On 06/03/2025 20:50, Paul Scott wrote:
I posted before about time signatures and/or key changes repeated at
the end of the previous line and was shown that it works correctly.
I finally saw the problem that occasionally effects my normal code
structure.
Could the \endSpanners music function
On Thu, Mar 6, 2025 at 3:52 PM Paul Scott wrote:
> Hi,
>
> I posted before about time signatures and/or key changes repeated at the
> end of the previous line and was shown that it works correctly.
>
> I finally saw the problem that occasionally effects my normal code
> structure.
>
> I always se
On Thu, Mar 6, 2025 at 12:52 PM Paul Scott wrote:
> Hi,
>
> I posted before about time signatures and/or key changes repeated at the
> end of the previous line and was shown that it works correctly.
>
> I finally saw the problem that occasionally effects my normal code
> structure.
>
> I always s
This is what i came up with
\version "2.24.4"
\relative c'' {
f
\tweak extra-offset #'(0 . -2)
\rightHandFinger
\markup{
\parenthesize{
\fontsize #4 \compound-meter #'(6 8)
}
}
}
It's hacky but it works.
On Sun, Aug 4, 2024 at 1:43 AM Vlado Ilić wrote:
> Thanks,
> While it does sh
Thanks,
While it does show what i want, problem is that next measures (g4 in this
example) also takes 6/8 time. Example
\version "2.24.4"
music = \fixed c' {
f1
\repeat segno 2 {
g1
\alternative {
\volta 1 { \repeat unfold 4 { a2 }
\break
\key f \major
\time 6/
On Sat, 3 Aug 2024 at 17:17, Vlado Ilić wrote:
>
> So i need something like in the first picture, on coda i have different
time signature than the one before the jump so i need to mark time change
just before the jump. Also related, in the second image i need to mark time
and key change before jum
Hi Jean,
> To get 2-digit precision on the number of seconds, you can simply replace
>
> (format #f "~as" (round rest))
>
> with
>
> (format #f "~,2fs" rest)
>
> in the format-time function.
>
> For seconds:frames at 24 frames/second, replace format-time with
>
> (define (format-time secon
> Hi Jean,
>
> As always… remarkable.
>
> One question: How hard would it be to have this output more precise
> timings (e.g., 1/4 or 1/10th or 1/100th of a second, or SMPTE timecode
> in minutes:seconds:frames)? I could imagine this being *very* useful
> for film/video/media composers.
To get
Hi Lukas,
I love that we have two custom engravers to compare and learn from!
Thank you so much for this solution — looking forward to analyzing it when I
have a moment.
Best,
Kieren.
> On Mar 14, 2024, at 5:54 PM, Lukas-Fabian Moser wrote:
>> “This sounds like a job for… Custom Engraver!!” :
Hi Jean,
As always… remarkable.
One question: How hard would it be to have this output more precise timings
(e.g., 1/4 or 1/10th or 1/100th of a second, or SMPTE timecode in
minutes:seconds:frames)? I could imagine this being *very* useful for
film/video/media composers.
Thanks!
Kieren.
> On
On Thu, 14 Mar 2024, Jean Abou Samra wrote:
> > “This sounds like a job for… Custom Engraver!!” :)
>
> #(define (Custom_engraver!! context)
>(define (format-time seconds)
Thanks! I haven't tested this extensively, but so far it looks like it
works well.
--
Matthew Skala
msk...@ansuz.sooke
Hi,
Am 14.03.24 um 17:27 schrieb Kieren MacMillan:
Hi Matthew,
Is there any easy way to find out the time in seconds from the start of a
score to a specified point, corresponding to the timing of the MIDI
output? I can count measures and do math on the tempo, but that's
less than ideal in the
> “This sounds like a job for… Custom Engraver!!” :)
\version "2.24.2"
#(define (Custom_engraver!! context)
(define (format-time seconds)
(let ((minutes (euclidean-quotient seconds 60))
(rest (euclidean-remainder seconds 60)))
(string-append (if (zero? minutes) "" (form
Hi Matthew,
> Is there any easy way to find out the time in seconds from the start of a
> score to a specified point, corresponding to the timing of the MIDI
> output? I can count measures and do math on the tempo, but that's
> less than ideal in the face of multiple tempo changes. Another idea
The criterion for a word to be included in the Oxford English Dictionary
is three proven printed examples. :-)
Andrew
On 5/06/2023 2:25 pm, Werner LEMBERG wrote
Understood. However, we *need* good real-world examples that are not
bound to certain notation programs so that we have a chance to
> It's not unusual, just not Common Era period which lilypond
> principally focuses on.
Understood. However, we *need* good real-world examples that are not
bound to certain notation programs so that we have a chance to find a
generic implementation.
> One example has been given. Do you need m
Re that merge request, I think it's important to frame it as an open
meter sign, not as a cancellation. As somebody pointed out, it can start
a piece and so it is not cancelling anything previous.
Andrew
Hello All,
It's not unusual, just not Common Era period which lilypond principally
focuses on.
It is not a _cancellation_ or a crossing out. It's as designator of open
meter. Dorico enables it because people use it and request it, not
because the Dorico team read it in Gould. Dorico targets
>
> -- Forwarded message --
> From: Mark Knoop
> To: lilypond-user@gnu.org
> Cc:
> Bcc:
> Date: Sun, 04 Jun 2023 16:33:41 +0100
> Subject: Re: Time signature cancellation
>
> At 14:59 on 04 Jun 2023, Damian leGassick wrote:
> > you just want a r
> you just want a recent real-world example? Birtwistle: Harrison’s
> Clocks.
Thanks!
Werner
At 14:59 on 04 Jun 2023, Damian leGassick wrote:
> you just want a recent real-world example? Birtwistle: Harrison’s
> Clocks.
See bar 1 here: https://www.youtube.com/watch?v=ufDaECmsXNw
I see this usage occasionally, but not sure that I'd quite call it a
standard. It is however fairly clear, a
you just want a recent real-world example? Birtwistle: Harrison’s Clocks.
D
> On 4 Jun 2023, at 14:51, Werner LEMBERG wrote:
>
>
>>
>>> Has anyone here ever used or seen the X-shaped time-signature
>>> cancellation sign pictured at [1], or anything similar?
>>
>> It's one standard for open
>> Has anyone here ever used or seen the X-shaped time-signature
>> cancellation sign pictured at [1], or anything similar?
>
> It's one standard for open meter.
>
> Here's the Dorico manual info: [...]
Thanks, but ideally we would like to see a real-world example that
predates recent notation pro
It's one standard for open meter.
Here's the Dorico manual info:
Andrew
On 4/06/2023 10:49 pm, Dan Eble wrote:
Has anyone here ever used or seen the X-shaped time-signature cancellation sign
pictured at [1], or anything similar?
Thanks,
--
Dan
[1]https://gitlab.com/lilypond/lilypond/-/mer
Le 08/11/2022 à 23:47, Nate Whetsell a écrit :
Thank you for this! I’m not sure how it works—it looks like a Scheme
engraver that changes the /x/ parent of some time signatures—but it
sure does!
Yes, that's it. Basically, in order to make TimeSignature support alignment
via break-align-symbo
Thank you for this! I’m not sure how it works—it looks like a Scheme engraver
that changes the x parent of some time signatures—but it sure does!
> On Nov 8, 2022, at 2:59 PM, Jean Abou Samra wrote:
>
> Le 08/11/2022 à 14:13, Nate Whetsell a écrit :
>> I’ve noticed two issues with this. First,
Le 08/11/2022 à 14:13, Nate Whetsell a écrit :
I’ve noticed two issues with this. First, the above-score time
signatures are usually centered over bar lines, but not when a measure
is preceded by a clef change. In this case, time signatures seem to be
placed before the new clef rather than cent
> On 29 Jul 2022, at 15:21, Kieren MacMillan
> wrote:
>
> Hi Hans,
Hello,
>> Hindemith, "Training…", indicates that 6/8 is always bipartite, so the 3/4
>> is a metric shift in this music piece.
>
> Correct.
>
>> By contrast, 9/8 is tripartite, just as 3/4, so I do not see any obvious
>>
> On 29 Jul 2022, at 15:14, Paul Hodges wrote:
>
> From: Hans Åberg
>
> There is also the practise to write the triplet markers just a few bars, and
> then skipping them. Perhaps for simplifying handwriting and helping then
> engraver in the days this was done by hand, so would not be need
Hi Hans,
> Hindemith, "Training…", indicates that 6/8 is always bipartite, so the 3/4 is
> a metric shift in this music piece.
Correct.
> By contrast, 9/8 is tripartite, just as 3/4, so I do not see any obvious
> difference here.
The difference is that each of the three big beats in 9/8 is su
From: Hans Åberg
There is also the practise to write the triplet markers just a few bars, and
then skipping them. Perhaps for simplifying handwriting and helping then
engraver in the days this was done by hand, so would not be needed nowadays
when done electronically.
Not needed maybe,
> On 29 Jul 2022, at 14:27, Eef Weenink wrote:
>
> The question started with a piece of Liszt. It has to be played adante. Time
> is set:
> first part: 9/8 (3/4)
> second part: 6/8 (2/4) istesso tempo (means that a 1/4 stays 1/4. So the
> duration of the measure changes).
>
> Writing it th
> On 29 Jul 2022, at 13:30, Kieren MacMillan
> wrote:
>
> Hi Carl,
>
>> Just curious, because I know precious little about polymetry.
>> Does 9/8 (3/4) mean anything different from (3 + 3 + 3)/8 ?
>
> Yes: the parenthetical notation is usually an instruction to alternate time
> signatures,
The question started with a piece of Liszt. It has to be played adante. Time is
set:
first part: 9/8 (3/4)
second part: 6/8 (2/4) istesso tempo (means that a 1/4 stays 1/4. So the
duration of the measure changes).
Writing it this way, prevents printing the triplet everywhere.
The feel of the
Kieren MacMillan writes:
> Hi Carl,
>
>> Just curious, because I know precious little about polymetry.
>> Does 9/8 (3/4) mean anything different from (3 + 3 + 3)/8 ?
>
> Yes: the parenthetical notation is usually an instruction to alternate
> time signatures, not simply a clarification of intenti
On 29/07/2022 12:30, Kieren MacMillan wrote:
Hi Carl,
Just curious, because I know precious little about polymetry.
Does 9/8 (3/4) mean anything different from (3 + 3 + 3)/8 ?
Yes: the parenthetical notation is usually an instruction to alternate time
signatures, not simply a clarification
Hi Carl,
> Just curious, because I know precious little about polymetry.
> Does 9/8 (3/4) mean anything different from (3 + 3 + 3)/8 ?
Yes: the parenthetical notation is usually an instruction to alternate time
signatures, not simply a clarification of intention. For example, in “West Side
Stor
Carl Sorensen writes:
> On Thu, Jul 28, 2022 at 1:52 PM Eef Weenink wrote:
>
>> This score starts with \time 9/8, but i also should have 3/4 feeling, so
>> there is written:
>>
>> 9/8 (3/4) (in parenthesis).
>
>
> Just curious, because I know precious little about polymetry.
>
> Does 9/8 (3/4)
ensen"
> To: "Eef Weenink"
> Cc: "Lillypond Users Mailing List"
> Sent: Friday, July 29, 2022 11:00:01 AM
> Subject: Re: \time 9/8 (3/4)
> On Thu, Jul 28, 2022 at 1:52 PM Eef Weenink wrote:
>
>> This score starts with \time 9/8, but i also sh
On Thu, Jul 28, 2022 at 1:52 PM Eef Weenink wrote:
> This score starts with \time 9/8, but i also should have 3/4 feeling, so
> there is written:
>
> 9/8 (3/4) (in parenthesis).
Just curious, because I know precious little about polymetry.
Does 9/8 (3/4) mean anything different from (3 + 3 +
> On 29 Jul 2022, at 09:44, David Kastrup wrote:
>
> Hans Åberg writes:
>
>>> On 28 Jul 2022, at 22:43, Jean Abou Samra wrote:
>>>
>>> Also here:
>>>
>>> https://myrealbook.vintherine.org/mesures-composees.html
>>
>> One also write I think:
>> \time #'(4 4 3) 11/8
>
> Slightly more huma
Hans Åberg writes:
>> On 28 Jul 2022, at 22:43, Jean Abou Samra wrote:
>>
>> Also here:
>>
>> https://myrealbook.vintherine.org/mesures-composees.html
>
> One also write I think:
> \time #'(4 4 3) 11/8
Slightly more human-readable:
\time 4,4,3 11/8
--
David Kastrup
Thank you Hans,
The \time #'(4 4 3) 11/8
makes the subdivision, but only shows 11/8.
I will use the example from
https://myrealbook.vintherine.org/mesures-composees.html
> Op 28 jul. 2022, om 23:17 heeft Hans Åberg het volgende
> geschreven:
>
>
>> On 28 Jul 2022, at 22:43, Jean Abou S
> On 28 Jul 2022, at 22:43, Jean Abou Samra wrote:
>
> Also here:
>
> https://myrealbook.vintherine.org/mesures-composees.html
One also write I think:
\time #'(4 4 3) 11/8
For a kopanitsa 11=4+3+4, I use:
\time #'(4 3 4) 11/16
> Le 28 juil. 2022 à 21:52, Eef Weenink a écrit :
>
> This score starts with \time 9/8, but i also should have 3/4 feeling, so
> there is written:
>
> 9/8 (3/4) (in parenthesis).
>
> Probably a returning question, but I could not find it, because no idea what
> search-wortds to use.
>
I hadn’t seen David’s reply until after I posted, otherwise I wouldn't have
basically repeated his answer.
A disadvantage of the << … \\ … >> syntax in this case is that it applies
\voiceTwo to \melody (it has all its stems turned down, for instance). While
you can reset that with \oneVoice I pr
Thank you so much,
you offered two similar and valid solutions!
Regards
Il giorno lun 21 mar 2022 alle ore 10:19 Leo Correia de Verdier <
leo.correia.de.verd...@gmail.com> ha scritto:
> I’m not sure I understood your question right, but I think the usual way
> to do it would be to write the ”g
I’m not sure I understood your question right, but I think the usual way to do
it would be to write the ”global” variable as a sequence of tempos, time
signatures and other events separated by spacers or skips.
Something like:
%%
\version "2.23.6"
global = { \time 4/4 \tempo "All
- Original Message -
> From: "Rip _Mus"
> To: "Lillypond Users Mailing List"
> Sent: Monday, March 21, 2022 8:51:16 AM
> Subject: Time signature guide
> Good morning,
> I would need advice.
> In a score with many time signature changes (where I therefore cannot use a
> stable global v
To be honest, Carl's example is far superior and cleaner to my one - I
really have to put a little more thought into my examples and answers, when
I look at the quality stuff all the other people here deliver!
Sorry about the bar check hint. It was only meant for the actual music
variables and it
Erika Pirnes writes:
> I asked about adding time signature changes into a variable that can
> be used by all instrument parts. The solution below (by Christian)
> worked perfectly, but I don't recommend adding bar checks into the
> variable. I did that and it caused the multi-measure rest compres
I asked about adding time signature changes into a variable that can be used by
all instrument parts. The solution below (by Christian) worked perfectly, but I
don't recommend adding bar checks into the variable. I did that and it caused
the multi-measure rest compression not to work. It took qu
Thank you for the answers! What I had not realized was that I can use spacer
notes in the "global" variable (I thought it was only for the beginning
key/time) and add two simultaneous "music layers" on a staff, in the style of
\new Staff << \first \second >>. This will certainly make life easier
From: lilypond-user
on behalf of Erika Pirnes
Date: Tuesday, October 12, 2021 at 8:09 AM
To: "lilypond-user@gnu.org"
Subject: Time signatures for all parts
I'm writing an orchestra piece with a lot of time signature changes. I was
wondering if there is a way to put all the time signature ch
Hi Erika!
This is pretty easily accomplished. Just put the time signature changes in
a seperate variable, eg.:
changes = {
\time 4/4
s1*15
\time 3/4
s2.*14
\time 2/4
s2*10
}
trombone = \relative {
%notes
}
\new Staff {
<<
\changes
\trombone
>>
You can also put rehearsal marks and special bar l
Carl - Jean - Kieren - Tom:
Thank you so much for your responses and suggestions and examples. I will study
and test it all diligently and get back to you.
One thing the first responder Shane got right: it’s a welcoming and helpful
community. Very much something to be proud of.
Regards,
Andre
From: lilypond-user
on behalf of AHF
Date: Friday, April 9, 2021 at 10:16 AM
To: "lilypond-user@gnu.org"
Subject: Time bracket notation for very large scale compositions
Hello LilyPeople,
I am looking into using LilyPond for future works. What I like about it is the
text input, which makes
Tom
Your comparison between a .ly - scheme - API’s and HTML/JS is very helpful. And
it highlights the issue I raised about the future usability of any set of
technologies. At my company iLiv our products run in browsers, currently we use
a React-Relay-GrapQL-PostgreSQL stack on AWS. 10 years ag
Hi Andrew,
> I want to know if I should be using LilyPond.
Simple answer: Yes. =)
> The example below is from one of Cage’s Number pieces, demonstrating Time
> Bracket notation. The important challenges for a notation program are:
> - Each time bracket is centered on the page, and the system i
Thank you Shane for opening up the conversation, and for expressing your
confidence in LiyPond. And thanks for mentioning Scheme as a possible ally. I
will look into that.
Regards
Andrew Culver
> On Apr 9, 2021, at 14:18, Shane Brandes wrote:
>
> Greetings Andrew Culver,
>
> You have poste
Hi Andrew
I'm a professional software engineer, and I recently asked myself most of
the questions you're asking here when evaluating Lilypond, and ultimately,
I decided that for my usecases, it made more sense to use Lilypond, because
I would make a lot of use of the musical modeling/abstractions
Greetings Andrew Culver,
You have posted a pretty broad swathe of questions to the LilyPond
Community. I suspect people will likely give a few responses. My personal
use case is limited in comparison to things you might be undertaking. The
Thalberg piano concerto is the largest thing I ever have t
This is a hard-solved issue we have lived with for long time, ant probably the
most common source of questions on this list.
While Andrew’s solution is perfect in this situation, where the time signatures
in the second voice are redundant, it may not work everywhere. The solution
would then be
Some would say you would be better writing this:
melody = \relative c'' {
\new Staff <<
{
\voiceOne
\time 4/4
\grace {c8} c4 d4 f2
\time 2/4
\grace {c8} c4 d4
}
\new Voice
{
\voiceTwo
a,4 b c2
a4 b
}
>>
}
\score {\melody}
Why don't you try something like this:
melody = \relative c'' {
<<
{
\time 4/4
\grace {c8} c4 d4 f2
\time 2/4
\grace {c8} c4 d4
}
\\
{
a,4 b c2
a4 b
}
>>
}
\score {\melody}
On musicological grounds: certainly C2. In this period, cut-C and C2 were, in
practice, equivalent despite the latter implying "modus cum tempore." Please
don't ask me about _that_, because I'm at the limit of my understanding!
References for this would include:
Apel: The Notation of Polyphonic
Wow. Fantastic. Thank you! A treasure.
Andrew
On 8/10/2020 5:58 pm, Brett Duncan wrote:
It could well be a 2, looking at this:
https://artscimedia.case.edu/wp-content/uploads/sites/135/2020/04/20164113/NotationManual.pdf.
—/contratenor/
Until I find a matching font, this will do.
Thanks again!
On 8/10/20 3:24 pm, Aaron Hill wrote:
On 2020-10-07 11:07 pm, Andrew Bernard wrote:
I dont think it's a 2. Looks more like some kind of symbol. I am not a
scholar of that period.
Not a scholar either, but a quick web
It could well be a 2, looking at this:
https://artscimedia.case.edu/wp-content/uploads/sites/135/2020/04/20164113/NotationManual.pdf.
On 8/10/20 5:24 pm, Aaron Hill wrote:
On 2020-10-07 11:07 pm, Andrew Bernard wrote:
I dont think it's a 2. Looks more like some kind of symbol. I am not a
schol
How is it that I didn't know about that resource?
Thanks a lot!
Side note: That image I posted earlier should of course say
/countertenor/, not /cantus/. Ooops.
On 8/10/20 3:24 pm, Aaron Hill wrote:
On 2020-10-07 11:07 pm, Andrew Bernard wrote:
I dont think it's a 2. Looks more like some k
On 2020-10-07 11:07 pm, Andrew Bernard wrote:
I dont think it's a 2. Looks more like some kind of symbol. I am not a
scholar of that period.
Not a scholar either, but a quick web search turned up this [1].
[1]:
https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Proportion
C2
I dont think it's a 2. Looks more like some kind of symbol. I am not a
scholar of that period.
Andrew
Thank you for this Aaron!
Cheers,
Pierre
Le jeu. 17 oct. 2019 à 06:42, Aaron Hill a
écrit :
> On 2019-10-16 7:00 pm, Graham King wrote:
> > \version "2.19.82"
> > {
> > \once \override Staff.TimeSignature #'stencil =
> > #(lambda (grob)
> > (grob-interpret-markup
> >grob
> >
Graham,
Thank you very much for both your solutions!
Paul
On Oct 16, 2019, at 7:00 PM, Graham King wrote:
> Another way (slightly different result):
>
> \version "2.19.82"
>
> {
> \once \override Staff.TimeSignature #'stencil =
>#(lambda (grob)
> (grob-interpret-markup
> gro
On Oct 16, 2019, at 6:14 PM, Ben wrote:
Ben,
Thank you very much!
Paul
> On 10/16/2019 8:59 PM, Paul Scott wrote:
>> Is it possible to write a time signature 4 / \breve ?
>>
>> This occurs in Carmina Burana.
>>
>> Thank you for any ideas,
>>
>> Paul
>>
> Hi Paul,
>
> Does this help get y
On 2019-10-16 7:00 pm, Graham King wrote:
\version "2.19.82"
{
\once \override Staff.TimeSignature #'stencil =
#(lambda (grob)
(grob-interpret-markup
grob
#{ \markup
\override #'(baseline-skip . 1)
\center-column {
\musicglyph "four"
Another way (slightly different result):
\version "2.19.82"
{
\once \override Staff.TimeSignature #'stencil =
#(lambda (grob)
(grob-interpret-markup
grob
#{ \markup
\override #'(baseline-skip . 1)
\center-column {
\musicglyph "four"
\version "2.19.82"
tsMarkup = \markup {
\override #'(baseline-skip . 0.5)
\column { \number 4 \note #"breve" #0 }
}
{
\override Staff.TimeSignature.style = #'default
\override Staff.TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob tsMarkup))
\time
On 10/16/2019 8:59 PM, Paul Scott wrote:
Is it possible to write a time signature 4 / \breve ?
This occurs in Carmina Burana.
Thank you for any ideas,
Paul
Hi Paul,
Does this help get you close to what you're looking for?
(see attached)
%%%
\version "2.19.83"
#(use-modules (
On Mon, Jul 22, 2019 at 3:12 PM Jörn Eichler wrote:
>
> Hi to everybody,
>
> this is my first post to this list. I experienced a problem in v2.19.83
> when I tried to produce orchestral parts from a score. Since I couldn't
> find it on the issue tracker, I hope it's OK to post here:
>
> \score {
>
At 21:16 on 06 Nov 2018, Andrew Bernard wrote:
>Answering my own question, this simple approach works:
>
> \time 5/4
> \set Timing.measureLength = #(ly:make-moment 1/4)
>
>I'm happy to make the thincker barlines manually, unless anybody has
>some clever special engraver ideas.
Try something like
ike 12/21, etc... But it works perfectly well. I have been
using this for my polymeter/polytempi scores...
Best
K
> --
>
> Message: 1
> Date: Tue, 6 Nov 2018 20:10:52 +1100
> From: Andrew Bernard
> To: lilypond-user Mailinglist
> Subject: Re: Time signature an
Answering my own question, this simple approach works:
\time 5/4
\set Timing.measureLength = #(ly:make-moment 1/4)
I'm happy to make the thincker barlines manually, unless anybody has some
clever special engraver ideas.
Andrew
___
lilypond-user mai
Here is my MWE. It seems rather naive, and I feel there must be more
intelligent ways to do this. Here's a basis for help to start with,
hopefully making clearer what I want.
The disadvantage here of course is that the heavier barlines have to be
manually inserted. Not a large effort, but just doe
On 3/7/2018 4:50 PM, Pedro Proença wrote:
Hi
Is it possible to put time signatures above the staff, on top of the
barlines? If so, how would I go about doing it? I've searched the web
and came up short
Also, I'd like for, in a score with multiple staves, just one time
signature, on the ver
Am 20.09.2016 um 17:28 schrieb Roderick Mackenzie:
I am still trying to print bagpipe tunes with Lilypond, with a repeat
bar at the start of each part. I am almost there; my only problem now
is that the time signature is printed after the first bar line (the
repeat bar line).
How do I get the
2016-06-26 22:01 GMT+02:00 David Kastrup :
> Thomas Morley writes:
>
>> 2016-06-26 19:58 GMT+02:00 Imanuel Habekotte :
>>>
>>> Thanks for trying to help Federico. Does anyone else know a solution
>>> to the problem below?
>>
>>
>> LilyPond interprets the input successively, repeats are disregarded
Thomas Morley writes:
> 2016-06-26 19:58 GMT+02:00 Imanuel Habekotte :
>>
>> Thanks for trying to help Federico. Does anyone else know a solution
>> to the problem below?
>
>
> LilyPond interprets the input successively, repeats are disregarded.
>
> So your problem can be reduced to:
> { \time 3/
2016-06-26 21:30 GMT+02:00 Thomas Morley :
> 2016-06-26 21:27 GMT+02:00 Thomas Morley :
>> 2016-06-26 19:58 GMT+02:00 Imanuel Habekotte :
>>>
>>> Thanks for trying to help Federico. Does anyone else know a solution to the
>>> problem below?
>>
>>
>> LilyPond interprets the input successively, repe
2016-06-26 21:27 GMT+02:00 Thomas Morley :
> 2016-06-26 19:58 GMT+02:00 Imanuel Habekotte :
>>
>> Thanks for trying to help Federico. Does anyone else know a solution to the
>> problem below?
>
>
> LilyPond interprets the input successively, repeats are disregarded.
>
> So your problem can be redu
2016-06-26 19:58 GMT+02:00 Imanuel Habekotte :
>
> Thanks for trying to help Federico. Does anyone else know a solution to the
> problem below?
LilyPond interprets the input successively, repeats are disregarded.
So your problem can be reduced to:
{ \time 3/4 R2. \time 4/4 \time 3/4 R2. }
where
Thanks for trying to help Federico. Does anyone else know a solution to
the problem below?
Forwarded message
Subject:Re: Time signature before end of volta repeat
Date: Sun, 26 Jun 2016 18:13:24 +0200
From: Imanuel Habekotte
To: Federico Bruni
Hello
Hello Immanuel
Please reply to all, including the mailing list.
I've understand your problem now, but I don't have a solution for you.
Probably someone here is able to help you.
Il giorno dom 26 giu 2016 alle 18:13, Imanuel Habekotte
ha scritto:
Hello Federico,
I meant like inside the 1st
Il giorno dom 26 giu 2016 alle 9:56, Imanuel Habekotté
ha scritto:
I would like to have a time signature printed before the end bar of a
volta repeat. Here is an example of what I would like to have:
https://html1-f.scribdassets.com/60ssbtzf5s2k8f21/images/2-88fc29efc8.jpg
Instead I get a tim
unity. Best
> -charles-
>
>
> > Subject: Re: Time signature at end of score.
> > From: rich...@rshann.plus.com
> > To: sunc...@hotmail.com
> > CC: lilypond-user@gnu.org
> > Date: Wed, 25 May 2016 09:44:18 +0100
> >
> > On Wed,
On Wed, 2016-05-25 at 08:30 +, Charles Suncana wrote:
> global = {
>
> }
>
> violin = \relative c'' { \time 3/4 d4 e f | g f e | d2.\bar "|."
> \global
> % Music follows here.
>
> }
This isn't the idea - you have emptied the \global and still not placed
the music after the comment "
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
I'm also a beginner at Lily, but as a programmer I'm quite certain you
have found the problem. Consider the violin stanza:
violin = ... { \time 3/4 ...
\global
...
}
"global" has no special meaning, it is just expanded in line, hence:
violin =
Hi again, after persevering a bit I think the problem as using the Score wizard
in Frescobaldi.
Here is my tiny problem:
\version "2.18.2"
\header {
}
\layout {
\context {
\Voice
\consists "Melody_engraver"
\override Stem #'neutral-direction = #'()
}
}
global = {
\key d \ma
Am 24.05.2016 um 00:47 schrieb Charles Suncana:
Hi, I´m a newbie to Lilypond and am using Frescobaldi to help me use it. At the
end of each engraving Frescobaldi puts a courtesy time signature for the next
expected bar. However when the piece is finished AND converted to PDF, the
courtesy ti
Hi Charles,
welcome to the world of LilyPond. Hopefully you'll get a good start and
stick to it :-)
Am 24.05.2016 um 00:47 schrieb Charles Suncana:
> Hi, I´m a newbie to Lilypond and am using Frescobaldi to help me use
> it. At the end of each engraving Frescobaldi puts a courtesy time
> signatu
1 - 100 of 267 matches
Mail list logo
