Malte Meyn wrote:
> ~/MyLilyIncludes
>
> which contains files like
>
> ~/MyLilyIncludes/big-grace-fingering.ily
> ~/MyLilyIncludes/house-style.ily
> ~/MyLilyIncludes/shorthands.ily
>
> and call lilypond with the -I option (lilypond -I~/MyLilyIncludes).
Thank you again Malte!
Hi Brian,
> If the \transpose function works as I think it does, then I apparently should
> add a "\transpose a b" someplace, but no matter where I add this, nothing
> changes.
I've edited your Lilybin file according to what I believe you want.
Hope this helps!
Kieren.
Hi David,
>> Because my only goal was to clarify for future readers of the list that
>> "manipulations on stuff" are not the only thing that can cause headaches.
> I failed to see how cut and paste differed from manipulations on stuff.
I think of "manipulations on stuff" as being
foo = { stuff
On Wed 13 Dec 2017 at 15:15:14 (-0500), Kieren MacMillan wrote:
> Hi David,
>
> >> … and if you don't take extra care when simply cutting and pasting, etc.
> >> etc. etc.
> >
> > Yes, so I'm not sure why you cut the helpful lines above the ones
> > you quoted from my post (that were not my words
On Tue 12 Dec 2017 at 13:34:18 (-0500), Br. Samuel Springuel wrote:
> On 2017-12-12 12:08 PM, David Wright wrote:
> >You can set the default paper-size with a -d option in the LP command
> >line. See p10 of the "Usage" manual (2.19.80 page ref.).
>
> That works perfect from the command line. Is i
\transpose x y { music notes c4 es etc. etc. }
Fairly easy but sometimes things are not necessarily obvious after staring at
it too long.
Good luck,
Shane
Sent from my T-Mobile 4G LTE Device
Original message From: Brian Durant
Date: 12/13/17 3:11 PM (GMT-05:00) To: lilypond
Am 13.12.2017 um 22:02 schrieb Ralph Palmer:
Greetings -
I'm running LilyPond 2.19.80 under Linux/Ubuntu 16.04.
I have a fair amount of experience with LilyPond, but none with
lilypond-book or LaTeX.
I'm assembling a collection of fiddle tunes, and I'd like an index. I
thought of using a
On 12/13/2017 3:02 PM, Ralph Palmer wrote:
I have a fair amount of experience with LilyPond, but none with
lilypond-book or LaTeX.
I'm assembling a collection of fiddle tunes, and I'd like an index
I have a similar project, very far from complete. Research findings so far:
Indexes: http://ls
I have run into the same issue. Unfortunately I cannot locate the command in my
"cheat sheet."
It has to do with resetting the first beat of the next measure. Perhaps this
description shall allow more experienced the divine the terminology.
Mark
-Original Message-
From: lilypond-user [m
On 13.12.2017 20:49, nokel81 wrote:
I have the following lilypond syntax:
\time 6/4
g8[ d8] \bar "|" f4 g8[ a8] a4( g2) g8[ c8] | a4.( g8) f8[ g8] g2. \bar "|."
Since the total beat count is 13 (not easily divisible by 6) and the last
note is 3 beats, lilypond adds an empty bar at the end of th
On 13.12.2017 02:36, MING TSANG wrote:
I am wondering, if one method is better than the other.
As you probably saw, it doesn’t make any difference on the output. It
entirely depends on your usecase which method is preferable.
In other words, do as you like.
Best, Simon
_
On 12/13/2017 1:58 PM, Jörgen Häll wrote:
Hi
This is my first post here, since I'm rather new at Lilypond. I have
been searching but could not find an answer for this.
Very often, I use arrows to imply a gradual change from for example
sul ponticello to sul tasto for strings. I am attaching a
On 12/13/2017 04:02 PM, Ralph Palmer wrote:
I'm running LilyPond 2.19.80 under Linux/Ubuntu 16.04.
I have a fair amount of experience with LilyPond, but none with
lilypond-book or LaTeX.
I'm assembling a collection of fiddle tunes, and I'd like an index.
I thought of using a table of contents
Hi. I am giving Lilypond another chance after having been away for some
time. I am using Frescobaldi and have copied some sheet music for a C
instrument, in my case a C Melody saxophone. Now I would like to take
this Lilypond file and transpose it for a Tenor saxophone. I have
replaced everythi
I have the following lilypond syntax:
\time 6/4
g8[ d8] \bar "|" f4 g8[ a8] a4( g2) g8[ c8] | a4.( g8) f8[ g8] g2. \bar "|."
Since the total beat count is 13 (not easily divisible by 6) and the last
note is 3 beats, lilypond adds an empty bar at the end of the staff before
the ending bar which is
I have the following lilypond syntax:
\time 6/4
g8[ d8] \bar "|" f4 g8[ a8] a4( g2) g8[ c8] | a4.( g8) f8[ g8] g2. \bar "|."
Since the total beat count is 13 (not easily divisible by 6) and the last
note is 3 beats, lilypond adds an empty bar at the end of the staff before
the ending bar which
Hi
This is my first post here, since I'm rather new at Lilypond. I have been
searching but could not find an answer for this.
Very often, I use arrows to imply a gradual change from for example sul
ponticello to sul tasto for strings. I am attaching an example from my
regular notation software of
Greetings -
I'm running LilyPond 2.19.80 under Linux/Ubuntu 16.04.
I have a fair amount of experience with LilyPond, but none with
lilypond-book or LaTeX.
I'm assembling a collection of fiddle tunes, and I'd like an index. I
thought of using a table of contents, but that won't quite work, I don'
Hi David,
>> … and if you don't take extra care when simply cutting and pasting, etc.
>> etc. etc.
>
> Yes, so I'm not sure why you cut the helpful lines above the ones
> you quoted from my post (that were not my words, however).
Because my only goal was to clarify for future readers of the lis
On Wed 13 Dec 2017 at 12:06:24 (-0500), Kieren MacMillan wrote:
> Hi all,
>
> > Kieran is correct relative pitch entry can cause headaches
> > if you start doing manipulations on stuff.
>
> … and if you don't take extra care when simply cutting and pasting, etc. etc.
> etc.
Yes, so I'm not sure
Hi all,
> Kieran is correct relative pitch entry can cause headaches
> if you start doing manipulations on stuff.
… and if you don't take extra care when simply cutting and pasting, etc. etc.
etc.
Cheers,
Kieren.
Kieren MacMillan, composer
‣ website: www.kieren
Thanks Malte & caagr, exactly what I was looking for!
Best
Edward
--
Dr. Edward Neeman
Adjunct Instructor, South Georgia State College
Collaborative Pianist, Valdosta State University, Georgia
Artist Faculty, ELMS Conservatory, Jakarta
edward.nee...@gmail.com
www.neemanpianoduo.com
On 12/13/2017 11:54 AM, David Wright wrote:
I prefer relative as a pitch entry for ease and speed.
Kieran is correct relative pitch entry can cause headaches if you
start doing manipulations on stuff.
Agreed; if definitions like
*foo = \relative { stuff in notemode ... } *
are used, then \foo
On Tue 12 Dec 2017 at 22:00:47 (-0500), Shane Brandes wrote:
> Frescobaldi has a neat little tool to convert from relative to absolute pitch.
… and AIUI the same tool is available as a standalone in ly,
aka python-ly/python3-ly/….
> I prefer relative as a pitch entry for ease and speed.
> Kieran
Am 13.12.2017 um 16:58 schrieb Edward Neeman:
I apologize if this is an obvious question: is there a way to set a font
for headers only? One that applies to all header elements but not the
score.
Thanks,
Edward
Select from the following \paper block what fits your needs:
%
This should work:
\paper {
bookTitleMarkup = \markup \sans \bookTitleMarkup
}
You might also want to modify `scoreTitleMarkup`, `oddHeaderMarkup`, and
`evenHeaderMarkup` the same way.
On 12/13/17 16:58, Edward Neeman wrote:
> I apologize if this is an obvious question: is there a way to set
On 12/13/2017 10:58 AM, Edward Neeman wrote:
I apologize if this is an obvious question: is there a way to set a
font for headers only? One that applies to all header elements but not
the score.
Thanks,
Edward
--
Well, depending on how much info you have in your header, you coul
I apologize if this is an obvious question: is there a way to set a font
for headers only? One that applies to all header elements but not the
score.
Thanks,
Edward
--
Dr. Edward Neeman
Adjunct Instructor, South Georgia State College
Collaborative Pianist, Valdosta State University,
Thanks David, I’ll use \with {} for that.
JM
> Le 13 déc. 2017 à 13:10, David Kastrup a écrit :
>
> David Kastrup mailto:d...@gnu.org>> writes:
>
>> Caagr98 writes:
>>
>>> In `engraver-init.ly` (line 111 on my version), there is a line saying
>>> `\alias "Staff"`. That line makes the DrumSta
David Kastrup writes:
> Caagr98 writes:
>
>> In `engraver-init.ly` (line 111 on my version), there is a line saying
>> `\alias "Staff"`. That line makes the DrumStaff context listen to
>> `\set Staff.*` as well as `\set DrumStaff.*`. (DrumVoice is similarly
>> aliased to Voice.)
>>
>> They're bo
Caagr98 writes:
> In `engraver-init.ly` (line 111 on my version), there is a line saying
> `\alias "Staff"`. That line makes the DrumStaff context listen to
> `\set Staff.*` as well as `\set DrumStaff.*`. (DrumVoice is similarly
> aliased to Voice.)
>
> They're both equal, so I'd recommend using
> \version "2.18.2"
> \score {
> \new StaffGroup <<
> \new Staff {
> \relative c' {
> c d e f
> \once \override Score.BarLine.space-alist.next-note = #'(fixed-space
> . 4)
> c d e f
> \once \override Score.BarLine.space-alist.next-note = #'(fixed-space
Fine, thanks a lot!
JM
> Le 13 déc. 2017 à 10:34, Caagr98 a écrit :
>
> A DrumVoice has different musical content than a Voice (uses the `drum-type`
> NoteEvent property rather than `pitch`, generating different midi output,
> etc). However, a RhythmicStaff only changes how the staff looks, n
A DrumVoice has different musical content than a Voice (uses the `drum-type`
NoteEvent property rather than `pitch`, generating different midi output, etc).
However, a RhythmicStaff only changes how the staff looks, not the actual
musical content. Thus, there's no need for a separate RhythmicVoi
Caagr98’s answer to my other post regarding DrumStaff vs Staff for instrument
name is also an answer to this one:
there’s no alias defined for RhythmicVoice, but Voice should be preferred
anyway it seems.
JM
> Le 13 déc. 2017 à 10:04, Menu Jacques a écrit :
>
> Hello Folks,
>
> There exists
Hello Caagr98,
Thanks for the explaination, and a nice day!
JM
> Le 13 déc. 2017 à 10:13, Caagr98 a écrit :
>
> In `engraver-init.ly` (line 111 on my version), there is a line saying
> `\alias "Staff"`. That line makes the DrumStaff context listen to `\set
> Staff.*` as well as `\set DrumSta
In `engraver-init.ly` (line 111 on my version), there is a line saying `\alias
"Staff"`. That line makes the DrumStaff context listen to `\set Staff.*` as
well as `\set DrumStaff.*`. (DrumVoice is similarly aliased to Voice.)
They're both equal, so I'd recommend using `Staff.*` for consistency.
Hello Folks,
There exists DrumStaff and RythmicStaff and DrumVoice, but no RhythmicVoice.
In the example below from musicxml2ly, '\context Voice’ is used in the
RhythmicStaff.
Any reason for this asymmetry?
JM
—
\version "2.19.58"
% automatically converted by musicxml2ly from 73a-Percussion.
Hello folks,
In the example below, using Staff.instrumentName makes no difference compared
to DrumStaff.instrumentName.
Are both equivalent, or should DrumStaff.instrumentName clearly be preferred?
Thanks for your help!
JM
—
\version "2.19"
P_PTwo_Staff_One_Voice_One = \relative {
\key c
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