[OT] Figured bass numbering practice: +4 / 4+ / 4# / #4

Hello, I'm engraving a work with figured bass numbering: concerti grossi n° 1 -> 6 by Geminiani, based on Corelli's op. 5 My problem is that it uses several different numbering that have, for what I now, the same meaning: for instance +4, 4+, #4, 4#. Sometimes, that concertino cello part uses +4,

Re: how to add barre indications to automatic fret diagrams?

On 21.05.2015, at 03:49, Carl Sorensen wrote: > > > On 5/20/15 7:30 PM, "Carl Sorensen" wrote: > >> >> >> On 5/19/15 12:45 PM, "pls" wrote: >> >>> Hi all, >>> >>> LilyPond¹s automatic fret diagrams really are a very helpful feature! >>> More often than not it helps to not having to pred

Re: how to add barre indications to automatic fret diagrams?

On 21.05.2015, at 02:44, Thomas Morley wrote: > 2015-05-20 13:16 GMT+02:00 pls : >> >> >> Begin forwarded message: >> >> From: pls >> Subject: Re: how to add barre indications to automatic fret diagrams? >> Date: 20. Mai 2015 13:12:30 MESZ >> To: Stephen MacNeil >> >> Hi Stephen, >> On 20.

Putting lyrics below its staff?

I am working on a piece of choir music. It consists of two parts, the first of which is written on one staff, and the second two staves. The upper staff in part two is a continuation of the staff in part one. All the staves are accompanied with lyrics. My wish is that this lyrics should be writ

Re: Putting lyrics below its staff?

Without looking at this in too much depth, it appears that it's an issue with creating temporary voices, which is becoming a bit of a FAQ. Lilypond is not generally able to attach lyrics to temporary voices. If you restructure the music to use only staves and voices that are permanent (with ap

Re: [OT] Figured bass numbering practice: +4 / 4+ / 4# / #4

Greetings Philippe, This practice predates the age of industrialisation and standardisation. People were inconsistent. Similarly with spelling. Very normal in Baroque scores in general. If you are preparing an edition then you must make musicological decisions about how to handle such things. Y

Fine tuning

I have prepared the Sanctus of the Missa in C by Bruckner. There are some points that need fine tuning. 1. The piece should fit to one page. 2. The markups Ruhig should be on Top of Sanctus 3. The voisce nominator Ten. and Bass in Number 4 should be in front of the notes and t

Re: [OT] Figured bass numbering practice: +4 / 4+ / 4# / #4

It's much more clearer to me, now. Thanks a lot :-) Philippe -- View this message in context: http://lilypond.1069038.n5.nabble.com/OT-Figured-bass-numbering-practice-4-4-4-4-tp176834p176844.html Sent from the User mailing list archive at Nabble.com. _

Re: Fine tuning

1. With this font size, forcing it to one page causes collisions. Look at: #(set-global-staff-size 16) \paper { page-count=1 } and adjust them to suit. 2. I would set "Ruhig" as a tempo marking, which then places it appropriately. 3. Place you markup after the spacer rests prior to the musi

Re: Fine tuning

On 05/21/2015 12:15 PM, Dr. Bernhard Kleine wrote: [snip] 1.The piece should fit to one page. Use a smaller point size: #(set-global-staff-size 17) for example. As a last resort, the number of pages can be forced in the paper block: \paper { page-count = #1 } 2.The markups Ruhig should be on

AW: Fine tuning

Thank you and the other contributors very much, 1.with set-global-staff-size 16 only one page 2.the \tempo solved the other problem 3.however, halign #0.5 does not make the proper horizontal orientation, the four entries sopran , alto, tenor and bass are not vertically aligned. Any idea? Ki

non-greedy regexp don't seem to work

Hi list, the following two statements should provide the exakt same strings: (match:substring (string-match "_(.*?)_" "a_ä_ö_de_fü_") 1) (match:substring (string-match "_([^_]*)_" "a_ä_ö_de_fü_") 1) However for me they don't. Here is a log how I tested it: $ guile GNU Guile 2.0.11

How to avoid a collision?

In the following example, I don't understand why there is a collision at the third measure and I don't know how to avoid it. Many thanks for your help \version "2.18.2" \header { } \paper { %system-count = 2% nombre total de systèmes indent = 0\cm } global = { \key c \major \time 4/4\

Re: How to avoid a collision?

Hi Olivier, > In the following example, I don't understand why there is a collision at the > third measure and I don't know how to avoid it. May I ask why you’re not using Lilypond’s built-in (and generallly excellent) voice-handling? e.g. In the modified snippet (below), I’m using \voiceOne,

Re: how to add barre indications to automatic fret diagrams?

On 5/21/15 1:30 AM, "pls" wrote: > >Nice! Thanks a lot. > >Yes, transposing chords with open strings probably poses a problem. >Fingering information would have to be included automatically in order to >decide whether they should be part of a barre. I¹d think it¹s safe to >assume that transposed

Re: How to avoid a collision?

2015-05-21 13:54 GMT+01:00 Kieren MacMillan : > > May I ask why you’re not using Lilypond’s built-in (and generallly > excellent) voice-handling? e.g. In the modified snippet (below), I’m using > \voiceOne, \voiceTwo, etc., which eliminates the need for \stemUp, > \tieDown, etc., and appears (to m

Re: Putting lyrics below its staff?

Kaj, On Thu, May 21, 2015 at 2:05 AM, Kaj [via Lilypond] < ml-node+s1069038n176837...@n5.nabble.com> wrote: > I am working on a piece of choir music. It consists of two parts, the > first of which is written on one staff, and the second two staves. The > upper staff in part two is a continuation

Re: how to add barre indications to automatic fret diagrams?

On 21.05.2015, at 15:10, Carl Sorensen wrote: > On 5/21/15 1:30 AM, "pls" wrote: > >> >> Nice! Thanks a lot. >> >> Yes, transposing chords with open strings probably poses a problem. >> Fingering information would have to be included automatically in order to >> decide whether they should be

Re: How to avoid a collision?

Olivier, On Thu, May 21, 2015 at 7:26 AM, Olivier Vogel [via Lilypond] < ml-node+s1069038n176852...@n5.nabble.com> wrote: > > > 2015-05-21 13:54 GMT+01:00 Kieren MacMillan <[hidden email] > >: > >> >> May I ask why you’re not using Lilypond’s

Finale challenge

Anyone ready for a new Finale challenge? I need someone entering one 6/8 measure of a two-voice piano part in a current Finale vetsion :-/ Best Urs___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Fine tuning

Hello Bernhard, some more remarks from me: – Generally, I wouldn’t go for one page at any cost. I understand your wish, but it would be easier to read if the choir were on four staves. And that’s what the great 19th century complete works editions used to do. Also, your current setup throws wa

Re: How to avoid a collision?

Am 21.05.2015 um 15:21 schrieb Olivier Vogel: 2015-05-21 13:54 GMT+01:00 Kieren MacMillan mailto:kieren_macmil...@sympatico.ca>>: May I ask why you’re not using Lilypond’s built-in (and generallly excellent) voice-handling? e.g. In the modified snippet (below), I’m using \voiceOn

Re: How to avoid a collision?

As a relative newcomer myself, I have also found it useful to grab the code that people post here - like this discussion - and dropping it into Frescobaldi and seeing how far I can get in solving the problem, or modifying a good solution to see what happens when I make small changes to perfectly go

Re: how to add barre indications to automatic fret diagrams?

On 5/21/15 8:39 AM, "pls" wrote: > >> >> I thought about this issue quite a bit when I was creating predefined >>fret >> diagrams. There, we introduced the idea of a chord shape. There is a >> function that shifts a chord shape by N frets (offset-fret). At >>present, >> it adds N to the fret

Re: Finale challenge

I’m not at all experienced with Finale and only have Finale 2012. If that is sufficient for you, I can do it. -- Peter Crighton | Musician & Music Engraver based in Mainz, Germany http://www.petercrighton.de 2015-05-21 19:47 GMT+02:00 Urs Liska : > Anyone ready for a new Finale challenge? I nee

Re: Finale challenge

Am 21. Mai 2015 22:56:18 MESZ, schrieb Jacques Menu : >Hello Urs, > >Does the attached file (Finale 2014) suit your need? > Well, if that's meant as a joke it is a good one. But maybe there's something wrong with your files? In any case it's interesting to see the size of the Finale file ... U

Re: how to add barre indications to automatic fret diagrams?

On 21.05.2015, at 21:06, Carl Sorensen wrote: > > > On 5/21/15 8:39 AM, "pls" wrote: >> >>> >>> I thought about this issue quite a bit when I was creating predefined >>> fret >>> diagrams. There, we introduced the idea of a chord shape. There is a >>> function that shifts a chord shape by

Re: Finale challenge

Hello Urs, Sorry, no joke intended actually… I just don’t know what a Finale challenge is! Here are the sizes: menu@macbookprojm:~/Documents/LaTeX/PartitionsLilypond > ltt *Finale* -rw-r--r--@ 1 menu admin 36302 May 21 22:55:52 2015 PianoScoreForFinaleChallenge.pdf -rw-r--r--@ 1 menu admin

Re: Re: Putting lyrics below its staff?

On 2015-05-21 15:30, tisimst wrote: Kaj, On Thu, May 21, 2015 at 2:05 AM, Kaj [via Lilypond] <[hidden email] > wrote: I am working on a piece of choir music. It consists of two parts, the first of which is written on one staff, and the second two staves. The upper staff in part t

Re: Finale challenge

Am 22.05.2015 um 00:45 schrieb Jacques Menu: Hello Urs, Sorry, no joke intended actually… I just don’t know what a Finale challenge is! I think the point was about typesetting some complicated music, which Urs will send to anyone interested. Here are the sizes: menu@macbookprojm:~/Documents/

Re: how to add barre indications to automatic fret diagrams?

On 5/21/15 4:42 PM, "pls" wrote: > >On 21.05.2015, at 21:06, Carl Sorensen wrote: > >> >> Transposing doesn't work on chord shapes. Transposing works on notes. >> The automatic fretboard creator looks at the notes and creates a >> fretboard. At that point, it has no knowledge of a chord shape

Re: Finale challenge

Hi Simon, both assumption are correct but it would have been great to have that file available in a presentatipn ;-/ Urs Am 22. Mai 2015 01:39:10 MESZ, schrieb Simon Albrecht : >Am 22.05.2015 um 00:45 schrieb Jacques Menu: >> Hello Urs, >> >> Sorry, no joke intended actually… I just don’t know

Re: Putting lyrics below its staff?

On 5/21/15 5:23 PM, "Kaj Persson" wrote: >The example shows, that LilyPond perfectly understands the implied >structure and it also understands which lyric belongs to which note. >So that is not the problem. A minor issue is that the lyrics for the >top staff is broken into separ

Re: Finale challenge

Urs, Why so specific about the time signature? Just curious. I've got a couple of decently complex examples that could be good (see attached). What do you think? - Abraham On Thu, May 21, 2015 at 6:05 PM, Urs Liska [via Lilypond] < ml-node+s1069038n176869...@n5.nabble.com> wrote: > Hi Simon, >

Re: Finale challenge

Here's another non-single measure one in 6/8 time: http://static1.squarespace.com/static/527ae92fe4b0febeee4f40d2/t/52a265f0e4b08d7f85fde3e5/1386374655454/02.png On Thu, May 21, 2015 at 6:05 PM, Urs Liska [via Lilypond] < ml-node+s1069038n176869...@n5.nabble.com> wrote: > Hi Simon, > > both assu