On Fri, Jul 16, 2010 at 11:10:35PM -0600, Carl Sorensen wrote:
On 7/16/10 9:49 AM, Graham Percival gra...@percival-music.ca wrote:
The docs already say to use \fermata !
But in the Expressive Marks section there is no text outside of an example
that describes using fermata as an
Carl Sorensen wrote Saturday, July 17, 2010 6:10 AM
But in the Expressive Marks section there is no text outside of an
example
that describes using fermata as an articulation. (There is an
index entry
for \fermata, however).
OK, I've added a para to Articulations and ornaments in
Trevor Daniels t.dani...@treda.co.uk writes:
Carl Sorensen wrote Saturday, July 17, 2010 6:10 AM
But in the Expressive Marks section there is no text outside of an
example
that describes using fermata as an articulation. (There is an index
entry
for \fermata, however).
OK, I've added a
On 17/07/10 05:02, James Lowe wrote:
Jatziri,
Hi James, Jatziri,
See:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-big-page#Transpose
I regularly am given music in 'A' or 'C' to write out and transpose for
B-flat for the small orchestra I am in (for example I play
Unfortunately I lost the link which would have enabled me to delete mys
membership.
Could you please do this for me?
Thank you!
Margret Popp
(Username Eliza or ElizaD... unfortunately, I lost all of my
identification there.)
--
__
/Dr Margret Popp/
Anton-Bruckner-Str 1
Excerpts from Margret Popp's message of Sat Jul 17 11:59:34 +0200 2010:
Unfortunately I lost the link which would have enabled me to delete mys
membership.
Could you please do this for me?
Thank you!
If this (found by google) doesn't help you post again.
Margret Popp margret.p...@mail.uni-wuerzburg.de writes:
Unfortunately I lost the link which would have enabled me to delete mys
membership.
Could you please do this for me?
Thank you!
Ask your mail program to show you the full headers of a mail received
from the list. They contain
* Wols Lists antli...@youngman.org.uk [2010-07-17 10:41]:
As I said, horses for courses, but I play the trombone, so original
source may be Bf or C, and my output parts may be Bf or C. So I find it
simpler just to transpose everything to C when copying the music in,
then transpose it back to
Also you should probably consider any layout tweaks AFTER the transposition
rather than the 'copying out stage'. I say that after spending ages getting
that dynamic f or fermata 'just so' and then transpose it only to find now that
that extra padding looks silly with the notes shifted. :)
Yes
play brass in an orchestra...you get all sorts on multi measure rests (and
there are s many rests! not that I'm bitter)... particularly what we
would call in lilypond world a text spanner (rit, dim etc) if that counts. But
mainly markup text is always on multi measure rests in my
Am 17.07.2010 17:05, schrieb James Lowe:
play brass in an orchestra...you get all sorts on multi measure rests (and
there are s many rests!
Playing Celesta can be even more fun. At my last orchestral concert my
first notes happened to be 32 minutes after the beginning of the
David Kastrup wrote Saturday, July 17, 2010 9:13 AM
Trevor Daniels t.dani...@treda.co.uk writes:
OK, I've added a para to Articulations and ornaments in
Expressive
marks:
Articulations can be attached to rests as well as notes but they
cannot be attached to multi-measure rests. A special
Hello,
there is a tiny fragment from a polyphonic choir piece. By idea I need
\set doubleSlurs = ##t but seems it didn't allow slur placement
control.
So following documentation I wrote this way:
\new Staff = sa
\new Voice = soprano \relative c'' { \voiceOne
{ \once \override Slur
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