-space units in the
original and you'll be good to go.
Paul
From: Dimitris Marinakis
To: lilypond-user
Sent: 11/04/2022 17:41
Subject: Best way to fix differences in staff size from score to parts
I have a lot of custom markings that are configured to look nice on
set-global
I have a lot of custom markings that are configured to look nice on
set-global-staff-size 16 how can I modify those for my parts which use
staff-size 20?
I have a common file that contains all the markings and layout settings.
Trying to figure out separate settings for all those markings will be
> "bob" == bobroff@centrum is writes:
bob> For different output in score vs part you can use tags.
bob>
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html
You can also create a 'global' music to put in parallel with each
part. E.g.,
\version
For different output in score vs part you can use tags.
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html
-David
- Jenifer Tribe wrote:
> It is often useful to create a score and individual parts.
>
> Sometimes you need to mark up a poin
It is often useful to create a score and individual parts.
Sometimes you need to mark up a point in each part, but not to repeat that in
each part within the score. And perhaps less often, vice versa. (eg where a
change of key or time signature appears at different points in the parts
Hi Leszek,
Am 15.10.2020 um 15:13 schrieb lilypond-user-requ...@gnu.org:
I would like to put pagebreaks in specific places in
the full score, so that they would not operate when parts are compiled.
I can confirm all the replies that recommend include files and invisible
voices. (I truly
times, but maybe this time I'll succeed.
You've all been very helpful. My thanks again!
Cheers,
Leszek.
On Thu, 15 Oct 2020 at 15:13, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> Hi Leszek,
>
> > I would like to compile a full score and parts based on one
Hi Leszek,
> I would like to compile a full score and parts based on one file containing
> musical definitions. I would like to put pagebreaks in specific places in the
> full score, so that they would not operate when parts are compiled. The way
> I'm doing it now is that I put
{
\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
Then your use of tags seems the best solution.
Il giorno gio 15 ott 2020 alle 14:40, Leszek Wroński
ha scritto:
Thank you very much! I'm already doing that :-) Still, it's a 70+
pages single-movement work where I'd like to control page-breaking in
a precise way in a few locations...
Best
Thank you very much! I'm already doing that :-) Still, it's a 70+ pages
single-movement work where I'd like to control page-breaking in a precise
way in a few locations...
Best regards,
Leszek.
On Thu, 15 Oct 2020 at 14:29, Federico Bruni wrote:
> Il giorno gio 15 ott 2020 alle 14:19, Leszek
Il giorno gio 15 ott 2020 alle 14:19, Leszek Wroński
ha scritto:
I don't really like this solution; it's just not tidy... and I have
to remember which part I put the page breaks in. Are there any
established Lilypond practices for doing this? Is it e.g. possible to
introduce some sort of
Dear Experts,
I would like to compile a full score and parts based on one file containing
musical definitions. I would like to put pagebreaks in specific places in
the full score, so that they would not operate when parts are compiled. The
way I'm doing it now is that I put a \pagebreak in one
Sorry to be so late to respond.
I agree with Carl that this type of tutorial doesn't have its logical
place in the NR (Notation Reference). A separate section of the LM
(Learning Manual) for tutorials like mine, or page LM 4.6.3. 'Real music
example' is in my opinion most appropriate. OTOH,
In my opinion, this does not belong in the notation reference.
I think there should be another volume added to the documentation, perhaps
something like "Advanced Engraving".
The information you are trying to add is tutorial in nature, rather than
reference.
A reference manual aims at
On 6/7/20, Rutger Hofman wrote:
> My first attempt is here:
> https://www.rutgerhofman.nl/lilypond/divisi-doc/divisi-doc.html
Very nice! I have a few minor remarks:
- The writing style differs a bit from our recommended style, see CG
5.5.3 and 5.5.4
ocs, it is there to "stay
forever" which would be nice.
One elaborate example of my experiences is found in the score and parts
of "3 Bruchstücke aus Wozzeck" by Alban Berg, see
https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_Alban) (travel to the
tab [Arrangements and Transcriptions
On Sun, 7 Jun 2020 at 10:26, Rutger Hofman wrote:
>
> Well, it turned out to keep that tutorial short. Still, I think it will
> have its use, since questions about temp staves/divisi turn up at
> regular intervals.
>
> My first attempt is here:
>
>
>
> On 6/7/20 9:26 AM, Rutger Hofman wrote:
> > My first attempt is here:
> >
> > https://www.rutgerhofman.nl/lilypond/divisi-doc/divisi-doc.html
> >
>
Thank you for sharing this, Rutger - I'm looking forward to reading in more
detail as soon as I have a chance.
Best, David
>
r list? Scores
of Beauty? If it gets into the Lilypond docs, it is there to "stay
forever" which would be nice.
One elaborate example of my experiences is found in the score and parts
of "3 Bruchstücke aus Wozzeck" by Alban Berg, see
https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C
would be nice.
One elaborate example of my experiences is found in the score and parts
of "3 Bruchstücke aus Wozzeck" by Alban Berg, see
https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_Alban) (travel to the
tab [Arrangements and Transcriptions]). One can have a look at e.g. the
Violins I par
On 6/2/20, Rutger Hofman wrote:
> I know that pdftk can add attachments to PDFs. Is that now also built
> into Lilypond?
Well… yes!
https://git.savannah.gnu.org/cgit/lilypond.git/commit/?id=0fa6f042cccacb643d46781dde23617c71a9753e
Man, I wish more people would know about that feature. I need
On 6/1/20 10:45 PM, Valentin Villenave wrote:
On 6/1/20, Rutger Hofman wrote:
[snip]
On that note:
One elaborate example of my experiences is found in the score and parts
of "3 Bruchstücke aus Wozzeck" by Alban Berg, see
https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_
ally homophonic or rhythmically polyphonic, especially in the
> context of divisi staves.
>
> What would be the best venue for this? Lilypond docs? User list? Scores
> of Beauty? If it gets into the Lilypond docs, it is there to "stay
> forever" which would be nice.
>
> One el
fford, and even then its source code is not quoted verbatim.)
On that note:
> One elaborate example of my experiences is found in the score and parts
> of "3 Bruchstücke aus Wozzeck" by Alban Berg, see
> https://imslp.org/wiki/Wozzeck%2C_Op.7_(Berg%2C_Alban)
I appreciate that
nue for this? Lilypond docs? User list? Scores
of Beauty? If it gets into the Lilypond docs, it is there to "stay
forever" which would be nice.
One elaborate example of my experiences is found in the score and parts
of "3 Bruchstücke aus Wozzeck" by Alban Berg, see
https:/
On Wed, 27 May 2020 at 18:10, Valentin Villenave wrote:
>
> On 5/27/20, Lib Lists wrote:
> > merge the stems so
> > that the final result looks like one voice.
>
> In that case, what you want clearly is \partcombine (\partCombine since 2.21).
>
> If you have more than two voices, then you can
On 5/27/20, Lib Lists wrote:
> merge the stems so
> that the final result looks like one voice.
In that case, what you want clearly is \partcombine (\partCombine since 2.21).
If you have more than two voices, then you can always apply another
\partCombine on top of the first two voices, or use
On Tue, 26 May 2020 at 20:49, Valentin Villenave wrote:
>
> On 5/26/20, Lib Lists wrote:
> > For example, I'd start with the concertmaster's part, then duplicate
> > it and edit it to generate the music the second soloist, then the
> > other soloists, then desks, divisi and so on.
>
> Greetings,
On 5/26/20, Xavier Scheuer wrote:
> I have used several times the technique mentioned on this list and
> documented only in the regression test ‘divisi-staves.ly’.
It may indeed be more useful if added to the NR; I’ve just written a
patch with that mind:
On 5/26/20, Lib Lists wrote:
> For example, I'd start with the concertmaster's part, then duplicate
> it and edit it to generate the music the second soloist, then the
> other soloists, then desks, divisi and so on.
Greetings,
I wouldn’t recommend to “duplicate” any code. As Xavier said, you can
Hi,
thanks for your answer.
During the past days I've been looking at this same technique, the
only problem is that I cannot find a way to merge the different voices
into one, for example in the first system. In an ideal world, I'd like
to have the ability to tell Lilypond that a certain passage
On Tue, 26 May 2020 at 18:12, Lib Lists wrote:
>
> [...]
>
> However, I know that \partcombine doesn't accept more than two voices,
> so I guess I cannot (hypothetically) combine all the voices together
> and let Lilypond sort out when the voices contain the same or
> different materials and
the material for the score and the parts, especially
regarding the strings. For example, in Stravinsky's Rite of Spring,
only in the first violins, there are up to 4 soloists, divisi (up to 4
parts), as well as separation by desk.
I'm considering approaching the task from the player's point of view,
i.e
Andrew Bernard wrote
> I am unable to understand why the \global information does not print four
> times. How does this work? The template by the way does not give example
> code for the \global variable.
Hi Andrew,
Whether the \global information is printed four times or not solely depends
on
At 21:37 on 04 Nov 2018, Andrew Bernard wrote:
>After a long time using lilypond, for solo instrumental music
>exclusively, now setting a string quartet for the first time and
>needing score and parts. I confess that I am confused about using a
>global variable for tempo indica
Pardon me. Ignore question 2. I had failed to write the correct code as per
the template example. Apologies for that particular noise.
Andrew
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After a long time using lilypond, for solo instrumental music exclusively,
now setting a string quartet for the first time and needing score and
parts. I confess that I am confused about using a global variable for tempo
indications and so on and so forth. Two newbie questions.
1.
In the NR
On Sat, 2017-04-15 at 12:34 +0200, Rutger Hofman wrote:
> On 04/13/2017 03:37 PM, David Sumbler wrote:
> >
> > On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote:
> > >
> > > Hi David,
> > >
> > > >
> > > >
> > > > At the moment I cannot really see how to deal with this sort of
> > > >
On Fri, 2017-04-14 at 17:40 -0400, Kieren MacMillan wrote:
> Hi David,
>
> >
> > That thread is now 8 months old, and I wondered what has happened
> > since.
> Unfortunately, not as much as one would hope…
>
> >
> > Is some of it yet incorporated into the development version of
> > LilyPond?
>
On 04/13/2017 03:37 PM, David Sumbler wrote:
On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote:
Hi David,
At the moment I cannot really see how to deal with this sort of
problem, other than having completely separate input for the score
and
the part at these points, controlled by
Hi David,
> That thread is now 8 months old, and I wondered what has happened since.
Unfortunately, not as much as one would hope…
> Is some of it yet incorporated into the development version of LilyPond?
I’d have to look more closely, but my intuition is “yes”.
> Is it likely to be included
On Thu, 2017-04-13 at 14:37 +0100, David Sumbler wrote:
> On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote:
> >
> > Hi David,
> >
> > >
> > >
> > > At the moment I cannot really see how to deal with this sort of
> > > problem, other than having completely separate input for the
> > >
On Thu, 2017-04-13 at 09:19 -0400, Kieren MacMillan wrote:
> Hi David,
>
> >
> > At the moment I cannot really see how to deal with this sort of
> > problem, other than having completely separate input for the score
> > and
> > the part at these points, controlled by tags. But is there a
> >
Hi David,
> At the moment I cannot really see how to deal with this sort of
> problem, other than having completely separate input for the score and
> the part at these points, controlled by tags. But is there a better
> way - one which requires less duplication of material in the input?
>
>
for this to produce score and parts, with "tacet" markings
in the parts for some movements. But there is one particular area in
which I should like some suggestions or recommendations.
The 1st violins, for instance, mostly play a single line of music,
which will of course appear on a single sta
Andrew:
> So, I'm in the process of transcribing some masses from part-books, and I'm
> trying to figure out the best way to set up the file/variable/include
> structure so that I have a minimum of clutter.
>
> There are six masses, with two brass (alternating between trumpet, horn,
> and tacet),
Hi Malte,
well, if I go by your setup, I could theoretically move the six \score
blocks into my master file, so long as I rename the instruments for each
movement (and then eventually for each mass as well, if I wanted to combine
all six masses into one document), and then make a parts.ly file to
Hi List,
So, I'm in the process of transcribing some masses from part-books, and I'm
trying to figure out the best way to set up the file/variable/include
structure so that I have a minimum of clutter.
There are six masses, with two brass (alternating between trumpet, horn,
and tacet), tympani,
Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:
do I enter the transposing instruments into the score in concert pitch or
transposed? Can Frescobaldi (my editor of choice) take an entire Voice and
transpose it into concert pitch after I've edited, or should I enter the
content in concert pitch
Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:
Is there a better way to structure the files? How do I extract the
instrument variables into separate part files? Can I just \include all the
separate movement files, and then add the Voice variables in sequence? In
other words: each movement is
On 02/10/2015 08:58, N. Andrew Walsh wrote:
do I enter the transposing instruments into the score in concert pitch
or transposed? Can Frescobaldi (my editor of choice) take an entire
Voice and transpose it into concert pitch after I've edited, or should
I enter the content in concert pitch
On 02.10.2015 12:03, Malte Meyn wrote:
I remember an issue with note names in german (and perhaps other
languages) when you have several names (asas and ases) for the same
pitch (a flat). I’m not sure whether this has been fixed.
You might check at the issue tracker:
On Wed, 14 Jan 2015 09:36:52 -0700 (MST)
tisimst tisimst.lilyp...@gmail.com wrote:
Johan Vromans wrote
It works for many structure-related items but unfortunately not for
repeats.
Sure it does!
Thanks for your response. It clearly indicates that LP does, indeed, *not*
process volta
will be added to the
discussion below:
http://lilypond.1069038.n5.nabble.com/Demo-Score-and-parts-template-tp170276p170503.html
To start a new topic under User, email
ml-node+s1069038n...@n5.nabble.com
To unsubscribe from Lilypond, click here.
NAML
--
View this message in context:
http
On Thu, 15 Jan 2015 06:55:21 -0700 (MST)
tisimst tisimst.lilyp...@gmail.com wrote:
Should the LP engine, upon encountering a \repeat volta section,
automatically, under the covers, force that repeat structure upon the
other simultaneous staves/voices, which do NOT contain that same
when you know you'll be re-using the parts like
this demo is supposed to show how to do.
Just my thoughts on the matter,
Abraham
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Sent from the User mailing list archive
Johan Vromans jvromans at squirrel.nl writes:
In fact, this is separation of content and structure. It works for many
structure-related items but unfortunately not for repeats.
For example, in the following snippet the score looks right, but in the
midi the repeats are not unfolded. Do you
On Sat, 10 Jan 2015 11:12:26 +0800
James Harkins jamshar...@qq.com wrote:
% Just the notes -- no need to copy anything from global
In fact, this is separation of content and structure. It works for many
structure-related items but unfortunately not for repeats.
For example, in the following
- Original Message -
From: James Harkins jamshar...@qq.com
To: lilypond-user@gnu.org; m...@philholmes.net
Sent: Sunday, January 11, 2015 6:37 AM
Subject: Re: Score and parts template
From: Phil Holmes
Since the question came up about organizing LilyPond code for score and
parts, I
On January 11, 2015 8:06:55 PM Phil Holmes m...@philholmes.net wrote:
So I assume the clarinet in A (which I'd missed) has a lower range than the Bb?
Clarinets in Bb and A have the same written range, extending down to the E
below middle C. This note sounds as concert D on the Bb clarinet,
- Original Message -
From: James Harkins jamshar...@qq.com
To: Phil Holmes m...@philholmes.net; lilypond-user@gnu.org
Sent: Sunday, January 11, 2015 12:18 PM
Subject: Re: Score and parts template
On January 11, 2015 8:06:55 PM Phil Holmes m...@philholmes.net wrote:
So I assume
to the individual score headers? And shouldn't they be in their
own PDFs? I guess they don't HAVE to, but I feel like that is also the
norm for most music.
-Abraham
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View this message in context:
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Sent from
Phil Holmes mail at philholmes.net writes:
I believe that, as a tutorial template, it would be more useful to
illustrate how to accommodate key signature indications with transposing
instruments, since this remains the norm for most music.
Ah, OK -- that makes perfect sense. It sounded at
- Original Message -
From: James Harkins jamshar...@qq.com
To: lily-users lilypond-user@gnu.org
Sent: Saturday, January 10, 2015 3:12 AM
Subject: Demo: Score and parts template
Hi,
Since the question came up about organizing LilyPond code for score and
parts, I thought I would make
On Fri, Jan 9, 2015 at 10:12 PM, James Harkins jamshar...@qq.com wrote:
Hi,
Since the question came up about organizing LilyPond code for score and
parts, I thought I would make a quick demo of what I believe to be the
standard way to do it. Somehow I pieced these ideas together from LP code
From: Phil Holmes
Since the question came up about organizing LilyPond code for score and
parts, I thought I would make a quick demo of what I believe to be the
standard way to do it. Somehow I pieced these ideas together from LP code
that I found online (Mozart Horn Concerto, as I
Hi,
Since the question came up about organizing LilyPond code for score and parts,
I thought I would make a quick demo of what I believe to be the standard way to
do it. Somehow I pieced these ideas together from LP code that I found online
(Mozart Horn Concerto, as I recall), but I don't
snippets, as well as a file containing all the instrumentDefinition's needed
in the project. What I want to be able to do is to use different
instrumentDefinition's in the conductor's score file versus the parts
score-files. This would, for example, allow me to have a different
transposition
Le 14 janv. 09 à 03:54, nick.pa...@internode.on.net a écrit :
I have a score and parts to which I have just added \bookpart plus
the hack suggested in http://www.nabble.com/Separate-page-numbering-in-separate-book-parts--td20831772.html
in order to get the pages renumbered to 1 for each part
-Original Message-
From: Nicolas Sceaux [mailto:nicolas.sce...@free.fr]
Sent: Thursday, 15 January 2009 03:40
To: nick.pa...@internode.on.net
Cc: lilypond-user@gnu.org
Subject: Re: Adding \bookpart to score and parts loses tempo
indications from score
Le 14 janv. 09 à 03:54
Le 14 janv. 09 à 20:20, Nick Payne a écrit :
Ah. Something as simple as that! BTW, I also notice that although I
have
both title and tagline setup in the header sections for each
bookpart, the
tagline only prints at the end of the last part. You can see this in
the
example I sent by adding
I have a score and parts to which I have just added bookpart plus the
hack suggested in
http://www.nabble.com/Separate-page-numbering-in-separate-book-parts--td20831772.html
[1] in order to get the pages renumbered to 1 for each part. What has
happened is that the tempo indications have
Anthony W. Youngman wrote:
Obviously, I can't (easily) tweak the placing of things like Allegro
if it's going to be inserted into lots of parts (nor do I want the
hassle). But, to give a current example, my trombone part has a top f
(in lily terms, an f' in bass clef) right where I want to
In message [EMAIL PROTECTED], Mats Bengtsson
[EMAIL PROTECTED] writes
Anthony W. Youngman wrote:
Obviously, I can't (easily) tweak the placing of things like
Allegro if it's going to be inserted into lots of parts (nor do I
want the hassle). But, to give a current example, my trombone part
= 76) printed
only *once* on top of the system on the conductor's score, but these tempo
marks must be reproduced in each parts score. How can this be done?
If I enter the tempo marks in each part, then they will also be
printed on
top of each part in the conductor's score, which is undesirable
On 13.09.2008, at 16:55, Anthony W. Youngman wrote:
Obviously, I can't (easily) tweak the placing of things like
Allegro if it's going to be inserted into lots of parts (nor do I
want the hassle). But, to give a current example, my trombone part
has a top f (in lily terms, an f' in bass
In message
[EMAIL PROTECTED], Daryna
Baikadamova [EMAIL PROTECTED] writes
Now I dream up another application: For orchestral parts with long
multi-bar rests, it is often difficult for the player to count exactly
when the rests end. So would it be possible to include a small section
of the
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Samstag, 13. September 2008 schrieb Anthony W. Youngman:
In message
[EMAIL PROTECTED], Daryna
Baikadamova [EMAIL PROTECTED] writes
Now I dream up another application: For orchestral parts with long
multi-bar rests, it is often difficult for
#'whatever-your-override-is} and then when you make parts/score, you
add an extra \keepWithTag #'trombone, or \removeWithTag #'trombone. It
sounds more difficult than it really is.
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be reproduced in each parts score. How can this be done?
If I enter the tempo marks in each part, then they will also be printed
on
top of each part in the conductor's score, which is undesirable.
However
if
I only enter the tempo marks on the top instrument (flute, which is what
have been
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Mittwoch, 10. September 2008 schrieb Daryna Baikadamova:
Thanks again for the example you gave for overlaying the bar and tempo
settings.
Now I dream up another application: For orchestral parts with long
multi-bar rests, it is often
must be reproduced in each parts score. How can this be done?
If I enter the tempo marks in each part, then they will also be printed on
top of each part in the conductor's score, which is undesirable. However if
I only enter the tempo marks on the top instrument (flute, which is what
have been done
score, but these tempo
marks must be reproduced in each parts score. How can this be done?
If I enter the tempo marks in each part, then they will also be printed on
top of each part in the conductor's score, which is undesirable. However if
I only enter the tempo marks on the top instrument (flute
. Allegretto crotchet = 76)
printed
only *once* on top of the system on the conductor's score, but these tempo
marks must be reproduced in each parts score. How can this be done?
If I enter the tempo marks in each part, then they will also be printed on
top of each part in the conductor's score
only *once* on top of the system on the conductor's score, but these tempo
marks must be reproduced in each parts score. How can this be done?
If I enter the tempo marks in each part, then they will also be printed on
top of each part in the conductor's score, which is undesirable. However
if
I
Am 07.09.2008 um 10:19 schrieb Daryna Baikadamova:
Thanks! However I am new to lilypond, could you please point me to
an example illustrating how global block is used in this way. I
guess this situation should be common in orchestral scores, although
many projects in mutopia (including
Suppose if I typeset a full score (with all instruments that appear in the
work) in lilypond, there are there any commands / programs / scripts that
can automatically take the full score lilypond file and create pdf for:
conductor's score - with parts that do not play in a particular line
Baikadamova [EMAIL PROTECTED] wrote:
Suppose if I typeset a full score (with all instruments that appear in the
work) in lilypond, there are there any commands / programs / scripts that
can automatically take the full score lilypond file and create pdf for:
conductor's score - with parts that do
Sorry - resending message originally sent with incorrect subject
Beg pardon
Date: Tue, 22 Jul 2008 09:50:09 +1200
From: Daryna Baikadamova [EMAIL PROTECTED]
Subject: a program / command / script turing a lilypond full score
intoconductor's score and parts scores automatically
Hi Haipeng,
2008/6/14 hhpmusic [EMAIL PROTECTED]:
Hi,
I used Vallentin's MarkLines to construct rehearsal marks above the whole
score and first violin. But the log file always says improbable rehearsal
marks 13xx...., although I reduced the global staff size and the
outside staff
El lun, 09 de abr de 2007, a las 06:50:40 +0200, Peter Mogensen dijo:
I usually maintain a seperate section defining the score from the
different voice, which I edit when I need a different extract.
However... this editing of the score file is tedious. Why not add a
feature to lilypond
Peter Mogensen wrote:
However... this editing of the score file is tedious. Why not add a
feature to lilypond where you can select to mute certain staffs or
voices with a command line switch?
If by mute you mean only include certain staffs, then this is
already done. The basic idea is you
hello,
i need to do a bunch of three-horn arrangements of pop tunes; and it's
better for me to check everything if all three staffs are on the same page
in a score. my first attempt was to write all the parts individually, then
combine them into a score. This seems to be the easiest way with
On Sun, 8 Apr 2007 20:39:39 -0400, steve berthiaume wrote:
i need to do a bunch of three-horn arrangements of pop tunes; and it's
better for me to check everything if all three staffs are on the same page
in a score. my first attempt was to write all the parts individually, then
combine them
hi all,
i wrote a shellscript which generates a score and the corresponding parts for
lilypond. the score-setup can be changed at anytime by editing the configfile.
it works with lilypond 2.8.x
i would be very happy if someone try it and send me some feedback.
greetings,
johnny
--
hi all,
i wrote a shellscript which generates a score and the corresponding parts for
lilypond. the score-setup can be changed at anytime by editing the configfile.
it works with lilypond 2.8.x
i would be very happy if someone try it and send me some feedback.
greetings,
i wrote a shellscript which generates a score and the corresponding
parts for lilypond. the score-setup can be changed at anytime by editing the
configfile.
It is too long and without documentation or example config file.
And I don't want to learn yet another file syntax/convention.
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