Re: Parenthesis/bracket/brace questions

Hey Robin! Thank you, this works just fine in this case. What would be really neat now would be the ability to parenthesize entire chordal passages, so with the left half around one chord and the right half around some other chord later on in the music. So like a combination of this function:

Re: Parenthesis/bracket/brace questions

Hey Mark, Thank you for your response. Yes I considered the arpeggio bracket option, but the problem is I'm using that extensively throughout the edition to indicate right-hand chords, so I wanted something that looks a little different to avoid confusion. A staff brace would seem ideal, but I'm

Re: naming a glyph

​ On Sun, May 20, 2018 at 7:36 PM, Andrew Bernard wrote: > Hi Freeman, > > Let us know what you re trying to do. Why do you want to create a glyph? > > Are you new to lilypond? If so, welcome to the Pond! > > Andrew > > ​ Andrew and others that have responded, thank

Re: naming a glyph

Hi Freeman, Let us know what you re trying to do. Why do you want to create a glyph? Are you new to lilypond? If so, welcome to the Pond! Andrew On 20 May 2018 at 22:44, Freeman Gilmore wrote: > ​ > > On Sun, May 20, 2018 at 5:01 AM, Torsten Hämmerle < >

Re: Adding stuff to included files without affecting source.

crimsonsunrise wrote > Is there any way to add these small modifications only on the conductor > score file without having them on the source files used to construct the > conductor score? Why not use tags? 3.3.2 Different editions from one source - Using tags

Re: naming a glyph

Freeman Gilmore wrote > ​Say I was going to create the glyph “#” for the first > time. What exactly do you mean by "create the glyph"? The glyph is contained in the music font, and as most of the music glyphs, it doesn't even have a fixed character code and even move around when new glyphs are

Adding stuff to included files without affecting source.

Currently using the latest stable version. The subject pretty much says it. I'm dealing with a score in which parts are combined as voices on single staves, but the conductor score has text that's only relevant to the conductior and should not be included in the instrument part scores, like

Re: Parenthesis/bracket/brace questions

Brent Annable wrote: 2. I would like to parenthesize a couple of two-note chords in the tenor part. Has anybody come up with a decent way to put parentheses around entire chords yet? I've rummaged around the old threads but can't really find anything that fits the bill. Maybe you can make do

Re: Intervals between various B pitches

Here is a two-dimensional layout fitting into the staff system (use a monospace font to view). Pitches increase by moving up or to the right. Moving vertically corresponds to changing position on the staff; moving horizontally, applying an accidental. Pitches altering layout as follows:

RE: Help with piano tenuto notes

Giampaolo, Maybe a \set tieWiatForNote as in the attached? Mark From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Giampaolo Orrigo Sent: Sunday, May 20, 2018 10:12 AM To: lilypond-user Subject: Help with piano tenuto

Re: Help with piano tenuto notes

Hi Giampaolo, > I am trying to replicate the notation in the linked picture, but the best I > can do is to create different voices but when I try I get the attached > example. If I try to create multiple voices on the last chord, I get too many > notehead clashes and it doesn't look good at

Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

On 05/20, Urs Liska wrote: > I will find the code when I'm back home - and Piaras won't be faster ... Great! Thank you, Urs. Mason > Am 20. Mai 2018 18:49:28 MESZ schrieb Mason Hock : > >On 05/20, Urs Liska wrote: > >> Hi Mason, > >> > >> I'm not *fully* clear what you

Help with piano tenuto notes

[Reposting with link to big attachment, instead of attaching it] Hello, I am trying to replicate the notation in the linked picture, but the best I can do is to create different voices but when I try I get the attached example. If I try to create multiple voices on the last chord, I get too

Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

I will find the code when I'm back home - and Piaras won't be faster ... Am 20. Mai 2018 18:49:28 MESZ schrieb Mason Hock : >On 05/20, Urs Liska wrote: >> Hi Mason, >> >> I'm not *fully* clear what you want to achieve, but the attached is >> something Piaras Hoban once

Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

On 05/20, Urs Liska wrote: > Hi Mason, > > I'm not *fully* clear what you want to achieve, but the attached is > something Piaras Hoban once shared with the list. Thanks for your response, Urs. This looks very close to what I need. If I can modify the solution so that the glissando terminates

Re: Intervals between various B pitches

> On 20 May 2018, at 15:59, Freeman Gilmore wrote: > > On Sun, May 20, 2018 at 7:16 AM, Hans Åberg wrote: > >> Use the keyboard layout below, which I made for a ChucK program. Take >> two-dimensional pattern and transpose between the two

Re: Intervals between various B pitches

> On 20 May 2018, at 16:23, Aaron Hill wrote: > > Hans, would you confirm whether the "D2" dangling at the end should actually > be "D8"? Yes, indeed, typo. Here a repost for easy copy (for use with a monospace font). Available at [1], the files for use with ChucK

RE: Parenthesis/bracket/brace questions

Brent, As to No. 1, perhaps a cross staff arpeggio/bracket? http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio Mark From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Brent Annable Sent: Sunday, May 20,

Slurs and Ties break-overshoot

Hi everyone, Here's an exemple of the music I'm currently writting: As you can see at a line break, I have configured the beams to keep a certain distance to the barline when breaking, using the command "Beam.break-overshoot" I

Parenthesis/bracket/brace questions

Hi all, So I'm working on a score at the moment and have run into two challenges: 1. Does anybody have an idea how to insert large, cross-staff square braces (effectively parenthesizing the entire staff) as in the link below? I have no idea how to even start. https://imgur.com/a/gTnREC6 2. I

Re: Intervals between various B pitches

On 2018-05-20 04:16, Hans Åberg wrote: The keyboard layout is altering pitches as follows: ^ # / . -> M / \ b v v m where M (resp. m) is the major (resp. minor) second, and the the sharp # (resp. flat b) raises (resp lower) with the interval M - m,

Re: Intervals between various B pitches

On Sun, May 20, 2018 at 7:16 AM, Hans Åberg wrote: > > > On 20 May 2018, at 11:45, Menu Jacques wrote: > > > > Working on intervals, I bump into this question. > > > > How is the right column below to be filled? > > > > Downward interval between B## and:

Re: naming a glyph

​ On Sun, May 20, 2018 at 5:01 AM, Torsten Hämmerle wrote: > Freeman Gilmore wrote > > ​Where are the rules for naming a glyph located? > > > The naming conventions for glyph names can be found in mf/README: > > > mf/README wrote > > > Glyph name rules > > > > > Most

Re: Intervals between various B pitches

> On 20 May 2018, at 11:45, Menu Jacques wrote: > > Working on intervals, I bump into this question. > > How is the right column below to be filled? > > Downward interval between B## and: > > B#:augmented unison or minor second? > B: major second or

Re: Intervals between various B pitches

Can I add a comment to this? The reason they must be referred to as unisons is because the notes are on the same staff position, and they have the same note name. This distinguishes them from chromatic semitones, or seconds, etc. I would say that in music theory the B is called the note (I know

Re: Intervals between various B pitches

Hello Malte and Simon, I must apologize for the subject of this post being off-topic for this list, but you guys here are the best experts I can contact for such a specific question. I’m programming a function computing the interval between two pitches, to display for example the inner

Re: Intervals between various B pitches

Am 20.05.2018 um 11:45 schrieb Menu Jacques: Hello folks, Working on intervals, I bump into this question. How is the right column below to be filled? Downward interval between B## and: B#:augmented unison or minor second? B: major second or ...? Bb:

Re: Intervals between various B pitches

Hi Jacques, the question seems slightly off topic, but I'll still answer: you're looking for double/triple/quadruple augmented unison. However, these names are a mere theoretical construct with no foundation in actual use... Best, Simon > Hello folks, > > Working on intervals, I bump into

Intervals between various B pitches

Hello folks, Working on intervals, I bump into this question. How is the right column below to be filled? Downward interval between B## and: B#:augmented unison or minor second? B: major second or ...? Bb:minor third or ...? Bbb: major third or

Re: naming a glyph

Freeman Gilmore wrote > ​Where are the rules for naming a glyph located? The naming conventions for glyph names can be found in mf/README: mf/README wrote > Glyph name rules > > Most glyph names have the form > > . > > , where > > is defined with the 'fet_begingroup' command, and >

Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

Hi Mason, I'm not *fully* clear what you want to achieve, but the attached is something Piaras Hoban once shared with the list. If this is (close to) what you need you might search the archives for posts by him. Good luck Urs Am 19.05.2018 um 23:16 schrieb Mason Hock: \version "2.19.81"