Daniel Rosen writes:
>> -Original Message-
>> From: David Kastrup [mailto:d...@gnu.org]
>> Sent: Sunday, April 28, 2013 3:39 PM
>> To: lilypond-user@gnu.org
>> Subject: Re: change of plans for this final project
>>
>>
>> > Can you explain in greater detail exactly what the difference is
>> \relative c'' {
>> cis4 cis \bar"" \break
>> cis cis
>>}
>
> How about
>
> \relative c'' {
> cis4 cis \bar"" \break
> cis! cis
> }
Thanks, but this makes an additional accidental in case the bar
doesn't get broken. I want a solution which is independent on the
layout
And here a variation of my previous e-mail:
Has anyone written a macro to handle broken bars with full rests
gracefully?
\relative c'' {
<< { c c \bar"" \break c c } \\
{ R1} >>
}
I can imagine to have a macro \ifBreak which gives the two
alternatives:
\ifB
On 29/04/13 13:08, Werner LEMBERG wrote:
\relative c'' {
cis4 cis \bar"" \break
cis cis
}
How about
\relative c'' {
cis4 cis \bar"" \break
cis! cis
}
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Folks,
if a bar gets broken, how can I make lilypond display additional
accidents automatically after the break?
\relative c'' {
cis4 cis \bar"" \break
cis cis
}
Werner
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On 29/04/13 11:15, Peter Wannemacher
wrote:
I am trying to offer alternate fingering in a piano piece. My goal
is to place the alternate fingerings (4) (2) in parentheses and
beneath the regular fingerings 5 3.
Here's what I've
> -Original Message-
> From: David Kastrup [mailto:d...@gnu.org]
> Sent: Sunday, April 28, 2013 3:39 PM
> To: lilypond-user@gnu.org
> Subject: Re: change of plans for this final project
>
>
> > Can you explain in greater detail exactly what the difference is
> > between \transpose and \tr
I am trying to offer alternate fingering in a piano piece. My goal
is to place the alternate fingerings (4) (2) in parentheses and
beneath the regular fingerings 5 3.
Here's what I've tried:
a_5_4 e_3_2 c e |% 5 and 3 are above 4 and 2
\parenthesize_4a_5 \
In reading the following documentation for repeats
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Repeats
where does the code go? I think in listening to this piece and analyzing
before I go in that there are 2 sets of repeats. and I'm trying to minimize
the work I need to do on th
Ok. I think then I'll prob write it in the \transpose command, but will this
work in v 2.16 and up?
On Apr 28, 2013, at 12:13 PM, David Kastrup wrote:
> Sarah k Alawami writes:
>
>> Ok. coolio. I'm not there yet. as I'm still working on the flute part
>> separately. but for the clarinet since
Ok, so in this case this thing is in g. so if I write something like
\key g \major
[g fis e d |
} How would that look transposed to the horn in f? besides the key being a
forth higher then what I'm actually hearing. I think. I'm trying to remember my
theory classes from years ago lol!
Take care
Daniel Rosen writes:
>> -Original Message-
>> From: David Kastrup [mailto:d...@gnu.org]
>> Sent: Sunday, April 28, 2013 2:46 PM
>> To: lilypond-user@gnu.org
>> Subject: Re: change of plans for this final project
>>
>> \transposition gives the relation between audible and visible pitch.
>
> -Original Message-
> From: David Kastrup [mailto:d...@gnu.org]
> Sent: Sunday, April 28, 2013 2:46 PM
> To: lilypond-user@gnu.org
> Subject: Re: change of plans for this final project
>
> \transposition gives the relation between audible and visible pitch.
>
> If you want to enter stuff
On Apr 28, 2013, at 12:10 PM, Sarah k Alawami wrote:
> Ok. coolio. I'm not there yet. as I'm still working on the flute part
> separately. but for the clarinet since it is a major second lower and is a b
> flat instrument do I have to transpose its key in f as the piece is in g? or
> am I th
Sarah k Alawami writes:
> Ok. I read in the manual since this will be a score and parts that it
> would probably be easier if I made the files individually. the
> combined then in t the score and parts needed for the conductor and
> students, or in this case the prof. I think this is a good idea
Ok. I read in the manual since this will be a score and parts that it would
probably be easier if I made the files individually. the combined then in t
the score and parts needed for the conductor and students, or in this case the
prof. I think this is a good idea so I don't have to count rests
Ok.. Here is the instrumentation for this final assignment. I do have some
questions so bare with me.
I have the templet almost complete except the choir voices are still in there.
I guess I remove then and change the layout block to reflect that after I'm
done with the music part itself
2 Fl
Hello. In lily pond i am creating my final assignment for the semester. Yee!
lol! except not.
I don't want to write rests and i plan on maybe writing out the repeats. I
don't now yet. I want to though hide empty staves until they are needed, then
hide the staves again. I saw this in a choir sc
2013/4/28 Zoltan Laszlo
> I have been using Lilypond with Frescobaldi for a long time now. Recently I
> reinstalled Windows (W7 Ult x64), then Lilypond (2.16.2) and Frescobaldi
> (2.0.8) and on compiling a .ly file I got the error message:
>
> "Starting lilypond-windows.exe [Szelid szemed_parts.l
I have been using Lilypond with Frescobaldi for a long time now. Recently I
reinstalled Windows (W7 Ult x64), then Lilypond (2.16.2) and Frescobaldi
(2.0.8) and on compiling a .ly file I got the error message:
"Starting lilypond-windows.exe [Szelid szemed_parts.ly]... Exited with
return code 1."
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