Greetings,
I've looked high and low for the solution to this (rather basic, IMO) problem,
and seem to be coming up empty-handed:
I have a score that requires a single-line tablature staff above the main staff,
which contains pitches. I need to find a way to decrease the space between the
tablatur
Jonathan Kulp gmail.com> writes:
> >
>
> You might try the tweaks covered in Learning Manual 4.5.3 "Real Music
> Example," which has an instance of a tie that needs to be raised to
> avoid collision with something.
>
Right, but this is precisely the point: I'll be making dozens of such
adj
Greetings,
I'm sure this has been addressed elsewhere, although my search of the
forum turns up negative: It seems that in some instances the program
will default to a tie placement such that it is bound to collide with
certain articulations, such as tenuto marks. It appears as if ties
ar
Mark Polesky yahoo.com> writes:
> Eric,
>
> I've gotten as far as I care to for now. Undoubtedly
> you'll want to tweak things anyway, so I'm sending
> off what I have as it is. You could re-code the
> stencil using Carl's (more efficient) way, but the
> code here should work fine. Let me kno
Bertalan Fodor (LilyPondTool organum.hu> writes:
>
>
> How do you do that in Sibelius? Perhaps mirroring the same approach
> would be the best.
With Sibelius, one can easily start and stop a staff mid-system (or measure) by
changing that staff to an "invisible" one. Thus, the passage was engra
I have a score that involves numerous passages of wind instruments making pure
breath (i.e. non-pitched) sounds; as per Kurt Stone, these should be indicated
on a single tablature line above the staff with circular noteheads. These
noteheads are unusual in that they are centered on the stem (i.e. t
Greetings,
Is it possible to suppress/alter the tuplet number in the case of the
duplet shown below? (m. 91, bass staff) According to Stone, this
should be engraved as a duplet with the numeral "2" in the bracket.
This could of course be represented instead by dotted eighths, but
these th
Mats Bengtsson ee.kth.se> writes:
>
> The best solution for you is probably to use #(make-dynamic-script ... )
> to define all your dynamic commands, see subsection "New dynamics".
> Then, they will behave exactly as all the other dynamics.
> I haven't investigated how much tweaks would be in
Wondering if anyone has experienced the following problem:
When creating new centered dynamics in a piano staff in ver. 2.11.55
(and several earlier versions) using \markup, three things happen:
1. the markup text created is significantly larger than the normal
dynamic size
2. the text doe
Eric Flesher gmail.com> writes:
>
> I am having an extremely difficult time finding an acceptable coding solution
> for a fairly straightforward (though relatively complex) notational problem:
... et cetera...
Here's the code:
\version "2.11.51"
upper = \
I am having an extremely difficult time finding an acceptable coding solution
for a fairly straightforward (though relatively complex) notational problem:
I have several measures of piano music (code appended below) in which an initial
chord is struck, with voices released at different times. This
David Fedoruk gmail.com> writes:
>
> I'm not sure which notes are grace and which are not. The problem is
> interesting *think* i'm encountering a similar one, but you haven't
> given me enough information to tell.
>
All the left-hand (bass clef) pitches will look like grace notes. The right
This may have been addressed before, but my search of the archives hasn't
returned anything:
Is it possible in a piano (grand-staff) score to create a grace-note figures
such that:
1. the figure consists of 4 notes in the bass staff (beamed as small 8th notes)
2. the second note of the figure sync
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