On Sun, Nov 9, 2014 at 4:51 PM, David Nalesnik
wrote:
> Hi,
>
> On Sun, Nov 9, 2014 at 3:35 PM, Thomas Scharkowski > wrote:
>
>> I cannot look it up in the moment, but I do not believe the flagged grace
>> is authentic.
>
>
> This is from the Bach-Gesellschaft edition. The Schliefer is another
Hi,
On Sun, Nov 9, 2014 at 3:35 PM, Thomas Scharkowski
wrote:
> I cannot look it up in the moment, but I do not believe the flagged grace
> is authentic.
This is from the Bach-Gesellschaft edition. The Schliefer is another
story!
___
lilypond-user
> it's easier than you think
You're perfectly right!
Thanks,
Joram
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
I cannot look it up in the moment, but I do not believe the flagged grace is
authentic. Here US another version:
http://www.notomania.ru/comp_request.php?id=906
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinf
Il giorno dom 9 nov 2014 alle 22:39, David Nalesnik
ha scritto:
I'm late to the party, but here's how you could do it anyway. (It is
a strange way to indicate the termination of the trill. Why the tie?)
\version "2.18.2"
\relative c''' {
s2 \afterGrace b2\trill~ {
\once \stemDown
Hi,
On Sun, Nov 9, 2014 at 2:42 PM, Federico Bruni wrote:
> Il giorno dom 9 nov 2014 alle 20:52, Mark Stephen Mrotek <
> carsonm...@ca.rr.com> ha scritto:
>
> OK, I see it. I practice the piano, some Bach, and the notation seems
> unusual to me (perhaps my limited experience). An after grace con
Il giorno dom 9 nov 2014 alle 20:52, Mark Stephen Mrotek
ha scritto:
OK, I see it. I practice the piano, some Bach, and the notation seems
unusual to me (perhaps my limited experience). An after grace
concludes a trill and proceeds into the next note. In the measure 159
the trilled note (“b”)
Joram,
Sorry for being so late to chime in on this. Fortunately, it's easier
than you think:
%< SNIP --
\version "2.18.2"
{
\once \set Score.tempoHideNote = ##t
\tempo "Allegro" 4 = 100
a
}
%< SNIP --
The override just hide
> I personally prefer:
>
> \version "2.18.2"
> { \tempo "Allegro" a }
> \layout {}
> \midi { 4 = 100 }
>
> which is much more intuitive and easy to use for an average user.
> Works fine for me.
Yes, I know, but in my case the tempo changes several times during the
piece.
Joram
Federico,
Augener's Edition
(http://violinsheetmusic.org/classical/b/bach/bach-violin-concerto-bwv-1041-
violin.pdf-) does not tie the first "b" to the second, and the "a" is a
demisemiquaver aftergrace.
Mark
___
lilypond-user mailing list
lilypo
Federico,
OK, I see it. I practice the piano, some Bach, and the notation seems unusual
to me (perhaps my limited experience). An after grace concludes a trill and
proceeds into the next note. In the measure 159 the trilled note (“b”) is tied
to the subsequent “b.”
Do you have another ed
On Sun, 9 Nov 2014, Mike Solomon wrote:
%Ah, sorry, got it.
\version "2.18.2"
{
\tempo “Allegro” % no need for hiding the note if you don’t put an explicit
numerical indication
\set Score.tempoWholesPerMinute = #(ly:make-moment 100 4 0 0)
a
}
I personally prefer:
\version "2.18.2"
{ \temp
Il giorno dom 9 nov 2014 alle 20:10, Mark Stephen Mrotek
ha scritto:
Since a “grace” and an “acciaccatura” are different, their
formatting is different. From what you describe does the following
work?
\relative c'' {
s2 b \acciaccatura { \bar "" a8 \bar "|" }
g
}
Mark, thanks but
Federico,
Since a “grace” and an “acciaccatura” are different, their formatting is
different. From what you describe does the following work?
\relative c'' {
s2 b \acciaccatura { \bar "" a8 \bar "|" }
g
}
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mai
As I need to use \afterGrace to be able to put the grace at the end of
barline, I lose the automatic formatting given by \acciaccatura.
I think that I should change the stencil of the Flag but I don't know
which are the possible values. I've looked up here:
http://lilypond.org/doc/v2.18/Documen
> On Nov 9, 2014, at 7:53 PM, Noeck wrote:
>
> Hi
>
>> You do - otherwise, there will be the printed note at the tempo indicated
>> with \tempo and the midi at the tempo indicated via tempoWholesPerMinute.
>
> You mean, it would then show up like if I wrote:
> \tempo "Allegro" 4 = 100
> ?
> I
Hi
> You do - otherwise, there will be the printed note at the tempo indicated
> with \tempo and the midi at the tempo indicated via tempoWholesPerMinute.
You mean, it would then show up like if I wrote:
\tempo "Allegro" 4 = 100
?
I tried it with 2.18.2 and 2.19.8 and it only prints "Allegro".
> On Nov 9, 2014, at 7:38 PM, Noeck wrote:
>
> Hi Mike,
>
>> \version "2.18.2"
>> {
>> \tempo "Allegro"
>> \once \set Score.tempoHideNote = ##t
>> \set Score.tempoWholesPerMinute = #(ly:make-moment 100 4 0 0)
>> a
>> }
>
> Thanks! That’s what I was looking for. I do not need this line th
Hi Mike,
> \version "2.18.2"
> {
> \tempo "Allegro"
> \once \set Score.tempoHideNote = ##t
> \set Score.tempoWholesPerMinute = #(ly:make-moment 100 4 0 0)
> a
> }
Thanks! That’s what I was looking for. I do not need this line then, do I?
\once \set Score.tempoHideNote = ##t
Cheers,
J
Greetings all,
Is there currently a way to get the scheme function below (a minimal
example) to do what it's trying to do, namely return a paper block with
several parts that are conditionally added or omitted?
I have tried various combinations of # and $ for introducing the scheme
expressions,
> On Nov 9, 2014, at 7:19 PM, Noeck wrote:
>
> Hi,
>
> I would like to specify a different tempo for the pdf and the midi
> output. I’ve read
> http://www.lilypond.org/doc/v2.18/Documentation/notation/displaying-rhythms.html#metronome-marks
>
> But I found only how to specify it for both, or f
Hi,
I would like to specify a different tempo for the pdf and the midi
output. I’ve read
http://www.lilypond.org/doc/v2.18/Documentation/notation/displaying-rhythms.html#metronome-marks
But I found only how to specify it for both, or for one of them. What I
want is like:
\tempo "Allegro" 4 = 100
That's perfect!
Thanks to all of you for your help.
Simon
Am 11/9/2014 3:29 PM, schrieb Marc Hohl:
#(define (mark-one-ignatzek-chord-names in-pitches bass inversion context)
(markup #:line ("1. " (ignatzek-chord-names in-pitches bass
inversion context
#(define (mark-two-ignatzek
Am 09.11.2014 um 15:20 schrieb Simon Herter:
I have to admit that I'm not a music expert. I probably misunderstood
the "/" symbol.
I assume you want to have two chords to choose from at the same time.
I guess that's it. In the original sheet music the first chord is
preceded by a small "1." a
I have to admit that I'm not a music expert. I probably misunderstood
the "/" symbol.
I assume you want to have two chords to choose from at the same time.
I guess that's it. In the original sheet music the first chord is
preceded by a small "1." and the second by a "2.". The line is repeate
I have to admit that I'm not a music expert. I probably misunderstood
the "/" symbol.
I assume you want to have two chords to choose from at the same time.
I guess that's it. In the original sheet music the first chord is
preceded by a small "1." and the second by a "2.". The line is repeate
Hi Simon,
> \version "2.18.2"
> \chords { c/a }
> \chords { c:7/a:7 }
The »/« indicates that the lowest note (root) in the chord will follow,
e.g. c/a means
and you would usually use it for a note of the chord:
c/g =
Therefore, the 7 does not make sense as it is a single note. This is
also expl
The chord notation c/a stands for "c major triad with an a in bass". Generally,
you can write "chord / bass note" with this construction, "bass note" being the
operative word here. So your c/a example works but c:7 / a:7 is actually a
polychord construct. There's a way to do this in Lilypond (yo
Hi,
when I try to add maj7 to an alternate chord, it doesn't show up:
-
\version "2.18.2"
\chords { c/a }
\chords { c:7/a:7 }
-
How can I get that small 7 next to "A"?
Simon
___
lilypond-user mailing list
lilypond-user@gnu.org
http
Ryan,
I figured out what was going on with the other OttavaBracket. It turns
out that if you change staff AND change the ottavation at the same
musical moment, then you must "\change Staff" FIRST for the
OttavaBracket to appear in the lower voice. So, here's the updated
(correct) code:
%<
Ryan,
My workaround behaves a little differently when there's a single bracket and
when there are two. When there's one, the examples that Mark posted have good
numbers for the half-brackets, you just might need to re-arrange them if you
want to put them on the right side of the note. You proba
Ryan,
Here's what I've got for you (in bold). Firstly, using explicit voices
fixes the stem directions. The OttavaBracket's seem to be mis-behaving
(and not showing up at all in the second measure, left hand--probably a
bug), so you'll need some temporary overrides, but this should give you
ex
32 matches
Mail list logo
