David,
Thanks for something I did not know.
Mark
-Original Message-
From: David Wright
Sent: Sunday, January 19, 2025 12:14 PM
To: carsonm...@ca.rr.com
Cc: lilypond-user@gnu.org
Subject: Re: "section"
On Sun 19 Jan 2025 at 11:17:38 (-0800), carsonm...@ca.rr.com wrote:
>
On Sun 19 Jan 2025 at 11:17:38 (-0800), carsonm...@ca.rr.com wrote:
> Page numbers indicate a pdf.
> I use on the online index.
> https://lilypond.org/doc/v2.24/Documentation/learning/lilypond-index#lilypon
> d-index_cp_letter-S
Substituting "notation" for "learning" seems to work.
It's often wort
Timothy,
Thank you.
Mark
From: Timothy Lanfear
Sent: Sunday, January 19, 2025 11:41 AM
To: carsonm...@ca.rr.com; lilypond-user@gnu.org
Subject: Re: "section"
Mark,
You can find \section in the index to the Notation Reference
https://lilypond.org/doc/v2.24/Documentatio
Is this what you are looking for: LilyPond Notation Reference: 1.2.5
Bars
<https://lilypond.org/doc/v2.24/Documentation/notation/bars#section-divisions>
(2.24.4)?
I noticed that the chapter 1.2.5 about bars contains 7 subsection in the
english (original) version whereas the german trans
Mark,
You can find \section in the index to the Notation Reference
https://lilypond.org/doc/v2.24/Documentation/notation/lilypond-index. I
suppose this command is not mentioned in the Learning Manual, which does
not cover every LilyPond topic.
On 19/01/2025 19:17, carsonm...@ca.rr.com wrote
ypond-User Mailing List'
Subject: Re: "section"
On Sun 19 Jan 2025 at 10:58:25 (-0800), carsonm...@ca.rr.com wrote:
> Looked in the index of 2.24 and did not see it.
>
> Where should I be looking?
Notation Reference 2.24.0 p884 (command index) and p910 (LilyPond index).
Cheers,
David.
On Sun 19 Jan 2025 at 10:58:25 (-0800), carsonm...@ca.rr.com wrote:
> Looked in the index of 2.24 and did not see it.
>
> Where should I be looking?
Notation Reference 2.24.0 p884 (command index) and p910 (LilyPond index).
Cheers,
David.
Hello all,
Looked in the index of 2.24 and did not see it.
Where should I be looking?
Thank you.
Mark
Hi,
I have a standard 32-bar song with the following structure:
Intro-AA-B-A-"Outro". Laid out like this -
Introduction volta 2 ||: 8 bars :||
Intro lyric 1
Intro lyric 2
Verse 1 & 2 volta 2 ||: 8 bars :||
Stanza 1 lyric
Stanza 2 lyric
Chorus/Bridge || 8 bars ||
Chorus lyric
Verse 1 reprise
Xavier, Knute
Thanks for your guidance! Thanks to your explanations, I now also
understand the relevance of NR 1.2.6, which I had of course consulted ;-)
Best regards
Stephan
Am 29.03.2024 um 22:34 schrieb Xavier Scheuer:
On Fri, 29 Mar 2024 at 22:31, Knute Snortum wrote:
>
> This looks like
On Fri, 29 Mar 2024 at 22:31, Knute Snortum wrote:
>
> This looks like a very old bug that LilyPond has. Basically, if you have
a grace note starting a measure in one staff, you have to have one on all
staves, even if it's just a spacer. So adding this to the melody will fix
the problem:
Exactl
On Fri, Mar 29, 2024 at 1:25 PM Stephan Schöll wrote:
> Hi all
>
> I'm adding an ossia staff during specific bars only. This works fine in
> general.
>
> Interestingly / strangely, as soon as the \section (double barline)
> falls into a \grace (or \appoggiatura or \
Hi all
I'm adding an ossia staff during specific bars only. This works fine in
general.
Interestingly / strangely, as soon as the \section (double barline)
falls into a \grace (or \appoggiatura or \acciaccatura) in the ossia
staff a regular barline is added at the position where I'd
the
bars carry down through all the other staves.
Now, with the advent of \section, I thought I could do this the same
way. It worked fine for the Clar1 part, but when I tried the score, I
found that the \section double bars only appeared in the flute staff
where they were included, and did not
, with the advent of \section, I thought I could do this the same way.
It worked fine for the Clar1 part, but when I tried the score, I found that
the \section double bars only appeared in the flute staff where they were
included, and did not carry down to the cornet staff where I had the actual
music
On Sat, Feb 24, 2024 at 11:32 AM Jean Abou Samra wrote:
> Just replace 4\repeatTie with 4?
>
Works like a charm, thanks!
--
Knute Snortum
Just replace `4\repeatTie` with `4`?
signature.asc
Description: This is a digitally signed message part
(There was just recently a discussion around this problem but I can't find
it for the life of me. Sorry.)
I'm having a problem with a slur going into a repeat volta two section.
Normally I would use a \repeatTie but in this case, the slur is to an
octave and so the \repeatTie "kn
Hello,
does anyone know of a simple way to have the last line of a section with ragged
right, something like ragged-last=##t affecting not only the last line of a
score, but also the last line of a section?
Thanks,
Gilg
Hello,
I'm about to transcript a part that contains a D.S al coda with the to code
mark placed in a repeat section. The picture below shows an example of what
I want but with the code mark misplaced. I manually place the text "last
time to code" where I want it. I include the co
Knute: No, I haven't run Lilypond from the command line (I have enough
trouble using it with Frescobaldi 3.2)
Machine: Windows 10 Pro 64-bit, 16GB memory
LP version 2.24
Mike Dean
On Thu, Jan 19, 2023 at 12:15 PM Knute Snortum wrote:
> On Thu, Jan 19, 2023 at 9:01 AM Mike Dean wrote:
> >
> > K
On Thu, Jan 19, 2023 at 9:01 AM Mike Dean wrote:
>
> Kieren: it worked great, thanks mauch
> I am having problems when I print to PDF in 2.24/Frescobaldi 3.2: the program
> hangs (I'm not sure if it's on the Lilypond side or the Frescobaldi side ---
> Frescobaldi says that it's not responding):
Hi Mike,
> I'm wondering if there is a way to put beat markers in the chords section as
> in the following:
Well, you could definitely use the Slash_repeat_engraver, if you know what
you’re doing…
I don’t really, but I took a whack at it — see snippet below.
Hope that helps!
K
Hi group:
I'm wondering if there is a way to put beat markers in the chords section
as in the following:
[image: image.png]
The snippet follows:
harmonies = \chordmode { d4:m | d2.:m | d:m | c2. | c | c |
c | d:m | d2:m c4 | d2.:m | d:m | d:m | d:m
d:m | d:m | c |
Le 10/11/2022 à 16:49, Joel C. Salomon a écrit :
Obviously, all three options below produce identical output. (And
also, I know that `\sectionLabel` does not need to be attached to a
`\section`.)
But is there a notion of which generally best represents the way music
is divided, clearer to the
Obviously, all three options below produce identical output. (And
also, I know that `\sectionLabel` does not need to be attached to a
`\section`.)
But is there a notion of which generally best represents the way music
is divided, clearer to the next reader of my code than the other
choices
On Thu, Nov 3, 2022 at 1:41 PM Jean Abou Samra wrote:
>
> Le 03/11/2022 à 18:12, Joel C. Salomon a écrit :
> >
> > I normally put commands like `\bar "||"` in a single place (a Dynamics
> > section, usually) and they take effect across all staves. And in
> &g
Le 03/11/2022 à 21:02, anthony a écrit :
On 03/11/2022 17:41, Jean Abou Samra wrote:
In general, it's always been a credo through repeat-related changes that
the repeat structure in the user input is expected to match across
staves,
reflecting the actual music. If you do this, it will also be
On 03/11/2022 17:41, Jean Abou Samra wrote:
In general, it's always been a credo through repeat-related changes that
the repeat structure in the user input is expected to match across staves,
reflecting the actual music. If you do this, it will also be easier to
extract parts.
Like bar line war
Le 03/11/2022 à 18:12, Joel C. Salomon a écrit :
There’s a change between 2.23.6 and 2.23.80 in how `\fine` and
`\section` appear across staves. Below is a near-minimal cut-down
version of my score illustrating the change, and images showing the
difference.
I normally put commands like
There’s a change between 2.23.6 and 2.23.80 in how `\fine` and
`\section` appear across staves. Below is a near-minimal cut-down
version of my score illustrating the change, and images showing the
difference.
I normally put commands like `\bar "||"` in a single place (a Dynamic
On Fri, Oct 29, 2021 at 4:53 PM Lukas-Fabian Moser wrote:
> > I'll probably keep the \noBeam rather than the \autoBeamOff, since I'm
> > trying to faithfully reproduce the original, as much as I can.
> Non sequitur (I think).
>
> Consider:
>
> \version "2.22"
> \language "english"
>
> \relative
Again, much thanks. I would not have known this without your post. The
Documentation page you reference clearly shows use of the "older" type
of temporary polyphonic context and in the text explicitly mentions its
use for lyric continuation. Yet doing so does require the use of \skip1
in lyrics
e \global stuff outside the melody
> - I removed all instances of \noBeam and instead did \autoBeamOff (which
> is often more useful in vocal music, especially with lots of syllabic bits)
>
> Does that help?
Yes, thanks!
I had already thought about moving the
\mergeDifferentlyDottedO
I'll probably keep the \noBeam rather than the \autoBeamOff, since I'm
trying to faithfully reproduce the original, as much as I can.
Non sequitur (I think).
Consider:
\version "2.22"
\language "english"
\relative {
\time 3/4
\key d \major
d'8\noBeam d e16( fs) g8\noBeam a\noBeam fs
Whoa! What is this magic you're doing Master Moser??
- I made sure that the bf4. on "days" stays in the voice called
melody. There are various ways to do this; I chose a "modern" way
using \voices and \\ inside << >> which allows to automatically add
a "second" voice
This is a techni
Am 29.10.21 um 22:14 schrieb Guy Stalnaker:
Whoa! What is this magic you're doing Master Moser??
- I made sure that the bf4. on "days" stays in the voice called
melody. There are various ways to do this; I chose a "modern" way
using \voices and \\ inside << >> which allows to autom
On Fri, Oct 29, 2021 at 3:37 PM Guy Stalnaker wrote:
> Kevin,
>
> You're encountering an known situation with polyphonic contexts like this
> one. A change in 2.20.x modified how lyrics are calculated in these
> polyphonic contexts. You need to manually add to the *lyrics* \skip1 to
> position
Hi Kevin,
Am 29.10.21 um 21:03 schrieb Kevin Cole:
First, I'm using LilyPond v. 2.20.0. (I often seem to end up at 2.18
and 2.21 when searching for documentation -- though explicitly
changing the URL to 2.20 works.)
Yes, that's a bit of a nuisance.
Second, I guess I'm not sure what you mean by
Kevin,
You're encountering an known situation with polyphonic contexts like
this one. A change in 2.20.x modified how lyrics are calculated in these
polyphonic contexts. You need to manually add to the *lyrics* \skip1 to
position the lyrics where you want them. Like so:
words = \lyricm
On Fri, Oct 29, 2021 at 3:03 PM Kevin Cole wrote:
>
> Hi Lukas,
>
> First, I'm using LilyPond v. 2.20.0. (I often seem to end up at 2.18
> and 2.21 when searching for documentation -- though explicitly
> changing the URL to 2.20 works.)
>
> Second, I guess I'm not sure what you mean by a compatibl
Hi Lukas,
First, I'm using LilyPond v. 2.20.0. (I often seem to end up at 2.18
and 2.21 when searching for documentation -- though explicitly
changing the URL to 2.20 works.)
Second, I guess I'm not sure what you mean by a compatible example: I
thought that's what I provided. But the URL below is
specific-to-lyrics#polyphony-with-shared-lyrics
but the example isn't quite helping, since the way the book told me to
do the voices in the melody appears to be different from the way the
page above is doing things...
Can you describe what's confusing you? I'll readily admit th
So. I have a piece with a few sections where there are two "voices" as
I understand things. And according to the manual, the solution, which
works fine is:
melody = {
\relative {
\global
\new Voice = "melody" {
\partial 4 bf4^\f | % 0
that
> > would help with the following question, but I'm not sure what it is, and
> > I'm having a lot more difficulty than normal figuring out what to look for
> > in the manual.
> >
> > Anyway, the piece starts off in unison, then h
or
in the manual.
>
> Anyway, the piece starts off in unison, then has a div. section written
on multiple staffs, then comes back together.
>
> I can get multiple staffs with
> <<
> { ...top part.. }
> \new Staff { ...bottom part ...}
> >>
>
has a div. section written on
multiple staffs, then comes back together.
I can get multiple staffs with
<<
{ ...top part.. }
\new Staff { ...bottom part ...}
>>
but what I really want is a staff group. The bracket on the left would be
nice, but even more critical a
Am So., 31. Jan. 2021 um 16:38 Uhr schrieb Davide Bonetti
:
> Thanks again (and sorry for the bad english)
I'm not aware of any bad english, well, apart from my own ...
Cheers,
Harm
gt; try to put accordion symbol in a title section this leads to an error:
>>
>> > \version "2.22.0"
>> >
>> > #(use-modules (scm accreg))
>> >
>> > \score {
>> > { c4 d e f}
>> > \header {
>> > titl
Thanks Harm for the workaround.
As you pointed it works only putting
#(use-modules (scm accreg))
in every header where is needed, so in a book with multiple scores it's
a quite tedious.
I think accordion registers is the only markup that need use-modules.
Is there a way to get rid of use-modu
Am So., 31. Jan. 2021 um 13:59 Uhr schrieb Davide Bonetti
:
>
> Hi!
>
> we know that accordion register symbols works as markup and also as a
> music function.
>
> One can put accordion symbols everywhere in a markup block, but if you
> try to put accordion symbol in a tit
Hi!
we know that accordion register symbols works as markup and also as a
music function.
One can put accordion symbols everywhere in a markup block, but if you
try to put accordion symbol in a title section this leads to an error:
\version "2.22.0"
#(use-modules (scm accreg
t; And you can use ".|:-|."
>
>
>
> Jaap de Wolff
>
>
>
> *Van:* lilypond-user
> *Namens *Solomon Foster
> *Verzonden:* Wednesday, May 13, 2020 3:28 PM
> *Aan:* Lily-Pond List
> *Onderwerp:* Ending one section with closing double bar line, starting
>
Sol,
Put this in your lilypond file, before the music:
#(define-bar-line ".|:-|." "|." ".|:" ".|")
And you can use ".|:-|."
Jaap de Wolff
Van: lilypond-user Namens
Solomon Foster
Verzonden: Wednesday, May 13, 2020 3:28 PM
Aan:
Hi all,
The person I'm typesetting for wants to end the first section of a tune
with a closing double bar line (ie "|.") and begin the next section (on the
next line) with a begin repeat (".|:"). Basically the goal would be
exactly the same functionality as ".|:-|
Hi,
Weird scenario, and unfortunately I can't hate on the composersince
it's my work and my misbehavior! ;-)
So I have a section of a piece for tenor and orchestra that is in 4/4 but
the singer has cadenza figures for sections, while the orchestra is
resting. So the struct
On 2019-06-22 1:46 pm, Evan Driscoll wrote:
Originally I was going to say that would work well in many cases if I
have
a music variable, but I don't know how to use them in the context of
\repeat unfold, which I very much prefer when applicable(*).
But I realized that I could write something th
On 2019-06-22 1:46 pm, Evan Driscoll wrote:
Is there a way to define a variable "locally"?
Not with the "foo = bar" syntax. But you can do this:
\version "2.19.82"
outside = { 8 8 4 }
{
$(define inside #{ { 2 } #})
\outside \inside
}
{ \outside \inside }
-- Aaron Hill
On Sat, Jun 22, 2019 at 3:57 AM Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:
> How about using tags:
> http://lilypond.org/doc/v2.19/Documentation/notation/different-editions-from-one-source.html#using-tags
>
Originally I was going to say that would work well in many cases if
On 22.06.19 09:01, Evan Driscoll wrote:
1. Is there some abstraction that's worth doing that will simplify or
shorten my code? (I seem to remember seeing some suggestion for
example to put dynamics and other expressive marks separate from the
actual music, but I can't find where I saw that, don
Hi Evan,
How about using tags:
http://lilypond.org/doc/v2.19/Documentation/notation/different-editions-from-one-source.html#using-tags
HTH.
Cheers,
Pierre
Le sam. 22 juin 2019 à 09:01, Evan Driscoll a écrit :
> I've got a couple variants of the same question.
>
> Suppose I have a few measures th
I've got a couple variants of the same question.
Suppose I have a few measures that are reused exactly multiple times. If
they are adjacent, I can use '\repeat unfold' and only write it once. If
they're not, I can put them into a music variable and use that.
But what can I do if they are... *almo
> On 14 Nov 2018, at 09:09, sean read wrote:
>
> I'm trying to write out lead sheets with section labels like you see on
> modern charts with a and b section labelled by a bold letter in a box. Is
> there a standardised way to do this in lilypond? I couldn't seem t
Hi Sean,
A "section label" is called RehearsalMark in LilyPond.
These rehearsal marks are (by default) the capital letters A, B, C, …, but
they can be changed into consecutive numbers (1, 2, 3,...) or bar numbers.
With a box, a circle, or nothing around.
Cf. Rehearsal marks
<http:/
I'm trying to write out lead sheets with section labels like you see on
modern charts with a and b section labelled by a bold letter in a box. Is
there a standardised way to do this in lilypond? I couldn't seem to find
anything in the doc
Am 13.03.2018 um 06:24 schrieb Robert Schmaus:
You should use just one bar sign, in your case the double bar ":|.|:"
Or the double bar ":..:". That’s the default for \repeat volta, but of
course it’s a matter of taste.
___
lilypond-user mailing l
Or use repeats and no bar oberrides, this works in any case ...
Best, Robert
> On 13 Mar 2018, at 00:56, Ernie Braganza wrote:
>
> I have a song form AABB, but I am unable to make the ending repeat for
> section A show up. My example uses \bar commands, but the same thing happens
I have a song form AABB, but I am unable to make the ending repeat for
section A show up. My example uses \bar commands, but the same thing
happens when I use \repeat volta. Any ideas what I am doing wrong?
\version "2.19.36"
\score {
\relative c'' {
\mark \default
2018-01-26 0:20 GMT+01:00 Thomas Morley :
> 2018-01-26 0:07 GMT+01:00 Carl Sorensen :
>> On 1/25/18, 4:05 PM, "Thomas Morley" wrote:
>> Thinking of documenting it, I suggest to go for an
>> doc-tagged-lsr-snippet.
>> WYT?
>>
>>
>> I agree. A doc-tagged snippet would do the trick.
>
>
>
2018-01-26 0:07 GMT+01:00 Carl Sorensen :
> On 1/25/18, 4:05 PM, "Thomas Morley" wrote:
>
> > Seems that we should add maximumFretStretch to the properties read by
> Tab_note_heads_engraver.
> >
> > Carl
> I'll put up a patch.
https://sourceforge.net/p/testlilyissues/issues/526
On 1/25/18, 4:05 PM, "Thomas Morley" wrote:
2018-01-25 23:48 GMT+01:00 Carl Sorensen :
>
>
> On 1/25/18, 2:57 PM, "Thomas Morley" wrote:
>
>
> Not really.
> In the IR you'll find that maximumFretStretch is read by the
Fretboard_engraver.
> But
2018-01-25 23:48 GMT+01:00 Carl Sorensen :
>
>
> On 1/25/18, 2:57 PM, "Thomas Morley" wrote:
>
>
> Not really.
> In the IR you'll find that maximumFretStretch is read by the
> Fretboard_engraver.
> But it doesn't say it's used in FretBoards-context exclusively.
>
> You already fo
On 1/25/18, 2:57 PM, "Thomas Morley" wrote:
Not really.
In the IR you'll find that maximumFretStretch is read by the
Fretboard_engraver.
But it doesn't say it's used in FretBoards-context exclusively.
You already found maximumFretStretch in the determine-frets-proced
by Fretboard_engraver *and*
Tab_note_heads_engraver (in TabVoice).
> Don't you think that it should be mentionned in the Tablature section of
> the manual that, at least, you have to type all the string numbers involved
> in a more than default stretch ?
>
> By the way,
ing to the manuel, the property maximumFretStretch is only
belonging to
Fretboards context.
Don't you think that it should be mentionned in the Tablature section
of
the manual that, at least, you have to type all the string numbers
involved
in a more than default stretch ?
By the way, is
ds context.
Don't you think that it should be mentionned in the Tablature section of
the manual that, at least, you have to type all the string numbers involved
in a more than default stretch ?
By the way, is there a way to override this default, just for a score or a
section of it ?
(yes,
ms that the end repeat symbol is interpreted differently with and without
alternatives:
Without alternatives, it means repeat a number of times, and if it is not two,
can be specified with a "x" at the beginning of the section. The end
repeat symbol is then skipped over the last time.
Yt was David Wright who wrote what you quote, not me.
> On 4 Feb 2017, at 01:58, Flaming Hakama by Elaine
> wrote:
>
> On Fri, Feb 3, 2017 at 1:12 PM, [David Wright ]
> wrote:
>
> > Comparing yesterday's version (2 and 4 separate) and A (2&4 together),
> > I'd maintain that A describes the mu
On Fri, Feb 3, 2017 at 1:12 PM, Hans Åberg wrote:
>
> > Comparing yesterday's version (2 and 4 separate) and A (2&4 together),
> > I'd maintain that A describes the music more faithfully, and is
> > actually easier to read: when you reach 15 on the 4th-time through,
> > you've not only played all
> On 3 Feb 2017, at 21:51, David Wright wrote:
>
> On Fri 03 Feb 2017 at 20:23:07 (+0100), Hans Åberg wrote:
>>
>> FYI, here are two versions with the repeat combined fro visual comarison. In
>> the first, there is a terminating repeat sign, in the second none.
>
> Well, the second version (B
On Fri 03 Feb 2017 at 20:23:07 (+0100), Hans Åberg wrote:
>
> > On 3 Feb 2017, at 19:02, Flaming Hakama by Elaine
> > wrote:
> >
> > > in that 2 needs a repeat barline at the end of the measures,
> > > you need one alternative each.
> >
> > Eh? Are you telling me that I can't write the first r
> > in that 2 needs a repeat barline at the end of the measures,
> > you need one alternative each.
>
> Eh? Are you telling me that I can't write the first rendition
> any more because, in the second, only 1 needs a repeat barline
> at the end of the measure, and 2 *mustn't* have one?
>
>
I was sug
On Thu 02 Feb 2017 at 13:41:52 (-0800), Flaming Hakama by Elaine wrote:
> > When the whole section is repeated when it has alternatives, how is that
> > normally engraved? Specifically, the section has two alternatives, but is
> > repeated in full. One way is to use Score.
> On 2 Feb 2017, at 22:41, Flaming Hakama by Elaine
> wrote:
>
> I'd say, in general, you need as many alternatives as there is unique
> material.
>
> Only 1 & 3 are the same, so you can combine those.
> 2 and 4 differ in that 2 needs a repeat barline at the end of the measures,
> you need
ent of an ordinary repeat unless you mark the end of the
> second alternative.
It is ambiguous, indeed, in view of the alternatives.
>> Otherwise, I used the "1, 3", "2", "4" variation, which looks fine.
>
> How good it looks might depend on the rel
On Thu 02 Feb 2017 at 20:29:49 (+0100), Hans Åberg wrote:
>
> > On 2 Feb 2017, at 19:35, Chris Yate wrote:
>
> >> > I'd write and expect to read numbered horizontal brackets for each
> >> > alternative, and expect a repeat symbol at the
> On 2 Feb 2017, at 19:35, Chris Yate wrote:
>> > I'd write and expect to read numbered horizontal brackets for each
>> > alternative, and expect a repeat symbol at the end of any section that
>> > needed it.
>> >
>> > Of course you
s for each
alternative, and expect a repeat symbol at the end of any section that
needed it.
>
> Of course you might put labelling like "1, 3", "2", "4" as required.
Yes, that is one. Another might be to indicate that the whole section is to
be repeated by some m
t a repeat symbol at the end of any section that needed
> it.
>
> Of course you might put labelling like "1, 3", "2", "4" as required.
Yes, that is one. Another might be to indicate that the whole section is to be
re
ive, and expect a repeat symbol at the end of any section that
needed it.
Of course you might put labelling like "1, 3", "2", "4" as required.
Chris
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
> On 2 Feb 2017, at 17:09, Chris Yate wrote:
>
> Did you mean, how to achieve it in Lilypond, or what is the best engraving
> practice?
The latter.
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Did you mean, how to achieve it in Lilypond, or what is the best engraving
practice?
On 2 Feb 2017 15:18, "Hans Åberg" wrote:
> When the whole section is repeated when it has alternatives, how is that
> normally engraved? Specifically, the section has two alternatives, but
When the whole section is repeated when it has alternatives, how is that
normally engraved? Specifically, the section has two alternatives, but is
repeated in full. One way is to use Score.repeatCommands for alternatives
markup "1. 3" resp "2. 4", but then the "2.&quo
it :
>
>
>
> Am 7. Juli 2016 17:32:47 MESZ, schrieb Caio Giovaneti de Barros
> :
>> Can I remove a staff in a single section? Like \removeEmptyStaves but
>> not for the whole score. In my case it is just for the last system.
>>
>>
>> Sorry if this to
Am 7. Juli 2016 17:32:47 MESZ, schrieb Caio Giovaneti de Barros
:
>Can I remove a staff in a single section? Like \removeEmptyStaves but
>not for the whole score. In my case it is just for the last system.
>
>
>Sorry if this topic was already discussed, I searched the manuals an
Caio Giovaneti de Barros writes:
> Can I remove a staff in a single section? Like \removeEmptyStaves but
> not for the whole score. In my case it is just for the last system.
>
>
> Sorry if this topic was already discussed, I searched the manuals and
> archive but I'm in
Can I remove a staff in a single section? Like \removeEmptyStaves but
not for the whole score. In my case it is just for the last system.
Sorry if this topic was already discussed, I searched the manuals and
archive but I'm in a bit of a hurry now to be h
like this
{
\set Staff.instrumentName = \markup \bold {\larger INTRO \halign #-1 \bold
.}
\repeat unfold 4 { s1 }\break
\repeat unfold 4 { s1 }\break
\repeat unfold 4 { s1 }\break
}
{
\set Staff.instrumentName = \markup { \concat {\larger \bold N \raise #1
\center-column\number { \fonts
hey I do those all the time :)
your scan was hard to read but it looks like it
as separate scores
%%%
{
\set Staff.instrumentName = \markup { \concat {\larger \bold N \raise #1
\center-column\number { \fontsize #-7 \raise #.8 \sub o \vspace #-.35
\fontsize #-8 \raise #.4 \super
he start of a piece.
> >
> >Or is it that you just want somebody to do it for you and then report
> >back on what they find?
>
> No - I was hoping somebody HAD ALREADY done it, and could say "this is
> what worked for me". I've been down enough rabbit holes
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