This may be obvious to some, but I've found this construction helpful
while working on parallel pieces of music, and I thought I'd share:
\version "2.23.80"
upper = \relative c' {
c4 d e f |
}
lower = << \skip \upper \relative c {
f e
% still being worked on
}
>>
\score {
\new P
; LilyPond Users
Subject: Re: Parallel music, adding a voice, stem not appearing
On Apr 11, 2016, at 2:23 AM, David Kastrup mailto:d...@gnu.org>
> wrote:
Stanton Sanderson < <mailto:stans...@gmail.com> stans...@gmail.com> writes:
Here is another (perhaps less eleg
> On Apr 11, 2016, at 2:23 AM, David Kastrup wrote:
>
> Stanton Sanderson mailto:stans...@gmail.com>> writes:
>
>> Here is another (perhaps less elegant) solution:
>>
>> rh = \relative c'' {
>> <<
>>\voiceOne
>>{
>> c2.~ | \stemDown \shiftOnn c
>>
Stanton Sanderson writes:
> Here is another (perhaps less elegant) solution:
>
> rh = \relative c'' {
> <<
> \voiceOne
> {
> c2.~ | \stemDown \shiftOnn c
> }
> \\
> \new Voice {
> \voiceTwo
>
Hi Stanton,
You don’t need both \\ and \new Voice. That’s kind of redundant.
Andrew
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gt;
> Thanks to anyone who can offer a suggestion.
>
> Joe Srednicki
> <>
> From: Andrew Bernard [mailto:andrew.bern...@gmail.com
> <mailto:andrew.bern...@gmail.com>]
> Sent: Saturday, April 9, 2016 11:13 PM
> To: Joseph N. Srednicki <mailto:jnsredni...@verizon.net>
HI Joseph,
Sorry. That’s what comes from me writing in a hurry.
Why does this work? Because if you use \\ in voices new voices are created and
discarded after. If you use \new Voice you can tie into and out of the first
voice as it is a continuation of the existing voice.
Also observe that due
@gnu.org
Subject: Re: Parallel music, adding a voice, stem not appearing
Hi Jospeh,
An erstwhile organist myself, hopefully I can give you an answer.
For me, while parallel music is described in the NR, for pieces of any length I
find it too hard to untangle what voice is what. Better in my
Hi Jospeh,
An erstwhile organist myself, hopefully I can give you an answer.
For me, while parallel music is described in the NR, for pieces of any length I
find it too hard to untangle what voice is what. Better in my opinion to use
explicit voices outright and be done with it. Then you have
Hello:
I am using parallel music. Please see the attached two-measure example to
see the issue.
I have used four voices up until this point. However, in the second measure,
I added a temporary voice for the a flat because it comes in as a fifth
voice for two beats.
However, the second
layout { }
} % score
% -----
Cheers,
Klaus
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View this message in context:
http://lilypond.1069038.n5.nabble.com/Parallel-music-expressions-on-1-stave-with-different-notehead-sizes-tp176660p176680.html
Sent from the User mailing list archive at Nabble.com.
27;'8
\tweak font-size #-2 d''
\tweak font-size #-2 e''4
}
\score
{
\new Staff
<<
\partcombine
{ \soprano }
{ \alto}
>>
\layout { }
} % score
% -----
Cheers,
Klaus
--
View this message in context:
http
How in Lilypond can I engrave two music expressions, \soprano and \alto, in
parallel on one stave in such a way that:
1. while they have the same rhythm, the notes share stems and beams
2. while they have the same rest-sequence, only one rest-sequence is engraved
3. the notes of \soprano are engra
On Sun, Nov 23, 2014 at 10:33 PM, Peter Chubb
wrote:
> My point I think is that the structure is the structure of the voice,
> not the structure of the staff. Which is why, BTW, the MIDI repeats
> don't unfold.
>
> Visibly the structure voice shows the repeats, but the repeats aren't
> actually
> "Michael" == Michael Ellis writes:
Michael> On Sun, Nov 23, 2014 at 4:46 PM,
Michael> wrote:
>> What's more, is there a reason to have the structure in a different
>> voice?
Michael> Good question. For me, it's mostly about the DRY principle
Michael> (don't repeat yourself). I'm in the p
On Sun, Nov 23, 2014 at 4:46 PM, wrote:
> What's more, is there a reason to have the structure in a different
> voice?
>
>
>
Good question. For me, it's mostly about the DRY principle (don't repeat
yourself). I'm in the process of writing a program that tries to maximize
one's opportunities t
> "Michael" == Michael Ellis writes:
>>
>>
>> Well, in this case you don't have any conflicting music in the two
>> Voice contexts (because the \structure isn't a printed music
>> voice). So you can simply leave out the \voiceXXX commands and
>> you're ready.
What's more, is there a reas
On Sat, Nov 22, 2014 at 11:16 AM, Urs Liska wrote:
>
>
> Well, in this case you don't have any conflicting music in the two Voice
> contexts (because the \structure isn't a printed music voice).
> So you can simply leave out the \voiceXXX commands and you're ready.
>
> using \voiceOne and \voiceT
Am 22.11.2014 17:12, schrieb Michael Ellis:
I have another question that's somewhat related. If my example
contained notes above the middle line, you would notice that the stem
directions would still be up because I designated \music as \voiceOne
and \structure as \VoiceTwo.
music = \r
On Wed, Nov 19, 2014 at 10:54 AM, Michael Ellis
wrote:
>
>
>
> I find it advantageous when working with multiple voices to keep
> 'structural' information (meter, tempo, etc.) in a separate voice that gets
> combined with the other voices as illustrated in the image and code below.
> In this ex
I find it advantageous when working with multiple voices to keep
'structural' information (meter, tempo, etc.) in a separate voice that gets
combined with the other voices as illustrated in the image and code below.
In this example, the pdf layout is correct and the MIDI output honors the
tempo c
Patrick or Cynthia Karl writes:
> I have a piece of music that needs to have all staves but one repeat, and
> that non-repeating staff is twice as long as the repeating. I tried the
> following but got no joy:
>
> \version "2.19.15"
>
> musicA = \relative b' { c d e f }
> musicB = \relative f
I have a piece of music that needs to have all staves but one repeat, and that
non-repeating staff is twice as long as the repeating. I tried the following
but got no joy:
\version "2.19.15"
musicA = \relative b' { c d e f }
musicB = \relative f' { f e d c }
\score {
<<
\new Sta
Hello Abraham and Urs,
LP is great, and so is its users list!
Thanks for your help, and a nice day!
JM
Am 04.09.2014 um 20:59:59 schrieb Urs Liska :
> The only thing I dislike about this is the use of \hideNotes.
>
> \hideNotes makes Notes _transparent_ but doesn't remove the stencils. This
The only thing I dislike about this is the use of \hideNotes.
\hideNotes makes Notes _transparent_ but doesn't remove the stencils.
This often results in strange output issues, sometimes striking,
sometimes subtle. The problem is that the ties or slurs will still try
to avoid the hidden items,
On Thu, Sep 4, 2014 at 11:23 AM, Jacques Menu
wrote:
Hello folks,
I’d like to obtain the tie between the cis’s in beat 1 and 2 in
the attached, from a version of BWV 508 (3/4).
The best I could find is:
%
\version "2.18.2"
{
\clef "treble" \key b \major \time 3/4
…
\tieDown
Hello folks,
I’d like to obtain the tie between the cis’s in beat 1 and 2 in the attached,
from a version of BWV 508 (3/4).
The best I could find is:
%
\version "2.18.2"
{
\clef "treble" \key b \major \time 3/4
…
\tieDown
4 )
<<
{fis8 --}
{\hideNotes cis8 \unHideNotes}
>>
fis
Zenaan Harkness writes:
> On 10/5/12, David Kastrup wrote:
>> Werner LEMBERG writes:
>>
Have you read
http://lwn.net/Articles/514964/
>>>
>>> Not yet, thanks for that!
>>>
on Bradley Kuhn's
http://sfconservancy.org/
>>>
>>> Actually, I've already asked for ma
On 10/5/12, David Kastrup wrote:
> Werner LEMBERG writes:
>
>>> Have you read
>>>
>>>http://lwn.net/Articles/514964/
>>
>> Not yet, thanks for that!
>>
>>> on Bradley Kuhn's
>>>
>>>http://sfconservancy.org/
>>
>> Actually, I've already asked for making FreeType a conservancy member
>> som
Werner LEMBERG writes:
>> Have you read
>>
>>http://lwn.net/Articles/514964/
>
> Not yet, thanks for that!
>
>> on Bradley Kuhn's
>>
>>http://sfconservancy.org/
>
> Actually, I've already asked for making FreeType a conservancy member
> some months ago, and it seems to be a quite slow p
> Have you read
>
>http://lwn.net/Articles/514964/
Not yet, thanks for that!
> on Bradley Kuhn's
>
>http://sfconservancy.org/
Actually, I've already asked for making FreeType a conservancy member
some months ago, and it seems to be a quite slow process...
Maybe we should do the same
Hi,
there was a problem in "Parallel music view" thread on -user,
beginning with this message
http://lists.gnu.org/archive/html/lilypond-user/2012-10/msg00054.html.
I was worried about the situation and i decided to talk with David via
phone - it turned out that i misunderstood his
Werner LEMBERG writes:
>> I'm getting "crowd-funded" for my work on LilyPond,
>
> Another new thing: https://www.gittip.com
Have you read
http://lwn.net/Articles/514964/
on Bradley Kuhn's
http://sfconservancy.org/
Jan
--
Jan Nieuwenhuizen | GNU LilyPond http://lilypond.org
Freelance
Werner LEMBERG writes:
>> I'm getting "crowd-funded" for my work on LilyPond,
>
> Another new thing: https://www.gittip.com
Have you read
http://lwn.net/Articles/514964/
on Bradley Kuhn's
http://sfconservancy.org/
Jan
--
Jan Nieuwenhuizen | GNU LilyPond http://lilypond.org
Freelance
David Kastrup writes:
> Werner LEMBERG writes:
>
>>> I'm getting "crowd-funded" for my work on LilyPond,
>>
>> Another new thing: https://www.gittip.com
>
> https://github.com/whit537/www.gittip.com/issues/126>
>
> I am not convinced a crowd-funding service that has still to find a
> solution fo
Werner LEMBERG writes:
>> I'm getting "crowd-funded" for my work on LilyPond,
>
> Another new thing: https://www.gittip.com
https://github.com/whit537/www.gittip.com/issues/126>
I am not convinced a crowd-funding service that has still to find a
solution for making actual payouts is the way to
> I'm getting "crowd-funded" for my work on LilyPond,
Another new thing: https://www.gittip.com
Werner
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James writes:
> Hello,
>
> On 5 October 2012 02:08, Zenaan Harkness wrote:
>> Any estimates of the number of "active" users of lilypond? We could
>> arrange feature fundings, with many users, say $20 each makes it
>> eminently feasible - kickstarter for lilypond.. but kickstarter
>> results in I
Hello,
On 5 October 2012 02:08, Zenaan Harkness wrote:
> Any estimates of the number of "active" users of lilypond? We could
> arrange feature fundings, with many users, say $20 each makes it
> eminently feasible - kickstarter for lilypond.. but kickstarter
> results in I think in 10% or so lost
Any estimates of the number of "active" users of lilypond? We could
arrange feature fundings, with many users, say $20 each makes it
eminently feasible - kickstarter for lilypond.. but kickstarter
results in I think in 10% or so lost to the middle men, but it could
suffice. I'd be happy to pay stra
I thought of a solution.
This is not a quick task eventough I know what needs to be done, since such an
editor, only more advanced, is Laborejo.
For simple purposes it will be easy to do but quickly you encounter
shortcomings and the display is unstatisfying again which is the point where
the
Francisco Vila wrote:
> I think that what you want does actually exist, and it is called a
> spreadsheet. They are commonly used for (or primarily intended for)
> numbers and formulae laid out in rows and columns, although people do
> use them for pretty everything from "I lost my dog" ads to rest
On Wed, Oct 3, 2012 at 12:33 PM, Nils Gey wrote:
> I thought of a solution.
> [...]
> Summary: It is totally possible, but I can't do it right now.
So, 50 bucks will have to wait :)
I'm actually surprised that noone pledged any additional bounty...
Janek
_
Francisco Vila writes:
> 2012/10/3 Janek Warchoł :
>> Imagine a piece for medium-sized orchestra (10 instruments, 200
>> measures). In LilyPond code, you have to write the instruments
>> separately from each other - the connection between them is not
>> visible. It is difficult to visualise how
I think MTX was doing that (or PMX?). I used it and would counsel to
try it there. If you find it usefull, why not?
Personally, I am happy with writing down on paper and transcribing
then (when the music becomes to complicated form my poor coding
habits).
Francois
2012/10/3, David Kastrup :
> Urs
This is not a quick task eventough I know what needs to be done, since such an
editor, only more advanced, is Laborejo.
For simple purposes it will be easy to do but quickly you encounter
shortcomings and the display is unstatisfying again which is the point where
the code need extensions and r
2012/10/3 Janek Warchoł :
> Imagine a piece for medium-sized orchestra (10 instruments, 200
> measures). In LilyPond code, you have to write the instruments
> separately from each other - the connection between them is not
> visible. It is difficult to visualise how they blend by looking at
> the
Urs Liska writes:
> Am 03.10.2012 10:12, schrieb David Kastrup:
>> Urs Liska writes:
>>
>>> Am 03.10.2012 07:34, schrieb Janek Warchoł:
Hi,
sorry for delay...
On Wed, Sep 26, 2012 at 2:03 PM, David Kastrup wrote:
> Janek Warchoł writes:
>> Disabling automatic l
Am 03.10.2012 10:12, schrieb David Kastrup:
Urs Liska writes:
Am 03.10.2012 07:34, schrieb Janek Warchoł:
Hi,
sorry for delay...
On Wed, Sep 26, 2012 at 2:03 PM, David Kastrup wrote:
Janek Warchoł writes:
Disabling automatic line wrapping and using horizontal scrolling
is the key :)
Of
Urs Liska writes:
> Am 03.10.2012 07:34, schrieb Janek Warchoł:
>> Hi,
>>
>> sorry for delay...
>>
>> On Wed, Sep 26, 2012 at 2:03 PM, David Kastrup wrote:
>>> Janek Warchoł writes:
Disabling automatic line wrapping and using horizontal scrolling
is the key :)
Of course, it would
Am 03.10.2012 07:34, schrieb Janek Warchoł:
Hi,
sorry for delay...
On Wed, Sep 26, 2012 at 2:03 PM, David Kastrup wrote:
Janek Warchoł writes:
Disabling automatic line wrapping and using horizontal scrolling is the key :)
Of course, it wouldn't probably make sense to *store* music in this f
Hi,
sorry for delay...
On Wed, Sep 26, 2012 at 2:03 PM, David Kastrup wrote:
> Janek Warchoł writes:
>> Disabling automatic line wrapping and using horizontal scrolling is the key
>> :)
>> Of course, it wouldn't probably make sense to *store* music in this format.
>
> If you don't want to stor
On 27/09/12 01:41, Francisco Vila wrote:
> 2012/9/26 Urs Liska :
>> Am 26.09.2012 14:03, schrieb David Kastrup:
>>> To me it sounds more like what you'd want here is several windows into
>>> the same file with synchronized cursor motion for things happening at
>>> the same musical time.
>>>
>> Oh y
Francisco Vila writes:
> 2012/9/26 Urs Liska :
>> Am 26.09.2012 14:03, schrieb David Kastrup:
>>> To me it sounds more like what you'd want here is several windows into
>>> the same file with synchronized cursor motion for things happening at
>>> the same musical time.
>>>
>> Oh yeah, that's some
2012/9/26 Urs Liska :
> Am 26.09.2012 14:03, schrieb David Kastrup:
>> To me it sounds more like what you'd want here is several windows into
>> the same file with synchronized cursor motion for things happening at
>> the same musical time.
>>
> Oh yeah, that's something I'd second.
> In an ideal w
2012/9/26 Christ van Willegen :
> On Wed, Sep 26, 2012 at 2:45 PM, Wim van Dommelen wrote:
>> TexShop does this (partly) for you: 2 windows can be open on one and the
>> same file, updates in one window are immediately live in the other.
>
> Vim can do that with as many windows as you'd like...
On Wed, Sep 26, 2012 at 2:45 PM, Wim van Dommelen wrote:
> TexShop does this (partly) for you: 2 windows can be open on one and the
> same file, updates in one window are immediately live in the other.
Vim can do that with as many windows as you'd like...
Christ van Willegen
--
09 F9 11 02 9D 7
On 26 Sep 2012, at 14:06 , Urs Liska wrote:
Oh yeah, that's something I'd second.
In an ideal world these windows wouldn't only go into the same file
but into the same piece of music.
TexShop does this (partly) for you: 2 windows can be open on one and
the same file, updates in one window
Urs Liska writes:
> But I think this would be quite complex, because the editor would have
> to know the musical moment we are at. Which seems complicated from the
> beginning, but if we start to (re-)use variables ...
Seems like point-and-click Midi would deliver most of the required
informatio
Am 26.09.2012 14:03, schrieb David Kastrup:
Janek Warchoł writes:
On Wed, Sep 26, 2012 at 1:53 PM, Mats Bengtsson
wrote:
On 09/26/2012 12:48 PM, lilypond-user-requ...@gnu.org wrote:
What about editors like Frescobaldi having the ability to convert
"regular lilypond" to "horizontal scroll" a
Janek Warchoł writes:
> On Wed, Sep 26, 2012 at 1:53 PM, Mats Bengtsson
> wrote:
>>
>> On 09/26/2012 12:48 PM, lilypond-user-requ...@gnu.org wrote:
>>>
>>> What about editors like Frescobaldi having the ability to convert
>>> "regular lilypond" to "horizontal scroll" and back? E.g. the code
>>>
On Wed, Sep 26, 2012 at 1:53 PM, Mats Bengtsson
wrote:
>
> On 09/26/2012 12:48 PM, lilypond-user-requ...@gnu.org wrote:
>>
>> What about editors like Frescobaldi having the ability to convert
>> "regular lilypond" to "horizontal scroll" and back? E.g. the code
>> above would be displayed as (view
Am 26.09.2012 13:53, schrieb Mats Bengtsson:
On 09/26/2012 12:48 PM, lilypond-user-requ...@gnu.org wrote:
What about editors like Frescobaldi having the ability to convert
"regular lilypond" to "horizontal scroll" and back? E.g. the code
above would be displayed as (view using monospace font):
On 09/26/2012 12:48 PM, lilypond-user-requ...@gnu.org wrote:
What about editors like Frescobaldi having the ability to convert
"regular lilypond" to "horizontal scroll" and back? E.g. the code
above would be displayed as (view using monospace font):
<<
{ a4 b c d e f g a ea g
On Wed, Sep 26, 2012 at 11:26 AM, Nils Gey wrote:
> I have to see if Frescobaldi has an internal representation of durations
> and time signatures/bar length, but I guess not. This way the conversion
> from parallel back to sequential is a bit tricky since you need to keep track
> of the current
Nils Gey writes:
> I have to see if Frescobaldi has an internal representation of
> durations and time signatures/bar length, but I guess not.
Really? I know Emacs has it since it complains when you place bar
checks at the "wrong" point of time. Frescobaldi, judging from its
description, appea
On Wed, 26 Sep 2012 10:53:23 +0200
Janek Warchoł wrote:
> Hi,
>
> one of the things that i find inconvenient in reading Lily syntax is
> its sequential nature. For example,
>
> <<
> {
> a4 b c d
> e f g a
> e a g f
> }
> {
> e4 a g f
> c2 e
> d8 c f4 d2
> }
>
Hi,
one of the things that i find inconvenient in reading Lily syntax is
its sequential nature. For example,
<<
{
a4 b c d
e f g a
e a g f
}
{
e4 a g f
c2 e
d8 c f4 d2
}
>>
it's hard to read the harmonies from the code, because voices are separate.
I know abou
2009/7/19 David Bobroff :
> I don't have the inventions available to look at but my memory says that the
> ornament should occur on beat 4 on the 'b8'. You've put in too much skip
> time in the UpperOrnamentVoice. It starts:
>
> s2 s1
>
> ...which is equal to six beats. Typo? Change it to:
D'o
I don't have the inventions available to look at but my memory says that
the ornament should occur on beat 4 on the 'b8'. You've put in too much
skip time in the UpperOrnamentVoice. It starts:
s2 s1
...which is equal to six beats. Typo? Change it to:
s2 s4
..or..
s2.
...and your probl
Ok, I leave Lilypond alone for a while, and I forget it all -- it's
not for the occasional user, is it? At least not an absent-minded one.
I'm simply trying to set a piece of music in two parts. I could
cut-and paste something that works, and if nobody can spare the time
then that's what I'll do.
Hello
I am trying to use \parallelMusic with some success.
My only problem is that at a specific point in the music, the composer
decided to add a new temporary voice.
I was trying to use something like:
\parallelMusic #'(upperA upperB) {
% line 1 - 1
\partial 4 b4\( |
\
Trevor Daniels napsal(a):
Have a look at the 2.11 development branch Learning Manual
at
http://lilypond.org/doc/v2.11/Documentation/user/lilypond-le
arning/index , in particular Section 3.2 "Voices contain
music". You will find the answer there. Although this
documentation is for release 2.11 i
ginal Message-
> From:
> [EMAIL PROTECTED]
> g
> [mailto:lilypond-user-bounces+t.daniels=treda.co.u
> [EMAIL PROTECTED] Behalf Of Zbyněk Burget
> Sent: 09 January 2008 22:16
> To: Lilypond
> Subject: Parallel music
>
>
> Hi,
> I've small problem:
>
> I writ
Hi,
I've small problem:
I write Score for piano and I use parallelMusic. I've two voices in
right hand. In second bar Voice two (RightB) divides to two "voices"
again. But... lilypond joins voice RightA with upper part of voice
RightB. In this position is generated one stem only. I need three
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