Hey Daniel,
Check out http://wiki.lilynet.net/index.php/JM_diatonic-transpose.ly .
Cheers,
MS
On Jan 20, 2011, at 9:05 PM, Daniel wrote:
> Hello,
>
> I have recently discovered Lilypond, and wow. It is just great. I have been
> looking for something like this for a long time.
>
> I have a que
Hey all,
I'm working on a score and I can't figure out how to rotate the hairpin about
the pianississimo -20ish degrees such that the sforzando moves with it. Before
measuring the distance in horizontal staff space of the hairpin and working
with tangents to get the correct padding override (u
Same thing hit the French list a couple days ago.
Oddly, my heavily-krunked-out version of the source doesn't reproduce this
result, but I would recommend (by way of Xavier Scheuer) adding \grace { s8 }
to the beginning of all your parts.
Cheers,
MS
On Feb 15, 2011, at 7:14 AM, Mario Moles wrot
Hey all,In the first attached example, you'll see that the C# and D are oddly merged in the last note column. However, when I compile the code for a minimal example (\relative c' { << { d8 ~ d4 } \\ { d8 cis4 } >> }), it works just fine. Also, when I compile the part outside of the full string qua
On Feb 23, 2011, at 4:17 PM, Nick Payne wrote:
> On 24/02/11 08:04, m...@apollinemike.com wrote:
>>
>> Hey all,
>>
>> In the first attached example, you'll see that the C# and D are oddly merged
>> in the last note column. However, when I compile the cod
On Feb 25, 2011, at 2:35 PM, Jérémie Lumbroso wrote:
> Hello,
>
> I am typesetting a piano score, in which I have chords which I want to span
> both staves. I've determined that this is still not possible, and found that
> the only suggested workaround was to align notes on both staves and to e
On Mar 4, 2011, at 7:26 PM, Douglas Ridgway wrote:
> I'm working on the Mozart bassoon concerto from Mutopia. I'd like to
> include the tutti sections on the bassoon part, but in small notes,
> because they are usually not played. I used \tiny, but the result
> seems kind of stretched out, and the
On Mar 11, 2011, at 10:57 AM, MING TSANG wrote:
> Thank you.
>
> Additional question: Can the path of the file name be printed also?
>
>
> From: Marek Klein
> To: MING TSANG
> Cc: lilypond-user@gnu.org
> Sent: Fri, March 11, 2011 10:19:01 AM
> Subject: Re: filename in markup
>
> 2011/3/11 M
Hey all,
\relative c' { \time 3/4 << { 4 2 } \\ { d2. } >> }
Produces the attached output. Is there a way to get it so that the dot does
not collide with the notehead (w/o resorting to extra offsets and the like)?
Cheers,
MS
<>___
lilypond-user mail
On Mar 15, 2011, at 5:04 PM, Phil Holmes wrote:
> - Original Message - From: "Trevor Daniels"
> To: ; "lilypond-user"
> Sent: Tuesday, March 15, 2011 6:24 PM
> Subject: Re: Dot-notehead collision
>
>
>>
>> m...@apollinemike.com wrote
On Mar 15, 2011, at 1:21 PM, -Eluze wrote:
>
>
> m...@apollinemike.com wrote:
>>
>>
>> One issue with this solution is that if you do batch processing from the
>> command line:
>>
>> lilypond foo.ly bar.ly
>>
>> Then the solutio
should be
> simple to do.
>
> Dave.
>
> From: Trevor Daniels
> To: -Eluze ; lilypond-user@gnu.org
> Sent: Wed, March 16, 2011 9:46:36 AM
> Subject: Re: filename in markup
>
>
> Eluze wrote Wednesday, March 16, 2011 12:31 PM
>
> > m...@apollinemike.
On Mar 17, 2011, at 5:55 AM, christophe 1710 wrote:
> Hello all,
>
> i'm working on the different modal structure from a score and i woud like to
> print the half or full ton from one not to the next one!
>
> \version "2.12.3"
> \include "italiano.ly"
> \header { }
> TimeKey = { \key do \minor
On Mar 20, 2011, at 8:11 PM, Benjamin Peterson wrote:
> Hello,
> Having used Lilypond successfully for some instrumental works, I'm
> typesetting a
> song with it. Here's a link to the lilypond source:
> http://paste.pocoo.org/show/356919/ Here's a image as it looks currently:
> http://imgur.com/
On Mar 26, 2011, at 7:37 AM, Father Gordon Gilbert wrote:
> Thanks, Peter! That fixed all the errors as well as the spacing!
> There is one more thing I would like to accomplish -- to indent the
> Gloria Patri words just a bit. I'm unfamiliar with the words below
> systems, and have tried variou
On Mar 26, 2011, at 8:58 AM, Damian leGassick wrote:
> hi all
>
> as you can see below I've got some very repetitive note entry
>
> my attempt at a scheme substitution is not working
>
> can anyone help me out here?
>
> cheers
>
> Damian
>
>
> \version "2.13.54"
>
> xenAccGliss = #(define-
On Mar 26, 2011, at 7:57 PM, Ben Rudiak-Gould wrote:
> I think it is the sort of thing that ought to be
> doable, given LilyPond's support for all kinds of crazy stuff that
> almost nobody cares about, such as feathered beams.
i <3 feathered beams :(
On Mar 29, 2011, at 9:25 AM, David Kastrup wrote:
> m...@apollinemike.com writes:
>
>> Hey all,
>>
>> I'd like to rotate a note head and its stem in one fell swoop.
>>
>> This seems rather nightmarish to do. I can envision two solutions:
>>
&g
On Mar 31, 2011, at 7:21 AM, Jan-Peter Voigt wrote:
> Hello List,
>
> I installed Mac OSX 10.6.7 and now am unable to print my beautiful sheets
> from my mac! It seems to be related to a font problem in the last security
> update: http://www.tidbits.com/article/12078
> Luckily I work on Ubuntu
On Apr 2, 2011, at 12:01 PM, Paul Morris wrote:
> I was trying to use this snippet to experiment with customizing staff line
> colors:
> http://lsr.dsi.unimi.it/LSR/Item?id=700
>
> But I get the following error when trying to compile the snippet in LilyPond:
>
> Parsing...
> Interpreting music.
On Apr 3, 2011, at 7:31 PM, Javier Ruiz-Alma wrote:
> Any ideas as to how best to approximate the trill plus fingering notiation as
> shown in this image?
> The closest I can get is:
>
> a2.\trill^markup{\finger "3 2"}
>
> However, this doesn't show the cap over the digits, plus lilypond seem
On Apr 3, 2011, at 7:31 PM, Javier Ruiz-Alma wrote:
> Any ideas as to how best to approximate the trill plus fingering notiation as
> shown in this image?
> The closest I can get is:
>
> a2.\trill^markup{\finger "3 2"}
>
> However, this doesn't show the cap over the digits, plus lilypond seem
On Apr 3, 2011, at 11:42 PM, Javier Ruiz-Alma wrote:
> On Apr 3, 2011, at 7:31 PM, Javier Ruiz-Alma wrote:
>
>> Any ideas as to how best to approximate the trill plus fingering notiation
>> as shown in this image?
>> The closest I can get is:
>>
>> a2.\trill^markup{\finger "3 2"}
>>
>> Howe
On Apr 6, 2011, at 7:22 AM, James Lowe wrote:
> From: Peter O'Doherty [mailto:k.p.odohe...@gmail.com]
> Sent: 06 April 2011 12:21
> To: James Lowe
> Subject: Re: ottavation
>
> Thanks for your reply, James. My question wasn't very clear - there are
> numerous instances of ottava passages in the
,1
> }
>
> }}
> \layout {
> \context {
> % \Score ottavation=#"8" % this does not work
> } }}
>
>
>
>
> On 04/06/2011 01:51 PM, m...@apollinemike.com wrote:
>>
>> On Apr 6, 2011, at 7:22 AM, James Lowe wrote:
>>
>>> From
On Apr 7, 2011, at 3:02 PM, ivan.k.kuznet...@gmail.com wrote:
>
> Hello All;
>
> I am a first time poster. I have much experience with
> linux and latex and so hopefully I will catch on
> to lilypond without too much trouble.
>
> I am a composer of mostly atonal music, often with
> a lot of ti
On Apr 9, 2011, at 7:08 PM, ivan.k.kuznet...@gmail.com wrote:
>
>
> I have my first page of music notated with lilypond here:
>
> http://www.flickr.com/photos/61572029@N04/5603253711/
>
>
>
> CONCERNING area's marked in red A1 and A2:
>
> Sometimes I require one note to have two stems indic
On Apr 10, 2011, at 2:12 PM, Ivan Kuznetsov wrote:
> m...@apollinemike.com wrote:
> >
> > ivan.k.kuznet...@gmail.com wrote:
> > >
> > > I have my first page of music notated with lilypond here:
> > >
> > > http://www.flickr.com/photos/61572029
On Apr 19, 2011, at 7:25 AM, ornello wrote:
>
> Hello again,
>
> I thínk there is a wrong index is in completion-note-heads-engraver.cc, line
> 223:
>
> Pitch *p_last
> = unsmob_pitch (tie_note_candidate_events_[j]->get_property
> ("pitch"));
>
> but should be
>
>
On Apr 20, 2011, at 4:01 AM, flup2 wrote:
>
> I had the same problem in a score with these notes :
>
> d4-- c8->( g ~ g) g'->( f e)
>
> I had no problem before 2.13.60
>
> Philippe
>
Your snippet compiles fine in the most recent development version.
Cheers,
MS
_
On Apr 25, 2011, at 7:09 PM, Nils wrote:
> Hello,
>
> The goal is to have a very simple way of creating mixed-duration chords.I do
> not know of any way to do this in lilypond which does not involve different
> voices.
>
> So I want to change single notes in a so that they appear as
> differ
On Apr 26, 2011, at 6:04 AM, Nils wrote:
> Thank you for your answer. This is what I'm looking for.
> { }
> because it respects notehead-styles.
>
> The other method mentioned is limited to one style.
>
The other one can use any glyph you'd like.
> Do you know how breve and longa can be produ
changes I have to replace all the noteheads. Imagine this for a
> complex piano score where you need this kind of mixed-duration chords.
> Yes, I know I can use variables but its still less elegant than using
> duration-log.
>
> Nils
>
>
>
> On Tue, 26 Apr 20
On Apr 26, 2011, at 8:02 AM, Nick Payne wrote:
> This code used to work for me about a year ago, but when I try to build it
> using 2.13.60, I get the weird error shown in the console log output at the
> bottom. Is this a bug or not? I'm running 2.13.60 on Ubuntu 10.04 amd64.
>
> %=
On Apr 26, 2011, at 5:18 AM, David Kastrup wrote:
> Francisco Vila writes:
>
>> 2011/4/26 Helge Hafting :
>>> 2. Cross-staff chords could get simpler too. Switch staff inside
>>> a chord, and lilypond would know to connect the stems.
>>
>> Cross-staff chords is one of the very first features
On May 4, 2011, at 3:16 PM, Nick Payne wrote:
> Latest LP development version has inconsistency. See below.
>
> \version "2.13.61"
>
> \relative c'' {
>\time 3/4
>\key d \minor
> <<
>{ 8 r r s }
>\\
>{ d, r cis r r4 }
>\\
>{ g'8. f16 g8. bes16 a8. g16 }
> >>
> }
>
On May 5, 2011, at 2:12 AM, Nick Payne wrote:
> On 05/05/11 13:21, m...@apollinemike.com wrote:
>> On May 4, 2011, at 3:16 PM, Nick Payne wrote:
>>
>>> Latest LP development version has inconsistency. See below.
>>>
>>> \version "2.13.61"
>
On May 5, 2011, at 9:08 PM, Ken Smith wrote:
> I'm new to LilyPond (v2.12.3) and to music notation in general, so I'm just a
> tad beyond the starting point on LilyPond's learning curve. I'm scratching
> my head now as to how to write the repeats in my learning testfile,
> "Podmoskovnye Vecher
On May 6, 2011, at 7:57 AM, Werner wrote:
> Hello,
>
> musicxml2ly always brings in the paper-block „botton-margin“ instead of
> „bottom-margin“. Could somebody fix that?
>
Fixed in the most recent development version.
> Also I would prefere a line break to get
> „ \clef "treble" \key as \ma
On May 6, 2011, at 12:20 PM, padovani wrote:
> Are the footnotes working on the last development version?
> Are there examples on how to use them?
>
Yup.
If you check out the page
http://lilypond.org/doc/v2.13/input/regression/collated-files.html and do a
search for footnote, you'll see some
On May 7, 2011, at 1:49 AM, Nick Payne wrote:
> A bar excerpted from the Mertz guitar transcription of Ständchen. When I last
> worked on this score about ten months ago, using 2.13.27, I didn't have the
> problem with the beam on the notes in the middle voice being placed below the
> stem of t
On May 7, 2011, at 7:07 AM, luis jure wrote:
>
> on 2011-05-06 at 13:02 m...@apollinemike.com wrote:
>
>> Yup.
>
> wow, that's great! i had no idea footnotes had been introduced in lilypond.
They snuck in when none of us were looking.
>
>> you'll se
On May 14, 2011, at 4:02 PM, Xavier Scheuer wrote:
> Hi,
>
> Since a few months I am using my own "glissandoGrace" grace-function
> to print glissando without starting note (I made this "modified" grace
> invisible, but the glissando visible).
>
> Unfortunately I see that with 2.13.61 a glissand
Hey all,
I'm using a trick from the LSR to print string harmonics, but I'm not getting
the horizontal alignment I want between note columns (ideally everything should
line up horizontally @ its center). Any ideas on how to tweak this?
Cheers,
Mike
\relative c' {
<<
{
\oneVoice
On May 31, 2011, at 11:17 AM, Xavier Scheuer wrote:
> Hi,
>
> I have a question not about LilyPond itself but about notational
> conventions (rules). Maybe you know better or I know some have great
> references such as Ted Ross or Gardner Read.
>
> In 3/4 times, what would be the recommended no
Hey all,
I am working on a piece now where I need certain events to transmogrify into
other events. Specifically, whole-measure rests need to turn into
multi-measure rests, and given the way that the piece is algorithmically
generated, it would take a lot of time for me to change all of the `r
On Jun 16, 2011, at 2:43 PM, Graham Percival wrote:
> On Thu, Jun 16, 2011 at 01:50:27PM +0200, m...@apollinemike.com wrote:
>> If only it were that easy...
>> I have also tweaked the rest engraver to do automatic rest grouping.
>>
>> For example, if in my file I hav
On Jun 16, 2011, at 12:58 PM, Graham Percival wrote:
> On Thu, Jun 16, 2011 at 11:01:18AM +0200, m...@apollinemike.com wrote:
>> I am working on a piece now where I need certain events to transmogrify into
>> other events. Specifically, whole-measure rests need to turn into
&
Hey all,
I am lilypond-booking a latex document where I endeavor to insert short
snippets into fragments of text :
The dynamic should be between
\begin{lilypond}
\markup { \dynamic "ppp" }
\end{lilypond}
and
\begin{lilypond}
\markup { \dynamic "pp" }
\end{lilypond}
.
The typeset result is not n
On Jun 21, 2011, at 1:26 PM, Markus Pfaff wrote:
> A slur from one chord to another is positioned relative to the complete chord.
>
> In my opinion this reduces readability of the score. Shouldn't the slur go
> from the note inside of the chord wich it actually starts on to the note
> which it
On Jun 24, 2011, at 10:15 AM, Jan-Peter Voigt wrote:
> Hello list,
>
> I am now using lilypond 2.14 and have a question to the newly introduced
> \footnote command:
> What grobnames are allowed?
> The following works as expected:
> --snip--
> \relative c'' {
>\footnoteGrob #'NoteHead #'(1 .
On Jun 28, 2011, at 12:07 PM, Brian Lenth wrote:
> Hello everybody,
>
> I'm attempting to create a score that uses simultaneous multiple tempi, at a
> ratio of 5:7. As a test, I made this (see code below). Basically it uses the
> ridiculous time signature of 42/4, with barlines inserted to crea
On Jun 29, 2011, at 3:27 PM, Alex Jones wrote:
> Couple of questions:
> I'm trying to use pitchedTrill, but its creating a problem when I have a tie
> coming off the note:
>
> score.ly:125:88: warning: unterminated tie
> \pitchedTrill d4~ \startTrillSpan \! ees d16 \stopTrillSpan b (g ees
> \pi
Have you tried
(markup #:flat)
?
I'm not sure if it'll work, but it's worth a shot!
Cheers,
MS
On Jun 30, 2011, at 3:52 PM, Jay Lee wrote:
> I've tried various kinds of syntax, but can't seem to include the \flat
> symbol.
>
> \addChordShape#'DominantSeventh
> #ukulele
Yup!
\score {
\new ChoirStaff<<
\new Staff \with { \consists "Mark_engraver" } { R1 \mark \markup { \musicglyph
#"scripts.ufermata" } R1 }
\new Staff \with { \consists "Mark_engraver" } { R1 \mark \markup { \musicglyph
#"scripts.ufermata" } R1 }
\new Staff \with { \consists "Mark_engraver" } { R
On Jul 4, 2011, at 11:45 AM, Dmytro O. Redchuk wrote:
> On Mon 04 Jul 2011, 15:39 James Harkins wrote:
>> \version "2.14.1"
>>
>> \include "english.ly"
>>
>> \score {
>> \new Staff {
>> \key d \major
>> \numericTimeSignature
>> \time 4/4
>> r4
>> \times 4/5 { 16\< > d'' b''>~ }
>> 16
On Jul 5, 2011, at 8:29 AM, Joey wrote:
> Just wondering if Lilypond can handle this type of situation;
>
> In Ferneyhough's etudes transcendentales,
> he employs meters such as 2/12 or 2/10,
> acting as literal subdivisions of the semi-breve.
> This of course translates to n-tuplets,
> but frees
On Jul 5, 2011, at 11:45 AM, Joseph Wakeling wrote:
> On 07/05/2011 08:57 AM, m...@apollinemike.com wrote:
>> On Jul 5, 2011, at 8:29 AM, Joey wrote:
>>
>>> In Ferneyhough's etudes transcendentales,
>>> he employs meters such as 2/12 or 2/10,
>>> a
Karim Barkati is currently typesetting a score not
unlike this for viola & electronics. I'm ccing him to this e-mail: his
approach also uses glissandi and looks really nice.
For the arrow:
\relative c' {\override Glissando #'bound-details #'right #'arrow = ##t c1
\glissando s1 c1 }
For the c
On Jul 7, 2011, at 2:16 PM, James Harkins wrote:
> At Thu, 7 Jul 2011 10:21:01 +0200,
> m...@apollinemike.com wrote:
>>
>> Karim Barkati is currently typesetting a score not
>> unlike this for viola & electronics. I'm ccing him to this e-mail: his
>>
On Jul 10, 2011, at 4:34 PM, Bernardo Barros wrote:
> I'm thinking of creating a font for contemporary music with the most
> commonly used symbols.
> I miss a lot of specific symbols and I'm sure a lot of LilyPond users do too.
>
This is a fantastic idea.
> I know that there are some sources fo
On Jul 13, 2011, at 1:48 PM, Janek Warchoł wrote:
> Is it possible to change gap between beams (i.e. the distance between the
> lines) painlessly?
> \override Beam #'gap = #2 doesn't work, i don't find anything in LSR nor
> Internals...
>
> cheers,
> Janek
You have to override the Beam #'lengt
On Jul 18, 2011, at 2:23 PM, Stefan Thomas wrote:
> Dear community,
> when I compile the following file with
> lilypond -dbackend=svg
> the svg-output looks different to the pdf, I've compiled with lilypond.
> The symbol for "muchair" is not displayed correctly.
> Here the example:
>
> \version
On Jul 26, 2011, at 10:14 AM, Urs Liska wrote:
> Hello list members,
>
> after fiddling around too long and getting lost with the basics, I decided to
> ask my question here.
> I know it's basic, and I wonder why I get stuck this way, but obviously I'm
> confused and unable to find the right pl
On Jul 26, 2011, at 3:55 PM, Paul Morris wrote:
> Upon opening LilyPond 2.14.2 I got the following error. (OSX 10.7)
>
> LilyPond Error
> An unexpected error has occurred during execution of the main script
>
> ImportError:
> dlopen(/Applications/LilyPond.app/Contents/Resources/lib/python2.6/l
On Jul 26, 2011, at 4:08 PM, padovani wrote:
> Hello mike,
>
> I want to try you vgs on Lilypond 2.15.5-1 (packaged .app) / OSX 10.6.7.
>
> I've installed guile 1.8.7 and glpk 4.45 through macports.
> Do I need to change vgs Makefile or the configure file in some way? If yes,
> how exactly?
>
On Jul 29, 2011, at 2:33 PM, Jerod Sommerfeldt wrote:
> Hello,
>
> I'm new to LilyPond and have been searching for a useful strategy to write
> out roman numeral analyses for my class' theory worksheets. Here's what I've
> come up with:
>
> <<{
> \clef bass
> \override Score.TimeS
Hey all,
I recently came across an announcement for an incredible composition
competition for SIX ORGANS (1one).
http://mmp.cm-cascais.pt/NR/rdonlyres/5BBEE22D-3C21-4996-AEFE-A2C0B2FAF9C9/12487/regulMCIngles2.pdf
The rules state that one can only use Sibelius or Finale. Thinking that this
On Sep 11, 2011, at 11:28 PM, Nick Payne wrote:
> Just tried to rebuild one of my scores using 2.15.10, and got a number of
> warnings in the log like so:
>
> warning: cannot find property type-check for `flag-style' (backend-type?).
> perhaps a typing error?
> warning: doing assignment anyway
Hey all,
I'm working on a piece that uses a fair bit of spoken text.
The best solution I've found so far to typeset X amount of spoken text in
measure Y is :
\version "2.14.0"
textnote =
#(define-music-function (parser location music marky) (ly:music? markup?)
#{
\once \override NoteHead #'s
On Sep 21, 2011, at 1:53 AM, Trevor Daniels wrote:
>
>
> Tuesday, September 20, 2011 8:31 PM
>
>> I'm working on a piece that uses a fair bit of spoken text.
>>
>> Does anyone have any suggestions as to:
>>
>> (1) A better way to do this; and/or
>> (2) If there is no better way, how to fix th
Hey users,
This question has been kicked around a few times on this list, but I can't find
a current response, so I'm looking for some help.
In a piece I'm working on, the singers need to clap in rhythm and say text at
the same time. In order to do this, I'm creating two voices - a text voice
On Sep 22, 2011, at 7:34 AM, Bernardo Barros wrote:
> It would be possible to make \autochange work for big chords that cross
> staffs?
>
> For example:
>
> \score {
> \new PianoStaff {
>\autochange {
> < gis d, fih' disih'' ais'' dih''' fis'' cih''' eih''' gih'''
> aisih''' c >
On Sep 23, 2011, at 2:30 PM, Peekay Ex wrote:
> Mike
>
> On Fri, Sep 23, 2011 at 1:22 PM, Urs Liska wrote:
>> Am 23.09.2011 01:53, schrieb Tim Roberts:
>>>
>>> Janek Warchoł wrote:
If your friend would like to see what Lily can do, i'd show him this:
http://www.apollinemike.com/
On Sep 23, 2011, at 9:38 PM, Seth Williamson wrote:
> This has all been very interesting. But almost nobody addressed my main
> question. Namely, are there any, or many, pros out there who have chosen
> LilyPond over Sibelius or Finale? I did appreciate hearing from Kieran
> MacMillan.
>
I
On Sep 26, 2011, at 11:27 AM, Nick Payne wrote:
> I'm setting Bach's BWV853 (Prelude from WTC 1), using showLastLength to just
> engrave the last six bars added, and as I add bars I'm getting warnings
> about unterminated ties that come and go as the bars are added. The reason I
> say the warn
On Sep 25, 2011, at 10:50 AM, Shevek wrote:
>
> 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 Lilypo
On Sep 29, 2011, at 9:31 AM, David Kastrup wrote:
> Mike Solomon writes:
>
>> Hey all,
>>
>> If I want an accordion player to use stops to play a passage one
>> octave under the written pitch, I was wondering what the appropriate
>> notation was? I found the info about discant notation in the
On Sep 29, 2011, at 9:53 AM, m...@apollinemike.com wrote:
> On Sep 29, 2011, at 9:31 AM, David Kastrup wrote:
>
>> Mike Solomon writes:
>>
>>> Hey all,
>>>
>>> If I want an accordion player to use stops to play a passage one
>>> oc
On Sep 30, 2011, at 10:20 AM, Tim Sawyer wrote:
> On 30/09/11 07:12, Jay Anderson wrote:
>> On Fri, Aug 19, 2011 at 5:30 AM, Tim Sawyer
>> wrote:
>>> http://percussion360.com/
>>>
>>> This works by taking SVG generated from lilypond, munging it a bit
>>> (including matching it up with the .ly s
On Oct 4, 2011, at 10:10 PM, Tim Roberts wrote:
> Tim Reeves wrote:
>>
>> Nothing odd about it at all.
>
> I disagree, but we'll get to that in a moment.
>
>> It would be odd if a horn part in C or E, etc. had any key signature at all.
>
> Why? Every other instrument has a key signature appro
On Sep 21, 2011, at 8:12 AM, m...@apollinemike.com wrote:
> On Sep 21, 2011, at 1:53 AM, Trevor Daniels wrote:
>
>>
>>
>> Tuesday, September 20, 2011 8:31 PM
>>
>>> I'm working on a piece that uses a fair bit of spoken text.
>>>
>&
On Oct 7, 2011, at 2:04 PM, m...@apollinemike.com wrote:
> On Sep 21, 2011, at 8:12 AM, m...@apollinemike.com wrote:
>
>> On Sep 21, 2011, at 1:53 AM, Trevor Daniels wrote:
>>
>>>
>>>
>>> Tuesday, September 20, 2011 8:31 PM
>>>
>>&
On Oct 12, 2011, at 7:45 AM, GRAEME F ST CLAIR wrote:
> The same .ly that gave me what I wanted at 2.12.3 is now giving me an
> extraneous clef and time-signature protruding from the top left corner of the
> first staff in 2.14.2. Is this intended, and if so, how can I remove it?
>
> GFStC.
>
On Oct 19, 2011, at 11:39 AM, Gerard McConnell wrote:
> I often see topics introduced here in which solutions are sought for
> font-related or position-related problems. Almost all of these problems are
> easily solved by creating an SVG file with Lilypond and then editing that
> file with Ink
On Oct 22, 2011, at 1:44 AM, Thomas Morley wrote:
> Hi Mke
>
> 2011/10/21 m...@apollinemike.com
> i <3 hacks
>
> \version "2.15.12"
> \relative c'' {
> \override TupletBracket #'stencil = #ly:slur::print
> \override TupletBracket #
On Oct 24, 2011, at 9:38 AM, J Ruiz wrote:
> I need to display again the current Clef and Key Signature.
> I found this command to force Lilypond to show the current Clef:
> \set Staff.forceClef = ##t
>
> Is there a command to also force to print the current key signature after the
> clef?
>
On Oct 24, 2011, at 10:01 PM, Ole Schmidt wrote:
> Hi,
>
> Can anyone point me in the right direction, I need a little circle above the
> letter (norwegian...)
> like this:
> å (see also attached screenshot if it is not displayed correctly)
> Whats do I have to enter, I can not found the utf-
Hey all,
I'm currently working on a bit of music with a key signature in the ossia that
is not in the main voice. The typesetting is meh due to the large gap to
accommodate the key signature. Is there any way to make it such that:
a) the key signature is typeset before the arrival of the note
On Oct 28, 2011, at 10:57 AM, Nick Payne wrote:
> I'm using glissandi to indicate slides in fingering. The following code
> should give me a glissando between the fingering digits (it did in older
> versions), but on 2.15.15 I get no glissando at all:
>
> \version "2.15.15"
>
> \relative c''
On Nov 1, 2011, at 8:31 AM, Nick Payne wrote:
> The behaviour seems to have changed - with 2.15.16 I now get a glissando
> between each note. However, I'm using glissandi to indicate a fingering slide
> along the same string, and only want the glissando against this one note. I
> could previous
On Nov 1, 2011, at 10:59 AM, Nick Payne wrote:
> On 01/11/11 20:37, m...@apollinemike.com wrote:
>> On Nov 1, 2011, at 8:31 AM, Nick Payne wrote:
>>
>>> The behaviour seems to have changed - with 2.15.16 I now get a glissando
>>> between each note. However,
On Nov 3, 2011, at 12:56 PM, Jiri Zurek (Prague) wrote:
>
> How can I control the space between the last note of a bar and the barline?
> There are number of tools to control the space between a barline and the
> next note in the BarLine space-alist (first-note fixed-space . 1.3)
> (next-note se
On Nov 6, 2011, at 4:56 AM, harm6 wrote:
>
> Hi,
>
> using a beam-stencil-override, I'd wish to adjust the stem-length within the
> beam-stencil-override. The following (boiled down) function works fine in
> most cases, even with kneed-beams. But when using it in a cross-staff
> example with kn
On Nov 14, 2011, at 11:02 AM, takumi ikeda wrote:
> When using special notehead, accidental and notehead collide to some specific
> notes. What should I do in order to avoid this using Scheme?
>
> \version "2.14.2"
>
> triBk =
> #(ly:make-stencil
> (list 'embedded-ps
> "gsave
>
Hey users,
I am trying to create the feta font note head stencil in Scheme so that I can
bend it to my heart's liking with various tweaks, but I am running into a
problem of my not being able to convert MetaFont to Scheme (mostly because I
don't speak MetaFont). I did, however, get the SVG pat
On Nov 18, 2011, at 11:48 PM, m...@apollinemike.com wrote:
> Hey users,
>
> I am trying to create the feta font note head stencil in Scheme so that I can
> bend it to my heart's liking with various tweaks, but I am running into a
> problem of my not being able to conver
On Nov 22, 2011, at 1:44 PM, Henning Hraban Ramm wrote:
> Hello Lilyponderers,
>
> I engraved the notes for a songbook, using LilyPond of course.
> Now the publisher wants to create an App with some (about 30) of the songs
> and needs karakoke files (MP3+G or CDG).
>
> As far as I researched, t
hey all,
i have a lot of lyrics in a row where i need them to appear as :
\markup \column { foo bar } \markup \column { who what } \markup \column {
hello world }
To avoid typing the markup command every time, I'd like to do:
\command #"foo" #"bar" \command #"who" #"what" \command #"hello" #"w
On Nov 24, 2011, at 3:05 PM, Jan-Peter Voigt wrote:
> Hey Mike,
>
> here's one, that splits up strings to columns. So its the other way round
> than your bonus point part. But it should save typing, because
>
> \markup \column { foo bar } \markup \column { who what } \markup \column {
> hello
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