Re: Score and parts

> "bob" == bobroff@centrum is writes: bob> For different output in score vs part you can use tags. bob> http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html You can also create a 'global' music to put in parallel with each part. E.g., \version "2.2

Re: Score and parts

For different output in score vs part you can use tags. http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html -David - Jenifer Tribe wrote: > It is often useful to create a score and individual parts. > > Sometimes you need to mark up a point in each

Score and parts

It is often useful to create a score and individual parts. Sometimes you need to mark up a point in each part, but not to repeat that in each part within the score. And perhaps less often, vice versa. (eg where a change of key or time signature appears at different points in the parts). The easi

Re: good practices regarding page breaks -- full score and parts

Hi Leszek, Am 15.10.2020 um 15:13 schrieb lilypond-user-requ...@gnu.org: I would like to put pagebreaks in specific places in the full score, so that they would not operate when parts are compiled. I can confirm all the replies that recommend include files and invisible voices. (I truly should

Re: good practices regarding page breaks -- full score and parts

learn it a few times, but maybe this time I'll succeed. You've all been very helpful. My thanks again! Cheers, Leszek. On Thu, 15 Oct 2020 at 15:13, Kieren MacMillan < kieren_macmil...@sympatico.ca> wrote: > Hi Leszek, > > > I would like to compile a full sco

Re: good practices regarding page breaks -- full score and parts

Hi Leszek, > I would like to compile a full score and parts based on one file containing > musical definitions. I would like to put pagebreaks in specific places in the > full score, so that they would not operate when parts are compiled. The way > I'm doing it now is that I

Re: good practices regarding page breaks -- full score and parts

score { \new Staff {<< \music \breakVoice >> } } Best regards Christian Am Do., 15. Okt. 2020 um 14:20 Uhr schrieb Leszek Wroński : > Dear Experts, > > I would like to compile a full score and parts based on one file > containing musical definitions. I w

Re: good practices regarding page breaks -- full score and parts

Then your use of tags seems the best solution. Il giorno gio 15 ott 2020 alle 14:40, Leszek Wroński ha scritto: Thank you very much! I'm already doing that :-) Still, it's a 70+ pages single-movement work where I'd like to control page-breaking in a precise way in a few locations... Best

Re: good practices regarding page breaks -- full score and parts

Thank you very much! I'm already doing that :-) Still, it's a 70+ pages single-movement work where I'd like to control page-breaking in a precise way in a few locations... Best regards, Leszek. On Thu, 15 Oct 2020 at 14:29, Federico Bruni wrote: > Il giorno gio 15 ott 2020 alle 14:19, Leszek W

Re: good practices regarding page breaks -- full score and parts

Il giorno gio 15 ott 2020 alle 14:19, Leszek Wroński ha scritto: I don't really like this solution; it's just not tidy... and I have to remember which part I put the page breaks in. Are there any established Lilypond practices for doing this? Is it e.g. possible to introduce some sort of 'invi

good practices regarding page breaks -- full score and parts

Dear Experts, I would like to compile a full score and parts based on one file containing musical definitions. I would like to put pagebreaks in specific places in the full score, so that they would not operate when parts are compiled. The way I'm doing it now is that I put a \pagebreak in o

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

Sorry to be so late to respond. I agree with Carl that this type of tutorial doesn't have its logical place in the NR (Notation Reference). A separate section of the LM (Learning Manual) for tutorials like mine, or page LM 4.6.3. 'Real music example' is in my opinion most appropriate. OTOH, th

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

In my opinion, this does not belong in the notation reference. I think there should be another volume added to the documentation, perhaps something like "Advanced Engraving". The information you are trying to add is tutorial in nature, rather than reference. A reference manual aims at answerin

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On 6/7/20, Rutger Hofman wrote: > My first attempt is here: > https://www.rutgerhofman.nl/lilypond/divisi-doc/divisi-doc.html Very nice! I have a few minor remarks: - The writing style differs a bit from our recommended style, see CG 5.5.3 and 5.5.4 http://lilypond.org/doc/v2.21/Documentation/co

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

s, it is there to "stay forever" which would be nice. One elaborate example of my experiences is found in the score and parts of "3 Bruchstücke aus Wozzeck" by Alban Berg, see https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_Alban) (travel to the tab [Arrangements and Transcriptio

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On Sun, 7 Jun 2020 at 10:26, Rutger Hofman wrote: > > Well, it turned out to keep that tutorial short. Still, I think it will > have its use, since questions about temp staves/divisi turn up at > regular intervals. > > My first attempt is here: > > https://www.rutgerhofman.nl/lilypond/divisi-doc/d

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

> > On 6/7/20 9:26 AM, Rutger Hofman wrote: > > My first attempt is here: > > > > https://www.rutgerhofman.nl/lilypond/divisi-doc/divisi-doc.html > > > Thank you for sharing this, Rutger - I'm looking forward to reading in more detail as soon as I have a chance. Best, David >

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

? User list? Scores of Beauty? If it gets into the Lilypond docs, it is there to "stay forever" which would be nice. One elaborate example of my experiences is found in the score and parts of "3 Bruchstücke aus Wozzeck" by Alban Berg, see https://imslp.org/wiki/Wozzeck%2C_Op.7_(Be

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

hich would be nice. One elaborate example of my experiences is found in the score and parts of "3 Bruchstücke aus Wozzeck" by Alban Berg, see https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_Alban) (travel to the tab [Arrangements and Transcriptions]). One can have a look at e.g. the Violins

Re: IMSLP upload policy (was: Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.)

On 6/2/20, Rutger Hofman wrote: > I know that pdftk can add attachments to PDFs. Is that now also built > into Lilypond? Well… yes! https://git.savannah.gnu.org/cgit/lilypond.git/commit/?id=0fa6f042cccacb643d46781dde23617c71a9753e Man, I wish more people would know about that feature. I need to

IMSLP upload policy (was: Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.)

On 6/1/20 10:45 PM, Valentin Villenave wrote: On 6/1/20, Rutger Hofman wrote: [snip] On that note: One elaborate example of my experiences is found in the score and parts of "3 Bruchstücke aus Wozzeck" by Alban Berg, see https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

ally homophonic or rhythmically polyphonic, especially in the > context of divisi staves. > > What would be the best venue for this? Lilypond docs? User list? Scores > of Beauty? If it gets into the Lilypond docs, it is there to "stay > forever" which would be nice. > > One el

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

fford, and even then its source code is not quoted verbatim.) On that note: > One elaborate example of my experiences is found in the score and parts > of "3 Bruchstücke aus Wozzeck" by Alban Berg, see > https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_Alban) I appreciate that

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

nue for this? Lilypond docs? User list? Scores of Beauty? If it gets into the Lilypond docs, it is there to "stay forever" which would be nice. One elaborate example of my experiences is found in the score and parts of "3 Bruchstücke aus Wozzeck" by Alban Berg, see https:/

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On Wed, 27 May 2020 at 18:10, Valentin Villenave wrote: > > On 5/27/20, Lib Lists wrote: > > merge the stems so > > that the final result looks like one voice. > > In that case, what you want clearly is \partcombine (\partCombine since 2.21). > > If you have more than two voices, then you can alw

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On 5/27/20, Lib Lists wrote: > merge the stems so > that the final result looks like one voice. In that case, what you want clearly is \partcombine (\partCombine since 2.21). If you have more than two voices, then you can always apply another \partCombine on top of the first two voices, or use o

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On Tue, 26 May 2020 at 20:49, Valentin Villenave wrote: > > On 5/26/20, Lib Lists wrote: > > For example, I'd start with the concertmaster's part, then duplicate > > it and edit it to generate the music the second soloist, then the > > other soloists, then desks, divisi and so on. > > Greetings,

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On 5/26/20, Xavier Scheuer wrote: > I have used several times the technique mentioned on this list and > documented only in the regression test ‘divisi-staves.ly’. It may indeed be more useful if added to the NR; I’ve just written a patch with that mind: https://gitlab.com/lilypond/lilypond/-/mer

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On 5/26/20, Lib Lists wrote: > For example, I'd start with the concertmaster's part, then duplicate > it and edit it to generate the music the second soloist, then the > other soloists, then desks, divisi and so on. Greetings, I wouldn’t recommend to “duplicate” any code. As Xavier said, you can

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

Hi, thanks for your answer. During the past days I've been looking at this same technique, the only problem is that I cannot find a way to merge the different voices into one, for example in the first system. In an ideal world, I'd like to have the ability to tell Lilypond that a certain passage sh

Re: Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

On Tue, 26 May 2020 at 18:12, Lib Lists wrote: > > [...] > > However, I know that \partcombine doesn't accept more than two voices, > so I guess I cannot (hypothetically) combine all the voices together > and let Lilypond sort out when the voices contain the same or > different materials and gener

Orchestral strings, how to organise score and parts for divisi, solos, desks etc.

Hello everybody, a long-time user here, never been a power user though, but I'm back to Lilypond after quite many years. I'm considering the possibility of notating a future orchestral project using Lilypond. As I never used it for anything bigger than chamber music, I'm learning how to organise a

Re: Score and parts with global variable

Andrew Bernard wrote > I am unable to understand why the \global information does not print four > times. How does this work? The template by the way does not give example > code for the \global variable. Hi Andrew, Whether the \global information is printed four times or not solely depends on th

Re: Score and parts with global variable

At 21:37 on 04 Nov 2018, Andrew Bernard wrote: >After a long time using lilypond, for solo instrumental music >exclusively, now setting a string quartet for the first time and >needing score and parts. I confess that I am confused about using a >global variable for tempo indications a

Re: Score and parts with global variable

Pardon me. Ignore question 2. I had failed to write the correct code as per the template example. Apologies for that particular noise. Andrew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Score and parts with global variable

After a long time using lilypond, for solo instrumental music exclusively, now setting a string quartet for the first time and needing score and parts. I confess that I am confused about using a global variable for tempo indications and so on and so forth. Two newbie questions. 1. In the NR

Re: [Spam] Re: Multiple instruments in score and parts

On Sat, 2017-04-15 at 12:34 +0200, Rutger Hofman wrote: > On 04/13/2017 03:37 PM, David Sumbler wrote: > > > > On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote: > > > > > > Hi David, > > > > > > > > > > > > > > > At the moment I cannot really see how to deal with this sort of > > > >

Re: Multiple instruments in score and parts

On Fri, 2017-04-14 at 17:40 -0400, Kieren MacMillan wrote: > Hi David, > > > > > That thread is now 8 months old, and I wondered what has happened > > since. > Unfortunately, not as much as one would hope… > > > > > Is some of it yet incorporated into the development version of > > LilyPond? >

Re: [Spam] Re: Multiple instruments in score and parts

On 04/13/2017 03:37 PM, David Sumbler wrote: On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote: Hi David, At the moment I cannot really see how to deal with this sort of problem, other than having completely separate input for the score and the part at these points, controlled by tags

Re: Multiple instruments in score and parts

Hi David, > That thread is now 8 months old, and I wondered what has happened since. Unfortunately, not as much as one would hope… > Is some of it yet incorporated into the development version of LilyPond? I’d have to look more closely, but my intuition is “yes”. > Is it likely to be included

Re: Multiple instruments in score and parts

On Thu, 2017-04-13 at 14:37 +0100, David Sumbler wrote: > On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote: > > > > Hi David, > > > > > > > > > > > At the moment I cannot really see how to deal with this sort of > > > problem, other than having completely separate input for the > > > s

Re: Multiple instruments in score and parts

On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote: > Hi David, > > > > > At the moment I cannot really see how to deal with this sort of > > problem, other than having completely separate input for the score > > and > > the part at these points, controlled by tags.  But is there a > > bet

Re: Multiple instruments in score and parts

Hi David, > At the moment I cannot really see how to deal with this sort of > problem, other than having completely separate input for the score and > the part at these points, controlled by tags. But is there a better > way - one which requires less duplication of material in the input? > > Any

Multiple instruments in score and parts

this to produce score and parts, with "tacet" markings in the parts for some movements.  But there is one particular area in which I should like some suggestions or recommendations. The 1st violins, for instance, mostly play a single line of music, which will of course appear on a single sta

Re: Best Practices for file structures, score and parts

On 02.10.2015 12:03, Malte Meyn wrote: I remember an issue with note names in german (and perhaps other languages) when you have several names (asas and ases) for the same pitch (a flat). I’m not sure whether this has been fixed. You might check at the issue tracker:

Re: Best Practices for file structures, score and parts

On 02/10/2015 08:58, N. Andrew Walsh wrote: do I enter the transposing instruments into the score in concert pitch or transposed? Can Frescobaldi (my editor of choice) take an entire Voice and transpose it into concert pitch after I've edited, or should I enter the content in concert pitch (tra

Re: Best Practices for file structures, score and parts

Hi Malte, well, if I go by your setup, I could theoretically move the six \score blocks into my master file, so long as I rename the instruments for each movement (and then eventually for each mass as well, if I wanted to combine all six masses into one document), and then make a parts.ly file to

Re: Best Practices for file structures, score and parts

Andrew: > So, I'm in the process of transcribing some masses from part-books, and I'm > trying to figure out the best way to set up the file/variable/include > structure so that I have a minimum of clutter. > > There are six masses, with two brass (alternating between trumpet, horn, > and tacet),

Re: Best Practices for file structures, score and parts

Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh: Is there a better way to structure the files? How do I extract the instrument variables into separate part files? Can I just \include all the separate movement files, and then add the Voice variables in sequence? In other words: each movement is a

Re: Best Practices for file structures, score and parts

Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh: do I enter the transposing instruments into the score in concert pitch or transposed? Can Frescobaldi (my editor of choice) take an entire Voice and transpose it into concert pitch after I've edited, or should I enter the content in concert pitch

Best Practices for file structures, score and parts

Hi List, So, I'm in the process of transcribing some masses from part-books, and I'm trying to figure out the best way to set up the file/variable/include structure so that I have a minimum of clutter. There are six masses, with two brass (alternating between trumpet, horn, and tacet), tympani, t

Re: Demo: Score and parts template

On Thu, 15 Jan 2015 06:55:21 -0700 (MST) tisimst wrote: > Should the LP engine, upon encountering a "\repeat volta" section, > automatically, under the covers, force that repeat structure upon the > other simultaneous staves/voices, which do NOT contain that same > structure, so that it gives

Re: Demo: Score and parts template

-user mailing list > [hidden email] > https://lists.gnu.org/mailman/listinfo/lilypond-user > > > If you reply to this email, your message will be added to the > discussion below: > http://lilypond.1069038.n5.nabble.com/Demo-Score-and-parts-template-tp170276p170503.html >

Re: Demo: Score and parts template

On Wed, 14 Jan 2015 09:36:52 -0700 (MST) tisimst wrote: > Johan Vromans wrote > > It works for many structure-related items but unfortunately not for > > repeats. > > Sure it does! Thanks for your response. It clearly indicates that LP does, indeed, *not* process volta repeats correctly (for s

Re: Demo: Score and parts template

SHOULD BE repeating, is incorrect coding, ESPECIALLY when you know you'll be re-using the parts like this demo is supposed to show how to do. Just my thoughts on the matter, Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/Demo-Score-and-parts-template-tp1702

Re: Demo: Score and parts template

Johan Vromans squirrel.nl> writes: > In fact, this is separation of content and structure. It works for many > structure-related items but unfortunately not for repeats. > > For example, in the following snippet the score looks right, but in the > midi the repeats are not unfolded. Do you have a

Re: Demo: Score and parts template

On Sat, 10 Jan 2015 11:12:26 +0800 James Harkins wrote: > % Just the notes -- no need to copy anything from "global" In fact, this is separation of content and structure. It works for many structure-related items but unfortunately not for repeats. For example, in the following snippet the score

Re: Score and parts template

Phil Holmes philholmes.net> writes: > I believe that, as a tutorial template, it would be more useful to > illustrate how to accommodate key signature indications with transposing > instruments, since this remains the norm for most music. Ah, OK -- that makes perfect sense. It sounded at first

Re: Score and parts template

moved to the individual score headers? And shouldn't they be in their own PDFs? I guess they don't HAVE to, but I feel like that is also "the norm for most music." -Abraham -- View this message in context: http://lilypond.1069038.n5.nabble.com/Demo-Score-and-parts-template-t

Re: Score and parts template

- Original Message - From: "James Harkins" To: "Phil Holmes" ; Sent: Sunday, January 11, 2015 12:18 PM Subject: Re: Score and parts template On January 11, 2015 8:06:55 PM "Phil Holmes" wrote: So I assume the clarinet in A (which I'd mis

Re: Score and parts template

On January 11, 2015 8:06:55 PM "Phil Holmes" wrote: So I assume the clarinet in A (which I'd missed) has a lower range than the Bb? Clarinets in Bb and A have the same written range, extending down to the E below middle C. This note sounds as concert D on the Bb clarinet, and concert C# on

Re: Score and parts template

- Original Message - From: "James Harkins" To: ; Sent: Sunday, January 11, 2015 6:37 AM Subject: Re: Score and parts template From: Phil Holmes > Since the question came up about organizing LilyPond code for score and > parts, I thought I would make a quick demo o

Re: Score and parts template

From: Phil Holmes > > Since the question came up about organizing LilyPond code for score and > > parts, I thought I would make a quick demo of what I believe to be the > > standard way to do it. Somehow I pieced these ideas together from LP code > > that I found onli

Re: Demo: Score and parts template

On Fri, Jan 9, 2015 at 10:12 PM, James Harkins wrote: > Hi, > > Since the question came up about organizing LilyPond code for score and > parts, I thought I would make a quick demo of what I believe to be the > standard way to do it. Somehow I pieced these ideas together from L

Re: Score and parts template

- Original Message - From: "James Harkins" To: "lily-users" Sent: Saturday, January 10, 2015 3:12 AM Subject: Demo: Score and parts template Hi, Since the question came up about organizing LilyPond code for score and parts, I thought I would make a quick demo

Demo: Score and parts template

Hi, Since the question came up about organizing LilyPond code for score and parts, I thought I would make a quick demo of what I believe to be the standard way to do it. Somehow I pieced these ideas together from LP code that I found online (Mozart Horn Concerto, as I recall), but I don&#

different instrumentDefinition's in score and parts

t \instrumentSwitch is that it is semantic. Given that the differences between score and parts presentational (e.g. different transposition), I'd prefer to just write \instrumentSwitch "clarinet" and accomplish the score/parts difference some other way. Suggestions? -- View this m

Re: Adding \bookpart to score and parts loses tempo indications from score

Le 14 janv. 09 à 20:20, Nick Payne a écrit : Ah. Something as simple as that! BTW, I also notice that although I have both title and tagline setup in the header sections for each bookpart, the tagline only prints at the end of the last part. You can see this in the example I sent by adding

RE: Adding \bookpart to score and parts loses tempo indications from score

> -Original Message- > From: Nicolas Sceaux [mailto:nicolas.sce...@free.fr] > Sent: Thursday, 15 January 2009 03:40 > To: nick.pa...@internode.on.net > Cc: lilypond-user@gnu.org > Subject: Re: Adding \bookpart to score and parts loses tempo > indications from score >

Re: Adding \bookpart to score and parts loses tempo indications from score

Le 14 janv. 09 à 03:54, nick.pa...@internode.on.net a écrit : I have a score and parts to which I have just added \bookpart plus the hack suggested in http://www.nabble.com/Separate-page-numbering-in-separate-book-parts--td20831772.html in order to get the pages renumbered to 1 for each part

Adding \bookpart to score and parts loses tempo indications from score

I have a score and parts to which I have just added bookpart plus the hack suggested in http://www.nabble.com/Separate-page-numbering-in-separate-book-parts--td20831772.html [1] in order to get the pages renumbered to 1 for each part. What has happened is that the tempo indications have

Re: tempo for both conductor's score and parts

In message <[EMAIL PROTECTED]>, Mats Bengtsson <[EMAIL PROTECTED]> writes Anthony W. Youngman wrote: Obviously, I can't (easily) tweak the placing of things like "Allegro" if it's going to be inserted into lots of parts (nor do I want the hassle). But, to give a current example, my trombone

Re: tempo for both conductor's score and parts

Anthony W. Youngman wrote: Obviously, I can't (easily) tweak the placing of things like "Allegro" if it's going to be inserted into lots of parts (nor do I want the hassle). But, to give a current example, my trombone part has a top f (in lily terms, an f' in bass clef) right where I want to

Re: tempo for both conductor's score and parts

On 13.09.2008, at 21:39, Anthony W. Youngman wrote: In message <[EMAIL PROTECTED]>, James E. Bailey <[EMAIL PROTECTED]> writes On 13.09.2008, at 16:55, Anthony W. Youngman wrote: Obviously, I can't (easily) tweak the placing of things like "Allegro" if it's going to be inserted into lots o

Re: overlaying as a tool for annotating entry points in orchestral parts (was Re: tempo for both conductor's score and parts)

-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Samstag, 13. September 2008 schrieb Anthony W. Youngman: > In message > <[EMAIL PROTECTED]>, Daryna > Baikadamova <[EMAIL PROTECTED]> writes > > >Now I dream up another application:  For orchestral parts with long > >multi-bar rests, it is often dif

Re: overlaying as a tool for annotating entry points in orchestral parts (was Re: tempo for both conductor's score and parts)

In message <[EMAIL PROTECTED]>, Daryna Baikadamova <[EMAIL PROTECTED]> writes Now I dream up another application:  For orchestral parts with long multi-bar rests, it is often difficult for the player to count exactly when the rests end.  So would it be possible to include a small section of th

Re: tempo for both conductor's score and parts

On 13.09.2008, at 16:55, Anthony W. Youngman wrote: Obviously, I can't (easily) tweak the placing of things like "Allegro" if it's going to be inserted into lots of parts (nor do I want the hassle). But, to give a current example, my trombone part has a top f (in lily terms, an f' in bass c

Re: tempo for both conductor's score and parts

In message <[EMAIL PROTECTED]>, David Bobroff <[EMAIL PROTECTED]> writes Daryna Baikadamova wrote: Now I have another problem. Suppose I want to insert tempo to the conductors score at specific places (not only at the beginning of the score), and I want these tempo marks (e.g. Allegretto crotch

Re: overlaying as a tool for annotating entry points in orchestral parts (was Re: tempo for both conductor's score and parts)

-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Mittwoch, 10. September 2008 schrieb Daryna Baikadamova: > Thanks again for the example you gave for overlaying the bar and tempo > settings. > > Now I dream up another application: For orchestral parts with long > multi-bar rests, it is often diff

overlaying as a tool for annotating entry points in orchestral parts (was Re: tempo for both conductor's score and parts)

Thanks again for the example you gave for overlaying the bar and tempo settings. Now I dream up another application: For orchestral parts with long multi-bar rests, it is often difficult for the player to count exactly when the rests end. So would it be possible to include a small section of the

Re: tempo for both conductor's score and parts

Am 07.09.2008 um 10:19 schrieb Daryna Baikadamova: Thanks! However I am new to lilypond, could you please point me to an example illustrating how global block is used in this way. I guess this situation should be common in orchestral scores, although many projects in mutopia (including t

Re: tempo for both conductor's score and parts

Daryna Baikadamova wrote: Thanks! However I am new to lilypond, could you please point me to an example illustrating how global block is used in this way. I guess this situation should be common in orchestral scores, although many projects in mutopia (including the the I received) don't do thes

Re: tempo for both conductor's score and parts

Thanks! However I am new to lilypond, could you please point me to an example illustrating how global block is used in this way. I guess this situation should be common in orchestral scores, although many projects in mutopia (including the the I received) don't do these kind of things properly

Re: tempo for both conductor's score and parts

Daryna Baikadamova wrote: Now I have another problem. Suppose I want to insert tempo to the conductors score at specific places (not only at the beginning of the score), and I want these tempo marks (e.g. Allegretto crotchet = 76) printed only *once* on top of the system on the conductor's score

tempo for both conductor's score and parts

Now I have another problem. Suppose I want to insert tempo to the conductors score at specific places (not only at the beginning of the score), and I want these tempo marks (e.g. Allegretto crotchet = 76) printed only *once* on top of the system on the conductor's score, but these tempo marks must

Re: a program / command / script turing a lilypond full score into conductor's score and parts scores automatically

Sorry - resending message originally sent with incorrect subject Beg pardon Date: Tue, 22 Jul 2008 09:50:09 +1200 From: "Daryna Baikadamova" <[EMAIL PROTECTED]> Subject: a program / command / script turing a lilypond full score intoconductor's score and parts sc

Re: a program / command / script turing a lilypond full score into conductor's score and parts scores automatically

Scores and Parts are produced by defining the notes only once: http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Large-projects#Large-projects http://lilypond.org/doc/v2.11/Documentation/user/lilypond-learning/Scores-and-parts#Scores-and-parts Andrew On 7/21/08, Daryna Baikadam

a program / command / script turing a lilypond full score into conductor's score and parts scores automatically

Suppose if I typeset a full score (with all instruments that appear in the work) in lilypond, there are there any commands / programs / scripts that can automatically take the full score lilypond file and create pdf for: conductor's score - with parts that do not play in a particular line in a sys

Re: different rehearsal mark settings in score and parts

Hi Haipeng, 2008/6/14 hhpmusic <[EMAIL PROTECTED]>: > Hi, > I used Vallentin's MarkLines to construct rehearsal marks above the whole > score and first violin. But the log file always says improbable rehearsal > marks 13xx...., although I reduced the global staff size and the > outside s

Re: Re: generate score and parts with lilyscore

> > i wrote a shellscript which generates a score and the corresponding > parts for lilypond. the score-setup can be changed at anytime by editing the > configfile. > It is too long and without documentation or example config file. > And I don't want to learn yet another file syntax/convention.

Re: generate score and parts with lilyscore

> hi all, > > i wrote a shellscript which generates a score and the corresponding parts for > lilypond. the score-setup can be changed at anytime by editing the configfile. > > > it works with lilypond 2.8.x > > i would be very happy if someone try it and send me some feedback. > > > greetin

generate score and parts with lilyscore

hi all, i wrote a shellscript which generates a score and the corresponding parts for lilypond. the score-setup can be changed at anytime by editing the configfile. it works with lilypond 2.8.x i would be very happy if someone try it and send me some feedback. greetings, johnny -- http://