Thank you for this example which explains me lot of things. Also I found the solution with the model Aikema proposed, that is when you write the music voices (soprano, alto or what else in another part of the file you should give them the same name of the new voice you write in the \score part. I
On Sun 21 Apr 2024 at 18:45:35 (+0200), Hans Aikema wrote:
> > On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:
> >
> > I read as you suggested but didn't find the way. Here is hte piece of score
> > code:
> >
> > \score{
> > \new StaffGroup <<
> > \new Staff \with {
> >
On Sun, 21 Apr 2024 at 20:44, Gian Paolo Renello
wrote:
>
> Your right, thanks. I noticed it and changed as well in my code, but the
problem won't solve (see previous mail about the context)
Hello,
The Lyrics should come after the \new Voice = "sopranoVoice".
If you get an error please send a m
Your right, thanks. I noticed it and changed as well in my code, but the problem won't solve (see previous mail about the context) GP21.04.2024, 19:12, "Hans Aikema" :Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAbov
this part of code: \new Staff = "sopranoStaff" \with { midiInstrument = "choir aahs" instrumentName = "Soprani" } { \new Voice = "sopranoVoice" { \soprano } } works well, but the second part: \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto "sopranoVoic
Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:I rea
> On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:
>
> I read as you suggested but didn't find the way. Here is hte piece of score
> code:
>
> \score{
> \new StaffGroup <<
> \new Staff \with {
> midiInstrument = "choir aahs"
> instrumentName = "Soprani"
I read as you suggested but didn't find the way. Here is hte piece of score code: \score{ \new StaffGroup << \new Staff \with { midiInstrument = "choir aahs" instrumentName = "Soprani" } { \soprano } \addlyrics {\sopranoVerse_sup} \addlyrics { \s
Hi Aaron,
thank you for looking into it. I think I'll get along with the suggestion in
the current score, but I'll also file a bug report because I think this should
not happen in the first place, and the notation is not terribly excentrly ...
Best
Urs
24. September 2019 19:23, "Aaron Hill" s
On 2019-09-24 9:35 am, Urs Liska wrote:
Is there any reason why the slrus in the attached example come out the
way they do (i.e. so horizontal, with the left edge being so far away
from the notehead)?
Seems to be a combination of slurring identical pitches and the
articulation on the one note.
Stephen,
On Tue, Oct 28, 2014 at 11:33 AM, Stephen MacNeil [via Lilypond]
wrote:
> I understand that however you still can not control what note it goes
> to.
>
> \slashedGrace b8_( 4 )
>
> How would I indicate to have the slur attach to the 'a' note?
Sorry. That's just the way it works for
Simon Bailey-5 wrote
> have you seen:
> http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music
> ?
Excellent! Highly useful - although it is a bit annoying to see a large
bunch of warnings when the showLastLength is set.
--
View this message in context:
http://lilypond.
Kieren MacMillan wrote
> Having just engraved 25 minutes of large forces music for voices and
> instruments (57 staves, for ~330 performers!), I **HIGHLY** recommend you
> avoid doing things like that in future scores.
Thanks for the advice. I'm only on my 4th "real" score in Lilypond so I'll
take
On Wed, Jan 15, 2014 at 3:48 PM, jensgc wrote:
> Kieren MacMillan wrote
>> It’s not… I do exactly this all the time.
>> Simply put your ritardando or stringendo in the same global variable as
>> your \tempo and \mark items.
>
> Hi. Not sure if you have seen my earlier posts - but I don't have my \
Hi,
> Hi. Not sure if you have seen my earlier posts
Sorry… yeah, I missed those.
> I don't have my \tempo and \mark items in a global variable.
I do recommend using a global variable in the future.
> I wrote the quartet part (starting at
> approx. bar 70) in a separate file, making proofreadi
Kieren MacMillan wrote
>> In regards to tempo markings, it is a different matter, since any change
>> in
>> tempo needs to apply to each and every voice in the system. It makes
>> perfect
>> sense that the \tempo marking always goes to the System - I just don't
>> understand why it is much more dif
Hi,
> he doesn't want to use a global structure variable:
Sorry… I missed this. =\
>> The reason I don't like the idea of a global "structure" definition is that
>> I have the individual parts (e.g. the quartet and the choir parts) defined
>> in seperate files to be able to test and work with t
Hi,
> Not a bad idea - but I would then have to abandon the idea of the normal
> "rit. _ _ _ _ _ _ _ _ _ al" construct where the text spans the entire
> duration of the ritardando.
Why not just put everything “global” in a global variable?
Then all of this is handled for you easily.
Thanks,
Kier
hi kieren,
On Wed, Jan 15, 2014 at 3:04 PM, Kieren MacMillan
wrote:
>> In regards to tempo markings, it is a different matter, since any change in
>> tempo needs to apply to each and every voice in the system. It makes perfect
>> sense that the \tempo marking always goes to the System - I just do
Trevor Daniels wrote
> ?
> \tempo "ritardando"
Not a bad idea - but I would then have to abandon the idea of the normal
"rit. _ _ _ _ _ _ _ _ _ al" construct where the text spans the entire
duration of the ritardando.
Think I'll try a feature request for a SystemSpanner
- and perhaps a \startTe
Hi,
> In regards to tempo markings, it is a different matter, since any change in
> tempo needs to apply to each and every voice in the system. It makes perfect
> sense that the \tempo marking always goes to the System - I just don't
> understand why it is much more difficult to give a ritardando
jensgc wrote Wednesday, January 15, 2014 1:03 PM
> In regards to tempo markings, it is a different matter, since any change in
> tempo needs to apply to each and every voice in the system. It makes perfect
> sense that the \tempo marking always goes to the System - I just don't
> understand why i
jensgc wrote
> The reason I don't like the idea of a global "structure" definition is
> that I have the individual parts (e.g. the quartet and the choir parts)
> defined in seperate files to be able to test and work with them
> independently. Having the \time and \key definitions in a part that is
Simon Bailey-5 wrote
>> If I add the music from the topmost staff to a separate dynamics context
>> (placed above that staff), will dynamics context then be printed twice?
>
> yes, that's correct. the music is suppressed, but the dynamics will be
> shown. this is why i suggested using a global str
On Wed, Jan 15, 2014 at 11:28 AM, jensgc wrote:
>
> Just a quick thought - if I with the temporary polyphony construct shown in
> your example can direct TextSpanner content to a special Dynamics context -
> would it then be possible to skip the Dynamic context (and the spacer
> definitions that g
Simon Bailey-5 wrote
> this is untested, but what might work would be to set up your score
> with a Dynamics context at the top. Don't be mislead by it being
> called Dynamics, you can put ANYTHING in there, doesn't have to be
> Dynamics (I use one for putting pedal markings in piano staves for
> i
jensgc writes:
> Eluze wrote
>> you can define the spanner in its own (dynamic) context and move it
>> wherever you want:
>
> thanks for the answer. I am aware of the possibility to have the dynamics in
> a separate voice - and it might be the solution here. I am however not fond
> of having to e
jensgc wrote
>
> Eluze wrote
>> you can define the spanner in its own (dynamic) context and move it
>> wherever you want:
> thanks for the answer. I am aware of the possibility to have the dynamics
> in a separate voice - and it might be the solution here. I am however not
> fond of having to ente
hi,
On Wed, Jan 15, 2014 at 9:53 AM, jensgc wrote:
> thanks for the answer. I am aware of the possibility to have the dynamics in
> a separate voice - and it might be the solution here. I am however not fond
> of having to enter dynamics in a voice "without music" - for the score in
> question I
Am 15.01.2014 09:53, schrieb jensgc:
Are there any plans on making a "SystemSpanner" or similar that will combine
the flexibility from the TextSpanner with the "only on top of system"
property from \tempo and \mark ?
This sounds like a reasonable idea.
If it isn't possible to do something like
Eluze wrote
> you can define the spanner in its own (dynamic) context and move it
> wherever you want:
thanks for the answer. I am aware of the possibility to have the dynamics in
a separate voice - and it might be the solution here. I am however not fond
of having to enter dynamics in a voice "wi
Jens Gyldenkærne Clausen wrote
> Hi. In a large choral score I'd like to write a ritardando that appears
> only in the top of the entire system (together with \tempo markings) -
> without having to define the ritardando in the topmost staff. The voices
> in
> the top staffgroup have no music (just
ymingt wrote:
>
> I compile the .ly file in v2.15.14, there is a programming error and a
> warming. The generated output .pdf file seems OK.
> Questions:
> 1. what is a programming error? Where can I find explaination in NR? --
> red text below.
>
> 2. what is the warning complain about (n
Paul Thompson-13 wrote:
>
> I am having an error in using lilypond 2.13.38
>
> Here is my input file:
>
> \book {
> \bookOutputName "Romanze"
> a a a
> }
> \book {
> \bookOutputName "Menuetto"
> \score{
>a a a
> }
> }
>
> I am getting a persistent error:
>
> testa.ly:3:4: error:
Quoting Marcus Macauley <[EMAIL PROTECTED]>:
As an alternative to the second method -- and a perhaps more
conventional one, recommended by Kurt Stone -- niente can be notated
not with the dynamic letter "n" but with the italic "n." (this time
with a period). This should be possible to do no
Mats Bengtsson wrote:
Quoting Marcus Macauley <[EMAIL PROTECTED]>:
As an alternative to the second method -- and a perhaps more
conventional one, recommended by Kurt Stone -- niente can be notated
not with the dynamic letter "n" but with the italic "n." (this time
with a period). This
Arno Waschk wrote:
dear list,
for a contemporary music score i need hairpin having a circles around
their tip, indicating cresc./descresc. from/into silence.
what is the easiest way to enter these into the score? or does this
need to be implemented yet? i did not find that mentioned in the
On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:
> On Thu, 16 Mar 2006 14:27:24 -0800, Trevor Bača"" <[EMAIL PROTECTED]>
> wrote:
>
> > On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:
>
> >> Another way of notating this, which I prefer, but also I think needs to
> >> be
> >> implemente
On Thu, 16 Mar 2006 14:27:24 -0800, Trevor Bača"" <[EMAIL PROTECTED]>
wrote:
On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:
Another way of notating this, which I prefer, but also I think needs to
be
implemented, is to follow the decresc. (or precede the cresc.) with a
bold/italic
(in Italian it is not "de niente" but "dal niente")
Best
-a-
On 16 Mar 2006, at 23:27, Trevor Bača wrote:
On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:
On Thu, 16 Mar 2006 09:29:43 -0800, Trevor Bača""
<[EMAIL PROTECTED]>
wrote:
On 3/16/06, Arno Waschk <[EMAIL PROTECTED]> wrote:
On 3/16/06, Marcus Macauley <[EMAIL PROTECTED]> wrote:
> On Thu, 16 Mar 2006 09:29:43 -0800, Trevor Bača"" <[EMAIL PROTECTED]>
> wrote:
>
> > On 3/16/06, Arno Waschk <[EMAIL PROTECTED]> wrote:
> >> dear list,
> >>
> >> for a contemporary music score i need hairpin having a circles around
> >> their
On Thu, 16 Mar 2006 09:29:43 -0800, Trevor Bača"" <[EMAIL PROTECTED]>
wrote:
On 3/16/06, Arno Waschk <[EMAIL PROTECTED]> wrote:
dear list,
for a contemporary music score i need hairpin having a circles around
their tip, indicating cresc./descresc. from/into silence.
what is the easiest way
On 3/16/06, Arno Waschk <[EMAIL PROTECTED]> wrote:
> dear list,
>
> for a contemporary music score i need hairpin having a circles around
> their tip, indicating cresc./descresc. from/into silence.
>
> what is the easiest way to enter these into the score? or does this need
> to be implemented yet?
The quick answer - go to http://www.lilypond.org ... click on the appropriate
download link (menu, left side).
I think the web page would be familiar & comfortable to most people
with Linux or GNU experience so I will assume you are looking for the Windows
version. Therefore, from the http://li
Colin Cotter <[EMAIL PROTECTED]> writes:
> Lilypond book is producing lilypond-123123.midi and
> lilypond-123123.ly but not a tex file.
> Any suggestions?
Maybe you need to add a \paper block to the lilypond snippet in your
source? Hard to tell without seeing the source.
Jan.
--
Jan Nieuwen
On Fri, 05 Jul 2002 12:39:15 [EMAIL PROTECTED] wrote:
> Il ven, 2002-07-05 alle 13:28, Maurizio Tomasi ha scritto:
> Well, I've searched for an Italian translation in the Baernereiter
> "Polyglottes Woerterbuch der musikalischen Terminologie": it seems
> that
> the Italian for "cue notes" is "no
I have used Finale and other Windows oriented
programs, like Notheworthy Composer. They are normally easier to learn.
Notherworthy is very simple and quick to use but it has limitations when getting
into the printing chapter.
I certainly prefer the graphic environment of
Windows to the com
richard tocce wrote:
> Hello,
>
> I have this desire ot remove Windows form my computer and run entirely
> with GNU/LINUX. What keeps me "hooked" in to Windows is one program:
> Finale by Coda Music. I was very happy to happen on to your web
> page. I've downloaded the Windows version of Lil
Mammen John ( Bobby ) wrote:
> Sir / Madam ,
> 27..03..02
>
>
>
>
>
> I am looking for the staff notation of the " Theme Song of Titanic " .
>
>
>
> Can you please help in any ways ?
Sorry, you probably need to go to a
Den 01-Jan-02 skrev Russell Smiley:
RS>> \addlyrics
RS>> \context Staff = stafA \meloA
RS>> \context Lyrics \txtA
RS> Note the lack of a Lyrics label on the above line
RS>> \addlyrics
RS>> \context Staff = stafB \meloB
RS>> \context Lyrics \txtB
RS> Similarly here.
Thanks for your reply. What you have described below does work. I got
mine working as well as a result. To use your example this is the
broken version of my file (which usually works for a single lyric line):
> meloA = \notes { f'4 g'4 a'2 }
> txtA = \lyrics { foo bar baz }
> meloB = \notes {
Den 01-Jan-02 skrev Russell Smiley:
RS> I have two sets of lyrics - the main verse, and a
RS> harmony/descant. Each of the lyrics have different notes associated
RS> with them. I want to put the staffs in and have the lyrics correctly
RS> associated with each staff.
I am not sure I understand.
C
Am Mittwoch 26 Dezember 2001 09:41 schrieben Sie:
> Dear sir,
>
> what's wrong with this file? Why doesn't it work?
>
> Kind Regards,
>
> Martijn P. Vromans
Happy Christmas, Martijn,
the file should be modified like that:
stemOne = \notes \relative c' {
\stemDown g'8.b,16 s2
}
stemTwo = \note
> ...
> I assume that you want completely empty staves; let's say you are a music
> teacher and for some exercise you want to prepare a piece of score with
> some of the staves already filled in with music, others completely empty:
> no bars, no clefs, no times signatures. The students have to
Hi (I sent this already yesterday but forgot to Cc ot lily-user),
> I try to write blank staves in a score, but I don't know how to do this ...
> can you tell me the procedure?
> thanks in advance.
(are you going to typeset 7min of silence by John Cage? :-)
Well, now serious: I assume that you
> [EMAIL PROTECTED] writes:
> > With
> >
> > \time 6/8 [ c16 c c c8 c16 ]
> >
> > I get
> >
> > +--+--+--+---+
> > +--+ +- | -+
> > | | | | |
> > | | | | |
> >
> >
> > instead of the desired
> >
> > +--+--+--+---+
> > +--+--+ | -+
> > | | | | |
>
> > How do I correct this
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