Hi Craig!
You might try to tag the key signatures:
\version "2.20.00"
\language "english"
\include "enharmonic.ly"
fluteNotes = { \repeat unfold 3 { c'4 d' e' f' } }
altosaxNotes = \transpose c' ef
{ \repeat unfold 3 { c'4 d' e' f' } }
global = {
\key bf \major
s1
\tag #'flatMusic {
Hi Bart!
You're probably right about the line. If you happen to be able of reading
german literature, there would also be "2000 Jahre Europäische Schriften -
Eine Einführung in die Notationskunde" (roughly translated to "2000 years
of european writing - An introduction to the study of notation")
way being worse than the other. (And yes, "c2.5" doesn't make
sense at all, even though it would be a mathematically well defined length.)
Anyway, that's more than I ever wanted to say on this topic. Hope you all
have a nice weekend!
All the best
Christian
Am Sa., 27. März 2021 um 00:1
e user doesn't like the way the notes are rendered,
there's always the possibility to use the conventional methods of \times
and \tuplet.
Hope this helps to convey my 2 cents a little bit clearer. :)
All the best
Christian
Am Fr., 26. März 2021 um 22:21 Uhr schrieb David Kastrup :
> Chr
Just adding my two cents to this debate. In my humble opinion it's pretty
clear what "12" in this context means as Lilypond's syntax is always about
the divisor. c4 is always a quarter of a whole note. Therefore c12 would
always be a twelth of a whole note, thus a third of a quarter note. And c7
Hi Bart, Lukas!
Wow! I was just about to write, that with all the black magic people on
this list do with scheme, doing the rhythm translation manually shouldn't
be necessary, and before I click send you do it in one command. :D Didn't
even knew the \shiftDurations-command, guess I should study
I used a similar workflower earlier, but without Frescobaldi. I coded a
small script years ago that would convert MIDI-input to keystrokes, but at
some point I lost track of maintaining it (didn't do much with Lilypond for
a time then).
But I remember using the pitch up/down buttons on my Korg
Ah, that explains it. Thank you very much, Aaron!
Am Sa., 13. März 2021 um 16:02 Uhr schrieb Aaron Hill <
lilyp...@hillvisions.com>:
> On 2021-03-13 6:11 am, Christian Masser wrote:
> > [...]
> > mySoloChordsA = \chords {
> > c1 f g c
> > }
> >
Hey all!
Just had a curious case concerning chord names. Typesetting a small jazz
piece and - as always - wanted to keep my file tidy, so I put the chords
for the solo-section in a variable as they are the same for every solo. But
somehow Lilypond seems to make a difference, if one inserts the
Hi Peter!
It seems that \transpose treats the block of notes following it as absolute
notes. If you adapt that line to explicit relative notation it probably
yields the result you're aspiring.
\version "2.22.0"
\language "english"
{
\transpose c a,
\relative {
c'4 d e f g a b c
If you excuse the second double post in one thread - I really should think
before writing - this solution seems even better. It's a little fizzle work
to get the \voice commands right, but it works and is far easier to read
than my previous solution. Plus, it allows good continuation of the two
Dear Peter,
I fear, this one was easy to miss, given the screenshot you sent us. ;)
It looks like you can put the part we had till now into a lowerVoice
variable, with the newly introduced upper voice into another and then
partCombine does a pretty good job. I don't know if this is a dirty hack
Edit: I forgot the \hide Stem command , but it also works with
e,2.~ \hide Stem 4.~ 4 \revert Voice.Stem.transparent s8 |
instead of
e,2.~ 4.~ 4 s8 |
All the best
Christian
Am Mo., 15. Feb. 2021 um 16:56 Uhr schrieb Christian Masser <
christian.mas...@gmail.com>:
> Hi Peter!
>
Hi Peter!
It seems that the invisible e you add for the ending of the bow is drawn as
a note facing the left side (you can unhide it) which explains the
right-shift of the e2.
If you rearrange it to:
<<
\relative {
b,4.~( 8 c e 4. 4 b,8 |
2. s2.
}
\\
\relative
know!
All the best
Christian
Am Fr., 12. Feb. 2021 um 21:03 Uhr schrieb Jean Abou Samra <
j...@abou-samra.fr>:
>
> Le 12/02/2021 à 17:05, Christian Masser a écrit :
> > Hi Jean!
> >
> > I got a similar error two days ago with a pretty basic file, nothing
> > fa
Hi Jean!
I got a similar error two days ago with a pretty basic file, nothing fancy
at all. (To be precise: changing "des2." to "des2. ~ des" produced the
error.)
After switching to the then up-to-date dev-version (from "2.22.0-2" to
"2.23b30375.2e8c87df0f-1" on arch linux) the error went away.
Thank you for that cheat sheet! Is this part of the official documentation
or your own work?
All the best
Christian
Noeck schrieb am Mo., 1. Feb. 2021, 23:46:
> Hi David,
>
> you are looking for markup-system-spacing:
>
> \paper {
> markup-system-spacing.basic-distance = #10
> }
>
>
Hi David!
Thanks for that find!
...well, if at anytime someone wants to help out and give something back to
Lilypond: there are 583 instances of "DOCME" in the result of that script.
Looks like an extensive list of "simple" and well packaged tasks if one
wants to give a try at participating.
Hi Peter!
It seems to be defined here:
https://github.com/lilypond/lilypond/blob/master/scm/music-functions.scm#L2036
All the best and a happy new year,
Christian
Am Fr., 1. Jan. 2021 um 13:29 Uhr schrieb Peter Toye :
> It seems that I'm probably going to be doing more engraving after all.
>
Hi!
I think that depends very much upon what you want to do with the MIDI file.
If it's only for listening purposes to check for wrong notes, then you can
send more instruments (like alle the strings for example) to the same
channel. Disadvantage: they all sound the same and if the same note
Aaron Hill schrieb am So., 25. Okt. 2020, 04:38
> You have to use a special bar line type when it breaks across a line:
>
>
> \version "2.20.0"
> \paper { indent = 0 line-width = 3\cm ragged-right = ##f }
>
> \markup \bold \typewriter "\".|:-||\""
> { R1 \bar ".|:-||" \break R1 }
>
Out of
Hi Leszek!
I usually put the layout-Stuff in a separate voice, but I can imagine, this
would be a total mess when dealing with many time signature changes. This
sounds a lot like the "Invisible part" you're speaking of.
music = { c1 c c c c c }
breakVoice = { s1 s \pageBreak }
\score {
\new
Hi Peter!
I don't know if that's the correct way to do it, but if you use
\scaleDurations on the cadenza material it seems to work out for me:
{
c'4 4 4 4 |
4 4 \scaleDurations 2/5 { 8 8 8 8 8 8 8 8 8 8 } |
}
The '2/5'-part depends of course on the length of the material inside.
/LSR/Item?id=973
> Cheers,
> Pierre
>
> Le ven. 8 mai 2020 à 14:14, Christian Masser
> a écrit :
>
>> Thank you very much!
>>
>> That was exactly, what I was looking for! As I've only got one chant to
>> transcribe, the time it takes to tweak every
On 5/7/20, Christian Masser wrote:
> > I am currently working on my Master thesis and would like to show parts
> of
> > gregorian chants in modern notation for comparison purposes.
>
> Greetings, good luck for your thesis!
>
> > Is it possible to get
de Beam
\hide BarLine
\hide TupletNumber
}
}
}
Is it possible to get the note heads even closer together, so that they are
kind of glued together? Probably someone did this before but I wasn't able
to find it yet.
All the best
Christian Masser
al playing. The fewest
musicians playing in orchestras do studio recordings where they get to play
to click regularly.
Christian
Urs Liska schrieb am Mi., 1. Apr. 2020, 11:43:
> Am Mittwoch, den 01.04.2020, 11:33 +0200 schrieb Christian Masser:
>
> Hi!
>
> I think whether it's easier with
Hi!
I think whether it's easier with only click or with click+MIDI purely
depends on the player's own stability in terms of intonation and rhythm.
(And in terms of MIDI accompaniment you have to pay special attention to
the tuning of the MIDI instrument.)
Having done a few of this recordings
Just found another way:
\once \override NoteHead.style = #'blackpetrucci
g\breve*3/4
This colors the note even in flexa-style ligatures. Though it is still a
workaround it's at least compatible with clef changes.
Am Mi., 6. Nov. 2019 um 21:21 Uhr schrieb :
> Christian:
> > I was wondering if it
Thank you, Karl!
I kind of like this workaround... feels a little bit like good old
handwriting.
Best regards
Christian
Am Mi., 6. Nov. 2019 um 21:21 Uhr schrieb :
> Christian:
> > I was wondering if it is possible to blacken single notes in ligatures in
> > white mensural notation - having the
Hey folks!
I was wondering if it is possible to blacken single notes in ligatures in
white mensural notation - having the meaning of shorten the note length to
3/4 of its value. I need this for an incipit in the following example:
The g at the end of the ligature should be filled black, meaning
31 matches
Mail list logo
