< You may write lower voice first, i.e.
d4 fis b a g e fis g
then copy it, change initial 4 to 8:
d8 fis b a g e fis g
and insert remaining notes form the higher voice. However it will screw any
relative mode used, and even despite that i doubt if it would save you a
lot
of time :/
thanks,
Can't answer the first question, but the piece is Sor's Op 6 No 1. It is
number 4 in the selection in the selection of 20 of his etudes made by
Segovia.
thanks - i have consulted the edition of Segovia and Azpiazu, but both do
not mention the opus number! now i've been able to locate it i
Hello,
I am having trouble hiding an empty staff line following a time
signature change when I am using line breaks. In the example below,
the staff for the melody line should disappear in measure 4. It does
disappear if I use \RemoveEmptyStaves in the Staff context, but I want
to keep the rest in
my question is how to proceed to have a minimal effort
You can use this snippet
http://lsr.dsi.unimi.it/LSR/Item?id=654
%%
\include "changePitch.ly"
patI = \context Voice {\voiceOne \repeat unfold 4 { s8 c }}
patII = \samePitch << {\voiceOne c8 s8 } \new Voice {\voiceTwo c4} >>
\new
2011/5/22 -Eluze
>
> obviously every odd 8th of the upper voice is identical to the 2nd voice -
> except for the duration (this is true for about 80-90 percent of the
> piece).
>
> my question is how to proceed to have a minimal effort and not to write the
> same notes twice.
>
You may write low
On 23/05/11 07:16, -Eluze wrote:
hi
i want to typeset a little étude for guitar written by Fernando Sor.
here are the first measures:
Allegro con moto
http://old.nabble.com/file/p31676255/Sor%2BAllegro%2Bcon%2Bmoto.png
obviously every odd 8th of the upper voice is identical to the 2nd voice -
hi
i want to typeset a little étude for guitar written by Fernando Sor.
here are the first measures:
Allegro con moto
http://old.nabble.com/file/p31676255/Sor%2BAllegro%2Bcon%2Bmoto.png
obviously every odd 8th of the upper voice is identical to the 2nd voice -
except for the duration (this is
Am 22.05.2011 21:33, schrieb Federico Bruni:
Hi Federico,
it's in the snippets:
http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings#fretted_002dstring-harmonics-in-tablature
Ok, thanks!
BTW, I think that in that snippet some pitches are not correct.
I'll write to lilypond-bug
> Hi Federico,
>
> it's in the snippets:
>
> http://lilypond.org/doc/v2.13/Documentation/snippets/fretted-strings#fretted_002dstring-harmonics-in-tablature
>
Ok, thanks!
BTW, I think that in that snippet some pitches are not correct.
I'll write to lilypond-bug.
> > Also, I've noticed that \har
Indeed!
hi
> I haven't been able to join the lilypond bug list, so I'm forced to use the
> web interface (not capable of attachments).
> Attached is what I'm getting when I compile on lilypond 2.13.60.
> As you see, the stems on the bass are directed upwards when I force beaming
> (left staves)
hi
I haven't been able to join the lilypond bug list, so I'm forced to use
the web interface (not capable of attachments).
Attached is what I'm getting when I compile on lilypond 2.13.60.
As you see, the stems on the bass are directed upwards when I force
beaming (left staves). If I omit th
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