Hi all,
I am trying to notate a harp gliss in an orchestral score, and I am having
trouble figuring out a good solution that does not mess up the horizontal
spacing of the other instruments. I am currently doing it like this:
\version "2.16.0"
\language "english"
oboe = \relative c'' {
a4 g f8
I am finding that there are many situations in which it is useful for me to
insert a tagged command in the midst of a block multimeasure rest, for
example to manually set the partcombine mode. When I extract the individual
parts, though, I need to be able to consolidate multimeasure rests except
wh
I just finished writing my first Scheme extension for Lilypond! It is a
function to take a sequential music expression and condense consecutive
multimeasure rests into a single multimeasure rest. Since this is my first
attempt at Scheme, I'd love suggestions on how to improve it. One thing I'd
like
Oh, oops! Fixed that in the new version. Other changes:
* Added a wrapper function to recurse down nested music expressions, so it
can now be called on arbitrary music expressions.
* It now combines spacer rests as well as multimeasure rests, to help with
things like << \global \music >>
* Bar che
I do all of my composing in Lilypond, and have completed numerous large
ensemble projects of significant length. I'd estimate I've written around
20,000 lines of Lilypond and Scheme code in the last two years. My preferred
file structure continues to evolve, but it is basically the following:
Proj
Hello,
I'm working on a multi-movement piece, so far using a separate file for the
score of each movement. I'm trying to add a file to the project that
compiles all the movements and frontmatter into a single pdf, using
bookparts, and I'm having trouble figuring out the best way to do that. The
ni
Whoa, you can use \bookpart's without an enclosing \book block? I had no
idea! This is definitely the simplest, solution, though it seems
counter-intuitive. I definitely wouldn't have stumbled upon it if you hadn't
mentioned it.
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Check out this recent thread on pretty much this exact topic:
http://lilypond.1069038.n5.nabble.com/cleanly-dealing-with-variables-and-reducing-code-duplication-in-multimovement-works-td161112.html#a161152
Unfortunately, the answer is basically, no, Lilypond does not support this.
The above thread
If I understand correctly, what Orm wants is to be able to write something
like this:
clarinet = \relative c' {
\transposing bf
c4 d e d |
\transposing a
c d e d
}
And get the output to show d e fs e ef f g f (using English spelling).
Currently, in order to enter music in concert
I'm a composer that has been using Finale for around 10 years, but recently
switched to Lilypond almost exclusively. The reasons for my switch are
numerous, including that I run Linux, Lilypond's beautiful engraving, and
the natural way Lilypond supports a variety of extended notations. I've been
Keith OHara wrote:
>
> I find it awkward to split the music among variables, so I learned to use
> the \tag system to mark different formatting options for part or score.
>
Aha! Tags are exactly what I wanted. I need to play around with it to figure
out a nice general method, but I think some
Vaughan McAlley wrote:
>
> Greetings,
>
> I’m working on a string orchestra piece which has two cello parts,
> both independent enough to warrant separate staves, except for 24 bars
> in the middle where they are in unison. It would be nice in the score
> to mark it "unis." and leave out the s
I've been playing around with the " http://lsr.dsi.unimi.it/LSR/Item?id=604
consecutive tremolos " snippet, but I can't seem to get it to work. My
output only ever produces single slash tremoli, and raises the error,
"warning: tremolo duration is too long" whenever there are eighth notes or
shorte
I just hacked together a couple simple functions to streamline the process of
divisi writing. They basically work, but I have a couple issues. First, why
does the instrumentCueName display three times? Is there a way to get it to
only display once? Second, it's a bit annoying to have to enter \voi
\instrumentSwitch applies instrumentCueName to Staff context instead of
Voice. Is there a way to change this behavior so it only applies the
instrumentCueName to the Voice context? The current behavior makes multiple
instrumentCueName markings appear whenever there is simultaneous music on
the Sta
Keith OHara wrote:
>
> Shevek saultobin.com> writes:
>
>> \instrumentSwitch applies instrumentCueName to Staff context instead of
>> Voice.
> Is there a way to change this behavior so it only applies the
> instrumentCueName
> to the Voice context? Th
Jay Anderson wrote:
>
> I think you need to add the following to the make-music section of the
> make-tremolo function:
>
> 'tremolo-type dur
>
> I'm not sure when this was changed, but this made it work in 2.15.19.
> I haven't looked at this in depth so there could be other issues.
>
> For
I've recently started getting "ERROR: Wrong type (expecting pair): ()" when I
compile the code for a rather large (5000+ lines) project, and I have no
idea how to fix it. There is no line reference, and no indication what
causes this problem. Google searches seem to indicate that it is a very
gene
David Kastrup wrote:
>
> There have been a number of changes to Scheme function syntax. If your
> file properly contains a
> \version "x.xx.xx"
> line corresponding to the last version _that_ _actually_ _compiled_, try
> running
>
> convert-ly -ed
>
> on the file.
>
Thanks for the quic
Reinhold Kainhofer wrote:
>
> Try enabling guile's debug mode. A while ago, the debug mode was turned
> off in lilypond, because it adds some performance penalty. But without
> debug mode, guile does not print out line numbers for scheme errors. We
> have recently enabled debug miode again.
>
Graham Percival-3 wrote:
>
> Construct a tiny example.
> http://lilypond.org/tiny-examples.html
>
>> The error message is at the very end of the debug output. I would love to
>> post some relevant code, but I have no idea where to even start looking.
>> Do
>> you understand these error message
Tim McNamara wrote:
>
>> I'm currently preparing a macro file "jazz-chords.ily" which contains (my
>> version of) common jazz chord notation. I will share that file as soon as
>> it is in a usable state.
>
Hi, I was just wondering what the status of the jazz-chords.ly project is.
If it's in a
The way I typically set up a project is to have a score file for the
conductor's score and each of the parts, all of which \include a file which
contains all the music for the piece. I also have each of these files (the
score files and the music file) \include library files with my various
snippet
I'd like to get Lilypond's chord symbols to appear more "Real Book" like.
Part of that style involves not putting a slash between the basic suffix of
a chord and its alterations. So far so good, as I can just set
chordNameSeparator to \markup\null. The trouble is that doing that removes
the slash
James-379 wrote:
>
> Hello,
>
> On 21 December 2011 07:22, Shevek wrote:
>>
>> I'd like to get Lilypond's chord symbols to appear more "Real Book" like.
>> Part of that style involves not putting a slash between the basic suffix
>> of
Carl Sorensen-3 wrote:
>
> This has been fixed in the development version, thanks to Adam Spiers.
>
> Version 2.15.21 or newer has separate properties for the suffix and the
> bass note.
>
> HTH,
>
> Carl
>
Aha! Would you recommend upgrading to 2.15, then?
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Looks great! I had to install a few dependencies to compile it on Kubuntu
11.04, but then it installed without incident. The point-and-click feature
seems to work MUCH better than in 1.2. Nice work on that. The templates
feature also looks to be very useful, though I haven't played with it yet.
I
In another thread someone recommended that I try using the development
version of Lilypond, in order to take advantage of the improvements to chord
symbols. I finally got around to it, and the chord improvements look
fantastic, but I'm getting some enigmatic compile errors in my files,
despite hav
Francisco Vila wrote:
>
>> \global = {
>> % stuff
>> }
> should be
> global = {
>
>> \guitar = {
> should be
> guitar = {
>> % stuff
>> <<
>> \context ChordNames = "chords" \with {
>> alignAboveContext = "Guitar" % commenting out
>> this line solv
Francisco Vila wrote:
>
> With the typos corrected and some content inside braces I obtain no
> errors or warnings.
>
The example also compiles fine for me. As I noted in my original post, that
is one of the odd things about the error I'm getting. The line I marked
causes a crash in the context
Francisco Vila wrote:
>
>
> I don't see how can we help if we can not reproduce the error.
>
>
The thing is that I've attempted to use process of elimination to identity
the source of the error, to little success. As far as I can tell, there is
no single line or combination of lines that ca
I'm working on parts for a piece at the moment, and I ran into the problem of
getting multimeasure rests to stretch to accommodate metronome markings. I
did some searching and applied the suggested solution to the problem
(http://lsr.dsi.unimi.it/LSR/Item?id=659), which is \override MetronomeMark
Keith OHara wrote:
>
> For a better solution, I suggest you search the mailing list archives
> for "MarkLine"
> http://lists.gnu.org/archive/html/lilypond-user/2008-06/msg00159.html
> The details of this solution seem to need updating to work with the
> current
> version of LilyPond, but the
James-379 wrote:
>
>
> Could you add this to the LilyPond Snippet Repository?
>
> http://lsr.dsi.unimi.it/LSR/html/whatsthis.html
>
> or if it doesn't work for 2.12 (the current version of LSR)
>
> Perhaps paste your code here for others to use?
>
> Depending on the code, I don't pretend to
I'm creating instrumental parts in a single file using a separate bookpart
for each part. This entails restarting page numbering for each bookpart, and
omitting the instrument and page number from the first page of each
bookpart. I've assembled a snippet that does those things, based on
http://old
I'm playing around with the page turn engraver, and occasionally it will opt
to have a page with only one or two systems. It would be great if I could
add a "V.S." indication in such cases, but I'm not sure how to do it without
hardcoding the page turns. Is there a way to do this?
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I have a situation like the following, and I would like to have the second
key display as D flat, rather than as C sharp. I can't figure out a way to
do this without duplicating the global variable (but that would defeat the
purpose of the global variable, wouldn't it?). Has anyone else come up wi
Marc Hohl wrote:
>
>
> I don't know about legal and organizational issues, but what about a
> optional lilypond usage fee?
> I am willing to pay about 50$ per year for using lilypond and supporting
> the development team.
> And I think there are some more users out therewho would join ...
>
David Kastrup wrote:
>
>
> global = #(define-music-function (parser location key2) (ly:music?)
> #{ \key c \major s1*2 $key2 s1*2 #})
>
>> \score {
>> \new Staff { \transposition bf \transpose bf c' << \global \music >>
>> }
>
> ... \global \key b \major ...
>
>> \score {
>> \new St
JanTerje wrote:
>
> Hi,
>
> I'm writing a piano arrangement (of Pirates of the Caribbean) which has 19
> bars of solo left hand before the right hand enters. I'd very much like to
> hide the right hand piano staff until the right hand enters.
>
> I've tried the hide staff options I've found in
David Kastrup wrote:
>
> Again: have you tried running convert-ly -ed on your files? If you
> didn't, it is not likely that your compile problems will _ever_
> disappear without manual intervention.
>
See
http://old.nabble.com/strange-lilypond-errors-in-2.15.24-td33110205.html.
I'm not terribl
David Kastrup wrote:
>
>> That does not look like a version problem, but like a regression bug.
>> It is not likely that it will go away on its own. So if you don't
>> manage to actually get any debuggable evidence to developers, it will
>> stick around.
>
> One additional hint: version 2.15.
Jean-Alexis Montignies-2 wrote:
>
> Hi,
>
> Here is a report on my attempts to display polychords in lilypond.
> Feedback and comments are welcome! As it's my beginnings in scheme,
> programming style may not be very good :).
>
>
I didn't have time to work my way through your code, and I mus
Xavier Scheuer wrote:
>
> You could ask to add this to the tracker as a new feature request.
> http://lilypond.org/bug-reports.html
>
> Cheers,
> Xavier
>
I may do that. What should a feature request look like? What information do
I need to include?
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Pavel Roskin wrote:
>
> I'm afraid it's not supported. You can find the discussion here (see
> the end of the thread):
> http://lists.gnu.org/archive/html/lilypond-user/2010-02/msg00713.html
>
> Also see the documentation for item-interface:
> http://lilypond.org/doc/v2.15/Documentation/int
I'm experimenting with using the side-position interface to manage collisions
between RehearsalMarks and MetronomeMarks, according to
http://lilypond.org/doc/v2.14/Documentation/notation/aligning-objects#using-the-side_002dposition_002dinterface.
In my test file, setting x-offset to
#ly:side-posit
Hello,
I posted a thread a week or two ago about the spacing issue with
MetronomeMarks and multimeasure rests. The upshot of that thread was that I
started using a custom context to display all my MetronomeMarks and
RehearsalMarks. It works great, except that whenever there are ledger lines,
the
In 2.14, tupletSpannerDuration doesn't get properly applied to quoted music
unless tupletSpannerDuration is set in the quoted music itself. Bug, or am I
doing something wrong?
\version "2.14.2"
\language "english"
foo = \relative c' {
\times 2/3 { c8 d e f e d } c2 |
}
baz = \relative c' {
Shevek wrote:
>
> The upshot of that thread was that I started using a custom context to
> display all my MetronomeMarks and RehearsalMarks. It works great, except
> that whenever there are ledger lines, the marks still affect the
> horizontal spacing of the notes. What I'
Shevek wrote:
>
> I have no idea why this works, but apparently adding the following two
> lines solves the horizontal spacing problem.
>
> \override RehearsalMark #'direction = #-1
> \override MetronomeMark #'direction = #-1
>
Aha! Overriding #'direction
I'm used to seeing repeat barlines with "wings" (like in the picture I've
attached). Is there a way to do this in Lilypond?
http://old.nabble.com/file/p33290846/reapetbarsci9.png
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I have a passage something like the following. I want to get the last bowing
to display vertically as if it were attached to a note at the same staff
position. Any ideas?
\new Staff \relative c''' {
a1\downbow % without this line, an error occurs?
<<
{ a1 }
{ s2\upbow s2\downbow }
Hi all,
I'm trying to figure out how to create a squiggle above some notes to
indicate the width and frequency of vibrato. I wish I had a picture of what
I'm looking for, but I can't seem to find one (though for some reason I have
this feeling that I saw a snippet that does something like this).
m...@apollinemike.com wrote:
>
> If you google "vibster lilypond", there used to be a snippet for 2.12 that
> did something like this. I'm not sure if it works in 2.14.
> If you file a bug report asking for this feature to be added to LilyPond,
> it'll get added to the tracker.
>
> If you know
I was wondering if anyone has developed a good workflow for dealing with midi
playback for scores using more than 16 instruments. I've been playing around
with the various options for midiChannelMapping and playback programs, but I
can't seem to figure out a way to get playback of all the parts wi
Hi all,
I wrote a snippet several months ago to facilitate notating divisi staves,
but I couldn't submit it to LSR because LSR was on 2.12 until recently. Now
that LSR has been updated to 2.14, I'd love to get some comments on my
snippet before I submit it. It's a bit long, so I've attached it as
m...@mikesolomon.org wrote:
>
> Hey users,
>
> Is there a way to turn off partcombine so that I can change staves and
> then turn it back on when the voice comes back to its original staff?
>
> Cheers,
> MS
>
>
Yes, just use \partcombineApart. Are you trying to do
http://old.nabble.com/thi
R. Mattes wrote:
>
>> Yes, we have at least three ways of writing midi files now. There are
>> at least two theoretical ways of setting many more instruments than 16
>> and we support two (using ports and instrument per track, ignoring
>> channel); but as far as I know there are no midi players
Phil Holmes-2 wrote:
>
> The general aim of the LSR is not to be too prescriptive about what users
> put there for other users to find and use. However, to be useful in this
> way, it works best if snippets are short and easily understood. They
> should
> really also compile error free. Fr
Is it possible to override so that grace music has no effect on spacing? For
example, the space between the time signature and the barline in should not
be compressed:
{
\numericTimeSignature
\time 4/4
s1
\grace s8
\time 3/4
s2.
\time 4/4
s1
}
I also want to remove the extra whit
-Eluze wrote:
>
> not sure I catch it all, but does NR 4.5.3 Changing horizontal spacing
> (look for \override Score.SpacingSpanner #'strict-note-spacing = ##t) meet
> what you want?
>
\once\override Score.SpacingSpanner #'strict-grace-spacing = ##t doesn't
seem to affect the spacing one way
-Eluze wrote:
>
> I've just sent a report to the bug-list:
> http://old.nabble.com/issue-with-strict-grace-spacing-ts34109767.html
>
> there you also find a link to the issue tracker where another bug report
> about strict-grace-spacing has been opened.
>
Great! Thanks. From the description y
-Eluze wrote:
>
> _Known issues and warnings_
> ...
> \partcombine... functions cannot be placed inside a \times or \relative
> block.
>
The example further up the page does exactly what I did, though:
instrumentOne = \relative c' {
\partcombineApart c2^"apart" e |
\partcombineAutomatic e
me-110 wrote:
>
>
> Here's a solution using markup paths and text spanners:
>
>
Thanks so much for posting this! I had been wondering how to accomplish the
same thing. Would you consider submitting this to LSR?
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First off, thanks to all the people who worked on 2.16! I'm super excited
about it, and I'm already noticing drastically reduced compile times for my
large projects, compared to 2.14.
I'm looking at updating my snippet library, and the first issue I've run
into is that http://lsr.dsi.unimi.it/LSR/
Thanks a lot, David! I'm going to have to study this for a while before it
makes sense to me.
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I use partcombine a lot because I am working on a full orchestral score and I
need to switch between writing e.g. clarinets on a single staff and
clarinets on separate staves. Because of the demands of this notational
situation, I always use the manual partcombine commands, rather than the
automati
I recommend playing with system-count and systems-per-page. I have found this
to be the best way to get Lilypond's page breaking algorithms (I usually use
optimal page breaking, but this goes for any of them) to give good results.
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Have you considered using a Jekyll based CMS?
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lilypond-user mai
> But as a user of Lilypond for over fifteen years, I *will* recommend that
you consider avoiding relative entry mode — using absolute mode (and, when
appropriate, \fixed) will like save you headaches (like the one you're
encountering right now) in both the short and long term.
The alternative is
For my brass parts, I use the OpenLilyLib auto-transpose snippet, and \remove
Key_engraver.
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I have been using Lilypond + Frescobaldi for all my compositions for the last
8 years or so, including jazz, chamber music, and a symphony. The symphony
is currently at 120 pages, and will probably end up around 170 pages.
I certainly don't rely on continuous engraving — for one thing, if I'm doin
I have a passage similar to the following:
\version "2.18"
\language "english"
\relative c''' {
\grace { f8( } c,8 b c2.)
}
In context, the automatic slur ends up looking very disconnected from the
grace note, and in some instances colliding with a downward stem. Is this a
bug? Is there a way
I compose in \relative mode, and my practice is to use \resetRelativeOctave
at the beginning of every new phrase. It is a lot of characters to type, but
I've found that creating unnecessary aliases makes code harder to read and
libraries harder to maintain.
I even use \resetRelativeOctave at the b
Flipping the slur avoids the worst problems, but it's not really correct.
Ideally, it should bend dramatically underneath the stem then upwards
towards the grace note.
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My question was specifically if there is a way to fix this behavior *without*
manually tweaking each slur. Or failing that, if this is a known bug.
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Hi,
I'm currently in the process of composing a symphony in Lilypond 2.18.2.
There are a few graphical bugs that are making me consider converting the
project to the current 2.19 (parentheses/accidental collision, tempo mark
spacing with uniform-stretching), but I'm hesitant to jump immediately
be
It appears that the glissando slope and the cross-staff dynamics bugs would
be relevant to my project. If I'm reading correctly, the glissando slopes
issue is already present in 2.18, so that behavior wouldn't change in 2.19
as it's not yet fixed (a good thing for me, since I'm pretty sure I used a
The change documentation vaguely mentions that functions defined the old way
will continue to work for some time, so I'm unclear the degree to which this
matters to me, or in what circumstances I should worry about it.
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That's pretty much the process I used from 2.16 to 2.18, and that I planned
to use here. It would still be really helpful if I had a sense of likely
situations where the graphical output could be significantly different.
Obviously ultimately, I just have to try and see how it goes, but if you can
t
Does anybody else find the input in Frescobaldi to be sluggish? I find that
the cursor lags noticeably when typing, navigating by arrow keys, or
selecting with the mouse. I have auto-complete and "synchronize with cursor
position" disabled but point-and-click enabled because I use it. This is the
c
Yes, this is a project with many large files. Well, I'm glad at least it's a
known issue. Unfortunately I don't have the means to contribute to solving
it. Here's hoping somebody will!
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I often run into situations where two parts share a staff some of the time
and have individual staffs the rest of the time. The way I handle it is like
this (including only relevant details):
\new StaffGroup \with {
instrumentName = "Flute "
shortInstrumentName = "Fl."
} <<
\new Staff = "Fl
Kieren MacMillan wrote
> That's very interesting! Right now I'm putting together a comparative
> analysis of the different methods of coding shared/split staves; this is
> not one I had previously seen or considered. As it relies on the
> partcombiner — which is both feature-poor and limited to two
I don't mind having to insert the occasional layout-related command — I
actually prefer the ability to switch between clearly defined behaviors,
rather than have Lilypond try to guess which to use. (IMO, the fact that the
Automatic mode exists is the biggest design philosophy problem with
partcombi
Okay, I see what you're doing. I can see how this would be helpful if you're
an engraver doing multiple editions of a piece. From my perspective, this
type of separation of concerns is actually counterproductive, because as I
compose I may add or subtract measures many times. Having to keep the
edi
> Being able to do score and parts from the same music is yet another reason
I always want to keep the music code clear of any presentation-layer
commands.
I just make sure to precede every partcombine instruction with a \tag for
the score it pertains to.
>> The biggest problem caused by inserti
Kieren MacMillan wrote
>> it would be less readable, because it obscures the
>> musical reason for combining or separating staves.
>
> Not sure I understand your meaning…?
> What is an example of a musical reason, *not* part of the presentation
> layer, for combining/separating staves?
Well, it i
For some reason, TextSpanners by default repeat the text at the beginning of
a line after breaking, while DynamicTextSpanners do not. I became very
confused by this inconsistency when I wanted to make my crescendi and
diminuendi show text after line breaks, because for the life of me I
couldn't fig
Dynamics with expressive text, like "p espressivo" are meant to have the
dynamic aligned on the notehead the same as ordinary dynamics, with the
expressive text following. Here is a snippet I've written to align custom
dynamics correctly.
\version "2.18.2"
\paper {
ragged-right = ##f
indent =
Agreed about the optical spacing. My goal was to get the alignment to be
identical between the bare dynamics and the dynamics + text. To my eye, the
fff and fff espressivo are aligned the same, so it seems more like something
that could be improved in Lilypond's dynamic alignment in general.
I wou
My recommendation is to use a MarkLine context, as in this snippet:
http://lsr.di.unimi.it/LSR/Item?id=1010
You might need to modify the exact definition of MarkLine depending on your
needs.
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http://lilypond.1069038.n5.nabble.com/print-rehearsal-marks-in-multipl
I posted a snippet to do correct custom dynamic alignment a month or so ago.
I haven't had time to integrate it into the OpenLilyLib snippet, but here's
my code:
\version "2.18.2"
dynText = #(define-event-function (parser location dyn expr) (markup?
markup?)
(let* (
Hi all,
In my current project, I have a situation where the piano has fast arpeggios
at the same time as the strings play a steady, slower rhythm (see
screenshot). My feeling is that the best looking solution would be to
temporarily sacrifice rhythmic alignment between the piano part and the rest
Does anyone know if there's an updated version of
http://lsr.di.unimi.it/LSR/Snippet?id=467 to work with score-level headers?
It's listed as "to do" in the snippet, but I believe that dates back to
several years ago. I'd like to use \fromproperty #'header:piece to put
movement titles at the top of
I just noticed that the following code works fine on 2.19, but crashes on
2.18 without an error message:
\addQuote "test" { 2 }
\new Staff {
\quoteDuring #"test" {
s2
}
}
I don't see anything about this in the 2.20 changes documentation. What's
going on here?
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In order to cleanly manage wind parts sharing staves in an orchestral score,
I have been using a pattern like the following throughout my projects:
\paper {
indent = 2.5\cm
short-indent = 1.5\cm
}
global = {
s1*4
\break
s1*4
\break
s1*4
}
bsnI = \relative {
\tag #'score {
\pa
Hi all,
It would be quite nice to be able to use \fromproperty #'header:piece in
oddHeaderMarkup and evenHeaderMarkup, so that the title of the current
movement will display in the page header. Unfortunately, after investigating
the Lilypond source code, I can't see how to make that work, because
Hi Timothy,
Where are you defining #'header:piece, inside or outside a \score block? To
clarify, I'm talking about using \fromproperty with score-level headers.
Saul
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lilypond-user
Here is a cleaner, updated version of the snippet. It now gives the stencil
the extent of the longest table of contents entry. Not ideal, but close
enough for practical use. Also added comments and cleaned up variable names.
\version "2.18.2"
#(define-markup-command (current-toc-section layout pr
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