2007/9/6, Trevor Bača [EMAIL PROTECTED]:
Actually this is pretty clever. And will certainly do for the snippets
that I've got in front of me right now, so thanks very much!
I agree. LSR, anyone? :)
Regards,
Valentin
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Roland Goretzki wrote:
Hello list, hello Tomas,
You wrote:
Hi,
I try to use \transpose with a variable as parameter like
mykey = {d'}
melody = \transpose c' \mykey
\relative c' {... }
what??s wrong?
I get the message:
syntax error, unexpected STRING, expecting
Mats Bengtsson mats.bengtsson at ee.kth.se writes:
You wrote:
I try to use \transpose with a variable as parameter like
mykey = {d'}
melody = \transpose c' \mykey
\relative c' {... }
Tomas probably wants to
do the same transposition on a number of different scores and be
hi,
doesn't this snippet already cover the topic?
http://lsr.dsi.unimi.it/LSR/Item?id=204
regards,
Tao
Original-Nachricht
Datum: Thu, 6 Sep 2007 08:03:37 +0200
Von: Valentin Villenave [EMAIL PROTECTED]
An: Trevor Bača [EMAIL PROTECTED]
CC: lilypond-user
On 9/6/07, Tao Cumplido [EMAIL PROTECTED] wrote:
hi,
doesn't this snippet already cover the topic?
http://lsr.dsi.unimi.it/LSR/Item?id=204
It does, but if you were searching for a metric modulation solution, you
probably wouldn't find that snippet. In any case, I quite like my version;
2007/9/6, Neil Puttock [EMAIL PROTECTED]:
It might be useful have a reference to nested scores in section 8.2.2 for
cases more complicated than note = note, together with a minimal example
demonstrating tuplet markup.
...Which is why your trick should be added to the LSR; then I could
simply
Valentin Villenave wrote:
2007/9/6, Neil Puttock [EMAIL PROTECTED]:
It might be useful have a reference to nested scores in section 8.2.2 for
cases more complicated than note = note, together with a minimal example
demonstrating tuplet markup.
...Which is why your trick should be
Just a detail: whenever you answer to an email (or start a new
discussion) Thomas, be careful with the Object or Subject field:
this discussion has now a
Re: using
object (the transposition thing is gone), which is absolutely not
helpful for anyone who would browse the list archive in the future,
On 9/5/07, Adam James Wilson [EMAIL PROTECTED] wrote:
I have a StaffGroup that contains four staves. Most of the time, I
want a SpanBar to pass through all four staves. However, there are
some points at which I'd like the SpanBar to connect only the bottom
three staves, or the middle two
On 9/6/07, Tao Cumplido [EMAIL PROTECTED] wrote:
hi,
doesn't this snippet already cover the topic?
http://lsr.dsi.unimi.it/LSR/Item?id=204
That's right ... good additional examples.
Who authored that particular LSR page?
(Maybe we should give author credits in LSR?)
Trevor.
regards,
Anyone else have a clue??
Well, the obvious (but extremely inconvenient) hack would be a
whiteout box, manually sized and centered on the barline.
I took a couple of stabs at using InnerStaffGroups with transparent
SpanBars, but nothing I found really worked...
Sorry,
Kieren.
Hi,
Is there any way to suppress an InstrumentName for just a single
system? There is in fact an InstrumentName grob that can be turned
red, made transparent, etc ... but apparently only at the beginning of
a score? No on the fly overrides?
This is what I've got so far.
%%% BEGIN TRANSPARENT
Dear Mailing list
I have a bunch of questions about the repeat syntax I'll like to submit to
you.
\version 2.11.28
1) About numbering
here is a ordinar situation of repeat volta with an alternative :
\repeat volta 2 {
a b c b
}
\alternative {
{ e f e f }
{ e f e b}
}
c a e f
\break
I've tried sending my question 2 times already and I didn't ever get it
back.
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On 9/6/07, Kieren MacMillan [EMAIL PROTECTED] wrote:
Hi Trevor,
Is there any way to suppress an InstrumentName for just a single
system?
Oh, you're going to kick yourself for this one... ;-)
Instead of
\override Staff.InstrumentName #'transparent = ##t
just use
\set
I have a bunch on sunday school songs like this that I need to put into
lilypond so we can make clean nice prints.
I have been playing with it for a week now and going thru the manual and
tutorial, downloading samples and layout tools like Jedit and the pspad
plug ins and canorus.
I haven't
On 9/6/07, Trevor Bača [EMAIL PROTECTED] wrote:
On 9/6/07, Kieren MacMillan [EMAIL PROTECTED] wrote:
Hi Trevor,
Is there any way to suppress an InstrumentName for just a single
system?
Oh, you're going to kick yourself for this one... ;-)
Instead of
\override
Hi,
I had a bit of a fiddle and came up with the following which produces
pretty much what you want, but I'm not really happy with it.
It uses chords instead of \partcombine which would make note entry a lot
easier.
If someone knows how to tweak the operation of \partcombine so that some
I have my .ly file at home. I'll have to wait till I get there this
evening to send you an example.
Ralph Little wrote:
Hi,
I had a bit of a fiddle and came up with the following which produces
pretty much what you want, but I'm not really happy with it.
It uses chords instead of
Actually, does this look like a bug to anyone else?
I presume you don't mean the missing last :D
Yes - I get the same, the short name turns into the long name on the
middle part.
Strange indeed.
Regards,
Ralph
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(Please answer to the list, not to me personally, thanks. - Stupid
list preference, by the way.)
Am 2007-09-06 um 12:03 schrieb Watzka-Storm, Patrick:
I started testing Lilypond by creating some input files directly on
the desktop and used Lilypond by dragging these files to the
Lilypond
Tim Litwiller wrote:
I can do it this way - but it sure would be simpler to input if we are
able to have each voice separated.
Hi Tim,
I looked at the partcombiner code which is written in scheme and I have
to say it is pretty impenetrable :(
I was trying to think of a way to fool the
I updated the link to contain the whole scan.
this song only has 4 or 5 but I need something flexible enough for 60 -
100 songs.
untested code alert...
\partcombine {f4 f f g a8 a4 } {c4 c c c f8 f4} gs8 \\ f8
\partcombine {a2} {f2}...
I'm not sure that that is much better, though - it
Tim Litwiller wrote:
I can do it this way - but it sure would be simpler to input if we are
able to have each voice separated.
Ralph Little wrote:
Hi,
I had a bit of a fiddle and came up with the following which produces
pretty much what you want, but I'm not really happy with it.
It
Ralph Little wrote:
Hi Tim,
OK, it is a bit of a frig if you fancy giving it a try, but I think I
can make it happen and it depends on what version of Lilypond you are
using.
Find the file part-combiner.scm - it should be in the scm directory of
your Lilpond installation.
Search for the
Thanks Trevor and Kieren,
I had thought about InnerStaffGroups as well, but for maximum
flexibility of turning on or off parts of the SpanBar, each inner
staff would have to belong to more than one InnerStaffGroup, and I'm
guessing that that is not possible.
I'll try the whitebox trick!
Thanks
Tim Litwiller tim at litwiller.net writes:
so far I've been able to either have lyrics or combine notes - but not
both.
then where notes collide I need to have a flag go each direction.
I've circled examples in the attachment.
Do I assume correctly that the half-note C on men is done
On 9/6/07, Ralph Little [EMAIL PROTECTED] wrote:
Actually, does this look like a bug to anyone else?
I presume you don't mean the missing last :D
Yes - I get the same, the short name turns into the long name on the
middle part.
Strange indeed.
Thanks, all. Entered as
Perhaps there's a sponsorship opportunity to be able to draw a spanbar
between any two (adjacent) staves at any musical moment?
If Han-Wen or one of the senior devs can think of an idiomatic way to
implement such a feature, I'd be happy to sponsor ... would probably
make Adam's rather complicated
Hello,
I want to write my first guitar notes with tabs after finishing some harp
scores.
While I found most guitar specific points, I have problem with polyphony.
The normal polyphony gives a problem with tabs. The notes are written to
the staff instead of tab. (see meaure 4). What's wrong?
Is there any way to indicate in fingering that a finger is supposed to
slide from one string to the next? In playing harp, often one plays a
string with the thumb (indicated by the number 1) and then slides the
thumb down to the next lower note and then plays that. So both notes are
Hi Yota,
On 9/6/07, yota moteuchi [EMAIL PROTECTED] wrote:
Here, magically, the second alternative bar vanished... why ?!
You can't put overrides (or anything else) between the bracketed sections of
\alternative; just put the bar number override inside the second
alternative.
The problem
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Vocal-ensembles#Vocal-ensembles
on this page
section
D.4.2 SATB vocal score and automatic piano reduction
if you look at the piano reduction part it gets it right. or at least
in this sample.
so if I could just make it do
I'm playing with it. The notes are slightly different from my copy
I changed to the head style we use - I haven't got the part combine
working yet.
and the tenor and bass repeating words I haven't figured out yet.
Father Gordon Gilbert wrote:
Hi Tim,
Attached is a copy of a hymn I have
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