Hi Jerry,
Am 18.09.21 um 00:22 schrieb JxStarks:
Hi Kenneth,
I use LilyPond v 2.22.1 through Frescobaldi. When I'm dealing with
transposing instruments I arrange everything in C, then transpose the
parts. I would write a trumpet part like this:
trumpet = \transpose c bes {
\global
not
Hi,
What is the way to move the fingering or the phrasing slur so they don’t
conflict. Can I move the fingering just a tad up…. ?
Thanks!
\relative c'{
g'8 b g\( b-1( b8.) e16\) b2.
}
Thanks!
On 17/09/2021 22:58, Michael Seifert wrote:
Trombone player here.
You and I play instruments that are in concert pitch. This means that when
you & I look at a C printed on the page, and move our fingers/slide/lips to
play it, a C comes out of our horns.
Nitpick here - our in
Hi Kenneth,
I use LilyPond v 2.22.1 through Frescobaldi. When I'm dealing with
transposing instruments I arrange everything in C, then transpose the
parts. I would write a trumpet part like this:
trumpet = \transpose c bes {
\global
notes, etc,
}
}
This way I can insert a % to comment ou
On 17/09/2021 23:11, antlists wrote:
Then when I output it, likewise I wrap it again in "\transpose c c {}"
for bass clef, or "\transpose c' bf {}" for treble_8 clef (note I
transpose treble clef an octave and the music a second here).
Whoops - should read "\transpose bf c' {}" here ... print
On 17/09/2021 22:09, Kenneth Wolcott wrote:
I know, as an ex-tuba player (and a very low-level amatuer tuba
player), that tuba and trombone (bassoon?) don't require transposition
as they are already in concert pitch (I never played a tuba in the key
of C, F or Eb).
Tuba and trombone don't n
Trumpet "in Bb" means that where the score has a C, a Bb will sound.
Similarly Horn "in F" will sound F for a written C. In your case, as
the notes are entered not in concert pitch, you should use the LilyPond
command \transposition to specify the note that will sound when c'
(middle C) is pl
Trombone player here.
You and I play instruments that are in concert pitch. This means that
when you & I look at a C printed on the page, and move our fingers/slide/lips
to play it, a C comes out of our horns.
A part for a “Trumpet in B-flat” is written differently.
Ken,
Using Trumpet in b-flat ...
When the trumpet player looks at their part written in C-major and they
play the note middle-c, c', what sounds is the note b-flat, one step
lower. Thus all the orchestra/wind ensemble parts that play Concert C
(your tuba or trombone) must play a b-flat to pla
Hi Peter,
> partCombine gets the endpoints of the hairpins wrong, which is a bit of a
> disaster. I can try to produce a MWE.
Yeah, this is an issue that I regularly run into… I tend to “solve” it by using
the edition-engraver to inject \! into the appropriate context(s), but it sure
would be
David,
Thanks. There's another reason I want to remove the dynamics though:
partCombine gets the endpoints of the hairpins wrong, which is a bit of a
disaster. I can try to produce a MWE.
Best regards,
Peter
mailto:lilyp...@ptoye.com
www.ptoye.com
-
Friday, September
Peter Toye writes:
> I'm using PartCombine for the first time to produce a piano reduction,
> and have found a slight problem. Because the dynamics are a bit
> complex I want to remove them from the piano part, but adding \remove
> "Dynamic_engraver" to each piano staff has no effect. What am I d
On 2021-09-17 8:44 am, Peter Toye wrote:
I'm using PartCombine for the first time to produce a piano reduction,
and have found a slight problem. Because the dynamics are a bit
complex I want to remove them from the piano part, but adding \remove
"Dynamic_engraver" to each piano staff has no effec
I'm using PartCombine for the first time to produce a piano reduction, and have
found a slight problem. Because the dynamics are a bit complex I want to remove
them from the piano part, but adding \remove "Dynamic_engraver" to each piano
staff has no effect. What am I doing wrong please?
\vers
My first thought for this was:
\version "2.22.1"
instrTwo = \relative c' { \repeat unfold 8 { c4 c c c }
R1 * 12
\repeat unfold 4 { c4 c c c } }
instrOne = \relative c' {
\repeat unfold 7 { c4 c c c }
<< { \repeat unfold 24 { c4 c c c }
I forgot to comment directly on this. I often find it necessary to
create a temporary extra "dummy" voice to provide the continuity
required for slurs, ties, and beams. Sometimes the extra notes get
merged, but often one or other of them needs to be hidden if merging
cannot be contrived.
Pau
The best/easiest solution may depend on the surrounding context. But
the immediate thing that comes to mind for your limited example is:
\score {
\new PianoStaff
<<
\new Staff = "up" {\clef G c''8[ \change Staff = "low" c8]}
\new Staff = "low" {\clef F r8 \change Staff = "up" r8}
Hi Niels,
Am 17.09.21 um 12:04 schrieb Niels:
See the following example:
\version "2.20.0"
\score {
\new PianoStaff
<<
\new Staff {\clef G c''8 r}
\new Staff {\clef F r8 c}
>>
}
Is it possible to have a beam between the c'' and the c when they are
different voices and different
See the following example:
\version "2.20.0"
\score {
\new PianoStaff
<<
\new Staff {\clef G c''8 r}
\new Staff {\clef F r8 c}
>>
}
Is it possible to have a beam between the c'' and the c when they are
different voices and different staves?
Of course the problem can be solved usin
Hi Yuri,
Am 17.09.21 um 07:39 schrieb Виноградов Юрий:
It seems like \RemoveAllEmpyStaves is what you want:
%%%
\version "2.22.1"
instrOne = \relative c' { \repeat unfold 16 { c4 c c c } }
instrTwo = \relative c' { R1 * 8 \repeat unfold 8 { c4 c c c } }
\score {
<<
\new Staff \with { in
20 matches
Mail list logo
