I’ve found the nice snippet in the learning manual for creating a
Dynamics context. However, as I am making MIDI and PDF output, I would
prefer to have the dynamics intrinsic to each voice, and merely suppress
their redundant engraving.
As you can see in the attached, I’ve successfully suppressed
On 14 January 2012 21:24, Caio Barros wrote:
> Hi everybody.
> I don't know if this was already issued (I did some google and didn't find
> anything) but it seems that tuplet brackets are unaware of fermatas.
>
> \version "2.14.2"
>
> \relative c' {
>
> \times 2/3 { r8 c4\p \fermata }
>
> }
>
>
>
On 1/13/12 7:02 PM, "Vaughan McAlley" wrote:
>I work with renaissance choral music separated into sections with
>double barlines. There¹s not really any need to put a line-break at
>these double bars, but it looks bad if the last bar of a section
>begins a line or the first bar of a section ends
On 01/14/2012 06:43 PM, Carl Sorensen wrote:
> This is the job of \partcombine.
Perfect! Thanks! It works great in 2.12.3, too.
For the archives, in this case one will also want:
\new Staff = "right hand" \with {
printPartCombineTexts = ##f
}
~Chris
--
Chris Maden, text nerd http://
On 1/14/12 4:09 PM, "Christopher R. Maden" wrote:
>I am working on a four-part choral score with piano accompaniment. A
>simplified version is attached.[*]
>
>The vocal score looks great. Stems are in different directions for the
>different voices, exactly as I want.
>
>However, I would like th
I am working on a four-part choral score with piano accompaniment. A
simplified version is attached.[*]
The vocal score looks great. Stems are in different directions for the
different voices, exactly as I want.
However, I would like the piano score, based on the exact same music
objects, to co
On 01/14/2012 02:45 PM, Stjepan Horvat wrote:
> is there a possibility to swing the midi ouput in lilypond..so when i
> write a c8 c, would sound like \times 2/3 {c8 r c}..?!
You can try my hack at http://crism.maden.org/music/swing.ly >,
which may or may not suffice for your purposes. It only wo
Hi everybody.
I don't know if this was already issued (I did some google and didn't find
anything) but it seems that tuplet brackets are unaware of fermatas.
\version "2.14.2"
\relative c' {
\times 2/3 { r8 c4\p \fermata }
}
Is this expected? It can be easily corrected with \overrride Tuplet
Stjepan Horvat writes:
> Hi,
>
> is there a possibility to swing the midi ouput in lilypond..so when i
> write a c8 c, would sound like \times 2/3 {c8 r c}..?!
> Thanks.
http://code.google.com/p/lilypond/issues/detail?id=687>
--
David Kastrup
___
l
Hi,
is there a possibility to swing the midi ouput in lilypond..so when i write
a c8 c, would sound like \times 2/3 {c8 r c}..?!
Thanks.
--
*Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje.
Izreke 12:18*
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From: David Nalesnik
Date: Fri, 13 Jan 2012 09:23:14 -0600
To: Carl Sorensen
Cc: Светлана , lilypond-user ,
Francisco Vila
Subject: Re: Change color for some symbols in a sylable
>
>Hi Carl,
>
>
>
>2012/1/11 Carl Sorensen
>
>
>Guile has utf-8 string handlers:
>
>http://www.gnu.org/softwa
On 14 Jan 2012, at 19:04, Angles D'Auriac wrote:
>> Angles D'Auriac grenoble.cnrs.fr> writes:
>>
>>> Hello !
>>> I am a total beginner and I wonder if it is possible to have
>>> all measure of exactly the same length on the score.
>>
>> Well, that's the definition of measure, isn't it? Joking
Marc Hohl writes:
> Am 14.01.2012 19:16, schrieb David Kastrup:
>> Angles "D\'Auriac" writes:
>>> PS: when "I" am playing, measures can have very different length !
>> I have been thinking about an Emacs Midi input mode where you set the
>> bar checks manually after playing and Emacs then calcu
Hi Morten,
On Sat, Jan 14, 2012 at 11:42 AM, Morten Jagd Christensen <
morte...@jcaps.com> wrote:
> Hi all
>
> Im writing a small sceme function to be able to create examples of guitar
> fingerings
> for various scales.
>
> basically i create a music function "fretsc" to be called for example as
Am 14.01.2012 19:16, schrieb David Kastrup:
Angles "D\'Auriac" writes:
David Kastrup gnu.org> writes:
Angles D'Auriac grenoble.cnrs.fr> writes:
Hello !
I am a total beginner and I wonder if it is possible to have
all measure of exactly the same length on the score.
Well, that's the de
Angles "D\'Auriac" writes:
> David Kastrup gnu.org> writes:
>
>>
>> Angles D'Auriac grenoble.cnrs.fr> writes:
>>
>> > Hello !
>> > I am a total beginner and I wonder if it is possible to have
>> > all measure of exactly the same length on the score.
>>
>> Well, that's the definition of measu
David Kastrup gnu.org> writes:
>
> Angles D'Auriac grenoble.cnrs.fr> writes:
>
> > Hello !
> > I am a total beginner and I wonder if it is possible to have
> > all measure of exactly the same length on the score.
>
> Well, that's the definition of measure, isn't it? Joking aside, you
> shoul
Morten Jagd Christensen writes:
> However I get an "unknown escape string" for \fret while compiling.
>
> Anyone have an idea what Im doing wrong?
How about reading the error messages?
> Here is the example code if you comment out the last line you can see
> the kind of fret diagram I am
> work
Hi all
Im writing a small sceme function to be able to create examples of
guitar fingerings
for various scales.
basically i create a music function "fretsc" to be called for example as
\fretsc "(6 1) (6 3) (5 0)"to indicate the position and sequence of
notes in a scale.
However I get a
Quoting Alberto Simões :
It's all in the documentation if you look:
http://lilypond.org/doc/v2.15/Documentation/snippets/simultaneous-notes#suppressing-warnings-for-clashing-note-columns
I confess I didn't search for it, as I would be okay with the warning :)
But thanks, it makes compile clea
Angles D'Auriac writes:
> Hello !
> I am a total beginner and I wonder if it is possible to have
> all measure of exactly the same length on the score.
Well, that's the definition of measure, isn't it? Joking aside, you
should find this in the index of the Notation Reference under
"proportional
Hello !
I am a total beginner and I wonder if it is possible to have
all measure of exactly the same length on the score.
thank you
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On 1/14/12 14:44 , Phil Holmes wrote:
- Original Message - From: "Alberto Simões"
To:
Sent: Saturday, January 14, 2012 2:36 PM
Subject: Re: ties across voices
On 1/14/12 14:31 , Alberto Simões wrote:
On 1/14/12 14:11 , Alberto Simões wrote:
Hello,
Is there anyway to make a ti
- Original Message -
From: "Alberto Simões"
To:
Sent: Saturday, January 14, 2012 2:36 PM
Subject: Re: ties across voices
On 1/14/12 14:31 , Alberto Simões wrote:
On 1/14/12 14:11 , Alberto Simões wrote:
Hello,
Is there anyway to make a tie across voices easily?
Thanks,
ambs
On 1/14/12 14:31 , Alberto Simões wrote:
On 1/14/12 14:11 , Alberto Simões wrote:
Hello,
Is there anyway to make a tie across voices easily?
Thanks,
ambs
Got almost there:
f8[ g a c] | g4. \tieDown d8 ~ | <<
{ \stemOff d4 s }
\new Voice { \stemUp g8[ a bes d] }
>>
\stemUp
Where
stemO
On 1/14/12 14:11 , Alberto Simões wrote:
Hello,
Is there anyway to make a tie across voices easily?
Thanks,
ambs
Got almost there:
f8[ g a c] | g4. \tieDown d8 ~ | <<
{ \stemOff d4 s }
\new Voice { \stemUp g8[ a bes d] }
>>
\stemUp
Where
stemOff = { \once \overri
On 1/14/12 14:12 , David Nalesnik wrote:
\set stanza = \markup { \dynamic p 1. }
Thank you, David!
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Hi Alberto,
2012/1/14 Alberto Simões
>
> I wanted to use a stanza to put both a piano, and a number.
>
> Is there any way to combine both? I tried
>
Try:
\set stanza = \markup { \dynamic p 1. }
-David
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Hello,
Is there anyway to make a tie across voices easily?
Thanks,
ambs
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Hello,
I wanted to use a stanza to put both a piano, and a number.
I tried this:
\set stanza = \markup { \dynamic "p" }
\set stanza = #"1. "
but only the second appears.
Is there any way to combine both? I tried
\set stanza = \markup { \dynamic "p" } #"1. "
but then only the piano a
On 1/14/12 4:51 AM, "Alberto Simões" wrote:
>Hello
>
>When a voice splits in two voices, and then go back together, I usually
>use
>
> <<
> { \voiceOne ... }
> \new Voice { \voiceTwo ... }
> >>
>
>Although this makes a good output (check block 3 in the attached image),
>it makes quart
On 1/14/12 12:13 , Ralph Palmer wrote:
2012/1/14 Alberto Simões mailto:al...@alfarrabio.di.uminho.pt>>
Hello
When a voice splits in two voices, and then go back together, I
usually use
<<
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
>>
Although t
2012/1/14 Alberto Simões
> Hello
>
> When a voice splits in two voices, and then go back together, I usually use
>
> <<
>{ \voiceOne ... }
>\new Voice { \voiceTwo ... }
> >>
>
> Although this makes a good output (check block 3 in the attached image),
> it makes quarter pauses to go up a
Alberto Simões wrote Saturday, January 14, 2012 11:51 AM
When a voice splits in two voices, and then go back together, I usually
use
<<
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
>>
Although this makes a good output (check block 3 in the attached image),
it makes quarter paus
Hello
When a voice splits in two voices, and then go back together, I usually use
<<
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
>>
Although this makes a good output (check block 3 in the attached image),
it makes quarter pauses to go up after this block.
I tried some combinat
Hey, Pavel
On 1/13/12 21:47 , Pavel Roskin wrote:
\override StaffGrouper #'staff-staff-spacing #'minimum-distance = #12
Much better, thank you :)
ambs.
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