This seems more or less equivalent to religiously putting
\resetRelativeOctave at the beginning of every phrase IMO.
On Sat, Feb 11, 2023 at 2:15 PM Simon Albrecht
wrote:
> On 10/02/2023 19:22, Saul Tobin wrote:
> > What is the reasoning behind having smaller relative blocks?
>
> I agree that th
On 10/02/2023 19:22, Saul Tobin wrote:
What is the reasoning behind having smaller relative blocks?
I agree that there are many factors in the workflow, project and
templates that influence this decision. I want to give just one example:
Piano score or similar with changing number and orienta
Le samedi 11 février 2023 à 22:14 +0100, Valentin Petzel a écrit :
> 2) Instead of using such a parallel global thing with \hide BarLine we can
> achieve the same effect by doing
>
> \version "2.24.0"
>
> \layout {
> \override Staff.BarLine.stencil =
> #(grob-transformer 'stencil
>
Also two remarks:
1) Instead of using skips in your global block you can have your global block
automatically adjusted to the music by doing
global = {
\hide Staff.BarLine
\skip \sopI
\undo \hide Staff.BarLine
\bar "|."
}
(after the definition of sopI in this case). \skip music will
thx Jean and Valentin - very helpful!
Always amazing how fast this user group is!
Le samedi 11 février 2023 à 21:39 +0100, Johannes Roeßler a écrit :
| \new Staff { \voices 1,2<< \global \sopI \sopII >> }
\lyricsto "2" { \words } |
Make that
|\new Staff { << \global \voices 1,2 <<
Hello Joei,
There are two small mistakes in your code:
\voices still requires you to to separate the Voices using \\, as you can see
by comparing this
\new Staff \voices 1,2,3 << { c' d' e'} a2. {c'4 b2} >>
to this:
\new Staff \voices 1,2,3 << { c' d' e'} \\ a2. \\ {c'4 b2} >>
And second \ly
Le samedi 11 février 2023 à 21:39 +0100, Johannes Roeßler a écrit :
> \new Staff {
> \voices 1,2<< \global \sopI \sopII >>
> }
> \lyricsto "2" { \words }
Make that
```
\new Staff {
<< \global \voices 1,2 << \sopI \\ \sopII >> >>
}
\lyricsto "2"
Hello David,
this is happening because the positioning of the slur will depend on the
positioning of the tuplet number. The positioning of the tuplet number depends
on the bracket. So I suppose calculation of the Slur forces calculation of the
Bracket as if there was no Slur, and afterward the
Hi Group,
me again - I try to combine a few things I've learned - but fail.
I would like to have mensuration lines (using the example from here:
https://lilypond.org/doc/v2.22/Documentation/notation/working-with-ancient-music_002d_002dscenarios-and-solutions)
but I also need to have two voices
Johannes Roeßler writes:
> Hi Group,
>
> I've got notes with a slur within a triplet and want to have the spanner and
> the slur above
> the notes, but the slur below the spanner.
>
> \tuplet 3/2 { b4(f) g }
>
> *
>
> How can I change the priority?
\new Staff \with
{ \override TupletBracket.ou
Le samedi 11 février 2023 à 15:01 +, Werner LEMBERG a écrit :
> ```
>
> I'm using the `\offsetPosition` command
> ([https://lsr.di.unimi.it/LSR/Item?id=748](https://lsr.di.unimi.it/LSR/Item?id=748)).
> Unfortunately, it fails in
> a multi-staff, real-world piece: it has zero effect, and I do
The downsides seem to me like they would be very specific to a given user's
workflow.
On Sat, Feb 11, 2023 at 6:53 AM Kieren MacMillan <
kie...@kierenmacmillan.info> wrote:
> Hi Saul,
>
> > What is the reasoning behind having smaller relative blocks? Generally I
> structure my variables as a sing
Hi Group,
I've got notes with a slur within a triplet and want to have the spanner
and the slur above the notes, but the slur below the spanner.
\tuplet 3/2 { b4(f) g }
How can I change the priority?
Best regards
Joei
Hi
Thanks.
I tried googling, but it looks like it didn't help much :-)
Thank you
On Sat, Feb 11, 2023 at 11:42 AM David Kastrup wrote:
> Alberto Simões writes:
>
> > Hi
> >
> > I am starting a piano music this way:
> >
> > upper = \relative c'' {
> > \clef treble
> > \key g \major
> > \ti
I'm using the `\offsetPosition` command
(https://lsr.di.unimi.it/LSR/Item?id=748). Unfortunately, it fails in
a multi-staff, real-world piece: it has zero effect, and I don't know
why. What could be the cause for that? If I had a hint, creating an
MWE would perhaps be more straightforward...
Hi Saul,
> What is the reasoning behind having smaller relative blocks? Generally I
> structure my variables as a single \relative block per variable and just use
> \resetRelativeOctave at the beginning of every passage.
One big downside of larger relative blocks is that cut-and-paste coding be
Alberto Simões writes:
> Hi
>
> I am starting a piano music this way:
>
> upper = \relative c'' {
> \clef treble
> \key g \major
> \time 4/4
>
> \acciaccatura ais8 b8.
> }
>
> and the lower voice as
>
> lower = \relative c {
> \clef bass
> \key g \major
> \time 4/4
> fis8
> }
Known issue. Grace note synchronisation.
Add a spacer in the other staff.
Andrew
upper = \relative c'' {
\clef treble
\key g \major
\time 4/4
\acciaccatura ais8 b8.
}
lower = \relative c {
\clef bass
\key g \major
\time 4/4
\acciaccatura s8 fis8
}
\score {
\new PianoSta
Hi
I am starting a piano music this way:
upper = \relative c'' {
\clef treble
\key g \major
\time 4/4
\acciaccatura ais8 b8.
}
and the lower voice as
lower = \relative c {
\clef bass
\key g \major
\time 4/4
fis8
}
but the lower staff starts with a treble clef followed by
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