Hi paul
You can convert the pdf and it will work in linux - I posted how a while
back (convert it to ps then back to pdf) - without the indexing or you can
d/l acroread 9.5.5 was the last linux version i think (not sure since I
never use it)
search
acroread 9.5.5 linux download
Stephen
Sorry you can comment out
%\fill-line
%\concat
I used them as a markup with several chords.
Stephen
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and
% \halign #-13
it's to early
Stephen
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on
wrote:
> Thanks. Read your message after I posted a solution on the forums. I
> will take a careful look at your solution. I am satisfied with the one I
> posted though. Need to finish this project, so I can do some actual
> recording.
>
> -Tone
>
>
>
> On
Hi tone
I tested your code on 2.18.2 (doesn't compile)
and on 2.19.24 (looks NOTHING like what you have)
I think the first issue I would solve is - why? why does it not look
correct on other versions. I only mention it because all your work could
become useless once you upgrade.
As a side note t
I have used (forced) tab only a few times when typesetting for people that
are slow or can't read. So i don't understand. Isn't the "tied-to note"
always hidden?
in fact I had to do a nasty trick just to get it to print. something like.
\version "2.18.2"
<<
\new Staff {
\relative c' {c2~c4 d~d
Sorry perhaps you mean on a line break. in that case you can do
\version "2.18.2"
<<
\new Staff {
\relative c' {c2~c4 d~d e~e f~\break f2 g}
}
\new TabStaff{
\new TabVoice{
c2~c4 ~|
d e~e f~|
\once \override TabStaff.TabNoteHead.transparent = ##t
f2 g|
}
}
>>
Stephen
___
hi mike1951
As i said i only used tab for setting up certain functions - and only
looked at full-notation once - i think.
So I have absolutely no idea what you are after or what it should look
like. My knowledge on tab is limited to perhaps only a few days of
experimentation. Perhaps someone famil
how is
% inspired by: http://lsr.di.unimi.it/LSR/Item?id=908
\version "2.18.2"
percentRepeat = \markup {
\combine
\translate #'(0.2 . 1.5)
\draw-circle #0.22 #0 ##t
\combine
\translate #'(1.8 . 0.5)
\draw-circle #0.22 #0 ##t
\rotate #90
\tran
Starting lilypond 2.18.2 [Untitled]...
Processing `/tmp/frescobaldi-t71lRI/tmpBr7KhM/document.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `document.ps'...
Convert
\override NoteColumn.force-hshift = #.65 works but you would have to create
a new voice i believe.
Stephen
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2 }
> \new Voice \with { fontSize = #-3 } {
> \override NoteColumn.force-hshift = #0.15
> \voiceOne b'1 | h! | cis | d~ | 1~ | 1~ | 2
> }
> >>
> see attached picture.
>Marc
Stephen
On Tue, Sep 1, 2015 at 1:21 AM, Marc Hohl wrote:
> Am 31.08.2
wow Harm that looks really nice.
Stephen
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or
\override TextScript.Y-offset = #0
Stephen
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Hi Harm
you can still d/l acroread up to 9.5.5
ftp://ftp.adobe.com/pub/adobe/reader/unix/9.x/9.5.5/enu/
also Foxit Reader Goes upto 6400%
Stephen
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any should work if use convert-ly I use 2.18.2
actually what i do is get guitar pro files (he writes in it) from a friend.
Use tuxguitar to convert to lily then update with convert-ly in 2.18.2
HTH
Stephen
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or
%%
% Stem
Ri = {
\once \override Stem.extra-offset =
#(lambda (grob)
(if (eq? (ly:grob-property grob 'direction) right)
'(0 . 0) '(1.168 . -.05)))
% rotate head
\once \override NoteHead.rotation = #'(-58 0 0)
}
% Done
%%%
{
c''
\Ri c''
}
Stephen
using the snippet given you would change the order and add the correct
position number
eg
((5 3) (5 5) becomes ((5 3) (5 2 5) and the 5 is the new scale position --
so the root on 3rd fret (c) is before the second (b)
% cpenta= \markup\scale-diagramm #'((5 3) (5 5) (4 3) (4 5) (3 2)
% (3 5)
\override Score.MetronomeMark.padding = #5
\tempo "Mod. fast Bulgar" 4 = 110-115
HTH
Stephen
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How about
%%
\version "2.18.2"
timeKey = {
\key c \major
\time 4/4
}
tenorPart = {
\voiceOne
r2 e'8
\shape #'((0 . 0) (0 . 0.8) (0 . 0.8) (0 . 0.1)) Tie
c'4. ~ |
\once \override Voice.NoteColumn.force-hshift = #.6
c'4. r8 f'2 |
}
leadPart = {
\voiceTwo
as a workaround you can add \override Score.BarNumber.Y-offset = #3
\score {
\new ChoirStaff <<
\new Staff <<
%% add
\override Score.BarNumber.Y-offset = #3
%%
\clef treble \global
\new Voice { \ss }
>>
\new Staff <<
\clef treble \global
\new Voice { \aa }
>>
\new Staff <<
\clef "tr
Hi David
I would just like to point out that in guitar music, the capo now acts as
the open position. Therefore we write as if there was no capo at all. This
makes it easy for sight reading. As a professional guitarist I have only
came across a few scores written in what I would say an incorrect w
or add
\override Fingering.add-stem-support = ##t
HTH
Stephen
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This assumes one has a file manager that is a GUI (it's hard to do
this in say midnight commander or xterm)
for those without you can cd to your lilypond directory and put the fonts
there.
I use
cd /usr/local/lilypond-current/lilypond/usr/share/lilypond/current/fonts/
ls
otf svg
HTH
ST
that said i don't even have icons so.
Stephen
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\relative c' {
\time 4/3
\cadenzaOn
c4 c c \bar "|"
c c c \bar "|"
}
HTH
Stephen
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\omit Accidental
\omit Clef
HTH
Stephen
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I don't think I read any where that Abraham was making the fonts
"proprietary" .. I do believe he said "Some fonts are becoming commercial".
And proprietary doesn't necessarily mean closed source. Although in most
cases it does, because proprietary software if modified holds ownership
"usually" wit
This is common in guitar music (upper note left). So I asked this same
question some time ago
found here
https://lists.gnu.org/archive/html/lilypond-user/2015-04/msg00010.html
I did look at
http://lsr.di.unimi.it/LSR/Item?id=861
But it didn't work as I needed so I ended up with
%
Hi Andrew
as I said it was a long time ago. bit i just played with it a few seconds.
to see if I could remember. first take the following code
top = \relative c' {
e,16
\displaceHeads #'(-.8 1 0)
\adjustStem #'(2 . -2)
g,
\displaceHeads #'(-.05 .8 0)
\adjustStem #'(1.5 . -2)
d, c,
}
Hi Colin
Sometime ago I came across a file on the net... not sure where. It was
written by Johannes Rohrer I believe. Anyway all you do is
\include "../SwingMarks.ly" % location of file
#(load "../swing.scm") % location of file
and it will play the midi in swing
and example is on my site
Hello all! Up until now I have never really dealt with chords using slurs
and acciaccatura. I can't seem to get it to goto the proper note easily.
When I do there is little to no consistency between how it looks in
reference to the rest of the score. ie. it looks like I had to alter it.
Any help
well I think this is the best I can do
\version "2.18.2"
\relative c'{
\time 6/8
<<{ \voiceOne \stemUp <\tweak Flag.transparent ##t e g>8}\\{\voiceTwo
\slurDown \stemUp \shape #'((0.2 . 0) (0 . 0) (0 . 0) (0 . 0.3)) Slur
\override Slur.positions = #'(0 . 0) \acciaccatura d'8 c }>> |
}
\rel
Hi Abraham and Rale, thanks for the reply. As a classical guitarist I can
say the function that Abraham mentions (Can slurs be
made to start/end on arbitrary chord notes?), would be ideal. perhaps a
work around on the tie function. Something like this would also work. I
think.
\acciaccatura d'8 c
Good pint Urs however that only works for outside notes, also I wanted the
direction to be opposite the stem as in traditional classical guitar. So
it doesn't work. also what happens when the slur is to a note in the
middle? as in the examples I just sent.
here is a quick example
http://d29ci68
Sorry Urs I thought that was to me as the tittle is similar.
my apologies
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I understand that however you still can not control what note it goes to.
\slashedGrace b8_( 4 )
How would I indicate to have the slur attach to the 'a' note?
>And, until there is a
>better solution, you may have to tweak the shape of the slur to go to
>the correct note (say you wanted to go t
Hi Abraham,
Thanks for all the help. I do like your code it works really nice. As for
the voices
>And just so you know, the << { ... }\\{ ... } >> implicitly applies
>\voiceOne and \voiceTwo, so those are unnecessary.
I did realize that however i read a post somewhere saying that if you
explici
Hi Abraham thanks for your help
Stephen
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As already said 'sed' is your friend. Also I always keep my binaries eg. "
lilypond-2.16.2-1.linux-x86.sh" for just such reasons. I just install in
another path. And use it on files I was working on prior to the upgrade. I
believe they can be found here.
http://lilypond.org/ftp/binaries/linux-x86/
I play with that stuff now and then, although not my main thing. Anyway
this was my solution
Stephen
\version "2.18.2"
\header {
title = "Whiskey in the Jar"
copyright ="©Stephen MacNeil 2014"
}
source = ""
piece = ""
tagline = "&q
I would like to increase the staff however when i change
#(set-global-staff-size 40)
my tagline gets bigger. How can i overcome this?
thanks
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I noticed in a past post Vol 145 issue 124 you were trying to remove tab
from the guitar bends. Anyway I don't ever use tab myself and modified the
ily file so there is no tab. if you still need it or find it helpful here
it is. Let me know if it was helpful or if you found a better solution.
chee
it was pointed out that i posted the modifications of the old
definitions.ily. I think the only changes since then have been aesthetics
-- and mainly to the tab portion of which, in this case since it's gone
makes no difference. anyway here is the new file with the changes.
modified version of ...
Do mean like this ?
\version "2.18.2"
\paper {
system-system-spacing #'basic-distance = #25
}
\score { << \new StaffGroup
<< \new Staff { c'1 e'1
\break g'1 b'1 }
\new Staff { d'1 f'1 \break a'1 c''1 } >>
>> \layout {
indent = #0 ragged-right = ##t %\override Staff.VerticalAxisGroup
like this?
\version "2.18.2"
\header {
title = "Whiskey in the Jar"
subtitle = ""
composer = ""
instrument = ""
% arranger = ""
opus = ""
style = "Folk"
copyright = "©Stephen MacNeil 2014"
Both suggestions worked for me. I tend to put things in a separate file as
definitions/variables etc. I just like it clean to see what I am doing
(especially in large scores).
Like
%%
\version "2.18.2"
pos = \markup \concat {
\large \bold { "Un poco Pi" \char ##x00F9 " lento, " }
how would i do this with the flags attached?
\markup {\halign #-11 \raise #.6 \note #"8" #UP \raise #.6 \note #"8" #UP
\raise #.6 \note #"8" #UP \raise #.6 \note #"8" #UP }
thanks
Stephen
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Hey I have been doing dynamics with capitals like
\version "2.18.2"
\relative c'{
4_\markup{ \halign #1.3 \lower #4 \italic \fontsize #1 \bold FF}
_\markup {\concat \halign #.8 {\dynamic m \italic \fontsize #1
\bold F}} c d
bes4 d f a_\markup \halign #0 {\concat {\dynamic s \italic \fontsize
like this?
\version "2.18.2"
\header {
title = "Bass riffs"
opus = ""
tagline = ""
}
% font
\paper {
#(set-paper-size "letter")
top-margin = #5
bottom-margin = #8
ragged-last-bottom = ##t
print-all-headers = ##f
% system-system-spacing #'basic-distance = #25
oddFooterMarkup = \marku
How is this
\version "2.18.2"
myMusic = \transpose c c, {
\key ees\major
\tag myStaff { ees8 ees16 f f f aes8~ aes4 aes8 g16 f }
% => here's a workaround, using brackets, but gives warnings:
\tag myTab {
ees8 ees16 f f f aes8~ aes4 aes8 g16 f }
}
\score {
\new StaffGroup <<
\new Staff
\version "2.18.2"
\relative c'' {
% this should be all you need
% if you use \once you can aply it any time
\once \set subdivideBeams = ##t
\set baseMoment = #(ly:make-moment 1/20)
\tuplet 5/4 {
% no square brackets needed
e,32 c' bes e d bes' g d' d, aes'
}
% without
\tuplet 5/4
These are some basic hacks that make my life easier. Lots are borrowed and
modified for guitar, or what I needed it for. Things could be better I know.
Just Thought I would share some things I tend to use.
http://www.mglessons.com/lilypond/guitar-current-example.pdf
http://www.mglessons.com/li
wow that Is great. thanks very much.
Stephen
Thanks for sharing your work.
Regarding the tuplet bracket/slur Harm did a remarkable tool here:
http://www.lilypondforum.de/index.php?topic=1658.0
With the settings I'm using it goes :
\version "2.18.2"
printTupletBow = {
%% Use slur-stencil
You could always do a markup ?
tpo = \markup {
{\bold Allegro \hspace #1
\concat { \lower #.25 ( \small \raise #.25 \note #"4" #UP } \hspace #.5 { =
90 \raise #.5 \musicglyph #"scripts.tenuto"\concat{ 120\bold )}}
} }
\relative c' {
\clef "treble"
\key c \major
\time 4/4
\tempo "Allegro"
How is this
\version "2.18.2"
\language "english"
daCapo = {
%\once
%\override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once
\override Score.RehearsalMark #'self-alignment-X = #0
\once
\override Score.RehearsalMark #'break-visibility = #begin-of-line-invisible
\tweak direction #
Is this the idea?
\version "2.18.2"
rotateBracket =
#(define-music-function (parser location input) (pair?)
#{
\once \override HorizontalBracket.bracket-flare = $input
#})
\relative {
\rotateBracket #'(2 . 4)
b\startGroup b\stopGroup
}
\layout {
\context {
\Voice
\consists "Horizo
can I curve a line?
\draw-line #'(1 . 1)
Thanks
Stephen
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it did not work Just an ADD :)
so I converted it to ps -- works perfect (no links)
then converted it back to pdf (works 100% links and all!!!)
that being said I have no idea what it should look like but to me it's
perfect!
cheers
Stephen
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Does this work for you?
\version "2.18.2"
\relative c'' {
8\< q q q\!8 q q q
}
\relative c'' {
\once \override Hairpin.X-offset = #1.35
\override Hairpin.minimum-length = #5
8\< q q q\!
\once \override TextScript.layer = #2
\once\override TextScript.staff-padding = #3.4
\once\override
actually you don't need
\once\override TextScript.vertical-skylines = #'()
so
\relative c'' {
\once \override Hairpin.X-offset = #1.35
\override Hairpin.minimum-length = #5
8\< q q q\!
\once \override TextScript.layer = #2
\once\override TextScript.staff-padding = #3.4
8
_\markup \with-
or
\override Hairpin.minimum-length = #5
lol
so
\relative c'' {
\once \override Hairpin.X-offset = #1.35
8\< q q q\!
\once \override TextScript.layer = #2
\once\override TextScript.staff-padding = #3.4
8
_\markup \with-dimensions #'(2 . 7) #'(0 . 0)\with-color #white \filled-box
#'(-1
Yes it was a hack, however this might look better and in a dynamics part it
should work
stephen
<<
\relative c'' { 8 q q q }
\new Dynamics {
\once \override Hairpin.X-offset = #1.35
% \override Hairpin.after-line-breaking = #shorten-hairpin
s4.*89/90\< s\!
}
>>
On Thu, Mar 19, 2015 at 2:
if you use linux you can do
for i in ... ;
do ;
done
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ml2ly --nd --nrp
> --npl --no-beaming -m --language=english for f in *.xml
>
> Craig
>
>
>
> On Fri, 20 Mar 2015 at 06:58 Stephen MacNeil
> wrote:
>
>> if you use linux you can do
>>
>>
>> for i in ... ;
>> do ;
>> done
>>
>
the files when i compiled on my linux box render a more compressed look
then those on my friends windows?
same file both have 2.18.2
why?
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you can specify a placement for the rest by indicating a note\rest. in this
case i used g8\rest
hope that helps
stephen
\include "english.ly"
pianoVoiceOne = \relative c' { 2 }
pianoVoiceTwo = \relative c' { s1 }
pianoVoiceThree = \relative c' { \stemDown g8\rest a fs [ d ] \stemUp b gs
when composers wanted to create an accent (before the notated accent
symbol) they used diminuendo over just one note. this however in Performing
practice leaves the question did they mean an accented note or a note that
quickly diminishes, or perhaps both. as performance practice becomes more
stand
different ways: once as an
> articulation, once as a dynamic script. You also see the line-widths of my
> long-accent-markup and the default hairpin in comparison.
>
> HTH, Simon
>
> Am 27.03.2015 um 19:03 schrieb Stephen MacNeil:
>
> when composers wanted to create an acce
you could just make One
\relative c''{
% make sure they are the same size
\once\override TupletNumber.X-offset = #(lambda (grob) (+ 5
(ly:tuplet-number::calc-y-offset grob)))
\once\override TupletNumber.Y-offset = #(lambda (grob) (+ -1.2
(ly:tuplet-number::calc-y-offset grob)))
\tuplet 3/2 {c
how would i get the input string to attach to a markup?
eg
\version "2.18.2"
acdy =
\markup \pad-markup #.5 \halign #-1.3
{ \combine
\draw-line #'($str . .5) \draw-line #'($str . -.5)
}
The idea is to be able to assign a length $str
thanks
Stephen
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what about
\override Score.TextScript.padding = #3
or
\override Score.TextScript.Y-offset = #-3
Stephen
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Thanks for putting on the path Mark!
This is my solution thus far to a sizable hairpin for accent dynamics
acdy =
#(define-music-function
(parser location str)
(number?)
#{
-\markup
{ \pad-markup #.5 \halign #-1.2
\combine
\draw-line #`(,str . 0.7)
\draw-line #`(,str . -0.7)
}
#}
)
I would like to change the notehead side -- I would prefer it default
however a workaround is cool too.
I noticed you can do it with dotted
\override Staff.NoteCollision.prefer-dotted-right = ##f
however I would like to do it with none dotted - something like
\override Staff.NoteCollision.prefe
i just redid my guide finger if anyone is interested
\version "2.18.2"
5
#(define (fingering-event? m) (and (ly:music? m)
(music-is-of-type? m 'fingering-event)))
gf =
#(define-event-function (parser location num str fingering)
(number? number? fingering-event?)
(let*
I would suggest just write the document in lilypond... that's what i do.
HTH
Stephen
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I needed a solution as well and wrote this. I find for my needs it works
wonders.
acdy =
#(define-music-function
(parser location str)
(number?)
#{
-\markup
{
\halign #-1.2
\combine
\draw-line #`(,str . 0.7)
\draw-line #`(,str . -0.7)
}
#}
)
\relative c' {
c ^\acdy #-4 c d^\acd
wow very nice work pierre!!
Stephen
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in that example i would use
\paper {
system-system-spacing #'basic-distance = #20
}
Stephen
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Hello Urs,
Me as well
Stephen
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you can tweak it more -- it's adapted from what i use
I also use tupslurU when i need them on top
tupslurD = {
\override TupletBracket.stencil = #ly:slur::print
\override TupletBracket.direction = #DOWN
\override TupletBracket.thickness = #3
\override TupletBracket.positions = #'(-4 . -3.5)
Well after reading many responses to this question I thought I would give
my own.
I think first one must answer
Why do publishers use other programs?
Who submits to publishers?
Why do users use other programs?
Why do publishers use other programs?
Obviously there was typesetting before compu
take a look here
http://fritz.rmi.de/dokumentation/lilypond/Documentation/user/lilypond/Automatic-accidentals.html
HTH
Stephen
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Urs and Joram
not sure about how you intend this excerpt to be "personal" etc. However in
the past composers often indicated ideas through different ways - different
groups of sixteen notes etc. to show phrasing, articulation etc. again i
don't know the piece or the context so a rule of thumb is
add something like this at top
I = <>^\markup \pad-around #1 \halign #-2 \concat{\italic {I \lower #.5
\pad-around #.2 \super 7}}
ii = <>^\markup \pad-markup #1 \halign #-2 \concat{\italic {ii \lower #.5
\pad-around #.2 \super 7}}
iii = <>^\markup \pad-markup #1 \halign #-2 \concat{\italic {iii
actually if
i like
I = <>^\markup \raise #2 \pad-around #.2 \halign #-2 \concat{\italic {I
\lower #.5 \super 7}}
ii =
etc.
then add
roman = { \I s1 \ii s1 \iii s1 ... }
then in each just add
\roman
fmajortreble = {
\keychangevisual
\key f \major \break
\roman
1 1 1 1 1 1 1
}
T
here you go
CUT
\version "2.18.2"
\header {
title = "Root Position 7th Chords"
composer = "Lance James"
}
harmonies = \chordmode {
c1:maj7 d:m7 e:m7 f:maj7 g:7 a:m7 b:m7.5- \break
f1:maj7 g:m7 a:m7 bes:maj7 c:7 d:m7 e:m7.5- \break
bes1:maj7 c:m7 d:m7 ees:maj7 f:7 g:m7 a:m7.5- \
attach a much cleaner version (attaching is preferrable since
nothing may be messed up on the way).
>
> HTH, Simon
>
> Am 21.04.2015 um 23:13 schrieb Stephen MacNeil:
>
> here you go
>
> CUT
>
> \version "2.18.2"
>
> \header {
>
&
Harm , Thomas Morley and others
I like to follow the discussions even if I don't understand/need something
because I usually learn a lot and sometimes even adapt some ideas or code
into something I can use later.
In this thread I was amazed that the scheme created could interpret the
chords!!! I t
On Wed, Apr 22, 2015 at 2:00 PM, David Nalesnik
wrote:
> Hi Stephen,
>
> On Wed, Apr 22, 2015 at 12:24 PM, Stephen MacNeil <
> classicalja...@gmail.com> wrote:
>
>> Harm , Thomas Morley and others
>> I like to follow the discussions even if I don't understand
pose c b {\chrd}
}
\new Staff {
\clef bass
\multipleTransposes
{ c }
{
\key d \major
\multipleModalTransposes \diatonicScale \transpose c c,, \chrd
}
\bar "|."
}
>>
\layout {
\context {
\Staff
explicitKeySignatureVisibility = #end-of-line-invisible
printKeyCancellatio
Hey Calixte
what a great idea it made me think.
what about sed?
>>Or have a script/feature/tool that automatically counts measures : it
would
be able to put bar numbers in comment, and with another script we could say
delete/comment/whatever measure n to m
anyway I tried a few examples and used %
well you need to
1. remove the space with sed, so music % 1 becomes %1 also I added "a" at
the end so it wouldn't get confused ie. %1 will also remove %10 %100 etc
2. since you used it after measure one sed can only delete measures after
-- so 2 on
you could just input %1x in the files where you
like this ?
\bendOn
\bendGrace e8(f8)(e8) (g4~)g2 |
\bendOff
\bendOn
e8 (f)(e)(g~) g2
\bendOff
if not have an example?
%% cut
\version "2.18.2"
\include "definitions.ily"
\paper {
indent = 0
}
\layout {
\context {
\Staff
\override StringNumber #'stencil = ##f
\overri
sely what I was looking for! Thanks a lot man!
>>
>> On Sat, Apr 25, 2015 at 3:50 AM, Stephen MacNeil <
>> classicalja...@gmail.com> wrote:
>>
>>> like this ?
>>>
>>> \bendOn
>>>
>>> \bendGrace e8(f8)(e8) (g4
i thought i sent you something showing how to move it
anyway not sure where you want it, but do it like this
HTH
Stephen
VS.ly
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sorry forgot the subject
stephen
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remove global
Stephen
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it looks like you shortened \transpose not \relative but i like it "I may
use it" thanks
Stephen
octave =
#(define-music-function
(parser location octaves music)
(integer? ly:music?)
(_i "Raise or lower @var{music} by a nubmer of @var{octaves}.")
(make-music 'TransposedMusic
'element (ly:m
2 questions
1. if i draw a line how can i make it so it always moves to the upper/lower
portion onto a specific part of the staff regardless of were it starts c or
c' or c'' etc
2. i modified HorizontalBracket and bendafter so how do I make that
line/curve follow the distance of the (bracket/benda
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