Noeck,
http://lists.gnu.org/archive/html/lilypond-user/2014-09/msg00603.html
might be of help.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Noeck
Sent: Thursday, October 09, 2014
--Original Message-
From: Noeck [mailto:noeck.marb...@gmx.de]
Sent: Friday, October 10, 2014 3:46 AM
To: Mark Stephen Mrotek; lilypond-user
Subject: Re: Time signature differs from measure length
> -Original Message-
> I want to write a piece with a alla-breve time signatu
]
Sent: Friday, October 10, 2014 12:13 PM
To: Noeck; Mark Stephen Mrotek; lilypond-user
Subject: Re: Time signature differs from measure length
Am 10.10.2014 um 12:45 schrieb Noeck:
>> -Original Message-
>> I want to write a piece with a alla-breve time signature but with
>
I stand corrected.
Mark
-Original Message-
From: Simon Albrecht [mailto:simon.albre...@mail.de]
Sent: Friday, October 10, 2014 1:23 PM
To: Mark Stephen Mrotek; 'lilypond-user'
Subject: Re: Time signature differs from measure length
Am 10.10.2014 um 21:53 schrieb Mark Step
Eyolf,
Your snippet compiles without error message for me. I am using Lilypond
under Windows.
I notice that a space separates the two "e" from their "~." The space is not
between the two "b" and theirs.
Perhaps this is the source of the error message for you.
Mark
-Original Message-
From
should I look for a remedy?
Thank you for your kind attention.
Mark Stephen Mrotek
InPlace.pdf
Description: Adobe PDF document
\version "2.18.0"
\score {
\new PianoStaff <<
\new Staff = "upper"
\relative c'' {
\clef treble
Frank,
Agreed, yet that is not how it appears when the entire movement is printed.
Mark
-Original Message-
From: Alicuota618 [mailto:alicuota...@gmail.com]
Sent: Monday, October 13, 2014 9:18 AM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: spacing of triplets
Hello
To: Mark Stephen Mrotek
Cc: Alicuota618; LilyPond User Group
Subject: Re: spacing of triplets
There must be some other thing injected in a prior spot of your ly code for the
entire movement that is causing that peculiar spacing to show up. I would start
backtracking from the problem area and add
David,
“\newSpacingSection” worked, although it had to be inserted before each
measure. Is that expected?
Thank you.
Mark
From: David Nalesnik [mailto:david.nales...@gmail.com]
Sent: Monday, October 13, 2014 10:49 AM
To: Mark Stephen Mrotek
Cc: Shane Brandes; LilyPond User Group
Hello,
The following appeared when compiling a heretofore functioning file.
Starting lilypond-windows.exe 2.18.0 [FanD.ly]...
Processing `I:/Personal/Music/FanD.ly'
Parsing...
Interpreting music...[8][16][24][32]
Preprocessing graphical objects...
Finding the ideal number of pages...
Abraham and Urs,
Thank you for pointing me in the right direction.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Abraham Lee
Sent: Wednesday, October 15, 2014 3:27 PM
To: Urs Liska
Cc: lilypond-us
Bernhard,
Location is determined by one of three signs: "^" for above, "-" for at side,"
and "_" for below. So for your example: < h f' >_.
Look at
http://lilypond.org/doc/v2.16/Documentation/notation/expressive-marks-attached-to-notes
Mark
-Original Message-
From: lilypond-user-bounc
Phil,
Thank you for redirecting me.
Mark
-Original Message-
From: Phil Holmes [mailto:m...@philholmes.net]
Sent: Monday, October 27, 2014 9:02 AM
To: Mark Stephen Mrotek; 'Dr. Bernhard Kleine'; lilypond-user@gnu.org
Subject: Re: dots below after <>
- Original Me
Hello!
When inputting code for polyphony, e.g. a fugue, using explicit voices (<<
\new voice { voiceOne . } \new voice { voiceTwo } >> ), the first note of
voiceTwo is placed, octave wise, in relation to the last note set in
voiceOne. As the last note entered in voiceOne changes octave, all of
Bernhard,
Use "R2." for a centered full measure rest.
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Dr.
Bernhard Kleine
Sent: Friday, October 31, 2014 3:42 AM
To: lilypond-user@gnu.org
Subject: A p
James,
Thank you for your reply and the resolution. I appreciate your helping me to
learn Lilypond.
Mark
From: James Worlton [mailto:jworl...@gmail.com]
Sent: Friday, October 31, 2014 11:38 AM
To: Mark Stephen Mrotek
Cc: lilypond-user
Subject: Re: inputting with explicit voices
Or something like that. That way, the \voiceTwo section will always start
relative to c' instead.
HTH,
Abraham
On Fri, Oct 31, 2014 at 12:20 PM, Mark Stephen Mrotek [via Lilypond] <[hidden
email]> wrote:
Hello!
When inputting code for polyphony, e.g. a fugue, using e
Hello,
As far as I know, which is certainly minimal, ties cannot be input across
voices as in
<<
\new Voice \relative c' { \voiceOne }
\new Voice \relative c' { \voiceTwo }
>>.
How could I achieve ties as in the attached example?
Thank you for your kind attenti
Mike,
Thank you for your reply and the suggestion. I shall try it.
“Never let the perfect be the enemy of the good!”
Mark
From: Mike Solomon [mailto:m...@mikesolomon.org]
Sent: Sunday, November 02, 2014 6:43 AM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: Ties
Hello,
In a response to my query about creating ties over explicit voices, Mike
Solomon (thank you!) provided the following:
\layout {
\context { \Voice \remove "Tie_engraver" }
\context { \Staff \consists "Tie_engraver" }
}
This provided the desired ties in one staff of a Piano Staff,
Mike,
Guess I have some homework tonight!
Thank you.
Mark
From: Mike Solomon [mailto:m...@mikesolomon.org]
Sent: Monday, November 03, 2014 10:19 AM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: ties over voices, again
On Nov 3, 2014, at 8:15 PM, Mark
@gnu.org
Subject: Re: ties over voices, again
Mark,
This should do it:
\new Staff \with {
\consists "Tie_engraver"
} { ... }
HTH,
Abraham
On Mon, Nov 3, 2014 at 11:16 AM, Mark Stephen Mrotek [via Lilypond] <[hidden
email]> wrote:
Hello,
In a response t
Dr. Eldridge,
Something online that seems to resemble your proposed system.
http://weezic.com/en/
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Alice Eldridge
Sent: Thursday, November 06, 2014 6
Ryan,
A discussion of this is at:
http://lilypond.1069038.n5.nabble.com/Left-hand-right-hand-editorial-annotat
ion-td161987.html
Below is a code to do this, I cannot remember who produced it and posted it
on the list.
% Hand indicators
% Note: To use these correctly, the note MUST be part of a
Abraham,
I shall note my records and give credit properly.
Mark
From: Abraham Lee [mailto:tisimst.lilyp...@gmail.com]
Sent: Friday, November 07, 2014 10:37 AM
To: Mark Stephen Mrotek
Cc: Ryan McClure; lilypond-user@gnu.org
Subject: RE: Vertical brackets with text around chords
Federico,
Since a “grace” and an “acciaccatura” are different, their formatting is
different. From what you describe does the following work?
\relative c'' {
s2 b \acciaccatura { \bar "" a8 \bar "|" }
g
}
Mark
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mai
edition to compare the notation? I shall look also.
Mark
From: Federico Bruni [mailto:fedel...@gmail.com]
Sent: Sunday, November 09, 2014 11:34 AM
To: Mark Stephen Mrotek
Cc: Lilypond-User Mailing List
Subject: RE: how to get an acciaccatura (with stroke) at the end of barline?
Il giorno
Federico,
Augener's Edition
(http://violinsheetmusic.org/classical/b/bach/bach-violin-concerto-bwv-1041-
violin.pdf-) does not tie the first "b" to the second, and the "a" is a
demisemiquaver aftergrace.
Mark
___
lilypond-user mailing list
lilypo
Hello,
How do I get the trill span to be over the fourth beat, "e4?"
\version "2.18.0"
\relative c' {
\time 4/4
\clef treble
\key c \major
c2\startTrillSpan d4 e4\stopTrillSpan | f1 |
}
Thank you for your kind attention.
Mark
___
li
Pierre,
Thank you for your reply and the instructions.
Mark
From: Pierre Perol-Schneider [mailto:pierre.schneider.pa...@gmail.com]
Sent: Tuesday, November 11, 2014 9:02 AM
To: Mark Stephen Mrotek
Cc: lilypond-user
Subject: Re: Trill Span
Hi Mark,
2014-11-11 17:40 GMT+01:00 Mark
Chris,
See
http://www.lilypond.org/doc/v2.18/Documentation/notation/bars
and
http://lilypond.org/doc/v2.18/Documentation/notation/long-repeats
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On
Derek:
In my piano scores for dynamics I refer to:
http://www.lilypond.org/doc/v2.16/Documentation/learning/articulation-and-dy
namics
and for pedaling to:
http://www.lilypond.org/doc/v2.16/Documentation/notation/piano
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr.
Good Day!
A piece begins with an anacrusis - see attached file "without.ly." When the
"g" is notated as an appoggiatura to the "f" - see attached file "with.ly" -
some dreck appears.
http://lsr.dsi.unimi.it/LSR/Item?id=183 states that the grace should appear
after the "\partial." Placing th
Hello:
I have been working on a file for some time without incident. At the last
opening the following log was printed.
Starting lilypond-windows.exe 2.16.2 [13-2.ly]...
Processing `I:/Personal/Music/13-2.ly'
Parsing...
Interpreting music...[8][16][24][32][40][48][56]
warning: type chec
Eluze:
Thank you for your response and suggestion. All programs were closed,
computer rebooted, Frescobaldi started and file reopened. Same error message
appeared.
Mark
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca
Mr. Kastrup:
Thank you for your reply and suggestion.
I check the input and found three instances of "stencil:"
\override TupletNumber #'stencil = ##f
\override TupletNumber #'stencil = ##t
\override TupletNumber #'stencil = ##f
To me they appear to be correct. Should I be seeing something else
Mr. Long:
Thank you for the suggestion. I shall try the command.
Mark
-Original Message-
From: Jim Long [mailto:lilyp...@umpquanet.com]
Sent: Thursday, July 18, 2013 10:38 PM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: fatal error
On Thu, Jul 18, 2013 at 06:16:22PM
er method than removing the stencil
or look up how to (re-)add the appropriate stencil instead of your second
example line.
HTH
Urs
Zitat von Mark Stephen Mrotek :
> Mr. Kastrup:
>
> Thank you for your reply and suggestion.
>
> I check the input and found three instances o
Hello,
In the attached file the treble clef should be after the repeat signs.
How do I get it to be there?
Thank you for your kind attention.
Mark
\version "2.16.2"
global = {
\key d \major
\time 4/4
}
right = \relative c'' {
\global
\repeat volta 2 {
a8 r < a cis >8
pond-user@gnu.org
Subject: Re: move clef
Mark Stephen Mrotek wrote
> In the attached file the treble clef should be after the repeat signs.
>
> How do I get it to be there?
you can override the default order of such objects with:
[\once] \override Score.BreakAlignment #'break-alig
@gnu.org
Subject: RE: move clef
Mark Stephen Mrotek wrote
> My knowledge of Lilypond's programming language is very limited, so
> please allow me to check for understanding. I would use:
>
> [\once] \override Score.BreakAlignment #'break-align-orders =
> #(make-vector 3
Hello:
A three movement piece has the following in the \header: title, composer,
dedication, and opus.
The "opus" appears at the beginning of the second and third movements. How
can I eliminate them?
Thank you.
Mark
___
lilypond-user mail
ly ) compiles accurately.
Where is my error?
Thank you for your kind attention.
Mark
From: Federico Bruni [mailto:fedel...@gmail.com]
Sent: Wednesday, July 24, 2013 10:51 PM
To: Mark Stephen Mrotek
Cc: lilypond-user Mailinglist
Subject: Re: header
2013/7/25 Mark Stephen Mrotek
ld I enter the notation directly without using variables?
Mark
From: Wim van Dommelen [mailto:m...@wimvd.nl]
Sent: Thursday, July 25, 2013 10:37 AM
To: Mark Stephen Mrotek
Cc: 'Federico Bruni'; 'lilypond-user Mailinglist'
Subject: Re: header
You placed the \book on top
@gnu.org
Subject: Re: header
Am 25.07.2013 21:50, schrieb Mark Stephen Mrotek:
Wim,
Thank you for the correction. It works with a single movement ( 1mvmt.ly ).
When I add the second movement ( 2mvmt.ly ) an error message appears
relating to the variable "right."
I have tr
Hello,
In the attached file ( cadenza.ly ) everything should fit in one measure,
i.e., the last quaver in each staff should be on the first beat of the next
measure.
I have counted, and counted again, and cannot find my error.
Your assistance shall be greatly appreciated.
Mark
\ver
al Message-
From: Trevor Daniels [mailto:t.dani...@treda.co.uk]
Sent: Friday, July 26, 2013 12:29 AM
To: Mark Stephen Mrotek; lilypond-user@gnu.org
Subject: Re: Cadenza
Mark Stephen Mrotek wrote Friday, July 26, 2013 4:17 AM
> In the attached file ( cadenza.ly ) everything should fit in one
&
11:50 PM
To: lilypond-user@gnu.org
Subject: Re: Cadenza
Mark Stephen Mrotek wrote
> I have counted, and counted again, and cannot find my error.
the question is: what did you count or where did you start - basically,
after a cadenza everything starts newly, so you just have to move
\cadenza
Daniels wrote
> Mark Stephen Mrotek wrote Friday, July 26, 2013 4:17 AM
>
>> In the attached file ( cadenza.ly ) everything should fit in one
>> measure, i.e., the last quaver in each staff should be on the first
>> beat of the next measure.
>
> Using a \cadenza
Richard:
This may be what you want (and I use):
Sahara Slate PC i500 ( Windows 7 Professional ) from Tablet Kiosk
(www.TabletKiosk.com). I has a 6.5" x 10.5" screen. It can display full page
PDF's generated by Lilypond using the software Music Reader
(www.MusicReader.net). The software allows view
Hello:
In the attached file, how do I get the bar, clef, and key to be properly
spaced?
Thank you.
Mark
\version "2.16.2"
right = \relative c'' {
\key a \major
\time 2/4
\repeat volta 2 {
fis16 a fis d cis e d b |
a4 }
\repeat volta 2 {
\key a \minor
e'8 c'16 a
...@philholmes.net]
Sent: Friday, August 02, 2013 8:08 AM
To: Mark Stephen Mrotek; lilypond-user@gnu.org
Subject: Re: bar-clef-key
If you delete:
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3
'( bar clef key ))
Then they appear correct to my eyes.
--
P
From: Phil Holmes [mailto:m...@philholmes.net]
Sent: Friday, August 02, 2013 9:08 AM
To: Mark Stephen Mrotek; lilypond-user@gnu.org
Subject: Re: bar-clef-key
http://comments.gmane.org/gmane.comp.gnu.lilypond.general/70274 gives this:
\once \override Score.BreakAlignment #'break-align-
Sebastian:
Some modifications must be made when the repeated section starts with an
incomplete measure. This is covered in the manual at
http://www.lilypond.org/doc/v2.16/Documentation/notation/long-repeats.
Specifically the "Timing.measureLength" has to be reset in both of the
alternatives.
Hello:
While the tie on the "e" appears, the tie on the "a" and the tie on the
"cis" do not appear.
What change is necessary?
Thank you.
Mark
\version "2.16.2"
{
\clef bass
<< { s2. g4-2 | } \\
{ s2 \stemUp e~^3 | } \\
{ f4\rest cis2.~-4 | } \\
{ a,1~ | } >> |
Subject: Re: ties
Am 07.08.2013 08:37, schrieb Nick Payne:
> On 07/08/13 13:36, Mark Stephen Mrotek wrote:
>> Hello:
>>
>> While the tie on the "e" appears, the tie on the "a" and the tie on
>> the "cis" do not appear.
>>
>
>
@gnu.org
Subject: Re: ties
On 07/08/13 13:36, Mark Stephen Mrotek wrote:
> Hello:
>
> While the tie on the "e" appears, the tie on the "a" and the tie on
> the "cis" do not appear.
>
You need to re-arrange the voices so that the ties are between notes in the
Hello:
What global command shall print the tuplets in four groups of three rather
than two groups of six?
I have read the manual on manual beaming.
Thank you!
Mark
\version "2.16.2"
\relative c'' {
\key ges \major
\time 2/4
\override TupletBracket #'bracket-visibility =
ew Bernard [mailto:andrew.bern...@gmail.com]
Sent: Monday, August 12, 2013 7:17 PM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: tuplet beams.
Try:
\tupletSpan 8
\times 2/3 { ges'16[ bes des,] ges[ ees ges] des[ ges bes,] des'[ ges,
bes] }
or similar.
Andrew
<mail
Hello:
In a single voice (RightOnly.ly), setting automatic beam behavior produces
the desired notation.
When the left hand is added (Both.ly) the commands - identical in both files
- do not take effect.
Must I do something to the left hand? In the right hand?
Thank you for your kind
Carl,
Thank you for your reply.
Yes, the tuplets are only in the right hand. The left hand is just eighth
notes.
Mark
From: Carl Peterson [mailto:carlopeter...@gmail.com]
Sent: Tuesday, August 13, 2013 9:06 AM
To: Mark Stephen Mrotek
Cc: Mailinglist lilypond-user
Subject: Re
: Mark Stephen Mrotek
Cc: 'Andrew Bernard'; lilypond-user@gnu.org
Subject: Re: tuplet beams
"Mark Stephen Mrotek" writes:
> Andrew,
>
> Thank you for your reply. I know that I could manually beam and that
> would suitably work for a few measures. The piece, C
Xavier:
Thank you for your reply, the suggestion, and the manual reference. I shall
experiment with them.
Mark
From: Xavier Scheuer [mailto:x.sche...@gmail.com]
Sent: Tuesday, August 13, 2013 12:57 PM
To: Mark Stephen Mrotek
Cc: lilypond-user Mailinglist
Subject: Re: Setting
Hello:
The attached snippet, commands.ly, is from
http://www.lilypond.org/doc/v2.16/Documentation/notation/multiple-voices.htm
l.
1. What is the purpose/effect of the first line?
2. What is the purpose/effect of the command \bar "||" before
voiceTwo?
Thank you.
Mark
v
Andrew:
Thank you for your reply and the explanation. Hopefully I shall never need
more than four voices.
Mark
From: Andrew Bernard [mailto:andrew.bern...@gmail.com]
Sent: Sunday, August 18, 2013 12:01 AM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: purpose of
No mistake. It is exactly as it appears in the manual.
From: Pierre Perol-Schneider [mailto:pierre.schneider.pa...@gmail.com]
Sent: Sunday, August 18, 2013 12:48 AM
To: Mark Stephen Mrotek
Cc: lilypond-user
Subject: Re: purpose of commands
2013/8/18 Mark Stephen Mrotek
Hello:
Hi,
2
Stephen Mrotek wrote
> No mistake. It is exactly as it appears in the manual.
not your mistake, rather the documenter's or developer's
Eluze
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/purpose-of-commands-tp149365p149372.ht
ml
Sent from the User mailing li
Trevor:
Thanks for helping me over the learning curve.
Mark
-Original Message-
From: Trevor Daniels [mailto:t.dani...@treda.co.uk]
Sent: Sunday, August 18, 2013 12:48 AM
To: Mark Stephen Mrotek; lilypond-user@gnu.org
Subject: Re: purpose of commands
Hi Mark
This snippet is rather
Phil Holmes,
Thanks for your work on the manual. I learn a lot from it and that which I
do not understand the other users help me!
Mark
-Original Message-
From: Phil Holmes [mailto:m...@philholmes.net]
Sent: Sunday, August 18, 2013 1:49 AM
To: Trevor Daniels; Mark Stephen Mrotek
Hello:
I want to beam a chord in the treble staff to a chord in the bass staff and
have the beam slanted between the two staves.
I have searched the manual for beams
http://www.lilypond.org/doc/v2.16/Documentation/notation/beams
and the mail archives and have not found the instructions.
: Re: search term for beams
Am 25.08.2013 18:58, schrieb Mark Stephen Mrotek:
> Hello:
>
> I want to beam a chord in the treble staff to a chord in the bass
> staff and have the beam slanted between the two staves.
>
> I have searched the manual for beams
>
> http://ww
Frédéric,
Exactly! Thank you.
Mark
-Original Message-
From: Frédéric Bron [mailto:frederic.b...@m4x.org]
Sent: Sunday, August 25, 2013 10:05 AM
To: Mark Stephen Mrotek
Cc: lilypond-user
Subject: Re: search term for beams
> I want to beam a chord in the treble staff to a chord in
Hello:
In the attached snip, the first beat of the second measure has a "f4."
without a stem.
The error messages suggests using polyphonic voices. Since I am using << \\
>>, I do not know what that means.
I have tried changing stem direction - \stemUp, \stemDown.
I have tried shifting
[mailto:thomasmorle...@gmail.com]
Sent: Tuesday, August 27, 2013 12:27 PM
To: Mark Stephen Mrotek
Cc: lilypond-user
Subject: Re: stemless note
2013/8/27 Mark Stephen Mrotek :
> Hello:
>
>
>
> In the attached snip, the first beat of the second measure has a "f4."
> without a
1:00 PM
To: Mark Stephen Mrotek
Cc: lilypond-user
Subject: Re: stemless note
2013/8/27 Mark Stephen Mrotek :
> Mr. Morley:
>
> Thank you for your response and suggestion.
> This "error" is the only occurrence in the 118 measure piece. Can I
> insert the "\newVoice
1:58 PM
To: Mark Stephen Mrotek
Cc: lilypond-user
Subject: Re: stemless note
2013/8/27 Mark Stephen Mrotek :
> Mr. Morley:
>
> Thank you. Using your previous suggestion I created the attached
> (StemCollision.ly) that prints the stem yet the head collides with the g1.
>
> What
Hello:
In a previous thread
(http://lists.gnu.org/archive/html/lilypond-user/2013-08/msg00673.html), a
Chopin Nocturne was discussed that has polymetrics starting on the second
page of the score. I have looked at the .ly file (attached) and have a
minimal understanding of the "\set Timing.meas
Trevor:
Thank you for your reply and the references.
Mark
-Original Message-
From: Trevor Daniels [mailto:t.dani...@treda.co.uk]
Sent: Saturday, August 31, 2013 2:14 AM
To: Mark Stephen Mrotek; lilypond-user@gnu.org
Subject: Re: polymetics in piano
Mark Stephen Mrotek wrote Saturday
Hello!
In the attached snippet I want to indicate that the "f4" at the end of the
first alternative should be tied upon repeat to the "f" at the beginning of
the repeated section.
Using " ~ " does not work as Lilypond considers it "unterminated."
What should I do?
Thank you for your ki
Robert:
Thank you for your reply and the suggestion. I tried \laissezVibrer. It just
did not look long enough. I shall put it in the score.
Mark
From: Robert Schmaus [mailto:robert.schm...@web.de]
Sent: Tuesday, September 03, 2013 9:49 AM
To: Mark Stephen Mrotek
Cc:
Subject: Re: Tie
Mr. Holmes,
I did reply to "all." Your name was the only one to which I could reply!
Mark
From: Phil Holmes [mailto:m...@philholmes.net]
Sent: Tuesday, September 03, 2013 9:58 AM
To: Mark Stephen Mrotek; LilyPond User Group
Subject: Re: Tie over Repeat Bar
Please remembe
Gentlemen:
Thank you for your replies and the references. This shall be my first foray
into "tweaking." I am sure that, as always, suggestions from the users shall
increase my knowledge.
Mark
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h
To: lilypond-user@gnu.org
Subject: Re: Tie over Repeat Bar
On 04/09/13 03:03, Mark Stephen Mrotek wrote:
Robert:
Thank you for your reply and the suggestion. I tried \laissezVibrer. It just
did not look long enough. I shall put it in the score.
LV ties can be lengthened. If you want all LV
not complicated. A
person, as myself, with limited knowledge of computer programming can
produce legible and attractive scores.
Mark Stephen Mrotek
Bach, Four Duets, Clavier-Ubung III, BWV 803 - 806
Bach, Fuge, BWV 947
Bach, Inventio, BWV 777
Bach, Six Preludes, BWV 933 - 938
Bach
Ed:
In the manual
http://www.lilypond.org/doc/v2.16/Documentation/notation/beams#setting-autom
atic-beam-behavior
is a discussion on changing how automatic beaming works. Scroll down until
you see the phrases:
\set Timing.baseMoment = #(ly:make-moment 1 8)
\set Timing.beatStructure = #'(
Hello:
A partial measure contains 1 and 1/16 beat. How is that notated in the
command "\partial?"
Thank you.
Mark
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-user
Subject: Re: Anacrusis
On Sat, Sep 7, 2013 at 11:35 PM, Carl Peterson
wrote:
On Sat, Sep 7, 2013 at 11:28 PM, Mark Stephen Mrotek
wrote:
Hello:
A partial measure contains 1 and 1/16 beat. How is that notated in the
command "\partial?"
Try \partial 16*17
*sigh*.
: Saturday, September 07, 2013 9:41 PM
To: lilypond-user@gnu.org
Subject: Re: Anacrusis
On 08/09/13 13:28, Mark Stephen Mrotek wrote:
Hello:
A partial measure contains 1 and 1/16 beat. How is that notated in the
command "\partial?"
Use Timing.measurePosition instead:
\version &q
Jim:
Thank you for your reply and the second way to accomplish the partial
measure.
Mark
-Original Message-
From: Jim Long [mailto:lilyp...@umpquanet.com]
Sent: Saturday, September 07, 2013 11:30 PM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: Anacrusis
On Sat, Sep
Mr. Payne:
Read the documentation. It is an addition to 2.17 that is not in 2.16.2
which is the one that I regularly use.
Mark
From: Nick Payne [mailto:nick.pa...@internode.on.net]
Sent: Saturday, September 07, 2013 10:56 PM
To: Mark Stephen Mrotek
Cc: lilypond-user@gnu.org
Subject
Hello:
At the end of the second alternative ending in the attached snippet an
unwanted bar appears and disrupts the meter.
I have experimented with placing
\set Timing.measurePosition = #(ly:make-moment 3/8)
after the second alternative. Using it restores the meter. It does not
remove the ext
Mr. Bailey,
Thank you for your reply and the detailed corrections. I will study both of
them to increase my knowledge.
Mark
From: bina...@gmail.com [mailto:bina...@gmail.com] On Behalf Of Simon Bailey
Sent: Sunday, September 08, 2013 11:30 AM
To: Mark Stephen Mrotek
Cc: lilypond-user
teacher I appreciate what you have done to help me, a learner.
Mark
From: bina...@gmail.com [mailto:bina...@gmail.com] On Behalf Of Simon Bailey
Sent: Sunday, September 08, 2013 11:30 AM
To: Mark Stephen Mrotek
Cc: lilypond-user Mailinglist
Subject: Re: Extra Bar
hi,
On Sun, Sep 8, 2
same horizontal line?
This issue is more aesthetic than practical.
Thank you for your kind attention.
Mark Stephen Mrotek
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Mr. Holmes,
Thank you for your reply and the instructions. I shall follow them.
Mark
-Original Message-
From: Phil Holmes [mailto:m...@philholmes.net]
Sent: Monday, October 07, 2013 7:01 AM
To: Mark Stephen Mrotek; lilypond-user@gnu.org
Subject: Re: Piano pedal - horizontal alignment
Subject: Re: cadenza and bars
At 09:17 on 08 Oct 2013, Mark Stephen Mrotek wrote:
>Hello,
>
>In the attached snippette
>
>1. A bar should not be at the beginning of the cadenza, i.e.,
>after the < bes bes' >2.,
>
>2. A bar should be at the end of the cad
(see red below).
Mark Stephen Mrotek
\new Staff = main \relative c'' {
c4 b d cd
<<
{ c4 b d c }
\new Staff \with {
\remove "Time_signature_engraver"
alignAboveContext = #"main"
fontSize = #-3
\override Staf
the other has the key signature (with.ly).
Be assured that I made this suggestion after encounter and resolving an
issue in my encoding.
Mark Stephen Mrotek
-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@g
original and the ossia would be for the same instrument. I cannot
think of an example (my experience is with the piano) in which the ossia is in
a different key than the rest of the composition.
Mark Stephen Mrotek
From: Ralph Palmer [mailto:palmer.r.vio...@gmail.com]
Sent: Thursday
Wim van Dommelen,
Thank you for your interest and input.
That rarity supports my suggestion. The "ossia" for the Bes Clarinet would
need a specific key signature. As the documentation snippet is currently
presented ( see attached) no place for that key signature is given.
Ma
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