Thank you, Jean! Just what I needed! I tweaked a couple of settings so that the
wavy line was centered with the staff and was slightly longer and thicker.
mySquiggle =
\tweak parent-alignment-X #RIGHT
\tweak extra-offset #'(1 . -4.5)
^\markup
\override #'(height . 2)
\override #'(thickness . 4)
Guten Tag Torsten,
danke schön, this too works well indeed !
All the best,
Philippe
Le sam. 27 mars 2021 à 22:16, a écrit :
> Dear Philippe,
>
>
>
> I guess a sensible solution for Bach’s B minor mass example would be just
> using \time 2/4 overriding the time signature stencil so that
Dear Aaron,
this is brilliant ! I'm impressed as I would never have been able to write
code like this myself.
Plus : your solution is compatible with multiMeasureRests.
Yet another challenge for you though :-) :
In the middle of the piece there is a \bar "|." occurring after the second
beat, and
Dear Kieren,
thanks a lot, this does indeed make it simpler.
However I still run into a problem : I haven't been able to use
"multiMeasureRests". I tried :
scoreATrumpetCIPart = \new Staff \with {
\consists "Merge_rests_engraver"
} <<
\global
\barlines
Hi Philippe,
> Many thanks in advance for your suggestions for improvement :-) !
I would separate the barline structure into its own variable, and use \bar ""
instead of a tweak/override.
SNIPPET BEGINS
\version "2.22.0"
\language "english"
barlines = {
\repeat unfold 2 { s2.
Dear Philippe,
I guess a sensible solution for Bach’s B minor mass example would be just using
\time 2/4 overriding the time signature stencil so that traditional alla breve
time signature symbol will be printed:
Minimal example, showing the beginning of the Alto I/II part:
On 2021-03-27 1:04 pm, Philippe ZELLER wrote:
Dear lilypond fellow users,
it sometimes occurs in barock music that only every other barline is
visible, (see e.g. Haendel's Salomo, choir at the end of Act II ) or
that
every other barline is printed in reduced size.(see e.g. Bach Mass in
H-moll,
Aaron Hill writes:
> On 2021-03-27 1:13 pm, David Kastrup wrote:
>> When I do
>> the result of
>> lilymidi --pretty /tmp/test.midi
>> [...]
>> No volume change. What am I missing?
>
> That's odd. When I compiled your file, I got a MIDI that does have
> velocities ranging from 86 to 101.
>
On 2021-03-27 1:13 pm, David Kastrup wrote:
When I do
the result of
lilymidi --pretty /tmp/test.midi
[...]
No volume change. What am I missing?
That's odd. When I compiled your file, I got a MIDI that does have
velocities ranging from 86 to 101.
For reference, I am using 2.22.0 to
When I do
\score {
\drums {
sn4\mf\< 4 4 4\ff
}
\midi { }
}
the result of
lilymidi --pretty /tmp/test.midi
is
Filename: /tmp/test.midi
MIDI format: 1 (one or more simultaneous tracks)
Divisions:1536 per whole note
#Tracks: 2
Track 1:
Time 0:
Track
Dear lilypond fellow users,
it sometimes occurs in barock music that only every other barline is
visible, (see e.g. Haendel's Salomo, choir at the end of Act II ) or that
every other barline is printed in reduced size.(see e.g. Bach Mass in
H-moll, nr 27 "dona nobis pacem" ).
Is there a way to get
Hi Bart!
You're probably right about the line. If you happen to be able of reading
german literature, there would also be "2000 Jahre Europäische Schriften -
Eine Einführung in die Notationskunde" (roughly translated to "2000 years
of european writing - An introduction to the study of notation")
Am Sa., 27. März 2021 um 15:07 Uhr schrieb bart deruyter
:
>
> Hello,
>
> Harm showed me another way to work for those slashes, using 'DurationLine',
> maybe it is the result of Urs work? Apparently it is a quite new feature for
> contemporary music.
commit
Hello,
Harm showed me another way to work for those slashes, using 'DurationLine',
maybe it is the result of Urs work? Apparently it is a quite new feature
for contemporary music.
But it is very useful in my tablature example! It's in the original thread.
Thanks to Jean I managed to fix the
Hello,
this community continues to amaze me. For me this is really mind
blowing :-). Wow, thanks, I'm without words here. It is indeed exactly what
I could use!
Concerning the meaning of the line, I think I was right. Yesterday, on
archive.org, I found a book by Willi Appel from 1949, 'The
Thanks for that lengthy answer, David!
Of course it's easy for me to find pros and cons without having the
responsibility over such a big project. At the end of the day it's you devs
that watch over the sanity and compatibility of Lilypond - and that's good
this way. After all I just wanted to
Am Mi., 24. März 2021 um 23:03 Uhr schrieb bart deruyter <
bart.deruy...@gmail.com>:
> hello all,
> I've continued working on my tablature for 4-course renaissance guitar.
> - I've got the old-style rhythm notation, the letters by using a specific
> font (could we get these types of letters
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