On 02.12.2011 16:38, James wrote:
Hello,
On 1 December 2011 15:58, Bernhard Ott <mailto:bottkv...@googlemail.com>> wrote:
On 01.12.2011 16:46, David Kastrup wrote:
Bernhard Ottmailto:bernhard@gmx.net>> writes:
Dear all,
is there r
On 01.12.2011 16:46, David Kastrup wrote:
Bernhard Ott writes:
Dear all,
is there really no way to simply add articulations/markups to chords
in \chordmode?
In 2.14.2
\chordmode { c1\pp } works
\chordmode { c1^"II" } doesn't (as mentioned in the docs).
Could scheme do th
Hi,
it would be great having the possibility of writing the first inversion
of a chord in a shorthand manner like the second one, i.e.
\chordmode { c4 c/e c/g r4 }
Of course one can do
e:3-.6-
but it would speed up things drastically. And to be honest: we all think
of this as c-major, so the co
Dear all,
is there really no way to simply add articulations/markups to chords in
\chordmode?
In 2.14.2
\chordmode { c1\pp } works
\chordmode { c1^"II" } doesn't (as mentioned in the docs).
Could scheme do the trick?
I need the chordmode for *quick* engraving of basso continuo music, so I
wou
On 05/21/2011 10:36 PM, Reinhold Kainhofer wrote:
Am Samstag, 21. Mai 2011, 21:46:21 schrieb Graham Percival:
James Lowe, the only full-time documentation writer, is a newbie.
He has learned how to modify our documentation, but he does not
even understand everything in chapter 3 of ther Learning
On 05/20/2011 11:18 PM, Xavier Scheuer wrote:
On 18 May 2011 11:40, Bernhard Ott wrote:
It is there, but AFAIK it can only be found at:
http://kainhofer.com/~lilypond/Documentation/changes/index.html
(which unfortunately seems to be broken this very moment?).
I wrote about this 2 month ago
Hi,
On 05/17/2011 09:01 PM, Xavier Scheuer wrote:
Cc: to James Lowe, the brave "only full-time doc writer/editor"?
On 17 April 2011 23:20, Xavier Scheuer wrote:
Hi there!
I remember a discussion where Reinhold asked how should a clef looks
like in a CueVoice (I cannot find this again).
I
On 30.03.2011 17:36, James Lowe wrote:
Hello,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Bernhard Ott
)Sent: 30 March 2011 15:50
)To: LilyPond-User list
)Subject: numbered
On 01.04.2011 00:16, Michael Ellis wrote:
On Thu, Mar 31, 2011 at 6:04 PM, James Lowe wrote:
hello
James.
On 31 Mar 2011, at 22:25, "Bernhard Ott" wrote:
Dear all,
IMHO there should be a natural sign showing the f' after the clef-change: am I
wrong?
music = \relative
Dear all,
IMHO there should be a natural sign showing the f' after the
clef-change: am I wrong?
music = \relative c' {
c8 d e fis
c d e f
c8 d e fis
\clef "alto" c d e f
}
\score {
<<
{ \new Staff #(set-accidental-style 'modern-cautionary 'Staff)
\music
}
On 30.03.2011 17:31, Laurens van der Wee wrote:
\compressFullBarRests
cheers,
laurens.
On 30 mrt 2011, at 17:50, Bernhard Ott wrote:
Hi again,
I wonder if there is an automated way to produce numbered full-measure rests
like shown in the attachment?
R1^\markup "1" does not c
Hi,
I recently discovered \cueDuringWithClef - wouldn't it be great to add
it to the docs?
Right now it can only be found in
http://kainhofer.com/~lilypond/Documentation/changes/index.html
http://lilypond.org/doc/v2.13/Documentation/changes/index.de.html
seems to be broken
Bernhard
_
Dear all,
is it correct that the values of \transposition are not handled in a
relative manner within transposed sections?
So if I have music written in concert pitch in and want to use it for
let's say clarinet in b, I have to
.) \transpose c' d'
.) use \transposition c' ? (please see att.
On 03/03/2011 05:37 PM, Francisco Vila wrote:
2011/3/3 Francisco Vila:
Thank you Reinhold, that works, however, still some kind of problem
remains. In this example, partB should include m.2 of partA in measure
two. Maybe I mistyped something... sorry if this looks complicated,
actually it _is_
On 03.03.2011 16:25, Francisco Vila wrote:
2011/3/3 Bernhard Ott:
On 03.03.2011 12:28, Francisco Vila wrote:
Hello. I don't know if this is supported, at least it doesn't work for
me. I want to cue a voice during silences in other, and resp. cue the
other during silences in this.
h
On 03.03.2011 12:28, Francisco Vila wrote:
Hello. I don't know if this is supported, at least it doesn't work for
me. I want to cue a voice during silences in other, and resp. cue the
other during silences in this.
have a look at tag-related features of lilypond:
http://lilypond.org/doc/v2.12/D
On 12.10.2010 15:58, 106ohm(G.Masetti) wrote:
I sent an email to this mailinglist with an attached image but they say to me:
"A message that you sent could not be delivered to one or more of its
recipients. This is a permanent error. The following address(es) failed:
lilypond-user@gnu.org"
I don
On 22.08.2010 21:34, Francisco Vila wrote:
2010/8/20 Nils Gey:
Sorry for the confusion.
What I really mean is a simple question: I want page 1/2 size 16
and page 2/2 size 18 because its the last page and has fewer
notes.
Note: Not really "I" but "he" or "someone". For me aestethics would
preve
Hi all,
I have to move the instrumentCueName and I'm lost:
I tried something like
\once \override InstrumentSwitch #'Y-offset = #-3
but there is too much I do NOT know, like:
* which layout object should I address
* where should I put the override
* which syntax
Deadline is near, so any help is v
On 18.07.2010 23:18, James Lowe wrote:
Hello,
Thinking about this more, does that mean there is no really easy way
to insert cue notes a dozen bars in without, for example, having
something like
trumpetcue = \relative c'' { R1*12 | a a a a | e e e e | }
before hand if you see what I mean?
Ja
Starts the cued notes on the full bar rest of the main music, at the
second bar of the defined cue notes?
Hi James,
think of the cue voice as a complete voice which is quoted when you
refer to it, so bar 2 of your "main" voice is bar 2 of your cue voice.
As you wrote one bar before you started
Hi all,
maybe a stupid question:
I have two score blocks and don't want the opus to be printed when the
second score starts. Follwing the fine manual I tried
\score {
...
\header {
piece = ##f
opus = ##f
}
}
which didn't work as (I) expected.
I really don't dare to present my workaround ... o
On 05/18/2010 09:35 AM, -Eluze wrote:
maybe \override MultiMeasureRest #'staff-position = #-9 (in the music part
of \cueDuring) is what you need!?
Thanks a lot!
Bernhard
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Hi,
I'm struggling with cue notes colliding with rests of the "main voice":
How can I tweak the spacing between the full measure rests of the main
voice and the voice containing the cue notes?
I would like to avoid messing around with hidden notes and NoteColumns
I tried RestCollission
\
On 03/30/2010 02:07 AM, Hilary Snaden wrote:
I'm typesetting a Palestrina motet, possibly the first of several. For
ease of proofreading, I've used the original (long) note values from the
collected works edition, but I'd like to generate output with halved
note-values, as is current practice. Ca
On 02/27/2010 06:20 AM, musicologyman wrote:
I've been struggling to replicate the placement of slurs and ties in the
following original:
Problem is, I can't get the slurs and ties to appear _within_ the beamed
note. They always appear above the beam if the stem is up and below if
the stem is d
On 02/02/2010 01:24 AM, Bobber wrote:
That ability would seem to indicate more possibilities. The person I
spoke to who is one of the publishers listed on the Wikipedia page, said
that the output of both Finale and Lilypond was unacceptable for a
professional publisher.
IMHO it's not only the so
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