lol sorry David - I didn't connect the dots with being able to just use the
* and the meter following :)
Thanks guys!
Ben
David Kastrup wrote
Jay Anderson lt;
horndude77@
gt; writes:
On Mon, Mar 11, 2013 at 10:09 PM, SoundsFromSound
lt;
soundsfromsound@
gt; wrote:
But, how do you
2013/3/12 Sarah k Alawami marri...@gmail.com:
I decided to change threads to make the list archives more clean *smiles* Ok.
now that I have the bar checks sorted at least for these 4 measures and Ill
stop there for tonight, how do I render it as a midi so I can hear if Im
right int he
On Sat, Mar 09, 2013 at 12:20:19AM +0100, David Kastrup wrote:
Olivier Biot olivier.b...@gmail.com writes:
Treating the first pitch of \music in \relative \music differently is
not intuitive and will likely result in octave errors.
Treating the first pitch of \music in \relative is
On 2013-03-12 04:46, Sarah k Alawami wrote:
I decided to change threads to make the list archives more clean *smiles* Ok. now that I
have the bar checks sorted at least for these 4 measures and Ill stop there for
tonight, how do I render it as a midi so I can hear if Im right int he octaves or
Graham Percival gra...@percival-music.ca writes:
On Sat, Mar 09, 2013 at 12:20:19AM +0100, David Kastrup wrote:
Olivier Biot olivier.b...@gmail.com writes:
Treating the first pitch of \music in \relative \music differently is
not intuitive and will likely result in octave errors.
Hi,
On Tue, Mar 12, 2013 at 9:34 AM, David Kastrup d...@gnu.org wrote:
Graham Percival gra...@percival-music.ca writes:
On Sat, Mar 09, 2013 at 12:20:19AM +0100, David Kastrup wrote:
So the first pitch will _always_ be special-cased. With a reference
pitch, it is special-cased to refer to
Sarah k Alawami marri...@gmail.com writes:
Is there a way to memorize or through pattern recognition how many '
and , symbols it takes to jump octaves? besides writing down a few
notes and going to the tuneful site to listen to see if I messed up?
as that's what I've been doing and it yeps
On 7 March 2013 21:52, Thomas Morley thomasmorle...@googlemail.com wrote:
Earlier this day I informed the Author of it in the DLF (the german
LilyPond-Forum).
He answered already, reporting having made a lot of improvements and
posting a new image.
Though, no code, perhaps he will post the
Hello all,my name is Torsten (Be-3) and I happen to be the author of this little Lilypond Jazz excursion. ;)And yes, of course I will publish the coding here, albeit not finished, but I shortly before pressing the send button I got a nice blue screen (thank you, windows!) and had to start over
Dear List,
In a choral piece I used cross-noteheads for places, where the singers are
requested to make a noise (in this case a kissing-noise). I used
d2
\once \override NoteHead.stencil = #ly:text-interface::print
\once \override NoteHead.text = \markup {
\musicglyph
Hi,
You can use the \tag function :
http://www.lilypond.org/doc/v2.16/Documentation/notation/different-editions-from-one-source#using-tags
2013/3/12 Dr. med. Kai Lautenschläger dr.lautenschlae...@gmx.net
Dear List,
In a choral piece I used cross-noteheads for places, where the singers are
Dear Pierre,
thanks very much. That works perfectly. I wasn't aware of that tag-function.
This opens up the solution to some other tasks, that I was facing! Great!
Thanks again!
Best regards
Kai
---
kai.lautenschlae...@me.com
Am 12.03.2013 um 12:50 schrieb Pierre Perol-Schneider
Hi,
I would like to make the accidentals in figured bass bigger when they
are used alone like this: _+ _- _!.
% As figuredBassAlteration the size is o.k. for me.
Thank you
Thomas
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lilypond-user mailing list
lilypond-user@gnu.org
Actually I copied all the notes to the templet of piano that why i just had to
write in the measures..
Thanks and no worries about your english. it's all good.
On Mar 12, 2013, at 1:30 AM, and...@andis59.se wrote:
On 2013-03-12 04:46, Sarah k Alawami wrote:
I decided to change threads to make
First, here's my example
\version 2.16.0
hop = \markup{\hspace #0.5 \draw-circle #.4 #0.1 ##f}
up = \drummode {
\override Stem #'direction = #UP
\override Beam #'positions = #'(5 . 5)
\override TupletBracket #'positions = #'(7 . 7)
\times 4/6 { bd hh8[^\hop hh sn]
On Mon, Mar 11, 2013 at 10:20:39AM +0100, David Kastrup wrote:
It might also make sense to replace the multimeasure rest with a normal
rest depending on the musical aim.
I'll keep that in my bag of tricks for the future. The example
is exaggerated, since this problem gets less noticeable as
Am 12.03.2013 23:41, schrieb Vaylor Trucks:
Any ideas for how I can place the open symbol directly
above the beam and below the tuplet bracket?
Hi Vaylor,
you could raise the outside-staff-priority of the tuplet bracket:
\override TupletBracket #'outside-staff-priority = #1000
HTH,
Joram
Hi Werner,
why not simply omitting the three middle bar lines, putting rests into the
empty space?
This should give even more contrast.
Not that I like this solution, but it would be creative :-)
Creative? Yes.
Shows off the awesomeness of Lilypond? Definitely.
Ultimately the best choice?
\version 2.16.2
\score{
\new PianoStaff
\new Staff = rh {r4 g' c'' e'' r g' b' d''}
\\{\stemDown e'8[ d'] \change Staff=lh \stemUp c' a g c' \change Staff=rh
\stemDown d'4 | }
\new Staff=lh{\clef bass \voiceTwo c2 g,
}
}
I place my question below the example because the email client thinks
I'm not content with my skills in engraving coda jumps. I suspect
Lilypond could do better if I knew how to code it.
My current method is to use a rehearsal mark to concatenate some
text and a Coda glyph, and then apply a trial-end-error X-offset
until it lines up the way I want it to, and then
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