I'm working on transcribing Sousa's Fairest of the Fair for Mutopia.
I just got to the Oboe part, and hit a roadblock. The Oboe part is
actually Oboe 1 and Oboe2 printed on the same staff, with only one set
of notes printing when they're playing together. Here's the first of
the sections where
Scratch that -- I had mismatched slurs at the beginning, and that
threw the whole thing off. Thanks anyway. :-)
On Tue, Mar 10, 2009 at 00:29, Garrett Fitzgerald
sarekofvul...@gmail.com wrote:
I'm working on transcribing Sousa's Fairest of the Fair for Mutopia.
-oboe.ly starts
I have the following code in my ConductorScore.ly. The first one, with
the combined parts, doesn't print the instumentName: the second one,
with just one part, does. Anybody know offhand how to fix this?
Thanks. (Files are available at
http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1643,
This is really a question I should not be asking when I don't have the
actual code in front of me, but is there a problem with
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Switching-the-melody-associated-with-a-lyrics-line
and triplets? I had the darnedest time getting something to
On Nov 27, 2007 5:29 PM, Garrett Fitzgerald [EMAIL PROTECTED] wrote:
This is really a question I should not be asking when I don't have the
actual code in front of me, but is there a problem with
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Switching-the-melody-associated
Evening, all. I have 4 staffs (solo and chorus) that fit nicely on one
page. I just added chord names, and blew it up so that only 3 staffs
would fit on the first page. How do I move the chord names closer to
the staff so that there's actually enough room? I tried extra-offset,
but that didn't
On Dec 10, 2007 1:49 PM, daf [EMAIL PROTECTED] wrote:
Anyhow, two problems with Notepad when invoked via right-click menu for a
.ly file:
At the risk of sounding flip, don't use Notepad. :-) I use Notepad++
for most text editing, but I use emacs with lilypond-mode for .ly
files, and I wouldn't
Is there an easy way to do an alternate ending for a chorus that has
looks like a repeat, but doesn't have the repeat mark at the end of
the first ending? Or is this more involved? If it's involved, I'll
play with it more before asking again. Thanks.
before the bar line where you don't want the repeat mark.
/Mats
Garrett Fitzgerald wrote:
Is there an easy way to do an alternate ending for a chorus that has
looks like a repeat, but doesn't have the repeat mark at the end of
the first ending? Or is this more involved? If it's
I'm transcribing an R. B. Hall march, The Sentinel. The intro repeats,
then the first strain repeats, skips the third ending, plays the second
strain, repeats, dal segnos, and ends at the third ending.
I didn't see how to do it with repeat volta/alternative, so I tried doing it
manually. However,
I'm currently working on some marches, and I was thinking about getting them
printed as a booklet, as well as 8.5x11. What paper size do I call this?
Also, what is the typical size for printing a full-page music sheet? How
about conductors' scores?
Dammit, Jim, I'm a clarinetist, not a
I'm having a problem with the beginning repeat sign of the following code
being repeated on each side of the acciaccatura. What am I doing weird?
Thanks.
\version 2.14.2
\score {
\new Staff {
\time 6/8
\transpose c des \relative c''' {
R2. |
\repeat volta 2 {
\acciaccatura
I'm re-setting my wife's part of Grainger's Irish Tune from County
Derry, because it doesn't have the authentic English-language tempo
and dynamic instructions. Everything went well (I think) until the
last measure, where a slur terminates on a fermata that decrescendoes
from p to ppp. As a first
On Fri, Feb 22, 2013 at 3:46 PM, David Kastrup d...@gnu.org wrote:
Garrett Fitzgerald sarekofvul...@gmail.com writes:
As a first attempt at this, I used
d4( | d1)\fermata \\ { s4\p\ s8 s s s s s\ppp }
which renders the decrescendo well, but warns me of an unterminated
slur.
Try removing
On Fri, Feb 22, 2013 at 4:04 PM, Thomas Morley
thomasmorle...@googlemail.com wrote:
2013/2/22 Garrett Fitzgerald sarekofvul...@gmail.com:
As a first attempt at this, I used
d4( | d1)\fermata \\ { s4\p\ s8 s s s s s\ppp }
which renders the decrescendo well, but warns me of an unterminated
I just used a \fermata marking on a top-line f2., and it struck me as
much too tight - the dot by the half note almost ran into the bottom
of the fermata. When coming up with an example, I noticed that this
happened for all the notes sitting on ledger lines.
\version 2.16.2
\relative c'' {
Lilypond 2.16.2
I suspect this is an RTFM question, but I can't find the place in the
FM (or the FLSR) that tells me how to fix it.
I usually create separate files for the score and individual parts,
but I decided to try putting multiple bookparts in the same file to
get a single PDF generated.
I was trying to re-set the first clarinet part for Fucik's Florentiner March
from a copied, enlarged marching band part. Using partCombine, it went
fairly well, except for the cued piccolo solo. Can anyone clue me in on what
I did wrong here? It works fine as I have it below, but if I move the
On Mon, Jun 20, 2011 at 18:45, Keith OHara k-ohara5...@oco.net wrote:
If you are printing two parts on one staff, then you probably don't want
partCombine, but rather two voices
\clarinetOne // \clarinetTwo
but then you have to insert \voiceOne and \voiceTwo as apporpriate into the
two
I managed to get rid of the unterminated slur message when slurring
back to the beginning of a repeat with the following code, based on
earlier suggestions on the list. Sharing FWIW, if anything.
\alternative { { a8 r r e16(
\afterGrace f16 {\once \override Rest #'transparent =
Hi, all. I'm transcribing Riley's In C to experiment with in my
community band from the CC-licensed version on the IMSLP. The sixth
theme shows two whole notes, slurred to and from empty space between
them. It's pretty well exactly expressed by the LP syntax
C1( S) S( C)
However, when I try
On Tue, Nov 16, 2010 at 03:07, eluze elu...@gmail.com wrote:
i would try
{ c'1^( \hideNotes c') c'^( \unHideNotes c') }
you then might want to make barlines disappear:
\override Staff.BarLine #'stencil = ##f
Thanks to you and Bill Mooney for your suggestions -- I'll try them out
It's actually been discussed on meta - consensus is that people should
actually come over here for help. :-)
http://meta.stackexchange.com/questions/168297/on-which-site-are-lilypond-questions-on-topic
On Mon, Dec 22, 2014 at 4:23 PM, Urs Liska u...@openlilylib.org wrote:
We've had this
How do you do the notation when you're slurring from the last note of the
volta into the first note of _both_ endings? (Think just about every march
ever)
Garrett Fitzgerald
Eddington, ME
___
lilypond-user mailing list
lilypond-user@gnu.org
https
As far as I can tell, short of writing tagged sections, there's no way to
easily unfold only percents, while leaving voltas intact. Would this be a
desirable behavior for Lilypond to have?
My particular use case is transcribing band music. The inner parts of
marches often use percent repeats in
Good evening, all. When typesetting march music in 6/8, I very frequently
have the figure
\version "2.18.2"
\relative c'' {
\time 6/8
b8[ r b] b[ r b]
}
Obviously, I can get the effect I want, with two beamed groups of 3, as
above. Is there anyway to force Lilypond to automatically beam
Evening, all. I'm trying to write individual horn parts for a march, but
combine them in the score to save vertical space. However, I'm running into
problems with percent repeats where Horn 2 plays the same notes longer than
Horn 1 does.
\version "2.18.2"
hornOne = \relative c'' { r8 a a r a a |
; Garrett,
>
>
>
> When I replace “percent” with “unfold” everything appears as you want.
>
>
>
> Mark
>
>
>
> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
> ca.rr@gnu.org] *On Behalf Of *Garrett Fitzgerald
> *Sent:* Friday, December 02, 20
I'm sorry, but I'm having the darnedest time following the directions for
how to install Lilypond-mode on Windows. I installed the latest release of
GNU Emacs at c:\emacs and tried to follow the directions at
http://www.geoffhorton.com/lilymacs.html. Either I'm looking at the wrong
.emacs, or I
I see this has been raised before, and is intentional behavior, but I just
wanted to be clear. When typesetting band marches, I have a \rehearsalMarks
definition that includes double bars as needed. I define all the parts in a
single file (for example, MaineFestival.ly) and then have multiple part
30 matches
Mail list logo
