Hello Wol,
That is more or less a different thing, since you want a different
notation for that, specifying both the fret of the note and of the
harmonic. When transcribing some Pastorius I defined a little
function for that which gives such results:
Regards,
Valentin
\version "2.20"
artific
ly) that \harmonicByFret
> and \harmonicByRatio should rather accept single pitches only.
>
> But you're obviously also right in that the implementation of harmonics
> handling should be reconsidered because of the different ways they have
> to be handled in a) staves, b) tabstaves, c
.
Not that I have a clue what you're talking about here but ...
You're aware that it's not uncommon to play lute music on guitar? And
that guitars are then tuned to lute pitch with the 3rd g string tuned to f#?
And I occasionally play harmonics on a fretted not open guitar stri
nly.
But you're obviously also right in that the implementation of harmonics
handling should be reconsidered because of the different ways they have
to be handled in a) staves, b) tabstaves, c) midi. Maybe I can try
something in that direction over the next few days, but I know this is
goin
Hi Pierre,
Using tags is pretty much the only way to achieve this from one source, but
you would still need different functions for Voice and TabVoice (unless you
combine them + tagging into one function, which might be useful, but
unflexible.
Valentin
signature.asc
Description: This is a dig
tions for Tabnotation
> and regular Notation. This having a specific engraver for harmonics would
> probably be the cleanest way to do this.
>
Or simply use tags:
http://lilypond.org/doc/v2.20/Documentation/notation/different-editions-from-one-source.html#using-tags
Cheers,
Pierre
the string tuning list backwards and using
the first
string that is tuned lower, thus assuming this order. This could probably be
fixed quite easily.
Artificial harmonics is hard to do, custom noteheads for that are possible. I
did this for some
bass score like this
But the hard part would be
tch is not an open string, the result is not meaningful, as you
already said.
On a violin or cello, I would expect that non-open-string #pitch should
create artificial harmonics (for which, in particular, one would need
some kind of graphical representation in tabs indicating the use of two
fing
ng like in the
> > appended file, which is modifying the harmonicByFret-function to
> > automatically use the proper string. This should work at least for open
> > strings, for artificial harmonics this is not really a problem, since
> > harmonicByFret sucks for th
le you might want the staff notation of harmonics to be different,
like
notating the touched note and the sounding note in parentheses above. This
would just not work with harmonicByFret, as it would be insanely hard to just
add these notes to Voice, but not to TabVoice.
Regards,
Valentin
\v
\harmonicByRatio #1/4 2. | }
> \\
> { b,2.\5 b,4\5 | }
> \\
> { r4
> \shiftOff
> \harmonicByFret #7 cis2.\1 | }
> >>
> }
> }
> }
>
> Cheers,
> Pierre
>
> Le sam. 27 juin 2020 à 08:55, Lukas-Fabian Moser a éc
- Original Message -
From: "Lukas-Fabian Moser"
To:
Sent: Saturday, June 27, 2020 8:12 AM
Subject: Harmonics in tablature
Folks,
Stacy's question ("Three problems with harmonics") prompted me to try
LilyPond's tablature facilities for the first time.
in the appended file, which is
modifying the harmonicByFret-function to automatically use the proper string.
This should work at least for open strings, for artificial harmonics this is
not really a problem, since harmonicByFret sucks for that anyway.
Thanks much! I think the problem is more
ghter will have to manually specify the
> string number, or you might do something like in the appended file, which is
> modifying the harmonicByFret-function to automatically use the proper string.
> This should work at least for open strings, for artificial harmonics this is
> not really a
in the appended file, which is
modifying the harmonicByFret-function to automatically use the proper string.
This should work at least for open strings, for artificial harmonics this is
not really a problem, since harmonicByFret sucks for that anyway.
Regards,
Valentin
\version "2
gnore-collision = ##t
\harmonicByRatio #1/4 2. | }
\\
{ b,2.\5 b,4\5 | }
\\
{ r4
\shiftOff
\harmonicByFret #7 cis2.\1 | }
>>
}
}
}
Cheers,
Pierre
Le sam. 27 juin 2020 à 08:55, Lukas-Fabian Moser a écrit :
> Hi Stacy,
>
> I&#x
Folks,
Stacy's question ("Three problems with harmonics") prompted me to try
LilyPond's tablature facilities for the first time.
I beg forgiveness for using it not for guitar/bass but for the cello -
for me it's the most convenient way since I know the
fingeri
Hi Stacy,
I'm not familiar with harmonics notation or tabulature, but I think both
of your problems can be solved.
Am 27.06.20 um 01:05 schrieb Stacy Fatemi:
Hey list,
I'm notating a piece for 6-string bass with heavy harmonic use,
including chords with different fretted
Hey list,
I'm notating a piece for 6-string bass with heavy harmonic use, including
chords with different fretted harmonics. Attachment 1 (the hand-drawn bar)
shows how I want this measure to go: root notes in voice 2, harmonics in
voice 1, with a chord composed of a 7th fret harmonic on th
Hey Stacy,
You’ll have to place them in different Voices like this:
<>
Regards,
Valentin
signature.asc
Description: This is a digitally signed message part.
Hi Stacy,
How about:
\version "2.20.0"
\score {
\new TabStaff \relative c {
<< { 1 } \\ { \harmonicByFret #5 1 } >>
}
}
Cheers,
Pierre
Le dim. 14 juin 2020 à 00:25, Stacy Fatemi a
écrit :
> Hey list,
>
> I'm notating a song on bass that requires playing two strings at once, the
> bottom b
Hey list,
I'm notating a song on bass that requires playing two strings at once, the
bottom being a root note and the top being a 5th fret harmonic, but it
seems like neither \harmonicByFret nor \harmonicByRatio work within a
chord. Is there a way around this?
\score {
\new TabStaff \relative c {
On 2019-02-07 3:01 am, N. Andrew Walsh wrote:
Problem now is, Lily isn't avoiding collisions between the markup
objects
and grobs on other staves. Neither the markup nor the Staff.ottavation
text
block are given place, instead overlapping the voice above. How can I
fix
this?
Do you have a MW
PS- also, I've made use of http://lsr.di.unimi.it/LSR/Item?id=875, which
gets the notes in the correct positions. My example now looks like this:
---
\version "2.19.82"
\relative c, {
\clef "bass_8"
\textLengthOn
\override Staff.NoteColumn.ignore-collision = ##t
\override No
Hi Andrew
On Thu, Feb 7, 2019 at 11:51 AM Andrew Bernard
wrote:
> Hello Andrew,
>
> Why are quartertones technically wrong?
>
Quartertones are wrong for harmonics (especially "natural" ones), because
neither the finger position nor the resultant pitch are equiva
Hello Andrew,
Why are quartertones technically wrong?
My current string quartet is full of them. String players can do them just
fine.
Andrew
On Thu, 7 Feb 2019 at 21:46, N. Andrew Walsh
wrote:
>
> (And yes, I know quartertones are technically wrong.
>
__
;>
}
What I actually want is for the fingered note to appear in the correct
location in the staff (so, just above the middle line), and the ottava to
apply only to the sounding harmonic note above it in parentheses. This
becomes important in higher-order harmonics, w
Hi Orm,
I've already add a snippet here: http://lsr.di.unimi.it/LSR/Item?id=1068
May I change the code with the 2nd version?
Cheers,
Pierre
2018-07-07 19:11 GMT+02:00 Orm Finnendahl <
orm.finnend...@selma.hfmdk-frankfurt.de>:
> Hi Pierre, Sylvius,
>
> I did some tests to get a better understandi
Hi Pierre, Sylvius,
I did some tests to get a better understanding of lilypond's handling
of markup. Below is an even more condensed version and also an
iterative solution in comparison for anybody interested in scheme
programming: Both functions should create the same result; the first
is somewh
This is brilliant!
Thanks to all for the various solutions!
> On 7. Jul 2018, at 16:18, Pierre Perol-Schneider
> wrote:
>
> But of course !! Thanks very much Orm !
> Cheers,
> Pierre
>
> 2018-07-07 16:15 GMT+02:00 Orm Finnendahl
> :
> Hi Pierre,
>
> Am Samstag, den 07. Juli 2018 um 15:54:41
But of course !! Thanks very much Orm !
Cheers,
Pierre
2018-07-07 16:15 GMT+02:00 Orm Finnendahl <
orm.finnend...@selma.hfmdk-frankfurt.de>:
> Hi Pierre,
>
> Am Samstag, den 07. Juli 2018 um 15:54:41 Uhr (+0200) schrieb Pierre
> Perol-Schneider:
> > Plus : any idea why 'testTwo does not work ?
>
Hi Pierre,
Am Samstag, den 07. Juli 2018 um 15:54:41 Uhr (+0200) schrieb Pierre
Perol-Schneider:
> Plus : any idea why 'testTwo does not work ?
because the argument type of "arg" was string?. Below is the updated
version:
--
Orm
%circled-pattern
#(define-markup-command
(circled-pattern layo
Also to avoid the 360° misscount :
%circled-pattern
#(define-markup-command
(circled-pattern layout props radius angle num arg)
(number? number? number? string?)
(let* ((rep (if (eq? angle 360)(abs num)(- (abs num) 1)))
(the-form
(if (eq? num 0) (markup "")
(
Well, not sure actually, since it's problematic with 0, 1 , -1.
So how about :
%circled-pattern
#(define-markup-command
(circled-pattern layout props radius angle num arg)
(number? number? number? string?)
(let* ((rep (- (abs num) 1))
(the-form
(if (eq? num 0) (markup ""
Hi List,
for conciseness the example should be reduced even more (if someone
wants to post it to LSR I'd recommend this version).
%circled-pattern
#(define-markup-command
(circled-pattern layout props radius angle num arg)
(number? number? number? string?)
(interpret-markup layout props
Brilliant Orm! Thank you very much.
Cheers,
Pierre
2018-07-07 14:39 GMT+02:00 Orm Finnendahl <
orm.finnend...@selma.hfmdk-frankfurt.de>:
> Hi Pierre,
>
> I corrected your example (see below). It should work now.
>
> --
> Orm
>
>
> Am Samstag, den 07. Juli 2018 um 13:11:25 Uhr (+0200) schrieb Pie
Hi Pierre,
I corrected your example (see below). It should work now.
--
Orm
Am Samstag, den 07. Juli 2018 um 13:11:25 Uhr (+0200) schrieb Pierre
Perol-Schneider:
> Hi All,
>
> I'm not sure that a poscript would be ideal.
> I'm thinking about a pattern markup command that would do :
>
> \mar
Hi All,
I'm not sure that a poscript would be ideal.
I'm thinking about a pattern markup command that would do :
\markup{
\combine
\null
\combine
\concat { \null \hspace #5 "." }
\combine
\rotate #(* 1 (/ 90 7)) \concat { \null \hspace #5 "." }
\combine
\rotate #(* 2 (/ 90 7)) \co
On 2018-07-07 02:51, sylvius wrote:
I still would like to know how to achieve a dotted semicircle but it’s
probably a matter of PostScript rather than LilyPond. Unfortunately
I’m not very proficient with PostScript and so far I haven’t found a
solution in various internet researches.
Does any
Hi Sylvius,
I knew everybody would discourage you and suggest modern harmonic notation!
Anyway, I can do the postscript for you. Give me a couple of days. Although
it can be said that some performers stumble over old notations, I quite
like them, especially in the 17-18c works I engrave and play.
re would be no reason to exactly follow this
> transkription. It is not the original anyway.
>
> So I'd like to second Simon.
>
> Though, my guess may be wrong. Afaik, S.L.Weiss never used harmonics ...
>
> Cheers,
> Harm
Hi Thomas Morley!,
I’m typesetting a piece
2018-07-06 21:33 GMT+02:00 Simon Albrecht :
> Hi Sylvius,
>
> this is most certainly not the answer you’re looking for, but may still be
> the best way to go: don’t replicate the exact notation at all. There are
> other ways to indicate harmonics, and this one is quite unusual (= li
Hi Sylvius,
this is most certainly not the answer you’re looking for, but may still
be the best way to go: don’t replicate the exact notation at all. There
are other ways to indicate harmonics, and this one is quite unusual (=
likely to cause unnecessary distraction) and really not idiomatic
Hi Andrew,
> On 6. Jul 2018, at 16:09, Andrew Bernard wrote:
>
> Hi Sylvius,
>
> Before answering your question, you have version 2.21.0. Where is this from?
It’s a development version from git.
Sylvius
>
> Andrew
>
> ___
> lilypond-user mailing
Andrew Bernard writes:
> Hi Sylvius,
>
> Before answering your question, you have version 2.21.0. Where is this from?
Just means that he is compiling from current master.
--
David Kastrup
___
lilypond-user mailing list
lilypond-user@gnu.org
https://
Hi Sylvius,
Before answering your question, you have version 2.21.0. Where is this from?
Andrew
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Hi all,
I’m trying to draw a dotted semicircle above and below a note head to indicate
harmonics (as shown in the picture).
This is what I’ve achieved so far with LilyPond but it’s far from perfect. (I
didn’t manage to typeset a dotted semicircle. There still are some collisions
David Kastrup writes:
> Shevek writes:
>
>> I just noticed that the following code works fine on 2.19, but crashes on
>> 2.18 without an error message:
>>
>> \addQuote "test" { 2 }
>>
>> \new Staff {
>> \quoteDuring #"test" {
>> s2
>> }
>> }
>>
>> I don't see anything about this in the 2
Shevek writes:
> I just noticed that the following code works fine on 2.19, but crashes on
> 2.18 without an error message:
>
> \addQuote "test" { 2 }
>
> \new Staff {
> \quoteDuring #"test" {
> s2
> }
> }
>
> I don't see anything about this in the 2.20 changes documentation.
Fixes of bu
I just noticed that the following code works fine on 2.19, but crashes on
2.18 without an error message:
\addQuote "test" { 2 }
\new Staff {
\quoteDuring #"test" {
s2
}
}
I don't see anything about this in the 2.20 changes documentation. What's
going on here?
--
Sent from: http://lily
true pitch
but indicates something else. For harmonics,
it indicates the note that would be there if
the note were fretted. It is best to have
a string indication with it. A small note on
the same stem gives the true pitch.
Small or regular notes with "arm..." or "harm..."
are al
he
>relatively few guitarists who can sight read expect to see treble clef,
>transposed up an octave. Few could play the example given.
>
>One fairly common standard is using an open diamond head to indicate the
>harmonic, but that is reall
I could have just sent this:
http://lilypond.org/doc/v2.18/Documentation/notation/guitar
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Hi Andrew,
yes it is common. Pierre already pointed you to \5 (string number) and a
markup for the fret.
Besides the special case of harmonics, roman numbers are also used to
indicate a general position (German: Lage) of the left hand. In this
case the number is the fret of the index finger
using an open diamond head to indicate the
harmonic, but that is really only useful for octave harmonics.
I do not agree that the diamond representation is useful only for octave
harmonics. But an open diamond indeed is exclusively used for octave
harmonics in some natation systems. The filled
,
transposed up an octave. Few could play the example given.
One fairly common standard is using an open diamond head to indicate the
harmonic, but that is really only useful for octave harmonics.
> On May 20, 2016, at 6:35 AM, Andrew Bernard wrote:
>
> Not being a guitar player,
From Lilypond Manual 2.4.2 Guitar
Subchapter
Indicating harmonics and dampened notes
Special note heads can be used to indicate dampened notes or harmonics.
Harmonics are normally further explained with a text markup.
\relative c' {
\clef "treble_8"
Hi Andrew,
Yes it is.
Try something like:
{
2^\markup
%% optional:
%\small
\center-column{
%% optional:
%\italic
"XII"
%% optional:
%\fontsize #-4 \circle\number "5"
}
}
Cheers,
Pierre
2016-05-20 13:35 GMT+02:00 Andrew Bernard :
> Not being a guitar player, I am out of my ar
Not being a guitar player, I am out of my area here, hence my question.
Referring to the attached sample image, my composer uses a circled numeral to
indicate the string number, with superscript roman numerals to indicate the
fret on that string to play for a harmonic. Is this standard for frett
Hi Malte,
I just realized from David's answer that your code somehow escaped my
mailbox. Your solutions are exactly, what I was looking for, so please
ignore my last post in that matter and thanks a lot: Your code is
really helpful and very much appreciated!
--
Orm
_
Malte Meyn writes:
> Am 14.08.2015 um 19:34 schrieb Malte Meyn:
>>
>> This is not a very clean solution but you might find something helpful
>> in it ;)
>>
>
> For example, I haven’t understood completely yet when to use #arg and
> when $arg in a music. duration apparently needs a $ but the other
Hi Stephen,
thanks for the help! Using your idea I ended up with this:
Cue = #(define-music-function (parser location note shift) (ly:music? number?)
#{
\override Stem.transparent = ##t
\override ParenthesesItem.padding = #0.2
\override ParenthesesItem.font-size =
Am 14.08.2015 um 19:34 schrieb Malte Meyn:
This is not a very clean solution but you might find something helpful
in it ;)
For example, I haven’t understood completely yet when to use #arg and
when $arg in a music. duration apparently needs a $ but the other
occurences of $ can be changed
Am 14.08.2015 um 16:30 schrieb Orm Finnendahl:
Hi,
I often need to notate harmonics for strings and like to indicate the
resulting pitch as a small parenthesized notehead above the fingered
pitch.
Here are some solutions, see attachments.
\harmonicChord doesn’t set an explicit duration
sul D"
< g' \harmonic \cueNote d''' >
< fis' \harmonic \cueNote fis''' >
}
% -----
In any case, you could replace \parenthesize by \parentheAll from
http://
Hi,
I often need to notate harmonics for strings and like to indicate the
resulting pitch as a small parenthesized notehead above the fingered
pitch.
Is there an easier way than the bloated example below?
\version "2.19.5"
{
<<
{
< a' \harmo
I'm trying to create a function to display harmonics as shown in the
attached images.
harmonic1.png is in the alto clef with the sounded pitches written in the
treble clef
[image: Inline images 3]
harmonic4.png is an acciaccatura all in the alto clef
[image: Inline images 4]
This is wh
Am 11.12.2012 23:01, schrieb Olivier Biot:
>
> …
> How can this be easily achieved? Is there a way to mute the MIDI channel
> for one or a number of notes?
Hi Oliver,
you could use tags:
http://lilypond.org/doc/v2.16/Documentation/notation/different-editions-from-one-source#using-tags
music =
Hi all,
When adding artificial harmonics in a music score, the stopped note and the
artificial harmonic are written in a chord construct, as in:
However, the MIDI output, even with articulate.ly, will render both the
stopped note AND the actual harmonic, whereas in this situation one
obviously
David Kastrup writes:
> From 2.17.6 (?) on, you should be able to write
>
> 4
[...]
> For harmonics, there are a few more predefined commands for producing
> them; looking at them might make sense.
>
> The solution using \single was just the way requiring the least amoun
r the whole time step.
>
From 2.17.6 (?) on, you should be able to write
4
Before, you probably need to write \tweak #'font-size -2 ..., and before
2.17.4 there is no \single to convert overrides to tweaks, so you need
to look in detail what \harmonicsOn does and convert that manually.
F
Hi all,
Why does this work:
e4 \harmonicsOn e' \harmonicsOff \tiny e''?
But it won't create a chord?
I want to line up these three notes. How can I do it?
Christopher Brooks
violinist
925 Virginia Avenue
Lancaster, PA 17603
717-291-9123
cbro...@orpheus-acoustics.com
ating a score for classical guitar and I've run into
>> a problem combining harmonics and regular notes in the same measure in
>> different voices. If I do something like this:
>>
>> \version "2.16.1"
>> << { \harmonicsOn e'4 f' g' \har
On 27/11/12 11:39, David Bellows wrote:
Hey everyone. I'm creating a score for classical guitar and I've run
into a problem combining harmonics and regular notes in the same
measure in different voices. If I do something like this:
\version "2.16.1"
<< { \harmonics
David Bellows writes:
> Hey everyone. I'm creating a score for classical guitar and I've run
> into a problem combining harmonics and regular notes in the same
> measure in different voices. If I do something like this:
>
> \version "2.16.1"
> << { \h
2012/11/27 David Bellows :
> Hey everyone. I'm creating a score for classical guitar and I've run into a
> problem combining harmonics and regular notes in the same measure in
> different voices. If I do something like this:
>
> \version "2.16.1"
> <
Hey everyone. I'm creating a score for classical guitar and I've run into a
problem combining harmonics and regular notes in the same measure in
different voices. If I do something like this:
\version "2.16.1"
<< { \harmonicsOn e'4 f' g' \harmonicsOff} \\
Ah, nevermind. I should have read the error more clearly...
Jethro
Jethro Van Thuyne (06 May 2012 @ 18:21)
Is it in any way possible to engrave a glissando with artificial
harmonics? When I try the usual syntax for glissandi with the
minimal example below, I get the following error:
syntax
Is it in any way possible to engrave a glissando with artificial
harmonics? When I try the usual syntax for glissandi with the
minimal example below, I get the following error:
syntax error, unexpected ''', expecting > or
DRUM_PITCH or MUSIC_FUNCTION or NOTENAME_PITCH
2011/6/14 Federico Bruni :
> Il giorno mar, 14/06/2011 alle 09.44 +0200, Janek Warchoł ha scritto:
>> general advice for playing harmonics - perhaps you know it already -
>> all harmonics are best heard when string is plucked near the bridge,
>> because strings plucked
way (it's possible that
> instead of a touch harmonic you simply got the string tapped).
Yes, you guessed it right :-)
> And general advice for playing harmonics - perhaps you know it already
> - all harmonics are best heard when string is plucked near the bridge,
> because stri
On Tue, Jun 14, 2011 at 09:44:27AM +0200, Janek Warchoł wrote:
>
> BTW, who will be applying the patch (i don't have puch ability)?
I can apply patches for you, after they've gone through the patch
review process.
Cheers,
- Graham
___
lilypond-user ma
or artificial:
in our snippet's case we have artificial one, in 2nd position. It's
possible that you can have trouble hearing an artificial touch
harmonic on your guitar - some guitars don't play harmonics well and
this is especially hearable when the harmonic is artificial.
And ge
m using
are different. It's a mystery to me...
Waiting for your comments.
Thanks,
Federico
\version "2.14.0"
\header {
lsrtags = "fretted-strings"
texidoc = "
Fretted-string harmonics:
"
doctitle = "Fretted-string harmonics in tablature"
}
13/Documentation/snippets/fretted-strings#fretted_002dstring-harmonics-in-tablature]
> there is an harmonic played on 5th fret
> of 4th string (a d in standard tuning), so the note must be a d two
> octave higher than the d of open string.
> Currently it's a g.
Yes, it should be d&
//en.wikipedia.org/wiki/Guitar_harmonic#Nodes
Look at line 4 of the table: harmonics produced on 5th and 24th frets
are 2 octave higher than open string. My ears agree with this rule :-)
In the second bar of the snippet there is an harmonic played on 5th fret
of 4th string (a d in standard tuni
do you need more info or help to fix that ?
On May 14, 2011, at 6:49 PM, Marc Mouries wrote:
>
> When a note is defined as an harmonic it creates a side effect on the
> position of dynamics.
> In this example, when the note D is a normal note the ppp does not touch the
> bar line however when
On 11-05-14 04:49 PM, Marc Mouries wrote:
When a note is defined as an harmonic it creates a side effect on the position
of dynamics.
In this example, when the note D is a normal note the ppp does not touch the
bar line however when it is an harmonic it does touch.
%% When a note is de
When a note is defined as an harmonic it creates a side effect on the position
of dynamics.
In this example, when the note D is a normal note the ppp does not touch the
bar line however when it is an harmonic it does touch.
<>
%% When a note is defined as an harmonic it creates a side effec
Thanks -- I didn't know about this list but I'll subscribe.
And of course I meant the 3rd harmonic. Silly me.
-steve
On Fri, Sep 17, 2010 at 12:37 AM, Patrick Schmidt wrote:
> Hi Steve,
> Am 17.09.2010 um 08:37 schrieb Steve Yegge:
>
>
> For a 5th harmonic, the TabStaff automatically chooses t
Hi Steve,
Am 17.09.2010 um 08:37 schrieb Steve Yegge:
For a 5th harmonic, the TabStaff automatically chooses the 19th
fret rather than the 7th fret. For instance:
music = {
<<
\relative c' { \harmonicsOn b'1\6 \harmonicsOff }
>>
}
\score {
<<
\new Staff { \music }
\new TabS
For a 5th harmonic, the TabStaff automatically chooses the 19th fret rather
than the 7th fret. For instance:
music = {
<<
\relative c' { \harmonicsOn b'1\6 \harmonicsOff }
>>
}
\score {
<<
\new Staff { \music }
\new TabStaff { \transpose c c, { \music } }
>>
}
Is there a way
Hi all,
I'm having difficulties to indicate in tablature where to place a
finger to get harmonics other than the first harmonic (see Ex. 1).
The first harmonic is normally produced in the 12th fret and sounds
in the same octave as if the string were stopped in the 12th fret
(one o
Dear community,
I've made a little success with my problem.
I can now do one fourth-flageolet-note with one music entry.
\version "2.12.2"
\include "./rhythmen.ly"
\motiv #'Flageolettmusic { 1 }
qfl = #(define-music-function (parser location x) (ly:music?)
#{ %hier irgendeinen Li
Dear community,
is there a possibilitie, to get harmonic noteheads with a little less
effort?
I find the following not the most comfortable:
\version "2.12.2"
{8\f 8\p 8 8 8 8 8 8 }
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On 1/12/09 3:21 PM, "Tom Hall" wrote:
> Carl D. Sorensen byu.edu> writes:
>
>> Yes, this is a job for scheme, because parenthesize is a music function, and
>> it needs to have music following it. That's why you can't move it into an
>> identifier.
>>
>> The custosNote example in Section 6.
Carl D. Sorensen byu.edu> writes:
> Yes, this is a job for scheme, because parenthesize is a music function, and
> it needs to have music following it. That's why you can't move it into an
> identifier.
>
> The custosNote example in Section 6.1.2 of the Notation Reference should
> give you the
Carl D. Sorensen wrote:
Yes, this is a job for scheme, because parenthesize is a music function, and
it needs to have music following it. That's why you can't move it into an
identifier.
The custosNote example in Section 6.1.2 of the Notation Reference should
give you the pattern you need to
On 1/12/09 10:21 AM, "Jonathan Kulp" wrote:
> Tom Hall wrote:
>> Thanks Jon
>>
>> that was really helpful. From your post and lily docs, I've cobbled together
>> the
>> following below, which seems to work OK, aiming to use a global variable to
>> save
>> some space.
>>
>> A question about t
Tom Hall wrote:
Thanks Jon
that was really helpful. From your post and lily docs, I've cobbled together the
following below, which seems to work OK, aiming to use a global variable to save
some space.
A question about this: is there a way to move the parenthesisation
(\parenthesize) to within
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