On Mon, Mar 24, 2014 at 04:33:38AM +0100, David Kastrup wrote:
Paul Scott waterho...@ultrasw.com writes:
2.19.3:
When transposing parts that use cueDuring or quoteDuring how
can I get the cues or quotes to be transposed? I thought this
worked easily in a fairly recent version.
In
On 24/03/14 11:38, Conor Cook wrote:
Dear Lilypond community,
I am relatively new to LilyPond and computing using command line, etc.
I have been trying to experiment with creating a LaTeX document
incorporating Lilypond via the lilypond-book feature, but I am running
into problems.
Why
Hallo list,
I'd like the second note in voice one to share the notehead with the
last one in voice two. This is quite common in 19th century guitar music.
Thank you,
Thomas
--
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..[ c32]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e
Thomas Scharkowski t.scharkow...@t-online.de writes:
Hallo list,
I'd like the second note in voice one to share the notehead with the
last one in voice two. This is quite common in 19th century guitar
music.
Thank you,
Thomas
\version 2.19.3
{
\relative c'' {
\time2/8
{
Hi Thomas,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Here's one possibility, scaling the durations in the upper voice to fit:
{
\relative c'' {
\time2/8
{
c8..*20/21 [ c32*4/3]
}
\\
{
(1) how can I get a certain field to break across two (or more) lines?
example:
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries. All
rights reserved.
}
(2) I'd like to force more space (one or more blank lines) between the
header and the start of
Am 24.03.2014 03:39, schrieb Mike Dean:
(1) how can I get a certain field to break across two (or more) lines?
example:
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries.
All rights reserved.
}
copyright = \markup \right-column { Copyright by
Am 24.03.2014 03:39, schrieb Mike Dean:
(1) how can I get a certain field to break across two (or more) lines?
example:
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries.
All rights reserved.
}
Perhaps you'd also like to try
\version 2.19.3
Well, the durations of the first voice then simply are _wrong_. If you
want them to merge with the second voice, you need to scale them to
fit. I've not put this into shortest terms so that one can still figure
out that the scales come from a mismatch of a 5/6 to 7/8 division and
1/6 to 1/8.
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to notate
a tuplet consisting of a quarter and an eighth note like we
Original-Nachricht
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to notate
a tuplet consisting
On Mon, 2014-03-24 at 12:38 +0100, Thomas Scharkowski wrote:
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style,
Rutger Hofman-2 wrote
[...]
As a fix, I made a small addition to music-functions.scm to add a
dodecaphonic-first accidental style. Patch against 2.17.18-1 attached.
[...]
Using dodecaphonic-first and adding ! here and there works fine for me.
I already apologize for replying to an old post
David Nalesnik actually _did_ create a patch that I added to LilyPond. In 2.19
you can write
\accidentalStyle 'dodecaphonic-no-repeat
(Or with an 's' at the end?)
which places dodecaphonic accidentals except when a pitch is repeated (in the
same voice).
HTH
Urs
Gilberto Agostinho
Urs Liska wrote
David Nalesnik actually _did_ create a patch that I added to LilyPond. In
2.19 [...]
This is wonderful!!! I recently installed version 2.19, but I didn't realize
this was added. Thanks for the information Urs!
Urs Liska wrote
\accidentalStyle 'dodecaphonic-no-repeat
(Or
Gilberto Agostinho wrote
The correct syntax is with the s [...]
I meant without without the s, as in repeat and NOT repeats
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160773.html
Sent from the User mailing list
- Original Message -
From: Gilberto Agostinho gilbertohasn...@gmail.com
To: lilypond-user@gnu.org
Sent: Monday, March 24, 2014 12:49 PM
Subject: Re: dodecaphonic-first accidental style
Urs Liska wrote
David Nalesnik actually _did_ create a patch that I added to LilyPond. In
2.19
But of course it's easy not to notice that addition.
Phil Holmes m...@philholmes.net schrieb am 24.03.2014:
- Original Message -
From: Gilberto Agostinho gilbertohasn...@gmail.com
To: lilypond-user@gnu.org
Sent: Monday, March 24, 2014 12:49 PM
Subject: Re: dodecaphonic-first accidental
However, I have an especially large score I’d like to see rotated 90 degrees
(so the bottom is to the right). How might I make that happen?
That's not something I have any experience with. Can't help you there.
Which, naturally, is one of the reasons why I prefer to echo all my
responses
On 03/24/2014 01:50 PM, Gilberto Agostinho wrote: Gilberto Agostinho wrote
The correct syntax is with the s [...]
I meant without without the s, as in repeat and NOT repeats
Rutger Hofman-2 wrote
[...]
As a fix, I made a small addition to music-functions.scm to add a
dodecaphonic-first
Hi Rutget,
Rutger Hofman-2 wrote
Right, so there is a new style dodecaphonic-no-repeat from 2.19.3
onwards. But it does something else than the style dodecaphonic-first
that I wrote about, long ago. dodecaphonic-no-repeat suppresses
accidentals for immediately repeated notes.
Am 24.03.2014 17:48, schrieb Gilberto Agostinho:
Hi Rutget,
Rutger Hofman-2 wrote
Right, so there is a new style dodecaphonic-no-repeat from 2.19.3
onwards. But it does something else than the style dodecaphonic-first
that I wrote about, long ago. dodecaphonic-no-repeat suppresses
accidentals
Am 24.03.2014 15:45, schrieb Mike Dean:
Hi Marc:
Thanks for the feedback!
Hi Mike,
please don't forget to reply to all, so that others can join the
discussion.
I have a further question lining up the two marks in question 5
having implemented your suggestion has resulted in the
Joey Di Nardo
username652...@gmail.com wrote:
I am currently trying to access custom unicode
characters via:
\markup{\override #'(font-name . "Blissymbolics") \char
##x1234}
Yes, I am compiling as I go along (not always merrily)
Mike Dean
On Mon, Mar 24, 2014 at 1:46 PM, Mike Dean dean...@aquinas.edu wrote:
I guess I haven't figured the two indicators out correctly...
\score {
\tempo \markup { \bold Lento Lontano, e molto legato}
\mark \markup {
I guess I haven't figured the two indicators out correctly...
\score {
\tempo \markup { \bold Lento Lontano, e molto legato}
\mark \markup { Chorale-like }
places Chorale-like above the tempo indicator, and aligns with the edge
of the staff.
What I haven't found is getting the
Urs Liska wrote
Did you know (as Daniel Spreadbury pointed out) that you *can't* preset
accidental behaviour in the two most mature commercial products???
Oh I do, and how well I do... as an ex-Sibelius user, it was a pain to check
the accidentals on my compositions. There was an option on Sib
I'm a clarinettist - we are not supposed to do chords, so please forgive me
if these are idiot questions
1. the superscript modifier 6/9 is (from a google search) equivalent to
'add6 add9'. Yet lily puts it into the score as '6 add9' which is surely
not the same thing at all ?
2. the 'sus'
2014-03-24 0:02 GMT+01:00 MING TSANG tsan...@rogers.com:
The sample clr you provide does not output exactly what I am looking. I am
looking for a function that will tweak the first enter pitch to have color
for all the .. entries not all the pitch inside the .. to have the same
color.
How
Thomas,
WOW! Thank you very much. Can this be adapted to {..1..}\\{..2..}
construct - upper color or lower color?
Emmanuel,
Ming.
On Monday, March 24, 2014 5:04:13 PM, Thomas Morley thomasmorle...@gmail.com
wrote:
2014-03-24 0:02 GMT+01:00 MING TSANG tsan...@rogers.com:
The sample clr
Am 24.03.2014 13:33, schrieb Richard Shann:
An example of this, typeset using LilyPond is posted here:
http://imslp.org/wiki/Special:ImagefromIndex/278632
To do this I set tuplet timing around the entire bass part and used
doubled time signatures (one hidden IIRC)
Richard
The following is
Am 24.03.2014 15:45, schrieb Rutger Hofman:
Right, so there is a new style dodecaphonic-no-repeat from 2.19.3
onwards. But it does something else than the style dodecaphonic-first
that I wrote about, long ago. dodecaphonic-no-repeat suppresses
accidentals for immediately repeated notes.
Gerry,
I'm a clarinettist - we are not supposed to do chords, so please forgive
me
if these are idiot questions
As a clarinettist, I feel compelled to assert that we have the capacity to
do chords just fine. I hope you are getting more comfortable with it.
1. the superscript modifier
Simon,
Pardon me if I have not read your comments correctly. As I read them they
are about the defects of Lilypond yet are based on a score written by
Denemo.
Lilypond is a computer program. As such it is a mathematical system.
According to Godel's Incompleteness Theorems, any system is
The tie continued on a next line is not influenced by positioning override.
Instead, it's placed per default positioning. How can one move these continued
ties or slur?
\version 2.18.2
pushTieDown = \shape #'((0 . -1.0) (0 . -1.2) (0 . -1.2) (0 . -1.0)) Tie
{
\stemDown
\repeat unfold 16 { s4
Richard Shann wrote:
Presumably someone will generate a set of PDFs and put them on IMSLP.
And people who are not prepared to read the LilyPond sources - they just
want the printed score - will get those, and would be wise to do so, since
someone malicious could generate an altered version
Urs Liska wrote:
I recently made a similar suggestion with the Winterreise, and some
commented it problematic to create new free editions of pieces that
already exist in good free editions.
Urs
Urs,
Do you recall why others found this to be problematic?
Thanks,
Paul T.
it would be more sensible to sell the .ly file at a higher cost. It is
certainly the more valuable entity, both in terms of work in and
future utility.
Shane
On Sat, Mar 22, 2014 at 5:27 AM, Johan Vromans address@hidden wrote:
Paul Tannous address@hidden writes:
Anyone wanting a
Mike Solomon wrote:
Sounds like a great idea!
Make sure to e-mail choir directors across the US to see what may interest
them
- even if they cannot contribute financially to the project, it will have
more
chances of success if you have concerts lined up to which donors can go, a
39 matches
Mail list logo
