Jacques Menu imj-muz...@bluewin.ch writes:
Hello Haipeng,
Replacing r4 by s4 removes the stem problem, but the tie one remains :
{
c2.\mf\
~
c2
}
\new Voice \voiceTwo { s4 g2 ~ g2 }
Let me format this differently to illustrate what is going wrong
On 6/24/15, David Kastrup d...@gnu.org wrote:
Jacques Menu imj-muz...@bluewin.ch writes:
Hello Haipeng,
Replacing r4 by s4 removes the stem problem, but the tie one remains :
{
c2.\mf\
~
c2
}
\new Voice \voiceTwo { s4 g2 ~ g2 }
Let me format this
I'm typesetting some Rachmaninoff (G-flat prelude) and I'm running into a
hairy situation. See attached.
Any way to fix this problem? I have tried changing the default spacing, but
it's still the same problem - two itty-bitty ties.
Snippet -
\version 2.18.2
\relative c' { \stemDown \tieDown
e
Am 03.12.2014 17:40, schrieb Joshua Nichols:
I'm typesetting some Rachmaninoff (G-flat prelude) and I'm running
into a hairy situation. See attached.
Any way to fix this problem? I have tried changing the default
spacing, but it's still the same problem - two itty-bitty ties.
First thing
Hi Josh,
I'm typesetting some Rachmaninoff (G-flat prelude) and I'm running into a
hairy situation. See attached.
Any way to fix this problem? I have tried changing the default spacing, but
it's still the same problem - two itty-bitty ties.
\relative c' {
\stemDown
\once \override
For finer control, you’ll likely want to use Janek’s amazing \shape
function(s).
Yes, This is very good, but I only think it works for single slurs and
ties? I'm looking for something that can deal with individual ties in a
single chord.
IC,
Josh
On Wed, Dec 3, 2014 at 10:53 AM, Kieren
Am 03.12.2014 18:10, schrieb Joshua Nichols:
For finer control, you'll likely want to use Janek's amazing \shape
function(s).
Yes, This is very good, but I only think it works for single slurs and
ties? I'm looking for something that can deal with individual ties in
a single chord.
I
On Sat, Sep 16, 2006 at 08:45:16PM -0400, Kieren MacMillan wrote:
Well, you've run into a subtlety of Lilypond that could, perhaps, be
better documented... ;-)
Consider the following code snippet:
theMusic = \relative c'
{
c d g1 ~ | c d g1\fermata \\ { s2 c4 c } \break
Steve D wrote:
Thank you Kieren for that explanation. What about the converse case,
where a tie begins inside a { } \new Voice { } construct, at the
end (in the second voice, and one wishes the tie to continue to the next
note or chord outside that simultaneous music construct, like--
On Tue, Sep 26, 2006 at 08:38:47PM +0200, Mats Bengtsson wrote:
Steve D wrote:
Thank you Kieren for that explanation. What about the converse case,
where a tie begins inside a { } \new Voice { } construct, at the
end (in the second voice, and one wishes the tie to continue to the next
note
Mats and Kieren, thanks again for your explanations of
the {} \\ {} construct (and its variants), and how to make ties
cross the boundaries of the simultaneous music construct into the
non-simultaneous music before or after it. Thanks to those explanations
I was able to solve a problem, in a
Hi Kieren,
thank you very much vor answer. Your snippet solved the problem and btw. it
makes completely sense. Should really be better integrated into the
documentation.
Greetings,
Rainer
Kieren MacMillan wrote:
Hi, Rainer:
I've following code:
c d g1\arpeggio ~ | c d g1\fermata \\ {r2
Hi Rainer,
Fell free to help. See
http://lilypond.org/web/devel/participating/documentation-adding
- Graham
Rainer Hahnekamp wrote:
Hi Kieren,
thank you very much vor answer. Your snippet solved the problem and btw. it
makes completely sense. Should really be better integrated into the
Note that this already is described fairly clearly both in
Basic Polyphony and Explicitly Instantiating Voices.
However, if you have any idea on how to make it even
clearer/easier to find, then they are off course welcome.
Graham Percival wrote:
Hi Rainer,
Fell free to help. See
I believe this approach could also work properly:
c d g1\arpeggio~ \\ s1 | c d g1\fermata \\ {r2 r4 b'32 (c d
e f g a b)}
i.e., a second space voice is added to the first compass. However,
don't take it as example of good style, since I've just started to learn
Lily.
Best,
Hello everybody,
I've following code:
c d g1\arpeggio ~ | c d g1\fermata \\ {r2 r4 b'32 (c d e f g a b)}
According to the documentation the two c d g should be tied.
Unfortunately this is not the case. Could you help me please?
Greetings,
-Rainer H.
Hi, Rainer:
I've following code:
c d g1\arpeggio ~ | c d g1\fermata \\ {r2 r4 b'32 (c d e f g
a b)}
According to the documentation the two c d g should be tied.
Unfortunately this is not the case. Could you help me please?
Well, you've run into a subtlety of Lilypond that could,
Hi,
I'm a new user of Lilypond, with quite a bit of experience with Score (some
professional).
I am having problems placing a tie between two bars, the 1st of which
contains a whole note, and the second 4 quarter notes (all the same note,
obviously.
There is no problem with this in simple form
{c1~ \\ {s4 s4\ s4\! \ s4\!}
c4 c c c}
Try something like
{ c1 ~ c4 c c c } \\ {s4 s4\ s4\! \ s4\! s1 }
HTH/Hans
--
Proud user of Lilypond Music Typesetting Tools
http://www.lilypond.org
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[EMAIL PROTECTED] writes:
There is no problem with this in simple form as it would be:
{ c1~ c4 c c c}
I run into problems when I put a hairpin crescendo/decrescendo in the whole
note bar. The only way I can do this is to use spacer notes to lock the
hairpins to, added as a second voice
Easier and better is to keep the spacing notes in the same Voice
context. The {...} \\ {...} is only needed when the music
actually splits into two separate voices which need separate
directions for slurs, stems and so on. If you just remove the \\
from your original example, it will work
Hi.
{c1~ \\ {s4 s4\ s4\! \ s4\!}
c4 c c c}
This renders the 2 bars correctly, except that the tie does not print.
This works:
%-
\version 2.4.2
\score {
\relative c'' {
\time 4/4
\new Voice {
{ c1~ } {s4 s4\ s4\! \ s4\!}
c4 c c c
}
}
}
%-
[Note the
Graeme Evans wrote:
Hi,
I'm a new user of Lilypond, with quite a bit of experience with Score (some
professional).
I am having problems placing a tie between two bars, the 1st of which
contains a whole note, and the second 4 quarter notes (all the same
note, obviously.
There is no problem with
Maurizio Tomasi wrote:
The reason why Lilypond is not behaving as expected is, when you use
Lily creates a new voice (by the way, why are you using \\?). The
solution is to include the note to tie in the construct as well:
\score {
\new Staff {
\relative c' {
{ c1 ~
Mats Bengtsson wrote:
Maurizio Tomasi wrote:
The reason why Lilypond is not behaving as expected is, when you use
Lily creates a new voice (by the way, why are you using \\?).
The solution is to include the note to tie in the construct as well:
\score {
\new Staff {
\relative c'
Thanks for the correction.
/Hans
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http://www.lilypond.org
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Hi All,
Thanks for the replies. They have given me several successful solutions to
the problem.
Cheers,
Graeme
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