Am 21.04.2014 09:53, schrieb Jan-Peter Voigt:
\relative c'' { c4 b\ bes\! \override Hairpin.to-barline = ##f a\
| g\! }
Am 21.04.2014 09:55, schrieb Janek Warchoł:
I think to-barline property of hairpins should help you.
Thanks to all, this helps. I wasn't aware of that property and
Hello you without a realname,
2014-04-11 16:36 GMT+02:00 wieczorek1990 wieczorek1...@gmail.com:
Please aid me and fill out the form:
https://docs.google.com/forms/d/1wKc1yrfM4pwytpPDU91s5U14KxemtRUFtG7YOtgK7LQ/viewform
No information about the initiator, the company that is using it, how
Has there been any MusikMesse in Frankfurt (Oder)?
--
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Hello,
Currently I am writing an excerpt from a 20th century work for the
rhythm group. \RemoveEmptyStaves reduces the lines without notes
dramatically.
But there are a lot of time changes also in the measures where no rhythm
instruments plays. Now I get all the rehearsal marks for these
Here is the SSCCE for the problem. How can I show one line for measures
11 to 24?
Regards
Helge
\version 2.18.0
rhythm = \relative c' {
\time 2/2 s1*10
\mark\default
\time 3/4 s2.*5
\mark\default
\time 2/2 s1*18
\mark\default
\time 3/4 s1*20
}
triange = \relative c' {
Hello Kieren,
many thanks this helps. But the real world is a bit more difficult than
the SSCCE. Besides the time changes there are a lot of measures where
the rhythm group waits. So we find something like:
\time 3/4
R2.*63
With you help I get the first line of rests and the last
Hello,
i start writing some notes for a orchestral drums (timpany, tamburino,
tamburo, silifon, cassa). I am new to drumm staves and hit some problems.
1. I can use \context { \Staff \RemoveEmptyStaves } } to remove a normal
staff. But when I put the notes in a RhythmStaff it will not be removed
Hello,
I have a part for voice where both hands should play glissandi
alternatively for some measures. So when one glissando stops the other just
started. It looks like as Lilypond avoids a line break in a glissando. The
composer added a lot of thes measures. Unfortunately \break doesn't cause a
Thanks, works fine.
I must admit that reading the fine manual would have easier than producing
the stripped down example.
Regards
Helge
2014-02-03 David Nalesnik david.nales...@gmail.com:
Hi Helge,
On Mon, Feb 3, 2014 at 1:44 PM, Helge Kruse helge.kr...@gmx.net wrote:
Hello,
I have
2013/12/23 Johan Vromans jvrom...@squirrel.nl
This shows the modifier names. I was looking for that thingee that gives
me
that small zero.
That should be the dim
Yes, I found it as I already wrote. I just want to ask if it would be
possible to add the result of C:dim and all others
2013/12/21 Thomas Morley thomasmorle...@gmail.com
There are several comments in the code, ask if anything isn't clear.
There are so many things I don't understand. Fortunately I understood some
little things so that I was able to integrate it in the whole score. e.g. I
realized that it helps to
I am currently discovering new capabilities (for me) of Lilypond. When I
want to write chords I can find a lot of help here
http://www.lilypond.org/doc/v2.17/Documentation/notation/displaying-chords
But it's a bit try and error to find the right attribute for the attribute.
So it took a while to
2013/12/22 Federico Bruni fedel...@gmail.com
maybe the next appendix?
http://www.lilypond.org/doc/v2.17/Documentation/notation/common-chord-modifiers
This shows the modifier names. I was looking for that thingee that gives me
that small zero. Yes, I could try all or I could learn how each
Thomas Morley thomasmorley65 at googlemail.com writes:
some time ago I wrote the snippet below. It's a little bit hackish and
would need some redesign/improvement for which I currently do not have
the time.
But for now it should work.
Thomas, this is a long time ago. But I just need
2013/12/21 Thomas Morley thomasmorle...@gmail.com
which version do you use?
Could you provide a minimal exmple of your score-setup?
I.e.:
I have a complete example. I tried to make it as small as possible. But
therere are 120 lines. Probably this makes it easier to show my idea. At
least
2013/11/14 David Kastrup d...@gnu.org:
I am in the e-mail world for some decades. It was always a good
style to write the answer on top of all other text and to not delete
anything that has written before.
In a mailing list? No.
Sorry, you missed one point. I wrote about mails in general.
This interface improvement also effectively enforces top-posting: it takes
extra effort to post replies in the middle of quotes (like a conversation)
and most people don't care.
I am in the e-mail world for some decades. It was always a good
style to write the answer on top of all other text
Hello
I just wanted to download the beta release of Lilypond. But I was lazy
and just entered Lilypond in my Chrome web browser. Interestingly the
second hit was http://lilypond.org/web/ what is a bit dated as it
describes 2.12.3. Shall this stay on the server?
Regards
Helge
The five staff lines, Id presume.
Confirmed. http://browse.dict.cc/deutsch-italienisch/Notenliniensystem.html
Regards
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Am 03.11.2013 15:28, schrieb Son_V:
The problems that I encounter are often due to the fact that I'm not English
mother language, so I often can't find how to put in English questions that
maybe I have problems to put even in Italian.
Year mail can be read perfectly.
What I can't figure out
Am 01.11.2013 19:13, schrieb David Kastrup:
I seem to remember that Windows does something weird with = on the
command line.
I know for sure that the equal sign is nothing special for Windows. The
command line is passed to the process as we give it at the command line.
The Scheme
Am 01.11.2013 16:44, schrieb David Kastrup:
Joshua Nicholsjosh.d.nich...@gmail.com writes:
Somewhat related: How in the world do I invoke lilypond or
lilypond-book in LaTeX, or TexWorks?
I don't know TexWorks, and one does not invoke lilypond or lilypond-book
in LaTeX. lilypond-book
%=
%
% Konservatorium Schwerin
%
% author: Helge Kruse
%
%=
\version 2.16.0
#(ly:set-option 'midi-extension midi)
#(ly:set-option 'delete-intermediate-files #t)
#(ly:set-option 'point-and-click #f)
#(set-default
Shouldn't the characters in a chemical set without italics? You just want
to show the expected position of the sub-indexed number.
Helge
2013/10/16 Pierre Perol-Schneider pierre.schneider.pa...@gmail.com
Dear Developers, Dear List,
There is something I found disturbing for years : I
Binding the slur to the rest changes the end column of the point. Another
idea would be a invisible end point:
\score {
\relative {
\new Voice=1
b'32 c( b a g a b c d e f e g f e d
c e c g e c' g e
\once \override Rest #'stencil = ##f r8)
\\
\voiceOne c8
Well, Microsoft has invented the side-by-side (SxS) installation years
ago. I has been introduced for Windows XP.
(http://msdn.microsoft.com/en-us/library/aa376307.aspx)
Although the name assembly suggests that it has to do with .NET CLR
it is a plain DLL thing suitable for native C applications.
Am 07.09.2013 14:31, schrieb Janek Warchoł:
Well, there's a concept of preview mode and publish mode in
Frescobaldi (the second one produces pdfs without point-and-click).
The idea is that when you finish your work, you use publish mode to
create final pdf.
When you've done this, have two
Additionally to Urs' reply I edited your code and just added the change stuff.
Regards
Helge
2013/9/4 Urs Liska u...@openlilylib.org:
Am 04.09.2013 16:17, schrieb MING TSANG:
Hi, Urs:
Thank you for the info pertain to phrasing slurs. I don't know how to code
\change Staff in context staff
Now with with the correct file.
2013/9/4 Helge Kruse helge.kr...@gmx.net:
Additionally to Urs' reply I edited your code and just added the change stuff.
Regards
Helge
2013/9/4 Urs Liska u...@openlilylib.org:
Am 04.09.2013 16:17, schrieb MING TSANG:
Hi, Urs:
Thank you for the info
I have reproduced the behavior that James described.
I hope this helps.
Regards
Helge
\version 2.16.0
sopranoVoice = \relative c' {
\repeat unfold 24 { r4 }
r4 f f8 g4 f8 ~ | f1
\repeat unfold 24 { r4 }
}
verse = \lyricmode {
in Ter -- re Haute.
}
\score {
\new Staff { \sopranoVoice
2013/6/12 Jan Nieuwenhuizen jann...@gnu.org
Hi,
I put some images up at the public url
https://plus.google.com/b/109917054452640897824/109917054452640897824/posts/jPRaUgF34ma
and I hope to get more publicity and possibly a donation for LilyPond.
Hello Jan,
this reminds me to the last
I have found a strange behavior with incomplete staves. This is not really
important for a complete score, since you usually want to have all staves
to have the same number of measures. But while entering the notes I've been
surprised that empty staves will be drawn to the end of the piece when a
Am 01.06.2013 06:17, schrieb Werner LEMBERG:
What prevents Lilypond to do this automatically? I want an option
that staves are only removed if there are at least two systems on a
page.
I would phrase that there *would* be two systems after removing the
empty staves.
Helge
2013/5/25 Ursus ursus.k...@gmail.com
\new Voice =first
{
\voiceOne bes4.( as8 bes des |
bes8. as16 bes4) des,~( |
des8. es16 des4 g~ |
g8. as16 e4~ e8)\fermata s8 |
}
...
I don't have a remark to improve your typesetting. But there is a
suggestion for using the mail
2013/5/22 Florian Hollerweger fhollerwege...@qub.ac.uk
Let's not be cynical about this: It was fully intentional,
Sorry to sound cynical. Now I looked up the M$ thingy in urbandictionary. I
wasn't aware of this, just thougt it was a typo.
I am starting to find this discussion rather
2013/5/21 Florian Hollerweger fhollerwege...@qub.ac.uk
At page 17 is a typo. You find the correct spelling here:
http://www.microsoft.com/en-**us/download/details.aspx?id=29http://www.microsoft.com/en-us/download/details.aspx?id=29This
would also be more specific at the required 'module'.
2013/5/20 Florian Hollerweger fhollerwege...@qub.ac.uk
The workshop slides and accompanying .ly examples are available in the
following archive:
http://lac.linuxaudio.org/**2013/download/lilypond_**lac2013.tgzhttp://lac.linuxaudio.org/2013/download/lilypond_lac2013.tgz
Hello Florian,
You opened a slur in line 92: c8(
In line 93 you try to open a new slur without closing the previous one:
cis8(
Close the first or check if it's the wrong location to start the slur.
Hint for the other errors: Look for \partial for upbeat.
Regards
Helge
2013/5/14 Sarah k Alawami
Just place the \override as Keith mentioned:
before the first note of the beam
This works for me.
Regards
Helge
2013/5/9 Mark Stephen Mrotek carsonm...@ca.rr.com
Mr. Payne:
Thank you for your reply and correction. The command was inserted (see
attached file). The stems are still of
Am 14.04.2013 13:06, schrieb Thomas Morley:
The link above is not sufficient, because `not-part-first-page´
doesn't work out of the box with 2.16.2 (it does with 2.17.15)
The needed definitions have to be written in the file:
\version 2.16.0
#(define (part-first-page? layout props)
(=
I find that sometimes the notes looks clumsy. I think the length of the
stem is too short as in this example:
\version 2.16
\score { \relative c { \clef bass
\times 4/6 { f,16 c f g a c }
\times 4/6 { a g f c f, c' } r2 |
}
}
I would like the stem length as in this example:
\score
I find that sometimes the notes looks clumsy. I think the length of the
stem is too short as in this example:
\version 2.16
\score { \relative c { \clef bass
\times 4/6 { f,16 c f g a c }
\times 4/6 { a g f c f, c' } r2 |
}
}
I would like the stem length as in this example:
\score
Am 14.04.2013 10:05, schrieb Nick Payne:
On 14/04/13 17:49, Helge Kruse wrote:
I find that sometimes the notes looks clumsy. I think the length of
the stem is too short as in this example:
\version 2.16
\score { \relative c { \clef bass
\times 4/6 { f,16 c f g a c }
\times 4/6 { a g f c f, c
I want to write all instrument's part in one book. I use a bookpart for
each instrument. The headline should identify the piece, instrument and
page to reduce the time for sort pages when all sheets dropped to the
floor. ;-)
For each instrument I have a header. How I can I suppress the head
Hello,
I typeset a song in (4+5)/8 time signature. One staff starts with full
measure rests:
\version 2.16.0
\relative c'' {
\compoundMeter #'((4 5 8))
R1 R8 |
R1 R8 |
r1 c8 |
}
The Lilypond output looks good. But why does I get a barcheck failed
at: 1 for the first measure? Can
Am 19.03.2013 19:58, schrieb Kieren MacMillan:
Yes: Use R8*5 instead of R1 R8.
I think you reckon R8*9. Of course, this helps. Silly me.
Thanks
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
Hello,
I start typesetting some songs. I know how to add the lyrics. But the
one song has a short chorus in front of the verses. This looks similar
like this
when I come home
I like the cho - rous { when I sleep at night
but can't
Am 28.02.2013 00:13, schrieb Xavier Scheuer:
Lilypond to handle the unison/divisi issue (which is quite common),
and then present my findings in a whitepaper. I know that doesn't help
you right now… so the best I can do is tell you that your main problem
You might be interested in starring
I there, I am typesetting a piece for a small orchestra. There ares
voice for the violas and cellos too. These violas play unisono for the
first five pages. Then suddenly they play very different voices. I am
reluctant to add a Viola I staff and a viola II staff to the whole
score. The
Hello,
I want to generate a simple MIDI file. Unfortunately I found a problem
in context of an appogiatura. When it follows a tied note the MIDI
output doesn't include one tied note but two indiviual notes. Is there
any way to circumvent?
Regards
Helge
\version 2.16.0
\score {
\relative c''
I have a new variant of cross-staff notes. When I omit the H in the
upper staff and don't use polyphon music it looks quite nice, needs just
some tweeks with dumping and so.
But there is one note that requires this {}\\{} construct, doesn't
it? In this case Lilypond doesn't find a good slope
I want to write a cross-staff-stem and used the pattern from the snippet
repository. I managed to get the cross-staff at the second beat. But i
would like to have the stem down.
When I try to change the stem direction I am not able to set correct
duration. I think this breaks the cross-staff.
Am 13.02.2013 22:53, schrieb Thomas Morley:
2013/2/13 Helge Krusehelge.kr...@gmx.net:
How do I get the stem down?
Is this discussion of some help for you?
http://lists.gnu.org/archive/html/lilypond-user/2012-12/msg00314.html
Indeed, very helpful.
My mistake was the löocation where I wrote
2013/2/6 David Kastrup d...@gnu.org
That's rather a lack of copypaste skills. You can't add or remove
parentheses in Scheme without changing the meaning.
Nope. I was able to copy your excerpt just fine. But i needs Scheme skills
to identify where it should be place in my example. I tried
2013/2/4 David Kastrup d...@gnu.org
I have created
URL:http://code.google.com/p/lilypond/issues/detail?id=3153 which will
let all the music created within #{ ... #} point to \tr. That's pretty
much the best you can hope to do with reasonable effort.
Ah that's great I will try this, when a
Hello,
I wrote a small helper to set tuplets that are wide spreaded over the
score. It gives a compact source. But the PDF file includes
point-and-click information that points to the function and not the
actual notes that I entered. As a workaround I can click at the triplet
number to get
Many thanks to all who replied.
2013/1/12 Keith OHara k-ohara5...@oco.net
\once\override Rest #'minimum-Y-extent = #'(0 . 9)
r8 gis!32\([ b dis gis!
\change Staff=upper \times 4/6 { b dis gis! b dis gis!\)] }
Is there a preferred way using some staff spacing instead of
Hello,
I want to typeset a score similar as the original. On the harp notes I find
sometimes Z-beams that have subdivsions. I managed to mimic this for the
first measure but failed for the second.
How can I connect the low and upper staffs beams?
How can I extend the distance between the staffs
2013/1/4 Jan-Peter Voigt jp.vo...@gmx.de
sorry for reposting, but thunderbird (again) crashed the code layout.
This is a known problem for me, when I paste from Frescobaldi to
Thunderbird. I usually use this workaround:
- copy in Frescolbaldi -- paste in notepad
- copy in notepad -- paste in
Am 31.12.2012 18:53, schrieb Federico Bruni:
A new bar is never started within a cadenza, even if one or more \bar
commands are inserted within it. Therefore, reminder accidentals will
need to be added manually. See Accidentals.
So what's the point of that sentence?
The sentence tells us the
Lilypond promises to generate nicely scores.
(http://lilypond.org/doc/v2.16/Documentation/essay/engraving-details#optical-spacing)
This works in most cases. But I have currently a score that shows ugly
triplets. It should spread the note heads evenly aligned in the X-axis.
The excerpt below
2012/12/18 Parham FH par...@hil.t.u-tokyo.ac.jp
Is this expected behaviour or am I missing something?
You can tie notes. Rest ties makes no sense for me. Probably the tilde
should not be accepted for a rest?
Regards
Helge
___
lilypond-user mailing
2012/11/1 Noeck noeck.marb...@gmx.de
Imho, something like http://stackoverflow.com would be perfect for
Lilypond. I know it from python programming and it's so convenient to
see if there is a question matching the own problems and then to have
a look whats the best answer there.
Am 26.10.2012 12:31, schrieb Phil Holmes:
http://lsr.dsi.unimi.it/LSR/Item?id=375
Beam damping doesn't work for cross-staff beams. But I could
successfully control the beam positions manually
(http://lsr.dsi.unimi.it/LSR/Item?id=97).
Regards
Helge
Am 27.10.2012 03:21, schrieb Keith OHara:
-\tweak #'Y-offset #9 ^
Great. This strut does it's job exactly as I want.
I am just an occasional user of Lilypond. So I like simple solutions. I
hope I can remember this also for the next time.
Thanks
Helge
2012/10/26 Keith OHara k-ohara5...@oco.net
Making space locally is probably the better option. You need to find
something that does not overlay the staves (that is, not the Stems) and
tell LilyPond to give that thing more space
\once\override DynamicText #'minimum-Y-extent = #'(0 . 7)
Hello,
I have a spacing question (once again). I want to write cross staff
beams like you can see in the attached example.
But this code does not gives the expected result:
\version 2.16.0
\include deutsch.ly
upper = { \change Staff = upper }
lower = { \change Staff = lower }
finaleUpper
Am 24.10.2012 00:26, schrieb Thomas Morley:
I'm not completely sure what you want to achieve,
I have the notes in the PDF version that I referred in my original mail.
These are scans of a older edition with a poor readability. Especially
some chords are hard to read, e.g. at page 7 are
Hello,
I know I can place each piece as a bookpart in a book. This allows to
define fancy headers. I can also just write some \scores one after the
other, but I am missing the section headers between them.
But how do I write pieces like the tacet piece I in
2012/10/19 David Nalesnik david.nales...@gmail.com
to comment #21 at
http://code.google.com/p/lilypond/issues/detail?id=2445 . Understand
that this version might cause problems if you're running a batch of
files (which won't happen with the version that's in the review
process.) The
Do you have any idea how to combine the two multi-rest bar counts in a
piano staff?
Helge
2012/10/17 Helge Kruse helge.kr...@gmx.net
When playing in an orchestra it's important to count rests. To make this
tasks easier you can write numbers into rest measures.
Especially for a piano staff
When playing in an orchestra it's important to count rests. To make this
tasks easier you can write numbers into rest measures.
Especially for a piano staff it gives a calm picture when the empty
space between the staves is used. The attached picture shows this
starting at Allegretto. Further
I am writing a separate voice of cue notes. I think it looks wrong when
a the slur in the acciatura is far away of the first note. Please look
at the g in following example:
\version 2.16.0
violin = \relative c'' {
\key f \major
\time 3/4
c2~ c8 r |
d4\pp( e \acciaccatura{g8}f4-) |
seems to be a problem with the stem of the following note. Because
this stem is shorter lily places the slur different.
With your short example the following will work, I hope it is
sufficient with the whole, too.
With that change you get some strange artifacts at the next acciatura. I
could
Am 25.09.2012 10:30, schrieb Phil Holmes:
Another attempt. One thing we'd not been taking note of (and I now
notice because of reading the NR about lyrics again) is that in
lyricmode the syllables themselves have a duration. So we can therefore
write them with their own rhythm and they'll be
Am 23.09.2012 19:26, schrieb Phil Holmes:
Give the piano the lyrics?
\score {
\new Staff { \new Voice = one \singer }
\new PianoStaff
\new Staff = pianoRH { \pianoRight }
\new Lyrics \with { alignAboveContext = pianoRH } \lyricsto 1
{ \words }
\new Staff {
Hello,
I have a piece for singer and piano. I want to write the notes for the
piano. The words should be written above the piano notes as the would
appear when the singer's staff is visible. But since the piano melody is
mostly the same as the singer's melody the singers staff should be
Am 20.09.2012 09:21, schrieb Xavier Scheuer:
unfortunately my french is not sufficient. So I probably misread something.
But I want to to try...
I guess it is a mistake and Éric meant to send to lilypond-user-fr
instead of lilypond-user.
The exact same message was received on the French
Hello Eric,
unfortunately my french is not sufficient. So I probably misread
something. But I want to to try...
Quelqu'un peut-il m'expliquer où j'ai commis une erreur,
Probably it's a good idea to reduce the example, e.g. you could omit the
repriseaudebut since it's never used. I found the
2012/8/1 Phil Holmes m...@philholmes.net:
- Original Message - From: Helge Kruse
See https://github.com/hanwen/enc2ly/blob/master/enc2ly.go
Results in: 404 This is not the web page you are looking for.
Helge
But it's not too hard to correct:
https://github.com/hanwen/go
Am 30.07.2012 22:30, schrieb Han-Wen Nienhuys:
See https://github.com/hanwen/enc2ly/blob/master/enc2ly.go
Results in: 404 This is not the web page you are looking for.
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
I am typesetting a modern piece with a lot of meter changes.
Additionally I want to keep the original layout while I am editing the
score. Therefor I defined a timeline and a breaks block. I got a mystic
warning that puzzled me:
warning: forced break was overridden by some other event, should
Hello,
I need to switch the staff for some purposes. To avoid clash with other
notes I want to use a kneed beam. For this staff switch. Unfortunately I
have also polyphonic music.
How can I enable the kneed beam for the quavers in music below?
Regards
Helge
top = \change Staff = 1
bottom
Am 19.07.2012 22:38, schrieb Thomas Morley:
how about:
\version 2.14.2
top = \change Staff = 1
bottom = \change Staff = 2
musicB = \relative c {
\new Voice { \voiceOne e''4 e }
\new Voice { \override Beam #'auto-knee-gap = #1 \bottom c,,8 g'
\top e' c' }
}
\score {
\new
need to be
tweaked.
Thanks
Helge
(*) Nobody expects the Spanish Inquisition ,-)
-Ursprüngliche Nachricht-
From: Thomas Morley
Sent: Monday, July 09, 2012 10:04 PM
To: Helge Kruse
Cc: Phil Holmes ; lilypond-user@gnu.org
Subject: Re: lyrics in cadenza
2012/7/9 Helge Kruse helge.kr
Staff { \new Voice = one \soprano } \new Lyrics \lyricsto one {
\sopranoWords }
}
\score {
\new Staff { \new Voice = two \sopranoMel } \new Lyrics \lyricsto two {
\sopranoMelWords }
}
- Original Message -
From: Phil Holmes
Sent: Sunday, July 08, 2012 10:49 PM
To: Helge Kruse
Hello,
I am new to vocal music notation. I have a piece where I want to write
a coloratura/cadenza. I have two problems.
1) Lilypond reports that it finds an unlimited hyphen. It removes the
hyphen as well as the remaining text.
2) I need the slur to indicate that the notes belong to one
Am 19.06.2012 20:10, schrieb Fidler Aoileann:
Hello, The music I have written has one page and one line of music.
The first page seems very busy and squashed to me so I'd likeit to be spread
out over the two pages. Can anyone help? Many thanks Aoileann
Last time I wanted to spread the notes a
Am 12.06.2012 19:48, schrieb Janek Warchoł:
form = {
\repeat unfold 4 { s1*4 \break }
}
music = {
\repeat unfold 64 a'4
}
\music \form
Actually this doesn't work. You will need something like this:
music = \relative c'' {
\repeat unfold 8 { a4 b c d e d c b }
}
\oneVoice
Am 12.06.2012 08:57, schrieb m...@apollinemike.com:
form = {
\repeat unfold 4 { s1*4 \break }
}
music = {
\repeat unfold 64 a'4
}
\music \form
Actually this doesn't work. You will need something like this:
music = \relative c'' {
\repeat unfold 8 { a4 b c d e d c b }
}
\oneVoice
When you add the instrument to the header block, it is printed below
the title at the first page. It is also printed in each top line of
subsequent pages.
But when you start a new bookpart the instrument name is printed on the
first page too. This looks a bit ugly. How can I avoid this
Am 07.06.2012 17:23, schrieb Gilles Sadowski:
besides some other voices. I know the name Clarinet in B but
Likely, this should have been Clarinet in Bb where the small b is for
flat (i.e. a clarinet in B flat, where a c on the clarinet will sound
as b flat in concert pitch).
You're right.
I am transcribing an autograph with an arrangement for a small
orchestra. There are two transposing instruments: Clarinet in B and
French horn in F. The piece itself is set in g minor (some parts also in
g major).
The original score begins with this picture:
oboe = \relative c'' { \key g
I am transcribing an autograph with an arrangement for a small
orchestra. There are two transposing instruments: Clarinet in B and
French horn in F. The piece itself is set in g minor (some parts also in
g major).
The original score begins with this picture:
oboe = \relative c'' { \key g
Am 05.06.2012 11:40, schrieb Trevor Daniels:
Phil Holmes wrote Tuesday, June 05, 2012 9:24 AM
I'm not sure if this will fix your problem, but it looks like there's a typo
in those instructions - now corrected in the 2.15 release. shr in the path
should be share.
Yes, and it is also
I have a score with da capo al coda. And the coda is exactly one
measure. Therefore I don't want to put the coda on a new line. But it
should be a gap between the last measure of the main part and the coda.
Additionally I would like to indicate that the last measure _is_ the coda.
I have
Am 01.05.2012 18:40, schrieb Phil Holmes:
In that period, I would have certainly expected most composers to be
using slurs. Mozart certainly was, as evidenced by lots of his
manuscripts. Gardner Read (page 265) says that they were commonly used
in 17th and 18th century music, placing them over
Hello,
I am transcribing a score. I want to keep it as similar to the original
as possible.
In the following excerpt the C-sharp is continued with a tie on the next
line. The measure #3 at the new line starts with C-sharp. When you have
the tie from measure #3 to #4 the sharp is omitted. But
Hello,
I want to prepare a score that should include the slurs. I was requested
to remove the slurs, since the historic scores did not have such
things, only acciaturas similar have slurs. But I would like to keep
the slurs inside the Lilypond sources and use the benefit of Lilyponds
Am 01.05.2012 14:26, schrieb Phil Holmes:
As a matter of interest, what period is this?
That's 18th century.
http://en.wikipedia.org/wiki/Johann_Wilhelm_Hertel
Regards,
Helge
___
lilypond-user mailing list
lilypond-user@gnu.org
101 - 200 of 399 matches
Mail list logo
