> On 18.07.2018 02:41, Menu Jacques wrote:
>> Text spanners can be used in LP to obtain that, but what is their name in
>> music in general?
>
> They’re ligature brackets, used in modern editions to show that the mensural
> original used a ligature for these notes.
> Using tex
Hello folks,
Binchois.xml, a part of the Recordare MusicXML samples, contains
markups such as:
1
A
2
8
1
quarte
OK, I have to go back to 2.19.82. What’s the easiest way to do that?
Thanks!
JM
> Le 12 juil. 2018 à 07:33, Menu Jacques a écrit :
>
> Hello folks,
>
> Doing a ‘git pull’ on my LilyDev 4 virtual machine and building Lily produced
> a 2.21.0 version, that rejects:
>
Hello folks,
Doing a ‘git pull’ on my LilyDev 4 virtual machine and building Lily produced a
2.21.0 version, that rejects:
\version "2.21.0"
P_POne_Staff_One_Voice_One = \relative c' {
\tempo \markup {
\concat {
(
"Allegretto vivace"\smaller \general-align #Y #DOWN \note #
mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org
> <mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org>] On Behalf Of
> Menu Jacques
> Sent: Tuesday, July 10, 2018 12:49 PM
> To: Lilypond-User Mailing List <mailto:lilypond-user@gnu.org>>
> Cc: Menu Jacques ma
Hello folks,
Frescobaldi is quite a great tool, and I often think it could even be enhanced
in the following ways:
- add a command to select all the skips in the window or current
selection. This would help locate some recognition problems when scanning PDF
files with tools such as Pho
Ooops… missed that, thanks, and sorry for the noise!
JM
> Le 28 juin 2018 à 23:32, Thomas Morley a écrit :
>
> 2018-06-28 19:04 GMT+02:00 Menu Jacques :
>> Thomas,
>>
>> One last question: what is the simplest way to add the text value as a
>> parameter to g
Thomas,
One last question: what is the simplest way to add the text value as a
parameter to gliss-plus-text, instead of having it fixed in the code?
Thanks!
JM
> Le 22 juin 2018 à 11:15, Menu Jacques a écrit :
>
> Hello Thomas,
>
> Excellent as usual, that solves my issue
Hello folks,
I have a MusicXML file that displays differently with musicxml2ly:
than with MuseScore or Finale:
In order to obtain the same score a MuseScore or Finale, I have to uncomment
the enclosing \repeat in the code.
Is it right then that there are two nested repeats in such a score?
Hello Kieren,
Thanks! I thought there might be a way to obtain that same result for the first
chord without the risk of ambiguity, i.e. other chords with notes removed may
end up as in customChordExceptions too.
A nice day!
JM
> Le 24 juin 2018 à 20:34, Kieren MacMillan a
> écrit :
>
> He
Hello folks,
How can LilyPond be told to display the chords to match the lyrics, i.e. to
mention that some notes are substracted from the chord?
Thanks for your help!
JM
The code is:
%%
\version "2.19"
P_POne_Staff_One_Voice_One_HARMONY = \chordmode {
\language "nederla
Hello Thomas,
Excellent as usual, that solves my issue.
Thanks a lot, and a nice day!
JM
> Le 22 juin 2018 à 10:54, Thomas Morley a écrit :
>
>
>
> 2018-06-22 9:05 GMT+02:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
> Hello folks,
>
> Is it possible to o
Hello folks,
Is it possible to obtain some text along a glissando, such as:
The Internals Reference tells there’s no text property attached to a Glissando
object, and I couldn’t find anything in the snippets.
Thanks for your help!
JM
___
lilypond-
Hello Federico,
Thanks Federico.
A side question is (I’m no percussionist): how does one chose between DrumStaff
and RythmicStaff?
JM
> Le 12 juin 2018 à 23:02, Federico Bruni a écrit :
>
>
>
> Il giorno mar 12 giu 2018 alle 22:12, Menu Jacques ha
> scritto:
>>
Hello folks,
I can’t seem to get why the code below produces an empty 5-line first staff.
Thanks for your help!
JM
\version "2.19.80"
\header {
title = "basic/UnpitchedTuplet.xml"
software = "MuseScore 2.0.3.1"
encodingDate =
Thanks David, I had missed that.
A nice day!
JM
> Le 23 mai 2018 à 00:49, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> Hello folks,
>>
>> This is similar to an ossia, aiming at showing the scordatura graphically.
>>
>> I don’t unders
Hello folks,
This is similar to an ossia, aiming at showing the scordatura graphically.
I don’t understand why the \new Staff shows up below the staff containing c’4,
and not above it, which would be better I think.
Thanks for your help!
JM
\version "2.19"
P_POne_Staff_One_Voice_One = \
Thanks Hans!
JM
> Le 20 mai 2018 à 20:56, Hans Åberg a écrit :
>
> Here is a two-dimensional layout fitting into the staff system (use a
> monospace font to view). Pitches increase by moving up or to the right.
> Moving vertically corresponds to changing position on the staff; moving
> horiz
Hello folks,
Working on intervals, I bump into this question.
How is the right column below to be filled?
Downward interval between B## and:
B#:augmented unison or minor second?
B: major second or ...?
Bb:minor third or ...?
Bbb: major third or ...?
Hello folks,
What is the best way to write such a length, that cannot be written with dots?
I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:
\version "2.19.80"
\relative {
\time 5/4
<<
\new Voice {
a' b c d e |
}
\new Voice {
R1 R4 |
}
Hello folks,
The MusicXML example below causes musicxml2ly 2.19.80 to create the following
code, which is not acceptable to LilyPond:
Starting lilypond 2.19.80 [ExtendStartAndStop.ly]...
Processing
`/Users/menu/Documents/LaTeX/PartitionsLilypond/lyrics/ExtendStartAndStop.ly'
Parsing...
/Users/
Hello,
It seems there are no names in Svenska and some other languages for sequiflat
and sesquisharp pitches.
Will that be added when triple accidentals are introduced?
Thanks for your help!
JM
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h
Hello folks,
Say I’m considering chords with an E flat root.
Is is always true that:
- the diminished fifth is B double flat
- the augmented fifth is B natural
- the diminished unisson is E double flat
- the augmented unisson is E natural
or can this depend on
Hello folks,
Is there a way to enforce a note name such a D instead of the fret number in a
TabStaff?
That would be nice to display scordaturas.
Thanks for your help!
JM
\version "2.19.80"
\relative c {
\new TabStaff {
\omit Staff.TimeSignature
\hide Stem
\mark "DADGAD"
Hello folks,
In the example below, chords are split over two voices by musicxml2ly, as it
found them (as harmonies) in the MusicXML file.
Would it be better to have only one chords part in such a case, to have Ebm9 at
the same horizontal level as the other three chords, as MuseScore does in the
Hello folks,
String instruments sometimes use scordaturas: I’ve wondered how this is noted
in modern scores, but couldn't find examples on the Internet.
Can anyone give pointers to actual scores showing that?
Thanks!
JM
___
lilypond-user mailing li
Hello folks,
In 23c-Tuplet-Display-NonStandard.xml, part of the unofficial LP MusicXML
suite, there’s:
C
5
136
1
eighth
3
2
breve
Hello Harm,
Thanks for your help and thanks a lot to David for supplying this useful Scheme
code. I’ll use that for sure!
JM
> Le 31 mars 2018 à 16:16, Thomas Morley a écrit :
>
> 2018-03-30 18:25 GMT+02:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
>> Hello,
>&
« draw ».
The next important step will be to convert the actual note pitches into the
fingerings that should be displayed instead.
JM
AccordionPushSpannerExample.ly
Description: Binary data
> Le 27 mars 2018 à 13:16, Menu Jacques a écrit :
>
> Hello folks,
>
> I'v
Hello folks,
I've modified the AccordionPushSpanner example supplied by someone on this list
(can't find who it was, unfortunately), giving the attached file and the score :
How can I tune the settings to align the bar lines lower tips with the single
staff line, and hide the dots in the repea
Hello folks,
A friend of mine would like to produce scores with the fingerings for his F
diatonic accordion.
In the « Score for diatonic accordion » example in the snippets, it is not
shown how:
AccordionTabTwoCBesDur = {
% pull 1
%8 8 8 |
8 8 8 |
% push 2
%4|
4|
% pull 3
Hello folks,
Using http://lsr.di.unimi.it/LSR/Item?id=204 as a starting point, I obtained
the code below, that produces:
Is there a simpler way to obtain the same score?
Thanks for your help!
JM
%%%
\version "2.19.80"
%% http://lsr.di.unimi.it/LSR/Item?id=204
%% see also
Hello folks,
P_POne_Staff_One_Voice_Two below contains rests which may seem to be make the
score more difficult to read that spacers.
Apart for single voice staves where rests are necessary, is there a
best-practise style for multivoice staves?
Thanks for your help!
JM
%%%
\version
Hello folks,
The example below illustrates the possibilities in LilyPond, and there are
several ways to obtain the same graphics appearance, such as acciaccatura and
slashedGrace slurred.
As a matter of style, are some of them to be preferred/avoided?
Thanks for your help!
JM
%
Hello folks,
In the example below, how can the ossia be brought closer to the upper staff
while keeping the same distance between the two regular staves?
Thanks for your help!
JM
\version "2.19.80"
\new PianoStaff <<
\new Staff = "up" \relative {
c''4 b d c
<<
{
Hello folks,
A happy new year 2018!
How can one suppress the denominators in \compoundMeter below? single-digit
seems to act only on simple meters:
\relative c' {
\once\override Staff.TimeSignature.style = #'single-digit
\compoundMeter #'((2 8) (3 8))
c8 d e fis gis
c8 fis, gis e d
Hello folks,
The edge-height pair can be given a value with:
\once \override Staff.LigatureBracket.edge-height = #'(0 . +0.7)
but how can I change only one of the members of the pair, leaving the other one
as it is?
Thanks for your help!
JM
_
t;
> On Twitter <https://twitter.com/Bart_Issimo>
> On Identi.ca <http://identi.ca/bartart3d>
> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>
> 2017-12-22 15:19 GMT+01:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
> Hello folks,
>
Hello folks,
The LPNR states that:
Hammer-on and pull-off can be obtained using slurs.
\new TabStaff {
\relative c' {
d4( e\2)
a( g)
}
}
Is that the regular way to write such fretted strings instruments music, or is
sometimes an H or P placed between the two notes, as Finales doe
Hello folks,
MusicXMl has the notion of brackets (LilyPond’s ligatures) line-ends:
r, I just place two
> ChordNames contexts in the score and have the upper one contain mostly
> spacers plus the alternative chord names wherever one is needed ...
>
> Best, Robert
>
> On 15 Dec 2017, at 00:20, Menu Jacques <mailto:imj-...@bluewin.ch>> wrote:
>
Hello folks,
MusicXML has the notion of multiple chord names, i.e.:
480
0
major
4
4
Hello Davide,
Thanks! Is there a way for this solution to apply to all \laissezVibrer
occurrences, so as to put it in global variable?
JM
> laissezVibrer
> Le 14 déc. 2017 à 11:01, Davide Liessi a écrit :
>
> 2017-12-14 10:50 GMT+01:00 Menu Jacques :
>> How can I get a slu
Found this way:
<<
{ d4-1 }
{ s8 ( s8 ) }
>>
Maybe there are others…
JM
> Le 14 déc. 2017 à 10:50, Menu Jacques a écrit :
>
> Hello Folks,
>
> Surely this question has arosen before, but I don’t seem to be able to find
> the answer.
>
> How can I ge
Hello Folks,
Surely this question has arosen before, but I don’t seem to be able to find the
answer.
How can I get a slur on the last note of a staff, such as the attached?
Thanks for your help!
JM
___
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lilypond-user@gnu.org
Caagr98’s answer to my other post regarding DrumStaff vs Staff for instrument
name is also an answer to this one:
there’s no alias defined for RhythmicVoice, but Voice should be preferred
anyway it seems.
JM
> Le 13 déc. 2017 à 10:04, Menu Jacques a écrit :
>
> Hello Folks,
>
&g
Hello Folks,
There exists DrumStaff and RythmicStaff and DrumVoice, but no RhythmicVoice.
In the example below from musicxml2ly, '\context Voice’ is used in the
RhythmicStaff.
Any reason for this asymmetry?
JM
—
\version "2.19.58"
% automatically converted by musicxml2ly from 73a-Percussion.
Hello folks,
In the example below, using Staff.instrumentName makes no difference compared
to DrumStaff.instrumentName.
Are both equivalent, or should DrumStaff.instrumentName clearly be preferred?
Thanks for your help!
JM
—
\version "2.19"
P_PTwo_Staff_One_Voice_One = \relative {
\key c
Hello Lukas & Werner,
Oops, thanks, sorry for not having found that myself and the noise.
JM
> Le 15 nov. 2017 à 23:02, Werner LEMBERG a écrit :
>
>
>> Are there situations when a brace should be produced for such a
>> single staff staff group, and if so, how can that be obtained?
>
> See th
Hello folks,
In the code below, the structure of the two StaffGroup's is similar, with the
second one having but one Staff in it.
Yet the latter doesn’t get a brace as the first one does.
Commenting the second \new StaffGroup out altogether, thus bringing the Pauke
\new Staff at the same level
Hello folks,
MusicXML has the notion of curved tuplets brackets:
Didn’t find anything in the doc nor snippets. How can that be achieved with
LilyPond?
Thanks for your help!
JM
___
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https
Hello folks,
MusicXML is rather rich in terms of note heads, basically:
slash, triangle, diamond, square, cross, x,
circle-x, inverted triangle, arrow down, arrow up, slashed,
back slashed, normal, cluster, circle dot, left triangle,
rectangle, or none
and some more.
How can I get those
Hello folks,
I’ve found that:
\once \override TimeSignature.style = #'single-digit
has no effect in the example below.
Is there a way to suppress the denominators in measure 2?
Thanks!
--
\version "2.19.65"
\relative {
c'1 |
\compoundMeter #'((1 4) (3 8))
\repeat unfold 5 c'8
One more point: there’s also ‘pedal’ in MusicXML:
C
pedal
Is that just equivalent to having a usual pedal?
JM
> Le 13 sept. 2017 à 11:09, Menu Jacques a écrit :
>
> Hello Mike,
>
> Excellent, thanks!
>
> JM
>
>
s is, of course, in theory - Wagner’s use of the Tristan chord, which he
> clearly named his opera after, has the A# moving down to A, or the 7th of the
> dominant (I’m transposing to fit w/ the example above). Wagner obviously did
> not pay much attention during his sophomore music theory co
Hello folks,
MusicXML supports neapolitan, italian, german, french and tristan chords, i.e.:
C
Neapolitan
I’ve found information about neapolitan, but nothing about the others.
What is the structure of those?
Thanks!
JM
_
Hello David and Carl,
Thanks for the news, I’m eager to have Charles’ contribution available in LP!
JM
> Le 12 sept. 2017 à 22:48, Carl Sorensen a écrit :
>
> On 9/12/17 10:50 AM, "David Kastrup" wrote:
>
>> Menu Jacques writes:
>>
>>> Pushi
Interesting: adding \powerChords to the part leads to the behaviour I expected
in the first place, i.e.:
I’ll use that by default for jazz scores, then.
JM
> Le 12 sept. 2017 à 17:04, Menu Jacques a écrit :
>
> Pushing things further, I found that the removed third is not obvio
>
\layout {}
% To create MIDI output, uncomment the following line:
% \midi {\tempo 4 = 100 }
}
%%
> Le 12 sept. 2017 à 16:31, Menu Jacques a écrit :
>
> Hello Harm and Knut,
>
> Thanks for your answers.
>
> I know how to customize chord names, but I’
, Thomas Morley <mailto:thomasmorle...@gmail.com>> wrote:
>
>
> 2017-09-12 11:37 GMT+02:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
> Hello folks,
>
> I get this score:
>
>
> from what seems to be the reasonable LP code below.
>
> What shou
Hello folks,
I get this score:
from what seems to be the reasonable LP code below.
What should one write to get:
Thanks if you can help!
JM
\version "2.19.65"
PartPOneVoiceOne = \relative a' {
\clef "treble" \key c \major \time 4/4 | % 1
a4 \bar "|."
}
PartPOneVoic
Hello folks,
I’m trying to understand how \transposition works with enharmony.
In the following, what key should be chosen (instead of D major) in the fourth
score for a soon-to-be-created Trumpet in A#?
\version "2.19.65"
\layout {
indent = 3\cm
}
PartPOneVoiceOne = \relativ
Hello,
I gave a try at a simple Scheme function named jianpu, and the two scores
produced by the example below are identical, at least as far as I can see.
What should be done for this approach to work with more complex music than a
mere sequence of notes?
Thanks if you can help!
JM
%%%
Hello David,
Thanks for the information, I’ll look into the NoteNames context.
A nice day!
JM
> Le 21 août 2017 à 08:22, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> As someone mentioned on this list some time ago, Silas S. Brown has written
>> jianpu-l
Hello folks,
As someone mentioned on this list some time ago, Silas S. Brown has written
jianpu-ly, described at
http://people.ds.cam.ac.uk/ssb22/mwrhome/jianpu-ly.html, that produces LilyPond
code from a custom text description of the score.
This leads to code such as:
#(define (note-one gro
quot; <mailto:lilypond-user@gnu.org>>
> Sent: Monday, August 07, 2017 1:30 PM
> Subject: Re: Alignment problem
>
>
>
> Hello Phil,
>
> \textLengthOn doesn't solve the problem, thanks anyway!
>
> JM
>
> Jacques Menu, iPhone
>
> Le 7 août 20
Hello folks,
Can the « Fine » and « f » be on the same horizontal line while remaining
attached to two differents notes, without using any separate dynamics voice?
Thanks!
JM
\version "2.19.55"
\relative b, {
\key g \major
\clef "bass"
\time 3/4
d4
\fermata _\markup{\italic "Fine"}
d Kastrup writes:
>
>> Menu Jacques writes:
>>
>>> Hello folks,
>>>
>>> I’m trying to obtain a second score identical to the first one in the
>>> example below, without using \lyricsto and with syllables having their
>>> duration attac
Hello folks,
I’m trying to obtain a second score identical to the first one in the example
below, without using \lyricsto and with syllables having their duration
attached to them, but no way.
How can that be done?
And a side question: replacing d2 by r2 in variable ‘melody' makes only the
fi
Hello David,
Thanks, I mis-ordered things inadvertently…
JM
> Le 4 juil. 2017 à 11:29, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> Hello folks,
>>
>> I tried the following, which seems OK to me:
>>
>>
>> \version "2.19.55&quo
Hello folks,
I tried the following, which seems OK to me:
\version "2.19.55"
#(use-modules (scm accreg))
{
\time 4/4
c'4 \discant #"210"
}
but Lily issued the following error message:
Starting lilypond 2.19.55 [Discant problem.ly]...
Processing `/Users/menu/Desktop/Discant problem.ly'
Thanks a lot Simon for the suggestion!
Here is what I’ve been able to obtain:
%
\version "2.19.55"
global = {
\time 3/8
}
regularMusic =
\relative c'' {
\global
c4.
}
alternativeMusic =
\relative c'' {
\global
\shiftOn
d8 c4
}
\score {
\new Staff <<
\context
Hello folks,
I’d like to have the eighth and quarter notes displayed smaller, as an
alternative to the dotted quarter note, and them not being included in the midi
output.
Merely making them smaller won’t solve the midi part of the problem, as won’t
\cueDuring, since:
> LPNR: The music from t
rit :
>
> Thomas Morley mailto:thomasmorle...@gmail.com>>
> writes:
>
>> 2017-06-25 8:40 GMT+02:00 Menu Jacques :
>>> Thanks Simon for the idea.
>>>
>>> I’ve defined the following Scheme function for my needs, with accidental
>>> style forc
= ##t
#note
#})
{
\editorialAccidental cis4
cis4
dis4
\editorialAccidental cis4
}
JM
> Le 25 juin 2017 à 00:58, Simon Albrecht a écrit :
>
> On 24.06.2017 22:09, Menu Jacques wrote:
>> What are editorial accidentals actually, and is there a way to produce them
>&g
Hello Phil,
Fine, thanks! I didn’t know what to look for.
JM
> Le 24 juin 2017 à 23:04, Phil Holmes a écrit :
>
> - Original Message - From: "Menu Jacques"
> To: "lilypond-user"
> Cc: "Menu Jacques"
> Sent: Saturday, June 2
Hello folks,
I see that, when translating , musicxml2ly ignores:
https://lists.gnu.org/mailman/listinfo/lilypond-user
Hello Trevor,
Thanks, I had never used \newSpacingSection.
JM
> Le 16 juin 2017 à 17:46, Trevor Daniels a écrit :
>
>
> Menu Jacques wrote Friday, June 16, 2017 11:39 AM
>
>> This beats me : in the following snippet, why is there a break after ‘R1*2’
>> ? There
R1 |
r1 |
r2 r4 r8 r16 r32 r64 r128 r128 |
\bar "|."
}
is fine.
JM
> Le 16 juin 2017 à 14:25, Phil Holmes a écrit :
>
> - Original Message - From: "Menu Jacques"
> To: "lilypond-user"
> Cc: "Menu Jacques"
> Sent: Frid
Hello folks,
This beats me : in the following snippet, why is there a break after ‘R1*2’ ?
There seems to be plenty of room to put everything on a single line…?
Thanks for your help!
JM
%
\version "2.19"
P_POne_Staff_One_Voice_One = \relative {
\compressMMRests
R1*2 |
C
4
4
1
whole
like this:
when MuseScore 2.1 produces this:
and LilyPond gives:
JM
> Le 9 juin 2017 à 14:50, Menu Jacques a écrit :
>
> Hello folks,
>
> I’ve never created scores
Hello folks,
I’ve never created scores for percussion, so may question is a newbie one: can
the percussion clef be used in any context, without changing the number of
lines in the staff?
And if so, it the output for the example below the right one?
Thanks for your help!
JM
\version "2.19.55"
Hello David,
Thanks for the explanations!
I’ll become a super-smart new-fangled composer only next year probably, so I’ll
go along your advice for the time being...
JM
> Le 6 juin 2017 à 08:51, David Kastrup a écrit :
>
> Menu Jacques mailto:imj-...@bluewin.ch>> writes:
&g
Hello folks,
The two tuplets below are visually different, but what’s the musical
difference, and how should a performer play that?
Thanks for your help!
JM
--
\version "2.19.55"
\relative c' {
\times 2/4 {
e4 f4 g4 a4
}
\times 1/4 {
b4 c4 c4 b4
}
}
__
Hello folks,
— For your information —
The links in that page:
http://lilypond.org/doc/v2.19/input/regression/musicxml/collated-files.html
seem to be broken or to lead to a zip archive containing an empty « home »
directory.
The same holds for:
http://lilypond.org/doc/v2.18/
Hello Harm,
You don’t live up to your name, you help does no harm, quite the contrary...
Thanks a lot!
JM
> Le 22 mai 2017 à 10:39, Thomas Morley a écrit :
>
> 2017-05-22 10:27 GMT+02:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
>>
>> Hello folks,
>>
Hello folks,
How exactly does \repeat percent interact with voices?
It seems that the percent displayed is a staff feature, so I tried to have more
that one voice.
But in the example below, the color is not applied to the percent.
Thanks for your help!
JM
\version "2.19.
Hello folks,
Some days ago, Jean-Pierre the clarinetist says: « Let’s work the Poulenc
sonata for clarinet and bassoon. Oh, that’s strange, I’ve got two scores for
you… Take that one, it’s more readable! ».
That score I did myself two years ago with LP, precisely to have it more
readable, as w
Hello folks,
Mark « B » in the following is not placed in a box, like the others.
Thanks for your help!
JM
—
\version "2.19.55"
\relative c'' {
\set Score.markFormatter = #format-mark-box-alphabet
c1 \mark \default
c1 \mark "B"
c1 \mark #8
c1 \mark \default
Hello folks,
The LPNR gives as example:
\relative c'' {
\repeat tremolo 8 { c16 d }
\repeat tremolo 6 { c16 d }
\repeat tremolo 2 { c16 d }
}
I found by experimenting with 2.19.55 that chords can be used in such tremolos.
The doc doesn’t explicitly exclude unequal duration
Hello folks,
As of 2.19.55 in the example below, one can « replicate » the \repeat command
needed in P_POne_Staff_One_Voice_One in both \chordmode and \lyricmode.
The same score is obtained with the \repeat only in P_POne_Staff_One_Voice_One.
Is such a « replication » good practice? Are there c
Hello folks,
In appendix A.17 of the LPNR v2.19.57, what doest the « No setting… » sentence
mean?
alternativeNumberingStyle (symbol)
The style of an alternative’s bar numbers. Can be numbers for going
back to the same number or numbers-with-letters for going back to the same
number wit
Hello Dmytro,
Thanks, that will help me a lot too!
JM
> Le 28 mars 2017 à 16:03, Dmytro O. Redchuk a écrit :
>
> 2017-03-28 16:50 GMT+03:00 Guy Stalnaker :
>> Oh, my! This is brilliant! I write mostly choral music and this will be
>> invaluable! Much thanks.
> Well, when you need two rests to
Hello folks,
Two questions about the display style for Recordare's Binchois20.xml file:
- should there be only one set of quarter rests under (CT.) in the
lower staff, and if so, how can that be done (i.e. to « mask » a rest in a
voice if there’s already one at the same point in another
gesting a way of faking it out, rather than being semantically
>> pure. Not sure that Binchois used such brackets!
>>
>> Andrew
>>
>> -Original Message-
>> From: Menu Jacques [mailto:imj-...@bluewin.ch]
>> Sent: Monday, 27 March 2017 11:12 PM
>>
Sorry for not having been more explicit: I saw that when imporing Recordare’s
Binchois.xml file into Finale.
The meter is 3/4, so it’s no tuplet it seems.
> Le 27 mars 2017 à 13:17, Andrew Bernard a écrit :
>
> Hi Menu,
>
> Making some assumptions here.
>
> Andrew
>
>
> == snip
>
> \versi
Hello,
These brackets look like analysis brackets, but are not quite as Lily displays
them:
Maybe they’re something else?
JM___
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Hello folks,
I’ve noticed that only the following languages:
nederlands deutsch english espanol or espa~nol français italiano
portugues
are mentioned at page 9 regarding:
semi-sharp semi-flat sesqui-sharp sesqui-flat
accidentals.
How does one write them in catalan, norsk, suo
Hello folks,
In the example below, derived from an example in the LPNR, the:
\new ChordNames {
\chordmode {
c1 d:m
}
}
block can be moved outside of the PianoStaff without changing the score’s
appearance.
Ideally, should such a block belong to the score, a part grou
Hello folks,
In the snippet below, two identical scores are produced using different coding
styles as to where the \consists commands are placed.
Is one of the latter to be preferred?
Thanks you help!
JM
%
\version "2.19.44"
musicI = {
4\arpeggio 2
}
musicII = {
2\a
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