Re: bowing change in a long trill

"B~M" writes: > Dear Rob thanks so much for your help and all the others that helped with > my > little questions. Thanks also for pointing out potential copyright issues. > On this point, perhaps you can educate me. I've transposed several works > Hindemith > wrote for Violin to Viola (studies m

Re: bowing change in a long trill

Am 28.08.2015 um 13:24 schrieb B~M: Dear Rob thanks so much for your help and all the others that helped with my little questions. Thanks also for pointing out potential copyright issues. On this point, perhaps you can educate me. I've transposed several works Hindemith wrote for Violin to Viol

Re: bowing change in a long trill

Dear Rob thanks so much for your help and all the others that helped with my little questions. Thanks also for pointing out potential copyright issues. On this point, perhaps you can educate me. I've transposed several works Hindemith wrote for Violin to Viola (studies mostly). Is that a breach of

Re: bowing change in a long trill

Am 27.08.2015 um 20:53 schrieb Robert Schmaus: Hi Simon, I never really checked out this structure << { music } { yet more music } Awesome, I didn't know it worked that way! Simultaneous music within a voice – that’s also how often a \global variable with \tempo, \key, \mark and \bar com

Re: bowing change in a long trill

Hi Simon, I never really checked out this structure << { music } { yet more music } >> Awesome, I didn't know it worked that way! And I've noticed another advantage of your approach: although hidden, the notes in the \new Voice construct still reserve their own space and thus place the bow c

Re: bowing change in a long trill

Hello Robert and Paul, Am 27.08.2015 um 17:44 schrieb Robert Schmaus: Note the use of ‘s’, a spacer rest, which is semantically more correct than \hide c''. I used the hidden note to place the bowing sign in the correct height. I'm not sure if s\upbow looks good if you overlay that with c''

Re: bowing change in a long trill

But I probably should have used \hideNotes instead of just \hide ... ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: bowing change in a long trill

> Note the use of ‘s’, a spacer rest, which is semantically more correct than > \hide c''. I used the hidden note to place the bowing sign in the correct height. I'm not sure if s\upbow looks good if you overlay that with c ... Try << { c c} \new Voice { s\upbow \hide c

Re: bowing change in a long trill

Am 27.08.2015 um 16:05 schrieb Robert Schmaus: I guess you could wrap the tied notes into a polyphonic structure (where the additional voice has only hidden notes) and then specify the exact location of the upbow, like so: Instead of eg c''2. ~ c2. use << { c''2. ~ c''2. } \new Voice { \

Re: bowing change in a long trill

What's wrong with simply adding bowing commands to the relevant notes? -- Phil Holmes - Original Message - From: B~M To: Lilypond-User Mailing List Sent: Thursday, August 27, 2015 8:53 AM Subject: bowing change in a long trill Dear ALL, I have a long trill in a little vi

Re: bowing change in a long trill

Hi Paul, I forgot two more remarks: 1) great ponding! 2) you should be careful with sending potentially copyrighted material in a list. Not sure if this applies here, but ... Best, Rob __ Truth does not change according to our ability to stomach it. -- Flannery O'Connor > On 27 Aug 2015,

Re: bowing change in a long trill

I guess you could wrap the tied notes into a polyphonic structure (where the additional voice has only hidden notes) and then specify the exact location of the upbow, like so: Instead of eg c''2. ~ c2. use << { c''2. ~ c''2. } \new Voice { \hide c''2.\downbow \hide c''2.\upbow } >> Adjus