
The two notes following the \autoBeamOff are beamed together with the
two notes before it. It seems that the autoBeam properties only kick
in fo
As I indicated in a previous message, I'm using a script to give me
shortcuts for \melisma and \melismaEnd that also turn on automatic
beaming during the melisma. This uncovered a bug where \autoBeamOff
doesn't take effect until after the current group of beamed notes
finishes, so something like:
I've played around with the \partcombine function but I haven't found
a way to achieve the result I'm looking for. I'd like to combine two
parts with one as the "upper" voice and the other as the "lower" such
that the distinction is clear in the final result. This seems to be a
common style for v
I'm using Lilypond 2.0.1 and having trouble getting lyrics to line
up properly. They are finding the right notes, but they tend to be
a bit off to the left or right. They end up overlapping bar lines
and melisma lines and they are a bit hard to follow in some places.
Is this a setup error of some
Thanks again for the lyrics help over the last few days.
Now I'm struggling with a few figured bass questions:
1. Is there a way to notate a number with a line through it? I
couldn't find any way to do this in the docs. This is a pretty
standard part of figured bass notation so I'm crossing my
Hi,
I'm setting the full score for the first movement of Bach's St.
Matthew Passion which has about 27 staves per page. I can squeeze
them all onto a single A4 page by scaling down to the 11 pt size,
moving a few dynamic marks, and increasing the textsize parameter.
When the vocal parts are rest
I'm using paper11 and paper13 which work fine most of the time, but
I seem to be missing some scaled-down fonts. I get loads of these
warnings:
(#f * * music -3)warning: couldn't find any font satisfying
(#f * * music -3)warning: couldn't find any font satisfying
and the accidentals in my figure
at
> http://mail.gnu.org/archive/html/lilypond-user/2003-11/msg00087.html
> (popular question today).
>
>
>/Mats
>
> Russ Ross wrote:
> >Hi,
> >
> >I'm setting the full score for the first movement of Bach's St.
> >Matthew Passion which
While searching the archive I came across this message from a month
ago. I'm having the same issue but it is even worse when the hyphen
extends (or should extend) over an entire line. Currently, lilypond
doesn't print anything for that line and compresses the vertical
spacing as though there were
I see two problems with extender lines which I believe are bugs:
1. They start too soon, overlapping text (particularly noticable
with punctuation).
2. When they end at a rest or the end of the piece, a warning is
generated "warning: unbound spanner `LyricExtender'" The output
is correc
r1. (or r4*6) will give you a dotted whole rest, R1. (or R4*6) will
give you a whole measure rest (no dot) and both will be the right
duration.
- Russ
On Thu, Jan 01, 2004 at 03:07:54PM -0700, John Williams wrote:
> r1 is a rest of length 1 (= 4/4), but you want 6/4.
>
> Try R4*6 for a single r
Hi,
I'm not positive about your specific needs, but generally some
combination of the Unix utilities psbook and psnup will do the
kind of layouts you describe. You create a normal postscript file
then use psbook to rearrange the page order, then use psnup to put
2, 4, or 8 pages onto 1 page. Tha
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