Patrick McCarty wrote:
On Thu, May 14, 2009 at 8:05 PM, Chip c...@wiegand.org wrote:
Chip wrote:
I've come across this a couple times - when I am inputting a song it all
works fine in \relative mode. I do some editing, some copy/paste from one
part to another, view the resulting pdf
Thank you all for your helpful replies.
@Eluze: Yes, that snippet does exactly what I want. Thanks!!
@Kieren: It does indeed, thanks for pointing it out. It's very convenient
too, when there are several of these trills.
Best regards,
Holger
On Fri, May 15, 2009 at 1:29 AM, Kieren MacMillan
Would someone be able to help me get this on one page?
2009/5/14 d...@haygoods.org:
I would like to reduce the vertical space between staves (aka 1-stave
systems) within one \score on a page that has two other \scores.
Once the rest of the content is added, I want to force the first
2009/5/15 d...@haygoods.org:
Would someone be able to help me get this on one page?
By brute force I'do:
\paper { between-system-padding=0
...
--
Francisco Vila. Badajoz (Spain)
www.paconet.org
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Francisco Vila-5 wrote:
The problem with \afterGrace is that you cannot put a slur:
By the way, what's wrong with this code? Not having \new Staff
(because I assume it's not needed) it creates three staves!
i think this could be related to the issues found about graces in the
2009/5/15 Francisco Vila paconet@gmail.com:
2009/5/15 d...@haygoods.org:
Would someone be able to help me get this on one page?
By brute force I'do:
\paper { between-system-padding=0
...
%
% me too; and, occasionally:
ragged-last-bottom = ##f
}
--
Francisco Vila. Badajoz (Spain)
Francisco Vila wrote:
The problem with \afterGrace is that you cannot put a slur:
\new Staff \relative c'''{ \afterGrace a2 {g16[ a]} a2 }
\new Staff \relative c'''{ a2 \acciaccatura {g16[ a]} a2 }
Of course you can:
\new Voice \relative c'''{ \afterGrace a2 ( {g16[ a])} a2 }
By the
Dmytro O. Redchuk wrote:
2009/5/15 Francisco Vila paconet@gmail.com:
2009/5/15 d...@haygoods.org:
Would someone be able to help me get this on one page?
By brute force I'do:
\paper { between-system-padding=0
...
%
% me too; and, occasionally:
ragged-last-bottom = ##f
}
another
Chip wrote:
Patrick McCarty wrote:
On Thu, May 14, 2009 at 8:05 PM, Chip c...@wiegand.org wrote:
Chip wrote:
I've come across this a couple times - when I am inputting a song it
all
works fine in \relative mode. I do some editing, some copy/paste
from one
part to another, view the
Marc Hohl wrote:
descried his analysis about chords representation
Thanks Marc very very much. Actually your code does not work for me but you
pointed me to right direction. I analyzed ly/property-init.ly and
scm/chord-name.scm files and functions in them to understand how chord logic
How to achieve these complex chords:
C+5 (instead of C+)
Cdim (instead of Co)
Cmaj8 (instead of triangle)
and chord transition from G7/4-3 as show on image attached
http://www.nabble.com/file/p23558140/slika.jpeg
--
View this message in context:
Tom Dickson-3 wrote:
It doesn't work correctly - it appears Scheme doesn't like the second
use of the variable?
verseNumber = #(define-music-function (parser location markp) (string?)
#{
\set vocalName = $markp
\set shortVocalName = $markp
\override InstrumentName
Hi Jon,
Jonathan Kulp wrote:
Chip wrote:
snip
I think this is the issue mentioned in the Known Issues for Chapter
1.1.2 Transpose in the Notation Reference. However, the two
sentences included there are very confusing and should be rewritten
make the issue more clear.
-Patrick
Yes, I
On 5/15/09 5:05 AM, Jonathan Kulp jonlancek...@gmail.com wrote:
Chip wrote:
Patrick McCarty wrote:
On Thu, May 14, 2009 at 8:05 PM, Chip c...@wiegand.org wrote:
I think this is the issue mentioned in the Known Issues for Chapter
1.1.2 Transpose in the Notation Reference. However, the
I'm not sure that the relative mode gets forgotten but that
LilyPond follows its own internal rules. I find that LilyPond
behaves the way that the manual says it does: it picks the closest
pitch. If I write { c2 a2 } it picks the A below that C rather than
the A above that C. If I want
On May 15, 2009, at 6:45 AM, Stjepan Brbot wrote:
How to achieve these complex chords:
C+5 (instead of C+)
Cdim (instead of Co)
Cmaj8 (instead of triangle)
and chord transition from G7/4-3 as show on image attached
http://www.nabble.com/file/p23558140/slika.jpeg
You need to define
Carl D. Sorensen wrote:
Music inside a \transpose or \chordmode block is absolute, unless a
\relative is included inside the the \transpose or \chordmode block. When
\relative blocks are nested, the innermost relative block applies.
I don't understand why \chordmode (and \chords) changes
On Fri, May 15, 2009 at 06:46:39AM -0600, Carl D. Sorensen wrote:
First, I think that the information above should be put into 1.1.1 Writing
Pitches as examples under Relative octave entry. There should be three
separate items/examples:
When relative blocks are nested, the innermost
Tim McNamara wrote:
I'm not sure that the relative mode gets forgotten but that LilyPond
follows its own internal rules. I find that LilyPond behaves the way
that the manual says it does: it picks the closest pitch. If I write
{ c2 a2 } it picks the A below that C rather than the A above
Tom Dickson-3 wrote:
It doesn't work correctly - it appears Scheme doesn't like the second
use of the variable?
verseNumber = #(define-music-function (parser location markp) (string?)
#{
\set vocalName = $markp
\set shortVocalName = $markp
\override InstrumentName
On 5/15/09 8:43 AM, Mats Bengtsson mats.bengts...@ee.kth.se wrote:
Carl D. Sorensen wrote:
Music inside a \transpose or \chordmode block is absolute, unless a
\relative is included inside the the \transpose or \chordmode block. When
\relative blocks are nested, the innermost
In message 20090515145035.ga3...@nagi, Graham Percival
gra...@percival-music.ca writes
On Fri, May 15, 2009 at 06:46:39AM -0600, Carl D. Sorensen wrote:
First, I think that the information above should be put into 1.1.1 Writing
Pitches as examples under Relative octave entry. There should be
Stjepan Brbot schrieb:
Marc Hohl wrote:
descried his analysis about chords representation
Thanks Marc very very much. Actually your code does not work for me but you
pointed me to right direction. I analyzed ly/property-init.ly and
scm/chord-name.scm files and functions in them to
--- Original Message ---
From: Anthony W. Youngman lilyp...@thewolery.demon.co.uk
To: lilypond-user@gnu.org
Sent: 15.5.09, 18:03:43
Subject: Re: relative mode occasionally gets forgotten?
In message 20090515145035.ga3...@nagi, Graham Percival
gra...@percival-music.ca writes
On
On May 15, 2009, at 9:54 AM, Chip wrote:
Tim McNamara wrote:
I'm not sure that the relative mode gets forgotten but that
LilyPond follows its own internal rules. I find that LilyPond
behaves the way that the manual says it does: it picks the closest
pitch. If I write { c2 a2 } it
Hello,
I have found a problem with jEdit (probably LilypondTool). I just write
a .ly source that contains the word Pincé. I saved the file yesterday.
Today I wanted to continue and see that this word has been changed to
Pincé. That's a bit annoying. The Pincé is a playing instruction
and
2009/5/15 Marc Hohl m...@hohlart.de:
I still don't get it - when I use extra-dy = 0, I get glissando lines
parallel to the staff lines,
so a value of zero can't be right. I have attached the pdf output, the
upmost tab lie is the
standard behaviour, the middle line is extra-dy = 0, and the
Am 15.05.2009, 22:05 Uhr, schrieb Helge Kruse helge.kruse-nos...@gmx.net:
I have found a problem with jEdit (probably LilypondTool). I just write
a .ly source that contains the word Pincé. I saved the file yesterday.
Today I wanted to continue and see that this word has been changed to
In message 200905151909580...@1654122929, David Pounder
pound...@lineone.net writes
--- Original Message ---
From: Anthony W. Youngman lilyp...@thewolery.demon.co.uk
To: lilypond-user@gnu.org
Sent: 15.5.09, 18:03:43
Subject: Re: relative mode occasionally gets forgotten?
In message
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
The notation reference states in section 1.6.3 that \quoteDuring is typically
used for two instruments that play the same notes during a passage of music.
Unfortunately, quoteDuring quotes only notes, rests and ties, but not
dynamics, slurs, other
On 5/15/09 3:06 PM, Anthony W. Youngman lilyp...@thewolery.demon.co.uk
wrote:
In message 200905151909580...@1654122929, David Pounder
pound...@lineone.net writes
I don't know if it's worth mentioning, but you can also run into
problems using \repeat inside a \relative block if an
On 5/15/09 4:13 PM, Reinhold Kainhofer reinh...@kainhofer.com wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
The notation reference states in section 1.6.3 that \quoteDuring is typically
used for two instruments that play the same notes during a passage of music.
Unfortunately,
On Fri, May 15, 2009 at 3:13 PM, Reinhold Kainhofer
reinh...@kainhofer.com wrote:
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
The notation reference states in section 1.6.3 that \quoteDuring is typically
used for two instruments that play the same notes during a passage of music.
On Fri, May 15, 2009 at 3:50 PM, Patrick McCarty pnor...@gmail.com wrote:
On Fri, May 15, 2009 at 3:13 PM, Reinhold Kainhofer
Is there any pre-defined list of all available event types that can be used?
Yes, the tree of all event types is listed in scm/define-event-types.scm.
Sorry, I meant
Is LilyPond capable of generating harmonized lines of notes? For
example, say I have:
\key g \major
\melody { c8 d8 e8 fis8 g1 }
for one instrument and I want a second instrument to play a
harmonized line a third up from that (e.g., { e8 fis8 g8 a8 b1 } ),
is there a command for LilyPond
2009/5/15 Patrick McCarty pnor...@gmail.com:
On Fri, May 15, 2009 at 3:50 PM, Patrick McCarty pnor...@gmail.com wrote:
On Fri, May 15, 2009 at 3:13 PM, Reinhold Kainhofer
Is there any pre-defined list of all available event types that can be used?
Yes, the tree of all event types is listed
--- Original Message ---
From: Carl D. Sorensen c_soren...@byu.edu
To: Anthony W. Youngman lilyp...@thewolery.demon.co.uk,
lilypond-user@gnu.org lilypond-user@gnu.org
Sent: 15.5.09, 23:43:07
Subject: Re: relative mode occasionally gets forgotten?
On 5/15/09 3:06 PM, Anthony
2009/5/15 Marc Hohl m...@hohlart.de:
Upto now, I have achieved to make tablature fret numbers invisible which are
tied to another note.
But I don't know how to add parentheses to the numbers that are tied but
show up after a line break
(for example the first note in measure 5, see
gnomino wrote:
However, the pedal bracket appears disjointed
and uneven. Is there any way I can fix this?
Here's one way of doing it. Off hand, I don't
know if there's a more elegant solution, but
there might be. Anyway, the idea for this comes
from this snippet:
not top-posting
Hello,
I'm trying to typeset two staves with different rhythms and pedalling that
starts/stops on the notes in the top staff, but appears below the second staff.
I tried the following:
\new PianoStaff
\new Staff {
c'4 c'4 c'4 c'4
}
\new
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