String players sometimes have to put one finger over two strings, but sound
just one.
The finger also stopping an unplayed string is often played later, so this
action is one
of finger preparation. I show this in the attached snippet where I have
used a red note
head to denote the unplayed, but sto
I have a simple problem. In a Viola score I include some piano parts with a
cue voice and, to make it
very clear I colour the piano part in blue. in the cue voice I can change
the colour of "most components of the music"
but not a full bar rest ? For example I do there following in the cue voice
\
Hi Paul,
Is there a name other than "Rest" to which I must use to change the
colour of a full bar rest ?
I think you're looking for:
\override MultiMeasureRest #'color = #blue
Best wishes,
Greg
--
Twitter: @gregrs_uk
PGP key ID: 64907C8A
Fingerprint: EBD1 077F CCDD 841E A505 3FAA D2E8 592E
"B~M" writes:
> I have a simple problem. In a Viola score I include some piano parts with a
> cue voice and, to make it
> very clear I colour the piano part in blue. in the cue voice I can change
> the colour of "most components of the music"
> but not a full bar rest ? For example I do there fol
Am 31.08.2017 um 09:07 schrieb B~M:
String players sometimes have to put one finger over two strings, but sound
just one.
The finger also stopping an unplayed string is often played later, so this
action is one
of finger preparation. I show this in the attached snippet where I have
used a red n
Am 31.08.2017 um 09:27 schrieb B~M:
I have a simple problem. In a Viola score I include some piano parts with a
cue voice and, to make it
very clear I colour the piano part in blue.
Why would you want that? Isn’t small note size and a clear textual
remark enough? IMO colors in sheet music sh
Hi Gianmaria,
On Wed, Aug 30, 2017 at 09:58:52PM +0100, Gregrs wrote:
The below expression (minus the quotation marks) seems to work for
notes and chords without any articulation etc. attached. I've used Vim
regex syntax so \@<= is a positive lookbehind to match the space before
it and \@= is
Hi,
How do I set the key signature to appear on multiple staves without
manually setting \key for every staff? This question was asked around
ten years ago (see
http://lists.gnu.org/archive/html/lilypond-user/2007-09/msg00333.html)
and still doesn't seem to have been resolved.
Thank you for
Hi Paul,
How about :
\version "2.18.2"
\relative c {
\time 3/4
\clef alto
% measure 77
des'16[ des bes'8~]
bes16[ aes-- g-- aes--]
g[ f e ]
}
Cheers,
Piette
2017-08-31 9:07 GMT+02:00 B~M :
> String players sometimes have to put one finger over two strings, but
> sound just one
Hi Robert,
just in short: the problem is resolved for a long time - or better there
is best practice or advisory for your question:
You have to split the music into multiple layers of information in
different variables.
For example:
%%
% only the general part of th music
global
c\breve is two measures long, c\longa four measures.
At the end of the Kyrie from Palestrina's Missa Brevis there is a note
three measure long. Is there any way to do that simply?
Regards Bernhard
--
spitzhalde9
D-79853 lenzkirch
bernhard.kle...@gmx.net
www.b-kleine.com, www.urseetal.net
-
thun
If you want a note that is three *whole notes* long, you could use a
dotted \breve. If you want a note that is three *measures*, just use
ties. Having notes that cross barlines is just confusing for everyone.
On 08/31/17 14:40, Bernhard Kleine wrote:
c\breve is two measures long, c\longa four
If a dotted \breve is not what you wish to see then using either of
c\breve*3/2 or c\longa*3/4
will give you a \breve or \longa that is three 4/4 measures long.
I use these regularly when typesetting Schütz, Schein, Franck etc.
HTH,
Michael
> caag...@gmail.com hat am 31. August 2017 um 14:45 g
Thank you all: either c\breve. c\longa*3/4 or c\breve*3/2 worked. I
opted for the second choice. It looks like the original (ars musica
Moeseler vol4 page 67).
Bernhard
--
spitzhalde9
D-79853 lenzkirch
bernhard.kle...@gmx.net
www.b-kleine.com, www.urseetal.net
-
thunderbird mit enigmail
GPG sc
On 31.08.2017 14:40, Bernhard Kleine wrote:
At the end of the Kyrie from Palestrina's Missa Brevis there is a note
three measure long. Is there any way to do that simply?
Yes, there is. However, that is actually a \maxima (with a duration of
8*1) and the Möseler edition you’re copying from pro
On 31/08/2017 11:00, Robert Murdoch wrote:
Hi,
How do I set the key signature to appear on multiple staves without
manually setting \key for every staff? This question was asked around
ten years ago (see
http://lists.gnu.org/archive/html/lilypond-user/2007-09/msg00333.html)
and still doesn
I object against calling the best practice provided by Jens as "\global hack".
Let's use a different perspective:
Programs like Finale or Sibelius require you to have the same key for each
staff. While that may be convenient for a lot of music I actually think that's
a shortcoming of these progr
On 31 August 2017 at 11:06, Gregrs wrote:
> Hi Gianmaria,
>
> On Wed, Aug 30, 2017 at 09:58:52PM +0100, Gregrs wrote:
>
> The below expression (minus the quotation marks) seems to work for notes
>> and chords without any articulation etc. attached. I've used Vim regex
>> syntax so \@<= is a posit
The fugue from Bach's Magnificat starts with Basso, the Tenor, Alto,
Sopran II and I. How can I get rid of lines where only rests are given.
I would also be interested how one could find this information.
Bernhard
--
spitzhalde9
D-79853 lenzkirch
bernhard.kle...@gmx.net
www.b-kleine.com, www.urs
Hello Gianmaria,
> For the articulation is not a problem, at the moment I don't need it. I'm
> writing some c# classes to help me generating lilypond source files.
I don’t have any experience with C# programming, but maybe the Flex and Bison
specifications that are part of the LilyPond source
Hello Bernhard,
Maybe a frenched score is what you’re after? Search for 'Hiding staves‘ in the
LPNR.
JM
> Le 31 août 2017 à 20:54, Bernhard Kleine a écrit :
>
> The fugue from Bach's Magnificat starts with Basso, the Tenor, Alto,
> Sopran II and I. How can I get rid of lines where only rests
Bernhard Kleine writes:
> The fugue from Bach's Magnificat starts with Basso, the Tenor, Alto,
> Sopran II and I. How can I get rid of lines where only rests are given.
> I would also be interested how one could find this information.
"Notation Reference"/"Musical notation"/"Staff notation"/"Mod
Hello folks,
I’m trying to understand how \transposition works with enharmony.
In the following, what key should be chosen (instead of D major) in the fourth
score for a soon-to-be-created Trumpet in A#?
\version "2.19.65"
\layout {
indent = 3\cm
}
PartPOneVoiceOne = \relativ
> after David Nalesnik's suppressRedundantTimeSig-engraver, c/p
> unchanged,
> http://www.mail-archive.com/lilypond-user@gnu.org/msg72628.html I
> coded a suppressRedundantKeySig-engraver.
Thanks a lot! However, below you can find one case (using your
second, improved version) where it is failin
2017-08-31 21:57 GMT+02:00 Werner LEMBERG :
>
>> after David Nalesnik's suppressRedundantTimeSig-engraver, c/p
>> unchanged,
>> http://www.mail-archive.com/lilypond-user@gnu.org/msg72628.html I
>> coded a suppressRedundantKeySig-engraver.
>
> Thanks a lot! However, below you can find one case (usi
On 31.08.2017 21:50, Menu Jacques wrote:
I’m trying to understand how \transposition works with enharmony.
In the following, what key should be chosen (instead of D major) in
the fourth score for a soon-to-be-created Trumpet in A#?
I don’t get it. Technically, you could write Ebb major, that’
On Thu, Aug 31, 2017 at 09:50:05PM +0200, Menu Jacques wrote:
Hello folks,
I’m trying to understand how \transposition works with enharmony.
In the following, what key should be chosen (instead of D major) in the
fourth score for a soon-to-be-created Trumpet in A#?
For the Trumpet in Bb, th
Am 31.08.2017 um 21:09 schrieb David Kastrup:
> Bernhard Kleine writes:
>
>> The fugue from Bach's Magnificat starts with Basso, the Tenor, Alto,
>> Sopran II and I. How can I get rid of lines where only rests are given.
>> I would also be interested how one could find this information.
> "Notatio
-- Forwarded message --
> From: Gregrs
> To: Menu Jacques
> Cc: Lilypond-usermailinglist
> Bcc:
> Date: Thu, 31 Aug 2017 21:52:00 +0100
> Subject: Re: \transposition question
> On Thu, Aug 31, 2017 at 09:50:05PM +0200, Menu Jacques wrote:
>
> Hello folks,
>>
>> I’m trying to unde
Hi Robert,
> You still need to insert \global on every staff so it's the exact same thing
> to me.
That suggests you don't understand the power, flexibility, and benefit of the
current implementation.
> […] like the \time command already does
That suggests you don't understand how Lilypond's
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