Re: Hiding a voice (or is there a better way?)

;t afford to upgrade to a version that will run on my current OS), so I'd still be interested in how to do it in Lilypond. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Hiding a voice (or is there a better way?)

27;t. I'm beginning to think that manual syllable durations might have to be the way to go. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Hiding a voice (or is there a better way?)

I'm trying to notate a song with piano accompaniment, but I don't want a separate voice line printed -- the singer will be able to work it out from the piano part, and space is at a premium. I do need to align the lyrics to the voice line, though. Would a reasonable way around that be to create a v

Re: Lyric with tie over repeat seems to be messing things up

s well.  Towards the end of that section it discusses > exactly your problem, I believe.  It may help you to > figure it out. Not quite exactly (I don't have any \alternative sections), but close. Thanks; I'll see if I can work it out from there. -- Tim Rowe _

Lyric with tie over repeat seems to be messing things up

\repeat volta 2 { \repeat volta 2 { A b c d e f g h i j k l m n p p q r s t u v w x } } } \score { << \new Staff << \new Voice = "one" { \soprano } >> \new Lyrics \lyricsto "one" { \one } >> \l

Re: chord with notes of different duration

ll only occupies the time duration of a quarter note, so the bar would be missing a quarter note without the skip. Marc's suggestion is to do it the other way around and make the whole thing look to Lilypond like a half-note, so the timing is all just fi

Re: Problems with segnos and codas

d be on the list of things to fix, but given how far-reaching a fix would probably have to be, and given the fact that we're coping without a fix, I can see why it doesn't make it onto the priority list. -- Tim Rowe ___ lilypond-user mailing l

Re: Problems with segnos and codas

n be really jarring if one is in a different key to the one from which one /intends/ to jump into the coda). I can understand that it's not a priority, though. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/

Re: Problems with segnos and codas

could live with it as it is (it is the start of a coda, after all), but it would be nice to fix. What hides it in the sample you linked? -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Problems with segnos and codas

On 5 October 2010 17:23, Xavier Scheuer wrote: > Yes, indeed, this is a really annoying issue. > This kind of "LilyPond limitation" make me feel upset sometimes. I hardly dare ask whether there's any way to get the midi playback to follow the segnos and co

Problems with segnos and codas

rk. The one that you can't tell from the little bit that I've included there is that the starting g of the coda should be tied over from the "to coda" bar, so it should have a tie going into it. Where am I going wrong? Is there an easy way to fix these problems? -- Tim Rowe _

Skipping notes in \lyricsto

o separate variables and only applying \lyricsto to the relevant ones, which might work (the splits don't come in nice places, though, because of an awkwardly placed volta), but I wondered whether there was an easier way. -- Tim Rowe ___ lilypond-us

Re: Chord Naming

On 25 April 2010 00:30, Jonathan Kulp wrote: > On Sat, Apr 24, 2010 at 6:22 PM, Tim Rowe wrote: >> I'm sure I used to be able to do this, but now I can't. I must be >> getting forgetful! >> >> How do I get Lilypond to show chord names instead of jazz symbols

Chord Naming

I'm sure I used to be able to do this, but now I can't. I must be getting forgetful! How do I get Lilypond to show chord names instead of jazz symbols (I'm not a jazzer!) In other words, I want C major 7 to show as Cmaj7, not as C with a triangle next to it. Thanks in advance

Re: Pop versions of classical music

in lyrics. It seems more memorable than other traditional songs that have been hits ("I Know Where I'm Going" by both Burl Ives and The Weavers, "All Around my Hat" by Steeleye Span, "Whisky in the Jar" by Thin Lizzie and so on). -- Tim Rowe _

Re: website: why do you use lilypond?

have poorer examples", then yes.  If that's a reference to a > pre-1926 pop song, then it obviously went over my head.  :) It's a pre-1926 pop song (probably -- certainly pre-1930). Music Hall, composer unknown. Probably best known for the

Re: website: why do you use lilypond?

2009/8/4 Graham Percival : > On Mon, Aug 03, 2009 at 02:52:25PM +0100, Tim Rowe wrote: >> A pop example presents obvious copyright issues. > > No; an *existing* commercial pop example has copyright issues. > Using a copyleft pop song would be fine as long as we include the

Re: French accents

ype "charmap" should do the trick). Just make sure your editor is set to save in UTF8. I had a score involving some Central European characters that was driving me crazy until I realised that what jEdit was saving wasn't what I saw on the screen because I had the

Re: website: why do you use lilypond?

e a Red, Red, Rose" (arguably not folk, but still public domain and pop), and so on. As long as we worked out some chords for ourselves rather than taking them straight from the record we should be fine. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: website: why do you use lilypond?

rder to show off Lilypond, is fingering and some things like hammer-ons, pull-offs, harmonics, bends and so on (probably not *all* of those in one example), which does suggest something more modern than Bach. -- Tim Rowe ___ lilypond-user mailing li

Re: Parallel music coming out in series

equal to six beats.  Typo?  Change it to: D'oh! That's what comes of working with two different music typesetting systems which work in opposite directions for the timing! Thanks, even if the answer was humiliating :-) -- Tim Rowe ___ li

Parallel music coming out in series

lower = \relative c { \clef bass \key c \major \time 4/4 r2 r16 c( d e f d e c | } (Yes, it's one bar of Bach's 2-part invention in C, and I've separated the ornamentation because the beams and phrase marks got tricky later

Re: article (in German) about copyright of printed music

elates specifically to German law and rulings in the German courts, anybody who is getting into that area had better brush up their German! -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lilypond and Jazz chords

rstand the musical context better than a lot of musicians. Or just stick with chord mode. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lyric problem when alternative begins with a rest

a repeat count of two, with only one > alternative. Ok, thanks. That doesn't get me much closer to a solution that engraves and plays correctly, then. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Aligning a "D.S. al Fine" at the end of a piece.

a copying error. I actually had: \mark \markup{ \italic \fontsize #0 {"D.S. al Fine"}} (this time I've cut-and-pasted directly from my source file) and it didn't change the size. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Aligning a "D.S. al Fine" at the end of a piece.

rk, though, assuming I'm doing it right. \mark \markup{ \italic \fontsize #-0 {"D.S. al Fine"}} seems to leave the size unchanged. \mark \markup{ \italic \fontsize #-2 {"D.S. al Fine"}} seems to get closer. -- Tim Rowe ___ lilyp

Re: Aligning a "D.S. al Fine" at the end of a piece.

2009/5/13 Marek Klein : > Hi, > > 2009/5/13 Tim Rowe : >> The problem seems to be that I'm aligning to notes, whereas the "D.S. >> al Fine" should be aligned to the bar.  Is that possible? If not, is >> there a prettier way than just attaching it to an e

Aligning a "D.S. al Fine" at the end of a piece.

. The problem seems to be that I'm aligning to notes, whereas the "D.S. al Fine" should be aligned to the bar. Is that possible? If not, is there a prettier way than just attaching it to an earlier note? Thanks in advance. -- Tim Rowe __

Re: Lyric problem when alternative begins with a rest

estions with a simple "read the documentation" answer ;-) -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: writing chords

Sorry, blunder on the 2nd one -- should have been: c:13-.11.9-7 -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: writing chords

13.11 c:13.11-9-7 c:13.9-.11 c:13.7+.11 c:11+.7+ c:5.4^3 c:7.3+ c:9.4^3 c:9^7 c:11.3-^7 } \new Staff \chordmode { c1:13.11 c:13.11-9-7 c:13.9-.11 c:13.7+.11 c:11+.7

Re: Lyric problem when alternative begins with a rest

t labelled "1.-2." -- that seems odd, as neither the note nor the word should be there on the second pass. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Lyric problem when alternative begins with a rest

you only have to change it in one place (i.e., > the global variable). But presumably I have to count up the bars and put in the appropriate number of silent rests? That seems clunky -- but at least it will get the music out in time for rehearsal, so many thanks again! -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Lyric problem when alternative begins with a rest

\words } >> } Am I setting the repeat wrongly, or do I have to do something like turn the Volta_engraver for the lyrics? -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Capo Chords (was: Re: Newbie Question -- verse and chorus)

. Well, I'd already added "Learn Scheme" to my to-do list! > P.S.  It's generally a good idea to start a new thread when you change the > topic; it helps in archive searches later. I wasn't really expecting a reply (your helpfulness has exceded my expectations!) b

Re: Newbie Question -- verse and chorus

ally \bar "|" does just what I needed all along! Thanks. Now on to my next exercise -- working out how to print capo chords in parentheses after the regular chord, so I get: (capo 3) C (A) G7 (E7) The nearest I can find is at http://www.mail-archive.com/lilypond-user@gnu.org/msg2485

Re: Newbie Question -- verse and chorus

ake-moment looks a bit esoteric -- is it reasonable for a beginner to treat that as magic, or is it something I should know about sooner rather than later? -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Newbie Question -- verse and chorus

2009/5/11 Jonathan Kulp : > And maybe this is the snippet Kieren's thinking of? > > http://lsr.dsi.unimi.it/LSR/Item?id=333 Thanks. It looks as if "learn more scheme" is the answer ;-) -- Tim Rowe ___ lilypond-user ma

Re: Newbie Question -- verse and chorus

the learning manual, notation reference, internals reference and snippets list! -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Newbie Question -- verse and chorus

2009/5/11 Tim Rowe : > but that involves me counting the bars, so I'd sooner do something like >  \set Score.currentBarNumber = #(- 'internalBarNumber 1) > except not that because it doesn't work. And neither does \set Score.currentBarNumber = #(- 'Score.c

Re: Newbie Question -- verse and chorus

7;d sooner do something like \set Score.currentBarNumber = #(- 'internalBarNumber 1) except not that because it doesn't work. Drat. Am I going to have to learn more scheme, or am I getting at the bar number in the wrong way? -- Tim Rowe ___ l

Re: Newbie Question -- verse and chorus

r of the textbook he had written, and which was a set text. If anybody asked him a question, he'd simply read the relevant chapter again. Attendance was compulsory (the university tolerated it because he was a genius performing groundbreaking research in his field, by the way). You're not r

Re: Newbie Question -- verse and chorus

are "RTFM" was no sort of an answer at all. Although 3.3.1 pretty much begins with "we have already met the Voice context", with no hyperlink to where that was -- and that's the particular context I need to work with. You see, that's

Re: Newbie Question -- verse and chorus

nclude it in the > next Report?  :) > Cheers, > - Graham > > Incidentally, it wasn't until I read the learning manual (after several > years of attempting, unsuccessfully, to use lilypond) that I learned that. > James E. Bailey Sounds like something that should be

Re: Newbie Question -- verse and chorus

owadays, have never met). Well, I have a postgrad degree in computer science, I can use laTeX, I know some Lisp and have a very slight knowledge of Scheme, so I ought to be reasonably placed, but like you "I really need someone to hold my hand while I get started, and that doesn't h

Re: Newbie Question -- verse and chorus

tell me where I /can/ ask those questions. Otherwise your attitude is simply going to drive people away. Maybe that's what you want. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Newbie Question -- verse and chorus

> is far easier. Ah, ok. The result the example is aiming for is quite different, which is why I'd missed it, but the positioning of simultaneous and sequential sections is comparable to what I want to do so the principles should apply. Thanks. -- Tim Rowe _

Re: Newbie Question -- verse and chorus

t; \new Staff = "upper" \upper \new Staff = "lower" \lower >> >> \layout { \context { \RemoveEmptyStaffContext } } \midi { } } I'm not sure how I add all of the elements together there. -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Newbie Question -- verse and chorus

see what't in front of my face (wouldn't be the first time). Can you point me to the bit of 3.2.3 that you think relates? -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Newbie Question -- verse and chorus

the first with a lot of \skip instructions where the chorus would be. I though it might be in the manual under "Lyrics and repeats", but that section doesn't seem to be written yet. This must be a common enough job -- how do I do it? Thanks i

Re: Newby question about stem directions

2009/5/10 Kieren MacMillan : > I've attached a better (IMO) way of doing the same thing. > > Hope this helps! /Very/ much better, and conceptually matches how I would expect to do it. Splendid! Thanks. -- Tim Rowe ___ lilypond-use

Re: Newby question about stem directions

tem?id=308 for exactly the use mentioned in that snippet. It did seem a bit arcane (but produced better looking output than shown at that link). Although now I know that the << {...} {...} >> construct doesn't create a second voice I don't think the number of voices is

Re: Newby question about stem directions

ave found to align lyrics to a dotted slur uses two voices for one musical line. I'm worried about running out of voices! -- Tim Rowe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user

Newby question -- Root notes in chord notation.

Is there any way to get a fakebook style indication of modified root notes? For example, I'd like a D chord with a C in the bass to be notated as D/C (rather than as whatever it is formally -- presumably some sort of 13th). Thanks. -- Tim

Newby question about stem directions

\time 4/4 << {\stemDown c2 } {\stemUp e4 e4 } \stemNeutral >> c2 | } \score { << \set Score.tempoHideNote = ##t \tempo 4 = 144 \new PianoStaff << \new Staff = "lower" \lower >> >> \layout