I tried to parenthesize a whole group of notes by enclosing them in braces,
as:
\parenthesize { a b c }
but no parentheses appear.
You can try that :
%%
startParenthesis = {
\once \override ParenthesesItem #'stencils = #(lambda (grob)
(let ((par-list
It's probably possible to automate a bit more but that is the general
idea.
Something like that :
#(define ((my-stencils start) grob)
(let* ((par-list (parentheses-item::calc-parenthesis-stencils grob))
(null-par (grob-interpret-markup grob (markup #:null
(if start
(list (car
- Original Message -
From: Bill Mooney mooney...@aim.com
To: Lilypond-User List lilypond-user@gnu.org
Sent: Saturday, May 07, 2011 4:43 AM
Subject: header anomalies LP2.13.60
Greetings!
Can someone please explain what is happening with the header block in this
code?
Ken,
It's difficult to be definitive with advice when wee can't use your code since
it doesn't compile as supplied. However, my temptation would be simply to mark
the repeat Repeat 4 times unless it's obvious from the lyrics, and mark the
tempo change 4th repeat only.
--
Phil Holmes
Hello
From: lilypond-user-bounces+james.lowe=datacore@gnu.org
[lilypond-user-bounces+james.lowe=datacore@gnu.org] on behalf of Phil
Holmes [m...@philholmes.net]
Sent: 08 May 2011 11:15
To: Bill Mooney; Lilypond-User List
Subject: Re: header
Hi,
I've scoured the documentation and snippets for this and searched the
lilypond-user archive and have not found the answer to this:
How does one indicate a circled guitar string number in text above the piece,
as in 3 = f# (where the 3 is circled), which is often used to indicate the
Much thanks, Janek and Gilles. Now I have two solutions and a great deal more
understanding how lilypond works.
Jerome
From: Gilles THIBAULT gilles.thiba...@free.fr
To: Jerome Wolbert jerome...@yahoo.com; lilypond-user@gnu.org
Sent: Sun, May 8, 2011 3:44:03
Il giorno dom, 08/05/2011 alle 12.11 -0400, Christopher Berg ha scritto:
How does one indicate a circled guitar string number in text above the
piece, as in 3 = f# (where the 3 is circled), which is often used
to indicate the tuning in transcriptions of Renaissance lute music. I
know how to
It works! I'm not sure how, but I'll figure it out. Thank you, Federico!!
Christopher
On May 8, 2011, at 1:34 PM, Federico Bruni wrote:
Il giorno dom, 08/05/2011 alle 12.11 -0400, Christopher Berg ha scritto:
How does one indicate a circled guitar string number in text above the
piece, as in
Hello,
I have been using Lilypond for some time, and have used MIDI sequencing
software before, too. Back in the early 90s I taught myself Cakewalk
Apprentice with MIDI output for my early composition projects. :) But I am a
beginner regarding the inner workings of MIDI. I have some beginner
Appended is a snippet of two measures, the first measure
is what I intended, the second measure is not.
In the second measure, I would like the top voice
triplet 16th notes B natural and A natural to occupy the
same space as the lower voice dotted quarter notes
B natural and A natural, thus
Am 08.05.2011 22:23, schrieb ivan.k.kuznet...@gmail.com:
Appended is a snippet of two measures, the first measure
is what I intended, the second measure is not.
In the second measure, I would like the top voice
triplet 16th notes B natural and A natural to occupy the
same space as the lower
Damn that was simple! Thank you for the almost instantaneous help!
On Sun, May 8, 2011 at 3:09 PM, Marc Hohl m...@hohlart.de wrote:
There exists a \mergeDifferentDottedOn command, too,
to cover the merge in the second bar.
See
Great!
Good solution!
Tank you so much!
The ties don't work because the expressions above don't have equal
lengths. In other words,
{b2\rest g'8 a c4~}
is 8 quavers long, while
{s2 g,, g'8[ a a'] c c'~}
is 7 quavers long.
Therefore, when you combine them using \\ , you get something
If I can trouble you yet again, here is a second snippet
with a similar issue, I would like the triplet E natural
in the top voice to take the same space as the E natural
half note in the bottom voice and then disappear.
\mergeDifferentlyHeadedOn does not work in this case,
On 09/05/11 06:36, Ivan Kuznetsov wrote:
\version 2.12.3
\include english.ly http://english.ly
\new Staff = guitar
{
\clef treble_8
{
\times 2/3 { e,4 fs4 a'4}
}
\\
{
\mergeDifferentlyHeadedOn e,2
}
}
Why do you want to merge a half and
According to the reference manual,
http://lilypond.org/doc/v2.13/Documentation/notation/expressive-marks-as-lines#arpeggio
all I need to do is append the \arpeggio tag to a chord construct,
as I do in my appended snippet. However, the following snippet
produces the message:
Greetings again...
On 08/05/11 22:15, Phil Holmes wrote:
- Original Message - From: Bill Mooney mooney...@aim.com
To: Lilypond-User List lilypond-user@gnu.org
Sent: Saturday, May 07, 2011 4:43 AM
Subject: header anomalies LP2.13.60
Greetings!
Can someone please explain what is
Heather,
.
On 8 May 2011, at 20:35, Heather W. Reichgott heather.reichg...@gmail.com
wrote:
1. Is the choice of soundfont a property of the MIDI file itself, or a
property of the playback software? (Or both?) I have Timidity++ and found a
place in timidity.cfg where I can specify a
Greetings,
...from the Notation Manual
An arpeggio on a chord (also known as a broken chord) is denoted by
appending \arpeggio to the chord construct:
c e g c1\arpeggio
I guess you 'do' need to define a chord for it to work - which you don't
seem to have done in your example
{ \clef
on 2011-05-08 at 15:35 Heather W. Reichgott wrote:
1. Is the choice of soundfont a property of the MIDI file itself, or a
property of the playback software? (Or both?)
as far as i know, the midi file itself can only send program change
messages on a given channel: select a certain patch number
On 5/8/11 4:15 PM, ivan.k.kuznet...@gmail.com ivan.k.kuznet...@gmail.com
wrote:
According to the reference manual,
http://lilypond.org/doc/v2.13/Documentation/notation/expressive-marks-as-lines
#arpeggio
all I need to do is append the \arpeggio tag to a chord construct,
as I do in
Heather == Heather W Reichgott heather.reichg...@gmail.com writes:
Heather [1 multipart/alternative (7bit)] [1.1 text/plain;
Heather ISO-8859-1 (7bit)]
Heather I have been using Lilypond for some time, and have used MIDI
Heather sequencing software before, too. Back in the early 90s I
Heather
On Sun, May 8, 2011 at 7:04 PM, Carl Sorensen c_soren...@byu.edu wrote:
This is not a chord construct, but a parallel music construct. Only one
set
of angle brackets, and the duration outside.
Evidentally I was not understanding the difference between the two
constructs.
Thanks!
Hi,
I need to to place a fermata over a bar line at the end of a line and
have a rehearsal mark at the beginning of the next line. I would
normally use \mark to place the fermata over the bar line but then I
don't know how to reuse \mark for the rehearsal mark.
As a workaround I would
Heather,
If you want also you can use zynadsubfx or Qsynth to alter your midi
sounds. The first is a really interesting synthesizer that you make
lots of endless tweaks to. The second enables the use of soundfonts
and allows for some processing as the sound as generated such as
reverb etc. Both
Nick Payne nick.pa...@internode.on.net writes:
Why do you want to merge a half and quarter note? It would just make
the score more difficult to read and the musician's life more
difficult.
Isn't that already the case for merging differently dotted notes?
--
David Kastrup
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