Re: Violin fingering

Merci Pierre, ca marche tres bien!!! Any idea why this is not part of the default Lilypond packages? Thank you, Gianmaria ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Violin fingering

Yes, I understand. The violin teachear of my daughter use it for her. I'm not sure it exist a standard way to indicate that low or high finger position. And probably it is something you use only for beginner. If you have any suggestion you're welcome. Ciao, G. On Mon, May 11, 2015 at 2:05 PM,

hairpins default stop at barline

Why was it decided that hairpins by default stop at the barline? If I write something like this: \time 4/4 {a\ b c d e*\!* f g a } isn't absolutely clear that my intention is to stop the hairpin on the e ? Doesn't the standard user writing the above example expect to stop the hairpin on the e?

Re: dynamic outside staff

Ahhh!!! Thank you for the link to the documentation, very clear. Ciao, g. -- View this message in context: http://lilypond.1069038.n5.nabble.com/dynamic-outside-staff-tp177417p177426.html Sent from the User mailing list archive at Nabble.com. ___

dynamic outside staff

I would like that a symbol span outside staff. This is my code \version 2.18.2 \time 4/4 \relative { a\ b c d e\! f g a } I found in the documentation the following example: http://www.lilypond.org/doc/v2.19/Documentation/learning/outside_002dstaff-objects % Set details for later Text Spanner

Re: dynamic outside staff

Sorry for my not clear english terminology! Yes, Federico, I want to span the hairpin over the bar line. I had a look to the documentation you mentioned and made some test and I have some issues. If I do: \version 2.18.2 \time 4/4 \relative {a\ b c d e*\!* f g a } I expect that the hairpin is

{g,, g'' g g}

I wonder if there is better and more coincise way to write the following scale: musict = { g16 g'' g g a,, a'' a a b,, b'' b b c,, c'' c c d,, d'' d d e,, e'' e e fis,, fis'' fis fis g,, g'' g g a,, a'' a a b,, b'' b b c,, c'' c c d,, d'' d d e,, e'' e e fis,, fis'' fis fis

Re: hairpins default stop at barline

First, I'm not a politician and I'm not here to win a war :) My suggestion is just a suggestion that have to be analyzed and in case it brings more benefits than disavantages it should be considered; if an expert explains me it is not advantageous I will not cry and I will be glad having learnt

Re: hairpins default stop at barline

I'm not a musician. I'm editing a published violin score using lilypond. The book is a set of studies by Robert Pracht and in many of them the note which ends a hairpin falls on a downbeat. I don't know if this is something exceptional or pretty normal in modern music but in this book this is

Re: {g,, g'' g g}

It works perfectly! Thank you! g. -- View this message in context: http://lilypond.1069038.n5.nabble.com/g-g-g-g-tp177750p177783.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org

Re: \articulate effect only midi

Ciao Federico, thank you for you help, now it works!! I didn't know score keyword can compare multiple times in a single source file. Best regards, g. -- View this message in context: http://lilypond.1069038.n5.nabble.com/articulate-effect-only-midi-tp177365p177367.html Sent from the User

\articulate effect only midi

I'm trying to improve the quality of the midi output using the articulate script. I don't understand why I cannot use the articulate keyword only with the midi output to avoid to alterate the visual output. This is what I can do: \version 2.18.2 \include articulate.ly \score { *\articulate *

Generate multiple score from a single music expression

Consider this musical expression a b c d e f g a It is possible whitout rewriting it multiple times and marking opportunely the music generate multiple scores like the followings: 1) a b c d 2) c d e f 3) a b c d e f g Thank you, g. -- View this message in context:

Re: Generate multiple score from a single music expression

Thank you Urs and thank you Mark for you answers. The situation is the following. I have a two page score that I created with lilypond. For study reasons I would like to split it in multiple parts. Parts could overlap. Each part will be like a separate exercise printed in succession. Each part

Re: slur syntax

... and this close the thread :) It couldn't be more clear David and it makes perfectly sense. Thanks a lot!!! g. -- View this message in context: http://lilypond.1069038.n5.nabble.com/slur-syntax-tp176928p177007.html Sent from the User mailing list archive at Nabble.com.

variable containing header

I'm trying to define a variable containing the header but lilypond does not accept it. Am'I doing some error or is this forbidden? % my source \version 2.18.2 head = \header { title = The Third Position } \score { {a b c d} \head \layout {} } Thank you, g -- View this message in

rhytm

I'm creating in lilypond a violin study.Every measures have the same rhytmic configuration. For instance the first measure is: g4. \tuplet 3/2 a8 (b8 c8) and the second... d4. \tuplet 3/2 e8 (f8 g8) Does exist any way to simply write the melody and apply to the melody this specific rhytm ?

Re: slur syntax

Yes! Thank you Peter (and Urs), I think now it's clear Lilypond use a postfix syntax. To apply a function 'f' to the note 'a' the lilypond syntax is a \f and not viceversa. Because the open parenthese is like a function (a function that marks the first item) it must be written as for all the

Re: rhytm

Thank you!! It works, very nice! Usual question (usual for me): why this functionality is not part of the standard lilypond? * * * I'm a new user. To take advantage of this functionality I copied and pasted the source code of this feature in my source. Is this the correct/best way to work

slur syntax

Suppose I want to slur the followings notes: a8 b c d then I have to write a8 (b c d) This looks a bit strange to me because I think it would be more 'natural' (for me) write this: (a8 b c d) There is any reason why the syntax is like it is? Thank you, Gianmaria -- View this message

Re: rhytm

I started using lilypond two weeks ago, wouldn't be a bit presumptuous for me to propose this? Why the person that create the snippet does not propose it? On Sat, May 23, 2015 at 2:27 PM, Phil Holmes m...@philholmes.net wrote: - Original Message - From: Gianmaria Lari gianmarial

Re: rhytm

- *From:* Gianmaria Lari gianmarial...@gmail.com *To:* Phil Holmes m...@philholmes.net *Cc:* lilypond-user lilypond-user@gnu.org *Sent:* Saturday, May 23, 2015 1:35 PM *Subject:* Re: rhytm I started using lilypond two weeks ago, wouldn't be a bit presumptuous for me to propose this? Why

Re: slur syntax

Ciao Urs, thank you for the link! I read the page http://www.lilypond.org/doc/v2.18/Documentation/learning/on-the-un_002dnestedness-of-brackets-and-ties.nl.html and I understood that slur markers are not brackets in the mathematical sense but simply mark something to start or end but don't

invisible note for expressive marks

The expressive marks must be attached to a note. I was wondering if it exists any void/invisible note that it is possible to use to avoid this constraint, something like: "voidelement" \p Thank you, g. ___ lilypond-user mailing list

Re: repeat and dynamic

3 { a'-4 g'-3 e'-2 c''-5 } > \\ > { s1\p\< | s1 | s2. s4\! } >>> > > JM > >> Le 27 mai 2016 à 22:11, Gianmaria Lari <gianmarial...@gmail.com> a écrit : >> >>>> Is there any way to write the previous code using a repeat? Something >>&

Re: invisible note for expressive marks

The spacer rest does not work but the empty chord does! So here it is a working example that in my opinion can be very useful: \version "2.19.40" { <> \p \< \repeat unfold 3 {c' d' e' f'} <> \! } Thank you Abraham! ___ lilypond-user mailing list

Re: invisible note for expressive marks

I tried > > { > > s1*0 \p \< \repeat unfold 3 {c'4 d' e' f'} s1*0 \! > > } > > \addlyrics { \repeat unfold 3 { c d e f } } and I simply see it doesn't work but I have no idea why ___ lilypond-user mailing list lilypond-user@gnu.org

repeat and dynamic

Have a look to the following code. Please note that each line contain the same notes but different dynamic information: \version "2.19.40" { a'-4 \p \< g'-3 e'-2 c''-5 a'-4 g'-3 e'-2 c''-5 a'-4 g'-3 e'-2 c''-5 \! } Is there any way to write the previous code using a repeat? Something like

Re: repeat and dynamic

>> Is there any way to write the previous code using a repeat? Something >> like this (that of course does not work): >> >> \p \< \repeat unfold 3 {a'-4 g'-3 e'-2 c''-5} \! >> > > << > \repeat unfold 3 { a'-4 g'-3 e'-2 c''-5 } > { s1\p\< | s1 | s2. s4\! } > >> Oh! You're right, it

Re: changepitch compilation error

Thank Richard and Thomas, it works! I report here what I did in case others have the same problem (and like me are beginner): - open the file changePitch.ly in frescobaldi - then menu "Tools/Update with convert-ly..." - in the dialog box, in the "From version", enter 2.18.0 and in the "To

grace note duration

Hello, I have the following source g8 \grace {e16 f16} e8 d8 In the resulting midi output (using articulate.ly) the grace notes are played too quick (1/64?) and they are almost not audible. Is there any way to increase their duration? Thank you, gianmaria

changepitch compilation error

I've used "changePitch.ly" in the past without problem but when I tried today I get some compilation error. I'm using lilypond 2.19.35 with Frescobaldi. This is the code I'm trying to compile (it should be an example from the changepitch.ly author): \include "changePitch.ly" \version "2.19.35"

default note duration

Hello, the lilypond default note duration is 1/4. For example if I write { a b } lilypond generates two quarter notes. There is any way to set the _default_ note value to another value for example to 1/8 so that the previous code would generate two 1/8 notes? Thank you, g.

Re: default note duration

Thank you Simon for the "cheat", this is exactly what I wanted to know :) g. On Fri, Jan 22, 2016 at 9:28 PM, Simon Albrecht <simon.albre...@mail.de> wrote: > On 22.01.2016 19:16, Gianmaria Lari wrote: > >> Hello, >> >> the lilypond default note

Re: music patterns and octave

I'm sorry I have not been clear in my old messages, hope my last one it is clearer. Regarding: \relative c' >{ >... > \setOctave c' > \relative c' \changePitch \rhythmPattern { ... > > I'm not even sure of how LP interprets that last \relative. > > Last "relative" applies only

Re: music patterns and octave

Ciao Patric, to use "changePitch.ly" with Lilypond 2.19 you need to convert it. In case you need you can check at the end of this old thread: http://lilypond.1069038.n5.nabble.com/changepitch-compilation-error-td187658.html g. ___ lilypond-user

Re: music patterns and octave

Thank you David for your help. I think the behaviour of "\relative" and "\resetRelativeOctave" are clear. If the latter is not deprecated IMHO there are cases where it can be very useful. That one you mention (preventing up and down octave when changing code) it is just one. For instance, suppose

Re: music patterns and octave

.uk> wrote: > On Tue 08 Mar 2016 at 17:45:35 (+0100), Gianmaria Lari wrote: > >[...] > >So, more precisely I would write: > > > > \version "2.19.35" > > pattern = > > { > > c16 d e f g a b c > > } &

Re: music patterns and octave

Ciao Thomas, thank you for your suggestion about inline-images etc. "changePitch" is an external function. This is a link to it: http://gillesth.free.fr/Lilypond/changePitch/ Regarding you function setOtherPitchOctave, this is similar to what I was thinking except that the parameter is not the

Re: chordmode and markup

>> Why this is not correct: >>\chordmode {c} \markup {test} [Carl] >When you do \chordmode{c}, you have ended the music expression containing >the c, so you can no longer attach a markup to the c chord. So you just >move the markup inside the \chormode music expression, where it is >attached to

Re: chordmode and markup

> > Thomas Morley writes: > > > The situation is a little more problematic, though. > > \chordmode { c_\markup { test } } > > works, yes, but both of the following two return an error: > > \chordmode { c-\markup { test } } > > \chordmode { c^\markup { test } } > Is

visual structure vs musical structure

I have a music score like this: a a a a b b b b c c c c r1 a a a a b b b b c c c c Then it would be nice to create a variable fragment = { a a a a b b b b c c c c } and write the score in the following way: \fragment r1 \fragment This is perfect but sometimes I need to format the

Re: chordmode and markup

Gianmaria Lari <gianmarial...@gmail.com> wrote: > Thomas Morley <thomasmorle...@gmail.com> writes: >> >> > The situation is a little more problematic, though. >> > \chordmode { c_\markup { test } } >> > works, yes, but both of the following two ret

chordmode and markup

Sorry to ask something probably trivial but reading manual and making tests didn't help me. This works perfectly: \version "2.19.39" { a4 _\markup {test} } but this doesn't: \version "2.19.39" { \chordmode {c} \markup {test} } Why? How can I write some text on the chords? g.

Re: visual structure vs musical structure

wrote: > > On Apr 9, 2016, at 2:34 AM, Gianmaria Lari <gianmarial...@gmail.com> > wrote: > > I have a music score like this: > > a a a a > b b b b > c c c c > r1 > a a a a > b b b b > c c c c > > > > > Then it would be nice to

rhythm shift

Hello, Is there any automatic tool to shift some lilypond music of a certain rhythm amount? For instance consider the following fragment: \time 2/4 r4 a4 ~ | a4 b4 ~| b4 r4 How can I shift (convert) it to: \time 2/4 a2 | b2 | r4 Thank you, g.

Re: rhythm shift

u'd like in the score. > Just leave out the bar checks, they'll throw warnings ... > > Best, Robert > > __ > > The cure for a fallacious argument is a better argument, not the > suppression of ideas. > *-- Carl Sagan* > > > On 26 Mar 2016, at 01:06, Gianmar

music patterns and octave

Suppose you have this: [image: Inline image 2] This is something like \fragment d d \fragment c e \fragment e c So, more precisely I would write: \version "2.19.35" pattern = { c16 d e f g a b c } \relative c' { \pattern d4 d4 \pattern c4 e4 \pattern e4 c4 } But the previous

Re: music patterns and octave

Thank you Patrick, this works exactly as I expected. Why it is not documented? Can we use it or do we risk that it will deprecated? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: music patterns and octave

Dear Carl, thank you for pointing me out the octave check, didn't know it and now I'm testing it (even if it looks it doesn't work as I need). Thanks, g. ___ lilypond-user mailing list lilypond-user@gnu.org

Re: midi2ly dll error

uot;, line 54, in import midi ImportError: No module named midi I'm using lilypond 2.19.35. g. On Sat, Apr 2, 2016 at 4:13 PM, Thomas Morley <thomasmorle...@gmail.com> wrote: > 2016-04-02 11:52 GMT+02:00 Gianmaria Lari <gianmarial...@gmail.com>: > > Hello, > > > > Whe

Re: midi2ly dll error

. On Sun, Apr 3, 2016 at 2:44 PM, Thomas Morley <thomasmorle...@gmail.com> wrote: > 2016-04-03 1:03 GMT+02:00 Gianmaria Lari <gianmarial...@gmail.com>: > > Ciao Thomas, > > > > I tried to run directly from the shell but I got same error: > > > > C:\Pr

Re: midi2ly dll error

Ciao Carl, [configure Frescobaldi to reference a specific phyton compiler] > You set it on the Frecobaldi Preferences page (Edit/Preferences/Helper > Applications). In the Frescobaldi Preferences page (Edit/Preferences/Helper Applications) I can set the path for the following applications: Pdf,

Re: midi2ly dll error

Ciao Federico, regarding [configure Frescobaldi to reference a specific phyton compiler] you wrote: You must add it to the path in system preferences, as explained here: > http://lilypond.org/windows.html Yes, I can change the system path but this is something I wanted to avoid. I have other

Re: midi2ly dll error

Ciao Martin, - Which Lilypond version did you installed? - If you installed Frescobaldi could you test if the "import midi" feature works? To test it: File/Import/Import midi and then specify a simple midi file. In my tests it should not work IF you have Lilypond version 2.19.39 and 2.19.36

Re: rhythm shift

Ciao Robert, sorry if I reply so late. What you propose to do is a bit too complicated for me and I'll use it as a last resort. What I'm trying to do now is just to open the midi file with musescore and add a note in the file to correctly shift the others. Anyway, it would be great having some

midi2ly dll error

Hello, When I try to convert from Midi to Lilypond using Frescobaldi I get the following error: The file couldn't be converted Error message: Traceback (Most recent call last): File "C:\Program Files (x86)\LilyPond\usr\bin\midi2ly.py", line 54, in ? import midi ImportError: DLL load failed: The

partcombine and tag

I'm trying to understand how to use partcombine and tag and I don't understand why compiling the following code I obtain two measures 4 4 | 4 instead of just one 4 4 4 In the attached image the resulting score. Here it is the code. %%% \version "2.19.40" note = \partcombine {e'4} {\tag

Re: chordmode using variable

Dear Harm, some weeks ago replying to me, you used a variable name syntax that I didn't know: > mynote.7 = . I see the compiler didn't complain and having the possibility to use number in the variable name would be very practical (at least for me). But is it a "standard programming style"?

Re: chordmode using variable

Thank you Simon for the explanation. I think I will try to avoid it as much as possible but not more than that:) P.S. Be patient with my English On Thu, Apr 28, 2016 at 2:05 PM, Simon Albrecht <simon.albre...@mail.de> wrote: > On 28.04.2016 11:52, Gianmaria Lari wrote: >&g

Re: duration using variable (Gianmaria Lari)

Dear Cynthia, thank you for your help! What you propose works correctly but it is not practical. I use tag to avoid duplicating code so it is crucial to be able to do not create two different variables music_screenOut and music_midiOut. Thank you, g.

Re: duration using variable

Dear Harm, I made many test, and... it works really well! Thanks a lot for your kind help! g. On Wed, Apr 27, 2016 at 1:12 PM, Thomas Morley <thomasmorle...@gmail.com> wrote: > 2016-04-27 10:56 GMT+02:00 Gianmaria Lari <gianmarial...@gmail.com>: > > I don't know if the f

Re: Replying to posts

I personally prefer simple text email... everytime I can avoid html. But in case of not trivial subject, using formatting give me the possibility to explain more clearly my ideas. Yes of course, I could do something similar using ascii but it would be more difficult, time consuming and the final

duration using variable

I don't know if the following code is well written (suggestions are pretty welcome!!) but it works as I like (:)) and let me generate two different output according the tag midiOut or screenOut. \version "2.19.40" mynote = c mynoteExp = {\mynote} mynoteDouble = {<\mynote' \mynote>} cC = {\tag

Re: partcombine and tag

What if I change this note = \partcombine {e'} {\tag #'pdfOut c' \tag #'midiOut c'} in this: note = { \new Voice << {e'} {\tag #'pdfOut c' \tag #'midiOut c'}>>} Now it works, but should I expect any side effects? It is equivalent? Thanks, g. ___

Re: partcombine and tag

! Thanks, g. On Fri, Apr 22, 2016 at 5:58 PM, Gianmaria Lari <gianmarial...@gmail.com> wrote: > Ciao David you wrote: > > [...] >> \partcombine runs and creates a common score. Since none of the tags is >> removed, the result contains both c4 and c'4. This is stored in

Re: partcombine and tag

Thank you David, that's clear! g. On Sat, Apr 23, 2016 at 11:08 AM, David Kastrup <d...@gnu.org> wrote: > Gianmaria Lari <gianmarial...@gmail.com> writes: > > > What if I change this > > > > note = \partcombine {e'} {\tag #'pdfOut c' \tag #'midiOut c'} > &

articulate.ly and fingering

I don't understand the following behavior of articulate.ly. I wrote this measure: a-1 b-2 a-1 b-2 and then the same without fingering: a b a b The midi output of these two measures looks curious to me, because some rests are introduced ONLY in the first measure. Is it normal? Here it

Re: articulate.ly and fingering

t doesn't look like a screenshot of the midi output - it has the > fingerings and also rests in the second measure, whereas you say the rests > are in the first measure. > > -- > Phil Holmes > > > ----- Original Message - From: "Gianmaria Lari" > <gianmarial

Re: "unroll code"

Thank you to Robert Schmaus, Andrew Bernard, David Wright for the suggestions. I try to be more precise. It's not that really I need to be able to enroll some lilypond code. (1) I was curios to know if LP or Frescobaldi give this functionality (2) I thought that maybe this functionality was

"unroll code"

Is there any tool to "unroll" the code. For instance, suppose you have something like this... \version "2.19.40" fragment.1 = { a b c d } fragment.2 = { e f g a } music = { \repeat unfold 3 {\fragment.1} \repeat unfold 2 {\fragment.1 \fragment.2} } \score { \music \layout{}

Re: Replying to posts

My guess is that a large part of Lilypond mailing list messages deals with issues related to graphic output (lilypond is a sort of typesetting system, isn't it?) If this is correct I think emails would take advantage of inline images because these elements can make more clear messages. Attaching

Re: Scheme book (p)review

I'm very much interested. g. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Scheme-book-p-review-tp190300p190307.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org

\keepWithTag #'A {\keepWithTag #'B \music}

I thought that \keepWithTag #'(A B) \music and \keepWithTag #'A {\keepWithTag #'B \music} would be equivalent. But according to the following test it doesn't. 1 Could you please confirm they are not the same? 2 Is it because \keepWithTag create a list of tags starting always from the

Re: articulation on musical expression

wrote: > > > Am 19. April 2016 16:01:43 MESZ, schrieb David Nalesnik < > david.nales...@gmail.com>: > >Hi Gianmaria, > > > >On Tue, Apr 19, 2016 at 8:44 AM, Gianmaria Lari > ><gianmarial...@gmail.com> > >wrote: > > > >> I

articulation on musical expression

Is there any way to apply an articulation (accent, staccato etc.) to a musical expression instead of a single note? For instance, if I have a variable like this: c4 e g a c a g e is there any way to transform it to: c4\staccato e\staccato g\staccato a\staccato c\staccato a\staccato

Re: chordmode using variable

Thomas, it works fantastically well! > So why? I don't see any advantage. I'm writing a kind of library to write accordion music. Let me finish the work and then I will post it here so that others can take advantage of it (I hope so) and/or suggest a better way to do it. Thanks again! g.

chordmode using variable

To generate the dominant seventh chord of c we use \chordmode {c:7} Does exist any way to make the same thing but starting from a variable containing a note? Something like this: mynote = {c} \chordmode { \mynote:7 } Thank you, g. ___

variable to simplify writing / chordmode and <<>>

I writing some accordion scores and for this reason I'm trying to create the lilypond tools that will make the task more easy. I started writing the following vaiables: cC = {c4} cc = \chordmode {c4} ccC = { \new Voice << {\cC} {\cc}>>}%first solution (In the attached image you can see an

Re: accordion, single note for chords, midi

Ciao Thomas [How can I make lilypond display single note in the score but generate chords in the midi file?] Maybe: > > \version "2.19.36" > > m = \chordmode { c4 d:m e:m7 } > > \score { > \new Staff $(event-chord-reduce m) > } > > \score { > \new Staff \m > \midi {} > } > this does not

accordion, single note for chords, midi

On the accordion the recommended notation to indicate a chord is writing in the bass staff a *single* note between d' and d and writing on top of them 'M' for major, 'm' for minor etc. Doing this with lilypond is easy but the generated midi file will contain single notes and not chords. How can

Re: \keepWithTag #'A {\keepWithTag #'B \music}

David Wright wrote: > [...] use tag groups. (1) Thank you David, I didn't see this command (tagGroup) (2) Very useful and interesting 'command'. If you use tags this is an almost mandatory command! (3) It works extremely well! I have been able to write the code as I wanted. Is there any way I

Re: \keepWithTag #'A {\keepWithTag #'B \music}

Dear David you wrote: [separating midi/layout] > I had wondered whether writing such things as "M" in the score would > make the midi sound bad, but T (H. S. Teoh) effectively answered that > question with some of his/her own examples. [...] Yes, the "M" markup would not be a problem: midi

Re: \keepWithTag #'A {\keepWithTag #'B \music}

Dear David thank you for explaining the problem and pointing me out the documentation where this is discussed. Yes, I could organize my code differently but this would be less clear. Try to have a look to the attached image capture.png. The first line is the wanted screen output, the second line

Re: \removing the time signature

Oh! Sorry my mistake! I read "tempo" and not "time"! On 25 January 2017 at 01:15, SoundsFromSound <soundsfromso...@gmail.com> wrote: > Gianmaria Lari wrote > > On 25 January 2017 at 00:31, Sam Frybyte > > > frybyte@ > > > wrote: > >

Re: change staff

Absolutely agree :) Consider my last code a scheme exercise... On 28 January 2017 at 09:33, Helge Kruse <helge.kr...@gmx.net> wrote: > Am 26.01.2017 um 10:51 schrieb Gianmaria Lari: > > ... and this is one more way to do the change staff using a scheme > function > > tha

change staff

- Is there a simpler way to write this source code avoiding all these change staff? - Is it correct writing the left hand using s2 etc. etc.? Thank you, g. \version "2.19.54" right = \fixed c' { \clef treble \time 2/4 g8-4 \change Staff = "left" g_4 \change Staff = "right" e-3 \change

Re: change staff

Thank you, Malte and Noeck, it works perfectly. I post here another solution, that is interesting because it doesn't use scheme and more easy to understand. \version "2.19.54" csl = { \change Staff = "left" } csr = { \change Staff = "right" } right = \fixed c' { \clef treble \time 2/4

Re: change staff

... and this is one more way to do the change staff using a scheme function that toggle between the two staff. \version "2.19.54" #(define staffToggle #f) cs= #(define-music-function (parser location) ;cs = Change Staff () (begin (set! staffToggle (not

Re: \removing the time signature

On 25 January 2017 at 00:31, Sam Frybyte wrote: > I know it's possible but I need someone to direct me to the snippet or > place in the manuals so I can invisiblize it for a cadenza piece, just the > link. >

Re: Back in the Pond

Trevor wrote: > I'll definitely turn on my financial contribution again. > what's the better way to give a financial contribution? g. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: addFingering

David Wright wrote: > But your response here addresses a second point, the > interpretation of \repeat unfold. Looking at my attached > example, it seems to me that you want "\repeat unfold 2 { foo }" > to behave like "foo foo" (B and C). Yes, that's exact! > But, if that's what you want, >

Re: addFingering

I'm sorry, clearly there is a misunderstanding and it is probably from my side, my apologies. Let's me try to explain what I mean. Try to have a look to this code and the related output (it is attached). \version "2.19.54" \include "addFingering.ly" fragment = {c' d' e' f'} \markup "Plain"

Re: addFingering

> \repeat { } > > generates a repeat expression. Whether that is "unfold" or not. > And relativity works "linearly" across the expression even when > alternatives are involved where having to write \relative each time > would be a royal pita. > -- > David Kastrup Yes that's clear. But

repeat ottava

I have a fragment that needs to be repeated twice with alternate ending and the second time one octave higher. The following is an example that would be ok... \version "2.19.52" \score { { \mark "2nd time 8va" \repeat volta 2 {c' d' e' f'} \alternative {{a a a a}{b b b b}} }

Re: repeat ottava

>> I have a fragment that needs to be repeated twice with alternate ending and >> the second time one octave higher. The following is an example that would >> be ok... [] > Let's just cheat. > > \version "2.19.52" > > \score { > { > \mark "2nd time 8va" > \repeat volta 2 {c' d' e'

Re: repeat ottava

On 28 February 2017 at 18:31, David Kastrup <d...@gnu.org> wrote: > > Gianmaria Lari <gianmarial...@gmail.com> writes: > > >>> I have a fragment that needs to be repeated twice with alternate ending > > and > >>> the second time one octave higher.

Re: Is there any way to use dynamics as prefixes?

> > > This also applies to slurs - `(c'4 d' e' f')` is a lot clearer to me > > than `c'4( d' e' f)`. Well, but slurs can start at the same note where another slur ends, and > `c'4( d')( e')' is a lot clearer to me than `(c'4 (d') d')' > Just a curiosity David, have you ever considered this other

fingerings inside the staff

In the manual is written: By default, vertically oriented fingerings are positioned outside the staff. However, this behavior can be canceled. Note: you must use a chord construct <>, even if it is only a single note. Why to obtain this behavior the chord construct is mandatory? g.

format source code

I have some lilypond code imported by a midi file that is not well formatted. Is there any way using Frescobaldi or any other tool to format the code so that each musical measure stays on a different line? ___ lilypond-user mailing list

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