On 10/08/2024 11:01, Valentin Petzel wrote:
I was hoping there was a neat trick that did not involve stubs. But if
that is the "traditional" way of doing things
I mean, what du you want to see in the end? This sort of notation is very
common in vocal music.
I know it is common, that w
> I was hoping there was a neat trick that did not involve stubs. But if
> that is the "traditional" way of doing things
I mean, what du you want to see in the end? This sort of notation is very
common in vocal music.
signature.asc
Description: This is a digitally signed message part.
\skip This
\set stanza = "(2.)"
is verse two
}
verseCstub = \lyricmode {
\set stanza = "3." This
}
verseC = \lyricmode {
\skip This
\set stanza = "(3.)"
is verse three
}
chorusWords = \lyricmode {
\set stanza = "Refrain."
This is the c
t;(2.)"
is verse two
}
verseCstub = \lyricmode {
\set stanza = "3." This
}
verseC = \lyricmode {
\skip This
\set stanza = "(3.)"
is verse three
}
chorusWords = \lyricmode {
\set stanza = "Refrain."
This is the chorus
}
\score {
<<
\new St
On 09/08/2024 04:48, David Wright wrote:
On Wed 07 Aug 2024 at 14:43:32 (+0100), Raphael Mankin wrote:
Is there a neat way of avoiding having a repeat bar in the middle
of a measure while preserving the stanza numbers is their proper
places?
I wasn't aware that the stanza
On Wed 07 Aug 2024 at 14:43:32 (+0100), Raphael Mankin wrote:
> Is there a neat way of avoiding having a repeat bar in the middle
> of a measure while preserving the stanza numbers is their proper
> places?
I wasn't aware that the stanza numbers could become detached from
their pr
tanza = "Refrain. "
This is the chorus }
\score {
\new Staff {
\partial 4
\intro
\melody
\addlyrics {
\repeat volta 3 {
<<
\new Lyrics = mainlyrics \verseA
\new Lyrics \verseB
\new Lyr
\compressEmptyMeasures works (also in 2.24.1), thank you.
Gerardo
Il giorno mer 21 feb 2024 alle ore 21:49 Mats Bengtsson
ha scritto:
>
>
> On 2024-02-17 01:15, Gerardo Ballabio wrote:
>
> Hello,
> I need to change the time in the middle of a bar.
> I managed to do that u
On 2024-02-17 01:15, Gerardo Ballabio
wrote:
Hello,
I need to change the time in the middle of a bar.
I managed to do that using \partial, but it seems that after that,
\compressMMRests no longer works -- only for the group of measures
immediately
;ll look into using
a newer version.
Il giorno dom 18 feb 2024 alle ore 12:07 J Martin Rushton
ha scritto:
> I've recently done this:
> \unfoldRepeats {
> \relative c'' {
> ...
> \partial 8 e8 |
> a,8. b16 a8 a4 a8 |
> ...
>
> > > Hello,
> > > I need to change the time in the middle of a bar.
> > > I managed to do that using \partial, but it seems that after that,
> > > \compressMMRests no longer works -- only for the group of measures
> > > immediately following, then it res
Am Sa., 17. Feb. 2024 um 01:18 Uhr schrieb Gerardo Ballabio
:
>
> Sorry, forgot the attachment.
>
> Il giorno sab 17 feb 2024 alle ore 01:15 Gerardo Ballabio
> ha scritto:
> >
> > Hello,
> > I need to change the time in the middle of a bar.
> > I managed
Sorry, forgot the attachment.
Il giorno sab 17 feb 2024 alle ore 01:15 Gerardo Ballabio
ha scritto:
>
> Hello,
> I need to change the time in the middle of a bar.
> I managed to do that using \partial, but it seems that after that,
> \compressMMRests no longer works -- only f
Hello,
I need to change the time in the middle of a bar.
I managed to do that using \partial, but it seems that after that,
\compressMMRests no longer works -- only for the group of measures
immediately following, then it resumes working normally.
See example below, attaching the output that I get
Jean Abou Samra writes:
> Le 27/03/2022 à 16:23, David Kastrup a écrit :
>> It doesn't share the same music objects for different notes since $(...)
>> makes a ly:music-deep-copy anyway that will deduplicate the elements of
>> SequentialMusic while copying them. The intermediate expression is
>>
Le 27/03/2022 à 16:23, David Kastrup a écrit :
It doesn't share the same music objects for different notes since $(...)
makes a ly:music-deep-copy anyway that will deduplicate the elements of
SequentialMusic while copying them. The intermediate expression is
indeed not fit for every use, but the
Jean Abou Samra writes:
> Le 26/03/2022 à 03:23, Kieren MacMillan a écrit :
>> Hope that makes it clearer?
>
>
> Yes, I understand better, thanks. I'd just suggest changing your
> snippet to
>
> \version "2.23.7"
>
> $(let ((notes (ly:music-property #{ d'> #} 'elements)))
> (make-sequential-
Hi Jean,
> Yes, I understand better, thanks.
I can give you uncountable examples of "sugar" being more powerful than just
about anything else that's visible in Lilypond. [We all know that sugar isn't
as powerful as the amazing code underneath… but for the purposes of
Lily-vangelizing, it's the
Le 26/03/2022 à 03:23, Kieren MacMillan a écrit :
Hope that makes it clearer?
Yes, I understand better, thanks. I'd just suggest changing your
snippet to
\version "2.23.7"
$(let ((notes (ly:music-property #{ d'> #} 'elements)))
(make-sequential-music
(map (lambda (x) (ly:music-deep
Hi Jean,
>> but for me, it's the highest-impact sales tool when I'm Lily-vangelizing. :)
> I'm curious, could you say more?
When I show someone that you can install "vanilla" Lilypond, just type
something like
\version "2.23.4"
randomNotes = {
$@(let ((notes (ly:music-property #{ #} 'e
Le 25/03/2022 à 14:13, Kieren MacMillan a écrit :
but for me, it's the highest-impact sales tool when I'm
Lily-vangelizing. :)
I'm curious, could you say more?
Jean
Hi all,
> This can be a snippet in the docs, as far as I'm concerned.
Why wouldn't this be a candidate for a patch?
I feel like some developers have an aversion to sugar… but for me, it's the
highest-impact sales tool when I'm Lily-vangelizing. :)
Cheers,
Kieren.
On Thu, Mar 24, 2022 at 3:18 PM Valentin Petzel wrote:
> Hello Carl,
>
> I don’t think recreating \partial is the best thing to do. After all we
> can
> simply do
>
> pickupNotes =
> #(define-music-function (mus) (ly:music?)
>(let* ((mom (ly:music-length mus))
>
Hello Carl,
I don’t think recreating \partial is the best thing to do. After all we can
simply do
pickupNotes =
#(define-music-function (mus) (ly:music?)
(let* ((mom (ly:music-length mus))
(dur (make-duration-of-length mom)))
#{
\partial #dur
#mus
On Thu, Mar 24, 2022 at 12:48 PM Valentin Petzel wrote:
> Another idea: We could have a command like partialDuring or partialWith.
>
Here's what I wrote, renaming Aaron's function:
pickupNotes =
#(define-music-function (mus) (ly:music?)
(_i "Make a partial meas
> > Cc: lilyp...@hillvisions.com, dan@lyric.works, thomasmorle...@gmail.com,
> > lilypond-de...@gnu.org, lilypond-user@gnu.org
> > Bcc:
> > Date: Sun, 20 Mar 2022 12:01:25 -0500
> > Subject: Re: Should \partial accept music instead of duration?
> >
> > &g
Tim's Bitstream writes:
>> On Mar 20, 2022, at 2:24 AM, Werner LEMBERG wrote:
>>
>> What about providing a new command `\upbeat` and moving `\partial`
>> into oblivion? Compare this to `\tuplet` vs. `\times`.
>
> Perhaps this is an American jazzism, but w
> -- Forwarded message --
> From: "Tim's Bitstream"
> To: Werner LEMBERG
> Cc: lilyp...@hillvisions.com, dan@lyric.works, thomasmorle...@gmail.com,
> lilypond-de...@gnu.org, lilypond-user@gnu.org
> Bcc:
> Date: Sun, 20 Mar 2022 12:01:25 -0500
&
> On Mar 20, 2022, at 2:24 AM, Werner LEMBERG wrote:
>
> What about providing a new command `\upbeat` and moving `\partial`
> into oblivion? Compare this to `\tuplet` vs. `\times`.
Perhaps this is an American jazzism, but we would refer to those as \pickup
notes.
Wols Lists writes:
> On 19/03/2022 20:01, David Kastrup wrote:
>> Sam Roberts writes:
>>
>>> I tried so hard to be accurate, but I missed something:
>>>
>>> On Sat, Mar 19, 2022 at 12:38 PM Sam Roberts wrote:
>>>> After experimentation,
On 19/03/2022 20:01, David Kastrup wrote:
Sam Roberts writes:
I tried so hard to be accurate, but I missed something:
On Sat, Mar 19, 2022 at 12:38 PM Sam Roberts wrote:
After experimentation, I found this worked:
\time 3/4 \partial 1 c4 |
It "works" in that pdf output looks
On Sat, Mar 19, 2022 at 1:57 PM Sam Roberts wrote:
>
> > The * syntax is described here:
> >
> > https://lilypond.org/doc/v2.22/Documentation/notation/writing-rhythms#scaling-durations
This is a good page to bookmark if you need to lookup the syntax of a command:
https://lilypond.org/doc/v2.22/D
Le 20/03/2022 à 10:01, Aaron Hill a écrit :
All of those things *are* music, as far as LilyPond is concerned. It
is just that commands like \tempo have no duration, so the following
is nonsensical since the music has zero length:
\partial \tempo 4 = 90
Your "global" variable l
What if instead of `\upbeat` (which is weirdly named when used in the
end-of-music/phrase/hymn/passage scenario) this new thing is just called
`\partialMusic`?
It's backward compatible, does something easy to use in some simple
scenarios, leaves everything else in place for more refined use cases,
I do not really like the idea that much to be honest. Of course it would be
cool if we just have to specify the music and no duration, but in the end
\partial is not really a command about the music, but about the measure
structure. Binding it to some music would be a bit like having \time take
On 2022-03-20 3:17 am, David Kastrup wrote:
Aaron Hill writes:
Fair point, though the intention here would be that backwards
compatibility would only need to exist for a time.
I strongly disagree since \partial with a duration is the natural and
proper expression when writing a separate
Aaron Hill writes:
> On 2022-03-19 7:53 pm, Dan Eble wrote:
>> On Mar 19, 2022, at 20:53, Aaron Hill wrote:
>> ...
>>>>> A convert-ly rule would probably not be possible given the
>>>>> limited power
>>>>> of regular expr
such. As I understand it having
\partial to accept only music as argument would have to move to each
part, which would introduce unnecessary typing and disrupt the logic
of the structure. Sure it can be worked around, but I would see it as
a step backwards. Or have I misunderstood?
All of those
Entirely replacing the actual syntax would not be desirable in my opinion.
Consider the case when it is used in a “global” part/variable in an orchestral
score that usually contains rehearsal marks, tempo, key and time signature
changes and such. As I understand it having \partial to accept
What if you rotate them instead?
Rename the current \partial \partialDuration,
convert.ly now is just s/partial/partialDuration/
and \partial always takes music from now on
It's the same as Werner said, but keeps the good name
L
On Sun, 20 Mar 2022, 08:24 Werner LEMBERG, wrote:
>
&
>>>>> A convert-ly rule would probably not be possible given the
>>>>> limited power of regular expressions. As such, \partial might
>>>>> need to support both duration and music arguments. Initially I
>>>>> thought this might not b
On 2022-03-19 7:53 pm, Dan Eble wrote:
On Mar 19, 2022, at 20:53, Aaron Hill wrote:
...
A convert-ly rule would probably not be possible given the limited
power
of regular expressions. As such, \partial might need to support
both
duration and music arguments. Initially I thought this might
On Mar 19, 2022, at 20:53, Aaron Hill wrote:
...
>>> A convert-ly rule would probably not be possible given the limited power
>>> of regular expressions. As such, \partial might need to support both
>>> duration and music arguments. Initially I thought this might not
> >>
> >>
> >> \version "2.22.0"
> >>
> >> partial =
> >> #(define-music-function (mus) (ly:music?)
> >>(_i "Make a partial measure.")
> >>(let* ((mom (ly:music-length mus))
> >>
On 2022-03-19 5:46 pm, Thomas Morley wrote:
Am So., 20. März 2022 um 00:02 Uhr schrieb Aaron Hill
:
Here would be a possible refactoring:
\version "2.22.0"
partial =
#(define-music-function (mus) (ly:music?)
(_i "Make a partial measure.")
(let* ((mom
Am So., 20. März 2022 um 00:02 Uhr schrieb Aaron Hill
:
>
> Here would be a possible refactoring:
>
>
> \version "2.22.0"
>
> partial =
> #(define-music-function (mus) (ly:music?)
>(_i "Make a partial measure.")
>(let* ((mom (ly:mus
Here would be a possible refactoring:
\version "2.22.0"
partial =
#(define-music-function (mus) (ly:music?)
(_i "Make a partial measure.")
(let* ((mom (ly:music-length mus))
(dur (make-duration-of-length mom)))
(make-music 'SequentialMusic
> The * syntax is described here:
>
> https://lilypond.org/doc/v2.22/Documentation/notation/writing-rhythms#scaling-durations
Thank you, that's perfect.
Sam
> For my more general understanding, is there documentation anywhere for
> the syntax of the argument to partial? Something that will explain the
> * syntax shown on this page?
That is simple. The argument to \partial is a duration.
>
https://music.stackexchange.com/questions/1
On Sat, Mar 19, 2022 at 2:41 PM Sam Roberts wrote:
>
> For my more general understanding, is there documentation anywhere for
> the syntax of the argument to partial? Something that will explain the
> * syntax shown on this page?
>
>
> https://music.stackexchange.com/qu
On Sat, Mar 19, 2022 at 1:01 PM David Kastrup wrote:
> You probably are using \partial wrong: its argument does not specify how
> long it is _since_ a full bar but how long it is _to_ a full bar.
Thank you, that was definitely a problem, I hadn't understood that.
For my m
Sam Roberts writes:
> I tried so hard to be accurate, but I missed something:
>
> On Sat, Mar 19, 2022 at 12:38 PM Sam Roberts wrote:
>> After experimentation, I found this worked:
>>
>> \time 3/4 \partial 1 c4 |
>
> It "works" in that pdf output loo
I tried so hard to be accurate, but I missed something:
On Sat, Mar 19, 2022 at 12:38 PM Sam Roberts wrote:
> After experimentation, I found this worked:
>
> \time 3/4 \partial 1 c4 |
It "works" in that pdf output looks ok, c4 is in the pickup bar, but
still warns about th
I'm still baffled by it. After experimentation, I found this worked:
\time 3/4 \partial 1 c4 |
But "1"? 1 what? The pickup is a 2, and if I do this barcheck passes,
as I expect:
\time 3/4 c2 c4 |
So from the doc examples I'd expect "\partial 2" to indicate a
, the first
measure of each line (except for the very first measure) is given a
bar number.
So I now understand that it might seem weird for a partial measure
to get a bar number; and that it should be parenthesized in order to
be sure that it was specifically intended.
I am now about to attempt
At 14:36 20/02/2022 -0800, Kenneth Wolcott wrote:
I'm not sure I totally understand your response.
Evidently so.
I'd like to see the bar number displayed on the next line as that is
when the incomplete measure is completed.
What, please, makes you think I didn't understand that?
I indeed h
to have the
bar number displayed automatically or have a mechanism to force it to
be displayed.
It is by no means a show-stopper :-)
Thanks,
Ken
On Sat, Feb 19, 2022 at 7:53 PM Brian Barker wrote:
>
> At 17:16 19/02/2022 -0800, Kenneth Wolcott wrote:
> >bar count not displayed after
At 17:16 19/02/2022 -0800, Kenneth Wolcott wrote:
bar count not displayed after partial measure followed by forced line break
I am engraving some music where there is a partial measure starting
the music and later a measure is broken at a line break. To
implement this I tried using:
\bar
> Le 6 févr. 2022 à 11:54, Valentin Petzel a écrit :
>
> Thus I think this would be a sensible default. Is there any good reason
> against using this by default?
I wondered about that as well when I split the barNumberVisibility test and
submitted the pending MR to no longer require \bar
ic to avoid having
>> pickup/trailing notes/lyrics straddling a line break.) When the first
>> measure on a line is a partial measure, no bar number is shown. This means
>> some lines in my lead sheets have no bar number for reference. In some
>> cases, I end up wi
On 2022-02-06 1:37 am, Jean Abou Samra wrote:
Are you aware of the options to print a parenthesized bar number at
the start of the line if it's the continuation of a measure? See
input/regression/bar-number-visibility-* (sadly missing documentation
at the moment). I don't have an opinion on wheth
ine break.) When the first
> measure on a line is a partial measure, no bar number is shown. This means
> some lines in my lead sheets have no bar number for reference. In some
> cases, I end up with no automatic bar numbers at all.
>
> (Some code for context/reference...)
>
I opt to split measures over a line break. (This practice is
quite common in hymnals, though I find it equally effective for modern
music to avoid having pickup/trailing notes/lyrics straddling a line
break.) When the first measure on a line is a partial measure, no bar
number is shown. This
Hi Christian;
AWESOME! Thank you very much!
Ken
On Mon, Dec 20, 2021 at 12:44 PM Christian wrote:
>
> Hi Kenneth!
>
> You might just wanna try:
> \partial 16*5
>
> All the best,
> Christian
>
> Am Mo., 20. Dez. 2021 um 21:22 Uhr schrieb Kenneth Wolcott
> :
Hi Kenneth!
You might just wanna try:
\partial 16*5
All the best,
Christian
Am Mo., 20. Dez. 2021 um 21:22 Uhr schrieb Kenneth Wolcott <
kennethwolc...@gmail.com>:
> Hi;
>
> I'm engraving a piece in 4/4 which has a partial of one sixteenth
> note, followed by a do
Hi;
I'm engraving a piece in 4/4 which has a partial of one sixteenth
note, followed by a dotted eighth and another sixteenth note.
How to engrave this?
My sloppy workaround was to use spacer notes (s2 s8.) to proceed the
aforementioned which completes the measure, but looks awful :-)
T
Dear All,
I've tinkered about some more with partial pedalling and gradual sustain pedal
release, and here's some code (some of it copied/adapted from the internet)
that seems to work, even though in some respects it shouldn't:
\version "2.20.0"
x27;m looking
for.
Jan
Van: Aaron Hill
Verzonden: maandag 10 mei 2021 21:57
Aan: Dijkhuizen, J.F. van
CC: lilypond-user@gnu.org
Onderwerp: Re: Piano: partial pedalling
On 2021-05-10 11:38 am, Dijkhuizen, J.F. van wrote:
> Dear All,
>
> I was wondering if anybody knows if it's possibl
(Please make sure to keep the mailing list on all messages.)
On 2021-05-10 1:42 pm, Dijkhuizen, J.F. van wrote:
Many thanks for this. When I paste the code into Frescobaldi and
compile it, I'm getting the following error message:
error: syntax error, unexpected end of input
{ s4 s4*6\gradualSus
On 2021-05-10 11:38 am, Dijkhuizen, J.F. van wrote:
Dear All,
I was wondering if anybody knows if it's possible to notate partial
sustain pedalling in LilyPond (essentially 1/4. half-pedal, 3/4
pedal), and if so how.
There seems to be nothing about it in the manual, and I've not be
Dear All,
I was wondering if anybody knows if it's possible to notate partial sustain
pedalling in LilyPond (essentially 1/4. half-pedal, 3/4 pedal), and if so how.
There seems to be nothing about it in the manual, and I've not been able to
find anything online that I am able to us
the score and the
> conflicting simultaneous \partials you issue in mill_mill_o (begins with
> \partial 8*2) and mill_mill_o_chords (begins with \partial 8).
>
Again, bullseye Lukas. Super remiss of me not to have spotted that.
I go off now happy as the flowers in May and much humbled.
(begins
with \partial 8*2) and mill_mill_o_chords (begins with \partial 8).
Ultimately, the reason is your non-standard (or by usual standards
"wrong") notation of a repeat.
a) \partial makes the current bar "shorter than usual". You only have to
issue this once in simultan
nd
mill.mill.o.ly. Can it have something to do with 6/8 in the first tune
and 4/4 in the second?
Surely \partial 8*2 d8. [ e16 ] |is correct?
Sorry I am making such heavy weather of this. I have tried following the
examples here:
https://music.stackexchange.com/questions/106875/how-
ypond-docs
$
> Processing `newmend.ly'
> Parsing...
> Interpreting music...[8][16][24]
> Preprocessing graphical objects...
> Interpreting music...
> newmend.ly:30:17: warning: barcheck failed at: 1/8
> a8^"PART B"
> | %!*5 %%| % 13 %% \part
...[8][16][24]
Preprocessing graphical objects...
Interpreting music...
newmend.ly:30:17: warning: barcheck failed at: 1/8
a8^"PART B"
| %!*5 %%| % 13 %% \partial 8*1 a8^"PART B" %!*5 %%| % 13 %
←
newmend.ly:31:24: warning: barcheck failed at: 1/4
b4 d8 g8 [
On Tue, 23 Feb 2021 at 06:04, Joe McCool via LilyPond user discussion <
lilypond-user@gnu.org> wrote:
>
> David, I really appreciate your help. But I still have a wee problem:
>
> When I look at newmend.pdf, it looks spot on to me. But if I pull down
your newmend.ly and compile it here, the resu
David, I really appreciate your help. But I still have a wee problem:
When I look at newmend.pdf, it looks spot on to me. But if I pull down
your newmend.ly and compile it here, the result is completely different.
See attached.
No doubt this is another cockup on my part :-(
--
Thanks.
__
On Sat 20 Feb 2021 at 12:46:25 (-0800), Mark Stephen Mrotek wrote:
>
> I have made some minor changes to conform with performance.
You've set the 40-bar version, originally posted because
the OP hadn't worked out how to repeat the last eight bars
(itself containing the 4-bar repeat).
But, that s
Mrotek
Cc: lilypond-user@gnu.org
Subject: Re: spurious partial in 2nd repeat abc->ly
On Fri, 19 Feb 2021 at 19:45, Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:
Joe,
Thanks for the help Mark et al.
The second repeated section starts with a partial measure.
But
: spurious partial in 2nd repeat abc->ly
On Fri, 19 Feb 2021 at 19:45, Mark Stephen Mrotek mailto:carsonm...@ca.rr.com> > wrote:
Joe,
Thanks for the help Mark et al.
The second repeated section starts with a partial measure.
But there is no \partial there in the source co
On Fri, 19 Feb 2021 at 19:45, Mark Stephen Mrotek
wrote:
> Joe,
>
Thanks for the help Mark et al.
>
>
> The second repeated section starts with a partial measure.
>
But there is no \partial there in the source code, hence my problem. With
the source as shown in my
On 2021-02-19 5:48 pm, Andrew Bernard wrote:
Acceptable to Gould or not, there are valid use cases for this (in my
New Complexity stuff for one). There's a way to do it - I need to find
it in my library code later today. I seem to vaguely recall there is
an example in LSR? I may be wrong.
Maybe
02 AM:
Re: Partial ottava sign Just the one chord. I'll try that unless
anyone else here comes up with a better suggestion. I was really
asking whether there's an accepted way of doing it.
Joe,
The second repeated section starts with a partial measure.
The first alternative is two complete measures.
The two are incompatible.
Mark
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
On Behalf Of Joe McCool
Sent: Friday, February 19, 2021 9:19
On Fri 19 Feb 2021 at 17:19:13 (+), Joe McCool wrote:
> Please, I cannot understand what I am doing wrong. When I compile the ly
> file, I get a spurious partial in the 2nd alternative of the 2n
From: lilypond-user
on behalf of Joe McCool
Date: Friday, February 19, 2021 at 10:21 AM
To: "lilypond-user@gnu.org"
Subject: spurious partial in 2nd repeat abc->ly
Please, I cannot understand what I am doing wrong. When I compile the ly file,
I get a spurious parti
Please, I cannot understand what I am doing wrong. When I compile the ly
file, I get a spurious partial in the 2nd alternative of the 2nd part.
%%
\version "2.18.2"
% automatically converted by musicxml2ly from test.xml
\header {
sourc
5:17 PM
>> From: "Kieren MacMillan"
>> To: "Peter Toye"
>> Cc: "Lilypond-User Mailing List"
>> Subject: Re: Partial ottava sign
>> Hi Peter,
>> > Is there an accepted way of notating an ottava sign for only part of a
>> &g
Hello Kieren,
No I don't - it's expensive and as I don't do this for money I really can't
afford it.
Best regards,
Peter
mailto:lilyp...@ptoye.com
www.ptoye.com
-
Friday, February 19, 2021, 4:17:29 PM, Kieren MacMillan wrote:
> Hi Peter,
>> Is there an accepted way of
At 11:17 19/02/2021 -0500, Kieren MacMillan wrote:
At 15:35 19/02/2021 +, Peter Toye wrote:
Is there an accepted way of notating an ottava sign for only part
of a staff? I have a two-handed chord of which the LH part needs to
be an octave lower than notated, but the RH part is at pitch.
I
t; To: "Peter Toye"
> Cc: "Lilypond-User Mailing List"
> Subject: Re: Partial ottava sign
>
> Hi Peter,
>
> > Is there an accepted way of notating an ottava sign for only part of a
> > staff? I have a two-handed chord of which the LH part needs to
Hi Peter,
> Is there an accepted way of notating an ottava sign for only part of a staff?
> I have a two-handed chord of which the LH part needs to be an octave lower
> than notated, but the RH part is at pitch.
>
> I realise that this isn't really a LilyPond question but a general music
> eng
Is there an accepted way of notating an ottava sign for only part of a staff? I
have a two-handed chord of which the LH part needs to be an octave lower than
notated, but the RH part is at pitch.
I realise that this isn't really a LilyPond question but a general music
engraving one (it may tur
; > >
> > > > %%% Start
> > > > \version "2.20.0"
> > > >
> > > > rightHand = \relative c' {
> > > > \partial 4 c4
> > > > c4 c c
> > > >
> > > > \repeat volta 2 {
> > > >
I don’t think centered rests for partial measures are correct. A normal rest
should be the way to go.
www.martinrinconbotero.com
On 13. Oct 2020, 13:19 +0200, Johannes Roeßler , wrote:
> Hi Group,
>
> I've got an issue with centered rests in partials:
>
> \version &quo
Hi Group,
I've got an issue with centered rests in partials:
\version "2.20.0"
{
\time 4/4
\partial 2
R2
}
gives an invisible rest. Any hints?
Thx, Joei
; > MWE (it's as minimal as I could make it):
> > >
> > > %%% Start
> > > \version "2.20.0"
> > >
> > > rightHand = \relative c' {
> > > \partial 4 c4
> > > c4 c c
> > >
> > > \repeat vo
Thanks, Aaron Hill. The only problem is this messes up my \barNumberChecks
%%% Start
\version "2.20.0"
rightHand = \relative c' {
\partial 4 c4
c4 c c
\repeat volta 2 {
c4 |
c4 c c c |
}
\alternative {
{ c4 c c }
{ c4 c c c }
}
\barNumberCheck 5
t's hard to explain so I will post the
> > MWE (it's as minimal as I could make it):
> >
> > %%% Start
> > \version "2.20.0"
> >
> > rightHand = \relative c' {
> > \partial 4 c4
> > c4 c c
> >
> > \r
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