David Kastrup writes:
> Kieren MacMillan writes:
>
>> I definitely use a lot of chord repetition, and I always (= 99% of the
>> time) use \relative. In fact, until only recently, most of my code had
>> \relative {} instead of the now-promoted \relative x {} [where x is
>> the first note in the m
By george I think I'm getting it! Sorry to the rest of you have to watch me
jump for joy but "m sure by the time my final comes around I will be offering
advice rather then asking it lol! or maybe not. We'll see how hard the test is
in may.. Hopefully he will give me a week to do it not a few da
Hello list, hello Sarah,
You wrote:
> Ok. it looks like the viola part needs to be device as these double
> stops are not fun. here it is with the notes and cords with out taking
> the divisi in to consideration.
>
> { c aes, g ees |
> ees f | }
The first note has to be g instead of c, be
Hey thanks for that explenation. I think I'm finally getting it. here is I
think the first 2 or 3 measures od the part. I can't keep track anymore. as I'm
not used to thinking in separate parts. lol! Hehahaha. and I think I'm missing
a closing right brace some ware.
<<
{ c aes, g ees |
ees f
Ok. it looks like the viola part needs to be device as these double stops are
not fun. here it is with the notes and cords with out taking the divisi in to
consideration.
{ c aes, g ees |
ees f | }
Just the first 2 measures
so would I have to imply the double less then sign at the top t
Cool. so if let's say the cello part had a double stop and i don't remember all
the other notes as I'm just waking up but for example the cello part would read
something like
{c c, g |
}
since the double stop is on g and c? the notes before it would be single notes
only. and I mean g2 and c3
Kieren MacMillan writes:
> Hi David,
>
>> Here is one difference: #{ ... #} creates copies of music
>> identifiers referenced via \... inside.
>>
>> That's not relevant for anything you mentioned explicitly, but it
>> _would_ have triggered issue 2263 in case you were using _chord_
>> _repetitio
Hi David,
> Here is one difference: #{ ... #} creates copies of music identifiers
> referenced via \... inside.
>
> That's not relevant for anything you mentioned explicitly, but it
> _would_ have triggered issue 2263 in case you were using _chord_
> _repetition_ in connection with \relative.
I
Kieren MacMillan writes:
> David,
>
>> That makes me doubt your memory.
>
> That is your prerogative. For my part, I just double-checked your
> function against the one in my backups — they are identical, excepting
> whitespace.
>
> Feel free to ponder how changes in the Lilypond code since v2.9
Hello Sarah!
Roland's example is
4 << { ees8. d16 } \\ b4 >> c
I would format this as
4 << { ees8. d16 } \\
{ b4} >> c4 |
or maybe as
4
<< { ees8. d16 } \\
{ b4 } >>
c4 |
(Note the final `|' to trigger a bar check.) If a bar (or whatev
Hello list, hello Sarah,
You wrote:
> Yeah that's it. I don't' quite understand how that works. I read the
> section but was a bit confused on the double back slash method. Is
> there an analogy I could use to maybe help me on that one? I'm getting
> everything else slowly but yeah. I think where
David,
> That makes me doubt your memory.
That is your prerogative. For my part, I just double-checked your function
against the one in my backups — they are identical, excepting whitespace.
Feel free to ponder how changes in the Lilypond code since v2.9 (which was the
time of that backup) may ha
Kieren MacMillan writes:
> Hi David,
>
>> Have you even tried it?
>
> Prior to v2.17, I used a function which, to my memory, is identical to
> the one you've posted. There were bugs with it (specifically with
> \transpose or \relative — I never hunted down the exact problem).
That makes me doubt
Yeah that's it. I don't' quite understand how that works. I read the section
but was a bit confused on the double back slash method. Is there an analogy I
could use to maybe help me on that one? I'm getting everything else slowly but
yeah. I think where I'm getting confused is when to use that m
roken, I have no inspiration to [potentially] fix it right now.
Thanks again,Kieren.
> From: d...@gnu.org
> To: kieren_macmil...@sympatico.ca
> CC: lilypond-user@gnu.org
> Subject: Re: divisi parts and another general question
> Date: Sun, 3 Mar 2013 00:27:19 +0100
>
> Kieren
Hello list, hello Sarah,
You wrote:
> Oh btw another question. Let's say I did want the cello part to play
> the middle notes in the cluster shall we say. How do I just simply
> have 1 note be divisi, or so I show it as a cord with the less then
> and grader then symbols?
Do You mean something li
Oh btw another question. Let's say I did want the cello part to play the middle
notes in the cluster shall we say. How do I just simply have 1 note be divisi,
or so I show it as a cord with the less then and grader then symbols? I'm
thinking from my days as a string player I can do the latter as
yeah true or I could cut them out the middle notes since I believe the upper
voices are playing them
I'll go back and redo the notes later. I ended up singing the parts or trying
to and so far I've managed to correct most mistakes. lol!
Well if not an a I hope I get some constructive critici
Kieren MacMillan writes:
> Because I've found that your function (which I used to use) and mine
> (which someone else wrote for me) do two different things — and I want
> the one that yours doesn’t do.
>
> Thanks anyway,
> Kieren.
Kieren, I translated your function right now pretty much literall
Hello list, hello Sarah,
now I've seen, that You are using the standard language, ie.
nederlands.ly. (I've written "assuming You're using english.ly")
That requires different input notes, so this was the reason for writing
other notes than You. ;-)
You wrote:
> I could if I wanted to, how ever O
Because I've found that your function (which I used to use) and mine (which
someone else wrote for me) do two different things — and I want the one that
yours doesn’t do.
Thanks anyway,Kieren.
> To: lilypond-user@gnu.org
> From: d...@gnu.org
> Subject: Re: divisi parts and a
I could if I wanted to, how ever Our orchestra are horrible at double stops and
if you have let's say 10 second violins trying to play a double stop you are
asking for trouble so normally we do a divisi, and he I think wants us to try
it. the cello and bass will be easy actually, or shall I say
Hello list, hello Sarah,
You wrote:
> I did read that section but this also has some unison parts as well.
> I'll play with that.
Sorry, but why do You want to use divisi in this peace at all?
I wonder if You got a view of my example.
Let's see the first bar of all five instruments:
violin_
Yeah I think what I'll do since the voices are in unison mid measure and brake
back out in to split parts is just put both notes on both voices unless
there's a slightly easier way to do this? as the \OneVoice never in theory
happens. and rhythms are going to be slightly different so writing i
Kieren MacMillan writes:
> Hi Sarah,
>
>> Hey thanks. I'm thinking of using the thing in the manual that says
>>
>> << { \voiceOne ... }
>> \new Voice { \voiceTwo ... }
\oneVoice
>
> You should. ;)
>
> Here's a function (and snippet/example) that might help:
>
> \version "2.17.13"
>
> s
Uh, I'm not there yet and I'm using 2.16 not 2.17. Ok. so if I use the voiceOne
and the voiceTwo thing and there is a unison between the 2 voices how would I
indicate that since my ideas just went out the window? lol! I'm so used to
braille text where text is indicated and symbols and stuff. I'm
Am 02.03.2013 19:51, schrieb Kieren MacMillan:
>> Hey thanks. I'm thinking of using the thing in the manual that says
>>
>> << { \voiceOne ... }
>> \new Voice { \voiceTwo ... }
\oneVoice
>
> You should. ;)
>
> Here's a function (and snippet/example) that might help:
Wow, that is useful
Hi Sarah,
> Hey thanks. I'm thinking of using the thing in the manual that says
>
> << { \voiceOne ... }
> \new Voice { \voiceTwo ... }
>>> \oneVoice
You should. ;)
Here's a function (and snippet/example) that might help:
\version "2.17.13"
split =
#(define-music-function (parser location
Hey thanks. I'm thinking of using the thing in the manual that says
<< { \voiceOne ... }
\new Voice { \voiceTwo ... }
>> \oneVoice
but this goes back and forth all the time through out this 1 to 2 minute piece.
so in this case would the double back slash work? and if so how do you get back
I did read that section but this also has some unison parts as well. I'll play
with that. I'd expect the divisi and tutti text to work as I see that in many
many scores, for example a mozart piece we are doing where there's a quartet
solo.
Thanks. and be blessed.
On Mar 2, 2013, at 10:04 AM,
Sarah k Alawami (02 Mar 2013 @ 18:55)
Now on to the divisi. How do I do this? once I get the rhythms correct that is?
I'm hoping to get the rest of it done today. The cello and bass parts will be
easy. they are just octaves. I think I'll leave the 5gths out as I believe they
are in the upper
Drat it! I must have been very tired when writing the second violin part. Bleh!
Now on to the divisi. How do I do this? once I get the rhythms correct that is?
I'm hoping to get the rest of it done today. The cello and bass parts will be
easy. they are just octaves. I think I'll leave the 5gths
Greetings David,
Indeed, your point is well stated, demonstrated, and taken. I
merely include the possibility for the sake of completeness; I myself
find the latter option quite useful, as I then do not have to remind
myself that 'c' actually refers to the pitch an octave below the
fairly comm
"Hwaen Ch'uqi" writes:
> Greetings Sarah,
> First, to base your music around middle c, you want to use
>
> c'
>
> However, you might also try leaving out the c indicator altogether, so
> that it would look like
>
> \relative { MUSIC }
>
> In past versions, this had the same effect, and, thou
Greetings Sarah,
First, to base your music around middle c, you want to use
c'
However, you might also try leaving out the c indicator altogether, so
that it would look like
\relative { MUSIC }
In past versions, this had the same effect, and, though I believe that
was meant to be deprecate
Ok. one more question for the night then I'll be done with this for tonight as
I want to at least get the 2 violin parts written then work on viola, cello
and bass tomorrow and sunday.
I will be having divici parts for the second violin parts. I know odd but there
you go. I tried the text thin
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