Hi,
I have a three-movement piece and want to set the titles of the individual
moments (and only them) above the respective movements, formatted large,
bold and centered as subtitle rather than piece, which I find too small.
I tried something like
\header { subtitle = \markup { "III. " \endash "T
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Am Samstag, 22. März 2008 schrieb Jan Nieuwenhuizen:
> John Mandereau writes:
> > Would it be possible to be able to visit lilypond.org in a manually
> > selected language (e.g. via "About automatic language selection" page or
> > from each menu), fall
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Am Sonntag, 23. März 2008 schrieb Valentin Villenave:
> 2008/3/17, Valentin Villenave <[EMAIL PROTECTED]>:
> Greetings everyone,
>
> A new "LilyPond Report" issue is out:
Great!
> http://valentin.villenave.info/spip.php?article59
Whoah, you know, th
Thanks, it works nicely. And it was in the reference after all, but not
so clearly:
under spanner-interface:
minimum-length (dimension, in staff space)
Try to make a spanner at least this long, normally in the
horizontal direction. This requires an appropriate callback for the
springs-and
Hi all,
a user at lilypondforum.de asked how to stop a staff group and start a
new one after a short white space with a new system start delimiter
bracket. I couldn't really help, I pointed to the \startStaff and
\stopStaff commands, but they won't produce the starting bracket.
Also when making
On 24 Mar 2008, at 19:11, Michael David Crawford wrote:
I learned a scale with double-sharps just the other day. Let me
see... Key of A# Minor. From Scales and Arpeggios for Keyboard by
Palmer, Manus and Lethco, page 52:
A# Harmonic Minor:
A# B# C# D# E F# G## A#
A# Melodic Minor, As
On 24 Mar 2008, at 12:16, M.v.Strien wrote:
I almost feel too silly to ask :-), but do these notes exist at all
in music/musictheory?
The notation with sharps and flats derives from transpositions of a
diatonic scale in fifths, and for rational intervals (like the
Pythagorean tuning), it
I learned a scale with double-sharps just the other day. Let me see...
Key of A# Minor. From Scales and Arpeggios for Keyboard by Palmer,
Manus and Lethco, page 52:
A# Harmonic Minor:
A# B# C# D# E F# G## A#
A# Melodic Minor, Ascending:
A# B# C# D# E F## G## A#
Now, F## is G natural
Hi,
I seem to remember that this problem has been discussed a number of times
before.
As Trevor points out, the \partcombine code creates its own contexts and adds
the combined notes to them depending on whether or not they are combined. I
think (from memory) it creates 3 contexts, "one", "two"
2008/3/24, Kieren MacMillan <[EMAIL PROTECTED]>:
> Hi Francisco (et al),
> > This chord is exactly as common as the \key aeses \minor (14 flats)
> > signature.
> Incorrect: the G-flat diminished 7th chord could easily appear in a
> descending sequence (e.g., resolving to an F sixth chord).
>
>
you can find examples of feses and ceses in scriabin's late piano
music (e.g. sonata #10)
d
On 24 Mar 2008, at 11:16, M.v.Strien wrote:
Hi,
I almost feel too silly to ask :-), but do these notes exist at all
in music/musictheory?
Feses
Eisis
Ceses
Bisis
gr. Maarten
__
Stefan Thomas wrote:
I have an rather old machine and when lilypond is processing a ps-file
from a larger file, it can happen, that it takes about 10-15 Minutes to
calculate. Is there any possibility to make the process of calculating
faster?
If you're just wanting to check your progress, b
Peter,
\partcombine cannot handle explicit voice contexts within it - it will
create its own voice contexts called one and two. So this will work:
\version "2.11.41"
\score{
\context Staff
\partcombine
\relative c' {s4. s8 b8. d16 }
\relative c'
On 24 Mar 2008, at 16:47, Graham Percival wrote:
Oh, I see. Well, you could create an invisible time signature of
1 / 14353, then create a note with r1*0.568292 -- I haven't
checked the math here, though.
Yeah, it gets really complicated but I could try.
I recommend keeping this discu
Dear lilypondusers,
I have the following problem:
I have an rather old machine and when lilypond is processing a ps-file from
a larger file, it can happen, that it takes about 10-15 Minutes to
calculate. Is there any possibility to make the process of calculating
faster?
Thanks,
Stefan
Oh, I see. Well, you could create an invisible time signature of
1 / 14353, then create a note with r1*0.568292 -- I haven't
checked the math here, though.
I recommend keeping this discussion on the mailist, though, since other
people here know much more about this than me.
Cheers,
- Graham
Hi Francisco (et al),
This chord is exactly as common as the \key aeses \minor (14 flats)
signature.
Incorrect: the G-flat diminished 7th chord could easily appear in a
descending sequence (e.g., resolving to an F sixth chord).
I don't have an engraved example off the top of my head -- an
That's called "proportional notation". It's in the manual.
Cheers,
- Graham
On Mon, 24 Mar 2008 15:17:38 +0100
Andrea Valle <[EMAIL PROTECTED]> wrote:
> Hi to all,
> I guess that the reply will be "no" but...
>
> Is there a way to have time notation in lily?
>
> I mean: assuming that you have
Hi to all,
I guess that the reply will be "no" but...
Is there a way to have time notation in lily?
I mean: assuming that you have a line which represent n beats, to
put a not at the space representing a certain time point?
(like in many Earle Brown's pieces)
Thanks
Best
-a-
On Mon, 24 Mar 2008 15:10:14 +0100
"Francisco Vila" <[EMAIL PROTECTED]> wrote:
> 2008/3/24, Kieren MacMillan <[EMAIL PROTECTED]>:
> > This would arise "naturally" -- if you'll pardon the pun -- as the
> > (diminished) seventh of a G-flat diminished seventh chord:
> >
> >
>
> This chord is
2008/3/24, Kieren MacMillan <[EMAIL PROTECTED]>:
> Hi Maarten,
>
>
> > I almost feel too silly to ask :-), but do these notes exist at all
> > in music/musictheory?
> >
> > Feses
>
>
> This would arise "naturally" -- if you'll pardon the pun -- as the
> (diminished) seventh of a G-flat diminis
Hi Maarten,
I almost feel too silly to ask :-), but do these notes exist at all
in music/musictheory?
Feses
This would arise "naturally" -- if you'll pardon the pun -- as the
(diminished) seventh of a G-flat diminished seventh chord:
The other notes you asked about would arise in
Hi,
I almost feel too silly to ask :-), but do these notes exist at all in
music/musictheory?
Feses
Eisis
Ceses
Bisis
gr. Maarten
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