RE: Re; Volta problem

Jay, The format for alternative endings: \alternative { {} {} }. See this does what you want. \alternative {{ g2. ~ g2.\breathe } {g2.\fermata}} Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]

RE: Staff error

Chris, Putting each in a separate \score block compiles. I do not know if that is the only, or best solution. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Chris Trahan Sent: Tuesday, December

RE: Problem with r2. in two voices

Cynthia, Actually there are two r2. rests, one in each voice. Replace one with s2. and it shall disappear. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Cynthia Karl Sent: Saturday, February 07,

RE: Staccato

Cynthia, The placement of the staccato, also fingerings, articulations, and dynamics, can be place above a note using ^ and below a note using _ in place of the -. Mark http://lilypond.org/doc/v2.18/Documentation/notation/inside-the-staff

RE: output PDF

Peter: Use: \layout { indent = #0 } Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Peter Jongh Visscher Sent: Monday, January 12, 2015 7:55 AM To: lilypond-user@gnu.org Subject: output PDF I

RE: grace note bug?

Jaime, I am not a programmer, nor an expert on the workings of Lilypond. I speak as an amateur musician. \slashedGrace {a'32 a32} does not give the expected result. No slash appears. If the command is changed to \slashedGrace {a'32} a slashed grace appears. A \slashedGrace is an acciaccatura

RE: Manual gotcha: beatStructure

James, Look at http://lilypond.org/doc/v2.18/Documentation/notation/beams for some examples (they are down the page a bit). Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of James

RE: Ottava spanner too long just before a grace note

Knute: I placed \acciaccatura s8 before the r4 and the 8va shortened. Perhaps this does what you want. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Knute Snortum Sent: Friday, March 06, 2015

RE: Ottava spanner too long just before a grace note

Knute, You .are welcome. Glad to know that my solution worked. Sometimes the length of the example may be too long for some. For them the option is to ignore. Mark From: Knute Snortum [mailto:ksnor...@gmail.com] Sent: Saturday, March 07, 2015 6:53 AM To: Mark Stephen Mrotek Cc

RE: Pianostaff 4-part writing and rests

Peter, A rest can be positioned by using a pitch name, duration, \rest, e.g., c8\rest puts an eighth rest where c would be (depending on the clef). The attached example might be clearer. Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: arpeggio on single note

Ming, %this in the “new staff” group \set PianoStaff.connectArpeggios = ##t Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of MING TSANG Sent: Thursday, January 29, 2015 6:25 PM To: Robin Bannister;

RE: Do we really offer the future?

Simon, Actually Lilypond does check the bar checks and notifies if an incorrect number of beats (as stated in the \time) are in a measure. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Simon

RE: Problem with repeats: stray bar line

Lily that the second alternative starts on the first of four (that's where the 1/4 comes in) beats. Mark -Original Message- From: Tobias Braun [mailto:lists.tob...@braun-abstatt.de] Sent: Tuesday, May 05, 2015 2:57 PM To: Mark Stephen Mrotek Cc: lilypond-user@gnu.org Subject: Re: Problem

RE: Problem with repeats: stray bar line

Tobias: Does this work? \version 2.18.2 \relative c' { \partial 4 \repeat volta 2 { c4 | c c c c | c c c } \repeat volta 2 { d4 | d d d d | } \alternative { { e4 e e } { \set Timing.measurePosition = #(ly:make-moment 1/4) f4 f f } } } Mark

RE: Ottavation text too long for next line

Knute, When I eliminated the indent ( \layout {\indent = #0} ), all of it fits on the first line. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Knute Snortum Sent: Saturday, May 16, 2015 10:14

RE: Cadenza break

Andrew, Lilypond shall not break a beam. If you move the “]” up to just before the break and start a second beam, “[ …. ]” after the first chord after the break. It worked for me (2.18). Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: Staff ends before \clef, \time and \key

Reinhold, I have done it under 2.18 with and without the clef change and the staff lines continue. Your snippet compiles correctly under 2.18. Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]

tie between octaves

Hello How do I get an \tieUp between the top notes of two octaves, yet a \tieDown between the bottom notes. Thank you for your kind attention. Mark Stephen Mrotek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org

RE: tie between octaves

Brian Barker, Thank you for your reply and suggestions. I shall try all of them. Mark -Original Message- From: Brian Barker [mailto:b.m.bar...@btinternet.com] Sent: Friday, April 03, 2015 6:29 PM To: lilypond-user@gnu.org Cc: Mark Stephen Mrotek Subject: Re: tie between octaves At 18

RE: Grace notes causes clef change to occur after bar

Nolan: Place an “\acciaccatura s8” after the clef change and before the “e.” See below. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Nolan Winter Sent: Saturday, April 04, 2015 11:13 AM To:

RE: How to omit tuplet range indicator

Venus, To eliminate the bracket: \override TupletBracket #'bracket-visibility = ##f To eliminate the number: \override TupletNumber #'stencil = ##f Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: gregorian.ly with clef italics

Re: Gregorian clefs http://lilypond.org/doc/v2.18/Documentation/notation/typesetting-gregorian-c hant#gregorian-clefs Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Michael Gerdau

RE: tuplet beam

, 2015 2:14 PM To: Mark Stephen Mrotek; lilypond-user@gnu.org Subject: Re: tuplet beam Hello Mark, Am 01.06.2015 um 21:18 schrieb Mark Stephen Mrotek: Hello, The attached snippet, tuplet beam, produces the tuplets grouped in three sixteenths, as I want. When I copy and paste the code

RE: A slur across a line break with change of clef in another staff generates bad output

Richard, Tried putting the \clef treble before the a8. Looks good to me, yet I do not know what other constraints you have. Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of

RE: tuplet beam

Stephen, Thank you . Mark From: Stephen MacNeil [mailto:classicalja...@gmail.com] Sent: Tuesday, June 02, 2015 4:49 AM To: carsonm...@ca.rr.com; Lilypond-User Mailing List Subject: tuplet beam use [ ] eg %%% \version 2.18.0 \score { \new PianoStaff \new Staff =

RE: Default indentation of the first staffline

Karl, 1. \layout { indent = #0 } 2. Not sure what you mean by a key signature at the end of a staff. Can you provide a snippet? Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Karl

RE: Default indentation of the first staffline

Karl, Welcome. The elimination of the key signature has to do with an engraver with which I am not that familiar. Someone else on the list could help you there. Sorry. Mark From: Karl [mailto:karlhu...@gmail.com] Sent: Saturday, August 08, 2015 2:08 PM To: Mark Stephen Mrotek

RE: error message

[mailto:f...@inventati.org] Sent: Saturday, October 10, 2015 12:45 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: lilypond-user@gnu.org Subject: Re: error message Il giorno sab 10 ott 2015 alle 1:20, Mark Stephen Mrotek <carsonm...@ca.rr.com> ha scritto: > Using

dynamic with markup

Hello, I recall that instructions were once given to achieve: p ma ben marcato, yet my search of the LSP was not successful. Please direct me to its location. Thank you for your kind attention. Mark ___ lilypond-user mailing list

RE: dynamic with markup

To: lilypond-user@gnu.org Subject: Re: dynamic with markup Am 11.10.2015 um 03:58 schrieb Mark Stephen Mrotek: > Hello, > I recall that instructions were once given to achieve: > p ma ben marcato, > yet my search of the LSP was not successful. > Please direct me to its location. > Thank

RE: dynamic with markup

Xavier, Thank you for the reference. I shall bookmark and add it to my collection of snippets. Mark From: Xavier Scheuer [mailto:x.sche...@gmail.com] Sent: Monday, October 12, 2015 7:49 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: Malte Meyn <lilyp...@maltemeyn.de&g

error message

. Thank you for your kind attention. Mark Stephen Mrotek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

RE: error message

message Mind sharing the source (file) that is being used when you get this error? Thanks, Abraham On Friday, October 9, 2015, Mark Stephen Mrotek [via Lilypond] <[hidden email]> wrote: Hello, Â Using Lilypond2.18.0, Frescobaldi 2.18.1. When clicking the Lilypond icon in Fresc

RE: OT: Beauty of programming languages

David, With a great deal of respect and admiration, I return to you a quote you once sent to me: Wrangling down that attacking Rottweiler was actually not all that hard. It boils down to the same grips and holds we used to employ for killing lions when I was young. Sincerely, Mark

RE: Voice split across staves?

Joel: Does this work for you? (see attachment) Mafrk -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Joel C. Salomon Sent: Tuesday, September 08, 2015 1:48 PM To: LilyPond Users

RE: Clef symbol after a barline

David, Here is a snippet. I am not sure where it is located in the manual, V 2.18. \once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3 '( staff-bar clef key-cancellation key-signature time-signature)) The order of the items can be changed to suit needs. All of them need

RE: Clef symbol after a barline

Welcome! Mark -Original Message- From: David Sumbler [mailto:da...@aeolia.co.uk] Sent: Sunday, September 13, 2015 6:21 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: lilypond-user@gnu.org Subject: RE: Clef symbol after a barline On Sat, 2015-09-12 at 14:10 -0700, Mark S

RE: Can someone point me to an example?

Karen, This might be of use: http://www.lilypond.org/doc/v2.18/Documentation/snippets/vocal-music#vocal-music-piano-template-with-melody-and-lyrics Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf

RE: Repeat with alternatives

Stan, Lilypond does handle mid-measure repeats, you just have to tell it that it is mid-measure: \version "2.18.2" \score { \new Staff { \time 4/4 \repeat volta 2 { a'8 b' c' e' c'2 a'4 b' } \alternative {

RE: Repeat with alternatives

David, Thank you for the information. My answer was determined by the version used. Mark -Original Message- From: David Kastrup [mailto:d...@gnu.org] Sent: Thursday, October 01, 2015 6:34 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: s.p.korzil...@gmail.com; lilypon

RE: Subdivide beams in triplets

Nick, Try changing the 9/4 to 3/2. Does that work? Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Nick McManus Sent: Monday, September 21, 2015 9:53 PM To: lilypond-user@gnu.org

RE: trouble with end bar and open-repeat (volta) bars at same place.

Mike: Looking at the piece http://petrucci.mus.auth.gr/imglnks/usimg/f/f5/IMSLP24315-PMLP55004-Mozart_3_Deutsche_Tanze_K.605.pdf the first section does not have alternative endings. The Trio starts a new staff/section. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: November font

Bernard, Not sure which “November” font to which you refer. Here are some free fonts of the same name. http://www.fontpalace.com/font-download/November+Regular/ https://www.fontyukle.net/en/November+Regular.ttf http://www.azfonts.net/load_font/novem.html

RE: When to Use Pound Signs

"Thorpe" is a Middle English term for a small village. England still has many towns with that appellation, e.g., Thorpe Willoughby. M -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of

RE: Strange beaming error

Chris: My experience in setting piano music is that the “\set Timing” instruction must be in both voices. If you have not done so, that might be the cause. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On

RE: Strange beaming error

Chris: What is the time signature? 6/8? Or is it 2/4 grouped as if in tuplets? Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Chris Yate Sent: Wednesday, January 06, 2016 5:21 PM To: Thomas

RE: Fine control over piano pedal end bracket position

Andrew: When I transcribe piano music I use: \newDynamics { } in the Staff context. It allows me to adjust the length of the sustain line by fraction of a beat. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: When to Use Pound Signs

What you term the pound sign, derives from the Latin libra, pound. The word was altered into livre, £ (1550's), as a French monetary amount equal to one pound of silver. The unit of measure was changed to the term franc. Today the same symbol is used as designation for the English pound - at

RE: Layout of a (piano) hand indicator

Urs, V 2.18 has a snippet at: http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-keyboards#staff_002dchange-lines Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf

RE: A few notes softer

Matthew, Sotto voce? Piu piano? Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of msk...@ansuz.sooke.bc.ca Sent: Monday, November 30, 2015 10:11 AM To: lilypond-user@gnu.org Subject:

RE: Layout of a (piano) hand indicator

Simon, Attached is a snippet for bracket and hand indication from my library. I cannot remember from whom I got it, so I cannot properly ascribe. Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]

RE: Kneed beams and changes of staff

Gilberto, A rather tedious, yet precise method, is: \once \set stemRightBeamCount = #x \once \set stemLeftBeamCount = #x Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Gilberto

tieWaitForNote

orNote = ##t g,4.~ } \\ {s8 \set tieWaitForNote = ##t b4~ } >> 4. | } Thank you for your kind attention. Mark Stephen Mrotek ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

RE: tieWaitForNote

Hwaen Ch'uqi, Thank you for your reply. I shall try your suggestion. Mark -Original Message- From: Hwaen Ch'uqi [mailto:hwaench...@gmail.com] Sent: Monday, November 23, 2015 10:13 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: lilypond-user Mailinglist <lilypond-use

RE: tieWaitForNote

: tieWaitForNote Am 24.11.2015 um 06:53 schrieb Mark Stephen Mrotek: > Everything is correct except that the ties do not appear. What is my error? If you really want these note length values you need a << >> construct but without \\ because that would create new Voices. The only new

AfterGrace

Hello, In the attached snippet I want the aftergrace positioned closer to the subsequent bar line. What should I do? Thank you, Mark \version "2.18.2" upper = \relative c'' { \clef treble \key g \major \time 6/8 \afterGrace 2.\fermata {s8 b16 ([c] d [c b a])} |

RE: AfterGrace

Andrew, Thank you for your reply and instructions. They do what I want and I learned a new technique! Mark -Original Message- From: Andrew Bernard [mailto:andrew.bern...@gmail.com] Sent: Sunday, June 05, 2016 5:42 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: lilypon

unterminated tie

Hello: I cannot find the "unterminated tie" in the following measures. r4 q2 | r4 2 | q2. | r4 2 | r4 2 | % this line highlighted. 2. ( | ) | When compiled the notation is correct. Any help from sharper eyes is greatly

RE: unterminated tie

mailto:nat...@snappizz.com] Sent: Friday, January 15, 2016 11:53 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: 'Lilypond-User Mailing List' <lilypond-user@gnu.org>; lilypond-user-bounces+nathan=snappizz@gnu.org Subject: Re: unterminated tie On 2016-01-15 11:49, Mark Stephen

RE: unterminated tie

Nathan and others, Thank you for the suggestions. I found the error - a tie over a rest. Mark -Original Message- From: Nathan Ho [mailto:nat...@snappizz.com] Sent: Friday, January 15, 2016 1:04 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: 'Lilypond-User Mailing List' <

RE: tuplet number

Stan, In 2.18, Tuplet - no bracket \override TupletBracket #'bracket-visibility = ##f Tuplet - no number \override TupletNumber #'stencil = ##f Tuplet - number \revert TupletNumber #'stencil Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: positioning a rest

Patrick, The location of the rest can be “pitch” specified. Change the third line to: \new Voice { \oneVoice r4 b’\rest \voiceOne g' } Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of

RE: Cannot resolve rest collision: rest direction not set

Joseph, You are welcome. Mark -Original Message- From: Joseph N. Srednicki [mailto:jos.sredni...@verizon.net] Sent: Tuesday, February 09, 2016 5:00 AM To: 'Brian Barker' <b.m.bar...@btinternet.com>; 'Mark Stephen Mrotek' <carsonm...@ca.rr.com>; lilypond-user@gnu.org

RE: alternative problem in repetition

Marcos, Just as I have found very, very often. Mark From: tdy.p...@gmail.com [mailto:tdy.p...@gmail.com] On Behalf Of tdy lists Sent: Tuesday, January 26, 2016 5:33 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: Lilypond List <lilypond-user@gnu.org> Subject: Re:

Four Part Piano Staff

Hello, I want to make a template for a piano staff with two explicitly instantiated voices (not <<{ } \\{ } >>) in each staff - this for four part fugues. Any assistance in accomplishing this would be greatly appreciated. Thank you for your kind attention. Mark \version "2.18.2"

RE: Four Part Piano Staff

[mailto:simon.albre...@mail.de] Sent: Tuesday, February 02, 2016 2:09 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com>; 'lilypond-user' <lilypond-user@gnu.org> Subject: Re: Four Part Piano Staff On 02.02.2016 03:25, Mark Stephen Mrotek wrote: > > Hello, > > I want to mak

RE: Four Part Piano Staff

Michael, Thank you for your response and suggestion. Whenever I make an inquiry I attach a .ly file. Mark -Original Message- From: Michael Gerdau [mailto:m...@qata.de] Sent: Tuesday, February 02, 2016 3:17 PM To: lilypond-user@gnu.org Cc: Mark Stephen Mrotek <carsonm...@ca.rr.

RE: Four Part Piano Staff

Simon, Thank you for your reply and the suggested code. It is exactly what I wanted! Mark -Original Message- From: Simon Albrecht [mailto:simon.albre...@mail.de] Sent: Tuesday, February 02, 2016 3:17 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com>; 'lilypond-user' <lily

RE: Four Part Piano Staff

..@bluewin.ch] Sent: Monday, February 01, 2016 9:28 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: Jacques Menu <imj-muz...@bluewin.ch>; lilypond-user@gnu.org Subject: Re: Four Part Piano Staff Hello Mark, What do you mean by « variable format » ? Using variables is very h

RE: Four Part Piano Staff

rom: David Wright [mailto:lily...@lionunicorn.co.uk] Sent: Monday, February 01, 2016 7:27 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: 'lilypond-user' <lilypond-user@gnu.org> Subject: Re: Four Part Piano Staff On Mon 01 Feb 2016 at 18:25:36 (-0800), Mark Stephen Mrotek wr

RE: Piano pedal mark collision (\sustainOn, \sustainOff)

Przemyslaw, If acceptable, the use of "bracket" style can eliminate the conflict. Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Przemyslaw Pawelczyk Sent: Wednesday, January 27,

RE: alternative problem in repetition

Marcos, The format for alternative is: \alternative { {%here first alternative} {%here second alternative}} Any voice splitting would happen within each alternative. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: Cannot reach www.lilypond.org

As of Thursday 10 March, 14:34 PST, not I also. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Joseph N. Srednicki Sent: Thursday, March 10, 2016 12:45 PM To: lilypond-user@gnu.org Subject: Cannot reach

RE:

Paul, A slur, or a tie, cannot be written from a single voice into a polyphony. Try starting the polyphony with the third blue note. The other voice would have an “s4.” Then the slur should work. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org

RE: AutoBeam Behaving Properly?

ree groups of four against two groups of three. To dismiss the possibility of a hemiola might deny some of Bach's playfulness. Regards, Mark -Original Message- From: Simon Albrecht [mailto:simon.albre...@mail.de] Sent: Thursday, April 07, 2016 1:47 PM To: Mark Stephen Mrotek <carsonm

RE: AutoBeam Behaving Properly?

Martin, Hemiola? Cf. WTC I 3 Prelude, measures 97 – 104. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Martin Neubauer Sent: Tuesday, April 05, 2016 6:59 PM To: Lilypond-User Mailing List

RE: Initial grace notes

Daniel, Yes, cc-ing the group is the best way to go. Mark -Original Message- From: Redwood (Daniel) [mailto:redwood5...@icloud.com] Sent: Saturday, March 19, 2016 9:12 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: lilypond-user <lilypond-user@gnu.org> Subject: Re: I

RE: Ties across staves

Andrew, Just read your post and what came to mind was the possible use of \set tieWaitForNote = ##t and \autoBeamOff \crossStaff {% here pitches/durations} \autoBeamOn As soon as I have tried it, I shall respond again. Mark From:

RE: Replying to posts

ind attention. Mark Stephen Mrotek -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Werner LEMBERG Sent: Thursday, April 28, 2016 9:06 PM To: andrew.bern...@gmail.com Cc: lilypond-user@gnu.org Subject: Re: Replying to posts

RE: Replying to posts

Werner, Thank you for your reply and the link. Outlook-quotefix has been test only for Outlook versions prior to 2007. I have 2013. Mark -Original Message- From: werner.lemb...@gmx.de [mailto:werner.lemb...@gmx.de] On Behalf Of Werner LEMBERG Sent: Thursday, April 28, 2016 9:45 PM To:

RE: Replying to posts

Werner, My Titanium Internet Security blocks this site as a "Dangerous Page." Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Werner LEMBERG Sent: Thursday, April 28, 2016 10:27 PM To: andrew.bern...@gmail.com Cc:

RE: header

at 6:26 PM, Mark Stephen Mrotek [via Lilypond] <[hidden email]> wrote: Simon, Your explanation makes sense, if my score were different numbers in one opus. My score is two movements of the same opus. The main thing to understand about this is that if a particular \header pr

header

Hello, An outline of a two movement work (2.18.2) \header { Title = % title Composer = % composer Opus = % opus } \ include %here first movement \page break \include %here second movement Everything compiles as wanted, except the opus appears at the beginning of the second

RE: header

l.de] Sent: Tuesday, July 12, 2016 3:28 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com>; 'lilypond-user' <lilypond-user@gnu.org> Subject: Re: header On 12.07.2016 23:15, Mark Stephen Mrotek wrote: > > Hello, > > An outline of a two movement work (2.18.2) > > \head

RE: header

, July 12, 2016 4:27 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com>; 'lilypond-user' <lilypond-user@gnu.org> Subject: Re: header On 13.07.2016 00:38, Mark Stephen Mrotek wrote: > Simon, > > Thank you for your reply and reference to the manual. > It does seem to be rather c

RE: \caps with Umlaut

Shane, If you are using Frescobaldi, you could not use \caps and access the special characters. Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Shane Brandes Sent: Wednesday, July 20, 2016 2:53 PM To: Jonathan

RE: 17th century English kbd ornaments

Pierre, Arnold Dolmetsch in his The Interpretation of the Music of the 17th and 18th Centuries, provides a list of “signs” with examples of execution. Mark From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Pierre Perol-Schneider Sent:

RE: Spiridione, Nova Instructio pro pulsandis organis

Francois, Here is a reference. The actual article is in California. http://www.worldcat.org/search?q=su%3ASpiridion%2C+1615-1685.+Nova+instructi o.=hot_subject Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Ali Cuota

RE: alternative repeat - extraneous barline

Ken, See the addition I made to the second ending in your snippet below. Lilypond "reads" the first ending as an incomplete measure. The "\set" command resents the second ending to start correctly. Mark -Original Message- From: lilypond-user

RE: LilyPond logo?

Pierre, #6 Thank you. Mark From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Pierre Perol-Schneider Sent: Saturday, August 06, 2016 1:36 PM To: Malte Meyn Cc: lilypond-user Subject: Re:

RE: LilyPond logo?

Pierre: Nix 4, 5, 10, and 11. Thank you Mark From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Pierre Perol-Schneider Sent: Sunday, August 07, 2016 5:14 AM To: Noeck Cc: lilypond-user

RE: beams in treble and bass staff

Gianmaria, See the attached. Mark From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Gianmaria Lari Sent: Saturday, January 14, 2017 2:08 AM To: lilypond-user Subject: beams in treble and bass staff Novice question.

RE: Changing the staff of a note inside of a chord

Amir, Some instructions for cross staff stems are at http://lilypond.org/doc/v2.18/Documentation/notation/common-notation-for-key boards#cross_002dstaff-stems Mark -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Amir

RE: Tie at end of alternative

David, Thank you. Mark -Original Message- From: David Wright [mailto:lily...@lionunicorn.co.uk] Sent: Friday, August 19, 2016 10:00 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: 'Malte Meyn' <lilyp...@maltemeyn.de>; lilypond-user@gnu.org Subject: Re: Tie at end of

RE: that acciaccatura issue

org] Sent: Sunday, August 21, 2016 10:11 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: lilypond-user@gnu.org Subject: Re: that acciaccatura issue "Mark Stephen Mrotek" <carsonm...@ca.rr.com> writes: > Hello, > > > > When an acciaccatura (or grace) is a

that acciaccatura issue

Hello, When an acciaccatura (or grace) is attached to the first pitch of one of several voices, the other voices must also have one of the same duration - usually with a "s" pitch. How do I attach an acciaccatura to a rest? (Please see attached snippet.) Thank you for your kind attention.

RE: that acciaccatura issue

al Message- From: Simon Albrecht [mailto:simon.albre...@mail.de] Sent: Sunday, August 21, 2016 10:07 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com>; lilypond-user@gnu.org Subject: Re: that acciaccatura issue Hi Mark, _always_ make a minimal example in such a case. If you had done so, you mig

RE: that acciaccatura issue

voices? The pitches and durations after the first in each of the voices? Thank you for your kind consideration. Mark -Original Message- From: Simon Albrecht [mailto:simon.albre...@mail.de] Sent: Sunday, August 21, 2016 10:23 AM To: Mark Stephen Mrotek <carsonm...@ca.rr.com>; lil

RE: that acciaccatura issue (minimal example)

David, Thank you for your reasoned reply. Your comments indicate you understand my conundrum. If I use a model from the learning manual (2.18) and something does not work, I do not know what to eliminate. In the past some of my inquiries have garnered more than one solution. I do not know

RE: that acciaccatura issue

Sent: Sunday, August 21, 2016 1:45 PM To: Mark Stephen Mrotek <carsonm...@ca.rr.com> Cc: Simon Albrecht <simon.albre...@mail.de>; lilypond-user <lilypond-user@gnu.org> Subject: Re: that acciaccatura issue 2016-08-21 19:59 GMT+02:00 Mark Stephen Mrotek <carsonm...@ca.

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