Hi Francesco,
try adding
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
Best,
Robert
Am 10/20/12 12:36 PM, schrieb Francesco Spiga:
Hi everyone,
I should need a dashed horizontal bracket.
I have tried with
\override HorizontalBracket #'style = #'dashe
Dear all,
I'd like to create a scheme function with one ly:music argument which
does the following: insert the music expression at the current place and
display the source code (ie the argument passed to the function)
verbatim above the respective place in the score.
And I need to use that in
Am 10/22/12 7:42 PM, schrieb David Kastrup:
Robert Schmaus writes:
Dear all,
I'd like to create a scheme function with one ly:music argument which
does the following: insert the music expression at the current place
and display the source code (ie the argument passed to the fun
Dear Lilypond community,
I have successfully used the Percent_repeat_engraver in a chordnames
context if the "\repeat percent" argument consists of a single bar , e.g.
changes = \chordmode{
\repeat percent 4 { g1 : maj7 }
}
\score{
\new ChordNames \changes
}
\layout{
\contex
Hi Xavier,
works like a charm! Thanks a million.
This comes from google-ing and not noticing that one is looking at old
references, in this case
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/Percent_005frepeat_005fengraver
which claims, that the double bar percent symbo
Hi Maarten,
try to create an (invisible) Devnull Staff that also gets the chords as
musical content, and name that Devnull Staff (eg "inv"). Then assign the
lyrics to inv instead of upper.
Like this:
melody = \relative c' {
\repeat unfold 20 {c}
}
text = \lyricmode {
ta ta ta ta ta
}
harm
You can put the syllables you would like to be treated as a single
syllable in quotes, e.g.
text = \lyricmode{ "ta ta ta" la la }
That will treat the first "ta ta ta" as a single syllable ...
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htt
I see two options:
1) Instead of using \chd with your proper chords in it, you could just
create a dummy chord voice like
dummy = \chordmode { \repeat unfold n { c1 } }
and use that to associate the Lyrics Staff with. That way you definitely
have one "stop" per measure.
I don't really ge
Hi Jon? (or ist it p?),
> I'm a beginner so ANY help is greatly appreciated - thx - p
the best advice anyone could give you in this case is to work through
that:
http://lilypond.org/doc/v2.16/Documentation/learning/index.html
You won't have a lot of fun if you're trying to use lilypond without
k
> Hi Bart,
>
> Lily's behaviour is quite correct. c:9 will produce a c major triad plus the
> ninth, ie ... that's an add9 chord. A proper ninth chord is bf d'>, ie a stack of thirds. Thus, you'll need c:7.9 for a 9 chord. You can
> check it out if you put your chords in an ordinary Staff to s
Hi Bart,
> - c:9 produces a C9, including the seventh, (sorry Robert Schmaus, I just
> tested it)
Oh ... I think there have been some changes from the previous stable
version (2.14) then. I had the problem that I could *not* produce 11 or
9 chords - I always got the "add9" or
Hi everybody,
I've created a new context using & slightly changing the example given
in
http://lilypond.org/doc/v2.16/Documentation/notation/defining-new-contexts
The code works in principle - however, I get a warning "rhythmic head is
not part of a rhythmic column" for each note within that c
Hi Eluze,
> the Rhythmic_column_engraver seems missing - if you add it
>
> \consists "Rhythmic_column_engraver"
>
> is your output correct and you get rid of the warnings?
That works like a charm! Thanks a million!
Best,
Robert
___
lilypond-user mai
> please always answer to the list, so everybody can follow what's going on!
I know - and I usually do (that's why I've re-sent my answer to the list right
away). I seem to belong to that fraction of list contributors who struggle with
the concept of "clicking 'Reply' replies to the sender onl
I want to do a staff without the measure symbol like above:
http://www.lilypond.org/doc/v2.15/Documentation/source/Documentation/essay/building-software#music-representation
I am using 2.14 lilypond.
Hi Savio,
those examples in the documentation can be clicked - they will then
reveal their
Just a thought:
You can have a Staff (or Voice) accept ChordNames. If you managed to do
something like this
\new Staff <<
\new Voice \chords
\new Voice \melody
>>
where the melody voice is (a copy of) the voice containing the ottavas,
and then make all staff symbols and the melody voice tran
Hi everyone,
I'm looking for a command to calibrate the Midi output to (e.g.) a' =
442 Hz. Does anyone know if that is possible at all?
Thanks & greetings,
Robert
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thing like Scala and Timidity++ to do that.
Shane
On Wed, Mar 6, 2013 at 2:12 PM, Robert Schmaus wrote:
Hi everyone,
I'm looking for a command to calibrate the Midi output to (e.g.) a' = 442
Hz. Does anyone know if that is possible at all?
Thanks
Hi everyone,
I haven't read all posts on this subject, so sorry should I write
something that's already been written.
Why not keep the \relative { } syntax as one supported
way and simply change the \relative { } syntax to what David
proposed? I myself have always only used the first version (
Hi Arthur & Timothy,
> You've brought up a good question. Sounds like you may do "Early Music",
> too.
Thanks! Although I have to admit, that my music only goes as early as
the Swing Era - Big Bands usually are tuned to 442 as it fits the brass
better. I'm merely looking for a way to avoid tu
On Fri, Mar 8, 2013, at 09:06 AM, David Kastrup wrote:
> Robert Schmaus writes:
>
> > Hi everyone,
> >
> > I haven't read all posts on this subject, so sorry should I write
> > something that's already been written.
> > Why not keep the \rela
Hi Torsten,
first of all: This looks just amazing! Thanks for sharing it!
Even though I like LilyPond's original typesetting a lot, I noticed that
sheets get more difficult to read in certain lighting conditions (I
assume you are a jazz musician as well and know what I mean ...).
Especially for th
Hi Eluze,
It worked, when I replaced "GrandStaff" with "Staff", i.e.
\layout {
\context {
\Staff
midiInstrument = "acoustic guitar (nylon)"
}
}
Possibly, a GrandStaff doesn't have instrument properties ...
You could also outsorce that piece of code into a "general l
Try placing that context definition in the \midi block rather than the
\layout block.
That was my first try too, but, again, it worked only when I used Staff
instead of GrandStaff. And then it didn't matter if I placed it in the
layout or in the midi block ...
On Mon, Mar 18, 2013, at 09:16 AM, David Kastrup wrote:
> Robert Schmaus writes:
>
> >> Try placing that context definition in the \midi block rather than the
> >> \layout block.
> >>
> >
> > That was my first try too, but, again, it worked only whe
Hi Ben,
just add
\context {
\Staff
\override Stem #'transparent = ##t
\override Flag #'transparent = ##t
}
to the layout block. If there's anything else you'd like to hide, just
set the respective property transparent as well ...
Best,
Robert
On Tue, Mar 19, 2013, a
I play and typeset a lot of latin american music which has a lot of
syncopation which makes this particlar scene appear quite often.
Maybe I got used to something non-standard but it still seems more logical
to me to omit the tied accidental and treat the measure as if there was no
line break.
Hi Peter,
Something *yet* easier than three overrides? Wow ...
I guess, you could pack them into a variable, like
AllOff = { \override ... }
and use the variable instead.
For yet easier solutions known to me, you'd have to use a
computer-brain-interface ... but maybe, someone else has a better
Have you tried \cadenzaOn and \cadenzaOff?
Best, Rob
> On 18 Aug 2015, at 14:08, BB wrote:
>
> I tried to hide the bar lines and was very successful with two methods that
> work. (If that are good ones a cannot decide.)
>
> I found that
> \hide BarLine
> \hide SpanBar
> hide but let the s
I guess you could wrap the tied notes into a polyphonic structure (where the
additional voice has only hidden notes) and then specify the exact location of
the upbow, like so:
Instead of eg
c''2. ~ c2.
use
<<
{ c''2. ~ c''2. }
\new Voice { \hide c''2.\downbow \hide c''2.\upbow }
>>
Adjus
Hi Paul,
I forgot two more remarks:
1) great ponding!
2) you should be careful with sending potentially copyrighted material in a
list. Not sure if this applies here, but ...
Best, Rob
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 27 Aug 2015,
> Note the use of ‘s’, a spacer rest, which is semantically more correct than
> \hide c''.
I used the hidden note to place the bowing sign in the correct height. I'm not
sure if s\upbow looks good if you overlay that with c ...
Try
<<
{ c c}
\new Voice { s\upbow \hide c
But I probably should have used \hideNotes instead of just \hide ...
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and thus place the bow command
next to the non-hidden note. yours is right on top of it.
Best,
Rob
Am 27/08/15 um 20:06 schrieb Simon Albrecht:
> Hello Robert and Paul,
>
> Am 27.08.2015 um 17:44 schrieb Robert Schmaus:
>>
>>> Note the use of ‘s’, a spacer rest, which
>
> I do not understand R1*4?
R is a full bar rest of the specified duration. Thus, R1 is a full bar rest
that only makes sense in a 4/4 context. Duration-wise it spans the same time as
r1, but is placed in the middle of the bar instead on the starting beat (or
moment). Likewise R2 is a full
Without being able to test it right now: my assumption is that the
"\voiceThree" is responsible for the shift right. Have you tried using voiceOne
instead?
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 14 Sep 2015, at 10:43, Menu Jacques wrote:
Hi T.M.,
Check the Notation Reference, section 5.4.6 - you'll find the answers to your
questions there.
http://lilypond.org/doc/v2.18/Documentation/notation/visibility-of-objects
Best, Robert
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 5 O
Actually, so save you some time finding the relevant passages, your question 1
is answered in the section called "Using break-visibility", and Q2 in section
"Visibility of cancelling accidentals".
Best, Robert
__
Truth does not change according to our ability to stomach it.
-- Flannery O
I'm not sure if this what you're looking for, but here goes: I'm using
frescobaldi on a Mac, and of course it does have a panel where you see the
engraved score. Frescobaldi does not, however support printing the pdf itself -
instead it asks if I'd like to open the pdf in the default pdf viewer
>
> I tried this:
>
> \override Staff.KeySignature.break-visibility = ##(#f #t #t)
>
> along with some variations, but it didn't seem to have any effect. Also, I
> had used that formula in another situation (with the TimeSignature, I think),
> and, although it removed the signature, it left
>
> { \key as \minor ces \key c \major c }
>
> How on earth would the performer know that the second one is a c natural if
> there is no key cancellation?
S/He wouldn't. Unless (and I quote)
> My application is not an actual score to be played by others, but just a
> cheat sheet for me,
Be
I can only subscribe to what Simon (and all other responders) wrote.
Like Urs pointed out, that the absence of any reports about the financial
situation on the developer side left me under the impression that it wasn't
really problematic. I can understand that it's not pleasant sending out req
It's still not completely clear what you're trying to achive, at least
to me. If you want to hide a complete bar with notes and stuff in it,
you'll have to explicitly hide everything that's in it. But that doesn't
really make sense.
If you want to have an empty space within a given staff, you
Hi Noah,
I'm not really familiar with accidental styles (as the default is
perfectly fine for me).
But there's a 'manual' solution which works. I just can't say if it's
too much extra-input for your taste:
\version "2.18.2"
\relative c' {
\time 4/4
\clef "alto"
cis4
Hi Thomas,
Right now, the lilypond site seems to be down, so can't give you any link, but
just to clarify: The transposition command affects only midi output.
From what I gather, you expect the Bb instruments to show up with no flats (as
Bb instruments play C major if Bb major is the concert pi
I've done something similar using an ossia staff some time ago. That's
definitely a way.
My solution (which was for drums) looked like this (I can't tell you right now,
where I got the arrowed slur commands from - but that's probably easy to find):
FullDrums = <<
\new DrumStaff = "main" <<
\
Hi Mike,
this is actually covered in the Notation Reference, more precisely,
right there:
http://lilypond.org/doc/v2.18/Documentation/notation/long-repeats#manual-repeat-marks
Best,
Robert
Am 25/11/15 um 13:57 schrieb Michael Hartl:
Dear Lilypond Experts,
this is my first time posting to
quot;)
begin-repeat)
g a b c
}
{
\set Score.repeatCommands = #'((volta #f) (volta "2.-3.") end-repeat)
g f e d
}
}
Best, Robert
Am 25/11/15 um 14:41 schrieb Robert Schmaus:
Hi Mike,
this is actually covered in the Notation Reference,
> But LilyPond's chord-naming names actually played chord notes, not
> anticipated chords.
I agree - it's not a good idea to confuse the chord with the underlying scale.
If you want a minor chord sounding, then use one; you can *add* a 4th (or
better 11th) to that.
Best, Robert
>
> --
>
Dear Lilyponders,
I have the following problem: Within a staff of "normal" written music,
I include chord names to indicate improvised/soloing passages. If a
chord is repeated over a large-ish number of bars, I'd like to use
percent repeats and possibly the counter, too.
But I can't get the c
That works just perfectly - thanks very much!
Best, Robert
> On 23 Dec 2015, at 21:03, David Kastrup wrote:
>
> Robert Schmaus writes:
>
>> Dear Lilyponders,
>>
>> I have the following problem: Within a staff of "normal" written
>> music
>
> Try saving _before_ compiling a file.
At least on the Mac, there's a preference to automatically save the .ly before
running Lilypond ...
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x27;'
% switch to changes
\chords {
\set Staff.countPercentRepeats = ##t
\set Staff.repeatCountVisibility =
#(every-nth-repeat-count-visible 4)
\repeat percent 8 { c1 : maj7 }
}
}
}
It stops working however, if I go from 2.19.18 to 2.19.34. Feature or bug?
Best, Robert
Am 30/12/15 um 20:35 schrieb David Kastrup:
Robert Schmaus writes:
Hi David,
as you pointed out a week ago, this works fine:
\version "2.19.18"
\score {
\new Staff
\with {
\accepts "ChordNames"
\consists Percent_repeat_engraver
} {
% some writ
--
Note beforehand: I'm sending this from a phone, and I can't control if the
attached picture is sent inline or not - hope you can see it, otherwise I'll
have to resend it later today.
--
Hi Carl-Henrik,
Fwiw, I write jazz sheets all the time, and I've trimmed Lilypond to produce
stuff like
ush above the staff like
> traditional chords? The 8, is it part of a multi rest?
>
>
>
>> 18. jan. 2016 kl. 11.40 skrev Robert Schmaus :
>>
>>
>> --
>> Note beforehand: I'm sending this from a phone, and I can't control if the
&
,
>
>> it involves the (fantastic) LilyJazz package which was created by Thorsten
>> Hämmerle some time ago.
>
> Why are the alterations in the chord names not LilyJazz?
Well, now that you mention it, they might well be. It's been quite some time
since I worked on that. What I *am* sure of is
Yes, that's true - I guess that never bothered me ... until now, that is, now
that you mention it, thank you very much.
Quite possibly that is easy to fix though - I'll look into that asap.
Maybe I should add that, while I like producing aesthetically pleasing lead
sheets, my first priority h
Hi Kieren and Ponders,
I’m very detail-oriented, so things that others might consider “little” often
drive me quite crazy. =)
Well, "little" is the wrong expression - "not painful enough to invest
the time" is closer to the truth.
Quite possibly that is easy to fix though
Should be.
Hi Nils,
Add
\override Beam. breakable = ##t
before the break in the second example. That should do it ...
Best, Robert
__
The cure for a fallacious argument is a better argument, not the suppression of
ideas.
-- Carl Sagan
> On 23 Jan 2016, at 11:51, Niels wrote:
>
> Dear Lilypon
Dear Lilyponders,
I usually engrave jazz lead sheets using LilyJazz, and I've noticed the
following odd behaviour: If I tie a note across a manual line break, and
the note has an accidental, then the LilyJazz font is not applied to the
accidental of the continued note after the line break.
Th
onight ...
Best,
Robert
Am 24/01/16 um 23:33 schrieb Urs Liska:
Am 24.01.2016 um 23:01 schrieb Urs Liska:
Am 24. Januar 2016 22:56:56 MEZ, schrieb Robert Schmaus :
Dear Lilyponders,
I usually engrave jazz lead sheets using LilyJazz, and I've noticed the
following odd behaviour: I
Hi Simon,
thanks for your repy - I'll keep that in mind as a last resort if I
can't get any other solution to work ...
Cheers,
Robert
Am 24/01/16 um 23:22 schrieb Simon Albrecht:
On 24.01.2016 22:56, Robert Schmaus wrote:
If it can't be fixed easily, how can I turn off the a
I do that?
Best,
Robert
> On 24 Jan 2016, at 23:33, Urs Liska wrote:
>
>
>
>> Am 24.01.2016 um 23:01 schrieb Urs Liska:
>>
>> Am 24. Januar 2016 22:56:56 MEZ, schrieb Robert Schmaus
>> :
>>> Dear Lilyponders,
>>>
>>>
Hi Malte,
Thanks for the reply!
That sounds very good, actually - I'll give it a try tonight.
Best, Robert
> On 25 Jan 2016, at 10:21, Malte Meyn wrote:
>
>
>
>> Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
>>
>> One more thought: My origi
l, and try to get rid
of the after-break accidentals ...
Thanks again,
Robert
Am 25/01/16 um 10:21 schrieb Malte Meyn:
Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
One more thought: My original approach of simply \include-ing LilyJAZZ should
be the standard way of using it. Which mak
counts as "same path" in this case.
There are two files: LilyJAZZ.otf and LilyJAZZText.otf
I haven't changed anything else (like conf files etc).
Am 25/01/16 um 21:38 schrieb Malte Meyn:
Am 25.01.2016 um 21:20 schrieb Robert Schmaus:
Unfortunately, it doesn't work ... LP v2
wer functionality. It is in a different encoding and doesn't contain
some necessary metadata.
HTH,
Abraham
On Tue, Jan 26, 2016 at 12:24 PM, Robert Schmaus [via Lilypond] <[hidden
email] > wrote:
Hi Malte,
sorry for the late reply - I wasn't at my computer after my mail
y
Hello Joe,
It should work fine if you add this to the \with - statement of your
ossia staff:
\override BarLine.allow-span-bar = ##f
Best,
Robert
Am 27/01/16 um 01:53 schrieb Joseph N. Srednicki:
Hello:
I am engraving an organ piece in which I want to add an ossia staff
above a measure to
You're very welcome!
Just one thing - although in this case it seems not really neccessary,
it's good practice to reply to the list, mainly so that others can see
that the problem has been solved. Otherwise, someone else, not realising
that you already have a solution, might invest time in loo
Hi Gregor,
your first example doesn't work because what you have in the tuplet is
in fact not a tie but a slur. Thus, \slurDashed *does* work.
The second example does not work because ties only work between two
notes of the *same* pitch, therefore you get a warning about c not being
tied to
>> If youy choose this, you need to start that first, then in Frescobaldi’s
>> Preferences -> Midi settings, choose qsynth from the pop-up list, for player
>> output.
>
> And unfortunately you need to do this setup every time, Frescobaldi doesn’t
> seem to be able to detect QSynth’s MIDI port
Oh, I like that! I might just make a big band arrangement of this etude and
give that to our bandleader - I'm sure we'd practice this piece quite often.
Thanks for posting!
> On 1 Mar 2016, at 20:03, Abraham Lee wrote:
>
> Fellow Pond Dwellers,
>
> Here's a laugh for everyone today. I was b
Hi Gianmaria,
In addition to the completion head engraver (David's mail), I'd pack the notes
without shift in a variable, like
variable = { a2 b2 }
And use
r4 \variable r4
or
r8 \variable r8 r4
Or whatever you'd like in the score.
Just leave out the bar checks, they'll throw warnings ...
> On 27 Mar 2016, at 01:30, David Raleigh Arnold wrote:
>
> On Sat, 26 Mar 2016 20:42:39 +0100
> David Kastrup wrote:
>
>> Jason Silver writes:
>>
>>> Anyone have thoughts on how to notate a A minor add 9?
>>>
>>> I've tried this:
>>>
>>> chExceptionMusic = {
>>> 1-\markup { \super "add9
-
Von meinem Fliewatüüt gesendet.
> On 3 Mar 2014, at 23:31, Simon Albrecht wrote:
>
> Am 03.03.2014 23:06, schrieb Schneidy:
>> Ok !
>>
>> Well, please find herewith a first attempt.
>> It's far from perfect; I still cannot find a way to flip all/part of all
>> grobs, but it does the job !
>
So, again, it boils down to whatever works. There's no standard to this, and
frankly, I've never experienced that as a problem. Jazz music is improvised
music, and I don't know a jazz musician who has problems "improvising" here as
well. Everyone has different preferences, sure, but problems rea
-
Von meinem Fliewatüüt gesendet.
> On 17 Mar 2014, at 11:57, David Kastrup wrote:
>
> Robert Schmaus writes:
>
>> So, again, it boils down to whatever works. There's no standard to
>> this, and frankly, I've never experienced that as a problem. Jazz
&
Oh, I'm sorry. I was looking into the problem some months ago and found a email
correspondence between David kastrup and others about the removal of the
"accepts" technique. I have never seen that it was later replaced by this new
command.
My apologies!
Also for sending an accidental reply ju
Hi Branko,
This works in Lilypond v2.18:
\repeat volta 2 { c c c c }
\alternative{
{d d d d}
{ \bar ":..:" d d d d e e e e \bar ":|." }
}
It won't reflect the repeats in midi, but the output looks fine.
For other versions of lily, you might have to change the arguments of the \bar
command
You can also just place \bar commands wherever you want ...
> On 3 Apr 2014, at 10:24, Peter Toye wrote:
>
> A (19th century) engraver has put repeat marks in the middle of the bar
> (presumably to save ink with 1st/2nd time bars). I'd like to reproduce this -
> can it be done? I can't see any
I think, if you don't specify a key at all, the music will always be "in C" (no
accidentals at the staff's beginning). Of course the notes have all necessary
accidentals.
Best, Robert
> On 18 Apr 2014, at 04:09, "a.l.f.r.e.d.o" wrote:
>
> Hi, everybody.
> I sometimes have to write many acc
Hi Knute,
that's an old lilypond issue - actually, this came up already just a
couple of days ago, and someone described it in that thread as the "most
persistent lilypond bug".
So anyway, the way to fix this is simple: put (empty) grace notes in
*all* voices at the same spot your "real" grace
Look for \set Staff.shortInstrumentName in the notational reference - that's
probably what you're looking for.
Best, Robert
> On 19 May 2014, at 23:18, Speldosa wrote:
>
> I have a score that looks like this.
>
> \score
> {
>\new ChoirStaff
><<
>\new Staff
><<
>
You could put the compound time signature (along with everything else that's
"global", like key or tempo) in an extra variable, like this
global = {
\compoundMeter #'((3 2 4))
% more ...
}
and put \global at the beginning of each staff. That way, any change in the
global variable is transpo
> Else I can only sah
> – Improvise! Improvisation is often underestimated and an extremely valuable
> way of making music. It does of course depend on the kind of music you’re in:
> it’s possible to improvise in (almost) every style, but for some it’s more
> common. And it’s important to have
If you search for "Rhythmic Slashes" within the v2.18 snippets documentation,
you'll find another way of creating those slashes - that approach has the
advantage that the slashes will be silent in MIDI.
Best, Robert
> On 2 Jul 2014, at 23:06, Francisco Vila wrote:
>
> 2014-07-02 22:10 GMT+
If you're interested in keeping C major: if you don't supply a key at all, the
key will be C major before and after transposition. I'm no sure this can be
done with any other key ...
Best, Robert
__
In any free society, the conflict between social conformity and individual
liberty is p
Am 06/10/14 17:37, schrieb MarcM:
> I agree it is not easier to type but any non-techie musician will find this
> easier to read.
Well, any non-techie musician will probably not be interested in reading
the source file anyway. In my experience, "non-techie musicians" are
impressed with the resu
Hi russ,
Maybe I misunderstood you there, but rehearsal marks should be put at the place
where they are supposed to appear.
In your case:
\relative c'' {
\mark \markup "at start of measure"
c2 \mark \markup "after 2 beats" c2 |
\break
\mark \markup "at start of next measure" c1
Am 15/10/14 15:58, schrieb Pierre Perol-Schneider:
> Hi Russ, Hi Robert,
>
> 2014-10-15 8:44 GMT+02:00 Robert Schmaus <mailto:robert.schm...@web.de>>:
>
> Maybe I misunderstood you there, but rehearsal marks should be put
> at the place where
Well, it's called All *Saints* day - you can't get more nebulous (or even
imaginary) than that. A "Day for celebrating Music", now *that* would be a
truly global and human thing to celebrate ...
__
The men who radically altered history, the great creative scientists and
mathematicians, are
The chord notation c/a stands for "c major triad with an a in bass". Generally,
you can write "chord / bass note" with this construction, "bass note" being the
operative word here. So your c/a example works but c:7 / a:7 is actually a
polychord construct. There's a way to do this in Lilypond (yo
Hi Luis,
I'm sure there are Spanish speaking participants on this list, but generally,
the list language is English, and you'll get more responses to your questions
if you write them in English.
Alternatively, there might be a Spanish mailing list, too. Sorry, can't help
you any further ...
B
Hi everyone,
I've been using Lilypond for a couple of weeks now, and I have to say
that I absolutely love it! And the magnitude of knowledge and
helpfulness in this mailinglist is just amazing.
I have a - possibly rather trivial - problem with chord names.
If I enter e.g. "g:13" and "bes:maj7
7;s nothing to change, really, but to be more specific about
the chords ...
have a good weekend,
Rob
On Thu, 02 Jun 2011 14:30 -0700, "Paul Scott"
wrote:
> On Thu, Jun 02, 2011 at 08:51:44PM +0200, Robert Schmaus wrote:
> > Hi everyone,
> >
> > I've been using
Hello fellow Lilyponderers,
I'm currently typesetting a score for Bigband, i.e. lots of transposing
instruments. I'm writing everything in concert pitch, so I can check
everything with the midi output. My initial idea was that I would
transpose the individual instruments into their desired key
Dear Lilyponders,
I'm working on a score and having trouble with the following (probably
not very difficult) issue, which I cannot solve despite having RTFM:
The problem is the height of the full score which contains all
instruments, and which I'd like to print in landscape mode. What I'm
lookin
a
book-environment, I get an error in the console ("unexpected SCM_TOKEN")
but the parameter works anyway ...
Thanks again and best wishes,
Robert
Am 7/12/11 10:09 PM, schrieb Janek Warchoł:
2011/7/11 Robert Schmaus:
What's happening right now is that, if space becomes too sm
Dear LilyPond fellows,
I'm writing a score for Bigband, which means there are arranged parts as
well as improvised sequences. In the improvised sequences, one normally
only provides the chord symbols.
What I have found is a \chord{ } command which produces the chord
symbols underneath the staf
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