2007/9/8, Tim Litwiller [EMAIL PROTECTED]:
I've been working on this piece, it is set in 4/4 time and rather than
start as I think it should with a whole measure it places a 1/4 note and
then the first bar. That throws the bars off for the whole song.
Just remove the \partial 4 command in
The solutions so far have worked well, however I can't combine the
crossesOn/off with a 'note' into a chord and have to go into polyphony so far
so good. However since the polyphony comes in the middle of the score it's
not clear to me what method to use to attach lyrics to the lower 'voiced'
For those about to rock, ops, sorry...
For those who don't read english, I wrote an introduction to Lilypond in
Portuguese. It is a step-by-step manual to help the real beginners
understand its sintax. There are few simple examples with helpful
comments. I know that it is useless for you
Hello,
I have the opposit problem. Lilypond will put string numbers on notes in
chords. But I dont want them. How can I suppress them in this example?
\version 2.11.32
melody = \relative c'' {
\key d \major
\time 4/4
\voiceOne
b8 d,, b' g a\4 cis\3 e\2 a a' e\2 cis\3 |
}
bass = \relative c
Valentin Villenave wrote:
2007/9/8, Tim Litwiller [EMAIL PROTECTED]:
I've been working on this piece, it is set in 4/4 time and rather than
start as I think it should with a whole measure it places a 1/4 note and
then the first bar. That throws the bars off for the whole song.
Just
Hi Jay,
On 9/8/07, Jay Hamilton [EMAIL PROTECTED] wrote:
The solutions so far have worked well, however I can't combine the
crossesOn/off with a 'note' into a chord and have to go into polyphony so
far so good.
If you want crosses in a chord, you can use \tweak:
es \tweak #'style #'cross
Hi Tim,
There are two snippets following.
The first is a bit of your power example with the lyrics spacing issue.
You can use the same techniques as before but introduce another DevNull
voice with one of the bottom parts which moves with the extra line and
it will follow that instead.
- If
Thanks, with your help I'm getting there!
I had figured out having a second DevNull voice to space the repeating
last night.
I'm not sure I understand the second snippet tho.
also I'm sure that there is some kind of \markup that I can use to
vertically center the soprano lyrics section
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Am Samstag, 8. September 2007 schrieb Tim Litwiller:
Thanks, with your help I'm getting there!
I had figured out having a second DevNull voice to space the repeating
last night.
I'm not sure I understand the second snippet tho.
also I'm sure
Citando Tim Litwiller [EMAIL PROTECTED]:
Thanks, with your help I'm getting there!
I had figured out having a second DevNull voice to space the repeating
last night.
I'm not sure I understand the second snippet tho.
also I'm sure that there is some kind of \markup that I can use to
Citando Hugo Ribeiro [EMAIL PROTECTED]:
For those about to rock, ops, sorry...
For those who don't read english, I wrote an introduction to Lilypond in
Portuguese. It is a step-by-step manual to help the real beginners
understand its sintax. There are few simple examples with helpful
Hi Reinhold,
The centering here is achieved by simply putting the common text
into the
second stanza, which happens to be vertically centered. However, if
you have
four stanzas, there is no way to center common text vertically. I
had that
problem once with two stanzas, but have not found
Thanks for that - It looks very nice and not so hard to incorporate as
some examples.
Kieren MacMillan wrote:
Hi Reinhold,
The centering here is achieved by simply putting the common text
into the
second stanza, which happens to be vertically centered. However, if
you have
four stanzas,
Eduardo Vieira wrote:
Citando Tim Litwiller [EMAIL PROTECTED]:
snipped ...
Hello, I want to share my experiences with hymns and songs, too. Actually, once
you get the hang of it, Lilypond is perfectly suited for your needs Tim.
There is a good workaround for typing the four voices
Hi,
There is a good workaround for typing the four voices separately, and
combining
This is OK, but you still have to fiddle around to get the split notes
where heads collide.
The best way must surely be to get Lilypond to support this directly
with \partcombine or another similar function
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