On Tue, Mar 24, 2015 at 9:01 AM, Mark Knoop m...@opus11.net wrote:
Tuplets across barlines are a relatively common notational practice and
work perfectly well in LilyPond. It is undesirable that they should
require a workaround for use in parts with skipBars.
If I understand you correctly it
Hello Stephen,
sounds interesting, but I don’t think there’s any way of judging this
without any examples (code and output).
Yours,
Simon
Am 24.03.2015 um 03:31 schrieb Stephen MacNeil:
the files when i compiled on my linux box render a more compressed
look then those on my friends
2015-03-24 17:48 GMT+01:00 David Nalesnik david.nales...@gmail.com:
Harm,
On Sat, Mar 21, 2015 at 3:14 PM, Thomas Morley thomasmorle...@gmail.com
wrote:
Hi David,
please consider to add it to our source.
It's a very useful developing/debugging tool!
Happy to oblige!
On 2015-03-24 04:11 PM, Peter Bjuhr wrote:
On 2015-03-23 18:37, SoundsFromSound wrote:
Hi all,
I also am having quite a headache installing the new Frescobaldi 2.18
and
python-ly on my friend's laptop. It's a new, clean install on Debian
and I
left all install locations as their default. I
Welcome to the community, Daniel!
Can you show us what your score code looks like? I think this will help us
know how we can help you better. If the code isn't too long, just put it in
the body of the email, otherwise you can attach it. Either way is just fine.
Regards,
Abraham
On Tue, Mar 24,
2015-03-22 9:04 GMT+01:00 Marc Hohl m...@hohlart.de:
Hi Harm,
Am 21.03.2015 um 21:02 schrieb Thomas Morley:
[...]
Thanks Marc and David pointing me in the correct direction.
This is issue 3289
https://code.google.com/p/lilypond/issues/detail?id=3289
Curing a regression detected in 2.17.
I am having a problem getting my lyrics to fit across a group of notes
which contain a tie. Here's the smallest possible example:
\version 2.16.2
melody = \relative c'' {
\clef treble
\key a \major
\time 4/4
b8. b16 b16 cis8 a16~ a8. e16fis8 a16 ( a~ |
a8 fis )
Hello everyone,
I am a new member. I am also blind. I tried to show part of my composition to
my professor today, and he said there are certain things about the layout the
need to be addressed in order for it to look more presentable. Is there
anything I must include by default and all of my
On Tue, 24 Mar 2015, Colin Campbell wrote:
Nailed it, Wilbert! It seems that I must be the first person to install
python-ly as well as Adam Spiers' ly2video. That's a really cool utility
which takes a .ly project, compiles to MIDI and ultimately gives an AVI file
with the score scrolling
2015-03-24 17:06 GMT+01:00 Mark Knoop m...@opus11.net:
At 15:43 on 24 Mar 2015, Kevin Barry wrote:
On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop m...@opus11.net wrote:
{ \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
{ \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
At
On 2015-03-23 18:37, SoundsFromSound wrote:
Hi all,
I also am having quite a headache installing the new Frescobaldi 2.18 and
python-ly on my friend's laptop. It's a new, clean install on Debian and I
left all install locations as their default. I am getting the same error,
saying python-ly
On 24/03/15 22:46, tisimst wrote:
Remember: Indicate the start of the slur AFTER the note you want it to
start on and AFTER the note you want it to end on.
Aha! I knew there was something I'd misunderstood and/or forgotten and
that was it. Thank you so much.
--
Henry Law
+1
I hadn't heard of this utility before. Sounds intriguing. Frescobaldi is
such a great frontend/ide.
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/ANN-Frescobaldi-2-18-tp172767p173603.html
Sent from the User mailing list archive at Nabble.com.
Henry,
Sorry. I just realized that I didn't answer your question quite correctly
(though what I said is true). What you need to do is move the start of the
slur to the last a in the first measure and things should be just fine:
melody = \relative c'' {
\clef treble
\key a \major
\time 4/4
Henry,
It's not the tie, but the slur that is causing your problem. Slurs enforce
a lyric melisma. You have two options:
1. You can either remove the slur (which I think is the right thing to do):
melody = \relative c'' {
\clef treble
\key a \major
\time 4/4
b8. b16 b16 cis8 a16~ a8.
On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop m...@opus11.net wrote:
{ \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
{ \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
At best I would consider these to be non-standard notation. At worst I'd
say it's incorrect. It's
You guessed right, Kevin. It's defined in ly/property-init.ly:
compressFullBarRests = \set Score.skipBars = ##t
- Abraham
On Tue, Mar 24, 2015 at 9:44 AM, Kevin Barry [via Lilypond]
ml-node+s1069038n173568...@n5.nabble.com wrote:
On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop [hidden email]
At 12:31 on 24 Mar 2015, Kevin Barry wrote:
On Tue, Mar 24, 2015 at 9:01 AM, Mark Knoop m...@opus11.net wrote:
At 18:16 on 23 Mar 2015, Mark Knoop wrote:
Barlines disappear when skipBars is true and a note duration
continues over the bar. I don't think this should happen.
\version 2.18.2
{
At 15:43 on 24 Mar 2015, Kevin Barry wrote:
On Tue, Mar 24, 2015 at 2:38 PM, Mark Knoop m...@opus11.net wrote:
{ \time 2/4 c'4 c'1 c'4 } % 3 bars, 2nd of which is empty
{ \time 2/4 c'4 c'2 c'4 } % 2 bars, neither of which is empty
At best I would consider these to be non-standard notation.
I was wondering if anyone had a clue as to how to get the eighth rest
in voice three to be shown above the half note in voice four?
\version 2.19.15
\include english.ly
pianoVoiceOne = \relative c' { fs b d2 f c' }
pianoVoiceTwo = \relative c' { s1 }
pianoVoiceThree = \relative c' { \stemDown
YES!!!
Thank U All 4 u.
-$teev
On 25/03/2015 07:20, st...@linuxsuite.org wrote:
Your attached code still has the note heads in voiceThree and
voiceSix
changed to black harmonics, when there is a black harmonic in voiceOne
Just change
you can specify a placement for the rest by indicating a note\rest. in this
case i used g8\rest
hope that helps
stephen
\include english.ly
pianoVoiceOne = \relative c' { fs b d2 f c' }
pianoVoiceTwo = \relative c' { s1 }
pianoVoiceThree = \relative c' { \stemDown g8\rest a fs [ d ]
On 2015-03-24 05:02 PM, Martin Tarenskeen wrote:
*
Ouch. Any chance this will be fixed soon, either for frescobaldi or
for ly2video? I was just planning to try the ly2video utility.
Or even better:
Wouldn't it be nice if Adam and Wilbert could work
Hi David,
I was wondering if anyone had a clue as to how to get the eighth rest in
voice three to be shown above the half note in voice four?
Yes: use Lilypond’s automatic voicing:
\new PianoStaff
\new Staff = upper
\new Voice = first { \voiceOne
Dear List,
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lilypond-user mailing list
lilypond-user@gnu.org
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Dear List,
The LilyPond notation reference, section 2.1.2, (
http://www.lilypond.org/doc/v2.18/Documentation/notation/techniques-specific-to-lyrics)
contains the following example of how to use lyrics in concert with repeat
alternative endings. It compiles fine in version 2.18.2, showing both
On 2015-03-24 08:28 PM, Peter Heisen wrote:
Dear List,
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lilypond-user mailing list
lilypond-user@gnu.org
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I can see that the problem seems to involve a lack of output, but
perhaps a bit more
Some composers like to extend tuplet brackets past the end of the last note to
the end of the metric duration. I have to set hundreds of these and have to use
shorten-pair for each one, which is inaccurate since every one is different in
the music I am dealing with, and tedious. Is there a way
2015-03-25 1:34 GMT+01:00 Andrew Bernard andrew.bern...@gmail.com:
Some composers like to extend tuplet brackets past the end of the last note
to the end of the metric duration. I have to set hundreds of these and have
to use shorten-pair for each one, which is inaccurate since every one is
At 23:42 on 23 Mar 2015, Kevin Barry wrote:
On Mon, Mar 23, 2015 at 6:16 PM, Mark Knoop m...@opus11.net wrote:
Barlines disappear when skipBars is true and a note duration
continues over the bar. I don't think this should happen.
It is consistent with the IR definition of the property: `If set
Am 23.03.2015 um 21:53 schrieb Nikolai Hedler:
Would you like to enlighten me, then? Or do you mean to recommend
that I just use the hackish workaround?
Actually the following works perfectly well in a single file:
\version 2.18.2
#(set-global-staff-size 15)
\book {
\bookOutputName
Harm,
On Sat, Mar 21, 2015 at 3:14 PM, Thomas Morley thomasmorle...@gmail.com
wrote:
Hi David,
please consider to add it to our source.
It's a very useful developing/debugging tool!
Happy to oblige!
https://code.google.com/p/lilypond/issues/detail?id=4328
--David
Schneidy wrote
Ok! Well done Paul!
See : http://lsr.di.unimi.it/LSR/Item?id=890 (note that I've simplified
the
thickness decimals).
Please feel free to add/ delete/ modify anyting you want.
Looks good! Thanks for working on this. I can't think of anything to
change, except one little
David Nalesnik-2 wrote
If there's a property which indicates on which side of a stem the note
falls, I don't find it. Seems like there definitely should be one!
I don't think there is one. The positioning of note heads to the left or
right of their stem appears to be determined in
Howdy!
I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.
Each bar shows a different behaviour depending on the first voice
bar 1 - seems
Am 24.03.2015 um 21:15 schrieb st...@linuxsuite.org:
Ok,
I reduced the problem to one bar, and the black harmonics..
Everything works except the notes are changed in voicethree and
voicesix to black harmonics.
Well, basically you’re asking for it. \H is defined as
On 25/03/2015 07:20, st...@linuxsuite.org wrote:
Your attached code still has the note heads in voiceThree and voiceSix
changed to black harmonics, when there is a black harmonic in voiceOne
Just change Staff.NoteHead to NoteHead, and it fixes the problem:
\version 2.18.2
voiceFive =
Ok,
I reduced the problem to one bar, and the black harmonics..
Everything works except the notes are changed in voicethree and
voicesix to black harmonics. This is the simplest reduction I can produce...
http://gooeytar.com/projects/test/test.ly
Am 24.03.2015 um 19:39 schrieb st...@linuxsuite.org:
Howdy!
I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.
Each bar shows a different
Howdy!
I have reduced a multivoice structure that is part of a
composition to a simple five bar example of voice splitting.
I need 4 voices, and then I need one voice to split.
I managed to improve it by adding voices, but the black harmonics
still corrupt the other
Your attached code still has the note heads in voiceThree and voiceSix
changed to black harmonics, when there is a black harmonic in voiceOne
-steve
Am 24.03.2015 um 19:39 schrieb st...@linuxsuite.org:
Howdy!
I have reduced a multivoice structure that is
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