Hello,
I'm engraving a work with figured bass numbering: concerti grossi n° 1 - 6
by Geminiani, based on Corelli's op. 5
My problem is that it uses several different numbering that have, for what I
now, the same meaning: for instance +4, 4+, #4, 4#. Sometimes, that
concertino cello part uses +4,
On 21.05.2015, at 02:44, Thomas Morley thomasmorle...@gmail.com wrote:
2015-05-20 13:16 GMT+02:00 pls p.l.schm...@gmx.de:
Begin forwarded message:
From: pls p.l.schm...@gmx.de
Subject: Re: how to add barre indications to automatic fret diagrams?
Date: 20. Mai 2015 13:12:30 MESZ
To:
Hello Bernhard,
some more remarks from me:
– Generally, I wouldn’t go for one page at any cost. I understand your
wish, but it would be easier to read if the choir were on four staves.
And that’s what the great 19th century complete works editions used to
do. Also, your current setup throws
Am 21.05.2015 um 15:21 schrieb Olivier Vogel:
2015-05-21 13:54 GMT+01:00 Kieren MacMillan
kieren_macmil...@sympatico.ca mailto:kieren_macmil...@sympatico.ca:
May I ask why you’re not using Lilypond’s built-in (and generallly
excellent) voice-handling? e.g. In the modified snippet
As a relative newcomer myself, I have also found it useful to grab the code
that people post here - like this discussion - and dropping it into
Frescobaldi and seeing how far I can get in solving the problem, or
modifying a good solution to see what happens when I make small changes to
perfectly
On 5/21/15 1:30 AM, pls p.l.schm...@gmx.de wrote:
Nice! Thanks a lot.
Yes, transposing chords with open strings probably poses a problem.
Fingering information would have to be included automatically in order to
decide whether they should be part of a barre. I¹d think it¹s safe to
assume that
Hi Olivier,
In the following example, I don't understand why there is a collision at the
third measure and I don't know how to avoid it.
May I ask why you’re not using Lilypond’s built-in (and generallly excellent)
voice-handling? e.g. In the modified snippet (below), I’m using \voiceOne,
I’m not at all experienced with Finale and only have Finale 2012. If that
is sufficient for you, I can do it.
--
Peter Crighton | Musician Music Engraver based in Mainz, Germany
http://www.petercrighton.de
2015-05-21 19:47 GMT+02:00 Urs Liska u...@openlilylib.org:
Anyone ready for a new
Am 21. Mai 2015 22:56:18 MESZ, schrieb Jacques Menu imj-muz...@bluewin.ch:
Hello Urs,
Does the attached file (Finale 2014) suit your need?
Well, if that's meant as a joke it is a good one. But maybe there's something
wrong with your files?
In any case it's interesting to see the size of the
I have prepared the Sanctus of the Missa in C by Bruckner. There are some
points that need fine tuning.
1. The piece should fit to one page.
2. The markups Ruhig should be on Top of Sanctus
3. The voisce nominator Ten. and Bass in Number 4 should be in front of
the notes and
1. With this font size, forcing it to one page causes collisions. Look at:
#(set-global-staff-size 16)
\paper {
page-count=1
}
and adjust them to suit.
2. I would set Ruhig as a tempo marking, which then places it appropriately.
3. Place you markup after the spacer rests prior to the
On 21.05.2015, at 15:10, Carl Sorensen c_soren...@byu.edu wrote:
On 5/21/15 1:30 AM, pls p.l.schm...@gmx.de wrote:
Nice! Thanks a lot.
Yes, transposing chords with open strings probably poses a problem.
Fingering information would have to be included automatically in order to
decide
Olivier,
On Thu, May 21, 2015 at 7:26 AM, Olivier Vogel [via Lilypond]
ml-node+s1069038n176852...@n5.nabble.com wrote:
2015-05-21 13:54 GMT+01:00 Kieren MacMillan [hidden email]
http:///user/SendEmail.jtp?type=nodenode=176852i=0:
May I ask why you’re not using Lilypond’s built-in (and
Kaj,
On Thu, May 21, 2015 at 2:05 AM, Kaj [via Lilypond]
ml-node+s1069038n176837...@n5.nabble.com wrote:
I am working on a piece of choir music. It consists of two parts, the
first of which is written on one staff, and the second two staves. The
upper staff in part two is a continuation of
2015-05-21 13:54 GMT+01:00 Kieren MacMillan kieren_macmil...@sympatico.ca:
May I ask why you’re not using Lilypond’s built-in (and generallly
excellent) voice-handling? e.g. In the modified snippet (below), I’m using
\voiceOne, \voiceTwo, etc., which eliminates the need for \stemUp,
On 21.05.2015, at 21:06, Carl Sorensen c_soren...@byu.edu wrote:
On 5/21/15 8:39 AM, pls p.l.schm...@gmx.de wrote:
I thought about this issue quite a bit when I was creating predefined
fret
diagrams. There, we introduced the idea of a chord shape. There is a
function that shifts a
Hello Urs,
Sorry, no joke intended actually… I just don’t know what a Finale challenge is!
Here are the sizes:
menu@macbookprojm:~/Documents/LaTeX/PartitionsLilypond ltt *Finale*
-rw-r--r--@ 1 menu admin 36302 May 21 22:55:52 2015
PianoScoreForFinaleChallenge.pdf
-rw-r--r--@ 1 menu admin
On 2015-05-21 15:30, tisimst wrote:
Kaj,
On Thu, May 21, 2015 at 2:05 AM, Kaj [via Lilypond] [hidden email]
/user/SendEmail.jtp?type=nodenode=176853i=0 wrote:
I am working on a piece of choir music. It consists of two parts,
the first of which is written on one staff, and the second
Am 22.05.2015 um 00:45 schrieb Jacques Menu:
Hello Urs,
Sorry, no joke intended actually… I just don’t know what a Finale challenge is!
I think the point was about typesetting some complicated music, which
Urs will send to anyone interested.
Here are the sizes:
Hi Simon,
both assumption are correct but it would have been great to have that file
available in a presentatipn ;-/
Urs
Am 22. Mai 2015 01:39:10 MESZ, schrieb Simon Albrecht simon.albre...@mail.de:
Am 22.05.2015 um 00:45 schrieb Jacques Menu:
Hello Urs,
Sorry, no joke intended actually… I
On 5/21/15 4:42 PM, pls p.l.schm...@gmx.de wrote:
On 21.05.2015, at 21:06, Carl Sorensen c_soren...@byu.edu wrote:
Transposing doesn't work on chord shapes. Transposing works on notes.
The automatic fretboard creator looks at the notes and creates a
fretboard. At that point, it has no
Here's another non-single measure one in 6/8 time:
http://static1.squarespace.com/static/527ae92fe4b0febeee4f40d2/t/52a265f0e4b08d7f85fde3e5/1386374655454/02.png
On Thu, May 21, 2015 at 6:05 PM, Urs Liska [via Lilypond]
ml-node+s1069038n176869...@n5.nabble.com wrote:
Hi Simon,
both
On 5/21/15 8:39 AM, pls p.l.schm...@gmx.de wrote:
I thought about this issue quite a bit when I was creating predefined
fret
diagrams. There, we introduced the idea of a chord shape. There is a
function that shifts a chord shape by N frets (offset-fret). At
present,
it adds N to the
Anyone ready for a new Finale challenge? I need someone entering one 6/8
measure of a two-voice piano part in a current Finale vetsion :-/
Best
Urs___
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