I guess you could wrap the tied notes into a polyphonic structure (where the
additional voice has only hidden notes) and then specify the exact location of
the upbow, like so:
Instead of eg
c''2. ~ c2.
use
{ c''2. ~ c''2. }
\new Voice { \hide c''2.\downbow \hide c''2.\upbow }
Adjust
Am 27.08.2015 um 15:50 schrieb Joel Ebel:
On Thu, Aug 27, 2015 at 2:53 AM, David Kastrup d...@gnu.org wrote:
Oh wow. This one is seriously annoying. If you take out all
\stopStaff, it is apparent that the TabStaff is alive through the whole
piece. This is also the case when replacing \new
Hello Paul,
I do suggest using the solution Marc provided, it’s so much easier. But
for the sake of completeness:
Am 27.08.2015 um 09:44 schrieb B~M:
Sorry to ask this silly little question. I am writing out SATB
harmonies for a music exam
and Ive decided to colour the bass in blue, just to
On Thu, Aug 27, 2015 at 2:53 AM, David Kastrup d...@gnu.org wrote:
Oh wow. This one is seriously annoying. If you take out all
\stopStaff, it is apparent that the TabStaff is alive through the whole
piece. This is also the case when replacing \new Line with \new
StaffGroup. This is
There's unfortunately a problem with my idea. If I put the strumming
patterns into the same variable I use for ChordNames, it still
reserves space for them, even if I set chordChanges = ##t. See this
example for comparison. Is there any way around this? I would have
expected non-printed chords to
Thank you for this reply. Yes, it looks as if things are a lot simpler
in the latest development version of Lilypond. Still, as I do not
actually need repeats starting and ending during a bar for the piece I
am currently setting, I shall defer upgrading (and perhaps wait for
stable version
Hi Paul,
I forgot two more remarks:
1) great ponding!
2) you should be careful with sending potentially copyrighted material in a
list. Not sure if this applies here, but ...
Best, Rob
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
On 27 Aug 2015,
What's wrong with simply adding bowing commands to the relevant notes?
--
Phil Holmes
- Original Message -
From: B~M
To: Lilypond-User Mailing List
Sent: Thursday, August 27, 2015 8:53 AM
Subject: bowing change in a long trill
Dear ALL, I have a long trill in a little
Hello Robert and Paul,
Am 27.08.2015 um 17:44 schrieb Robert Schmaus:
Note the use of ‘s’, a spacer rest, which is semantically more correct than
\hide c''.
I used the hidden note to place the bowing sign in the correct height. I'm not
sure if s\upbow looks good if you overlay that with
Am 27.08.2015 um 17:11 schrieb Marc Hohl:
Am 27.08.2015 um 16:55 schrieb Marc Hohl:
Am 27.08.2015 um 14:48 schrieb Simon Albrecht:
Hello Paul,
[...]
The solution posted by Mark will not work on anything which lives at
Score level, e.g. ledger lines and bar lines.
Since the OP example
Am 27.08.2015 um 16:05 schrieb Robert Schmaus:
I guess you could wrap the tied notes into a polyphonic structure
(where the additional voice has only hidden notes) and then specify
the exact location of the upbow, like so:
Instead of eg
c''2. ~ c2.
use
{ c''2. ~ c''2. }
\new Voice {
Note the use of ‘s’, a spacer rest, which is semantically more correct than
\hide c''.
I used the hidden note to place the bowing sign in the correct height. I'm not
sure if s\upbow looks good if you overlay that with c ...
Try
{ c c}
\new Voice { s\upbow \hide
But I probably should have used \hideNotes instead of just \hide ...
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Am 27.08.2015 um 14:48 schrieb Simon Albrecht:
Hello Paul,
[...]
The solution posted by Mark will not work on anything which lives at
Score level, e.g. ledger lines and bar lines.
Since the OP example shows two different voices sharing one staff,
I assumed that the bar lines should not
Thank you Nathan! It solved my problem perfectly well! :)
2015-08-26 22:02 GMT+02:00 Nathan Ho when.possi...@gmail.com:
On Wed, Aug 26, 2015 at 12:40 PM, Mátyás Seress serima...@gmail.com
wrote:
Hi all,
how can I set barlines completely manually throughout a whole sheet
music?
If you
Am 27.08.2015 um 16:55 schrieb Marc Hohl:
Am 27.08.2015 um 14:48 schrieb Simon Albrecht:
Hello Paul,
[...]
The solution posted by Mark will not work on anything which lives at
Score level, e.g. ledger lines and bar lines.
Since the OP example shows two different voices sharing one staff,
I
Hi Simon,
I never really checked out this structure
{ music }
{ yet more music }
Awesome, I didn't know it worked that way! And I've noticed another
advantage of your approach: although hidden, the notes in the \new Voice
construct still reserve their own space and thus place the bow
Am 27.08.2015 um 20:53 schrieb Robert Schmaus:
Hi Simon,
I never really checked out this structure
{ music }
{ yet more music }
Awesome, I didn't know it worked that way!
Simultaneous music within a voice – that’s also how often a \global
variable with \tempo, \key, \mark and \bar
On Thu, Aug 27, 2015 at 7:10 PM, Ralph Palmer palmer.r.vio...@gmail.com
wrote:
-- Forwarded message --
From: Daniel Rosen drose...@gmail.com
Date: Thu, Aug 27, 2015 at 5:24 PM
Subject: Apparent bug: Bracketed TupletNumber affected by Slur
To: lilypond-user Mailing List
The following code produces the attached output, with the TupletNumber way down
inside the Slur even though there is no apparent reason for the avoid-slur
property to matter at all-in other words, this code should produce the same
output as if the \override were commented out. (The bug appears
Am 27.08.2015 um 19:29 schrieb Simon Albrecht:
[...]
In some way it would be desirable for some cases to have ledger lines at
Voice level, e.g. in
a'' \\ c'
But it becomes unwieldy soon; what about
a \\ f ?
The only sensible way to deal with this would be creating an association
between a
For the interested, alibaba.com is something like the amazon equivalent for
manufacturing suppliers. A lot of the sellers only deal in large orders (a
couple I saw had minimum orders of 3 40-foot containers [!] as their
baseline). I found one supplier with a minimum of 50 packets for B4-size
Daniel Rosen drose...@gmail.com writes:
I've been scouring the list archives for the past half hour trying to
find out where the new issue tracker is (now that the Google Code one
has been frozen). Can anyone point me in the right direction?
URL:http://lists.gnu.org/archive/html/bug-lilypond/
Joel Ebel jbe...@mybox.org writes:
On Tue, Aug 25, 2015 at 10:26 PM, Joel Ebel jbe...@mybox.org wrote:
On Tue, Aug 25, 2015 at 9:53 PM, David Kastrup d...@gnu.org wrote:
The following appears to work here. Of course it begs the question
whether we should provide a context definition like
Hi List,
I'm copying multiple movements into a single large score (its a collection
of various works for liturgical use from the 18th Century: Magnificats,
Psalm settings, and the like). Some movements have a brass/tympani section,
others do not.
I want the movements without music for the extra
Could you use tags?
--
Phil Holmes
- Original Message -
From: N. Andrew Walsh
To: lilypond-user
Sent: Thursday, August 27, 2015 12:18 PM
Subject: Tacet in multi-movement/include score
Hi List,
I'm copying multiple movements into a single large score (its a
Sorry to ask this silly little question. I am writing out SATB harmonies
for a music exam
and Ive decided to colour the bass in blue, just to make it a little more
distinct.
Id like everything about the bass line/voice to be blue, to this end I use
\override NoteHead.color = #blue
\override
Am 27.08.2015 um 09:44 schrieb B~M:
Sorry to ask this silly little question. I am writing out SATB harmonies
for a music exam
and Ive decided to colour the bass in blue, just to make it a little
more distinct.
Based on a recent mail excange on a similar topic, this function may be
helpful:
Hi Ponders,
In case anyone else is following this thread, I bought a ream of the Fuji
A3+ paper from Officeworks that Nick recommended, and I bought an Epson
Workforce WF-7610 printer that would print A3+ double-sided.
The problem is, Fuji's paper is 320 x 450 mm, and Epson defines their A3+
as
__ Originalna poruka:
Od: k...@net.hr
Za: kpk1 k...@net.hr
Datum: 27.08.2015 14:14
Naslov: hej
safjdskfjasd
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