Victor Eijkhout wrote:
Beam breaking is a visual operation, not a mathematical one. I want a
sixteenth beam broken at any beat boundary, no matter whether this is
in 4/4 time or in a 27 over 26 fragment.
I don't agree completely. Beam breaking is used to clarify the rhythmic
structure,
Chris probably wants
c4. c8[ b a ]
/Mats
Panteck wrote:
Try: c4. c8 b8[ a8]
The [] characters are used to manually start and stop beams.
--Steven
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Christopher A. LaFond
Sent: Sunday, November 05,
On Monday 06 November 2006 09:25, Mats Bengtsson wrote:
Victor Eijkhout wrote:
So, if you want a limited scope, you can explicitly create a short-lived
context.
Here's an example that uses smaller note heads for one measure:
\relative c'{ c d e f \new Voice {\tiny g f e d } c d e d c1 }
Hi,
I would like to change the amount of horizontal space for a specified
duration in the middle of a line (reflecting a tempo change) globally
(without having to deal with compress music for each staff).
Is there a way to override the setting of
Score.proportionalNotationDuration on the fly, or
Hi,
can someone point me to the documentation of parametrized definitions?
Here's what I want to do:
I need to set time signatures above the score without using horizontal
space. Therefore I removed the time signature engraver and added a
markup at each bar with a changed time signature like
I hope you have looked in the manual for version 2.9, which is much better
than version 2.8 in this aspect. In particular, look into section Advanced
tweaks with Scheme and references therein.
/Mats
Orm Finnendahl wrote:
Hi,
can someone point me to the documentation of parametrized
Erik Sandberg wrote:
On Monday 06 November 2006 09:25, Mats Bengtsson wrote:
Victor Eijkhout wrote:
So, if you want a limited scope, you can explicitly create a short-lived
context.
Here's an example that uses smaller note heads for one measure:
\relative c'{ c d e f \new Voice {\tiny g f
Just as any other context property, you can set it with \set. Example:
\relative c'{
c d e f g f e d
\set Score.proportionalNotationDuration = #(ly:make-moment 1 64 )
c d e f g f e d
\unset Score.proportionalNotationDuration
c d e f g f e d
}
/Mats
Orm Finnendahl wrote:
Hi,
I would
Am 06. November 2006, 13:09 Uhr (+0100) schrieb Mats Bengtsson:
Just as any other context property, you can set it with \set. Example:
\relative c'{
c d e f g f e d
\set Score.proportionalNotationDuration = #(ly:make-moment 1 64 )
c d e f g f e d
\unset
Am 05.11.2006 um 22:38 schrieb Mats Bengtsson:
One solution is [...]
/Mats
Nice, it works fine, thanks! But I think I found a bug, when you use
fingering instructions on the left in that setting. See attached
example.
For the record: I also put your solution into a function for
Hello list, is there a musical difference between these two styles of slurring?
{ e( f() g) } and { e( f g) }
I have seen songs using either style. Which is more proper? Personally I prefer
the latter. But I'm not a musician.
Eduardo
On Monday 06 November 2006 12:59, Mats Bengtsson wrote:
Erik Sandberg wrote:
On Monday 06 November 2006 09:25, Mats Bengtsson wrote:
Mats, do you think it would be useful with an operator \newClone to clone
the current context? E.g.
\new Staff \with {\consists Foo_engraver bar=#'baz}
Eduardo Vieira wrote:
Hello list, is there a musical difference between these two styles of slurring?
{ e( f() g) } and { e( f g) }
I have seen songs using either style. Which is more proper? Personally I prefer
the latter. But I'm not a musician.
As a string player, the latter is preferred.
Victor Eijkhout wrote:
parta = { r1 \mark\default r1 }
partb = { c1 \mark\default c1 }
\score {
\new Staff = x {\parta}
\new Staff = y {\partb}
}
Thanks, I have added this as
http://code.google.com/p/lilypond/issues/detail?id=149
Please send future bug reports to the bug-lilypond mailist.
On Mon, Nov 06, 2006 at 10:32:01AM -0800, Graham Percival wrote:
Eduardo Vieira wrote:
Hello list, is there a musical difference between these two styles of
slurring?
{ e( f() g) } and { e( f g) }
I have seen songs using either style. Which is more proper? Personally I
prefer
the
Eduardo Vieira-3 wrote:
Hello list, is there a musical difference between these two styles of
slurring?
{ e( f() g) } and { e( f g) }
I have seen songs using either style. Which is more proper? Personally I
prefer
the latter. But I'm not a musician.
Eduardo
Is there a way to initiate a slur on one staff and have it end on
another? For example, in a piano or harp arpeggio that starts in the
bass cleff and moves into the treble clef?
--
°
Chris°
°
°
Christopher A. LaFond[EMAIL PROTECTED]http://www.celticharper.net
On Nov 6, 2006, at 12:38 PM, Graham Percival wrote:Please send future bug reports to the bug-lilypond mailist. Will do. I wasn't sure that this was a bug. There could have been good reasons for it, and I've now learned the trick of putting all marks in a silent part, which is a better way of
Hello,I am trying to transcribe one of my own compositions on Lilypond 2.9.28. I need to have slash beamed gracenotes. I didn't find any way to do it on the mailing list. Did I miss something?The slashed beamed gracenote groups are quite common in contemporary music. I can give you some scanned
The slurs follow the musical voices (i.e. the Voice contexts in
LilyPond), so
as long as you let the voice change staff, the slur will follow. See the
example
called slur-cross-staff.ly in the Regression Test document included in
the on-line
documentation for your version of LilyPond.
/Mats
There is no direct support for such slashed beams in LilyPond, but if you
search the mailing list archives, you should find some tricks that people
have used as a workaround. Basically, what you can do is to add a slash
as a text script and then move it around to the desired position.
/Mats
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