Sorry about the double post regarding 'Cadenza Break.' I got the answer
the first time. No need to ram it into my skull. :)
Thanks to all who gave the answer.
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Roland Goretzki wrote:
Hello Ruven,
the postings to the list need so loong time in these days, so I will
forward the answer, which I sent to the list, directly to You:
That was very thoughtful of you, thank you very much!
I unfortunately posted several instances of this question to the list
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Just upgraded to 2.1.29. I have a construct like this:
8 dis'16 \>(cis16)\!
and I get a warning "Can't find start of (de)crescendo:"
The decrescendo draws fine, but the warning is new with 2.1.29.
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I seem to have figured out how to set up my percussion definitions.
Now, I need to have a single staff which changes between non-pitch
percussion and pitched percussion (e.g. vibraphone). The staff must
start out as a \notes staff and change to \drums, and back and forth
several times. How do I
Will Oram <[EMAIL PROTECTED]> writes:
> I'm lilyponding a violin cadenza that spans a full page. It's
> unmeasured, so no barlines. Consequently, \break doesn't work
> anymore.
Use invisible bar lines, like \bar "" where you'd like to
allow line breaking.
--
Feri.
_
Hello,
I am using Lilypond 2.1.28 on Mac OS X 10.3.2. I can't manually set
the horizontal spacing of my music. The example given in the
reference manual,
\paper { \translator {
\ScoreContext SpacingSpanner \override #'spacing-increment = #3.0
} }
does not work for me. I also tried pu
Hello list, hello Christoph,
You wrote:
> I couldn't find any special rules for the typesetting of songs.
> The 21st edition of the Duden gives the following rules (corresponding
> to the new orthography):
>
> - The ess-tset is usually treated like any other consonant.
>An example similar
Hello list, hello Thomas,
You wrote:
> how can I use the font used for fingerings for \markup?
>
> I tried:
>
> \markup { \number \tiny 3 }
Try:
\markup { \finger 3 }
This creates the normal fingering font for \markup.
> but the resulting number is much too big.
When I type:
Hi,
I want tempo changes to affect MIDI output only, i.e. there should be no
metronome marks in the output. Just removing the Metronome_mark_engraver
works:
\paper {
\translator {
\ScoreContext
\remove Metronome_mark_engraver
}
}
However, now I get annoying warnings:
On Thursday 04 March 2004 05:14, Mats Bengtsson wrote:
> The question is what is the correct typesetting practice.
> As a musician, how can I know if the ottava applies only to
> the upper voice or to the full stave
That's easy. It only applies to the voices that are marked. If you
have 3 parts
Cygwin binary packages of LilyPond 2.1.28 are available from my homepage.
The package can be installed by adding and selecting my homepage as mirror:
http://www.inf.bme.hu/~berti/lilypond
Greetings,
Bert
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Your mail to 'Bug-lilypond' with the subject
Hokki =)
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I am trying to get a measure like this -
8thRest 8thNote 8thNote 8thNote 4Note triplet8thNotes
using this code
r8 a' csharp'' e'' csharp''4 \times 4/3 {gsharp''8[ gsharp'' gsharp'']}
but it fails a bar check, and I don't understand why. Below is the
complete text of the song I am working on (it's
Edward Sanford Sutton, III wrote:
Maybe a LilyPond bug; I don't know when that call is made.
Should this be documented or fixed? I hope this helps; the following does
'make it work' by making the two stafflines once again line up:
lowerOne =
\notes \relative c {
\voiceOne
\partial 8
Maybe a LilyPond bug; I don't know when that call is made.
Should this be documented or fixed? I hope this helps; the following does
'make it work' by making the two stafflines once again line up:
lowerOne =
\notes \relative c {
\voiceOne
\partial 8
\grace s32
r8
}
On Wednesday
I am have (re)started discussions with a local professional print/binding shop
around professionally publishing some Lilypond-based work. In part, I'd like
to set something up around Tex-based small-run business here (here being St.
Albert - adjacent to Edmonton, Alberta, Canada).
Anyone have
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Wee! ;)))
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Your mail to 'Bug-lilypond' with the subject
Pricelist
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>I'm having a problem with the \acciaccatura when used as the first note
>of a measure in a PianoStaff. With the acciaccatura in, I get a treble
>staff that has a treble clef, key signature, time signature, the
>acciaccatura, a time signature, then the start of the regular notes.
>
>In the bass
Your mail to 'Bug-lilypond' with the subject
^_^ mew-mew (-:
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I'm trying to understand percussion. I found the example in the manual
for defining your own drum list, but I'm not sure it tells me everything
I need to know. For example, I need to accomodate five temple blocks
and four congas. In the manuscript the temple blocks are always on the
staff lines,
Hi,
the standard way to write piano music seems to put something like this
in the score block:
\context PianoStaff <<
\context Staff = treble {
\trebleNotes
}
\context Staff = bass {
\bassNotes
}
>>
However, for my first "masterpiece" (still the chaconne), th
The manual warns about starting a piece with grace notes if there is
more than one staff. I have to do this. I've got time changes occuring
at the same time I have grace notes at the beginnings of measures.
Sure enough, it is giving undesired results. Is there a workaround?
-David
Hello list, hello Ruven,
> I'm using 2.1.28. How do I adjust (decrease) the distance between
> systems of PianoStaff staves? I figured out how to adjust the distance
> between the upper and lower staves within the systems.
The following line in the paper block will enlarge the distance between
I'm having trouble with \set tupletSpannerDuration. Am I doing
something wrong or have I found a bug? I need to make numerous changes
to tupletSpannerDuration during a piece. After doing \set, when I need
to change it, should I do \unset and then \set to the new setting? I'm
getting "programmin
On Wednesday March 3 2004 14:32, Will Oram wrote:
> I'm lilyponding a violin cadenza that spans a full page. It's
> unmeasured, so no barlines. Consequently, \break doesn't work anymore.
> I can't use \partial anymore, either. How can I break one megalarge
> cadenza passage at designated spots?
How
On Tuesday March 2 2004 13:41, [EMAIL PROTECTED] wrote:
> Hi everyone,
>
> I need help with lyrics. I am using version 2.1.0-2 in Debian Sarge
> (testing) and my lyrics are not lining up under notes. I need to know
> how to install spaces in lyrics where there are rests.
I think it is something
On Wednesday 03 March 2004 20:12, Han-Wen Nienhuys wrote:
> [EMAIL PROTECTED] writes:
> > Greetings,
> >
> > I am attempting to mix ottava brackets and polyphony.
> > I have to following fragment:
> >
> > << { \skip 2. #(set-octavation 1) \acciaccatura cis' cis''4
> > \acciaccatura fis
If you insert a \bar "", that will not be visible in the score but will
give you a place to hang your \break.
On Wed, 2004-03-03 at 16:32, Will Oram wrote:
> I'm not on the lilypond list for the time being, due to the volume of
> virus spam I've been getting. If you respond please don't forget to
On Wed, 03 Mar 2004 16:32:51 -0500
Will Oram <[EMAIL PROTECTED]> wrote:
> I'm lilyponding a violin cadenza that spans a full page. It's
> unmeasured, so no barlines. Consequently, \break doesn't work anymore.
> I can't use \partial anymore, either. How can I break one megalarge
> cadenza passage
On Tuesday 02 March 2004 15:06, Reuben Thomas wrote:
> If a page break occurs half-way through a bar, because I have
> something like:
>
> \time 4/2
> a1 \bar ":" a1 |
>
> then no bar number is printed on the page that starts half-way
> through a bar. Is this a bug?
It is a bug of *very* long stan
Hello dear,
I am a student of information Technology, I have some troubles in
developing the music to notation software I want to develop this in the Visual C++
Tool please help me to do this my e-mail address is as follows:
[EMAIL PROTECTED]
please replay me as so
How does one use feta characters inside LaTeX (as part of
lilypond-book)? I'd like to include some performance notes, including
a segno symbol and a flat symbol. If I was doing it inside a lilypond
header, I know I could do \fetachar\fetasegno and \fetachar\fetaflat,
but when I try that within th
I have a midi file that I have tried to import that was given to me in ees
major. It imports with the flatted notes respelled as the enharmonic sharps.
Should this also be controlled by the -k flag of midi2ly, is there some other
parameter I am overlooking, or is this just something I need to
Is there a preferred way to have two different dynamics in a section of
music to indicate that it is played at one level the first time and at the
next level the second time?
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