confused is
when to use that method you described and what notes to put there. if
that makes sense
The next about 12-14 hours I can't further mail, but for now a little
more precise: My example was
c ees4 c ees { ees8. d16 } \\ b4 c
1. If both of the parts BEFORE and AFTER the double back
Ok. it looks like the viola part needs to be device as these double stops are
not fun. here it is with the notes and cords with out taking the divisi in to
consideration.
{ c aes, g ees |
ees f des ees c ees | }
Just the first 2 measures
so would I have to imply the double less then sign
Hey thanks for that explenation. I think I'm finally getting it. here is I
think the first 2 or 3 measures od the part. I can't keep track anymore. as I'm
not used to thinking in separate parts. lol! Hehahaha. and I think I'm missing
a closing right brace some ware.
{ c aes, g ees |
ees f
Hello list, hello Sarah,
You wrote:
Ok. it looks like the viola part needs to be device as these double
stops are not fun. here it is with the notes and cords with out taking
the divisi in to consideration.
{ c aes, g ees |
ees f des ees c ees | }
The first note has to be g instead
By george I think I'm getting it! Sorry to the rest of you have to watch me
jump for joy but m sure by the time my final comes around I will be offering
advice rather then asking it lol! or maybe not. We'll see how hard the test is
in may.. Hopefully he will give me a week to do it not a few
Ch'uqi
On 3/1/13, Sarah k Alawami marri...@gmail.com wrote:
Ok. one more question for the night then I'll be done with this for tonight
as I want to at least get the 2 violin parts written then work on viola,
cello and bass tomorrow and sunday.
I will be having divici parts for the second
Hwaen Ch'uqi hwaench...@gmail.com writes:
Greetings Sarah,
First, to base your music around middle c, you want to use
c'
However, you might also try leaving out the c indicator altogether, so
that it would look like
\relative { MUSIC }
In past versions, this had the same effect,
Greetings David,
Indeed, your point is well stated, demonstrated, and taken. I
merely include the possibility for the sake of completeness; I myself
find the latter option quite useful, as I then do not have to remind
myself that 'c' actually refers to the pitch an octave below the
fairly
Drat it! I must have been very tired when writing the second violin part. Bleh!
Now on to the divisi. How do I do this? once I get the rhythms correct that is?
I'm hoping to get the rest of it done today. The cello and bass parts will be
easy. they are just octaves. I think I'll leave
Sarah k Alawami (02 Mar 2013 @ 18:55)
Now on to the divisi. How do I do this? once I get the rhythms correct that is?
I'm hoping to get the rest of it done today. The cello and bass parts will be
easy. they are just octaves. I think I'll leave the 5gths out as I believe they
are in the upper
I did read that section but this also has some unison parts as well. I'll play
with that. I'd expect the divisi and tutti text to work as I see that in many
many scores, for example a mozart piece we are doing where there's a quartet
solo.
Thanks. and be blessed.
On Mar 2, 2013, at 10:04 AM
Hey thanks. I'm thinking of using the thing in the manual that says
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
but this goes back and forth all the time through out this 1 to 2 minute piece.
so in this case would the double back slash work? and if so how do you get back
Hi Sarah,
Hey thanks. I'm thinking of using the thing in the manual that says
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
You should. ;)
Here's a function (and snippet/example) that might help:
\version 2.17.13
split =
#(define-music-function (parser location music1
Am 02.03.2013 19:51, schrieb Kieren MacMillan:
Hey thanks. I'm thinking of using the thing in the manual that says
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
You should. ;)
Here's a function (and snippet/example) that might help:
Wow, that is useful!
voices? and hope they can read my writing? as
this will go in to unison for 1 or 2 notes mid measure and get right back to
split parts.
Thanks.
On Mar 2, 2013, at 10:55 AM, Noeck noeck.marb...@gmx.de wrote:
Am 02.03.2013 19:51, schrieb Kieren MacMillan:
Hey thanks. I'm thinking of using
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi Sarah,
Hey thanks. I'm thinking of using the thing in the manual that says
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
You should. ;)
Here's a function (and snippet/example) that might help:
\version 2.17.13
Yeah I think what I'll do since the voices are in unison mid measure and brake
back out in to split parts is just put both notes on both voices unless
there's a slightly easier way to do this? as the \OneVoice never in theory
happens. and rhythms are going to be slightly different so writing
Hello list, hello Sarah,
You wrote:
I did read that section but this also has some unison parts as well.
I'll play with that.
Sorry, but why do You want to use divisi in this peace at all?
I wonder if You got a view of my example.
Let's see the first bar of all five instruments:
violin_I
easier. just
octaves.
Tc all. and be blessed.
On Mar 2, 2013, at 1:58 PM, Roland Goretzki rol...@roland-goretzki.de wrote:
Hello list, hello Sarah,
You wrote:
I did read that section but this also has some unison parts as well.
I'll play with that.
Sorry, but why do You want to use
Because I've found that your function (which I used to use) and mine (which
someone else wrote for me) do two different things — and I want the one that
yours doesn’t do.
Thanks anyway,Kieren.
To: lilypond-user@gnu.org
From: d...@gnu.org
Subject: Re: divisi parts and another general question
Hello list, hello Sarah,
now I've seen, that You are using the standard language, ie.
nederlands.ly. (I've written assuming You're using english.ly)
That requires different input notes, so this was the reason for writing
other notes than You. ;-)
You wrote:
I could if I wanted to, how ever Our
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Because I've found that your function (which I used to use) and mine
(which someone else wrote for me) do two different things — and I want
the one that yours doesn’t do.
Thanks anyway,
Kieren.
Kieren, I translated your function right
yeah true or I could cut them out the middle notes since I believe the upper
voices are playing them
I'll go back and redo the notes later. I ended up singing the parts or trying
to and so far I've managed to correct most mistakes. lol!
Well if not an a I hope I get some constructive
Oh btw another question. Let's say I did want the cello part to play the middle
notes in the cluster shall we say. How do I just simply have 1 note be divisi,
or so I show it as a cord with the less then and grader then symbols? I'm
thinking from my days as a string player I can do the latter
Hello list, hello Sarah,
You wrote:
Oh btw another question. Let's say I did want the cello part to play
the middle notes in the cluster shall we say. How do I just simply
have 1 note be divisi, or so I show it as a cord with the less then
and grader then symbols?
Do You mean something like
to [potentially] fix it right now.
Thanks again,Kieren.
From: d...@gnu.org
To: kieren_macmil...@sympatico.ca
CC: lilypond-user@gnu.org
Subject: Re: divisi parts and another general question
Date: Sun, 3 Mar 2013 00:27:19 +0100
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Because
Yeah that's it. I don't' quite understand how that works. I read the section
but was a bit confused on the double back slash method. Is there an analogy I
could use to maybe help me on that one? I'm getting everything else slowly but
yeah. I think where I'm getting confused is when to use that
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi David,
Have you even tried it?
Prior to v2.17, I used a function which, to my memory, is identical to
the one you've posted. There were bugs with it (specifically with
\transpose or \relative — I never hunted down the exact
David,
That makes me doubt your memory.
That is your prerogative. For my part, I just double-checked your function
against the one in my backups — they are identical, excepting whitespace.
Feel free to ponder how changes in the Lilypond code since v2.9 (which was the
time of that backup) may
getting confused is
when to use that method you described and what notes to put there. if
that makes sense
The next about 12-14 hours I can't further mail, but for now a little
more precise: My example was
c ees4 c ees { ees8. d16 } \\ b4 c
1. If both of the parts BEFORE and AFTER
Hello Sarah!
Roland's example is
c ees4 c ees { ees8. d16 } \\ b4 c
I would format this as
c ees4 c ees { ees8. d16 } \\
{ b4} c4 |
or maybe as
c ees4 c ees
{ ees8. d16 } \\
{ b4 }
c4 |
(Note the final `|' to trigger a bar check.)
Ok. one more question for the night then I'll be done with this for tonight as
I want to at least get the 2 violin parts written then work on viola, cello
and bass tomorrow and sunday.
I will be having divici parts for the second violin parts. I know odd but there
you go. I tried the text
Hi Jay,
This doesn't Do The Right Thing™ when the key signatures are abstracted, e.g.,
\version 2.17.10
#(define (adjust-note mus key currkey)
(cond ((or
(eq? (ly:music-property mus 'name) 'NoteEvent)
(eq? (ly:music-property mus 'name) 'KeyChangeEvent))
Hi Kieren,
just stumbled across this thread. I once was trying to create an
engraver, that recognizes transposition/instrument changes and inserts a
time signature there. (IIRC it was a piece with a change between oboe
and english horn)
In the end I inserted tagged key-sigs, whenever I
On Tue, Jan 15, 2013 at 10:43 PM, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
There's this: http://lsr.dsi.unimi.it/LSR/Item?id=697 which is useful
when the transposition changes mid-piece (like for clarinets, horns,
and trumpets). Also you don't have to think about the 'from' pitch.
Hello all!
Has anyone successfully written multi-instrument player parts correctly
(i.e., using \addInstrumentDefinition and \switchInstrument, and not manually
\transpose-ing bits)?
I would love to see an example, so I can fix my hacks.
Even seeing this non-working [in several ways… like why
Kieren MacMillan kieren_macmillan at sympatico.ca writes:
Has anyone successfully written multi-instrument player parts [...]
using \addInstrumentDefinition and \switchInstrument [...] ?
Almost certainly not. \addInstrumentDefinition is inconvenient.
Google says: No results found
Hi Keith,
Thank you so much for the detailed and considered response.
Boo. I really wish Lily would Do The Right Thing™ with regard to transposing
parts. I want to be able to say \switchInstrument at any time, and easily
generate C and transposed scores/parts (with all key signatures
p.s. It would help immensely if I could at least say
\tag #'part { \transpose c d }
c4 d e f
and then use the tag filter to leave the transposition out of the C-score.
However, this doesn't seem to work — any ideas how I can accomplish such a
thing (or very similar)?
Thanks,
Kieren.
On Tue, 15 Jan 2013 19:41:00 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Boo. I really wish Lily would Do The Right Thing™ with regard to transposing
parts. I want [...]
perhaps I'll put together an official feature request…
Almost certainly, \instrumentSwitch was written
On Tue, Jan 15, 2013 at 10:21 PM, Keith OHara k-ohara5...@oco.net wrote:
On Tue, 15 Jan 2013 19:41:00 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
Boo. I really wish Lily would Do The Right Thing™ with regard to
transposing parts. I want [...]
perhaps I'll put together
Hi Keith,
Almost certainly, \instrumentSwitch was written in response to a similar
request.
If I remember correctly, Han-Wen wrote it and I paid him a bounty for it… =)
you can store the music in a variable, and perform the action of transposing
only where you need it.
Yes, of course,
Hi Jay,
There's this: http://lsr.dsi.unimi.it/LSR/Item?id=697 which is useful
when the transposition changes mid-piece (like for clarinets, horns,
and trumpets). Also you don't have to think about the 'from' pitch.
You only need the 'to' pitch.
That doesn't seem to handle key signatures very
On Tue, 15 Jan 2013 21:43:04 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
I've been using it for 10 years now.
Sorry, I've seen so many names they are all a jumble in my head. In that case,
for the part where the player switches instruments, you'd probably like to
store
Hi Keith,
for the part where the player switches instruments, you'd probably like to
store the as-written pitches along with the transpositions. Then you can use
LilyPond's quoting system to get the music in concert pitch for the C-score.
Now we're getting somewhere! Thanks!
I will test
Hi Keith,
for the part where the player switches instruments, you'd probably like to
store the as-written pitches along with the transpositions. Then you can use
LilyPond's quoting system to get the music in concert pitch for the C-score.
Now we're getting somewhere! Thanks!
I will test
Keith OHara k-ohara5...@oco.net writes:
On Tue, 15 Jan 2013 21:43:04 -0800, Kieren MacMillan
kieren_macmil...@sympatico.ca wrote:
I've been using it for 10 years now.
Sorry, I've seen so many names they are all a jumble in my head.
And you are not even likely to keep confusing Keith with
On Wed, Jan 16, 2013 at 01:48:21AM -0500, Kieren MacMillan wrote:
Hi Keith,
for the part where the player switches instruments, you'd probably
like to store the as-written pitches along with the transpositions.
Then you can use LilyPond's quoting system to get the music in concert
[SOLVED]
Worked like a charm. Thank you very much.
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Drum-parts-with-lyrics-tp135131p135230.html
Sent from the User mailing list archive at Nabble.com.
___
lilypond-user mailing
Am 22.10.2012 05:45, schrieb Fred Perloff:
drum = \drummode {
sn8^\markup{ R } sn16^\markup { R } sn16^\markup { L } hh8^\markup { R
} hh8^\markup { L } hh4^\markup { R } hh4^\markup { R }
}
verse = \lyricmode {
I've got a friend who's la- zy
}
\score {
\new DrumStaff {
\drum
}
I have a drum part I've encoded in drummode. I want to add lyrics (these are
mnemonics for the drum rhythm). The following snippet produced the drum part
on the treble clef (bad) with the lyrics underneath (good). Can I get the
drum parts on the drum clef with the lyrics underneath?
drum
Hi,
It seems to make sense to use \quoteDuring instead of cut-and-paste when
two like instruments are playing unison for a period of time. I am trying
to use \tags and partcombine and \quoteDuring to create music which can be
used to partcombine for the score but write out separate parts
Hi Giles,
2012/1/23 Gilles gilles.thiba...@free.fr:
It is possible with ly:music-compress , to make a function that fit all
kind of music
cadenzaToMusic = [...]
Oops ! Rethinking of the function cadenzaToMusic, I realized that i forgot
the case of the user entering a 0 length music ( s1*0
Hi Gilles,
2012/1/20 Gilles gilles.thiba...@free.fr:
But I was annoyed by having two functions with very similiar code.
It is possible with ly:music-compress , to make a function that fit all kind
of music
NB
I have tested this snippet only with 2.14 but it should work with 2.15
I'm trying to tackle the same problem stated in this post.
http://old.nabble.com/Re%3A-Adding-Rehearsal-Marks%2C-v2.12.2-p27204478.html
I understand the concept, but I can't figure out the specific syntax to
make this happen. I have a global variable with skips and rehearsal marks,
but every
difficult to see what happens!
have you read the chapter about common errors
http://lilypond.org/doc/v2.15/Documentation/usage-big-page#an-extra-staff-appears?
Eluze
--
View this message in context:
http://old.nabble.com/Separating-rehearsal-marks-from-individual-parts-tp33160188p33160268.html
Sent
difficult to see what happens!
have you read the chapter about common errors
http://lilypond.org/doc/v2.15/Documentation/usage-big-page#an-extra-staff-appears?
Eluze
--
View this message in context:
http://old.nabble.com/Separating-rehearsal-marks-from-individual-parts-tp33160188p33160266.html
Sent
On 18 January 2012 01:01, Thomas Morley thomasmorle...@googlemail.com wrote:
I worked a little more in the direction you objected.
\version 2.15.24
cadenzaRest =
#(define-music-function (parser location fermata? music) (boolean? ly:music?)
Make a full-bar rest with the same length as
/Separating-rehearsal-marks-from-individual-parts-tp33160188p33160266.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
-appears?
Eluze
--
View this message in context:
http://old.nabble.com/Separating-rehearsal-marks-from-individual-parts-tp33160188p33160266.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
___
lilypond-user mailing list
Hayden Muhl haydenm...@gmail.com writes:
In the continuo and violin parts, you can see where I have commented out a
rehearsal mark. Instead of adding that rehearsal mark to both parts, I want
to use the marks variable to add the rehearsal mark to both parts. I want
to create one score
On Wed, Jan 18, 2012 at 10:45 AM, David Kastrup d...@gnu.org wrote:
Hayden Muhl haydenm...@gmail.com writes:
In the continuo and violin parts, you can see where I have commented
out a
rehearsal mark. Instead of adding that rehearsal mark to both parts, I
want
to use the marks variable
Hi Neil,
2012/1/18 Neil Puttock n.putt...@gmail.com:
On 18 January 2012 01:01, Thomas Morley thomasmorle...@googlemail.com wrote:
I worked a little more in the direction you objected.
\version 2.15.24
cadenzaRest =
#(define-music-function (parser location fermata? music) (boolean?
Hi Paul,
2012/1/17 Paul Scott waterho...@ultrasw.com:
On 01/16/2012 09:41 PM, Paul Scott wrote:
Hi,
Ok, my thread about mmrest-of-length appears to be misguided. I don't
think
NR 1.2.6 helped even though it looks like 1.2.6 Aligning to cadenzas is
intended
to answer this.
I want to
Hi,
Ok, my thread about mmrest-of-length appears to be misguided. I don't think
NR 1.2.6 helped even though it looks like 1.2.6 Aligning to cadenzas is intended
to answer this.
I want to synchronize either a specific value of rest or note with a cadenza.
I would say that mmrest-of-length is
Hello,
On 2 January 2012 02:17, Widget wid...@pcug.org.au wrote:
Hi
I’m not-quite-a-beginner with Lilypond trying to engrave a couple of
Christmas carols in three and four parts.
The complication is that I would like to put the verses one after another
for each part, rather than have
Hi
I'm not-quite-a-beginner with Lilypond trying to engrave a couple of
Christmas carols in three and four parts.
The complication is that I would like to put the verses one after
another for each part, rather than have a single line of text.The only
example of something like it that I've
and parts from files organized in a consistent,
easy-to-understand directory hierarchy.
- Extended syntax for writing music: support for macros (for repetitive rhythms
and articulations), shorthand for appogiatura, divisi, cue voices. Also
alternative syntax for basso continuo figures, and improved
The way I typically set up a project is to have a score file for the
conductor's score and each of the parts, all of which \include a file which
contains all the music for the piece. I also have each of these files (the
score files and the music file) \include library files with my various
Am 2011-08-18 um 22:22 schrieb dadadharma @dslextreme.com:
1) Does anyone have a .ly file to share of _The Internationale_ in 4
parts?
(acappella, voices only)
2) In particular, 4 independent parts.
(the alto should not be subject to the soprano)
(the bass should not be serving the tenor
1) Does anyone have a .ly file to share of _The Internationale_ in 4 parts?
(acappella, voices only)
2) In particular, 4 independent parts.
(the alto should not be subject to the soprano)
(the bass should not be serving the tenor)
(maybe that's hoping for too much)
3) or, sheet music of (1
Hi all,
For the piece I'm typesetting, I need a continuo part containing a
reduction of the SATB.
As I encounter many warnings like
/home/jcharles/Partothek/Arthur/Act5/E/ntenor.ily:36:5:
Warning : already have slur
f8[
( e f g] f4) d e4. fs8
Marc Mouries marc at mouries.net writes:
The common templates for orchestral music require to remove comments when
using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359).
I am using the following structure that does not require commenting and
un-commenting the score parts
Hi Marc,
the problem with this approach is that one has to edit one file that contains
all the music, (which can be long) then has to switch to another file that
contains the score part for the part currently being edited. It seems a
simple things but it makes a big difference when one has
The common templates for orchestral music require to remove comments when
using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359).
I am using the following structure that does not require commenting and
un-commenting the score parts but this requires to create one more file for
each
Marc Mouries marc at mouries.net writes:
The common templates for orchestral music require to remove comments when
using separate files. (ex: http://lsr.dsi.unimi.it/LSR/Item?id=359).
I am using the following structure that does not require commenting and
un-commenting the score parts
Of Bernhard Ott
)Sent: 30 March 2011 15:50
)To: LilyPond-User list
)Subject: numbered rests in parts
)
)Hi again,
)I wonder if there is an automated way to produce numbered full-measure
)rests like shown in the attachment?
)R1^\markup 1 does not come in too handy when setting parts
rests in parts
)
)Hi again,
)I wonder if there is an automated way to produce numbered full-measure
)rests like shown in the attachment?
)R1^\markup 1 does not come in too handy when setting parts for
)percussion with loads of rests.
There is this
http://lsr.dsi.unimi.it/LSR/Item?id=473
James
Hello,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Bernhard Ott
)Sent: 30 March 2011 15:50
)To: LilyPond-User list
)Subject: numbered rests in parts
)
)Hi again,
)I wonder
when setting parts for percussion
with loads of rests.
Hi Laurens,thanks for your reply, but I this is not what I'm looking for:
on the picture you can see a way of letting the musician keep counting while
reading the cue notes - IMHO a great way of writing cue notes in parts,
especially
.
On 30 mrt 2011, at 17:50, Bernhard Ott wrote:
Hi again,
I wonder if there is an automated way to produce numbered full-measure
rests like shown in the attachment?
R1^\markup 1 does not come in too handy when setting parts for percussion
with loads of rests.
Hi Laurens,thanks for your reply
Sorry to be barraging the list; but I have several pieces) that consist of
several parts, and I need to compile them as a whole piece, but have each
part end and begin separately. How, can I accomplish this?
--
In Christ,
Michael D
\version 2.12.2
\include english.ly
\include gregorian.ly
To: lilypond-user@gnu.org
Sent: Saturday, January 22, 2011 12:21 PM
Subject: Several parts to one piece?
Sorry to be barraging the list; but I have several pieces) that consist of
several parts, and I need to compile them as a whole piece, but have each part
end and begin separately. How, can I
12:31 PM
Subject: Re: Several parts to one piece?
Phil,
I want to say that this fixes the naming errors, but it still does not
compile; so I am obviusly overlooking some.
On Sat, Jan 22, 2011 at 7:27 AM, Phil Holmes m...@philholmes.net wrote:
Michael,
It looks like you're
On Jan 22, 2011, at 1:21 PM, Michael Dykes wrote:
Sorry to be barraging the list; but I have several pieces) that consist of
several parts, and I need to compile them as a whole piece, but have each
part end and begin separately. How, can I accomplish this?
You can have more than one
2010/11/17 胡海鹏 - Hu Haipeng hhpmu...@163.com:
Hello,
After many modification, my overture is about to come out as a final sets
(score and parts). A friend of my teacher can manage to let it played.
Congratulations!
But when making parts, I still have problem with the latest version
Hello,
After many modification, my overture is about to come out as a final sets
(score and parts). A friend of my teacher can manage to let it played. But when
making parts, I still have problem with the latest version. No matter what
staff size I set, there will be many parts not fitting
On Thu 07 Oct 2010, 23:44 胡海鹏 - Hu Haipeng wrote:
Hello,
I'm producing parts for my overture, while finding a very frustrating
visual problem. I'd like Lilypond to auto resize staves to pages, but I
know the staff size must be set manually. Therefore, even a single line
score causes
/10/7 胡海鹏 - Hu Haipeng hhpmu...@163.com:
Hello,
I'm producing parts for my overture, while finding a very frustrating
visual problem. I'd like Lilypond to auto resize staves to pages, but I know
the staff size must be set manually. Therefore, even a single line score
causes all pages to have
Hello,
I'm producing parts for my overture, while finding a very frustrating visual
problem. I'd like Lilypond to auto resize staves to pages, but I know the staff
size must be set manually. Therefore, even a single line score causes all pages
to have staves running out of. When I tried
Hi Jeff,
Just what I needed!
Glad to hear it.
It'll be a lot of work, but I think I can see exactly what you mean.
Basically, each system will have a LOT of staves, but most will be invisible,
most of the time.
Precisely. It's my ultimate dream that Lilypond could do this staff-splitting
-user@gnu.org
http://lists.gnu.org/mailman/listinfo/lilypond-user
--
View this message in context:
http://old.nabble.com/In-parts-but-not-in-the-score-tp29258748p29272863.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com
Dear members,
I apologize if this matter should have been discussed earlier. I tried to
find posts about this but maybe my English language skills are not enough to
make the right search.
I am copying a score because I need to make parts: I need to put some texts
and other marks on single parts
On Sun, Jul 25, 2010 at 12:44:42AM -0700, Jayaratna wrote:
I am copying a score because I need to make parts: I need to put some texts
and other marks on single parts but I would like them not to appear on every
line of the score, but just at the top of each group. Any suggestion about
how
, 2010 at 12:44:42AM -0700, Jayaratna wrote:
I am copying a score because I need to make parts: I need to put some
texts
and other marks on single parts but I would like them not to appear on
every
line of the score, but just at the top of each group. Any suggestion
about
how this can be done
group (this is what I need), or it is only printed at the top line of
the score?
Thank you again,
Andrea
Venice, Italy
Graham Percival-3 wrote:
On Sun, Jul 25, 2010 at 12:44:42AM -0700, Jayaratna wrote:
I am copying a score because I need to make parts: I need to put some
texts
printed at the top line
of
the score?
Thank you again,
Andrea
Venice, Italy
Graham Percival-3 wrote:
On Sun, Jul 25, 2010 at 12:44:42AM -0700, Jayaratna wrote:
I am copying a score because I need to make parts: I need to put some
texts
and other marks on single parts but I
Am Sonntag, 25. Juli 2010, um 14:30:36 schrieb Jayaratna:
thank you for your reply. Selected snippets for \mark show how to print
text on every staff of the score, but is there a method for printing them
only for top staffs of every group?
Unfortunately, StaffGroup, ChoirStaff, etc. don't work
Thank you, Reinold,
Thank you for your reply: I guess I'll hara-kiri making duplicate files for
parts and score... :(
Andrea,
Venice, Italy
Bugzilla from reinh...@kainhofer.com wrote:
Am Sonntag, 25. Juli 2010, um 14:30:36 schrieb Jayaratna:
thank you for your reply. Selected snippets
2010/7/25 Reinhold Kainhofer reinh...@kainhofer.com:
Unfortunately, StaffGroup, ChoirStaff, etc. don't work with that
method, you have to add the engravers manually to the top-most staff
of that group. This again, will probably break with hara-kiri staves
that are not drawn when they contain
401 - 500 of 796 matches
Mail list logo
