Re: How to work with large orchestral1 projects

On 22.02.2016 08:51, Carl-Henrik Buschmann wrote: In my mind i figured that nothing can come from nothing, so i tried the following: << {a2} \\ {s4\sfz\> s4\pp\<} >> But this produces only the top voice with the stem the wrong way (of course). Any ideas? As Urs wrote you’re

Re: How to work with large orchestral1 projects

Carl-Henrik Buschmann writes: > Hi again, > > I try to do this dymanic acrobatic: > > "sfz > pp <" > * > > In my mind i figured that nothing can come from nothing, so i tried the > following: > > << > {a2} > \\ > {s4\sfz\> s4\pp\<} >>> Almost good but the \\ needs to go.

Re: How to work with large orchestral1 projects

tput so far: > http://i.imgur.com/g2OL258.png > > > > ___ > lilypond-user mailing list > [hidden email] <http:///user/SendEmail.jtp?type=node=187535=0> > https://lists.gnu.org/mailman/listinfo/lilypond-user > > &g

Re: How to work with large orchestral1 projects

Am 22.02.2016 um 08:51 schrieb Carl-Henrik Buschmann: > Hi again, > > I try to do this dymanic acrobatic: > > *"sfz > pp <"* > > In my mind i figured that nothing can come from nothing, so i tried > the following: > > << > {a2} > \\ > {s4\sfz\> s4\pp\<} > >> which is very well

Re: How to work with large orchestral1 projects

Hi again, I try to do this dymanic acrobatic: "sfz > pp <" In my mind i figured that nothing can come from nothing, so i tried the following: << {a2} \\ {s4\sfz\> s4\pp\<} >> But this produces only the top voice with the stem the wrong way (of course). Any ideas? Med

Re: How to work with large orchestral1 projects

> > Hi Carl-Henrik, > > if you want your score like the Sibelius-output, I'd use Sibelius. ;) > I think trying to trim LilyPond doing the same as Sibelius will make > you miss some LilyPond-features. > True, but if i have to show examples from *somewhere*. I happen to master sibelius, having

Re: How to work with large orchestral1 projects

2016-02-20 22:02 GMT+01:00 Carl-Henrik Buschmann : > Hi guys, > > I'm trying to learn how to use lilypond to typeset orchestral material. > Handling large projects is fun but good documentation regarding this is hard > to come by. I'm still a lilypond novice and my Google-Fu

Re: How to work with large orchestral1 projects

Carl-Henrik Buschmann writes: > To use [ ] on the entire piece is simply not acceptable and surely not > the way lilypond should work. To beam or not to beam is a decision. Beaming across rests requires a rather dedicated decision. The autobeamer caters rather for the

Re: How to work with large orchestral1 projects

Does this explain it? http://lilypond.org/doc/v2.19/Documentation/notation/special-rhythmic-concerns and search for "Known issues and warnings" HTH Joram Am 21.02.2016 um 09:50 schrieb Carl-Henrik Buschmann: > I'm afraid i dont fully understand. When i put \grace s8 in my voices it > still

Re: How to work with large orchestral1 projects

Hi Carl-Henrik, the snippets can be quite helpful: http://www.lilypond.org/doc/v2.19/Documentation/snippets and online search if you can guess the name. > 1) The title. Is there a sensibale way to adjust font/fontsize and > placement of the title? (this is most likely an easy thing, but it would

Re: How to work with large orchestral1 projects

I'm afraid i dont fully understand. When i put \grace s8 in my voices it still produces double timesignatures. Med vennlig hilsen, Carl-Henrik Buschmann Lektor > 21. feb. 2016 kl. 08.56 skrev Urs Liska : > > > > Am 21. Februar 2016 08:25:22 MEZ, schrieb Carl-Henrik

Re: How to work with large orchestral1 projects

To use [ ] on the entire piece is simply not acceptable and surely not the way lilypond should work. I found that it is possible to use: \set Timing.beatStructure = #'(2 2) (http://lilypond.org/doc/v2.18/Documentation/notation/beams

Re: How to work with large orchestral1 projects

Am 21. Februar 2016 08:25:22 MEZ, schrieb Carl-Henrik Buschmann : >I found that it was >\slashedGrace {b8} >that caused the whole double time signature thing. I can only assume it >is a bug. I still need a acciaccatura though. Any thoughts? This is one of the *oldest* and

Re: How to work with large orchestral1 projects

I found that it was \slashedGrace {b8} that caused the whole double time signature thing. I can only assume it is a bug. I still need a acciaccatura though. Any thoughts? Med vennlig hilsen, Carl-Henrik Buschmann Lektor > 20. feb. 2016 kl. 22.02 skrev Carl-Henrik Buschmann

How to work with large orchestral1 projects

Hi guys, I'm trying to learn how to use lilypond to typeset orchestral material. Handling large projects is fun but good documentation regarding this is hard to come by. I'm still a lilypond novice and my Google-Fu has let me down, I need help. I'm using my own orchestration which i engraved