Lukas
thanks so much for the scheme code! I'll poke at this and work it into
my project
yes, calculating scaleDurations was the other route but this seems more
efficient
%% I just learned how to update LilyPond via the Frescobaldi prefs - so
I'm now on 2.25.26
:)
KC
On 7/4/25 05:48AM,
Hi Kim,
Am 03.07.25 um 02:32 schrieb Kim Cascone:
% not sure if cadenza mode can be used with polymetric? and if so, how
that would work
Yes, this should "just work". The price you have to pay for this to work
is that you have to enter your bar lines manually, but maybe that
I just learned about polymetric mode
% not sure if cadenza mode can be used with polymetric? and if so, how
that would work
but I still want to make a loosely structured score containing fragments
for a drone improvisation
the drone piece is conducted by the ensemble leader, each section
that bar in section one a guitar has five bars with various
fragments -- the end of which line up with the euphonium bar line above it
the organ under that has two bars again with varying amount of notes
comprising fragments to be improvised upon
Is cadenza mode the right way tocreate stave
es (to be improvised on)
under that bar in section one a guitar has five bars with various
fragments -- the end of which line up with the euphonium bar line above it
the organ under that has two bars again with varying amount of notes
comprising fragments to be improvised upon
Is cadenza mode
with various
fragments -- the end of which line up with the euphonium bar line above it
the organ under that has two bars again with varying amount of notes
comprising fragments to be improvised upon
Is cadenza mode the right way tocreate staves of varying measures that
all line up with a section
On Tue, Jan 14, 2025 at 2:43 PM John Burt wrote:
> That worked! thank you. I don't understand the thing with \partial 1024
> s1024, though.
>
I found the "\partial 1024 s1024" trick here:
https://lilypond.org/doc/v2.24/Documentation/notation/displaying-rhythms#unmetered-music
Without it, you d
and second tenors sing
>> together a passage senza mesura. Is it possible for a cadenza to be written
>> for two voices? How do I do this?
>>
>
> I'm not sure what problems you are encountering; a tiny example is always
> nice. So what about this?
>
> %%%
&g
On Tue, Jan 14, 2025 at 9:16 AM John Burt wrote:
> I'm trying to engrave a piece in which the first and second tenors sing
> together a passage senza mesura. Is it possible for a cadenza to be written
> for two voices? How do I do this?
>
I'm not sure what problems you ar
I'm trying to engrave a piece in which the first and second tenors sing
together a passage senza mesura. Is it possible for a cadenza to be written
for two voices? How do I do this?
with thanks
John Burt
he full measure rests not collected into a
multimeasure rest?
- Original Message -
> From: "Charlie Ma"
> To: "bobroff"
> Cc: "Lillypond Users Mailing List"
> Sent: Saturday, January 27, 2024 7:08:54 AM
> Subject: Re: cadenza puzzle
> not
on here. The output I get is in the
> attached PNG file. I hope this is minimal enough. It essentially reflects
> the structure of the file that is giving me trouble. Why is the five
> measure rest "duplicating" like that? In the actual project I'm working
> with, the cade
project I'm working with, the cadenza
passage goes across two systems and the multimeasure rest is duplicated twice
before the "real" one is supposed to be displayed.
Thanks for any assistance,
David
*** BEGIN LILY-CODE ***
\version "2.24.2"
\pointAndClickOff
g
On 26/12/2023 20:21, John Burt wrote:
Dear list,
While one part is singing a cadenza another part is holding a long
note. I know how to make a rest or a skip the length of a cadenza bu
not how to make a held note the length of the cadenza.
thanks
John Burt
Something like this should do it
the length of a cadenza
Dear list,
While one part is singing a cadenza another part is holding a long note. I know
how to make a rest or a skip the length of a cadenza bu not how to make a held
note the length of the cadenza.
thanks
John Burt
The way I'd do it is to force the length of the held note to match that of the
sung cadenza by multiplication. For instance if there is a semibreve c being
held while the cadenza part adds up to 7 crotchets, I'd write it as c1*7/4.
But you could just write it normally and pad i
Dear list,
While one part is singing a cadenza another part is holding a long note. I
know how to make a rest or a skip the length of a cadenza bu not how to
make a held note the length of the cadenza.
thanks
John Burt
On Thu, Aug 3, 2023 at 12:24 PM Valentin Petzel wrote:
> Hello Knute,
>
> there is no need to move timing, simply omit the barlines. Moving Timing
> translator will mean you’ll loose bar numbering too.
>
I removed the \cadenzaOn and Off, and the Timing_translator, and used \omit
Staff.BarLline a
Hello Knute,
there is no need to move timing, simply omit the barlines. Moving Timing
translator will mean you’ll loose bar numbering too.
Cheers,
Valentin
Am Donnerstag, 3. August 2023, 19:04:26 CEST schrieb Knute Snortum:
> On Thu, Aug 3, 2023 at 9:47 AM Knute Snortum wrote:
> > On Thu, Aug
My solution works. Try it.
On Thu, Aug 3, 2023, 1:05 PM Knute Snortum wrote:
> On Thu, Aug 3, 2023 at 9:47 AM Knute Snortum wrote:
>
>> On Thu, Aug 3, 2023 at 8:31 AM Kieren MacMillan <
>> kie...@kierenmacmillan.info> wrote:
>>
>>> Hi Knute,
>>>
>>> > Now the only thing that remains is that one
On Thu, Aug 3, 2023 at 9:47 AM Knute Snortum wrote:
> On Thu, Aug 3, 2023 at 8:31 AM Kieren MacMillan <
> kie...@kierenmacmillan.info> wrote:
>
>> Hi Knute,
>>
>> > Now the only thing that remains is that one of the left hand bars lines
>> is too close to the notes.
>>
>> Maybe
>>
>> R2. \once
On Thu, Aug 3, 2023 at 8:31 AM Kieren MacMillan
wrote:
> Hi Knute,
>
> > Now the only thing that remains is that one of the left hand bars lines
> is too close to the notes.
>
> Maybe
>
> R2. \once \override Score.BarLine.extra-offset = #'(-1 . 0) \once
> \override Score.Clef.extra-offset = #'(
Hi Knute,
> Now the only thing that remains is that one of the left hand bars lines is
> too close to the notes.
Maybe
R2. \once \override Score.BarLine.extra-offset = #'(-1 . 0) \once \override
Score.Clef.extra-offset = #'(-1 . 0) |
?
Hope that helps,
Kieren.
_
\clef bass <<{\once \override NoteColumn.force-hshift = 1 af,4 \stemDown
q }\\{\hideNotes f f f }>> |
that will get you the rest of the way. adjust as necessary.
regards,
Shane Brandes
On Thu, Aug 3, 2023 at 10:56 AM Knute Snortum wrote:
> This doesn't seem to have an effect:
>
> \clef bass \
This doesn't seem to have an effect:
\clef bass \once \override NoteColumn.force-hshift = 1 af,4 q |
Perhaps because of strict spacing = ##t?
--
Knute Snortum
On Thu, Aug 3, 2023 at 7:25 AM Fernando Gil wrote:
> Perhaps using \once \override NoteColumn.force-hshift = 1 to push the note
> to
or.
>>
>> \context {
>> \Score
>> \remove Timing_translator
>> \override SpacingSpanner.strict-note-spacing = ##t
>> }
>> % ...
>> }
>>
>> However, it will probably not be ideal to have the entire score rendered
>> in this way. I couldn't figure out how to enable strict note spacing for
>> this cadenza and disable afterwards
>>
>
>
>
his way. I couldn't figure out how to enable strict note spacing for
> this cadenza and disable afterwards
>
\version "2.24.0"
\language "english"
global = {
\key df \major
\time 3/4
}
rightHand = \relative {
\global
af''8 bf af g af \ot
entire score rendered
in this way. I couldn't figure out how to enable strict note spacing for
this cadenza and disable afterwards.
Thanks,
-William
On 8/2/23 20:34, Knute Snortum wrote:
Hello, LilyPonders.
I am engraving Chopin's "minute waltz" and I'm having troubl
I have this all the time in the New Complexity School music I engrave.
The way I approach it is to give up the idea of grace notes and make the
RH a tuplet say 30:18 or whatever (sorry I have not counted it) and then
reduce the size of the notes to grace note size, and if you need a slash
you c
affect
spacing. Alternatively you could define your cadenzas outside and automatically
have correct length rests and skips done:
%
cadenza =
#(define-music-function (n) (number?)
#{
\cadenzaOn
$(assoc-get n cadenzas)
\cadenzaOff
\bar "|"
#})
cadenzaD =
t
spacing. Alternatively you could define your cadenzas outside and automatically
have correct length rests and skips done:
%%%%%
cadenza =
#(define-music-function (n) (number?)
#{
\cadenzaOn
$(assoc-get n cadenzas)
\cadenzaOff
\bar "|"
#})
cadenzaD =
#(defin
What is aligned in Lilypond is not the bars, but the lengths of the
notes/skips/rests. CadenzaOn allows you to have a bar of arbitrary length, but
does not negate the alignment of the note values (it’s also valid for all
staves, as long as you haven’t moved engravers around). Your harmonies stil
Hi all
I have a song that starts with 1 bar of adlib (without accompaniment), 1
bar of silence in the melody, but with a chord, then another melody
adlib bar without accompaniment, and finally (in this example) again a
bar with chords only (w/o accompaniment). I cannot figure out how to
align the
\cadenzaOn and \cadenzaOff do exactly what I am looking for; I apologize
for not finding those before asking the list.
As far as "turning off" and the other parts, I've decided to put the
cadenza in the other parts as a CueVoice. Once I get the score completed I
may look at try
lines exists. So you either have no manually insert
\bar ""
Or you could also do
\set Score.defaultBarType = ""
\set Score.barAlways = ##t
For the Cadenza and
\set Score.defaultBarType = "|"
\unset Score.barAlways
After the cadenza.
Cheers,
Valentin
signature.asc
De
On Sat, Oct 16, 2021 at 6:27 AM Greg Lindstrom wrote:
>
> I am constructing a score with 4 instruments (tuba/euphonium quartet) and
> have come to a spot where Euph 1 has a cadenza. Since it is an extended
> passage, I would like to "suspend" the 4 lines of the s
I am constructing a score with 4 instruments (tuba/euphonium quartet) and
have come to a spot where Euph 1 has a cadenza. Since it is an extended
passage, I would like to "suspend" the 4 lines of the score and have only
the cadenza line, then go back to having the 4 line score after t
On 16/08/21 07:06, Mark Probert wrote:
>
> Hi.
>
> I don't understand why I am seeing the behaviour I have with the
> snippet below. I would expect to see the section marked "G Phrygian" to
> have the aes bes and ees marked, but they are not (obviously you are
> meant to read them from the ear
Lukas wrote:
>
> In addition to Jean's explanation: Since I often have to create
> examples like the ones you provided, and LilyPond's treatment of
> accidentals in cadenzas split up into multiple "bars" started to
> annoy me too much, I switched to a solution not relying on
> \cadenzaOn: Inst
Hi Mark,
I don't understand why I am seeing the behaviour I have with the
snippet below. I would expect to see the section marked "G Phrygian" to
have the aes bes and ees marked, but they are not (obviously you are
meant to read them from the earlier bar). How can I force them to show?
In addi
Jean wrote:
>
> In \cadenzaOn, accidentals are never reset. The
> cadenza is considered one measure of its own.
> Your \cadenzaOff sections are not enough to change
> that because they have zero duration, so there
> is no point of time where LilyPond would notice
> that
\cadenzaOn
aes1 bes1 c1 d1 ees1 f1 g1 aes1 \bar "||"
\break
\cadenzaOff
\mark "G Phrygian"
\cadenzaOn
g,1 aes1 bes1 c1 d1 ees1 f1 g1 \bar "||"
\break
\cadenzaOff
}
\score {
<<
\new Staff \tune
>>
}
%--
In \cadenzaOn, accidentals are
Hi.
I don't understand why I am seeing the behaviour I have with the
snippet below. I would expect to see the section marked "G Phrygian" to
have the aes bes and ees marked, but they are not (obviously you are
meant to read them from the earlier bar). How can I force them to show?
TIA .. mar
Timothy, gang,
OMG you can just hide the beam? 🤦🏻♂️
Thank you very much!
Brent.
On Fri, 18 Jun 2021 at 08:14, Timothy Lanfear wrote:
> On 17/06/2021 15:28, Brent Annable wrote:
> > Ok cool thanks everyone, I'll definitely be mindful of that in future.
> >
> > Any ideas about my partcombine p
On 17/06/2021 15:28, Brent Annable wrote:
Ok cool thanks everyone, I'll definitely be mindful of that in future.
Any ideas about my partcombine problem?
Brent.
Will this do?
version "2.22.1"
global = {
\cadenzaOn
\key es \major
}
partOneBeams = \relative c'' {
\global
g8[ as bes c
ee where I end up, or was this a cached
> page, or will it perhaps be taken down at some point?
> >
> > Brent.
> >
> > On Thu, 17 Jun 2021, 9:29 pm Phil Holmes, wrote:
> >>
> >> On 17/06/2021 12:19, Brent Annable wrote:
> >> > Hi all,
> &g
to see where I end up, or was this a cached page, or
> will it perhaps be taken down at some point?
>
> Brent.
>
> On Thu, 17 Jun 2021, 9:29 pm Phil Holmes, wrote:
>>
>> On 17/06/2021 12:19, Brent Annable wrote:
>> > Hi all,
>> >
>> > I'm
Holmes, mailto:m...@philholmes.net>> wrote:
On 17/06/2021 12:19, Brent Annable wrote:
> Hi all,
>
> I'm trying to use \partCombine to merge two parts with beamed eighth
notes in cadenza mode (see attached). What I want is for the three eighth notes in
the lowe
Brent Annable writes:
> Hi Phil,
>
> I was here:
>
> https://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#automatic-part-combining
>
> I see now in the URL that the version is 2.20, but this is where Google
> sent me when I searched for "Lilypond partcombine" (without the quotati
parts with beamed eighth
> notes in cadenza mode (see attached). What I want is for the three eighth
> notes in the lower part to merge into chords with the upper part, but
> Lilypond doesn't seem to want to do it. When I take out the [ ] beaming
> marks, it merges the second two no
On 17/06/2021 12:19, Brent Annable wrote:
Hi all,
I'm trying to use \partCombine to merge two parts with beamed eighth notes in
cadenza mode (see attached). What I want is for the three eighth notes in the
lower part to merge into chords with the upper part, but Lilypond doesn't see
Hi all,
I'm trying to use \partCombine to merge two parts with beamed eighth notes
in cadenza mode (see attached). What I want is for the three eighth notes
in the lower part to merge into chords with the upper part, but Lilypond
doesn't seem to want to do it. When I take out the [
On Thu, Jul 23, 2020 at 6:21 AM John Burt wrote:
> While the second tenor part is singing a cadenza, the first tenor and the
> baritone parts are holding a note as long as the cadenza. I know how to make
> a rest as long as a cadenza -- #(mmrest-of-length MyCadenza) but I don't
Hi John,
Am 23.07.20 um 13:21 schrieb John Burt:
While the second tenor part is singing a cadenza, the first tenor and
the baritone parts are holding a note as long as the cadenza. I now
how to make a rest a long as a cadenza -- #(mmrest-of-length
MyCadenza) but I don't know how to do
While the second tenor part is singing a cadenza, the first tenor and the
baritone parts are holding a note as long as the cadenza. I now how to make
a rest a long as a cadenza -- #(mmrest-of-length MyCadenza) but I don't
know how to do this with a note. Is there a way?
thanks
John
> On 30 Oct 2019, at 21:41, Thomas Morley wrote:
>
> Am Mi., 30. Okt. 2019 um 19:44 Uhr schrieb Graham King
> :
>
>> Harm, I'm afraid I'm struggling with "#(ly:make-moment -3)"
>>
>> The NR[2] shows four arguments to ly:make-moment, describes two of them, and
>> then speaks a little obtusely
Am Mi., 30. Okt. 2019 um 19:44 Uhr schrieb Graham King
:
> Harm, I'm afraid I'm struggling with "#(ly:make-moment -3)"
>
> The NR[2] shows four arguments to ly:make-moment, describes two of them, and
> then speaks a little obtusely of the _second_ argument to ly:make-moment
> being possibly nega
> On 30 Oct 2019, at 00:05, Graham King wrote:
>
>>
>> On 29 Oct 2019, at 22:12, Thomas Morley wrote:
>>
>> Am Di., 29. Okt. 2019 um 16:28 Uhr schrieb Graham King
>> :
>>>
>>>
>>> This unanswered part of Reggie's question in [1] lead me to re-scratch an
>>> old itch. In manuscripts and o
> On 29 Oct 2019, at 22:12, Thomas Morley wrote:
>
> Am Di., 29. Okt. 2019 um 16:28 Uhr schrieb Graham King
> :
>>
>> "...and most important you want tight space between all notes as
>> though it's not allowing the space for barlines and more."
>>
>> This unanswered part of Reggie's question
Am Di., 29. Okt. 2019 um 16:28 Uhr schrieb Graham King
:
>
> "...and most important you want tight space between all notes as
> though it's not allowing the space for barlines and more."
>
> This unanswered part of Reggie's question in [1] lead me to re-scratch an old
> itch. In manuscripts and o
"...and most important you want tight space between all notes as
though it's not allowing the space for barlines and more."
This unanswered part of Reggie's question in [1] lead me to re-scratch an old
itch. In manuscripts and old printed editions of mensural notation, notes and
rests are horiz
learn more deeper in lilypond and try a cadenza sort of passage. I see
two problems I am bad at. One, how do I get the trills to be side by
alongside? Two, I can't understand how to make piano empty system end at
the
same location vertical as the trill staff? What is the secret I feel so
stupi
gt; attempting
>> to learn more deeper in lilypond and try a cadenza sort of passage. I see
>> two problems I am bad at. One, how do I get the trills to be side by
>> alongside? Two, I can't understand how to make piano empty system end at
>> the
>> same locati
Am Mo., 28. Okt. 2019 um 11:22 Uhr schrieb Reggie :
>
> Hello list. I am struggling with this. Please don't laugh I just feel like
> crying I cannot see what is right in front of me I must be. I am attempting
> to learn more deeper in lilypond and try a cadenza sort of pas
}
> >
> > That should get you going in the right direction.
> >
> > regards,
> > Shane
> >
> > On Mon, Oct 28, 2019 at 6:22 AM Reggie <
>
> > reegistoop@
>
> > > wrote:
> >
> >> Hello list. I am struggling with this. Please do
> > wrote:
>
>> Hello list. I am struggling with this. Please don't laugh I just feel
>> like
>> crying I cannot see what is right in front of me I must be. I am
>> attempting
>> to learn more deeper in lilypond and try a cadenza sort of passage. I
> Hello list. I am struggling with this. Please don't laugh I just feel like
> crying I cannot see what is right in front of me I must be. I am attempting
> to learn more deeper in lilypond and try a cadenza sort of passage. I see
> two problems I am bad at. One, how do I get the
ilypond-user@gnu.org
Subject: Cadenza Senza Tempo Problem
Hello list. I am struggling with this. Please don't laugh I just feel like
crying I cannot see what is right in front of me I must be. I am attempting
to learn more deeper in lilypond and try a cadenza sort of passage. I see
two problems I
Hello list. I am struggling with this. Please don't laugh I just feel like
crying I cannot see what is right in front of me I must be. I am attempting
to learn more deeper in lilypond and try a cadenza sort of passage. I see
two problems I am bad at. One, how do I get the trills to be si
On 07.10.2018 19:16, Noeck wrote:
\version "2.19.80"
{
fis
\omit Accidental
gis
\undo \omit Accidental
cis'
}
Also, you can convert the override into a tweak like this:
\single\omit Accidental
thus removing the need to \revert or \undo anything.
Best, Simon
On 10/07, Noeck wrote:
> Hi,
>
> Am 07.10.2018 um 19:01 schrieb Mason Hock:
> > \override Voice.Accidental.stencil = ##f
> > % music that doesn't need accidentals
> > \override Voice.Accidental.stencil = ##t
>
> While you can omit accidentals with the first line, you cannot set the
> stencil to t
Hi,
Am 07.10.2018 um 19:01 schrieb Mason Hock:
> \override Voice.Accidental.stencil = ##f
> % music that doesn't need accidentals
> \override Voice.Accidental.stencil = ##t
While you can omit accidentals with the first line, you cannot set the
stencil to true. This prints a warning:
> warning: t
On 10/07, Helge Kruse wrote:
> I am trying to typeset the Fantasia (op.35) of Louis Spohr.
> (http://ks.imslp.net/files/imglnks/usimg/0/01/IMSLP164842-PMLP294545-SpohrOp35edHoly.pdf)
>
>
> There is a cadenza starting at page 8 (excerpt attached) with a lot of
> tight notes. I w
Wed, Sep 5, 2018 at 12:01 AM Andrew Bernard
> wrote:
> >
> > Hi Aaron,
> >
> > My thoughts exactly.
> >
> > Andrew
> >
> >
> > On Wed, 5 Sep 2018 at 15:55, Aaron Hill wrote:
> >>
> >>
> >> It is not a cadenza, per
Thanks for your feedback. Let me give it a try and will let you know
how it went.
On Wed, Sep 5, 2018 at 12:01 AM Andrew Bernard wrote:
>
> Hi Aaron,
>
> My thoughts exactly.
>
> Andrew
>
>
> On Wed, 5 Sep 2018 at 15:55, Aaron Hill wrote:
>>
>>
>&g
Hi Aaron,
My thoughts exactly.
Andrew
On Wed, 5 Sep 2018 at 15:55, Aaron Hill wrote:
>
> It is not a cadenza, per se, but rather an omission of tuplet numbering.
> The piece seems to omit tuplet numbering in nearly all cases, rather
> relying solely on beaming groups to indicat
On 2018-09-04 21:13, Edmundo Carmona Antoranz wrote:
I'm writing the score with flute/piano parts and when reaching 2 bars
before Moderato, the flute part has what I think is a cadenza while
the piano part has perfect measures to complete it (rest with
fermata).
It is not a cadenza, p
Hi Edmundo,
As per the standard convention for the list, posting a minimal working
example (MWE as they are called) would be helpful and make it easier for
people to point out the solution, in general.
In the meantime, I'll engrave that section for you to show how I would do
it.
Andrew
On Wed
Hi!
I'm translating Carmen Fantasy by Francois Borne into Lilypond.
I'm writing the score with flute/piano parts and when reaching 2 bars
before Moderato, the flute part has what I think is a cadenza while
the piano part has perfect measures to complete it (rest with
fermata). I tri
Thank you for the solution to this problem. When I tried \cadenzaOn
etc. before, I clearly did not get things quite right. The example
shown at NR-1.2.3 does not give details of what to do for instruments
in a score which are not involved in the cadenza, and clearly I did not
work out the
David Sumbler writes:
> The piece I am setting has a flute cadenza which is notated in standard
> size notes totalling 14 crotchets (quarter-notes) in length. The whole
> cadenza is written between 2 successive barlines.
>
> The prevailing time signature at this point is 6/8, and
2.*14/3\fermata
2.
}
>>
%%
How about that?
Best, Simon
On 13.04.2018 23:40, David Sumbler wrote:
The piece I am setting has a flute cadenza which is notated in standard
size notes totalling 14 crotchets (quarter-notes) in length. The whole
cadenza is written bet
The piece I am setting has a flute cadenza which is notated in standard
size notes totalling 14 crotchets (quarter-notes) in length. The whole
cadenza is written between 2 successive barlines.
The prevailing time signature at this point is 6/8, and in the cadenza
all of the other instruments
2017-10-06 9:36 GMT-04:00 Malte Meyn :
> \override Beam.breakable = ##t
Good to know.
Thanks :-)
--
Pierre-Luc Gauthier
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Am 06.10.2017 um 14:57 schrieb Pierre-Luc Gauthier:
At first, just reading your reply, I thought it would(could) break
systems at *any* note but there seems to be another rule that prevents
breaking inside a beam.
Yes, beams over barlines prevent a line break, but if you wanted you
could cha
Hi Malte,
> Am 05.10.2017 um 20:54 schrieb Pierre-Luc Gauthier:
>> I peppered bars (e.g: \bar "") at most beam breaks in the cadenza
2017-10-06 2:39 GMT-04:00 Malte Meyn :
> Do you know
> \set Score.barAlways = ##t
> and
> \set Score.defaultBarType
Am 05.10.2017 um 20:54 schrieb Pierre-Luc Gauthier:
I peppered bars (e.g: \bar "") at most beam breaks in the cadenza thus
enabling LilyPond to brake lines correctly at all "possible" places (I
have different editions (letter, big-letter, tablet, score, etc) so
man
Am 05.10.2017 um 16:51 schrieb Pierre-Luc Gauthier:
How can I scale a music expression to the size of another music expression?
e.g. (pseudocode based on \scaleDurations)
\scaleDurations (fraction-of resulting-scale over music-to-be-scaled)
music-to-be-scaled
Have a look at
https://lists.gn
-length musicExpression) not
generate an MMR?
My not so MWE,
I'm trying to include here the minimum required to represent my setup
faithfully.
It's a typical cadenza situation and I need others to stay in sync with it.
Thanks for considering.
--
Pierre-Lu
Am 06.03.2016 um 17:47 schrieb Malte Meyn:
Am 06.03.2016 um 17:41 schrieb David Kastrup:
Giving the notes graceish looks is a different problem. Maybe we should
provide the means to create graceish looks without switching to grace
timing, to better facilitate cadenze which are often written i
Am 06.03.2016 um 17:41 schrieb David Kastrup:
Giving the notes graceish looks is a different problem. Maybe we should
provide the means to create graceish looks without switching to grace
timing, to better facilitate cadenze which are often written in this
manner. I don't know offhand how to
denza.png> I have no
> clue how to deal with this kind of notation. Have anyone a hint for
> me?
Those are not actually grace notes but a cadenza. You enter it with
\cadenzaOn/\cadenzaOff and have to keep your timing manually (including
having to add manual beams).
Cf
http://lilypond.org/doc
Thank you for your indications! I will try them right away.
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I solved this issue myself by using \tiny and even \teeny size notes instead
of grace notes. In the bass bar I added spaces (s) to fill in the gap.
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Am 06.03.2016 um 16:40 schrieb Antoon Dekker:
<http://lilypond.1069038.n5.nabble.com/file/n188162/cadenza.png> I have no
clue how to deal with this kind of notation. Have anyone a hint for
me?Antoon
Some hints: \magnifyMusic for small notes, \cadenzaOn for cadenza
measure of arb
his kind of notation. Have anyone a hint for
me?Antoon
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THank you :)
On 05/11/15 21:14, H. S. Teoh wrote:
On Thu, Nov 05, 2015 at 09:00:26PM +, Alberto Simões wrote:
Hello
Probably this is in the manual, but I did not find it.
Is it possible to change the tempo (playing speed) in a specific zone
of the music?
[...]
Usually what I do is to in
Hi,
you can omit the tempo and still have the effect:
\version "2.19.21"
\score {
{
\tempo 4=120
a
\omit Score.MetronomeMark
\tempo 4=30
b
\omit Score.MetronomeMark
\tempo 4=120
a
}
\midi{}
}
Cheers,
Joram
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On Thu, Nov 05, 2015 at 09:00:26PM +, Alberto Simões wrote:
> Hello
>
> Probably this is in the manual, but I did not find it.
>
> Is it possible to change the tempo (playing speed) in a specific zone
> of the music?
[...]
Usually what I do is to insert "invisible" \tempo marks to control mi
Hello
Probably this is in the manual, but I did not find it.
Is it possible to change the tempo (playing speed) in a specific zone of
the music?
Best,
Alberto
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