Re: using partcombine with different clefs, repeats, text

I think this sounds like a use case for a long text preface explaining what is to be performed in what order and why, just notating everything on a treble clef and doing manual octavations in the midi file. Maybe writing a reminding 1S,2B: or such (not sure I got it completely right from your

Re: using partcombine with different clefs, repeats, text

PS - you know what? I'm sorry: I'm making this guy's work much more complicated than it needs to be. This is really just a song for single voice and piano; I'll notate it that way and leave it to him to work out with the performers who sings which verse in which language. Sorry for the trouble! A

using partcombine with different clefs, repeats, text

Hi List, sigh … here we go again. I apologize in advance for my client, a hobbyist composer who thinks entirely in terms of cutting and pasting, moving things around manually, and not in terms of how to notate anything clearly. Here goes: He has a song for soprano, baritone, and piano. The song

Re: Dynamics placement in partCombine

Quick answer, and I’m not sure it will help much: \dynamicUp affects the context (Voice) in which it’s placed. \partCombine combines its arguments into new Voices and \dynamicUp ended up in a different voice than the p Thank you for your answer. When you remove \dynamicUp ALL dynamics

Re: Dynamics placement in partCombine

Quick answer, and I’m not sure it will help much: \dynamicUp affects the context (Voice) in which it’s placed. \partCombine combines its arguments into new Voices and \dynamicUp ended up in a different voice than the p Thank you for your answer. When you remove \dynamicUp ALL dynamics

Re: Dynamics placement in partCombine

Quick answer, and I’m not sure it will help much: \dynamicUp affects the context (Voice) in which it’s placed. \partCombine combines its arguments into new Voices and \dynamicUp ended up in a different voice than the p Thank you for your answer. When you remove \dynamicUp ALL dynamics

Re: Dynamics placement in partCombine

I presume that partCombine overrides the dynamic placement so that dynamics for the two parts are placed above and below, which seems a reasonable approach when the parts are more distinct than in the given example.  Using ^ to override it in this case seems a tolerable alternative. Thank you

Re: Dynamics placement in partCombine

I presume that partCombine overrides the dynamic placement so that dynamics for the two parts are placed above and below, which seems a reasonable approach when the parts are more distinct than in the given example.  Using ^ to override it in this case seems a tolerable alternative. Paul

Re: Dynamics placement in partCombine

Quick answer, and I’m not sure it will help much: \dynamicUp affects the context (Voice) in which it’s placed. \partCombine combines its arguments into new Voices and \dynamicUp ended up in a different voice than the p > 13 okt. 2023 kl. 12:32 skrev Michael Gerdau : > >

Dynamics placement in partCombine

\p \repeat unfold 3 { c' } c'4\p \repeat unfold 3 { c' } } musb = { \dynamicUp s1 c'4\p \repeat unfold 3 { c' } } \score { \partCombine \musa \musb } - snip - snip - snip - snip - snip - snip - snip - Kind regards, Michael -- Michael Gerdau email: m...@qata.de GPG-keys available

Re: \partCombine when notes are far apart

Your answer is exactly what I was looking for. I really appreciate this forum. Thank you. Jul 11, 2023 11:13:02 Jean Abou Samra : >>  When I use \partCombine and the notes are more than a ninth apart the stems >> do not connect.  Can I force a longer stem on beats 3 and 4 in

Re: \partCombine when notes are far apart

>  When I use \partCombine and the notes are more than a ninth apart the stems > do not connect.  Can I force a longer stem on beats 3 and 4 in this example? This is intended. To customize the behavior, you should use the optional argument to `\partCombine`, which goes before the two

\partCombine when notes are far apart

Greetings, When I use \partCombine and the notes are more than a ninth apart the stems do not connect. Can I force a longer stem on beats 3 and 4 in this example? \version "2.22.0" partA={ c'' d''4 e'' f'' c'' d''4 e'' f''} partB={c' c' c' c' c' c' \stemUp c' c' } \p

Possible bug in partCombine

I have found a strange corner case which partCombine doesn't handle correctly. I ran into it setting a complex orchestral score, but I've narrowed down the demonstration to something more reasonably sized. In this example, I have to do the known workaround in bar 2 of adding invisible grace notes

Re: Pointing Aiken Fa up in partCombine

Done. https://gitlab.com/lilypond/lilypond/-/issues/6409 Thank you all for your help! Ipan ne 21 tonal tlen metstli 08 tlen xiwitl 2022, ipan 13:22 kawitl, Werner LEMBERG kiihkwilo: > > > In this case, since Werner and I already approved this as a valid > > feature request, you could also add

Re: Pointing Aiken Fa up in partCombine

> In this case, since Werner and I already approved this as a valid > feature request, you could also add it directly to the GitLab issue > tracker Yes, please do that, and post the relevant images there, too! I suggest that Benjamin does that as the initiator of the issue. Werner

Re: Pointing Aiken Fa up in partCombine

Le 19/08/2022 à 22:35, Benjamin Bruce a écrit : Can those in Lilypond development please advise what the next step is to add a feature request to enable the second alternative? Thanks! It's described here: https://lilypond.org/bug-reports.html Basically, write an email to the bug-lilypond

Re: Pointing Aiken Fa up in partCombine

On 8/19/2022 3:35 PM, Benjamin Bruce wrote: Thank you, David, for finding "Hallelujah, Praise Jehovah." Yes, finding a song that is a reliable source of the condition is ideal. Here is what I found for it on hymnary.org: Page scans:

Re: Pointing Aiken Fa up in partCombine

> “Hallelujah, Praise Jehovah” (1899) has doubled Fa's in the treble and bass > clefs at the beginning of bar 9. Here’s a scan from a hymnal printed in > 1911. The Fa is reversed in the treble clef. Thank you, David, for finding "Hallelujah, Praise Jehovah." I looked that hymn up in the

Re: Pointing Aiken Fa up in partCombine

> On Aug 19, 2022, at 11:23 AM, Benjamin Bruce wrote: > > There may be examples in my older hymnals too, but I wasn't able to find any > (this seems to be something that shows up more in modern music). “Hallelujah, Praise Jehovah” (1899) has doubled Fa's in the treble and bass clefs at the

Re: Pointing Aiken Fa up in partCombine

On 8/18/2022 11:43 PM, David F. wrote: Now I’m wondering how representative those two hymnals are. The shape-note community, optimized for participation rather than professional excellence, does not appear to have an authority equivalent to Elaine Gould for its proprieties. I'm asking groups

Re: Pointing Aiken Fa up in partCombine

> On Aug 18, 2022, at 2:15 PM, Benjamin Bruce wrote: > > Thanks for digging into this for me. Yes, both cases are necessary for > typesetting shape note hymns, as illustrated by the attached scan. I believe > the rule for this is that the notehead should be pointed up in the treble > clef,

Re: Pointing Aiken Fa up in partCombine

xiwitl 2022, ipan 14:12 kawitl, Werner LEMBERG kiihkwilo: > > >>> \partCombine #'(1 . 1) > >>> { \aikenHeads f'2 } > >>> { \aikenHeads f'2 } > >> > >> This is an interesting problem. LilyPond's Emmentaler font >

Re: Pointing Aiken Fa up in partCombine

>>> \partCombine #'(1 . 1) >>> { \aikenHeads f'2 } >>> { \aikenHeads f'2 } >> >> This is an interesting problem. LilyPond's Emmentaler font >> contains two shapes of this glyph, namely `noteheads.d1fa` and >> `noteheads.u1fa`, where the 'd'

Re: Pointing Aiken Fa up in partCombine

> Le 18 août 2022 à 18:09, Werner LEMBERG a écrit : > >  >> >> \partCombine #'(1 . 1) >> { \aikenHeads f'2 } >> { \aikenHeads f'2 } > > This is an interesting problem. LilyPond's Emmentaler font contains > two shapes of this glyph, namely `not

Re: Pointing Aiken Fa up in partCombine

> \partCombine #'(1 . 1) > { \aikenHeads f'2 } > { \aikenHeads f'2 } This is an interesting problem. LilyPond's Emmentaler font contains two shapes of this glyph, namely `noteheads.d1fa` and `noteheads.u1fa`, where the 'd' and 'u' stands for 'down' and 'up', respectively (yo

Re: Pointing Aiken Fa up in partCombine

Thank you for your reply. Here is my tiny example with two stems: \partCombine #'(1 . 1) { \aikenHeads f'2 } { \aikenHeads f'2 } I am attaching an image to illustrate what I am trying to do. If that doesn't go through I will try with a link. Ipan ne 18 tonal tlen metstli 08 tlen xiwitl

Re: Pointing Aiken Fa up in partCombine

Le 15/08/2022 à 21:04, Benjamin Bruce a écrit : Hello all, I feel like there should be a simple answer to this question, but I can't figure it out.  I am using Lilypond 2.22. My setup is Aiken shape notes, with two voices combined using partCombine. In one place, both the voices have

Pointing Aiken Fa up in partCombine

Hello all, I feel like there should be a simple answer to this question, but I can't figure it out. I am using Lilypond 2.22. My setup is Aiken shape notes, with two voices combined using partCombine. In one place, both the voices have the same note, which is a half-note Fa (right triangle

Re: partCombine misinterprets Solo

Hi there, > I use \partCombine quite extensively, and have observed that it's very > finicky when it comes to dynamics. Agreed. > This applies not only to dynamics per se, but also to any additional > events in the two parts aside from notes Yes. > Because of these issues,

Re: partCombine misinterprets Solo

On Wed, Mar 23, 2022 at 06:34:52AM -0400, David Santamauro wrote: > I believe this is all related to the dynamics (more to the point, the > termination: \!. If we forget the misplacement of “Solo” for a moment > and observe the behavior of \partCombine with just the dynamics, it > s

Re: partCombine misinterprets Solo

I believe this is all related to the dynamics (more to the point, the termination: \!. If we forget the misplacement of “Solo” for a moment and observe the behavior of \partCombine with just the dynamics, it seems to have real difficulties with dynamics termination. \version "2.22.2"

Re: partCombine misinterprets Solo

From: Aaron Hill On 2022-03-23 1:52 am, David Santamauro wrote: > > mm 1- 3 and 3-6 are note-identical. The only difference is the > > decrescendo in m. 1, terminated in m. 2. I believe the terminating > > decrescendo in vTwo/m. 2 causes the partCombine code to think there's &

Re: partCombine misinterprets Solo

On 2022-03-23 1:52 am, David Santamauro wrote: mm 1- 3 and 3-6 are note-identical. The only difference is the decrescendo in m. 1, terminated in m. 2. I believe the terminating decrescendo in vTwo/m. 2 causes the partCombine code to think there's music in vTwo/m. 2 -- I could be wrong

partCombine misinterprets Solo

Hi, The MWE … %% \version "2.22.2" \include "english.ly" vOne = \relative { c''1\> c1\! c1 \bar "||" c1 c1 c1 } vTwo = \relative { e'1\> R1\! R1 e1 R1 R1 } \score { << \new Staff \vOne \new Staff \vTwo \new Staff \partCo

Re: Change size of all notes in one voice with partCombine

(cons `(font-size . ,font-size) >(ly:music-property m 'tweaks > (extract-typed-music music 'rhythmic-event)) >music) > > soprano = \fixed c' { f4 g a b c'2 } > tenor = \fixed c' { d4 e \tweak color #red f' g 2 } > \partCombine >{ \partCombin

Re: Partcombine gilssandi

Hello, Le 01/07/2021 à 16:36, Leo Correia de Verdier a écrit : %% \version "2.22.1" \partCombine {c''8 b' \glissando a'2. } {e'4 \glissando f'2. } %%% \version "2.22.1" \partCombine { \partCombineApart c''8 b' \glissando a'2. \partCombineAutomatic } { e'4 \glissa

Re: Change size of all notes in one voice with partCombine

roperty! m 'tweaks (cons `(font-size . ,font-size) (ly:music-property m 'tweaks (extract-typed-music music 'rhythmic-event)) music) soprano = \fixed c' { f4 g a b c'2 } tenor = \fixed c' { d4 e \tweak color #red f' g 2 } \partCombine { \partCombineChords \soprano }

Re: Change size of all notes in one voice with partCombine

>> } \new Score { \new Staff << \partCombineChords \soprano \alto >> } \new Score { \new Staff << \partCombineChords \soprano \localFontSize -3 \tenor >> } Please advice if any mistake or missing. \partCombineChords is not a substitute for \partCombine. The former jus

Re: Change size of all notes in one voice with partCombine

use the \partCombineChords command in one of the voices (as in the > snippet I sent with last mail) it should override the default behavior of > partCombine and work without tricks or problems. Did you try it? > > 1 juli 2021 kl. 17:44 skrev Dinh Hoang Tu : > > Hello Leo,

Re: Change size of all notes in one voice with partCombine

If you use the \partCombineChords command in one of the voices (as in the snippet I sent with last mail) it should override the default behavior of partCombine and work without tricks or problems. Did you try it? > 1 juli 2021 kl. 17:44 skrev Dinh Hoang Tu : > > Hello Leo, > >

Re: Change size of all notes in one voice with partCombine

f'' g' a'2 } \new Score { \new Staff << \partCombine \soprano \basso >> } % correct but not expected \new Score { \new Staff << \partCombine \soprano \alto >> } % expected, without tweak, can combine but cannot confusing \new Score { \new Staff << \partC

Partcombine gilssandi

Dear list! I’m attempting to use partCombine on a pair of voices that contain glissandi, like this: %% \version "2.22.1" \partCombine {c''8 b' \glissando a'2. } {e'4 \glissando f'2. } %%% Is there any way to make that work? There is also a possibly harder case I will c

Re: Change size of all notes in one voice with partCombine

\with { \stemUp } ### music goes here > 1 juli 2021 kl. 10:54 skrev Leo Correia de Verdier > : > > This is the intended behavior of partCombine. In the usual use case, with the > same notehead size you still want to be able to follow each voice, so > p

Re: Change size of all notes in one voice with partCombine

This is the intended behavior of partCombine. In the usual use case, with the same notehead size you still want to be able to follow each voice, so partCombine doesn’t merge them into chords when they’re crossed. (This is obscured in your first example because you are using \stemUp

Re: Change size of all notes in one voice with partCombine

Sorry for short description in my last email. I mean when 2nd voice has notes going upper and lower than 1st voice, \partCombine won't combine 2 notes. There is a gap between 2 stems, as in attached image. Many thanks, Tu' On Thu, 1 Jul 2021 at 09:35, Dinh Hoang Tu wrote: > Hello Jean and

Re: Change size of all notes in one voice with partCombine

On Wed 30 Jun 2021 at 23:00:47 (+0200), Jean Abou Samra wrote: > > > > > > > > > Le 30/06/2021 16:47, Dinh Hoang Tu dhoan...@gmail.com a écrit : > > > > > > > > > > Hello Jean, Xavier, > > > > > > I

Re: Change size of all notes in one voice with partCombine

Hello Jean and all, I would love to contribute if I can :) Using this in one music sheet, if 2nd voice has notes going upper and lower than 1st voice, \partCombine will not work. \version "2.22.1" localFontSize = #(define-music-function (font-size music) (number? ly:music?) (for-

Re: Change size of all notes in one voice with partCombine

Le 30/06/2021 16:47, Dinh Hoang Tu a écrit : Hello Jean, Xavier, I think these music functions are useful enough to be integrated into Lilypond itself. I put them in my local

Re: Change size of all notes in one voice with partCombine

a good day. Tu' On Wed, 30 Jun 2021 at 15:22, Jean Abou Samra wrote: > > > Le 30/06/2021 08:07, Xavier Scheuer a écrit : > > > > > > On Tue, 29 Jun 2021 at 18:26, Jean Abou Samra > wrote: > > > > > > > > > \magnifyMusic works on Voice lev

Re: Change size of all notes in one voice with partCombine

> Le 30/06/2021 08:07, Xavier Scheuer a écrit : > > > On Tue, 29 Jun 2021 at 18:26, Jean Abou Samra wrote: > > > > > > \magnifyMusic works on Voice level. When \partCombine puts the notes > > together in chords, they are in the same Voice. Same problem

Re: Change size of all notes in one voice with partCombine

> Le 30/06/2021 04:17, Dinh Hoang Tu a écrit : > > > Hi Jean, > > It works wonderfully! > Many thanks for your help! > > We can close the support here. Thanks Jean, Knute! > > Just my notice maybe out of scope: when I select 1 note on Frescobaldi, whole > tweaked part is selected > I can

Re: Change size of all notes in one voice with partCombine

On Tue, 29 Jun 2021 at 18:26, Jean Abou Samra wrote: > > > \magnifyMusic works on Voice level. When \partCombine puts the notes together in chords, they are in the same Voice. Same problem with \override and similar. You could \tweak every note automatically with something like >

Re: Change size of all notes in one voice with partCombine

Samra wrote: > > > Le 29/06/2021 16:18, Knute Snortum a écrit : > > > > > > On Mon, Jun 28, 2021 at 6:07 PM Dinh Hoang Tu > wrote: > > > > > > Hello Knute Snortum, > > > Thanks for your reply. > > > I just tried \magnifyMus

Re: Change size of all notes in one voice with partCombine

> Le 29/06/2021 16:18, Knute Snortum a écrit : > > > On Mon, Jun 28, 2021 at 6:07 PM Dinh Hoang Tu wrote: > > > > Hello Knute Snortum, > > Thanks for your reply. > > I just tried \magnifyMusic but it makes both voices after \partCombine > > small

Re: Change size of all notes in one voice with partCombine

On Mon, Jun 28, 2021 at 6:07 PM Dinh Hoang Tu wrote: > > Hello Knute Snortum, > > Thanks for your reply. > I just tried \magnifyMusic but it makes both voices after \partCombine > smaller, not only the selected voice. > Did I make a mistake here? > > \version "2

Re: Change size of all notes in one voice with partCombine

Hello Knute Snortum, Thanks for your reply. I just tried \magnifyMusic but it makes both voices after \partCombine smaller, not only the selected voice. Did I make a mistake here? \version "2.22.1" smallNote = \tweak font-size -3 \etc soprano = { f'4 g'4 a'4 b'4 c''2 } basso = { \sma

Re: Change size of all notes in one voice with partCombine

oices having identical rythm: notes of 2 voices > share same stem and same side, one note upper, other lower. > I found \partCombine is suitable for this. > Then I tried to make all notes of 2nd voice smaller, and found \tweak > can be used (I did tried \once, \single, \override, \ove

Change size of all notes in one voice with partCombine

Hello Lilypond team and users, I tried to combine 2 voices having identical rythm: notes of 2 voices share same stem and same side, one note upper, other lower. I found \partCombine is suitable for this. Then I tried to make all notes of 2nd voice smaller, and found \tweak can be used (I did

Re: Using partCombine with beamed melismata in cadenza mode

Timothy, gang, OMG you can just hide the beam? 臘‍♂️ Thank you very much! Brent. On Fri, 18 Jun 2021 at 08:14, Timothy Lanfear wrote: > On 17/06/2021 15:28, Brent Annable wrote: > > Ok cool thanks everyone, I'll definitely be mindful of that in future. > > > > Any ideas

Re: Using partCombine with beamed melismata in cadenza mode

On 17/06/2021 15:28, Brent Annable wrote: Ok cool thanks everyone, I'll definitely be mindful of that in future. Any ideas about my partcombine problem? Brent. Will this do? version "2.22.1" global = {   \cadenzaOn   \key es \major } partOneBeams = \relative c'' {   \global   g8

Re: Using partCombine with beamed melismata in cadenza mode

Ok cool thanks everyone, I'll definitely be mindful of that in future. Any ideas about my partcombine problem? Brent. On Thu, 17 Jun 2021, 11:19 pm Knute Snortum, wrote: > I've also found that this works most of the time: > > lilypond 2.22 "search words" >

Re: Using partCombine with beamed melismata in cadenza mode

gt; https://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#automatic-part-combining > > I see now in the URL that the version is 2.20, but this is where Google sent > me when I searched for "Lilypond partcombine" (without the quotation marks). > Should I alway

Re: Using partCombine with beamed melismata in cadenza mode

he URL that the version is 2.20, but this is where Google sent me when I searched for "Lilypond partcombine" (without the quotation marks). Should I always check to see where I end up, or was this a cached page, or will it perhaps be taken down at some point? Brent. On Thu, 17 Jun 2021, 9:29 pm Phil

Re: Using partCombine with beamed melismata in cadenza mode

Brent Annable writes: > Hi Phil, > > I was here: > > https://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#automatic-part-combining > > I see now in the URL that the version is 2.20, but this is where Google > sent me when I searched for "L

Re: Using partCombine with beamed melismata in cadenza mode

Hi Phil, I was here: https://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#automatic-part-combining I see now in the URL that the version is 2.20, but this is where Google sent me when I searched for "Lilypond partcombine" (without the quotation marks). Should I al

Re: Using partCombine with beamed melismata in cadenza mode

On 17/06/2021 12:19, Brent Annable wrote: Hi all, I'm trying to use \partCombine to merge two parts with beamed eighth notes in cadenza mode (see attached). What I want is for the three eighth notes in the lower part to merge into chords with the upper part, but Lilypond doesn't seem to want

Using partCombine with beamed melismata in cadenza mode

Hi all, I'm trying to use \partCombine to merge two parts with beamed eighth notes in cadenza mode (see attached). What I want is for the three eighth notes in the lower part to merge into chords with the upper part, but Lilypond doesn't seem to want to do it. When I take out the [ ] beaming

Re: partCombine: how to print "a due" automatically again

gt; > I do it by adding a \once \partCombineChords. It doesn't feel great as a > solution, but it works. > \version "2.22.0" > voiceA = \relative c'' { > c4 d e f g4 f e d c1 > \once \partCombineChords R1*27 \break > c4 d e f g4 f e d c1 } > voiceB = { \vo

Re: partCombine: how to print "a due" automatically again

  c4 d e f g4 f e d c1   \once \partCombineChords R1*27 \break   c4 d e f g4 f e d c1  } voiceB = { \voiceA } \score {  <<    \new Staff {  \partCombine \voiceA \voiceB }  >> } -- Timothy Lanfear, Bristol, UK.

partCombine: how to print "a due" automatically again

Dear community, is there a way to get the "a due" text in combined parts automatically? Here's my short snippet: \version "2.22.0" voiceA = \relative c'' { c4 d e f g4 f e d c1 R1*27 \break c4 d e f g4 f e d c1 } voiceB = { \voiceA } \score { << \new Sta

Re: \partCombine question

Hi Aaron, of course it can. I should have put it in the example. But the question aims to if there is a \partCombine setting that considers (and prevents) the frequent alternation of "a2" and two voice passages. Something like «If the "a2" passage lasts for less than (

Re: \partCombine question

On 2021-06-02 1:21 pm, Federico Sarudiansky wrote: Hi, I have a question regarding \partCombine. Consider the following example: [...] Is there a way to produce something like the third staff (except for the double forte) using only \partCombine? I.e. something like setting a mininum &qu

\partCombine question

Hi, I have a question regarding \partCombine. Consider the following example: \version "2.22.1" uno = {c''4\f 4 4 4 4 4 4 4 } dos = {c''4\f c' c'' c' c'' c' c'' c' } \score { << \new Staff { \partCombine {\uno \uno} {\dos \uno} } \new Staff { \partCombine #'(1 . 10) {

Re: setting partCombine text at a higher level

in a \with block that can be referenced on individual staves. \version "2.22.0" \layout { \context {  \Staff  soloText = girl  soloIIText = boy  aDueText = together } } combineTexts = \with {  soloText = cat  soloIIText = dog } \new Staff <<  \partCombine  \relative c''

Re: setting partCombine text at a higher level

Text = cat soloIIText = dog } \new Staff << \partCombine \relative c'' { g4 g r r a2 g } \relative c'' { r4 r a( b) a2 g } >> \new Staff \with \combineTexts << \partCombine \relative c'' { g4 g r r a2 g } \relative c'' { r4 r a( b) a2 g } >> -- Aaron Hill

setting partCombine text at a higher level

Greetings, Can the variables? soloText and its companions soloIIText, etc. be set at a higher level than \new Staff so it doesn't have to be repeated for each staff?  (Notation Manual 1.5.2) Thank you, Paul

Re: partcombine does not print rests

was going to try next anyway. Thanks, Ken On Mon, Feb 1, 2021 at 4:23 PM Gilles Thibault wrote: > > > > Do I have to abandon partcombine and use the > > > > << {} \\ {} >> > > > > construct to obtain what I want? > > > > You can insert

Re: partcombine does not print rests

Do I have to abandon partcombine and use the << {} \\ {} >> construct to obtain what I want? You can insert a \partcombineApart in the beginning of lh_one and restore the default behaviour m25 with a \partcombineAutomatic, when there are no more rests. lh_one =

Re: random issues when using partcombine - v2.20.0

Hello, Force with \partCombineChords (works with version 2.21.5? Le 30/11/2020 à 13:44, Eby Mani wrote : When using partcombine, some beams are not printed or chords are not combined  properly at all, e.g. attached screenshot. (...) rightOne = \relative c' { \global fis4. fis8 e e %bar

Interaction between Tags and partCombine

Tags are used to conditionally include music expressions in multiple scores prepared from the same source text. partCombine is used to merge separate parts onto a single staff. These two features interact in ways I found surprising. There are musical expressions that I want printed only

Re: partcombine discards quarter rests, why?

Kenneth Wolcott writes: > Hi All, > > I replaced each instance with the inline > > << {} \\ {} >> > > construct and I stopped using \partcombine. > > Now it works as desired. \partCombine tends to be more for creating piano extracts. Thus it tends

Re: partcombine discards quarter rests, why?

Hi All, I replaced each instance with the inline << {} \\ {} >> construct and I stopped using \partcombine. Now it works as desired. Thanks, Ken On Sat, Sep 5, 2020 at 4:14 PM Kenneth Wolcott wrote: > > Ah, I found \partcombineApart in the Notation document. :-)

Re: partcombine discards quarter rests, why?

Ah, I found \partcombineApart in the Notation document. :-) Ken On Sat, Sep 5, 2020 at 4:11 PM Kenneth Wolcott wrote: > > Hi Aaron; > > Your example, of course, only contains one measure, for partcombine. > > However, I have most of 32 bars of these, and of those that have

Re: partcombine discards quarter rests, why?

Hi Aaron; Your example, of course, only contains one measure, for partcombine. However, I have most of 32 bars of these, and of those that have identical chord durations, I have used 's2.' in the lower voice and placed all the chords in the upper voice. Obviously, I can not have chords

Re: partcombine discards quarter rests, why?

Hi Aaron; This looks like a solution to the problem. I missed this in the Learning, Notation and Snippets documentation. Thanks, Ken On Sat, Sep 5, 2020 at 3:57 PM Aaron Hill wrote: > > On 2020-09-05 3:29 pm, Kenneth Wolcott wrote: > > I'm using \partcombine to merge two bas

Re: partcombine discards quarter rests, why?

olcott > wrote: >> >> Hi; >> >> I'm using \partcombine to merge two bass lines, one is a dotted half >> note and the other bass one is a quarter rest and a half note. The >> upper voice has the quarter rest. The quarter rest is NOT engraved. >> The

Re: partcombine discards quarter rests, why?

On 2020-09-05 3:29 pm, Kenneth Wolcott wrote: I'm using \partcombine to merge two bass lines, one is a dotted half note and the other bass one is a quarter rest and a half note. The upper voice has the quarter rest. The quarter rest is NOT engraved. The lower voice, having the dotted half

Re: partcombine discards quarter rests, why?

On Sat, Sep 5, 2020 at 6:30 PM Kenneth Wolcott wrote: > Hi; > > I'm using \partcombine to merge two bass lines, one is a dotted half > note and the other bass one is a quarter rest and a half note. The > upper voice has the quarter rest. The quarter rest is NOT engraved. &g

partcombine discards quarter rests, why?

Hi; I'm using \partcombine to merge two bass lines, one is a dotted half note and the other bass one is a quarter rest and a half note. The upper voice has the quarter rest. The quarter rest is NOT engraved. The lower voice, having the dotted half note,is a fifth lower so

Re: partCombine confused by tags

On Thu, 2020-08-20 at 20:06 +0200, David Kastrup wrote: > David Sumbler writes: > > > I have just spent half a day trying to work out why one staff in my > > orchestral score extends beyond the final barline. > > > > Eventually I found out that it is b

Re: partCombine confused by tags

David Sumbler writes: > I have just spent half a day trying to work out why one staff in my > orchestral score extends beyond the final barline. > > Eventually I found out that it is because \partCombine seems only > partially to understand tags. That is a misstatement. \p

partCombine confused by tags

I have just spent half a day trying to work out why one staff in my orchestral score extends beyond the final barline. Eventually I found out that it is because \partCombine seems only partially to understand tags. The following example illustrates this: % \version

Re: Selective partCombine

On Sat, 2020-07-25 at 10:37 +0200, rhn...@vu.nl wrote: > Did you see my (first attempt at a) tutorial on this topic? > > https://lists.gnu.org/archive/html/lilypond-user/2020-06/msg00114.html This is truly magnificent. Reading this tutorial, I learnt a lot about things Lilypond can do which I

Re: Selective partCombine

duce the other. In > > simpler sections I could even make the necessary changes by using tags. > > > > But I feel that there must be a better way. As I am now about to start > > on a work for full orchestra, I have been experimenting with having > > separate parts

Re: Selective partCombine

ll orchestra, I have been experimenting with having> separate parts which can nonetheless be combined on to a single stave> using \partCombine and its cousins. For instance, I have:>> instOne = {c'4 d' e' f' | g' a' b' c'' | d'' e'' f'' g''}> instTwo = {a4 b c' d' | e' f' g' a' | b' c'' d''

Re: Selective partCombine

gt; But I feel that there must be a better way. As I am now about to start > on a work for full orchestra, I have been experimenting with having > separate parts which can nonetheless be combined on to a single stave > using \partCombine and its cousins. For instance, I have: > > instOne =

Selective partCombine

have been experimenting with having separate parts which can nonetheless be combined on to a single stave using \partCombine and its cousins. For instance, I have: instOne = {c'4 d' e' f' | g' a' b' c'' | d'' e'' f'' g''} instTwo = {a4 b c' d' | e' f' g' a' | b' c'' d'' e''} instScore

\partCombine with \quoteDuring

Here is the first step in solving a more complex score with rest position concerns: Why is the \quoteDuring note missing? \version "2.21.2" obNotes = \relative{ R1 c'1 } \addQuote qob \obNotes \score{   \partCombine   \relative{ r4 d''2. e1 }   \relative{ r4 fis'2. \quoteDur

Re: Partcombine without slurs or ties?

c' > >   c'8( a'8) c'' c''8 c'' c''8 > >  } > > MII = { \time 3/4 > >  \override Voice.Slur.stencil = ##f > >  \override Voice.Tie.stencil = ##f > >   %comment out the next bar to suppress the slur and tie >

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