On Nov 24, 2014, at 1:03 AM, Pierre Perol-Schneider
wrote:
> Here both are ok; you simply omit to put any bar check: So a | (b c d) is
> wrong, and a( | b c d) is right.
So to be clear, I am asking whether the behavior we are seeing is intended for
some reason that I haven't understood yet.
2014-11-24 6:56 GMT+01:00 Ted Lemon :
> Hm, okay. So a (b c d) is wrong, and a( b c d) is right?
Here both are ok; you simply omit to put any bar check: So a | (b c d) is
wrong, and a( | b c d) is right.
Cheers,
Pierre
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On Nov 24, 2014, at 12:35 AM, Pierre Perol-Schneider
wrote:
> The answer is in your question : you're putting slurs at a wrong place and
> phrasing slurs at the right one.
Hm, okay. So a (b c d) is wrong, and a( b c d) is right? I tried putting
the regular slur at the end of the measure in
Hi Ted,
The answer is in your question : you're putting slurs at a wrong place and
phrasing slurs at the right one.
See attached,
HTH,
Pierre
2014-11-24 2:50 GMT+01:00 Ted Lemon :
> I've been learning lilypond this weekend, so forgive me if this is a
> question with an obvious answer, but I am ha
On Sun, Nov 23, 2014 at 10:33 PM, Peter Chubb
wrote:
> My point I think is that the structure is the structure of the voice,
> not the structure of the staff. Which is why, BTW, the MIDI repeats
> don't unfold.
>
> Visibly the structure voice shows the repeats, but the repeats aren't
> actually
> "Michael" == Michael Ellis writes:
Michael> On Sun, Nov 23, 2014 at 4:46 PM,
Michael> wrote:
>> What's more, is there a reason to have the structure in a different
>> voice?
Michael> Good question. For me, it's mostly about the DRY principle
Michael> (don't repeat yourself). I'm in the p
On Sun, Nov 23, 2014 at 4:46 PM, wrote:
> What's more, is there a reason to have the structure in a different
> voice?
>
>
>
Good question. For me, it's mostly about the DRY principle (don't repeat
yourself). I'm in the process of writing a program that tries to maximize
one's opportunities t
I've been learning lilypond this weekend, so forgive me if this is a question
with an obvious answer, but I am having trouble getting slurs to work with
\parallelMusic. If the slur marker is on the note at the beginning of the
line, I get a fun error. This:
\parallelMusic #'(va dynD vb) {
Hi,
On Sun, Nov 23, 2014 at 3:31 PM, Mike Solomon wrote:
>
> > On Nov 23, 2014, at 10:21 PM, Jay Vara wrote:
> >
> > Given that NoteNames are really a type of lyrics, is it possible to have
> a function that just takes music and returns a text string that is a lyric.
> >
> > For example:
> >
>
Hi Thomas,
Attached a possible code.
HTH,
Pierre
2014-11-23 19:28 GMT+01:00 "Thomas U. Grüttmüller" :
Hi list,
>
> I would like to transcribe the notes from Ludwig Erk’s Liederhort.
> Unfortunately, I don’t know how to handle these two things:
>
> * In some songs, there are dotted voltas, which –
> "Michael" == Michael Ellis writes:
>>
>>
>> Well, in this case you don't have any conflicting music in the two
>> Voice contexts (because the \structure isn't a printed music
>> voice). So you can simply leave out the \voiceXXX commands and
>> you're ready.
What's more, is there a reas
> On Nov 23, 2014, at 10:21 PM, Jay Vara wrote:
>
> Given that NoteNames are really a type of lyrics, is it possible to have a
> function that just takes music and returns a text string that is a lyric.
>
> For example:
>
> music = \relative c' { c4 d e f g a b c }
>
> notenameLyric = \Note
Given that NoteNames are really a type of lyrics, is it possible to have a
function that just takes music and returns a text string that is a lyric.
For example:
music = \relative c' { c4 d e f g a b c }
notenameLyric = \NoteNameToLyric \music
would make
notenameLyric = "c d e f g a b c"
so
<<{a4 e g es-\tweak X-offset #3.8 ^\markup\tiny"/" \bar ";"a2-\tweak
X-offset #-1.3 _\markup\tiny"\\" a4 a4 }\\{s4 s \tiny g8\noBeam g8
s4}>>
Because it is absolutely a kludge it is certain someone else can do
better, but this does work though it might need a fair amount of
fiddling. The lower w
Hi list,
I would like to transcribe the notes from Ludwig Erk’s Liederhort.
Unfortunately, I don’t know how to handle these two things:
* In some songs, there are dotted voltas, which – I guess – are there to
indicate an optional repeatition.
* Some songs also feature tiny notes, which are
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