You can use \times and suppress the tuplet number with
\override TupletNumber #'transparent = ##t
or your can change the duration of a note by appending a
number or fraction: eg a4*2/3
but both will affect the barring.
See section 1.2.1 in the R11 documentation for details.
Trevor D
>
NR Chapter 1 Musical Notation
Collision Resolution
@cindex Merging noteheads
BTW I use the index a lot while researching material for the
Learning Manual. Because I use the pdf edition of the
Notation Reference I use the viewer's full-text search to
find anything that is not indexed. This alm
Paul
You're right, R11 is different in this respect. Bars no
longer expand by default to accommodate markup text attached
to skip notes. Such text is still left-aligned to the skip
note, but it is now positioned above the bar count
numeral.
Prepending \fatText will cause the bar to expand, but
age-
> From: Graham Percival [mailto:[EMAIL PROTECTED]
> Sent: 07 January 2008 19:45
> To: [EMAIL PROTECTED]
> Cc: [EMAIL PROTECTED] Org
> Subject: Re: Index: merge
>
>
> On Mon, 7 Jan 2008 09:32:28 -
> "Trevor Daniels" <[EMAIL PROTECTED]> wrote:
&g
Have a look at the 2.11 development branch Learning Manual
at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-le
arning/index , in particular Section 3.2 "Voices contain
music". You will find the answer there. Although this
documentation is for release 2.11 it applies equally well to
r
Why not just leave the fermata (and everything else that you
don't want) out of mII? Or am I missing something?
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTECTED] Behalf Of
> Reinhold Kainhofer
> Sent: 12 Janu
Daniel
Welcome to LilyPond!
What you describe is quite correct behaviour. LilyPond is
unlike many applications and does not have pull-down menus.
Instead you must prepare and save a text file written in
LilyPond input format, and then drop this on the LilyPond
icon to convert this to a printed
David Fedoruk wrote 13 January 2008 06:28
>
> I've worked ahead on this piece of music and
> found that perhaps the
> problem is not where it thought that it was.
>
> What I saw as a single bar line in the middle of
> a bar is actually an
> extra bar who's ending bar line I could not see
> (
Keith
You may need to use \noBreak and \break commands to manually
control the number of bars in a system. By forbidding line
breaks with \noBreak at the point where the breaks currently
are, you should get more bars on a line. Alternatively, if
there are too many systems you could set system-c
Reinhold Kainhofer wrote 12 January 2008 21:54
>
> Am Samstag, 12. Januar 2008 schrieb Trevor Daniels:
> > Why not just leave the fermata (and everything
> else that you
> > don't want) out of mII?
>
> Because I'm also creating one score for the
> se
Alasdair
One way is to use the \mark command. This is normally used
for rehearsal marks, and the key point is that it is
positioned relative to the barline. The horizontal
adjustment can be varied from left-aligned to right-aligned
by setting self-alignment-X. Left-aligned is -1,
right-aligned
Paul
Release 11 differs from release 10 in this respect. IIRC
release 10 expanded a bar to accommodate text attached to a
skip note in a multi-measure rest bar. The R11 NR now says
at the end of 1.2.2, Writing rests:
"Text attached to a multi-measure rest will be centered
above or below it. Lo
Albert
It is available now in PDF format. Click on the Learning
Manual (LM) link on the development documentation page and
look at the top of the page which comes up. I don't know
why this is different for the LM. It would be good if
someone could change it...
Trevor
> -Original Message-
Paul
\override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
...
\break % (if needed)
\once \override Score.RehearsalMark #'self-alignment-X =
#RIGHT
\once \override Score.RehearsalMark #'direction = #DOWN
\mark \markup Hi
Trevor D
> -Original Message-
> From:
Paul Scott wrote:
>
> Trevor Daniels wrote:
> > Paul
> >
> > \override Score.RehearsalMark #'break-visibility =
> > #begin-of-line-invisible
> > ...
> > \break % (if needed)
> > \once \override Score.RehearsalMark #'self-alignm
Hi Daniel
If you look in Bach-Invention-01.ly you will see it
says \version "2.7.40" just after the header block.
This shows which version of LilyPond it was written
for. You will have downloaded a more recent version
of LilyPond, and the format of the input file has
changed slightly between the
I'm happy with ConTEXT too. Highlighting works well,
and with F9 set up to save and invoke LP, and F10 to
display the pdf, it does all I need, and quickly.
Output is displayed in an online panel. I use the
same editor for most of my text editing, and as the
highlighters are easily edited to su
Hi Valentin
This seems to be based on the Sherlock standard, which
AFAIK is not supported by IE. I know nothing about
writing plug-ins, but I think it would need to be based
on the OpenSearch standard to work with both IE and
Firefox. As I use IE I can't try it, but it sounds good...
Trevor
Hi Martin
You don't say which of the LilyPond manuals you have
read, but we are at the moment preparing a Learning
Manual for the development version of LilyPond (2.11).
If you haven't looked at this, please try the first
four chapters of this. You'll find the most recent
version at
http://kain
Could you please say what you consider is the 'right'
position and post a small example of your ly code which
shows the bar numbers at 'strange positions'. We should
then be able to help you better.
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+
Hi Stef
As Risto said we cannot easily see the problem as
all the backslashes are missing from your example.
However, the algorithm for placing outside-staff
objects changed in 2.11. Outside-staff objects
that are created within the Staff context are placed in
accordance with the value of their
Hi Toine
I tried your example in 2.11.34 and it -does- reduce to
a single page with RemoveEmptyStaffContext enabled in
that release. This may be related to the reintroduction
of minimum-Y-extent in 2.1.35 (see comment to bug 496).
If so, the workaround mentioned there says:
This can be fixed by
I happened to notice that there is a problem with
http://lsr.dsi.unimi.it/LSR/Item?id=13, which is supposed to
show the effect of padding on MetronomeMark. The second
mark, the one padded, does not actually appear because, it
seems, the tempo specified is the same as the previous one.
I didn't re
> Stefan Thomas wrote on 28 January 2008 23:22
>
> Dear Lilypond-users,
> in the below quoted snippet I'm not happy with
> the vertical priority of
> the pedal-symbols and theDynamic.
> I would like to have the "pp" , the crescendo
> hairpin etc. above the
> pedal-signs. But I dont know ho to do.
If I run this program by double-clicking the ly
file under XP I see the same logfile as Jay:
# -*-compilation-*-
Changing working directory to:
`H:/Users/Trevor/Leisure/Music/LilyPond/Tests'
Processing
`H:/Users/Trevor/Leisure/Music/LilyPond/Tests/test.ly'
Parsing...
However, if I use the ConTEX
Stefan Thomas wrote on 29 January 2008 08:45
>
> It is possible to move these things vertically by hand?
> I tried it with
> \relative c''' {
> \override SustainPedalLineSpanner #'padding = 8
> c2~\pp\sustainDown
> \times 2/3 {c4 b bes} |
> aes8\< f \times 2/3 {d8-. bes8-.
> ges8-.\p\sustainUp }
= #'mixed }
> \relative c''' {
> \standardped
> c2\pp\sustainDown
> c2\pp\sustainUp
> \once \override Staff.SustainPedal #'extra-offset = #'(0
> . -5)
> c2\pp\sustainDown
> c2\pp\sustainUp
> }
>
> Trevor Daniels schrieb:
> > Stefan Thom
Hi Simon
Your problem is using {..} after \new Staff instead of
<<..>>. I'm not sure I fully understand why, nor do
I have 2.10 available to check, but I think what happens
is that the first Voice="V" is placed in the first staff,
but too late for the second Voice="V", which has already
created
Graham, you wrote:
>
> Final call for comments on NR 1.1 Pitches.
In general all is very clear. I spotted only a couple of
things to comment on:
1.1.1:
Head:
convient -> convenient
Relative octave entry:
There is a much simpler way of describing how this works.
It's in 2.1.2 of the LM: a note
Andrew Hawryluk wrote 27 January 2008 02:09
>
> I just finished reading the Learning Manual for
> the first time and I
> am really impressed. Nice work everyone! As a
> relatively new user,
> chapters 3 and 4 were excellent. I am starting to
> figure out why
> commands belong in various places
> David Fedoruk wrote 02 February 2008 05:30
(to -user)
> The "Piano Centered Dynamics" template in
> particular is overwhelming.
> Perhaps separating the pedal performer out from
> the rest would make
> this template less overwhelming.
>
Piano-centered dynamics are very commonly required
wh
Valentin
This looks really good, and I've registered. But
I can't see any easy way to "just copy it" if I
want to suggest an improvement. Any suggestions?
Trevor
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTECTED] Beh
Hi Nick
I saw your later note about using book, but it can be done
in straightforward Lily, although maybe 'straightforward' is
not the right word! Using book is probably easier. The
problem you had is the quite tricky positioning of the
sequential and simultaneous sections. I'll explain here
Hi Michael
I don't know a regular way of doing this, but here's
a hack which might get you going. It's a way of
fooling LilyPond into thinking the standard staff has
continued after the break. Pinch, say, a tenth of the
first note value after the break and introduce a spacer
note of that tenth,
iano Templates
>
>
> And before anybody says anything, adding a simple
> button for this
> this is already on the TODO list for LSR.
>
> Cheers,
> - Graham
>
>
> On Mon, 04 Feb 2008 14:27:13 +0100
> Mats Bengtsson <[EMAIL PROTECTED]> wrote:
>
&g
Graham Percival wrote 04 February 2008 16:27
>
> On Mon, 4 Feb 2008 09:42:55 -0600
> Stan Sanderson <[EMAIL PROTECTED]> wrote:
>
> > On Feb 4, 2008, at 9:19 AM, Kieren MacMillan wrote:
> >
> > >> I bet that there's less than a hundred people
> > >
> > > You mean "I bet there are fewer than..."
Hi Thomas
Have a look at section 4.4.3 in the Learning Manual at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-le
arning/index
where this is discussed.
(Actually it seems the images there are broken at the
moment. If you find this, try
http://kainhofer.com/~lilypond/Documentation
vor D
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> Sent: 05 February 2008 11:31
> To: [EMAIL PROTECTED]; Lilypond bug
> Cc: lilypond-user@gnu.org
> Subject: Re: Hairpin and Textscript
>
>
>
>
> Trevor Daniels wrote:
> > ...
> >
&
bug in the documentation. :)
>
> - if you're an advanced user and haven't done so
> already, please skim
> through this material. The lilypond docs are
> famously written by
> people who don't know what they're talking
> about[1], so we really need
> kn
Graham Percival wrote on 08 February 2008 19:49
>
> Do we want index entries for snippets? For example, in
> NR 1.1.3.2 Key signature
> there are two snippets: suppressing natural signs in key
> signatures, and non-standard key signatures.
>
> Do you want to have items like:
> @cindex key sig
Graham Percival wrote on 08 February 2008 21:26
>
> On Fri, 8 Feb 2008 21:08:08 -0000
> "Trevor Daniels" <[EMAIL PROTECTED]> wrote:
>
> > @cindex natural sign, suppressing
> >
> > At present the only entry for naturals takes you to
> >
You can either use different instruments or set the
dynamics differently. Look at section 4.3.1 in the
2.11 Notation Reference for the former, and Dynamics
in section 1.3 for the latter.
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=t
forgot to copy to list ...
calvin mitcham wrote 09 February 2008 00:44
> "LM 3 and LM 4 are quite hard going for
> anyone fairly new to LilyPond". thank you
> trevor! i am certainly a newbie, and
> although i have always found these sections
> very confusing, i never spoke up cause i had
>
An alternative way, which keeps everything contained
in the dynamic script, is to pad the text so it comes
in the right place when centred, like this:
sempp = #(
make-dynamic-script (
markup #:line (
#:normal-text
#:italic "sempre"
#:dynamic "pp"
#:hspace 6
)
)
Sent: 10 February 2008 18:29
> To: Kieren MacMillan; LILYPOND Mailinglist; Trevor Daniels
> Subject: Re: Aligning "sempre pp" with "p"...
>
>
> Am Sonntag, 10. Februar 2008 schrieben Sie:
> > Hi Reinhold,
> >
> > > What I'm looki
OK, thanks, Andrew. I've noted this for the next revision
of that section (and Mats' later amendment).
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTECTED] Behalf Of
> Andrew Hawryluk
> Sent: 13 February 2008 05
Section 3.1 in the LM recognises this problem and attempts
to tackle it. Like everything else in the manuals I'm sure
this could be improved. Suggestions welcome.
Maybe this would be a good place to introduce the idea of
conventions or, better, best practice in laying out a score.
I would also
ered.
Trevor D
> -Original Message-
> From: Mats Bengtsson [mailto:[EMAIL PROTECTED]
> Sent: 13 February 2008 13:31
> To: [EMAIL PROTECTED]
> Cc: lilypond-user@gnu.org
> Subject: Re: file structure (hierarchy)
>
>
>
>
> Trevor Daniels wrote:
> > Maybe
Hi David
There is a (brief) new section in the Learning Manual at 4.6.2 which introduces
you to using variables for tweaking. See
http://kainhofer.com/~lilypond/Documentation/user/lilypond-learning/Using-variables-for-tweaks.html#Using-variables-for-tweaks
. Might help, as your overrides see
Philip
Reading through sections 2 and 3 of the Learning Manual will
give you the background you need to understand all this.
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTECTED] Behalf Of
> Philip
> Sent: 14 Feb
Hi Steve
This section in the docs is rather confusing. I hope to try
to clarify it shortly.
The automatic behaviour should beam 16th notes in groups of
4, ie on crotchet beats, which is what you want, if I
understand you correctly, but beams over 8th notes end only
on half-note beats, ie on bea
I'd go with (2). Good idea. It permits a better
explanation of the general concept of 'direction (up,
center, down, left, right and the uses of numerical values)
and the various commands which use it (\..up, \..down,
\..neutral).
I'd support this as a general principle for (some) other
properti
Hi Risto
Two changes seem to be required to make this snippet work in
2.11. This may not be the optimum solution, though.
a) The vertical alignment of the inserted score blocks seems
different in the two releases. In 2.11 their vertical
extend is used to centre them vertically. This did not s
Since the section is going to describe the use of the
'direction property, why not call it that?
Choose one of:
Direction property
The direction property
Use of the direction property
As its use is so diverse we can't hope to capture all of
them in the heading.
Trevor D
> -Original Messag
> Valentin Villenave wrote 19 February 2008 08:58
>
> 2008/2/18, Philip <[EMAIL PROTECTED]>:
> > Is it possible to type-set the old bass clef?
>
> Yes it is. I took the .svg file in your example,
> converted it to
> postscript, changed a bit the code, and here you are:
Hi Valentin
How exactly
Valentin Villenave wrote
>
> 2008/2/19, Trevor Daniels <[EMAIL PROTECTED]>:
>
> > How exactly do you convert a .svg file into
> > postscript? It seems a very useful general
> > technique to get arcane symbols into LP scores.
>
> Oh, you'll be disap
Hi Jay
I'd rewite the sentence containing 'adorn' as:
There are two music functions, balloonGrobText and balloonText. The former is
used like rather like \once \override to attach text to any grob, and the
latter is used like \tweak, typically within chords, to attach text to an
individual n
Hi Ralph
I'd go for the simpler structure:
1.4 Repeats
1.4.1 Repeat syntax
1.4.2 Normal repeats
1.4.3 Manual repeat commands
1.4.4 Tremolo repeats
1.4.5 Measure repeats
This puts the syntax at the front, as you wanted, and
removes the ugly, somewhat artificial, separation into
Writing repeats a
ered
> a repeat, i.e. they won't
> > look in the section called repeats.
> > Also, don't forget about \repeat unfold, which
> actually is very useful
> > in some circumstances, but perhaps doesn't
> require a subsection of its
> > own.
> >
> > /
Hi David
Text attached to a multimeasure rest is held in a
MultiMeasureRestText object which is created in the Voice
context. So the override you need to move it is:
\once \override Voice.MultiMeasureRestText #'extra-offset =
#'(0 . 4)
Trevor D
> -Original Message-
> From: [EMAIL PROT
Hi Iain
Taking the \time's out of the definitions is the best
approach. As timing is done by default at the score level
it is not necessary to include \time commands in both parts.
So I would write it this way (I prefer to explicitly declare
the Staves):
sectionOne = \relative c' { c1 | }
sect
Hi Till
Might the tempo indication and metronome marks be better placed in the Rhythm
section? If you think so let me know, as I'm working on Rhythms right now.
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTEC
Hi David
I've made a note to add something about this in the section of the NR that
deals with rests. I should get to that in the next few days.
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTECTED] Behalf Of
>
Ralph
As I said earlier, I'd go for the simpler structure:
1.4 Repeats
1.4.1 Repeat syntax
1.4.2 Normal repeats
1.4.3 Manual repeat commands
1.4.4 Tremolo repeats
1.4.5 Measure repeats
since this leaves a further level for subdivision within
each section.
Or, if you prefer your suggested layou
It's also given as an example in the Learning Manual,
section 4.5.2 Fixing overlapping notation.
See
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-le
arning/Fixing-overlapping-notation#Fixing-overlapping-notati
on
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [ma
Francisco
There is also quite a large section on fingering in the
Learning Manual in Section 4.4.2 Within-staff objects which
may help you. See
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-le
arning/Within_002dstaff-objects#Within_002dstaff-objects
Trevor D
> -Original Message
Hi Rune
In the LM you can find this topic discussed in some detail
in Section 4.4 Placement of objects, SubSection 4.4.3
Outside staff objects. Let me know if this would have
helped (or not).
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-bounces+t.dani
Nicholas WASTELL wrote on 29 February 2008 08:14
> Only after spending some time in lilypond-world.
> 'Getting Started' and 'User Manual' are pretty
> well de facto standards, but I like a bit of
> individualism! ;-) Of course, the Learning
> Manual is much more than Getting Started and
>
Stefan Thomas wrote 29 February 2008 10:02
> I want to create a text-spanner for the
> pedal sign. I hope that I can avoid
> problems with vertical collisions between
> pedal-signs and dynamic.
In 2.11 these are avoided automatically
> Unfortunately the below quoted file doesn't
> work a
Hi Haipeng
Line 20 - missing " before Andante. Should be:
toptextA = \markup { \bold \italic "Andante" }
This is the mistake which causes the error in init.ly.
There are a couple of other minor errors:
Line 39 - incorrect string ae\!. Maybe should be:
\repeat tremolo 16 { f\< ees } \repe
I'm not sure what you mean. It works as expected when
I try this in 2.11.34. You ask for a staff of four
lines, with middle C 6 half-staff-spaces above the center.
So the lower C will be 1 half-staff-space below the center,
which it is. The clef is 2 half-staff-spaces above the
center, also a
e defaults from engraver-init.ly?
Till
Trevor Daniels schrieb:
I'm not sure what you mean. It works as expected when
I try this in 2.11.34. You ask for a staff of four
lines, with middle C 6 half-staff-spaces above the center.
So the lower C will be 1 half-staff-space below the center,
wh
Hi Keiren
Rather than just give you a Scheme procedure to do
this, I thought it might be more helpful to say
how I arrived at this code, as I'm still learning
too, and needed to work this out.
First I looked at the BarNumber grob in the IR and
saw that the stencil property is set by default to
l
Hi David
You almost have it right, but to color articulations you need to place a "-"
before the tweak, as it the \tweak were an articulation itself, like this:
\relative c'' {
c8
% B with red mordent
b -\tweak #'color #red \mordent
c
}
I don't think this was documented in the old manu
The following Scheme procedure works for
chord names. It might work for other objects
which are printed with markup, but I haven't tried.
Paster the procedure at the head of your .ly file
and use the override before any chord to place
brackets round the name.
Trevor D
#(define (addBrackets gro
Hi David
I don't think a text spanner will do what you want, but the
following might:
#'ly:set-point-and-click ##f
stuff = \relative {
\dynamicUp
\set decrescendoSpanner = #'dashed-line
c1 \mf \>
\break
c1 \pp
}
\score {
\stuff
}
> -Original Message-
> From: [EMAIL PROTECTE
Hi Herman
There is no 'main program' as such. You need to prepare a
file in lilypond format using a basic text editor like
Notepad and save it with a .ly file extension. Then
double-clicking on this file will compile it and produce the
output files in the same directory.
But the very first ste
Lyrics are associated with a voice, so they will attach to
all the notes in that voice. So you can either put your
bass notes in a separate voice, or you can use \skip in the
lyrics to skip the bass notes.
Trevor D
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:lilypond-user-b
Hi Peter
Forget \partcombine. Chapter 3.2 in the Learning Manual might help. You
just need to put the two voices in parallel, like this:
\version "2.11.41"
\score{
\context Staff <<
\context Voice=tune {
\voiceOne
\relative c' {s4. s8 b8. d16 }
}
\context Voice=accomp {
\voiceTw
t I cannot see a way of doing what you want easily.
Trevor D
- Original Message -
From: "Peter Chubb" <[EMAIL PROTECTED]>
To: "Trevor Daniels" <[EMAIL PROTECTED]>
Cc: "Peter Chubb" <[EMAIL PROTECTED]>;
Sent: Monday, March 24, 2008 2:
These messages are typical of version 2.11.43-1, which was broken. If this
was the version you down-loaded try installing 2.11.43-2, which fixed this
problem on my system (Vista), and which became available today.
Trevor D
- Original Message -
From: "Stefan Thomas" <[EMAIL PROTECTE
The easiest way is to position the rests by writing a note followed by
\rest. This allows you to position both rests in the same place. See Rests
in the manual.
Trevor D
- Original Message -
From: "Wilbert Berendsen" <[EMAIL PROTECTED]>
To:
Sent: Monday, March 31, 2008 11:13 AM
Su
I have no inside information about this, but my reading of the description
in the IR is that the thickness of the ledger line is determined as the sum
of two parts:
ledger-line-thickness = the value of line-thickness * the first number + the
value of staff-space * the second number.
The defa
The Dynamic engraver is in the Voice context, not Staff.
Trevor D
- Original Message -
From: "James E. Bailey" <[EMAIL PROTECTED]>
To: "Mailinglist lilypond-user"
Cc: "Mailinglist lilypond-user"
Sent: Monday, March 31, 2008 6:08 PM
Subject: Re: choir music, easy piano reduction and
Hi Matthew
I'll have to leave an explanation of this to the more knowledgeable, but the
main problem seems to be starting the piece with an \acciaccatura. Doing
this causes problems elsewhere (eg tuplets). Try removing it and the
overrides then seem to work. Seems like the voice-context ove
Mats Bengtsson wrote
Matthew wrote:
Trevor Daniels treda.co.uk> writes:
Seems like the voice-context overrides have nowhere to go if the first
note is an acciaccatura and have no effect. A work-around is to place
all the voice-context overrides in the Staff context so they apply to
Hi Neil
Perhaps "both" is an option? What I mean is, use a markup in a score
context where this is appropriate to the example or where the markup can be
used to modify the appearance of music, but as bare text otherwise.
Examples of the former might include \dynamic, \fret-diagram, \postscrip
Luis
\tweak will not work here as accidentals are not created in the input
stream. You have the right override, with the right object and property,
but you may have forgotten that AccidentalPlacement lives in the Staff
context, so cannot be overridden in the (default) Voice context. The 2.11
cted, but these
situations are hopefully quite rare.
Trevor D
- Original Message -
From: "luis jure" <[EMAIL PROTECTED]>
To: "lilypond-user"
Sent: Thursday, April 03, 2008 12:58 AM
Subject: Re: moving accidental of note in a chord
El Wed, 2 Apr 2008 16:36:13
LilyPond-ers
Grand Documentation Project
Graham and his helpers have now completed a large part of the GDP revision
of the first chapter of the Notation Reference (NR), most of the Learning
Manual (LM) is finished, and the Music Glossary (MG) has been greatly
extended. Pulling snippets from
Valentin wrote:
Perhaps Accordion (and not "Accordian") should go into Wind instruments?
Thanks - corrected.
and
If we decide to add "bowing indications" in Strings, we should
consider adding "Breathing indications" to Wind instruments, shouldn't
we?
Mats wrote:
I've often seen breathing i
René Brandenburger wrote:
a topic which I think could be interisting is
2.7 Lyrics and repeats
Good idea. Added. I might come back to you for some
ideas for the text later :)
Trevor D
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Hi Eric
One problem can be solved easily. To get the slur to ignore the staccato
dot add immediately before the staccato note:
\once \override Script #'avoid-slur = #'outside
This puts the dot outside the slur.
The other problems are not so straightforward to solve.
Layout problems are
Graham Percival wrote
On Thu, 3 Apr 2008 21:48:41 -0700
"Patrick McCarty" <[EMAIL PROTECTED]> wrote:
Hi Andrew,
On Thu, Apr 3, 2008 at 7:40 PM, Andrew Hawryluk <[EMAIL PROTECTED]>
wrote:
> In NR 1.3.3.2, could we change the second snippet to read
> \arpeggioBracket
> \arpeggio
> \arpeg
Ian Hulin wrote:
Trevor Daniels wrote:
Grand Documentation Project
Do we need a 2.4.4 under Fretted stringed instruments for Mandolin, or a
2.4.5 for the viols?
Happy to add them if we have something to write under the heading which is
specific to those instruments. Do you have anything
Neil Puttock wrote:
I'm broadly happy with the proposed layout. There are just two minor
issues I have:
1. Section 2.1.4.3 should be changed to "Adding singers' names to
stanzas", unless we're talking about pseudonyms and stage names :)
Good catch. Probably stage names are more commonly plac
Ralph Palmer wrote:
Grand Documentation Project
Under
2.3.1 Bowed instruments
I'd like to see "Fingerings"
I'm not a string player and know nothing of this. Is the
normal fingering notation shown in NR 1.7.1 adequate for
this, or are you looking for something peculiar to strings?
and
Hi Matthew
The trick is to add a zero multiplier to the spacer notes, like this:
brackets = \relative c' { s8. s16*0\su s4 s16*0\eu }
or better, move the s16*0 's into the su and eu macros, and then
you don't need a parallel voice:
textspan = {
\override TextSpanner #'shorten-pair = #'(
Hi Haipeng
I think the messages about "no viable initial configuration found: may not
find good beam slope" can safely be ignored, as the beaming looks OK to me.
For example, two of the messages originate from bar 5, which looks fine. If
you like, you can narrow down where these messages com
The only outstanding point from the discussion so far is how to handle text
which seems to belong in more than one place, like \downbow, which for
completeness properly belongs in NR 1.3 Expressive, but which also should
appear in NR 2.3.1. My suggestion is that _explanations_ should go in the
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