After considerable
mucking about I offer this solution for those who have similar problems
:-
The music - Dvorak's
"Symphonie.IX.Sinfonia" E Moll - Mi Minore IV movement Opus
95.
The Part - Trumpet
II (E, Es, C)
The first half is
for E crook, then 2 measures with Es crook, then 16 measu
Has anyone on this list any idea why the slurs are as I described? Is
the developer that did them so here?
Thanks,
Artur
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
alanvw wrote:
After considerable mucking about I offer this solution for those who
have similar problems :-
The music - Dvorak's "Symphonie.IX.Sinfonia" E Moll - Mi Minore IV
movement Opus 95.
The Part - Trumpet II (E, Es, C)
The first half is for E crook, then 2 measures with Es crook, then
On 4/20/06, Artur Rataj <[EMAIL PROTECTED]> wrote:
> Has anyone on this list any idea why the slurs are as I described?
Try sending this to the bugs list. You might also try providing a
visual example of what it looks like (you can create a .png, for
instance). Also, please include version and ope
> 1. Enter all the code as per the original into a "notes" file keeping
> the five sections described above in separate definitions (macros):
>
> % file: dvorak_trumpet_original_part.ly
> % apply appropriate \relative commands below
> emusici = { }
> esmusic = { <2 measures in Es> }
> emusicii
Hello.
I guess there might be some bugs: the 'minimum-length parameter
affects slurs made with ( ), but not slurs made with \( \). Byt the
way, what I thought is a slur, is perhaps a tie.
I know rather little about the music notation, this is why I do not
want to send the questions to the bugs li
Any setting that you do with
\override Slur #'...
will only affect slurs, not phrasing slurs. To modify a property for
a phrasing slur, \( \), you should use
\override PhrasingSlur #'minimum-length = ...
/Mats
Artur Rataj wrote:
Hello.
I guess there might be some bugs: the 'minimum-length
Werner LEMBERG wrote:
1. Enter all the code as per the original into a "notes" file keeping
the five sections described above in separate definitions (macros):
% file: dvorak_trumpet_original_part.ly
% apply appropriate \relative commands below
emusici = { }
esmusic = { <2 measures in Es> }
em
> Thanks. I just looked at
>
> 8.2.8 Different editions from one source
>
> When I have time I'll figure \tag out. Right now looking the doc above
> it isn't obvious how I would apply this to make transposition any easier
> than it already is for me. I know that if I can understand object
Josiah Boothby wrote:
Thanks. I just looked at
8.2.8 Different editions from one source
When I have time I'll figure \tag out. Right now looking the doc above
it isn't obvious how I would apply this to make transposition any easier
than it already is for me. I know that if I can under
Hi,
I usede the compound_times.ly example from the documentation web-site. It works
(of course :-), but what is the correct way to go back to the normal notation
when this is embedded inside a piece.
E.g.
- 10 bars C
- 10 bars 4/4 + 2/4 (with the compound times trick)
- 10 bars C
In the last 1
Popular kind of question today, see
http://lists.gnu.org/archive/html/lilypond-user/2006-04/msg00547.html
or read Section "Layout tunings within contexts".
/Mats
Wim van Dommelen wrote:
Hi,
I usede the compound_times.ly example from the documentation web-site. It works
(of course :-), but
Hi, Wim:
what is the correct way to go back to the normal notation
when this is embedded inside a piece.
I think you just need to:
1. Add \once before the \override; or,
2. Use \revert Staff.TimeSignature after the hack.
I've included sample code for both options below.
Best regards,
Kieren
[ Lilypond 2.8.1 ]
Hello, all --
I have
\time 6/8
\partial 8*3 s4.
s2.*10
\time 5/8
s4. \bar ":" s4
s4 \bar ":" s4.
Unfortunately, at this measure, I get a line-break (see attached
screenshot).
I tried \noBreak, to \noAvail... ;-)
Any thoughts? Is this expected
thanks Mats,
Oh my, I've been working with a defective manual all this time. Those "See
also" links you referred to at the bottom of the page are not links in my
manual, they are just text that says "LyricText", clicking them goes
nowhere.
How can I get these links in the user manual to work?
Forget my previous post I found the lilypond-internals manual in html. I can
make a PDF.
--
View this message in context:
http://www.nabble.com/setting-word-space-more-globally--t1478545.html#a4009093
Sent from the Gnu - Lilypond - User forum at Nabble.com.
_
I've just returned to lilypond after a long time
(version 2.0.1!) and have noticed in version 2.8.1
that the stem lengths seem to be a bit shorter, at
least in the following example (from Telemann) :
\version "2.8.1"
upper = \relative c'' {
\clef treble
\key bes \major
\time 4/4
bes16 a b
Hmm, that's a problem. One ugly workaround might be to include a
transparent note that extends over the full 5/8 measure, since LilyPond
won't break a line in the middle of a note. Try something like
\new Voice \repeat unfold 10 {\hideNotes c8*5}
in parallel to your current music.
/Mats
Kieren
[ Lilypond 2.8.1 ]
Hello, all --
I've got a subdivided bar (using \bar ":") which ends up cutting
through full-measure rests in other (tacet) parts, e.g.,
What are my options for stopping this from happening? In other words,
if the staff has no music in that bar, I'd like the global bar
From: "Mats Bengtsson" <[EMAIL PROTECTED]>
To: "Stephen" <[EMAIL PROTECTED]>
Cc:
Sent: Thursday, April 20, 2006 12:24 AM
Subject: Re: using oneVoice vs force-hshift in polyphany and alternatives
Quoting Stephen <[EMAIL PROTECTED]>:
Sure, the notes are in the right place. The interaction betw
Hello, all --
I'm trying to create a \book with multiple \score-s within it. I'm
having difficulty bringing the first system of the first piece up
close to its title (see screenshot). The code I've tried is below.
Any help would be appreciated.
Thanks,
Kieren.
__
From: "Stephen" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, April 19, 2006 10:54 PM
Subject: using oneVoice vs force-hshift in polyphany and alternatives
Sure, the notes are in the right place. The interaction between the
various
parts is baffling though. Using \oneVoice to set the notes over one
I noticed that the stem lengths are calculated differently.
lengths, a list:
\override Stem #'lengths = #'(3.5 3.5 7.0 4.5 5.0)
seems to be replaced with length, a dimension or stem-end-position, a
number:
\override Stem #'length = #13.5
The number 7.0 in the first example results in the same
By the way, comparing the output between 2.6 and 2.8, I notice that slurs
are improved.
Stephen
From: "Stephen" <[EMAIL PROTECTED]>
To:
Sent: Wednesday, April 19, 2006 10:54 PM
Subject: using oneVoice vs force-hshift in polyphany and alternatives
Sure, the notes are in the right place. The i
Hello, all --
I've been using 2.8.1 for a while now, and it really seems to me that
the spacing of measures is non-optimal.
In particular, padding before "extras" on the first note of any
measure seems way off. Recently, I've posted about this issue
regarding accidentals. Here is a screen
Previously:
> I've been using 2.8.1 for a while now, and it really seems to me that
> the spacing of measures is non-optimal.
I've noticed the same thing. It looks like an accidental on the first note of
a measure is put into the spacing instead of being put after it. Since I'm
doing my EIS
Stephen wrote:
Answering my own question, I believe that \oneVoice does three things:
\revert Stem #'direction
\revert NoteColumn #'horizontal-shift
\revert MultiMeasureRest #'staff-position
Because that is what make-voice-props-revert seems to do in
music-functions.scm
I previously investiga
One ugly solution is to add the following at the top of your
file:
#(define-public (index-cell cell dir)
(if (equal? dir 1)
(cdr cell)
(car cell)))
#(define-public (bar-line::my-calc-glyph-name grob)
(let* (
(glyph (ly:grob-property grob 'glyph))
(dir (ly:item-break-
Hello, all --
I can't seem to terminate a pedal bracket on a full-measure rest.
I've tried a bunch of things (the version below uses a voiceII
skipped note, but doesn't work).
Any thoughts? [n.b., I can't use old-style pedal markings in this
case...]
Thanks,
Kieren.
p.s. I also note th
> I'm trying to create a \book with multiple \score-s within it. I'm
> having difficulty bringing the first system of the first piece up
> close to its title (see screenshot). The code I've tried is below.
As I've painfully found out by myself, the title block isn't attached
to the first syst
On 4/19/06, Jennifer Clark <[EMAIL PROTECTED]> wrote:
> That's really cool Mats, I just tried it and it is ideal for jazz
> leadsheets. Is there a way of doing it that would add a vertical bar
> line at the start of each line though, rather than leaving it "blank" as
> it is at the moment?
What w
Hi group.
What is the method of changing the stem length for beamed notes?
___
lilypond-user mailing list
lilypond-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
For those who are having trouble getting Lilypond files to work with
Illustrator or other graphics programs, I would be curious to know if the
following works as I just tried it on my system and the file opens fine.
Using ghost script use the following command:
gs -dSAFER -dBATCH -dNOPAUSE -sDEVIC
33 matches
Mail list logo
