Thank you all, for your reactions. Great support!!
I checked the solutions you have send. Maybe readers in future want to know my
findings for their own use.
- All of them are functional, and useful. But not the same đ
Mark send this one: https://lsr.di.unimi.it/LSR/Snippet?id=346 defineTransf
bassline). Something like this:
Now I want to give this
another rhythm: 3 quarters in stead of 6 eights.
First measure would then be: c4 bes f
I am wondering if there is a trick, tool, tip to make this a
On 13/10/2024 13:41, Eef Weenink wrote:
Now I want to give this another rhythm: 3 quarters in stead of 6 eights.
First measure would then be: c4 bes f
I am wondering if there is a trick, tool, tip to make this a bit
easier, Now I have to all manually. Best I can think of is to make
Eef Weenink wrote:
Now I want to give this another rhythm: 3 quarters in stead of 6 eights.
First measure would then be: c4 bes f
I am wondering if there is a trick, tool, tip to make this a bit easier
Have a look through
https://lsr.di.unimi.it/LSR/Search?q=rhythm
perhaps starting with
Thanks JeanI would swear I'd tried thatsorry for the noise...DOn 17 Mar 2023, at 11:05, Jean Abou Samra wrote:Le vendredi 17 mars 2023 à 10:43 +, damianlegassick a écrit :Hi allin the following, is there any way to have the metric modulation markup via \rhythm show the ratio '5:7&#
Le vendredi 17 mars 2023 à 10:43 +, damianlegassick a écrit :
> Hi all
>
> in the following, is there any way to have the metric modulation markup via
> \rhythm show the ratio '5:7' instead of just '5'? I've tried \override
> TupletNumber.text = #tupl
Hi allin the following, is there any way to have the metric modulation markup via \rhythm
show the ratio '5:7' instead of just '5'? I've tried \override TupletNumber.text =
#tuplet-number::calc-fraction-text in various places but no joy.thanks, D\version
"2.25.2&q
tely don't want this to also occur in the tempo indication,
it would just make no sense. That is the reason why \rhythm
is intentionally not influenced by the main music or the usual
forms of a \layout block, but has its own places to define
customizations,
the body of the \rhythm a
erent
sizes of notes between general score and tempo, but it's only that.
If I use, say, \easyHeadsOn or \aikenHeads in the main music, I
definitely don't want this to also occur in the tempo indication,
it would just make no sense. That is the reason why \rhythm
is intentionally no
esn't influence notes in \tempo, \note and \rhythm functions. I
there a possibility to influence those ones?
I add that I know I could construct note from the beginning inside
markup and add hidden tempo change for proper tempo export, but it
seems to be overkill for this kind of problem.
T
Le 21/01/2023 à 17:26, | || | | a écrit :
Hiya!
I'm trying to find a gentle solution for the problem I encountered.
I overrided flag stencil in general Score, but it turns out that this
doesn't influence notes in \tempo, \note and \rhythm functions. I
there a possibility to influ
Hiya!
I'm trying to find a gentle solution for the problem I encountered.
I overrided flag stencil in general Score, but it turns out that this
doesn't influence notes in \tempo, \note and \rhythm functions. I there
a possibility to influence those ones?
I add that I know I could
Am Di., 10. Jan. 2023 um 02:44 Uhr schrieb David Kastrup :
>
> Thomas Morley writes:
>
> > Am So., 8. Jan. 2023 um 10:21 Uhr schrieb Thomas Morley
> > :
> >>
> >> Hi,
> >>
> >> consider below
> >>
> >> \version
Thomas Morley writes:
> Am So., 8. Jan. 2023 um 10:21 Uhr schrieb Thomas Morley
> :
>>
>> Hi,
>>
>> consider below
>>
>> \version "2.24.0"
>>
>> \score {
>> { g'1^\markup { My Rhythm \rhythm { 8[ 8] } } }
>> \
David Kastrup writes:
> Jean Abou Samra writes:
>
>> Apparently, top-level markups are interpreted with \paper, although
>> grob-interpret-markup interprets with a real \layout?
>>
>>
>> \version "2.24.0"
>>
>> #(define-markup-command (whats-layout layout props) ()
>> Â Â (interpret-markup layout
Jean Abou Samra writes:
> Apparently, top-level markups are interpreted with \paper, although
> grob-interpret-markup interprets with a real \layout?
>
>
> \version "2.24.0"
>
> #(define-markup-command (whats-layout layout props) ()
> Â Â (interpret-markup layout props (symbol->string
> (ly:output
Apparently, top-level markups are interpreted with \paper, although
grob-interpret-markup interprets with a real \layout?
\version "2.24.0"
#(define-markup-command (whats-layout layout props) ()
  (interpret-markup layout props (symbol->string (ly:output-def-lookup
layout 'output-def-kind
David Kastrup writes:
> Thomas Morley writes:
>
>> Am So., 8. Jan. 2023 um 10:21 Uhr schrieb Thomas Morley
>> :
>>>
>>> Hi,
>>>
>>> consider below
>>>
>>> \version "2.24.0"
>>>
>>
Thomas Morley writes:
> Am So., 8. Jan. 2023 um 10:21 Uhr schrieb Thomas Morley
> :
>>
>> Hi,
>>
>> consider below
>>
>> \version "2.24.0"
>>
>> \score {
>> { g'1^\markup { My Rhythm \rhythm { 8[ 8] } } }
>> \
tSize = -5
 \override Stem.length = 4.6
}
{
 \tempo \markup \rhythm { \setup 8[ 8] 8 }
 c'
}
Best,
Jean
OpenPGP_signature
Description: OpenPGP digital signature
Le 08/01/2023 à 11:13, Thomas Morley a écrit :
Actually it works, if the \layout is placed toplevel.
A bug?
It's a limitation of \markup \score.
\version "2.24.0"
\layout {
 \override Voice.NoteHead.color = "red"
}
\score {
 \layout {
   \override Voice.NoteHead.color = "blue"
 }
 { c
Am So., 8. Jan. 2023 um 11:13 Uhr schrieb Thomas Morley
:
>
> Am So., 8. Jan. 2023 um 10:21 Uhr schrieb Thomas Morley
> :
> >
> > Hi,
> >
> > consider below
> >
> > \version "2.24.0"
> >
> > \score {
> > { g
Am So., 8. Jan. 2023 um 10:21 Uhr schrieb Thomas Morley
:
>
> Hi,
>
> consider below
>
> \version "2.24.0"
>
> \score {
> { g'1^\markup { My Rhythm \rhythm { 8[ 8] } } }
> \layout {
> \context {
> \StandaloneRhythmStaff
>
Hi,
consider below
\version "2.24.0"
\score {
{ g'1^\markup { My Rhythm \rhythm { 8[ 8] } } }
\layout {
\context {
\StandaloneRhythmStaff
fontSize = #6
}
}
}
I'll have numerous such markups combining straight text and \rhythm.
Thus I'd like t
gt;> 22 aug. 2022 kl. 04:28 skrev Greg Lindstrom :
>>
>> I am working on transcribing a euphonium solo and have come across a rhythm
>> that I cannot figure out how to notate. As an aside, I am loving lilypond
>> and am impressed with the level of detail that has gone into it. I
eams = ##t
\set baseMoment = #(ly:make-moment 1/16)
c32 c c c \tuplet 3/2 {c32 c c} c64 c c c
\unset subdivideBeams
\unset baseMoment
}
%%
> 22 aug. 2022 kl. 04:28 skrev Greg Lindstrom :
>
> I am working on transcribing a euphonium solo and have come across a rhyt
2022 7:29 PM
To: lilypond-user@gnu.org
Subject: Help with Rhythm Notation
I am working on transcribing a euphonium solo and have come across a rhythm
that I cannot figure out how to notate. As an aside, I am loving lilypond and
am impressed with the level of detail that has gone into it. It
I am working on transcribing a euphonium solo and have come across a
rhythm that I cannot figure out how to notate. As an aside, I am loving
lilypond and am impressed with the level of detail that has gone into it.
It makes engraving scores fun!
Here is the figure; it is a single beat in 5/4 time
Le 18/08/2022 à 10:58, Lukas-Fabian Moser a écrit :
Hi Jean,
Am 17.08.22 um 15:14 schrieb Jean Abou Samra:
Looking at the Constrained_breaking class, I think just setting
ragged-right = ##t in \rhythm should be OK. Alternatively, if you
feel like it, introduce a variant of Paper_score
I can try this. Is it necessary to first create an issue (I assume for
keeping track of the "motivation" for the MR)?
But if I am to take the route of messing with get_paper_systems etc.
I'm probably going to need some help or at least bother everybody with
questions.
... and here we go w
Hi Jean,
Am 17.08.22 um 15:14 schrieb Jean Abou Samra:
Looking at the Constrained_breaking class, I think just setting
ragged-right = ##t in \rhythm should be OK. Alternatively, if you
feel like it, introduce a variant of Paper_score::get_paper_systems
/ ly:paper-score-paper-systems (the
ke \markup \score
doesn't use the page-breaking variable anyway, Paper_score::calc_breaking ()
runs only line breaking and no page breaking, which makes a lot of sense.
Looking at the Constrained_breaking class, I think just setting
ragged-right = ##t in \rhythm should be OK. Alternatively, if y
That said, there arenât that many paper/layout variables. Setting selected ones
manually like you suggest could be OK. Maybe also check what happens with very
long rhythms, do they get broken? Maybe try ly:one-line-auto-height-breaking? I
didnât test anything (vacation).
I'm probably only
> Le 17 août 2022 à 10:18, Lukas-Fabian Moser a écrit :
>
> ï»żHi all,
>
>> Am 17.08.22 um 01:23 schrieb Daniel Tobias Johansen Langhoff:
>> How can I have ragged-right = ##f not apply to \rhythm?
>>
>> --
>> \version "2.23.11"
>&
Hi all,
Am 17.08.22 um 01:23 schrieb Daniel Tobias Johansen Langhoff:
How can I have ragged-right = ##f not apply to \rhythm?
--
\version "2.23.11"
\score {
{
\tempo \markup { \rhythm { 8[ 8] } = \rhythm { \tuplet 3/2 { 4 8 } } }
\repeat unfold 8 { a'8[ 8] }
Hi,
How can I have ragged-right = ##f not apply to \rhythm?
--
\version "2.23.11"
\score {
{
\tempo \markup { \rhythm { 8[ 8] } = \rhythm { \tuplet 3/2 { 4 8 } } }
\repeat unfold 8 { a'8[ 8] }
}
\layout { ragged-right = ##f }
}
--
Kind regards,
Daniel Tobias
ilto:lilyp...@ptoye.com]
Sent: Tuesday, June 16, 2020 2:25 AM
To: Mark Stephen Mrotek ; 'David Kastrup'
Cc: lilypond-user@gnu.org
Subject: Re: Free rhythm in part of a bar
Mark,
I'm not quite sure what you mean here. A spacer takes the same musical time
as a rest. So replacing &#x
everything you want, you just have everything at the same time.Â
From: Peter Toye [mailto:lilyp...@ptoye.com]
Sent: Sunday, June 14, 2020 3:22 AM
To: Mark Stephen Mrotek ; 'David Kastrup'
Cc: lilypond-user@gnu.org
Subject: Re: Free rhythm in part of a bar
Mark,
Thanks. That looks fin
thing at the same
time."
From: Peter Toye [mailto:lilyp...@ptoye.com]
Sent: Sunday, June 14, 2020 3:22 AM
To: Mark Stephen Mrotek ; 'David Kastrup'
Cc: lilypond-user@gnu.org
Subject: Re: Free rhythm in part of a bar
Mark,
Thanks. That looks fine, but still gives a barcheck e
s+carsonmark=ca.rr@gnu.org]
On Behalf Of Peter Toye
Sent: Saturday, June 13, 2020 2:55 AM
To: David Kastrup
Cc: lilypond-user@gnu.org
Subject: Re: Free rhythm in part of a bar
David,
In this example the first two notes of the bass should synchronise with the
first two notes of the treble. A
er Toye
Sent: Saturday, June 13, 2020 2:55 AM
To: David Kastrup
Cc: lilypond-user@gnu.org
Subject: Re: Free rhythm in part of a bar
David,
In this example the first two notes of the bass should synchronise with the
first two notes of the treble. And they do. My question was what to do in a
more complic
David,
No, because i was trying to produce (1) a minimal example for the case that the
free rhythm passage ends at the bar end, and (2) in words only, a hypothetical
example where it doesn't. I obviously wasn't clear enough about the two cases.
So here's a rather longer one. the
Peter Toye writes:
> David,
>
> The half note rest is because it's basically a 4/4 bar, so it needs to
> align with the start of the free rhythm. Here's a screenshot.
The screenshot has nothing whatsoever to do with your example. In your
example, the melody voice has t
David,
The half note rest is because it's basically a 4/4 bar, so it needs to align
with the start of the free rhythm. Here's a screenshot.
Best regards,
Peter
mailto:lilyp...@ptoye.com
www.ptoye.com
-
Saturday, June 13, 2020, 11:18:13 AM, David Kastrup wrote
elody
ends in a full bar rest. Where should that half note align to?
>>> What I mean is that in some music the end of the 'free rhythm' section
>>> may need to be synchronised with the other staves. For instance, at
>>> the end of a florid passage for a solois
8 \cadenzaOff \bar "|"
R1 }
}
\new Staff {
\time 4/4
\clef "bass"
{
c1
4 4 s4*2 r2\fermata s4*4 |
}
}
>>
}
Mark
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of Peter Toye
Sent: Friday, June 12, 2020 7:26 AM
45:08 AM, David Kastrup wrote:
> Peter Toye writes:
>> David,
>> What I mean is that in some music the end of the 'free rhythm' section
>> may need to be synchronised with the other staves. For instance, at
>> the end of a florid passage for a soloist in fre
Peter Toye writes:
> David,
>
> What I mean is that in some music the end of the 'free rhythm' section
> may need to be synchronised with the other staves. For instance, at
> the end of a florid passage for a soloist in free rhythm, the last few
> notes may need to co
on the length of the material inside.
All the best
Christian
Am Fr., 12. Juni 2020 um 16:34 Uhr schrieb Peter Toye :
I need to have part only of a bar notated with free rhythm. Also other staves
need to be synchronised. I've tried using \cadenzaOn but then I get a barcheck
problem and
David,
What I mean is that in some music the end of the 'free rhythm' section may need
to be synchronised with the other staves. For instance, at the end of a florid
passage for a soloist in free rhythm, the last few notes may need to coincide
with an accompaniment. The \cadenza
On 12/06/2020 15:26, Peter Toye wrote:
Free rhythm in part of a bar I need to have part only of a bar notated
with free rhythm. Also other staves need to be synchronised. I've
tried using \cadenzaOn but then I get a barcheck problem and the next
bar goes odd. I can't see anything abo
;|"
R1 }
}
\new Staff {
\time 4/4
\clef "bass"
{
c1
4 4 s4*2 r2\fermata s4*4 |
}
}
>>
}
Mark
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Peter Toye
Sent: Friday, June 12, 2020 7:26 AM
To: lil
Peter Toye writes:
> David,
>
> Thanks. That solves the vocal line, but it doesn't seem to solve the
> synchronisation issue with the accompaniment, which is rather
> necessary in a song!
To quote: "1) How do I get the desired result, which is one bar with the
first 2 crotchets synchronised with
David Kastrup wrote:
> Peter Toye writes:
>> I need to have part only of a bar notated with free rhythm. Also other
>> staves need to be synchronised. I've tried using \cadenzaOn but then I get a
>> barcheck problem and the next bar goes odd. I can't see anything about
Peter Toye writes:
> I need to have part only of a bar notated with free rhythm. Also other staves
> need to be synchronised. I've tried using \cadenzaOn but then I get a
> barcheck problem and the next bar goes odd. I can't see anything about this
> in the snippets
th of the material inside.
All the best
Christian
Am Fr., 12. Juni 2020 um 16:34 Uhr schrieb Peter Toye :
> I need to have part only of a bar notated with free rhythm. Also other
> staves need to be synchronised. I've tried using \cadenzaOn but then I get
> a barcheck problem and the
I need to have part only of a bar notated with free rhythm. Also other staves
need to be synchronised. I've tried using \cadenzaOn but then I get a barcheck
problem and the next bar goes odd. I can't see anything about this in the
snippets or manuals. A minimal example follows.
The
Am Mi., 20. Nov. 2019 um 14:32 Uhr schrieb Romel Bismonte <
math_wizar...@hotmail.com>:
> Hello,
>
>
>
> I was studying the LSR snippet that can insert an alternate rhythm
> indication (e.g., âswingâ, âshuffleâ, âmaestosoâ, etc.) as discussed in
> Item 204:
>
>
&g
#})) b\rest
\tuplet 3/2 { b4 b8 }
}
\layout {
indent = 0
}
}
}
\swingindic
Cheers,
Pierre
Le mer. 20 nov. 2019 Ă 14:33, Romel Bismonte a
Ă©crit :
> Hello,
>
>
>
> I was studying the LSR snippet that can insert an alternate rhyt
Hello,
I was studying the LSR snippet that can insert an alternate rhythm indication
(e.g., âswingâ, âshuffleâ, âmaestosoâ, etc.) as discussed in Item 204:
http://lsr.di.unimi.it/LSR/Item?id=204
Since I did not need the other options, I am attempting to boil down the
snippet to just the thing
On Wed, 7 Nov 2018 at 00:24, Ben wrote:
> On 11/6/2018 5:28 PM, Gianmaria Lari wrote:
>
> I have a simple rhythm score like this:
>
> \version "2.19.82"
> myr = { 4 8 16 16 4 4 }
> \score {\new RhythmicStaff \myr }
>
>
> How could I generate some form o
On 11/6/2018 5:28 PM, Gianmaria Lari wrote:
I have a simple rhythm score like this:
\version "2.19.82"
myr = { 4 8 16 16 4 4 }
\score {\new RhythmicStaff \myr }
How could I generate some form of midi file from it? It's for
didactical use
On Tue, 6 Nov 2018 at 23:28, Gianmaria Lari wrote:
> I have a simple rhythm score like this:
>
> \version "2.19.82"
> myr = { 4 8 16 16 4 4 }
> \score {\new RhythmicStaff \myr }
>
>
> How could I generate some form of midi file from it? It's for didacti
I have a simple rhythm score like this:
\version "2.19.82"
myr = { 4 8 16 16 4 4 }
\score {\new RhythmicStaff \myr }
How could I generate some form of midi file from it? It's for didactical
use.
Thank you, g.
___
lilypond-user mailin
Thank you so much! I think this will help me.
Best,
Alvaro
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Apply-the-same-rhythm-to-several-voices-tp205348p205358.html
Sent from the User mailing list archive at Nabble.com
Hello,
> On Aug 29, 2017, at 9:26 AM, alvarocaceresmunoz
> wrote:
>
> I am writing an arrangement for the song "Mobius Part I" by Chimp Spanner.
> For most part of the song, both the bass drum and the guitar play the same
> rhythm.
>
> I want to make my code
I am writing an arrangement for the song "Mobius Part I" by Chimp Spanner.
For most part of the song, both the bass drum and the guitar play the same
rhythm.
I want to make my code as compact as possible, so that it is more logical,
less error-prone, and easier to edit. I wondere
Ciao Robert,
sorry if I reply so late.
What you propose to do is a bit too complicated for me and I'll use it as a
last resort. What I'm trying to do now is just to open the midi file with
musescore and add a note in the file to correctly shift the others.
Anyway, it would be great having some pr
> %% TODO: this function [twoTiedNotesToOneNote] probably does not work with
chords -:(
No it doesn't and it is probably better :
music = { 4~ } is correct in Lilypond.
So what would be a good result for { \twoTiedNotesToOneNote \music } ?
Not smart enough to answer.
--
Gilles
> \time 2/4
> r4 a4 ~ |
> a4 b4 ~|
> b4 r4
> How can I shift (convert) it to:
> \time 2/4
> a2 |
> b2 |
> r4
For "shifting" rhythm, you can use this snippet :
http://lsr.di.unimi.it/LSR/Item?id=542
To transform 2 tied notes into a single note
On Sat 26 Mar 2016 at 23:23:51 (+0100), Gianmaria Lari wrote:
> Very sorry David and Robert my example was not at all clear.
>
> I have a long lilypond source that is shifted of three sixteenth note (the
> file has been generated using the midi to lilypond conversion tool).
Well, I did wonder tha
ike in the score.
> Just leave out the bar checks, they'll throw warnings ...
>
> Best, Robert
>
> __
>
> The cure for a fallacious argument is a better argument, not the
> suppression of ideas.
> *-- Carl Sagan*
>
>
> On 26 Mar 2016, at 01:06, Gianmar
27;ll throw warnings ...
Best, Robert
__
The cure for a fallacious argument is a better argument, not the suppression of
ideas.
-- Carl Sagan
> On 26 Mar 2016, at 01:06, Gianmaria Lari wrote:
>
> Hello,
> Is there any automatic tool to shift some lilypond music of a certai
On Sat 26 Mar 2016 at 01:06:58 (+0100), Gianmaria Lari wrote:
> Hello,
> Is there any automatic tool to shift some lilypond music of a certain
> rhythm amount? For instance consider the following fragment:
>
> \time 2/4
> r4 a4 ~ |
> a4 b4 ~|
> b4 r4
>
>
>
Hello,
Is there any automatic tool to shift some lilypond music of a certain
rhythm amount? For instance consider the following fragment:
\time 2/4
r4 a4 ~ |
a4 b4 ~|
b4 r4
How can I shift (convert) it to:
\time 2/4
a2 |
b2 |
r4
Thank you, g
Am 16.03.2016 um 15:49 schrieb Alberto SimÔes:
Can anybody please let me know how this is called and, if you know,
where in the documentation I can find how to typeset it?
This is a tremolo. It means that the lower and upper note/chord are
played alternately in 32nd notes (or arbitrary small
Alberto SimÔes writes:
> On 16/03/16 15:38, David Kastrup wrote:
>> Alberto SimÔes writes:
>>
>>> hi
>>>
>>> I am trying to find how to typeset the rhythm in attach, but given I
>>> do not know what is its name (neither in Portuguese, English
Thank you both,
Always learning :)
Best
Alberto
On 16/03/16 14:54, Malte Meyn wrote:
Am 16.03.2016 um 15:49 schrieb Alberto SimÔes:
Can anybody please let me know how this is called and, if you know,
where in the documentation I can find how to typeset it?
This is a tremolo. It means that
hi
I am trying to find how to typeset the rhythm in attach, but given I do
not know what is its name (neither in Portuguese, English or Italian or
any other language) it is getting difficult to find how to do it.
Can anybody please let me know how this is called and, if you know,
where in
On 16/03/16 15:48, David Kastrup wrote:
>>{
>>\time 3/4
>>\repeat tremolo 12 { 32 d'' }
>>\repeat tremolo 12 { 32 d''~ }
>>4
>>}
>
>Thank you. I got some issues to find that '12' thre, but with some
>experiments I got there.
Well, the contained phrase has a length of 1/16, and
Alberto SimÔes writes:
> hi
>
> I am trying to find how to typeset the rhythm in attach, but given I
> do not know what is its name (neither in Portuguese, English or
> Italian or any other language) it is getting difficult to find how to
> do it.
>
> Can anybody please
On Wed, Mar 16, 2016 at 02:49:41PM +, Alberto SimÔes wrote:
> hi
>
> I am trying to find how to typeset the rhythm in attach, but given I do not
> know what is its name (neither in Portuguese, English or Italian or any
> other language) it is getting difficult to find how to
On 16/03/16 15:38, David Kastrup wrote:
Alberto SimÔes writes:
hi
I am trying to find how to typeset the rhythm in attach, but given I
do not know what is its name (neither in Portuguese, English or
Italian or any other language) it is getting difficult to find how to
do it.
Can anybody
as going to send back
after I saw yours. Nicely done!
- Abraham
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Writing-notes-for-explaining-rhythm-tp187085p187089.html
Sent from the User mailing list archive at Nabble.com.___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
<
> \new Staff \theMusic
> \new RhythmicStaff
> \with {
> \remove "Staff_symbol_engraver"
> \omit TimeSignature
> \omit BarLine
> }
> \theMusic
> >>
> \layout { }
> }
>
> HTH,
> Pierre
>
&g
BarLine
}
\theMusic
>>
\layout { }
}
HTH,
Pierre
2016-02-10 20:21 GMT+01:00 Luca Danieli :
> Hello all,
>
> how can I write a note above the system without displaying the pitch of
> those notes in order to explain just t
Luca,
On Wed, Feb 10, 2016 at 12:22 PM, Luca Danieli [via Lilypond] <
ml-node+s1069038n187085...@n5.nabble.com> wrote:
> how can I write a note above the system without displaying the pitch of
> those notes in order to explain just the rhythm of a specific passage?
>
Hello all,
how can I write a note above the system without displaying the pitch of those
notes in order to explain just the rhythm of a specific passage?
Best,
Luca
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\override PercentRepeat.extra-offset = #'(0 . 1)
}
}
}
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View this message in context:
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Sent from the User mailing list archive at Nabble.
Hello Daniel,
Something like that, but with the chords below the staves?
A .png would help un understand what youâre aiming at.
JM
\version "2.18.2"
%\include "ijr-jazzchords.ily"
%\include "lilyjazz.ily"
\header {
title = "untitled..."
composer = "Ian Rashkin"
copyright = "© 2014 Ian R
Hi everyone,
I was interested to know what the best practice is for writing cord slashes
with chord names below the staff, for a pop and or jazz chart. Any help would
be greatly appreciated. Thanks
Daniel Contreras
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Le dimanche 7 juin 2015, 13:52:20 Dan Eble a Ă©crit :
> % complete the bass ostinato on the same pitch as the preceding
> % quarter note
> ost = \notemode { r8 8~ 4 4 }
>
> Used like:
> | g4 \ost | a4 \ost | âŠ
Hello Dan.
Perhaps that :
http://lsr.di.unimi.it/LSR/Item?id=654
%
piece. Can anyone improve
> on it? (For example, sometimes I need the same rhythm involving three
> separate pitches.) TIA.
Hi Dan,
Have a look at http://lsr.di.unimi.it/LSR/Item?id=654
Regards,
Nathan
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% complete the bass ostinato on the same pitch as the preceding
% quarter note
ost = \notemode { r8 8~ 4 4 }
Used like:
| g4 \ost | a4 \ost | âŠ
This is good for avoiding some typing in a long piece. Can anyone improve on
it? (For example, sometimes I need the same rhythm involving
Just a guess, but \context { \RhythmStaff \RemoveEmptyStaves } } ?
--
Phil Holmes
- Original Message -
From: Helge Kruse
To: lilypond-user@gnu.org
Sent: Saturday, February 15, 2014 1:35 PM
Subject: Remove empty rhythm staves
Hello,
i start writing some notes for a
when a line has only full-measure rests.
2. There shall only the lines be visible tha consist notes. How should I
write all the measures where the rhythm group has some hundred measrure
rest?
Regards
Helge
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I'm trying to typeset a song with a verse-chorus-verse-chorus-verse-chorus...
form.
Basically the structure of the piece is like this:
||: verse chorus :|| cadenza
However, each verse has small variations in rhythm (and notes) which I want
to include using \teeny noteheads.
This
2013/4/18 Johan Vromans :
> I've uploaded a slightly enhanced and better documented version to the
> LilyPond Snippet Repository under the title "Adding metronome ticks to a
> piece of music".
>
> http://lsr.dsi.unimi.it/LSR/Item?id=876
>
> Happy hacking!
>
> -- Johan
Approved.
-Harm
__
Hello,
2013/4/18 Johan Vromans
> Paul Malcolm writes:
>
> > Johan, got it, that is a nice self contained example and it perfect
> > for what I will use it for. [...] It will be incredibly helpful.
>
> I've uploaded a slightly enhanced and better documented version to the
> LilyPond Snippet Repos
Paul Malcolm writes:
> Johan, got it, that is a nice self contained example and it perfect
> for what I will use it for. [...] It will be incredibly helpful.
I've uploaded a slightly enhanced and better documented version to the
LilyPond Snippet Repository under the title "Adding metronome ticks
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