The solution to this enabled me to solve a problem I had, of putting an
arpeggio sign in front of a single (slanted-head) note. As an arpeggio
requires two notes, I had to force the issue, which I did by:
<< { \hideNotes f,2.\arpeggio \unHideNotes } \\
{ \improvisationOn d'2.\arpeggio } >>
Ok I've given this a tiny tweak that I think will work the way you want.
I just removed the two separate voices I had used before in the score
block for the melody and bass, and replaced those with a single voice
called "music" that will hold all voices, instantiated on-the-fly with
<<{}\\{}>>
Jonathan,
First, thank you for your continued interest. Attached is my engraving
of the 5th section of a "Variations and Theme" piece I have written -
the theme comes last. The F# added to the final chord is my addition,
and is there to remind listeners of the harmonic flavor of the
variation
Hmm. These organizational things are a matter of preference, of course.
Still, I don't see why you'd have to rewrite things so dramatically.
I thought I saw in one of your posts here that you had all the notes in
one variable. It seems like this \score block ought to work even when
all the n
Sorry. I spoke too soon. This is no solution. It messes up the VISIBLE
voicing in the score - the direction of stems. It also cannot be used to
arpeggiate across chords where different voices have different durations
- unless one breaks notes up into tied groups. This a bad solution.
Sigh. I st
Adjunct to my previous post -
I'll admit that my Ruby programming experience biases me in the
direction of seeking simple, direct, comprehensible, heuristic
solutions. I think I may have found one -
Building on my notion of using this construct to manage polyphonically
structured scores -
Jonathan,
This looks interesting, and its structure is not hard to discern (for
me), but it requires me to split my guitar scores into voices and write
them separately from beginning to end. This is possible, but not exactly
what one expects to do, except with true multi-voice scores (vocal,
Ok this is better. I put the \set Staff.connectArpeggios in the score
block instead. This is more elegant:
% This shows how to use arpeggios that cross
% from one voice to another.
\version "2.11.62"
melody = \relative c'' {
\voiceOne
e4\arpeggio 2
}
bass = \relative c' {
\voiceTwo
I think I have it, Tom. Took me a long time, too. Try the code below:
% This shows how to use arpeggios that cross
% from one voice to another.
\version "2.11.62"
melody = \relative c'' {
\voiceOne
\set Staff.connectArpeggios = ##t
e4\arpeggio 2
}
bass = \relative c' {
\voiceTwo
Maybe. Probably. If I could get it to work.
The problem is that it start a new staff. I need arpeggios across voices
in arbitrary locations - of course.
Here's the structure of my file:
\header stuff
staffClassicalGuitar = { my music, in 2 & 3 part voicing}
\score {
\new Staff {
(staff de
BTW this works with single notes, too. I changed it as follows and the
arpeggio still works fine:
\new Staff \with {
\consists "Span_arpeggio_engraver"
}
\relative c' {
\set Staff.connectArpeggios = ##t
<<
{ e'4\arpeggio 2 } \\
{ d,2\arpeggio 2 }
>>
}
Jonathan Kulp wrote:
Th
a file or something similar!
hth
-Eluze
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___
This snippet appears to do what you're asking:
http://lilypond.org/doc/v2.11/input/lsr/lilypond-snippets/Expressive-marks
Go down to where it says "Creating arpeggios across notes in different
voices."
Jon
%
% Start cut-&-pasta
Greetings!
After digging around considerably in the excellent Lilypond
documentation (am running 2.11.60 on Kubuntu Linux 8.04.1), and running
a number of experiments, I'm defeated on this problem.
A simple test case: I have two voices in a single staff. Periodically, I
want to indicate that
Am Fri, 10 Oct 2008 11:21:54 -0700
schrieb "Danny Sosa" <[EMAIL PROTECTED]>:
> ... less than 8 minutes and you already solved my problem...
The amazing thing is: less than 10 minutes and *3* ppl helped !
Never saw such a helpful community! (well, besides [EMAIL PROTECTED] ;-) )
Seb.
_
{}.
Does anyone know how to write rolled chords in Lilypond? it's just
like a little squiggly line left of any chord
this is how I would like to make a chord I'm writing look:
http://i49.photobucket.com/albums/f297/dannysosa/roll.png
These are very common in Spanish piano and gu
... less than 8 minutes and you already solved my problem...
you're amazing! haha
thank you so much!
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On 10.10.2008 (11:11), Danny Sosa wrote:
> First of all... thanks to James for his help with mBreak, the magic words
> were "outside of any music block". I was trying to define mbreak inside the
> {}.
> Does anyone know how to write rolled chords in Lilypond?
The sig
\arpeggio
On 10.10.2008, at 20:11, Danny Sosa wrote:
First of all... thanks to James for his help with mBreak, the magic
words were "outside of any music block". I was trying to define
mbreak inside the {}.
Does anyone know how to write rolled chords in Lilypond? it's just
First of all... thanks to James for his help with mBreak, the magic words
were "outside of any music block". I was trying to define mbreak inside the
{}.
Does anyone know how to write rolled chords in Lilypond? it's just like a
little squiggly line left of any chord
this is how
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