Hi Ben,
See: http://lilypond.org/website/tiny-examples.html
Cheers,
Pierre
Le jeu. 22 août 2019 à 13:20, bkal...@gmail.com a
écrit :
> This seems like it should be easy, but I can't find a way to do it. How do
> I
> change the spacing between systems, not for the whole book, but for a
> single
>
Hi Jacques,
I’ve created this score from a psalms book, both attached, with explicit,
sometimes artificial, time signatures and rests for the time being.
What is the usual way to setup such a choral, in terms of compound time
signatures, partials, measure 13 spanning over a line break, minimi
>> I would really appreciate someone explaining how to generate these
>> tables using FontForge. thanks!
I've just updated `mf/README' in the git repository with an even more
detailed description of the conversion process.
Werner
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lilypond-use
Hello,
I am looking for a simple solution to the following subject :
while editiong a chorus part, the Soprani voice is temporarely split (i.e.
for 4 or 5 measures among 50 or more)
into 2 different melodies, with different rythms an different lyrics.
I found a simple solution for the musical par
Hello Ziad,
On 23.08.19 17:28, Ziad Gholam wrote:
Hello,
I am looking for a simple solution to the following subject :
while editiong a chorus part, the Soprani voice is temporarely split
(i.e. for 4 or 5 measures among 50 or more)
into 2 different melodies, with different rythms an different
[Frescobaldi 3 on Windows]
If I press the F9 button to open the lilypond documentation, I get the
pages for version 2.18. However, my installed lilypond version is
2.19.83. What must I do to make Frescobaldi display the 2.19
documentation?
Werner
I'm not sure and not at home, but there's a preference for the documentation
path.
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Hi Werner,
on Linux in the Edit>Preferences dialogue there is a tab for ‘LilyPond
documentation’ where you can add URLs to both offline and online docs.
HTH, Simon
On 23.08.19 21:04, Werner LEMBERG wrote:
[Frescobaldi 3 on Windows]
If I press the F9 button to open the lilypond documentation
Simon,
A question about your example if I may. I have used this construct
<< { \voiceOne }
\new Voice {
{ \voiceTwo } }
>> \oneVoice
You put the \oneVoice before the \new Voice inside the << >> and not
after/outside the << >> ... wondering why :-)
Thanks btw for your explanation. Now I'm figuri
I typically make few errors while inputting music. The two most common
exceptions are incorrect note durations and placing a note in the wrong
octave. The former generally is not a problem, because bar checks catch
the error and tell me where to look. However, the latter slips by more
easily.
If a
"Octave checks" occurred to me while I was writing. I should have
thought to RTFM before sending...
http://lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-pitches#octave-checks
Mason
On 08/23, ma...@masonhock.com wrote:
> I typically make few errors while inputting music. The two
Mason,
My use is for transcribing 17th and 18th C piano music.
After a line or two I compile using Frescobaldi. My errors, frequent, become
apparent.
Mark
-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
ma...@masonhock.com
S
Hi Mason,
> placing a note in the wrong octave
My primary suggestion: use absolute instead of relative note entry, and you
will never have incorrect octavation again. :)
My secondary suggestion: to make entry fast and super-accurate, use MIDI entry
if possible.
If you stick with relative not
On 23.08.19 22:17, Guy Stalnaker wrote:
Simon,
A question about your example if I may. I have used this construct
<< { \voiceOne }
\new Voice {
{ \voiceTwo } }
>> \oneVoice
You put the \oneVoice before the \new Voice inside the << >> and not
after/outside the << >> ... wondering why :-)
Ju
Thanks Kieren,
On 08/23, Kieren MacMillan wrote:
> My primary suggestion: use absolute instead of relative note entry, and you
> will never have incorrect octavation again. :)
I thought of that, but my worry is that I'll still make octave errors,
but each will result in one transposed note inst
Hi Mason,
> I thought of that, but my worry is that I'll still make octave errors,
> but each will result in one transposed note instead of a transposed
> phrase, which might be even less apparent than proofreading.
That is a concern…
> I also find relative note entry to be more intuitive and hu
On 08/23, Kieren MacMillan wrote:
> You can always use \fixed. =)
I didn't know about \fixed until just now. My first thought was to use
this to make the "default" pitches begin on the bottom space of the
staff, i.e., for treble clef
\fixed f' {f g a b c d e}
is equivalent to
{f' g' a' b' c''
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