Thank you for this example which explains me lot of things. Also I found the solution with the model Aikema proposed, that is when you write the music voices (soprano, alto or what else in another part of the file you should give them the same name of the new voice you write in the \score part. I
On Sun 21 Apr 2024 at 18:45:35 (+0200), Hans Aikema wrote:
> > On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:
> >
> > I read as you suggested but didn't find the way. Here is hte piece of score
> > code:
> >
> > \score{
> > \new StaffGroup <<
> > \new Staff \with {
> >
On Sun, 21 Apr 2024 at 20:44, Gian Paolo Renello
wrote:
>
> Your right, thanks. I noticed it and changed as well in my code, but the
problem won't solve (see previous mail about the context)
Hello,
The Lyrics should come after the \new Voice = "sopranoVoice".
If you get an error please send a
Your right, thanks. I noticed it and changed as well in my code, but the problem won't solve (see previous mail about the context) GP21.04.2024, 19:12, "Hans Aikema" :Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the
this part of code: \new Staff = "sopranoStaff" \with { midiInstrument = "choir aahs" instrumentName = "Soprani" } { \new Voice = "sopranoVoice" { \soprano } } works well, but the second part: \new Lyrics \with { alignAboveContext = "sopStaff" } { \lyricsto
Fixing up my reply... spotted that I had a difference between the name I gave to the staff and the reference to it in the alignAboveContext. Both have now been synchronised to "sopranoStaff" belowOn 21 Apr 2024, at 18:46, Hans Aikema wrote:On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:I
> On 21 Apr 2024, at 17:58, Gian Paolo Renello wrote:
>
> I read as you suggested but didn't find the way. Here is hte piece of score
> code:
>
> \score{
> \new StaffGroup <<
> \new Staff \with {
> midiInstrument = "choir aahs"
> instrumentName =
I read as you suggested but didn't find the way. Here is hte piece of score code: \score{ \new StaffGroup << \new Staff \with { midiInstrument = "choir aahs" instrumentName = "Soprani" } { \soprano } \addlyrics {\sopranoVerse_sup} \addlyrics {
Hi Aaron,
thank you for looking into it. I think I'll get along with the suggestion in
the current score, but I'll also file a bug report because I think this should
not happen in the first place, and the notation is not terribly excentrly ...
Best
Urs
24. September 2019 19:23, "Aaron Hill"
On 2019-09-24 9:35 am, Urs Liska wrote:
Is there any reason why the slrus in the attached example come out the
way they do (i.e. so horizontal, with the left edge being so far away
from the notehead)?
Seems to be a combination of slurring identical pitches and the
articulation on the one
Stephen,
On Tue, Oct 28, 2014 at 11:33 AM, Stephen MacNeil [via Lilypond]
ml-node+s1069038n168040...@n5.nabble.com wrote:
I understand that however you still can not control what note it goes
to.
\slashedGrace b8_( e, a c4 )
How would I indicate to have the slur attach to the 'a' note?
Eluze wrote
you can define the spanner in its own (dynamic) context and move it
wherever you want:
thanks for the answer. I am aware of the possibility to have the dynamics in
a separate voice - and it might be the solution here. I am however not fond
of having to enter dynamics in a voice
Am 15.01.2014 09:53, schrieb jensgc:
Are there any plans on making a SystemSpanner or similar that will combine
the flexibility from the TextSpanner with the only on top of system
property from \tempo and \mark ?
This sounds like a reasonable idea.
If it isn't possible to do something like
hi,
On Wed, Jan 15, 2014 at 9:53 AM, jensgc jen...@gmail.com wrote:
thanks for the answer. I am aware of the possibility to have the dynamics in
a separate voice - and it might be the solution here. I am however not fond
of having to enter dynamics in a voice without music - for the score in
jensgc wrote
Eluze wrote
you can define the spanner in its own (dynamic) context and move it
wherever you want:
thanks for the answer. I am aware of the possibility to have the dynamics
in a separate voice - and it might be the solution here. I am however not
fond of having to enter
jensgc jen...@gmail.com writes:
Eluze wrote
you can define the spanner in its own (dynamic) context and move it
wherever you want:
thanks for the answer. I am aware of the possibility to have the dynamics in
a separate voice - and it might be the solution here. I am however not fond
of
Simon Bailey-5 wrote
this is untested, but what might work would be to set up your score
with a Dynamics context at the top. Don't be mislead by it being
called Dynamics, you can put ANYTHING in there, doesn't have to be
Dynamics (I use one for putting pedal markings in piano staves for
On Wed, Jan 15, 2014 at 11:28 AM, jensgc jen...@gmail.com wrote:
Just a quick thought - if I with the temporary polyphony construct shown in
your example can direct TextSpanner content to a special Dynamics context -
would it then be possible to skip the Dynamic context (and the spacer
Simon Bailey-5 wrote
If I add the music from the topmost staff to a separate dynamics context
(placed above that staff), will dynamics context then be printed twice?
yes, that's correct. the music is suppressed, but the dynamics will be
shown. this is why i suggested using a global structure
jensgc wrote
The reason I don't like the idea of a global structure definition is
that I have the individual parts (e.g. the quartet and the choir parts)
defined in seperate files to be able to test and work with them
independently. Having the \time and \key definitions in a part that is
jensgc wrote Wednesday, January 15, 2014 1:03 PM
In regards to tempo markings, it is a different matter, since any change in
tempo needs to apply to each and every voice in the system. It makes perfect
sense that the \tempo marking always goes to the System - I just don't
understand why it
Hi,
In regards to tempo markings, it is a different matter, since any change in
tempo needs to apply to each and every voice in the system. It makes perfect
sense that the \tempo marking always goes to the System - I just don't
understand why it is much more difficult to give a ritardando or
Trevor Daniels wrote
?
\tempo ritardando
Not a bad idea - but I would then have to abandon the idea of the normal
rit. _ _ _ _ _ _ _ _ _ al construct where the text spans the entire
duration of the ritardando.
Think I'll try a feature request for a SystemSpanner
- and perhaps a
hi kieren,
On Wed, Jan 15, 2014 at 3:04 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
In regards to tempo markings, it is a different matter, since any change in
tempo needs to apply to each and every voice in the system. It makes perfect
sense that the \tempo marking always goes
Hi,
Not a bad idea - but I would then have to abandon the idea of the normal
rit. _ _ _ _ _ _ _ _ _ al construct where the text spans the entire
duration of the ritardando.
Why not just put everything “global” in a global variable?
Then all of this is handled for you easily.
Thanks,
Kieren.
Hi,
he doesn't want to use a global structure variable:
Sorry… I missed this. =\
The reason I don't like the idea of a global structure definition is that
I have the individual parts (e.g. the quartet and the choir parts) defined
in seperate files to be able to test and work with them
Kieren MacMillan wrote
In regards to tempo markings, it is a different matter, since any change
in
tempo needs to apply to each and every voice in the system. It makes
perfect
sense that the \tempo marking always goes to the System - I just don't
understand why it is much more difficult to
Hi,
Hi. Not sure if you have seen my earlier posts
Sorry… yeah, I missed those.
I don't have my \tempo and \mark items in a global variable.
I do recommend using a global variable in the future.
I wrote the quartet part (starting at
approx. bar 70) in a separate file, making proofreading
On Wed, Jan 15, 2014 at 3:48 PM, jensgc jen...@gmail.com wrote:
Kieren MacMillan wrote
It’s not… I do exactly this all the time.
Simply put your ritardando or stringendo in the same global variable as
your \tempo and \mark items.
Hi. Not sure if you have seen my earlier posts - but I don't
Kieren MacMillan wrote
Having just engraved 25 minutes of large forces music for voices and
instruments (57 staves, for ~330 performers!), I **HIGHLY** recommend you
avoid doing things like that in future scores.
Thanks for the advice. I'm only on my 4th real score in Lilypond so I'll
take all
Simon Bailey-5 wrote
have you seen:
http://lilypond.org/doc/v2.18/Documentation/notation/skipping-corrected-music
?
Excellent! Highly useful - although it is a bit annoying to see a large
bunch of warnings when the showLastLength is set.
--
View this message in context:
Jens Gyldenkærne Clausen wrote
Hi. In a large choral score I'd like to write a ritardando that appears
only in the top of the entire system (together with \tempo markings) -
without having to define the ritardando in the topmost staff. The voices
in
the top staffgroup have no music (just a
ymingt wrote:
I compile the .ly file in v2.15.14, there is a programming error and a
warming. The generated output .pdf file seems OK.
Questions:
1. what is a programming error? Where can I find explaination in NR? --
red text below.
2. what is the warning complain about (no line
Paul Thompson-13 wrote:
I am having an error in using lilypond 2.13.38
Here is my input file:
\book {
\bookOutputName Romanze
a a a
}
\book {
\bookOutputName Menuetto
\score{
a a a
}
}
I am getting a persistent error:
testa.ly:3:4: error: syntax error,
Steve,
How about this:
In Thunderbird
1. Create up a new address book Lilypond
2. Add the mailing list send address e.g. lilypond-user@gnu.org to the
new address book
3. Create a new rule in Thunderbird to move to your lilypond-user folder
Matching From Is in my address book Lilypond.
Cheers,
For my part I just move everything to a lillypond-user folder now and its
equivalent to me. I was fairly busy yesterday and unable to reply, but the
thread has seen a lot of activity so. Let me try.
The first two
From Carl:
You may want to consider having a chord and tweaking the note head
Steven,
On 15/02 12:41:58, Steven White wrote:
On 2/15/10 12:06 PM, Colin Campbell wrote:
Steven White wrote:
Hello,
Just an inquiry, but is there any specific reason why the mailing
list doesn't have a prepended subject like [lilypond-user]?
[ ... ]
At home, I use Thunderbird, so I've
D'oh! Mental typo.
On 17/02 08:57:57, Peter Wright wrote:
[0] You *could* however use the Thunderbird tagging feature as a
colour-based alternative to the Subject prefix marker:
Right-click on a lilypond-user message
- Tag - New Tag - lilypond [set colour]
Then Tools -
Peter Wright wrote:
I've noticed this for a while with lilypond-user - like you, it's one
of the minority of the mailing lists I'm on that *doesn't* use the
subject prefix convention, so it's much less easy to do an
eyeball-filter/scan as you describe.
Colin's suggestion of filter rules to put
Steven White wrote:
Hello,
Just an inquiry, but is there any specific reason why the mailing list
doesn't have a prepended subject like [lilypond-user]? I just joined
the mailing list to read the solutions as I learn lilypond to help my
wife out while she is learning to use the engraver. I
On 2/15/10 12:06 PM, Colin Campbell wrote:
Steven White wrote:
Hello,
Just an inquiry, but is there any specific reason why the mailing list
doesn't have a prepended subject like [lilypond-user]? I just joined
the mailing list to read the solutions as I learn lilypond to help my
wife out while
On 2/15/10 11:41 AM, Steven White saw7...@cacs.louisiana.edu wrote:
On 2/15/10 12:06 PM, Colin Campbell wrote:
Steven White wrote:
I'm currently working on tweaking the placement of a note in a two voice
segment. Working on this Scriabin piece Two Poems There is an odd
Chord in the piece
Steven White wrote Monday, February 15, 2010 6:41 PM
I'm currently working on tweaking the placement of a note in a two
voice segment. Working on this Scriabin piece Two Poems There
is an odd Chord in the piece where all the members are not of
the same durations. I think to get it in
* Steven White saw7...@cacs.louisiana.edu [2010-02-15 12:41]:
Other then that the only problem I have run in to is a good way to
visually block off the Mystic Chords found in the piece for turning
in the final analysis of the paper. I am currently just punting back
to photoshop and editing
On Mon, Feb 15, 2010 at 5:01 AM, Steven White
saw7...@cacs.louisiana.edu wrote:
Just an inquiry, but is there any specific reason why the mailing list
doesn't have a prepended subject like [lilypond-user]?
That would make all the subject lines much longer. On some displays,
this wouldn't be a
Am 15.02.2010 06:01, schrieb Steven White:
I was shocked to see the
volume of emails that come across and the difficulty to visually tell
the origin of an email based on the subject line compared to other
mailing list.
It is easy to sort based on the cc/to, but I have come accustomed to
Mats Bengtsson wrote:
Quoting Marcus Macauley [EMAIL PROTECTED]:
As an alternative to the second method -- and a perhaps more
conventional one, recommended by Kurt Stone -- niente can be notated
not with the dynamic letter n but with the italic n. (this time
with a period). This
On 3/16/06, Arno Waschk [EMAIL PROTECTED] wrote:
dear list,
for a contemporary music score i need hairpin having a circles around
their tip, indicating cresc./descresc. from/into silence.
what is the easiest way to enter these into the score? or does this need
to be implemented yet? i did
On 3/16/06, Marcus Macauley [EMAIL PROTECTED] wrote:
On Thu, 16 Mar 2006 09:29:43 -0800, Trevor Bača [EMAIL PROTECTED]
wrote:
On 3/16/06, Arno Waschk [EMAIL PROTECTED] wrote:
dear list,
for a contemporary music score i need hairpin having a circles around
their tip, indicating
(in Italian it is not de niente but dal niente)
Best
-a-
On 16 Mar 2006, at 23:27, Trevor Bača wrote:
On 3/16/06, Marcus Macauley [EMAIL PROTECTED] wrote:
On Thu, 16 Mar 2006 09:29:43 -0800, Trevor Bača
[EMAIL PROTECTED]
wrote:
On 3/16/06, Arno Waschk [EMAIL PROTECTED] wrote:
dear list,
On Thu, 16 Mar 2006 14:27:24 -0800, Trevor Bača [EMAIL PROTECTED]
wrote:
On 3/16/06, Marcus Macauley [EMAIL PROTECTED] wrote:
Another way of notating this, which I prefer, but also I think needs to
be
implemented, is to follow the decresc. (or precede the cresc.) with a
bold/italic n or
Arno Waschk wrote:
dear list,
for a contemporary music score i need hairpin having a circles around
their tip, indicating cresc./descresc. from/into silence.
what is the easiest way to enter these into the score? or does this
need to be implemented yet? i did not find that mentioned in
The quick answer - go to http://www.lilypond.org ... click on the appropriate
download link (menu, left side).
I think the web page would be familiar comfortable to most people
with Linux or GNU experience so I will assume you are looking for the Windows
version. Therefore, from the
Colin Cotter [EMAIL PROTECTED] writes:
Lilypond book is producing lilypond-123123.midi and
lilypond-123123.ly but not a tex file.
Any suggestions?
Maybe you need to add a \paper block to the lilypond snippet in your
source? Hard to tell without seeing the source.
Jan.
--
Jan
On Fri, 05 Jul 2002 12:39:15 [EMAIL PROTECTED] wrote:
Il ven, 2002-07-05 alle 13:28, Maurizio Tomasi ha scritto:
Well, I've searched for an Italian translation in the Baernereiter
Polyglottes Woerterbuch der musikalischen Terminologie: it seems
that
the Italian for cue notes is notine
richard tocce wrote:
Hello,
I have this desire ot remove Windows form my computer and run entirely
with GNU/LINUX. What keeps me hooked in to Windows is one program:
Finale by Coda Music. I was very happy to happen on to your web
page. I've downloaded the Windows version of Lilypond
Mammen John ( Bobby ) wrote:
Sir / Madam ,
27..03..02
I am looking for the staff notation of the Theme Song of Titanic .
Can you please help in any ways ?
Sorry, you probably need to go to a music store.
...
I assume that you want completely empty staves; let's say you are a music
teacher and for some exercise you want to prepare a piece of score with
some of the staves already filled in with music, others completely empty:
no bars, no clefs, no times signatures. The students have to
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