ion level have effect, you'll
probably need to move also the Midi_control_change_performer from the
Staff context to the Voice context.
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ass \key aes \major
<<
{ aes,2. }
\new Voice { \voiceTwo s4 ees2 }
\new Voice {
\voiceOne \hideNotes aes,4^(\unHideNotes s4 \voiceTwo bes4)
}
>>
}
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ad linked to
in the issue – I believe the example about the behavior of MIDI volume
at Voice boundaries is still valid, as are all workarounds suggested in
the comments that follow.)
[1] https://sourceforge.net/p/testlilyissues/issues/3945/
[2] http://lists.gnu.org/archive/html/lilypond-user/2014-05/msg00429.ht
ml
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; \leftHandPart \dynamicsPart >> >>
help? This is what I'd try first to ensure that \rightHandPart and
\dynamicsPart will end up in the same Voice (and not in any separate
implicit Voices which could get instantiated implicitly otherwise).
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On Tuesday, 2016-03-08 at 06:35 -0700, Gilberto Agostinho wrote:
> Hi all,
>
>
> Heikki Tauriainen wrote
> > I've observed that LilyPond actually emits CC#7 events to a
> > generated
> > MIDI file on dynamic (MIDI velocity) changes created by the
> >
chorus and reverb levels), but such a context property would certainly
not work well without also disabling the emission of the automatically
generated CC#7 events that I mentioned above.
Do the core developers have any opinions (or knowledge) about the
purpose of the automatically generated CC#7 event
On Tue, 2015-08-04 at 22:54 +0600, Henning Hraban Ramm wrote:
> Am 2015-08-04 um 16:03 schrieb David Kastrup :
>
> > Heikki Tauriainen writes:
> >
> > > > > In that case, I suggest to default the name to header’s
> > > > > „title“
> > >
ral, in
case the user really wishes to use a MIDI sequence name different from
the title) option would be to just have support for customizing the
name of the MIDI sequence independently of the \header block (for use
by the Control_track_performer).
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t names, to make using custom sets of MIDI instruments more
convenient, that is, without the need to map program numbers to General
MIDI instrument names.)
Regards,
Heikki
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and therefore cannot really be moved entirely freely between
different contexts. With this particular example, however, the end
result sounds to me as if the dynamic changes would get applied to all
Voices in the parallel music expression.
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t on the notes
in the lower part, all of which will then sound with the "default"
volume (since no initial volume has been specified). If this is not
what is intended (possibly not if looking at the typeset output), the
explicit initial volume and the crescendos should be repeated also in
the lower part to have them applied to these notes in MIDI...
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