the composition
(arrangement) yourself and I think you'll have your answer.
All the best,
Christian
Stephan Schöll schrieb am Mo., 6. März 2023, 18:27:
> The business model Jean quoted looks like making money with subscriptions
> with the publication of scores that are otherwise free, without addi
As a trombone player myself: yes, bass clef in anything else than concert
pitch is weird... to us. But it's pretty common with bass clarinet (bass
clef in b/flat or in a) and low horn parts (bass clef in f).
Best regards,
Christian
Wol schrieb am So., 29. Jän. 2023, 18:21:
> On 29/01/2023
rests
I do not see the problem - I tried all combinations. Maybe it's about
formal logic...
Thanks in advance, cheers, Christian
Here's the minimal example - yes, it's really the minimum in order to
simulate the solists' and choir parts with the \tag on the lyrics as well
ror(s):
...."
~Christian
Am Di., 29. März 2022 um 08:53 Uhr schrieb Jean Abou Samra <
j...@abou-samra.fr>:
> Le 29/03/2022 à 08:46, Martín Rincón Botero a écrit :
> > +1. I think making it customizable (with a --cascade-level parameter)
> > wouldn't add much value considering developi
second version only at the one point in the beginning of
the document.
Hope this helps,
Christian
PS: I really recommend you to work through the notation manual
systematically even though you may not need most of it right now.
Am Do., 10. Feb. 2022 um 00:18 Uhr schrieb Alasdair McAndrew <
amc...@gmail.com&g
Hi Kenneth!
You might just wanna try:
\partial 16*5
All the best,
Christian
Am Mo., 20. Dez. 2021 um 21:22 Uhr schrieb Kenneth Wolcott <
kennethwolc...@gmail.com>:
> Hi;
>
> I'm engraving a piece in 4/4 which has a partial of one sixteenth
> note, followed by a dotted
= \relative {
\voiceOne
gf'4._~ gf4 f16 ef ~ |
\voiceTwo
ef4.
}
rightHandLower = \relative {
\voiceOne
s2.
bf'4.
}
rightHand = <<
\global
\new Voice { \rightHandUpper }
\new Voice { \rightHandLower }
>>
All the best,
Christian
Am Di., 19. Okt. 2021 um 19:24 Uhr schrieb K
it was not that clear in the beginning - so I assumed it may
help. Looks like the opposite happend - classic example of too much
information. :)
All the best,
Christian
>
special bar lines there to have them
consistent across all parts. When doing the score you then only need to use
the \changes-variable with one instrument and it will work on all.
Bonus: bar checks work too!
All the best
Christian
Am Di., 12. Okt. 2021 um 16:09 Uhr schrieb Erika Pirnes
ns, where I had that problem. You only need to be cautious about
using \global without a \keepWithTag, but Lilypond will give you a warning
about colliding key signatures then.
All the best
Christian
Am Di., 30. März 2021 um 01:43 Uhr schrieb Craig Dabelstein <
craig.dabelst...@gmail.com>:
tation-professor at university to make us familiar with
tablature as it covers most things on relatively few pages.)
All the best
Christian
Am Sa., 27. März 2021 um 14:51 Uhr schrieb bart deruyter <
bart.deruy...@gmail.com>:
> Hello,
>
> this community continues to amaze me. For me
way being worse than the other. (And yes, "c2.5" doesn't make
sense at all, even though it would be a mathematically well defined length.)
Anyway, that's more than I ever wanted to say on this topic. Hope you all
have a nice weekend!
All the best
Christian
Am Sa., 27. März 2021 um 00:1
e user doesn't like the way the notes are rendered,
there's always the possibility to use the conventional methods of \times
and \tuplet.
Hope this helps to convey my 2 cents a little bit clearer. :)
All the best
Christian
Am Fr., 26. März 2021 um 22:21 Uhr schrieb David Kastrup :
> Chr
lation that "the new quarter note equals a quarter triplet of the bar
before" and vice versa after a single bar of music. Things like these
should be easy in Lilypond, considering it's sheer flexibility and
hackability. And if I were a composer writing in 5/6, i would probably be
happy if I cou
://lilypond.org/doc/v2.22/Documentation/notation/displaying-rhythms#polymetric-notation
All the best
Christian
Am Di., 23. März 2021 um 11:04 Uhr schrieb Lukas-Fabian Moser :
>
> > But in fact, I think one does not need to shift the Timing_translator
> > to the staff context at all: It should
probably Linux-only.
All the best
Christian
Kieren MacMillan schrieb am So., 14. März
2021, 19:24:
> Hi Peter,
>
> > How do you manage enharmonics? Is the black key between C and D a C
> sharp or D flat? Unless the music is completely tonal, I'd have thought you
> spent m
Ah, that explains it. Thank you very much, Aaron!
Am Sa., 13. März 2021 um 16:02 Uhr schrieb Aaron Hill <
lilyp...@hillvisions.com>:
> On 2021-03-13 6:11 am, Christian Masser wrote:
> > [...]
> > mySoloChordsA = \chords {
> > c1 f g c
> > }
> >
the rests/skips
directly to the chords or not. Has anyone of you an idea why Lilypond
prints the chords below the staff in the first example and above the staff
in the other one? I did a quick search but couldn't find an explanation
that convinced me.
All the best,
Christian
\version "2
c'4 d e f g a b c
\transpose cs df
\relative {cs' ds es fs gs as bs cs}
}
}
All the best,
Christian
Am Fr., 12. März 2021 um 11:35 Uhr schrieb Peter Toye :
> I am trying to engrave a transposed song. It's written without key
> signature but is very tonal. It starts in C and ends in
|
}
\score {
\new Staff {
\time 12/8
\clef "bass"
\partCombine \up \down
}
}
All the best
Christian
Am Mo., 15. Feb. 2021 um 18:18 Uhr schrieb Peter Toye :
> Kieran, Christian,
>
> There's something we all missed: the tie on the final bass note. Here's
> the full bar/measure a
}
}
\score {
\new Staff {
\time 12/8
\clef "bass"
<<
\partCombine \upperPart \lowerPart
>>
}
}
All the best
Christian
Am Mo., 15. Feb. 2021 um 18:18 Uhr schrieb Peter Toye :
> Kieran, Christian,
>
> There's something we all missed: the tie on the fin
Edit: I forgot the \hide Stem command , but it also works with
e,2.~ \hide Stem 4.~ 4 \revert Voice.Stem.transparent s8 |
instead of
e,2.~ 4.~ 4 s8 |
All the best
Christian
Am Mo., 15. Feb. 2021 um 16:56 Uhr schrieb Christian Masser <
christian.mas...@gmail.com>:
> Hi Peter!
>
lative
{
e,2.~ 4.~ 4 s8 |
f'4.\rest
}
>>
this interestingly also seems to solve the other problem.
All the best
Christian
Am Mo., 15. Feb. 2021 um 16:28 Uhr schrieb Peter Toye :
> I'm trying to set this piece of slightly strange voice writing (see
> attachment).
>
know!
All the best
Christian
Am Fr., 12. Feb. 2021 um 21:03 Uhr schrieb Jean Abou Samra <
j...@abou-samra.fr>:
>
> Le 12/02/2021 à 17:05, Christian Masser a écrit :
> > Hi Jean!
> >
> > I got a similar error two days ago with a pretty basic file, nothing
> > fa
quot; on arch linux) the error went away. Would
backtracing it still help you in any way?
All the best
Christian
Am Do., 11. Feb. 2021 um 15:07 Uhr schrieb Jean Abou Samra <
j...@abou-samra.fr>:
>
> Le 11/02/2021 à 14:11, Miguel Abrams a écrit :
>
> Dear community:
>
> I
Thank you for that cheat sheet! Is this part of the official documentation
or your own work?
All the best
Christian
Noeck schrieb am Mo., 1. Feb. 2021, 23:46:
> Hi David,
>
> you are looking for markup-system-spacing:
>
> \paper {
> markup-system-spacing.ba
try at participating.
All the best
Christian
Am Fr., 1. Jan. 2021 um 18:19 Uhr schrieb David Nalesnik <
david.nales...@gmail.com>:
> Hi Peter,
>
> On Fri, Jan 1, 2021 at 10:46 AM Peter Toye wrote:
>
>> Carl,
>>
>
>
>> [...]
>>
>
>
>> I ha
Hi Peter!
It seems to be defined here:
https://github.com/lilypond/lilypond/blob/master/scm/music-functions.scm#L2036
All the best and a happy new year,
Christian
Am Fr., 1. Jan. 2021 um 13:29 Uhr schrieb Peter Toye :
> It seems that I'm probably going to be doing more engraving after
of the instruments and merge them back where you want to
continue working with them. (Kind of like stem export in a DAW.)
All the best
Christian
ebenezer schrieb am Mi., 30. Dez.
2020, 10:40:
> Hi everyone,
> I'm creating my first Lilypond score, an arrangement of A Te O Cara.
> I am using Frescobaldi
Aaron Hill schrieb am So., 25. Okt. 2020, 04:38
> You have to use a special bar line type when it breaks across a line:
>
>
> \version "2.20.0"
> \paper { indent = 0 line-width = 3\cm ragged-right = ##f }
>
> \markup \bold \typewriter "\".|:-||\""
> { R1 \bar ".|:-||" \break R1 }
>
Out of
{
\new Staff {<<
\music
\breakVoice
>> }
}
Best regards
Christian
Am Do., 15. Okt. 2020 um 14:20 Uhr schrieb Leszek Wroński :
> Dear Experts,
>
> I would like to compile a full score and parts based on one file
> containing musical definitions. I would
.
All the best
Christian
Am Fr., 12. Juni 2020 um 16:34 Uhr schrieb Peter Toye :
> I need to have part only of a bar notated with free rhythm. Also other
> staves need to be synchronised. I've tried using \cadenzaOn but then I get
> a barcheck problem and the next bar goes odd. I can't see
Hi Pierre,
this is even better! Thank you very, very much! Somehow this snippet had
escaped my research.
All the best
Christian
Am Fr., 8. Mai 2020 um 14:27 Uhr schrieb Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:
> Hi Christian,
> See also: http://lsr.di.unimi.it
Thank you very much!
That was exactly, what I was looking for! As I've only got one chant to
transcribe, the time it takes to tweak every single melisma is no problem.
:)
All the best
Christian
Am Do., 7. Mai 2020 um 21:39 Uhr schrieb Valentin Villenave <
valen...@villenave.net>:
>
de Beam
\hide BarLine
\hide TupletNumber
}
}
}
Is it possible to get the note heads even closer together, so that they are
kind of glued together? Probably someone did this before but I wasn't able
to find it yet.
All the best
Christian Masser
al playing. The fewest
musicians playing in orchestras do studio recordings where they get to play
to click regularly.
Christian
Urs Liska schrieb am Mi., 1. Apr. 2020, 11:43:
> Am Mittwoch, den 01.04.2020, 11:33 +0200 schrieb Christian Masser:
>
> Hi!
>
> I think whether it's easier with
probably very subjective to my own musical approach.
All the best
Christian
PS: Sorry Gianmaria, I accidentally answered to you directly without
posting to the list.
Gianmaria Lari schrieb am Mi., 1. Apr. 2020,
11:13:
> Ciao Urs!
>
> On Wed, 1 Apr 2020 at 09:05, Urs Liska wrote
Just found another way:
\once \override NoteHead.style = #'blackpetrucci
g\breve*3/4
This colors the note even in flexa-style ligatures. Though it is still a
workaround it's at least compatible with clef changes.
Am Mi., 6. Nov. 2019 um 21:21 Uhr schrieb :
> Christian:
> > I was
Thank you, Karl!
I kind of like this workaround... feels a little bit like good old
handwriting.
Best regards
Christian
Am Mi., 6. Nov. 2019 um 21:21 Uhr schrieb :
> Christian:
> > I was wondering if it is possible to blacken single notes in ligatures in
> > white mensural no
as much as
stated in the second example.
\version "2.18.2"
\new MensuralVoice \relative c' {
\time 2/2
\[ e1 f g\breve a \] g4 f
}
\new Voice \relative c' {
\time 2/2
\hide Staff.BarLine
\[ e1 f g\breve a1. \] g4 f
}
Best regards
Christian
Dear Harm,
I love you. This works exactly like I want it to. I don't fully
understand it (yet) but as I will use LilyPond more in the future I
guess the wisdom of your programming skills shall enlighten my current
ignorance.
Thank you again,
Christian
Am 02.01.19 um 00:32 schrieb Thomas
Hello Thomas,
thank you for your efforts! Judging from my 2-day experience with
LilyPond, that looks promising. I'll try it out and let you know :)
Have a great start into 2019,
Christian
Am 02.01.19 um 00:32 schrieb Thomas Morley:
> Am Di., 1. Jan. 2019 um 18:04 Uhr schrieb Christian Zoll
from 1 - 12 for every octave but numbers the consecutive tones like
this: [0,1,2,3,#,4,5,6,7,8,9,b,10,11,12,13,1#,14,15,16,17,18]. Is there
a way to use this list instead of just counting up from 1 - n on a
tabulature?
Thank you for your help,
Christian
or
remembers, a link to this guide.
Can anyone help me with this?
Thanks a lot,
Christian
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That solved the problem for me.
I changed the usleep 250 to sleep 0.000250 in mkvideo.
Now the short video_mwe.ly goes pretty fast.
My own first project takes a little longer, for example while "bursting
pdf...", but with 200 pages i think that's
o.k. For the cpu load shows 100% instead of
takes about 1
hour...
I am wondering if this has to be, cause with the prior version without
coloured notes, the whole video took no longer than
4-5 Minutes.
Do you have any idea?
Thanks again!
Am 06.11.2017 um 11:29 schrieb Knut Petersen:
Am 05.11.2017 um 10:41 schrieb Christian Alpen:
Hi,
% color to use
+ %
Is that right?
And do I have to activate the color-change somewhere? Or is there maybe
something else wrong?
Thanks a lot!
Am 04.11.2017 um 22:55 schrieb Karlin High:
On 11/4/2017 2:25 PM, christian wrote:
I have a question concerning patching scm and ps files
Hi everybody,
and thanks a lot for this nice work!
I have a question concerning the patching of the scm and ps files:
Can anyone tell me where to find them?
I'm not that firm with all this and couldn't find them after searching quite
a while... :-(
Thanks a lot!
Christian
--
Sent from
command?
I get an error message "unknown command"
I'm using debian 9.2.1 32 bit in Virtual Box 5.2.0
Thanks a lot!
Christian
--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
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package from
them. But all of the mail addresses I tried failed.
Does anyone of you happen to have this package or would you be so kind
to send me a working mail address of Heikki or Aaron?
Thanks in advance
Christian
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Hi all,
I am trying to make a reverted score (white music on black background).
The first part works, the second doesn't.
Does anybody know how to make the background black?
#(define (override-color-for-all-grobs color)
(lambda (context)
(let loop ((x all-grob-descriptions))
(if
Hi all,
Does anybody know how to get a double time signature?
If have tried looking for it in the manuala and LSR, but all they provide me
with is a coupound signature.
Gr.
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Hi all, I can't seem to get the poly-rhytm to display properly...
flute = \relative c'' {
\global
\repeat volta 2 {
g'4.^"Inzet bij couplet 4" e | fis d | e c | d b |
}
\time 2/4 a8 d fis e | d4. d8 | e8 d e fis |
\time 3/4 \tuplet 3/2 { g fis e } d [c] b [g] | \time 2/4 a b c e |
Hello all,
I've had a problem I can't figure out. When I export an SVG from Lilypond, and
try to import it to Libreoffice or Scribus, it's blank. Breaking it down, it
works like this:
- The problem occurs whether I create the Lilypond SVG from Frescobaldi, or
from the command line.
-
Hi all,
Currently I am working on a style sheet for my future lilypond projects.
I was wondering how to define a font for e.g. title, composer and so on.
I have tried to make a header context within the \layout{}, but this
doesn't seem to work.
Any ideas?
Gr.
Christian
that you start out with
the complete vim configuration that is included in the Lilypond
source-distribution, and perhaps make changes to that. Who knows, your
updates may even turn out worth sharing!
/Christian
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at the moment. Of course it is easier to do this in,
e.g., a Linux platform, but I just can't imagine that it would be that
impossible for Macs as is suggested by all these howtos, neither of which
seems to work for everybody.
Kind regards /Christian
On Fri, Aug 16, 2013 at 10:45 AM, David Kastrup d...@gnu.org wrote:
Derek cu...@shmerek.com writes:
Believe me if I were a programmer I would and I am sure many are in
the same boat.
The boat of the passive-aggressive passenger? There are a number of
recipes around which are apparently
may or
may not be a source of inspiration.
Cheers
/Christian
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On Tue, May 28, 2013 at 8:37 AM, Trevor trevordi...@gmail.com wrote:
I finally got around to throwing the code for LilyBin up on GitHub:
https://github.com/trevordixon/LilyBin.
I want to rewrite it soon, mostly to improve the front-end, but I think
I'll also rewrite the server in Go. If
I would like to adjust the tie direction within a chord.
How can I do that, I have tried the following.
\tieUp ais,~ \tieDown fis'~2 ais fis'2 |
This doesn't work.
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How can I make a tie go from the half note d in the lower part to the
quarter d in the upper part?
rightOne = \relative c'' {
b4 a d, a' f gis |
}
rightTwo = \relative c' {
b~ d2 b |
}
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I am trying to use 2 different fonts for the composter name.
But lilypond doesn't show it the way I would like it to.
composer = \markup \override #'(font-name . Plantin MT Std Italic) {
Muziek: } %\markup \override #'(font-name . Plantin MT Std) { John Goss
(1800 - 1880) }
Hi all,
I am trying to have a text in the plantin font and bold and italic at the
same time. How can I achieve this?
I have tried this with \override LyricText #'font-name = #Plantin MT Std
But than I cannot make it bold and italic.
___
Dear Phil,
Back from holiday I tested it on Windows 8 Pro (32bit). It works fine.
Thanks a lot!
Chris
-Ursprüngliche Nachricht-
Von: Phil Holmes [mailto:em...@philholmes.net]
Gesendet: Freitag, 4. Januar 2013 16:12
An: LilyPond User Group
Cc: Per Sennels; Chris; Olivier Biot
Betreff:
Hi all,
How can I add a header on every page (centred) but not on the first page.
Also, how can I referr to the title set in the \header?
Greatings
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to consume. One of the better books in this regard, which
I'd like to recommend, is Pragmatic Version Control Using Git by Travis
Swicegood (2008).
Now, sit down and await all flames from proponents of all the other tools!
Bazaar anyone? Or Subversion, CVS, whatever?
Cheers /Christian
How can I make a .png file of mij lilypond score?
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I have a problem which has frustrated me for weeks, and I've failed in all
attempts to find any documentation or discussion on this topic. What would
be suggested as the right way to express tones or phrases that extend
across natural branches of a score, like repeats (possibly with
alternatives)
The solution is simple: use vector graphics. Added bonus: with an svg, you can
tweak the details (spacing, etc.) in Inkscape, really easily.
I do that, then save as an eps, and then put it into Scribus. It's a few steps,
to be sure, but I love the results.
Chris McConnell
Message: 4
Date:
Hello,
Thanks for all you input. That the different 'nesting' with \lyricsto
achieves a correct result is good to know, unfortunately time
constraints forced me to go the hard way to get the score ready in
time ;-)
Thanks to you all and Cheers,
Christian
Dear Eluze,
-Eluze eluzew at gmail.com writes:
[...]
use associatedVoice instead of \lyricsto
[...]
Thanks a lot, this saved me a lot of headache!
Cheers,
Christian
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not happen if only quarter notes are used in the melody.
\lyricsto works fine, but for reasons pointed out earlier, does not
correctly allow the melody e1 f1 to continue after the lyrics.
Thanks for your consideration,
Christian
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Hello,
Please ignore my previous post. It seems that without \lyricsto, I'm
stuck to entering the lyrics' durations manually. *Sigh* :-)
Cheers,
Christian
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}
\new Lyrics \lyricsto melody {
Ahh
}
\context Voice = melody {
c'1 d1
}
}
Instead of c'1 d1, only two empty bars appear.
Thanks for your consideration,
Christian
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How can I put a visual swing indicator (2 8th = 4 8 triplet) into my score?
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Thank you, yes, I did find the mismatched , and was able to compile the file.
(It was produced by the Musescore software). I have since started over and am
teaching myself lilypond now, and I'm finding it exceedingly easy. I do have a
bit of a programming background though, so I tend to like
Thank you so much - that is exactly what I needed!
On Fri, Jul 22, 2011 at 11:12 PM, Bill Mooney mooney...@aim.com wrote:
Hi Sarah,
There appears to be a mismatched immediately after the \score { at line
136.
Commenting it out lets your file compile - whether the result is what you
want, I
above the staff. With
\key, they are shown below the staff.
I know from other threads that putting \key into a seperate block,
which encloses the melody, solves the problem, but I don't understand
why. Any help would be appreciated.
Thanks for your consideration,
Christian
they appear below the staff.
My problem is that a lot of things are going on before I need a few
bars with added chord names. What would be the recommended way to add
these 'in the middle of things'?
Cheers,
Christian
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have to adjust the number of skipped
bars each time something changed.
Is there perhaps a way to tell the new chords context to be placed
above alread existent ones?
Cheers,
Christian
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http
}
}
% no more chords
% staff continues
c1 a
}
}
}
Perfect! All problems solved. Thanks a lot to everyone.
Cheers,
Christian
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Hello everyone,
I've been running into a problem, and I can't seem to figure it out. When I add
a text markup to one note, the next note is automatically spaced to the right,
to the end of the markup. It's like \textLengthOn is on by default, and
inserting \textLengthOff doesn't seem to help.
I figured out my problem: I was including gregorian.ly. It's not a chant piece,
but I wanted to include gregorian.ly so I could use the \divisioMinima for tick
marks. As soon as I took that out, it worked right.
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I want alle the systems to vertically align tot the top, but the two pages
act differently.
Wat settings do I need?
Gr.
Christian
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Hi,
How do I make all the barlines invisible, except the final one?
Just disable the barline_engraver?
Gr.
Christian
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Is it possible to have multiple titles/headers in one single document?
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Hi,
I am working on a renaissance-piece and want to split measures across systems.
Is this possible without disarranging the measure numbers?
Gr.
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Hi all!
I was wondering how I cann enter courtesy accidentals in Lilypond.
I want to put an natural between brackets.
Any idea?
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---
Hello,
I'd like to try Frescobaldi into a GNOME environment, i.e. without
switching to KDE; is this possible at all? I guess a bunch of
libraries will need to be installed, but only if they are not
excessive I'd like to give it a try. It would be fine to hear from
Hello,
I am working on a piece containing multiple scores in one file, like this:
\score {
[music]
}
\score {
[some more music]
}
How can I increase the distance between the staves of the different scores?
Greatings!
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Hello everyone,
I've been a lurker, and I'm still something of a newbie, but I'm enjoying using
Lilypond and I appreciate the help this list has been.
My question is this: is there a way to set chordnames so that the chord suffix,
no matter what it is, is not superscript? In other words, can I
I am encountering some spacing issues with a piece I angraved with lilypond.
How can I ajust (1) the number of measures on a system, the (2) with of an
individual measure. And how can I (3) place whole-measure rests in the middle
of the measure?
it as a template for my next project.
Regards,
Christian
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g8 g~g16 g g g
g8 g g8. g16 g16 g16 g8 g4
g4 g8. g16 g8 g~g16 g g g
g4 g8. g16 g8 g~g16 g g g
g8 g8 g8. g16 g g g g g g g g
g8 g8 g8. g16 g g g g g g g g
}
Christian
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-School/dp/0793544130/ref=sr_1_3?ie=UTF8s=booksqid=1251991185sr=8-3
You can look inside here to see what I'm talking about. QQ, do you
think lilypond can produce that?
Regards,
Christian
On Thu, Sep 3, 2009 at 10:38 AM, Tim McNamaratim...@bitstream.net wrote:
On Sep 2, 2009, at 7:56 PM, Patrick
Hi all, thanks for the replies. I could fix all of my problems. I'm
using multipliers now which I find easier to use and to read. Thanks
to Brett Duncan.
This now finishes my first project using lilypond. I like it and will
continue using it. Great stuff!
Christian
On Wed, Sep 2, 2009 at 1:34
cannot find in 2.12.
Am I right, that lilypond is rarely used for my type of notation?
Meaning rock/pop tunes for acoustic guitar.
On Tue, Sep 1, 2009 at 1:28 AM, Andrew Tuckerm.andrew.tuc...@gmail.com wrote:
On Aug 31, 2009, at 10:19 PM, Christian Henning wrote:
\chordmode {
g1 | g4
, but how can I
state where to put a capo?
Thanks again everyone who helped me out so far,
Christian
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g8 g4
g4 g8. g16 g8 g~g16 g g g
g4 g8. g16 g8 g~g16 g g g
}
I added the duration for the two c:m but the second c:m is still not
showing. Mhmm, weird.
Christian
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