I'm not content with my skills in engraving coda jumps. I suspect
Lilypond could do better if I knew how to code it.
My current method is to use a rehearsal mark to concatenate some
text and a Coda glyph, and then apply a trial-end-error X-offset
until it lines up the way I want it to, and then w
>
>
>
\version "2.16.2"
\score{
\new PianoStaff<<
\new Staff = "rh" << {r4 r }
\\{\stemDown e'8[ d'] \change Staff="lh" \stemUp c' a g c' \change Staff="rh"
\stemDown d'4 | }
>>
\new Staff="lh"{\clef bass \voiceTwo c2 g,
}
>>
}
I place my question below the example because the email client think
Hi Werner,
> why not simply omitting the three middle bar lines, putting rests into the
> empty space?
> This should give even more contrast.
> Not that I like this solution, but it would be creative :-)
Creative? Yes.
Shows off the awesomeness of Lilypond? Definitely.
Ultimately the best choice
Am 12.03.2013 23:41, schrieb Vaylor Trucks:
> Any ideas for how I can place the "open" symbol directly
> above the beam and below the tuplet bracket?
Hi Vaylor,
you could raise the outside-staff-priority of the tuplet bracket:
\override TupletBracket #'outside-staff-priority = #1000
HTH,
Jo
On Mon, Mar 11, 2013 at 10:20:39AM +0100, David Kastrup wrote:
>
> It might also make sense to replace the multimeasure rest with a normal
> rest depending on the musical aim.
I'll keep that in my bag of tricks for the future. The example
is exaggerated, since this problem gets less noticeable a
First, here's my example
\version "2.16.0"
hop = \markup{\hspace #0.5 \draw-circle #.4 #0.1 ##f}
up = \drummode {
\override Stem #'direction = #UP
\override Beam #'positions = #'(5 . 5)
\override TupletBracket #'positions = #'(7 . 7)
\times 4/6 { 8[^\hop hh sn] sn8
Actually I copied all the notes to the templet of piano that why i just had to
write in the measures..
Thanks and no worries about your english. it's all good.
On Mar 12, 2013, at 1:30 AM, and...@andis59.se wrote:
> On 2013-03-12 04:46, Sarah k Alawami wrote:
>> I decided to change threads to ma
Hi,
I would like to make the accidentals in figured bass bigger when they
are used alone like this: <_+> <_-> <_!>.
% As figuredBassAlteration the size is o.k. for me.
Thank you
Thomas
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Dear Pierre,
thanks very much. That works perfectly. I wasn't aware of that tag-function.
This opens up the solution to some other tasks, that I was facing! Great!
Thanks again!
Best regards
Kai
---
kai.lautenschlae...@me.com
Am 12.03.2013 um 12:50 schrieb Pierre Perol-Schneider
:
> Hi,
> Y
Hi,
You can use the \tag function :
http://www.lilypond.org/doc/v2.16/Documentation/notation/different-editions-from-one-source#using-tags
2013/3/12 "Dr. med. Kai Lautenschläger"
> Dear List,
>
> In a choral piece I used cross-noteheads for places, where the singers are
> requested to make a no
Dear List,
In a choral piece I used cross-noteheads for places, where the singers are
requested to make a noise (in this case a kissing-noise). I used
d2
\once \override NoteHead.stencil = #ly:text-interface::print
\once \override NoteHead.text = \markup {
\musicglyph #"noteheads.s2cros
Hello all,my name is Torsten (Be-3) and I happen to be the author of this little Lilypond Jazz "excursion". ;)And yes, of course I will publish the coding here, albeit not finished, but I shortly before pressing the send button I got a nice blue screen (thank you, windows!) and had to start over ag
On 7 March 2013 21:52, Thomas Morley wrote:
>
> Earlier this day I informed the Author of it in the DLF (the german
> LilyPond-Forum).
> He answered already, reporting having made a lot of improvements and
> posting a new image.
> Though, no code, perhaps he will post the code here or in DLF, don'
Sarah k Alawami writes:
> Is there a way to memorize or through pattern recognition how many '
> and , symbols it takes to jump octaves? besides writing down a few
> notes and going to the tuneful site to listen to see if I messed up?
> as that's what I've been doing and it yeps but it slows me
Hi,
On Tue, Mar 12, 2013 at 9:34 AM, David Kastrup wrote:
> Graham Percival writes:
>
>> On Sat, Mar 09, 2013 at 12:20:19AM +0100, David Kastrup wrote:
>>> So the first pitch will _always_ be special-cased. With a reference
>>> pitch, it is special-cased to refer to that absolute pitch. Withou
Graham Percival writes:
> On Sat, Mar 09, 2013 at 12:20:19AM +0100, David Kastrup wrote:
>> Olivier Biot writes:
>>
>> > Treating the first pitch of \music in \relative \music differently is
>> > not intuitive and will likely result in octave errors.
>>
>> Treating the first pitch of \music in
On 2013-03-12 04:46, Sarah k Alawami wrote:
I decided to change threads to make the list archives more clean *smiles* Ok. now that I
have the bar checks sorted at least for these 4 measures and I"ll stop there for
tonight, how do I render it as a midi so I can hear if I"m right int he octaves o
On Sat, Mar 09, 2013 at 12:20:19AM +0100, David Kastrup wrote:
> Olivier Biot writes:
>
> > Treating the first pitch of \music in \relative \music differently is
> > not intuitive and will likely result in octave errors.
>
> Treating the first pitch of \music in \relative is _absolutely_
> _unav
2013/3/12 Sarah k Alawami :
> I decided to change threads to make the list archives more clean *smiles* Ok.
> now that I have the bar checks sorted at least for these 4 measures and I"ll
> stop there for tonight, how do I render it as a midi so I can hear if I"m
> right int he octaves or not. I
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