Tim Roberts writes:
I hope you will permit me to flog this dead horse a bit more.
Tim Reeves wrote:
But different horns were chosen not because of the difference
in tone quality (so much), but simply to fit into the key of
the piece, "back in the day". There's no reason to write horn
in
On 11-10-04 08:19 PM, Vaughan McAlley wrote:
On 4 October 2011 14:44, Benjamin Peterson wrote:
Kieren MacMillan sympatico.ca> writes:
What about
\override LyricText #'font-shape = #'italic …
\revert LyricText #'font-shape
?
Works great. Thanks.
Regards,
Benjamin
It’s not obvious
On 4 October 2011 14:44, Benjamin Peterson wrote:
> Kieren MacMillan sympatico.ca> writes:
>> What about
>> \override LyricText #'font-shape = #'italic …
> \revert LyricText #'font-shape
>> ?
>
> Works great. Thanks.
>
> Regards,
> Benjamin
>
>
>
It’s not obvious from the documentation that
Tim Roberts probo.com> writes:
>
> Francisco Vila wrote:
Francisco is very kind. (The English idiom is 'too kind' but
I forget whether that translates well.)
> There are some odd things in the key signatures.
> Is that the way Dvořák wrote it?
Yes.
Vaughn just emailed/posted a good expla
On 5 October 2011 03:57, Tim Roberts wrote:
> Francisco Vila wrote:
>> Hello all, I think this is remarkable: Keith OHara has put Dvořák's
>> 9th symphony in Mutopia. Kudos!
>>
>> http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1793
>
> That is remarkable, indeed.
>
> There are some odd thi
On Tue, Oct 4, 2011 at 6:10 PM, Steve Downes wrote:
> Hello all,
>
> I could do without altering the octave of each note manually & feel this
> should be possible.
>
>
Greetings, Steve -
I don't have the documentation handy, but look for
\transpose
in the manual and in the Snippet Repository (LSR
Hi Harm,
On Mon, Oct 3, 2011 at 5:29 PM, Thomas Morley wrote:
> Hi David,
I'm only a musician and music-teacher without any previous
> programming-experience, trying to learn scheme and to dive into
> lilypond-internals deeper and deeper. So excuse me if I remark some
> moonshine. :)
>
You've
Hello all,
New to this group so I hope I get it rightish.
I have done a choir arrangement (in Rosegarden) & exported to lilypond. this
has worked fine after a bit of work. I now want to condense this into a piano
part with trb & bs clefs. I have been adapting it using the parallelMusic
method
I hope you will permit me to flog this dead horse a bit more.
Tim Reeves wrote:
> But different horns were chosen not because of the difference in tone
> quality (so much), but simply to fit into the key of the piece, "back in
> the day". There's no reason to write horn in D except that the piec
On Oct 4, 2011, at 10:10 PM, Tim Roberts wrote:
> Tim Reeves wrote:
>>
>> Nothing odd about it at all.
>
> I disagree, but we'll get to that in a moment.
>
>> It would be odd if a horn part in C or E, etc. had any key signature at all.
>
> Why? Every other instrument has a key signature appro
Tim Reeves wrote:
>
> Nothing odd about it at all.
I disagree, but we'll get to that in a moment.
> It would be odd if a horn part in C or E, etc. had any key signature at all.
Why? Every other instrument has a key signature appropriate to the
transposition in use at the current time. Why shou
> Message: 1
> Date: Tue, 4 Oct 2011 09:57:58 -0700
> From: Tim Roberts
> To: "lilypond-user@gnu.org"
> Subject: Re: Good work, Keith!
> Message-ID: <4e8b3b16.6060...@probo.com>
> Content-Type: text/plain; charset="UTF-8"
>
> Francisco Vila wrote:
> > Hello all, I think this is remarkable: Keith
Hello Frank,
an R is not a rest for Lilypond but a multi-measure rest. Therefore
you need to change the staff-position of that with the \override
command (to be inserted directly before the R:
\override MultiMeasureRest #'staff-position = #-1
The number indicates the number of staff-spaces
Hello again
this time it is really a problem and not a fault of my own. :-)
Namely: there is a small part with two voices, in which I need to move the
whole-measure rest in the lower voice down a bit (see screenie).
I found http://lsr.dsi.unimi.it/LSR/Item?id=159 which explains \rest, i.e.
a4.\
Am Dienstag, 4. Oktober 2011, 20:13:12 schrieb Frank Steinmetzger:
> Hello list
>
> I just finished typing some old, falling apart score and noticed some
> details that bothered me, namely some slurs that would be much better if
> they were above the notes instead of below, and vice versa.
Belay
Hello list
I just finished typing some old, falling apart score and noticed some details
that bothered me, namely some slurs that would be much better if they were
above the notes instead of below, and vice versa.
I know that and how I can change their position manually, but I was wondering
on
Francisco Vila wrote:
> Hello all, I think this is remarkable: Keith OHara has put Dvořák's
> 9th symphony in Mutopia. Kudos!
>
> http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1793
That is remarkable, indeed.
There are some odd things in the key signatures. "Horn I, II in E",
"Horn III
2011/10/4 Matthew Collett
>
> On 4/10/2011, at 9:04 pm, Marek Klein wrote:
>
> > I am curious about how have you obtained the resulting pdf with lilypond,
> could I see your ly file?
>
> Certainly. Most of the formatting tricks are in a included file, so I have
> attached both of them.
>
>
Very
On 4/10/2011, at 9:04 pm, Marek Klein wrote:
> I use to typeset the music with the first word of antiphon too - this would
> solve your problem.
That is a possibility; thanks for the suggestion.
> I am curious about how have you obtained the resulting pdf with lilypond,
> could I see your ly f
On Mon, Oct 03, 2011 at 02:41:13PM +0200, David Kastrup wrote:
> Juha Erkkila writes:
> > I had some lilypond code that worked in 2.12 versions, but appears
> > broken in 2.14. I had used a construction in which a music function
> > calls itself. Here's an example:
> >
> > --
On 4/10/2011, at 7:24 pm, Bill Mooney wrote:
> I cannot help with the detail of how to achieve the custos movement you ask
> about...
>
> However, my understanding of the Asperges is that the Antiphon is repeated
> only after the end of the Gloria Patri... See p11 in Liber Usualis ed.
> Benedi
Hello Matthew,
2011/10/4 Matthew Collett
> In the various 'ancient notation' styles, Lilypond automatically places a
> custos at the end of each line, and mostly gets it right. But when there is
> a refrain or antiphon, a custos may be needed in an unexpected place or at a
> different pitch. I
Hello all, I think this is remarkable: Keith OHara has put Dvořák's
9th symphony in Mutopia. Kudos!
http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1793
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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