ic
Le 13/05/2024 à 09:29, Raphael Mankin a écrit :
When one writes a score various annotations, e.g. tempo changes, are
attached only to the top staff. When one generates separate parts one
want those annotations on every part.
If I attach the annotations to every part the parts are correct, but
I get warnings in the full score but the appearance is correct.
Is there a generally accepted way of coding this?
;
>>
}
%%%
hth,
Frédéric
Le 13/05/2024 à 09:29, Raphael Mankin a écrit :
When one writes a score various annotations, e.g. tempo changes, are
attached only to the top staff. When one generates separate parts one
want those annotations on every part.
If I attach the anno
fGroup <<
\new Staff \low
>>
>>
}
%%%
hth,
Frédéric
Le 13/05/2024 à 09:29, Raphael Mankin a écrit :
When one writes a score various annotations, e.g. tempo changes, are
attached only to the top staff. When one generates separate parts one
want those a
When one writes a score various annotations, e.g. tempo changes, are
attached only to the top staff. When one generates separate parts one
want those annotations on every part.
If I attach the annotations to every part the parts are correct, but I
get warnings in the full score
gt; > \clef "varpercussion"
> > \stemDown
> > R1 |
> > r2 2\f-> |
> > R1 |
> > r2 q2-> |
> > }
> > %%
> >
> > But I'd like to write down each part separately, so that I may also
>
percussion1.pdf):
>
> %%
> \version "2.24.1"
>
> \new Staff \relative {
> \clef "varpercussion"
> \stemDown
> R1 |
> r2 2\f-> |
> R1 |
> r2 q2-> |
> }
> %%
>
> But I'd like to write down each part separate
7 apr 2024 alle ore 13:19 Mats Bengtsson
> > > ha scritto:
> > > >
> > > > On 2024-04-16 21:59, Gerardo Ballabio wrote:
> > > > > Hello all,
> > > > > I'm trying to typeset a percussion score with several instruments on
> > > >
-04-16 21:59, Gerardo Ballabio wrote:
> > > > Hello all,
> > > > I'm trying to typeset a percussion score with several instruments on
> > > > the same staff. When they play simultaneous notes I want to line them
> > > > up all on the same stem, like this
me stem, like this (output attached, percussion1.pdf):
> > >
> > > %%
> > > \version "2.24.1"
> > >
> > > \new Staff \relative {
> > >\clef "varpercussion"
> > >\stemDown
> > >R1 |
> > >
stem, like this (output attached, percussion1.pdf):
> >
> > %%
> > \version "2.24.1"
> >
> > \new Staff \relative {
> >\clef "varpercussion"
> >\stemDown
> >R1 |
> >r2 2\f-> |
> >R1 |
> >r2 q2-> |
> >
.24.1"
\new Staff \relative {
\clef "varpercussion"
\stemDown
R1 |
r2 2\f-> |
R1 |
r2 q2-> |
}
%%
But I'd like to write down each part separately, so that I may also
print the single parts without redoing everything. And I also want to
use dif
cussion1.pdf):
>
> [...]
>
> But I'd like to write down each part separately, so that I may also
> print the single parts without redoing everything. And I also want to
> use different note heads for each instrument.
>
> [...]
>
> But as you can see (output attached, percuss
t;varpercussion"
\stemDown
R1 |
r2 2\f-> |
R1 |
r2 q2-> |
}
%%
But I'd like to write down each part separately, so that I may also
print the single parts without redoing everything. And I also want to
use different note heads for each instrument.
This i
Hi Valentin,
> the issue here is that empty scores are not printed by Lilypond. The approach
> given in the appended file does not use a toplevel markup, but a "TacetStaff"
> context, which will print "Tacet" as StaffSymbol.
Interesting approach!
I’ll have to consider the pros/cons of using
Hello. I am working on a multi-movement piece with some parts having
different instrumentation. In the instrumental parts I would like to have
the movement title (in subtitle format), and either the music for that
movement or a large, centered Tacit marking. In this example, if I use an
empty
Hi Werner,
>> \include “chorded.ily”
> Just to avoid potential problems: This must be
> \include "chorded.ily"
> i.e., straight doublequotes.
Thanks for that.
I recently switched over to a "new" [2014] Mac Mini (because my 2011 iMac
finally died), and the auto-smart-quotes feature was still
> Sure! Just
>
> \include “chorded.ily”
Just to avoid potential problems: This must be
\include "chorded.ily"
i.e., straight doublequotes.
Werner
Hi Alessandro,
> Let me explain, because I'm afraid I fell into the XY problem (if that's
> true I apologize for the time wasted). I have a directory with all the
> songs I transcribed, like:
> .
> ├── song1.ly
> ├── song2.ly
> ├── song3.ly
> └── song4.ly
>
> I would like to be able to compose
Follow up: indeed, a thing like
\version "2.24.1"
\layout{
\context{
\ChordNames
\remove Chord_name_engraver
}
}
\include "Del-Tuo-Spirito-Signore.ly"
\include "Ô-Toi-l-au-delà-de-tout.ly"
seems to WORK! Yay! But is this ok? Are there more idiomatic
Thanks, this is the idea I would like to do, since I need to combine
multiple files together, and thus I cannot simply use variables: I
should use distinct names for everything, not to mention that I couldn't
just "test out" a new piece while I'm writing it without recomposing the
entire "book".
Hi Alessandro!
> For comparison, LaTeX's songs package
> (https://songs.sourceforge.net/) can change the type of document
> produced by changing one single option in the document preamble (say,
> from chorded to lyric). Let's see if I can do the same in Lilypond.
Sure! Just
\include
>> P.S. I am happy there are other solution other than lilypond-book,
>> because to me it seems a very fragile solution (copying the doc and then
>> composing manually), especially if you are embedding music in a complex
>> LaTeX document. There is lyluatex with LuaLaTeX but I don't know if the
Hi Alessandro,
>> blocks will already do the trick. You can even have multiple parts (using
>> \bookpart { ... } or even multiple separate books from the same source file
>> using \book { ... }).
>
> Do you mean that different pdfs will be produced?
Yes: each
Many thanks to all!
> Doing multiple
>
> \score { ... }
>
> blocks will already do the trick. You can even have multiple parts (using
> \bookpart { ... } or even multiple separate books from the same source file
> using \book { ... }).
Do you mean that different pdfs wil
parts (using
\bookpart { ... } or even multiple separate books from the same source file
using \book { ... }).
Now, there are many ways of having selective content. Using tags certainly is
one of them. This is nice if you put the content of your \score into a
variable, for then you can simply do
Il giorno dom 30 apr 2023 alle 13:19:42 +0200, Alessandro Bertulli
ha scritto:
However, the singers do not need the chords,
so I would like to omit them and simply print a version of the
document
with only the staves. Is it possible to do this using the SAME
lilypond
source file?
I have
Hi Alessandro,
> I want to place multiple scores in a single document
I do this with bookparts:
\bookpart {
\header { stuff for this bookpart }
\score {
score with chords
}
}
\bookpart {
\header { stuff for this bookpart }
\score {
score without chords
}
}
etc.
> I have
Hi all,
I'm playing around a bit with Lilypond and I have copied some sheets I
have purchased in order to build a custom songbook. Since I play rhythmic
guitar, I have decorated the staves with chords at the top:
Now I want to place multiple scores in a single document, and I thought
about
Hi Christian,
Unless I'm misunderstanding what you want, it really seems to me like
this would be better solved by building the scores independently, rather
than using tags and “breaking down” the scores late in the process.
Have you considered that option?
Do you know about \partCombine,
On 27/01/2023 11:06, Christian Hummer wrote:
> Dear specialits,
>
> I'm workin on Choir-Parts with Solists. I store the music in single files
> (e.g. soprano, alto,...). Each of the voices has Solo-Parts while the choir
> is muted. I want to have
>
> 1. the choir partes
Dear specialits,
I'm workin on Choir-Parts with Solists. I store the music in single
files (e.g. soprano, alto,...). Each of the voices has Solo-Parts while
the choir is muted. I want to have
1. the choir partes (print only the choir without the solists' parts)
2. a paritura for the whole
Thank you Kieren and Wol.
I'll experiment with what you've offered.
Thank you,
Ken
On Sun, Oct 16, 2022 at 11:10 AM Wol wrote:
>
> On 16/10/2022 16:47, Kieren MacMillan wrote:
> > Hi Kenneth,
> >
> >> I guess I should just learn how to do tags :-)
> >
> > Well, yes, you should… but I don't
On 16/10/2022 16:47, Kieren MacMillan wrote:
Hi Kenneth,
I guess I should just learn how to do tags :-)
Well, yes, you should… but I don't think that's the proper solution to the
problem you've stated (as I understand it).
1. Put all your "global" data (time signatures, rehearsal marks,
Hi Kenneth,
> I guess I should just learn how to do tags :-)
Well, yes, you should… but I don't think that's the proper solution to the
problem you've stated (as I understand it).
1. Put all your "global" data (time signatures, rehearsal marks, tempi, etc.)
in a single variable.
2. Add that
On 16/10/2022 00:02, Kenneth Wolcott wrote:
Maybe I just should have kept my mouth shut
Nah. You just have to talk to the penguin.
Talking to ANYTHING often helps you work your way through a problem, you
just talked to the list (I sometimes do the same), and DON'T feel a fool
for it.
Maybe I just should have kept my mouth shut :-)
I have rehearsal marks in both parts. In the full score only the top
part will show the rehearsal marks. When I display the parts
separately, they will both have the rehearsal marks.
So, I just need to have more coffee (even though I don't drink
I guess I should just learn how to do tags :-)
On Sat, Oct 15, 2022 at 3:24 PM Kenneth Wolcott
wrote:
>
> HI;
>
> I'm engraving a Trombone Duet. There are rehearsal marks. I'd like
> to engrave both parts as a score, both parts having rehearsal marks
> displayed, not j
HI;
I'm engraving a Trombone Duet. There are rehearsal marks. I'd like
to engrave both parts as a score, both parts having rehearsal marks
displayed, not just the first part.
How to do this? Lilypond 2.22.2
Thanks,
Ken Wolcott
with printed media rather than electronic. but have
questions:
1. I'd like to place line and page breaks in the individual parts. Being a
player, I
appreciate when consideration is taken as to where page breaks fall. I have
individual files for each part with the "notes" in a sep
and page breaks in the individual parts. Being a
player, I appreciate when consideration is taken as to where page breaks fall.
I have individual files for each part with the "notes" in a separate file and
the score bringing everything together. Is it possible to place breaks in the
part
the Lilypond manual from Lulu and plan to read through it
to learn more about Lilypond; I do much better with printed media rather
than electronic. but have questions:
1. I'd like to place line and page breaks in the individual parts.
Being a player, I appreciate when consideration
ual from Lulu and plan to read through it to
> learn more about Lilypond; I do much better with printed media rather than
> electronic. but have questions:
>
>1. I'd like to place line and page breaks in the individual parts. Being
>a player, I appreciate when consideration is
through it to
learn more about Lilypond; I do much better with printed media rather than
electronic. but have questions:
1. I'd like to place line and page breaks in the individual parts. Being
a player, I appreciate when consideration is taken as to where page breaks
fall. I have individual
Dear Gilles,
thanks again for Your explanation!
Best,
Stefan
Am Sa., 23. Apr. 2022 um 22:45 Uhr schrieb Gilles Thibault :
>
> > I would like to ask You two questions concerning the code, You've
> > sended:
>
> > 1. How does the function noteToRest "know", that the f sharp has to be
> > converted
I would like to ask You two questions concerning the code, You've
sended:
1. How does the function noteToRest "know", that the f sharp has to be
converted to a rest?
It is not an EventChord, only a NoteEvent
2. Is it possible to to convert
fis'8 r8
to
r4
You can then use
Is there an easy way to get this result automatically?
Sorry Stephan, to answer so late.
%
\version "2.22.0"
\include "chordsAndVoices.ly"
global = { \time 7/8 }
flutes = {
\global
8 r fis' 8 r 8 r8 r
8 r fis' 8 r r4
}
noteToRest = #(define-music-function (music)
flute and there should be a rest in the second one.
Best,
Stefan
Am Mo., 18. Apr. 2022 um 13:43 Uhr schrieb Hans Aikema <
hans.aik...@aikebah.net>:
>
>
> > On 18 Apr 2022, at 12:23, Stefan Thomas
> wrote:
> >
> >
> > Dear community,
> > I would like
> On 18 Apr 2022, at 12:23, Stefan Thomas wrote:
>
>
> Dear community,
> I would like to split the following example into two parts:
> \version "2.22.1"
> global = { \time 7/8 }
> flutes = {
> \global
> 8 r fis' 8 r 8 r8 r
&
Hmmm.. nevermind... wasn't reading well.. thought you got twice the same part
> On 18 Apr 2022, at 13:43, Hans Aikema wrote:
>
>
>
>> On 18 Apr 2022, at 12:23, Stefan Thomas wrote:
>>
>>
>> Dear community,
>> I would like to split the following e
Dear community,
I would like to split the following example into two parts:
\version "2.22.1"
global = { \time 7/8 }
flutes = {
\global
8 r fis' 8 r 8 r8 r
8 r fis' 8 r r4
}
I know I can do it with chordsAndVoices.ly
But the result is the desired only for the first flute.
Wh
-space units in the
original and you'll be good to go.
Paul
From: Dimitris Marinakis
To: lilypond-user
Sent: 11/04/2022 17:41
Subject: Best way to fix differences in staff size from score to parts
I have a lot of custom markings that are configured to look nice on
set-global
I have a lot of custom markings that are configured to look nice on
set-global-staff-size 16 how can I modify those for my parts which use
staff-size 20?
I have a common file that contains all the markings and layout settings.
Trying to figure out separate settings for all those markings
Hi Steve,
In an include file, I have the following:
showMMRs = {
\set Staff.keepAliveInterfaces =
#'( rhythmic-grob-interface
multi-measure-rest-interface
lyric-interface
stanza-number-interface
percent-repeat-interface) }
letStaffVanish = \set
Greetings,
The "Hiding Staves" section of the Lilypond manual describes how to write
two separate parts and have them show up as separate voices on a single
staff most of the time, but split into separate staves at other times.
However, I have been unable to figure out how to extend th
}
\alternative {
many more lines of code
}
the structural intention is much obscurer, thus one needs to know what’s
happening to understand it.
But in case we have many more parts (like in a rondo) this might be useful for
doing
\unfoldRepeats {
\repeat unfold 5 \partA
\alternative { \partB \partC \partD
Le 06/01/2022 à 21:36, Paulo Matos a écrit :
Hi,
I have some music I want to transcribe that has 2 parts: A and B the
music goes:
part A
part B
part A with special ending
I could of course define variables like:
\partA =
\partAtransition =
\partAending =
\partB =
and then write the music
+jschlomann=wideopenwest@gnu.org] On Behalf
Of Paulo Matos
Sent: Thursday, January 6, 2022 2:36 PM
To: lilypond-user@gnu.org
Subject: Inputting music in parts
Hi,
I have some music I want to transcribe that has 2 parts: A and B the
music goes:
part A
part B
part A with special ending
I could
Hi,
I have some music I want to transcribe that has 2 parts: A and B the
music goes:
part A
part B
part A with special ending
I could of course define variables like:
\partA =
\partAtransition =
\partAending =
\partB =
and then write the music as
\partA
\partAtransition
\partB
\partA
To be honest, Carl's example is far superior and cleaner to my one - I
really have to put a little more thought into my examples and answers, when
I look at the quality stuff all the other people here deliver!
Sorry about the bar check hint. It was only meant for the actual music
variables and it
Erika Pirnes writes:
> I asked about adding time signature changes into a variable that can
> be used by all instrument parts. The solution below (by Christian)
> worked perfectly, but I don't recommend adding bar checks into the
> variable. I did that and it caused the multi-
I asked about adding time signature changes into a variable that can be used by
all instrument parts. The solution below (by Christian) worked perfectly, but I
don't recommend adding bar checks into the variable. I did that and it caused
the multi-measure rest compression not to work. It took
Thank you for the answers! What I had not realized was that I can use spacer
notes in the "global" variable (I thought it was only for the beginning
key/time) and add two simultaneous "music layers" on a staff, in the style of
\new Staff << \first \second >>. This will certainly make life
From: lilypond-user
on behalf of Erika Pirnes
Date: Tuesday, October 12, 2021 at 8:09 AM
To: "lilypond-user@gnu.org"
Subject: Time signatures for all parts
I'm writing an orchestra piece with a lot of time signature changes. I was
wondering if there is a way to put all the time
special bar lines there to have them
consistent across all parts. When doing the score you then only need to use
the \changes-variable with one instrument and it will work on all.
Bonus: bar checks work too!
All the best
Christian
Am Di., 12. Okt. 2021 um 16:09 Uhr schrieb Erika Pirnes
I'm writing an orchestra piece with a lot of time signature changes. I was
wondering if there is a way to put all the time signature changes into one
place, and use that in all parts? For example, if I want to later change a 6/4
to 3/2, I would only need to change it in one place
Ah! Now I get it! Thank you very much!
On Sat, Oct 2, 2021 at 6:39 PM David Kastrup wrote:
> "Omid Mo'menzadeh" writes:
>
> > I'm just re-stating this to make sure I'm getting it right: Definitions
> are
> > lazy, and the expression in front of # is lazy too, so it gets a chance
> to
> > see
"Omid Mo'menzadeh" writes:
> I'm just re-stating this to make sure I'm getting it right: Definitions are
> lazy, and the expression in front of # is lazy too, so it gets a chance to
> see the definition once it's done? Am I right?
It's not a definition but an assignment, and the assignment is
I'm just re-stating this to make sure I'm getting it right: Definitions are
lazy, and the expression in front of # is lazy too, so it gets a chance to
see the definition once it's done? Am I right?
That's good to know!
On Sat, Oct 2, 2021 at 4:00 PM David Kastrup wrote:
> "Omid Mo'menzadeh"
"Omid Mo'menzadeh" writes:
> Of course!I just attached two files that demonstrate the difference.
>
> On Sat, Oct 2, 2021 at 3:30 PM David Kastrup wrote:
>
>> "Omid Mo'menzadeh" writes:
>>
>> > I didn't know about $ at all! Where in the documentation can I find more
>> > about it? It was hard
Of course!I just attached two files that demonstrate the difference.
On Sat, Oct 2, 2021 at 3:30 PM David Kastrup wrote:
> "Omid Mo'menzadeh" writes:
>
> > I didn't know about $ at all! Where in the documentation can I find more
> > about it? It was hard to search for!
> >
> > I tried it, but
"Omid Mo'menzadeh" writes:
> I didn't know about $ at all! Where in the documentation can I find more
> about it? It was hard to search for!
>
> I tried it, but it doesn't seem to find my variable "vocal" defined in the
> same .ily file. I tried using #(top-repl) and $(top-repl) too, in the #
>
I didn't know about $ at all! Where in the documentation can I find more
about it? It was hard to search for!
I tried it, but it doesn't seem to find my variable "vocal" defined in the
same .ily file. I tried using #(top-repl) and $(top-repl) too, in the #
version it knows what \vocal is, but in
Le 01/10/2021 à 15:05, David Kastrup a écrit :
Right. Sorry.
No need to be sorry. Just happens.
It's not like there is no potential for confusion,
cf. commits 662c549602 and e12ee4107c0…
Jean
Jean Abou Samra writes:
> Le 01/10/2021 à 14:09, David Kastrup a écrit :
>> $*undefined*
>
> I think you mean
>
> $*unspecified*
Right. Sorry.
--
David Kastrup
Le 01/10/2021 à 14:09, David Kastrup a écrit :
$*undefined*
I think you mean
$*unspecified*
Jean
"Omid Mo'menzadeh" writes:
> Thank you for your reply. This is working, but like this:
> main = #(if (not (defined? 'is-loaded-file))
> #{
> \score { \vocal }
> #}
> )
>
> \main
>
> Any idea why it wouldn't work without defining the main variable? It's fine
> for me, but I don't get why
> > Hello all. This might be a weird thing to seek, but here is the scenario:
> > I have several files defining (but not using) different parts of the score,
> > which other files use to construct several output types.
> >
> > But the problem is the command `lilypon
or me.
>
>
> > 14 sep. 2021 kl. 09:52 skrev Omid Mo'menzadeh :
> >
> > Hello all. This might be a weird thing to seek, but here is the scenario:
> > I have several files defining (but not using) different parts of the
> score, which other files use to construct severa
files” and
”output files”, but works quite well for me.
> 14 sep. 2021 kl. 09:52 skrev Omid Mo'menzadeh :
>
> Hello all. This might be a weird thing to seek, but here is the scenario:
> I have several files defining (but not using) different parts of the score,
> which
Hello all. This might be a weird thing to seek, but here is the scenario:
I have several files defining (but not using) different parts of the score,
which other files use to construct several output types.
But the problem is the command `lilypond -l WARNING -o /path/to/file.ly`
does not show
> "bob" == bobroff@centrum is writes:
bob> For different output in score vs part you can use tags.
bob>
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html
You can also create a 'global' music to put in parallel with each
part. E.g.,
\version
For different output in score vs part you can use tags.
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html
-David
- Jenifer Tribe wrote:
> It is often useful to create a score and individual parts.
>
> Sometimes you need to mark up a poin
It is often useful to create a score and individual parts.
Sometimes you need to mark up a point in each part, but not to repeat that in
each part within the score. And perhaps less often, vice versa. (eg where a
change of key or time signature appears at different points in the parts
Hi Kieren,
Thanks for your prompt response. That worked very nicely.
BruceP
On 2/8/2021 9:20 PM, Kieren MacMillan wrote:
Hi Bruce,
I'm engraving an instrumental that has three parts; each part is two lines
long. How can I arrange them on the page so that there is vertical space
between
Hi Bruce,
> I'm engraving an instrumental that has three parts; each part is two lines
> long. How can I arrange them on the page so that there is vertical space
> between the parts.
I would separate the parts into individual scores, and then use
score-system-spacing to control
Greetings,
I'm engraving an instrumental that has three parts; each part is two
lines long. How can I arrange them on the page so that there is
vertical space between the parts.
Here is a tiny example:
\version "2.18.2" \language "english"
\score {
Hi everyone,
I just released a new version of the Spontini-Editor with new tools that
allow you to automatically extract or include parts from a score.
Considering for example the following snippet, taken from:
http://lilypond.org/doc/v2.19/Documentation/learning/string-quartet
% START
Hi Leszek,
Am 15.10.2020 um 15:13 schrieb lilypond-user-requ...@gnu.org:
I would like to put pagebreaks in specific places in
the full score, so that they would not operate when parts are compiled.
I can confirm all the replies that recommend include files and invisible
voices. (I truly
times, but maybe this time I'll succeed.
You've all been very helpful. My thanks again!
Cheers,
Leszek.
On Thu, 15 Oct 2020 at 15:13, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> Hi Leszek,
>
> > I would like to compile a full score and parts based on one
Hi Leszek,
> I would like to compile a full score and parts based on one file containing
> musical definitions. I would like to put pagebreaks in specific places in the
> full score, so that they would not operate when parts are compiled. The way
> I'm doing it now is that I put
{
\new Staff {<<
\music
\breakVoice
>> }
}
Best regards
Christian
Am Do., 15. Okt. 2020 um 14:20 Uhr schrieb Leszek Wroński :
> Dear Experts,
>
> I would like to compile a full score and parts based on one file
> containing musical definitions. I would
Then your use of tags seems the best solution.
Il giorno gio 15 ott 2020 alle 14:40, Leszek Wroński
ha scritto:
Thank you very much! I'm already doing that :-) Still, it's a 70+
pages single-movement work where I'd like to control page-breaking in
a precise way in a few locations...
Best
Thank you very much! I'm already doing that :-) Still, it's a 70+ pages
single-movement work where I'd like to control page-breaking in a precise
way in a few locations...
Best regards,
Leszek.
On Thu, 15 Oct 2020 at 14:29, Federico Bruni wrote:
> Il giorno gio 15 ott 2020 alle 14:19, Leszek
Il giorno gio 15 ott 2020 alle 14:19, Leszek Wroński
ha scritto:
I don't really like this solution; it's just not tidy... and I have
to remember which part I put the page breaks in. Are there any
established Lilypond practices for doing this? Is it e.g. possible to
introduce some sort of
Dear Experts,
I would like to compile a full score and parts based on one file containing
musical definitions. I would like to put pagebreaks in specific places in
the full score, so that they would not operate when parts are compiled. The
way I'm doing it now is that I put a \pagebreak in one
Sorry to be so late to respond.
I agree with Carl that this type of tutorial doesn't have its logical
place in the NR (Notation Reference). A separate section of the LM
(Learning Manual) for tutorials like mine, or page LM 4.6.3. 'Real music
example' is in my opinion most appropriate. OTOH,
In my opinion, this does not belong in the notation reference.
I think there should be another volume added to the documentation, perhaps
something like "Advanced Engraving".
The information you are trying to add is tutorial in nature, rather than
reference.
A reference manual aims at
On 6/7/20, Rutger Hofman wrote:
> My first attempt is here:
> https://www.rutgerhofman.nl/lilypond/divisi-doc/divisi-doc.html
Very nice! I have a few minor remarks:
- The writing style differs a bit from our recommended style, see CG
5.5.3 and 5.5.4
ocs, it is there to "stay
forever" which would be nice.
One elaborate example of my experiences is found in the score and parts
of "3 Bruchstücke aus Wozzeck" by Alban Berg, see
https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_Alban) (travel to the
tab [Arrangements and Transcriptions
On Sun, 7 Jun 2020 at 10:26, Rutger Hofman wrote:
>
> Well, it turned out to keep that tutorial short. Still, I think it will
> have its use, since questions about temp staves/divisi turn up at
> regular intervals.
>
> My first attempt is here:
>
>
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