On Wed, Mar 21, 2012 at 4:31 PM, Trevor Daniels wrote:
>
> Janek Warchoł wrote Wednesday, March 21, 2012 9:53 PM
>
>
> Glad it worked for you.
>> In return for my help, may i ask you for your opinion on how the
>> documentation should be improved to make the answer easy to find for
>> the next pe
Janek Warchoł wrote Wednesday, March 21, 2012 9:53 PM
Glad it worked for you.
In return for my help, may i ask you for your opinion on how the
documentation should be improved to make the answer easy to find for
the next person that has the same problem? I.e. in which section of
which manual (
On Wed, Mar 21, 2012 at 9:53 PM, Hayden Muhl wrote:
> 2012/3/21 Janek Warchoł
>> Here's what you should do:
>>
>> grimoaldo = \relative c' {
>> \set Staff.instrumentName = #"Grimoaldo"
>> \key a \major
>> \autoBeamOff
>> d8[ e8] fis8
>> <<
>> { \voiceOne gis8 a8.[ gis16] }
>>
On Wed, 21 Mar 2012, David Kastrup wrote:
For this purpose I need to write a pianotune that uses MIDI channel 3 for
the Left Hand part, and MIDI channel 4 for the Right Hand part. A bit
strange, I agree, but this is what the PianoBooster docs tell me to do.
Well since Lilypond enumerates the
2012/3/21 Janek Warchoł
> On Wed, Mar 21, 2012 at 7:46 PM, Hayden Muhl wrote:
> > 2012/3/21 Janek Warchoł
> >>
> >> On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl
> wrote:
> >> > and non-divisi sections of a score. Hopefully there is a sane method
> of
> >> > getting this to work that I'm not aw
> I suggest that the vertical spacing alrogithm should calculate the
> area between the objects (staves, systems, lyrics etc). See here
> how it would work: http://www.freeimagehosting.net/tsr21
Looks right: The area between horizontal skylines should influence the
spacing. However, I think we
On Wed, Mar 21, 2012 at 9:46 AM, Frank Steinmetzger wrote:
> On Sat, Mar 17, 2012 at 01:53:10PM -0700, Joe Neeman wrote:
>> There are two competing desires here [...]. Could you suggest, therefore, an
>> extra parameter (or a modification to the [vertical spacing] algorithm) that
>> would give yo
Possibly this mail got lost, so I rewrite it (code is somewhat different).
Siska Ádám writes:
> Dear List,
>
>
> is there an effective way to separate the pitches and the rhythms in a
> voice? I'm thinking about something like defining a variable
> consisting only of rhythms:
>
> Rhythm = {
>
Hi, James!
> Maybe I have missed something but I cannot see any of the other
> spacing in your \paper {} block
I use them in my real scores, things like
{ system-system-spacing =
#'((basic-distance . 26)
(minimum-distance . 13)
(padding . 1)
(stretchability . 5))
> http://lilyp
Hi, David!
21.03.2012, 14:17, "David Kastrup" :
>
> Not enough documentation reading, I guess. Check out
> http://lilypond.org/doc/v2.15/Documentation/usage/latex> for
> description and applications of the \betweenLilyPondSystem macro.
>
> --
> David Kastrup
>
Well, it's always not enough ))). T
On Wed, Mar 21, 2012 at 8:15 PM, bobr...@centrum.is wrote:
> Well [..] You can do linebreaks, repeats and I believe articulations as well,
> by simply putting them in a separate voice
> and then combining them later with the musical voice
That's true, but this solution has it's drawbacks. Stay
On Wed, Mar 21, 2012 at 7:44 PM, Siska Ádám wrote:
> Hi,
>
> On 2012.03.21., at 19:18, Janek Warchoł wrote:
>
>> On Wed, Mar 21, 2012 at 4:05 PM, Siska Ádám wrote:
>>> is there an effective way to separate the pitches and the rhythms in a
>>> voice? I'm thinking about something like defining a v
- Original Message -
From: D'Arcy Cain
To: lilypond-user@gnu.org
Sent: Wed, 21 Mar 2012 15:47:14 - (GMT)
Subject: Re: Separating pitch and rhythm AND structure
On 12-03-21 11:05 AM, Siska Ádám wrote:
> is there an effective way to separate the pitches and the rhythms in a voice?
> I
On Wed, Mar 21, 2012 at 7:46 PM, Hayden Muhl wrote:
> 2012/3/21 Janek Warchoł
>>
>> On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl wrote:
>> > and non-divisi sections of a score. Hopefully there is a sane method of
>> > getting this to work that I'm not aware of.
>>
>> Do not use \\ shortcut, beca
2012/3/21 David Kastrup :
> It should just inform lilypond-book of things like spacing between
> systems and forced breaks, and lilypond-book could in turn tell LaTeX
> what is wanted.
Yes but
{ c,,1 c' c' c' c' c' c' c' c' c'
c' c' c' c' c' c' c' c' c' c'
}
\layout { system-count = 2 }
--
2012/3/21 Janek Warchoł
> On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl wrote:
> > I'm type setting an aria where there are optional low notes for a single
> > measure. My normal approach when setting instrumental music does not work
> > here, because the lyrics do not follow the notes properly.
Hi,
On 2012.03.21., at 19:18, Janek Warchoł wrote:
> On Wed, Mar 21, 2012 at 4:05 PM, Siska Ádám wrote:
>> is there an effective way to separate the pitches and the rhythms in a
>> voice? I'm thinking about something like defining a variable consisting only
>> of rhythms:
>> The purpose is: I'
On Wed, Mar 21, 2012 at 7:57 AM, Hayden Muhl wrote:
> I'm type setting an aria where there are optional low notes for a single
> measure. My normal approach when setting instrumental music does not work
> here, because the lyrics do not follow the notes properly.
>
> Here's my snippet.
>
> http://
Francisco Vila writes:
> 2012/3/21 David Kastrup :
>> Svetlana writes:
>>
>>> Hello all!
>>>
>>> I try to combine latex text and lilypond scores. Lot of documentation
>>> read, but there remain two issues, I can't solve.
>>>
>>> 1) Is there any way to control vertical space between systems while
On Wed, Mar 21, 2012 at 4:47 PM, D'Arcy Cain wrote:
> On 12-03-21 11:05 AM, Siska Ádám wrote:
>> I'm thinking about something like defining a variable
>> consisting only of rhythms:
>> and then apply this to different sequences of pitches:
>
> Sounds like it would be a cool feature if it existed.
2012/3/21 David Kastrup :
> Svetlana writes:
>
>> Hello all!
>>
>> I try to combine latex text and lilypond scores. Lot of documentation
>> read, but there remain two issues, I can't solve.
>>
>> 1) Is there any way to control vertical space between systems while
>> using lilypond-book? In lilypon
On Wed, Mar 21, 2012 at 4:05 PM, Siska Ádám wrote:
> is there an effective way to separate the pitches and the rhythms in a voice?
> I'm thinking about something like defining a variable consisting only of
> rhythms:
> The purpose is: I'm engraving a long, homophonic section
> in an orchestral p
2012/3/21 Kieren MacMillan :
> 1. The default auto-beaming should produce scores which represent the current
> best practice in the engraving industry, which is to ignore lyrics (inside
> and outside melismas) and beam as if it were instrumental music.
And using slurs for melismas (which are int
Kieren MacMillan wrote Wednesday, March 21, 2012 12:50 PM
Here's my opinion:
1. The default auto-beaming should produce scores which represent the
current best practice in the engraving industry, which is to ignore lyrics
(inside and outside melismas) and beam as if it were instr
The simplest way to do this is to use 2 explicit voices all the way through,
and use spacer rests in the second voice where it has no notes. Use \oneVoice
\voiceOne and \voiceTwo to change between using the explicit voices and the
parts where the second voice is silent.
If this can't be used f
Dear Xavier,
On 2012.03.21., at 16:44, Xavier Scheuer wrote:
> 2012/3/21 Siska Ádám :
>> Dear List,
>>
>>
>> is there an effective way to separate the pitches and the rhythms in a voice?
>> I'm thinking about something like defining a variable consisting only of
>> rhythms:
>>
>> (snip)
>>
>> T
On 12-03-21 11:05 AM, Siska Ádám wrote:
is there an effective way to separate the pitches and the rhythms in a voice?
I'm thinking about something like defining a variable consisting only of
rhythms:
Rhythm = {
\time 4/4
4 4 4. 8
8 8 4 4 8 8
2 4 8 8 ...
}
and t
2012/3/21 Siska Ádám :
> Dear List,
>
>
> is there an effective way to separate the pitches and the rhythms in a voice?
> I'm thinking about something like defining a variable consisting only of
> rhythms:
>
> (snip)
>
> The purpose is: I'm engraving a long, homophonic section in an orchestral
> pi
On 21 Mar 2012, at 01:41, Tom Tobin wrote:
> I'd like to request a feature for Lilypond, if it hasn't been requested
> already.
> There is a musical expression in Irish, Scottish, and Cape Breton fiddling,
> called a cut. It is a quick flick of the fiddler's bow wrist, to cause the
> bow
> to c
Dear List,
is there an effective way to separate the pitches and the rhythms in a voice?
I'm thinking about something like defining a variable consisting only of
rhythms:
Rhythm = {
\time 4/4
4 4 4. 8
8 8 4 4 8 8
2 4 8 8 ...
}
and then apply this to different s
Hello,
I'd like to request a feature for Lilypond, if it hasn't been requested already.
There is a musical expression in Irish, Scottish, and Cape Breton fiddling,
called a cut. It is a quick flick of the fiddler's bow wrist, to cause the bow
to change direction three times.
It would be immensely
Martin Tarenskeen writes:
> On Tue, 20 Mar 2012, Frank Steinmetzger wrote:
>
>> On Tue, Mar 20, 2012 at 09:11:20PM +0100, Martin Tarenskeen wrote:
>>
>>> Hi,
>>> [...]
>>> For this purpose I need to write a pianotune that uses MIDI channel 3 for
>>> the Left Hand part, and MIDI channel 4 for the
I'm type setting an aria where there are optional low notes for a single
measure. My normal approach when setting instrumental music does not work
here, because the lyrics do not follow the notes properly.
Here's my snippet.
http://www.lilybin.com/hjtorv/1
The text "la catena" should match to th
Svetlana writes:
> Hello all!
>
> I try to combine latex text and lilypond scores. Lot of documentation
> read, but there remain two issues, I can't solve.
>
> 1) Is there any way to control vertical space between systems while
> using lilypond-book? In lilypond file I have ragged-bottom = ##f an
I tried partcombine as in the "SATB with piano reduction" example in
http://lilypond.org/doc/v2.14/Documentation/learning/vocal-ensembles
But I'd like to have two symbols (one stem up and other down) when the same
note is singed by S/A or T/B. Partcombine turns into a single note.
tks
Felipe
On
Hi Janek,
> \relative c'' {
> r2 d4 g,8 g
> c8 c c c b16 \melisma a b c b c a b
> g16 fis g a g b a b c b c d c d b c
> a4 \melismaEnd r r2
> }
> \addlyrics { For un -- to us a child is born, __ }
>
> should produce the same output as now. The cool thing would be that this:
>
> \relative c'
2012/3/20 Julien Rioux
> Jakub Pavlík gmail.com> writes:
> > I've found a serious difference in behaviour between lilypond-book
> 2.12.3 and
> 2.15.34:
>
> Thanks, I've added it here:
> http://code.google.com/p/lilypond/issues/detail?id=2423
>
> Regards,
> Julien
>
I must apologize for an error
Svetlana
2012/3/21 Svetlana :
> Hello all!
>
> I try to combine latex text and lilypond scores. Lot of documentation read,
> but there remain two issues, I can't solve.
>
> 1) Is there any way to control vertical space between systems while using
> lilypond-book?
Maybe I have missed something b
Hello all!
I try to combine latex text and lilypond scores. Lot of documentation read, but
there remain two issues, I can't solve.
1) Is there any way to control vertical space between systems while using
lilypond-book? In lilypond file I have ragged-bottom = ##f and some
stretchability, basic
Date: Tue, 20 Mar 2012 10:47:10 +0100
From: Wilbert Berendsen
To: "Peter Gentry"
"Peter Gentry" schreef:
> I have recently converted from jedit to Frescobaldi and like what I
> find. In particulr FB can accept files on a netdrive almost. The
> problem I find is that the fonts for headers are
On Sat, Mar 17, 2012 at 01:53:10PM -0700, Joe Neeman wrote:
grrr... I _must_ remember to look to whom I send my replies; stupid mutt. I
answered only to Joe again. Here goes a second time:
> > Example #2, padding.png, shows a piece which has a large variation in
> > staff height, because there ar
On Wed, Mar 21, 2012 at 9:10 AM, Xavier Scheuer wrote:
> 2012/3/21 Janek Warchoł :
>>
>> The cool thing would be that this:
>>
>> (snip)
>>
>> would produce automatic beaming inside the melisma. Of course, it
>> should be possible to turn this off.
>>
>> Is this acceptable to you?
>
> Maybe I'm m
2012/3/21 Janek Warchoł :
>
> The cool thing would be that this:
>
> (snip)
>
> would produce automatic beaming inside the melisma. Of course, it
> should be possible to turn this off.
>
> Is this acceptable to you?
Maybe I'm missing an important point but AFAIK you can get automatic
beaming insi
On Tue, Mar 20, 2012 at 11:30 PM, Kieren MacMillan
wrote:
> My 2¢:
>
>>> I'd like to easily make choral scores with automatic beaming
>>> inside melismas and none outside.
>
>> I 100% support your wish.
>
> While I 100% the idea that Lilypond should do everything for everybody
> (within reason), I
Nick
On 19 March 2012 05:19, Nick Payne wrote:
> In a chord with two accidentals, if I set the fingering script-priority to
> -99, the fingerings still avoid both accidentals, but if I set it to -100,
> each fingering indication is positioned without regard to the accidental on
> the other note.
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