Hello again everybody! THanks to the kind help i have recieved in the
list, I was able to move forward with my study list for the chord of
the venezuelan "cuatro". Nonetheless, I now notice discrepancies
between the fretboards that are completely unexpected.
This is the full code. Please n
Thanks Trevor for your suggestions.
I hadn't even considered the multi-score solution because that splits
the midi to two files. And then I realised that, in this case, it
doesn't really matter since the midi and PDF definitions are quite
different.
The other solution consists of 'adapting' an ex
Dear Jonathan and Carl: Thanks a lot for your kind help. I actually
managed to solve the issue. There are some subtleties involved with
the relative notes :) but, thanks to both of you, I was finally able
to overcome this problem.
Thanks again.
Lo que quiere el sabio lo busca en sí mismo;
2008/10/28 George_ <[EMAIL PROTECTED]>:
>
> I did some tests and they came out perfectly fine, so it has to be something
> wrong with my ly file, right? Except I can't find anything in there that I
> did differently between the crescendo that came out right and the ones that
> started coming out wr
2008/10/28 George_ <[EMAIL PROTECTED]>:
>
> I did some tests and they came out perfectly fine, so it has to be something
> wrong with my ly file, right? Except I can't find anything in there that I
> did differently between the crescendo that came out right and the ones that
> started coming out wr
I did some tests and they came out perfectly fine, so it has to be something
wrong with my ly file, right? Except I can't find anything in there that I
did differently between the crescendo that came out right and the ones that
started coming out wrong. The file includes one crescendo done correct
Roman
Further to my previous answer, here is one way to code
your example. This corresponds to the first method in
the Learning Manual. I would prefer, though, to place
the music in variables and the staff structure in the
score block.
Trevor
\version "2.11.60"
\layout { ragged-right = ##t }
Roman
I think you may find some help towards the end of section 3.2.3 in the 2.11
Learning Manual. Two approaches to your problem are discussed there - the
easiest second!
Trevor
- Original Message -
From: "Roman Stawski" <[EMAIL PROTECTED]>
To: "Mats Bengtsson" <[EMAIL PROTECTED]
> Roman Stawski wrote:
>> I want to have one group of parallel staves following another
>> sequentially. The constitution of the two groups is quite different.
>> (In the real piece I'm using \removeEmptyStaffContext to hide the
>> first group when I finish with it.) A cut-down example is:
>>
>> -
2008/10/28 George_ <[EMAIL PROTECTED]>:
>
> I didn't change anything in between the times when the crescendi came out as
> hairpins and when they came out as text. In any event, the crescendi don't
> revert to hairpins when I put in \crescHairpin. So, now I'm just confused...
>
> George
Try to iso
I believe Trevor showed how to make the change global in another
response to your email.
The nicest way to do dynamics and the crescendo and decrescendo would be
to use the piano-centered-dynamics template and put the dynamics in a
separate voice.
http://lilypond.org/doc/v2.11/Documentation/
Thanks for reply. I didnt found in the documentation how long the fingeringOrientations are active. I expected they are global from
the point they occure. But it looks like they are reset, when I open a new voice.
I have another question with the example. I want to add dynamics. I already added
I didn't change anything in between the times when the crescendi came out as
hairpins and when they came out as text. In any event, the crescendi don't
revert to hairpins when I put in \crescHairpin. So, now I'm just confused...
George
Valentin Villenave wrote:
>
> 2008/10/28 George_ <[EMAIL P
2008/10/28 George_ <[EMAIL PROTECTED]>:
> For some reason, about 15 bars into typesetting a piece, whenever I use and
> \< to typeset crescendi, Lilypond outputs this with the word 'cresc.' This
> doesn't happen with \>, the decrescendo prints normally, and it only started
> occurring, as I said,
For some reason, about 15 bars into typesetting a piece, whenever I use and
\< to typeset crescendi, Lilypond outputs this with the word 'cresc.' This
doesn't happen with \>, the decrescendo prints normally, and it only started
occurring, as I said, about 15 bars in - so the first few crescendi I
I spent an hour or two looking through the docs before emailing the mailing
list, but I'll take another look.
On Mon, Oct 27, 2008 at 11:37 PM, Graham Percival
<[EMAIL PROTECTED]>wrote:
> I have a radical suggestion: look at the docs.
>
> Make sure you study the 2.11 docs, not the 2.10 stuff.
> -
Forwarded to list, because I didn't copy my reply my mistake.
-- Forwarded Message
From: Carl Sorensen <[EMAIL PROTECTED]>
Date: Mon, 27 Oct 2008 21:20:29 -0600
To: Jesús Guillermo Andrade <[EMAIL PROTECTED]>
Conversation: TabStaff stringTuning problem?
Subject: Re: TabStaff stringTuning probl
On Monday 27 October 2008 08:36, Tom Cloyd wrote:
> In a 3 voice piece, I need a rest in the middle voice, but there's not
> enough space. I'm trying to shift the rest to the right,
The rest should be to the left, before a stem. Otherwise, it looks like
the rest should follow the note which pre
This issue was mentioned on the mailing list as late as a few days ago.
As is described in the documentation (at least the 2.11 version),
specifying fingeringOrientations only works for fingerings that are
attached to chords. If you want it for a single note, you have to make
it a single note ch
Reinhold Kainhofer wrote:
No! After all, you are already reading the documentation, so a link
to "Documentation" simply does not make sense.
I was visiting LM 4.6.1 this morning, reading about tweaking output,
and I wondered afterwards if, while there, I could have argued that
a link to "Tw
Helge
I've only tested the following in 2.11. I hope it also
applies to 2.10.
You can either move the fingeringOrientations command
inside the << { } \\ { place-it-here notes } >> construct
so it is immediately before the notes in question, or set
it in the Staff context where it is with
\set
On 2008/10/26 01:41 +0200, Robin Bannister wrote:
> Reinhold Kainhofer wrote:
> > How about "Overview" instead of "Index"?
>
> A better choice!
> And I counter with "Documentation Home".
>
> But a second word is overkill.
I'd like "Up to" proposed by Francisco, and "documentation home" i
It looks as though the command to set fingeringOrientations was not
affecting the lower voice when you created multiple voices using <<{ \\
}>>. If you put the \set fingeringOrientations command inside the {} of
the voice that actually contains the fingerings, then you get the
orientation you
Richard Wattenbarger wrote:
the d-flat tie doesn't render in the upper voice
When you ask for tieWaitForNote like this, it gets turned on for the voice
and doesn't affect any other voices, e.g. a voice for the right hand.
The << {} // {} >> construct needs two voices and sets up its own,
an
Hello,
I write a piece for harp. I need sometimes fingering information for the player.
While sometimes fingering above the staff is ok, I need it at the left side under some circumstances. In the example I want to write
the fingering number for the notes "ces" and "es" at the left side of the a
Thank you for your answer.
I tried your proposed solution (B). My previous version was indeed using new
names for the staffs, so Lilypond would have no way of knowing I wanted them
to match up (i.e. that \Sop should follow \SopIntro). I tried something like
this:
\score {
{
\ChoirIntro
<<
\Soli
Thank you for your answer. I tried this, and the pdf is right but the midi
only contains the introduction.
However, I found a different solution; see my reply to Mats Bengtsson in
this thread.
Best,
--
Martin Frankland
Marek Klein wrote:
>
> If output of two score blocks is what you want, yo
27 matches
Mail list logo
