Hello folks,
Is there a way to force a flat sign for all ees’s and bes’s in the following
example, without using ! for each of them?
Choosing a c \major key would do it, but the actual key information would then
be lost.
Thanks for the help!
JM
\version "2.19.22"
\relative {
\clef "bass"
Hello David,
Sorry for omitting I’d like to avoid the parentheses, you hit the point.
JM
> Le 30 juil. 2015 à 10:19, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> Hello folks,
>>
>> Is there a way to force a flat sign for all ees’s and bes’s in the
Thanks David,
\accidentalStyle Score.teaching
\override AccidentalCautionary.parenthesized = ##f
does what I need.
A nice day!
JM
> Le 30 juil. 2015 à 11:07, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> Hello David,
>>
>> Sorry for
Hello folks,
In the example below, I’d like to indicate that someone else is playing two
16th notes while this player plays the 8th on the first beat of the second bar,
to help going a tempo altogether on the the second beat.
Trouble is that the two 16th are too much on the right and the stems
Hello folks,
Trying to define a function using the solution provided by this list, I bump
into the following:
- I have to use \relative before \poorMansOssia, otherwise the music in
the "ossia" is taken into account to determine the following note’s octave;
- there’s a missing b
Hello folks,
My grand-son, 6 years and a half old, discovered what he named a rainbow in the
first LP score I’ve done for him. The goal is for him to copy it by hand on
empty staves.
The rainbow is actually a fermata…
JM
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lilypond-user mailing li
Hello Nathan,
Thanks for this kind idea, I’ll integrate it in the score.
Did I tell you that my grand-son’s first name is Nathan too?
A nice day!
JM
> Le 29 sept. 2015 à 03:06, Nathan Ho a écrit :
>
> On Mon, Sep 28, 2015 at 8:28 AM, Menu Jacques wrote:
>> Hello folks,
>
break
\bar "|."
}
paroles = \lyricmode {
Ber -- ger, pour me voir,
Tu m'as fait tant trop beau
Pour é -- tril -- ler ce soir
Ou ta vache ou ton veau!
}
\score {
<<
\new Voice = melodie \musique
\new Lyrics \lyricsto melodie \paroles
>>
\layout {
Hello folks,
I’d like to obtain the following from Poulenc, in which the fermata is
in-between a2 and r4:
I tried with:
\version "2.19.28"
\score {
\relative c'' {
\key f \major \time 2/2 | % 147
<<
{a2 r4}
{s2 s16 \fermata s8.}
>>
e16 -\markup{\dynamic "ff" \i
Score.proportionalNotationDuration
> e16
> -\markup{\dynamic "ff" \italic "librement"}
> ^\markup{\bold "solo"} [ f16 g16 f16 ]
> }
>
> }
>
>
> Cheers,
> Pierre
>
> 2015-10-05 17:25 GMT+02:00 Menu Jacques <mailto:imj-..
Hello folks,
In a Poulenc score, I have the trill displayed in the attached PNG, but
narrower due to LP’s setting of the line breaks, which makes the prall quite
short:
I tried to set a minimum length with the following, but to no avail: the result
is the same whatever the value I supply:
\v
Hello David,
Excellent, thanks, and a nice w-e!
JM
> Le 10 oct. 2015 à 18:02, David Nalesnik a écrit :
>
> Hi Jacques,
>
> On Sat, Oct 10, 2015 at 10:58 AM, Menu Jacques <mailto:imj-...@bluewin.ch>> wrote:
> Hello folks,
>
> In a Poulenc score, I have th
Hello folks,
I’ve done various attempts, but to no avail: how can I get the beam from below
for the 2nd to 4th eighthes, as in the attached PNG?
Thanks for your help!
JM
\version "2.19.28"
PartPOneVoiceOne = \relative fis, {
\clef "bass" \key d \major \time 4/4
8 [ 8 8 8 ]
fis8 [ ei
Hello folks,
I’ve started looking at the internals of musicxml2ly, to try and understand
what it does.
Is there documentation about this to be found somewhere?
Thanks for the help!
JM
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9/Documentation/usage/invoking-musicxml2ly>
>
>
> Knute Snortum
> (via Gmail)
>
> On Thu, Oct 29, 2015 at 3:03 AM, Menu Jacques <mailto:imj-...@bluewin.ch>> wrote:
> Hello folks,
>
> I’ve started looking at the internals of musicxml2ly, to try and unde
Thanks Federico, I’ve sent them a mail.
JM
> Le 29 oct. 2015 à 18:10, Federico Bruni a écrit :
>
> Il giorno gio 29 ott 2015 alle 17:56, Menu Jacques ha
> scritto:
>> Sorry for not being more clear, it’s documentation about the source code
>> that I’m looking fo
Hello folks,
In the following, from Poulenc, I added a CueVoice to help the bassonnist (i.e.
myself). The example is a bit long, sorry for that.
The critial point is on the second beat of the bar at the « 1 » rehearsal mark:
the clef change to « bass » for the bassoon takes effect also for the
fault
r4
% \clef "bass"
\cueClefUnset
gis,8 \f ( [ a8 ] | % 90
}
b8 [ cis8 d8 e8 ]
\bar "||"
\time 3/4
fis2 e8 [ d8 ]
\bar "||"
\time 2/4
d4 -\markup{\italic "céder à peine"} cis4 )
\bar "||"
}
{ \Basson }
>
four eights won’t show up,
and the remaining cue’d contents is shifted as much to the left.
JM
> Le 9 nov. 2015 à 17:55, David Wright a écrit :
>
> On Mon 09 Nov 2015 at 17:00:51 (+0100), Menu Jacques wrote:
>> Hello David,
>>
>> The docs say that the part that «
My original problem can be avoided for the time being by preventing Cue’d and
Cue’ing musics to sound in parallel at any given point, since the effect of
that is not clearly defined in the docs.
Thanks to all!
JM
> Le 9 nov. 2015 à 18:59, David Wright a écrit :
>
> On Mon 09 Nov
Hello folks,
I’ve tried to obtain the following from Mozart:
with:
\version "2.19.30"
Cello = \relative f {
\clef "bass" \key f \major \time 4/4
g,2 \f
-\tweak Y-offset #ly:self-alignment-interface::y-aligned-on-self
-\tweak self-alignment-Y #2 % move vertically down
^\markup{"Bas
Hello,
As it turns out, using \tempo solves the issue:
Cello = \relative f {
\clef "bass" \key f \major \time 4/4
\tempo "Bassi"
g,2 \f
\tempo "Vcl."
des''4 \p ( c4 ) | % 18
}
\relative {
\Cello
}
JM
> Le 15 nov. 2015 à 07:33, Menu Jac
Hello Andrew,
Didnt’ think of it, thanks, but then you’re on your own to avoid collisions,
whereas \tempo takes care of that…
JM
> Le 16 nov. 2015 à 10:17, Andrew Bernard a écrit :
>
> Hi JM
>
> You could try using extra-offset:
>
> \version "2.19.30"
>
> Cello = \relative f {
> \clef "b
bass" \key f \major \time 4/4
> \textLengthOn
> g,2 \f
> ^\markup{"Contrabassi"}
> des''4 \p ^"Vcl." ( c4 ) | % 18
> }
>
> \relative {
> \Cello
> }
>
>
>
> Andrew
>
>
>
&g
lo
}
> Le 16 nov. 2015 à 12:25, Andrew Bernard a écrit :
>
> Hi JM,
>
> This is a downside, but in general I find it can be managed pretty well. So
> although the use of extra-offset may not be totally philosophically sound and
> pure, it is quite pragmatic.
>
>
each time the problem arises.
Problem solved!
JM
> Le 16 nov. 2015 à 22:44, Simon Albrecht a écrit :
>
> On 16.11.2015 08:08, Menu Jacques wrote:
>> Hello,
>>
>> As it turns out, using \tempo solves the issue:
>
> Well, it depends on what you’re typesetti
Hello Gilles,
Oops, I’d thought I would never fall into using blanks in a directory name…
thanks for the hint, it’s OK now!
JM
PS> Je me suis eu moi-même.
> Le 17 nov. 2015 à 20:52, Gilles THIBAULT a écrit :
>
>
>> Recently however, some of them got refused by Guile, can’t explain why.
>
>
,On my mac, I just select the text in the log, right click to copy, and paste wherever, as per any application. Does that not work for you?AndrewOn 18/11/2015, 01:36, "Menu Jacques" <lilypond-user-bounces+andrew.bernard=gmail@gnu.org on behalf of imj-...@bluewin.ch> wrote:By the w
Hi Andrew,
The definitions I use actually is:
#(define comml (object->string (command-line)))
#(define loc (+ (string-rindex comml #\space ) 2))
#(define commllen(- (string-length comml) 2))
#(define filen (substring comml loc commllen))
#(define siz
Hello David,
I just copied/pasted that without analysis, as it happens. My 1€!
JM
> Le 18 nov. 2015 à 10:11, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> Hi Andrew,
>>
>> The definitions I use actually is:
>>
>> #(define com
Hello Andrew,
Many thanks, here is the final version I’ll use after your proposal, with more
readable identifers:
A nice day!
JM
%%
\version "2.19.30"
#(define (fileName)
(let* ((args (program-arguments))
(args-len (length args)))
(list-ref args (- args-len 1)
Hello folks,
I find it convenient when I don’t have to play for a number of measures to
decompose the multiple rests in portions corresponding to what the others play,
and to have bar numbers showing up here and then to help catching up when I’ve
got to blow again.
What I don’t understand in t
Hello Greg,
Yes, exactly, thanks for the trick!
JM
> Le 26 déc. 2015 à 11:54, Greg a écrit :
>
> On 26/12/2015 09:40, Menu Jacques wrote:
>> Hello folks,
>>
>> I find it convenient when I don’t have to play for a number of measures to
>> decompo
Hello Greg,
Now that’s quality service, also suggesting that layout could factorize things
out!
JM
> Le 26 déc. 2015 à 12:38, Greg a écrit :
>
> On 26/12/2015 11:26, Menu Jacques wrote:
>> Hello Greg,
>>
>> Yes, exactly, thanks for the trick!
>>
>> J
Hello folks,
I found in the notation reference manual that one can use that to rename the
input file:
• At any point in a file, any of the following lexical instructions can be
entered:
• \version
• \include
• \sourcefilename
• \sourcefileline
• A single-line comment, introduced by a
Hello David,
I had no expectations, just seemed strange that there was no other mention of
it in the docs.
Thanks for the explanation!
JM
> Le 26 déc. 2015 à 17:56, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> I found in the notation reference manual that o
Hello folks,
I’ve found that one can write the following:
\version "2.19.33"
"bella melodia" = \relative c' {
r4- ef\upbow(f) r g |
}
\score {
\"bella melodia"
}
but I couldn’t find such a possibility in the 2.19.31 Notation Reference, even
though that may be useful.
Does anyone know m
Hello folks,
A happy new year 2016 to everybody!
A newbie question: what are the expected benefits and challenges of moving from
guile 1.8.x to guile 2.y?
JM
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Hello Paul,
Thanks a lot for the informatin and links, things are much clearer to me now.
JM
> Le 3 janv. 2016 à 20:51, Paul Morris a écrit :
>
>> On Jan 3, 2016, at 11:14 AM, Menu Jacques wrote:
>>
>> A newbie question: what are the expected benefits and challenges
Hello folks,
With the following definitions:
myDisplayBarNummber = {
\once\override Score.BarNumber.break-visibility = ##(#f #t #t)
}
multiROne =
#(define-music-function (parser location barsNumber)(number?)
#{
\myDisplayBarNummber
R1*#barsNumber % <—-- not allowed
\myDispl
ur
> $display-bar-num
> #}))
>
> {
> c''1
> \multiROne 3
> b'
> \multiRTwo 1*3
> a'
> }
>
>
> HTH, Simon
>
> On 18.02.2016 18:12, Menu Jacques wrote:
>> Hello folks,
>>
>> With the following defini
-20 8:50 GMT+01:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
> Hello folks,
>
> I’m trying to achieve the following, with « ritardando » split on two bars
> (Louis Spohr, Concerto #1 for Clarinet):
>
>
>
> The trouble is that « ritar » is duplicated and show
mon Albrecht a écrit :
>
> On 07.03.2016 14:39, Menu Jacques wrote:
>> Hello folks,
>>
>> I’m re-scoring the bassoon parts of Spohr’s first clarinet concerto, whose
>> originals are hard to read.
>>
>> They start with movement and instrument names placed thi
Hello Kieren,
Thanks, I was missing such ideas!
One last question: in the following, is there a way to force « CONCERTO » to
show up before the beginning of the staff, as Staff.instrumentName would?
Playing with X-offset as in:
c''1
-\tweak self-alignment-X #-4
-\markup {\fontsize
Hello,
> Le 6 mars 2016 à 16:07, Richard Shann a écrit :
>
> It indeed should be able, but MusicXML isn't well adapted to the task:
> note durations are indicated in multiple ways and there is a timer that
> can move backwards to indicate notes that are to be sounded at the same
> time as other
3-14 at 11:08 +0100, Menu Jacques wrote:
>> Hello,
>>
>>> Le 6 mars 2016 à 16:07, Richard Shann a écrit :
>>>
>>> It indeed should be able, but MusicXML isn't well adapted to the task:
>>> note durations are indicated in multiple ways and there
Hello folks,How can get more space before 2. Somewhere and 3. America in the attached code? Using multiple scores would impose setting bar number manually, as well as the rehearsal marks to have them start at the desired lettre in each subsequent score.Thanks for your help!
IntraPartVerticalSpacin
Hello folks,
I’d like to obtain this at bar 103, with only the upper voice :
and the best I’ve been able to achive is this :
using the following code :
\version "2.19.15"
{
\set Score.markFormatter = #format-mark-box-alphabet
\clef "bass" \key bes \major \tim
olmes <mailto:m...@philholmes.net>>:
> http://lsr.di.unimi.it/LSR/Item?id=202
> <http://lsr.di.unimi.it/LSR/Item?id=202> shows exactly what you want, but may
> be a little complex. http://lsr.di.unimi.it/LSR/Item?id=735
> <http://lsr.di.unimi.it/LSR/Item?id=735>
Hello folks,
Following the answer to a question I got recentlty from this list, I’ve come to:
%%
\version "2.19.15"
{
c1
\break
\tempo\markup{
\column{
" " \vspace #2
"Presto"
}
} 2 = 130
c1
}
%%
How can I align the metronome indication
gt; \column { \vspace #3 "Presto" }
> \hspace #-8
> }
>2 = 130
> c1
> }
>
> %%
>
> Cheers,
> Pierre
>
> 2015-01-14 17:51 GMT+01:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
> Hello folks,
&g
Hello folks,
In order to produce home-make fingerings, I use the code below, a solution
supplied by users of this list:
%%
\version "2.19.15"
Introduction = \relative g, {
\markLengthOn
\clef "bass" \key bes \major \time 2/4 | % 1
\tempo "Moderato" 4 = 108
g2 \mf
-\twe
Hello folks,
I can’t get the slurs in « Largo_Flute » nor R2 in the argument to
\cueDuringWithClef to be displayed in the following example.
Here is the log contents:
Starting lilypond 2.19.15 [CueVoiceExample.ly]...
Traitement de «
/Users/menu/Documents/LaTeX/PartitionsLilypond/CueVoiceExampl
ff.quotedEventTypes with
> Staff.quotedCueEventTypes
>
> hth,
> Kevin
>
> On Mon, Feb 16, 2015 at 7:16 AM, Menu Jacques <mailto:imj-...@bluewin.ch>> wrote:
> Hello folks,
>
> I can’t get the slurs in « Largo_Flute » nor R2 in the argument to
> \cueDuringWithClef to be di
chneider
> a écrit :
>
> Hi Jacques,
>
> "da gamba" ? For a specific tessitura ?
>
> Cheers,
> Pierre
>
> 2015-02-16 18:00 GMT+01:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
> Hello folks,
>
> In the viola score of a Telemann qua
t seem to be quite the same work.
JM
> Le 16 févr. 2015 à 23:04, David Nalesnik a écrit :
>
>
>
> On Mon, Feb 16, 2015 at 3:56 PM, Menu Jacques <mailto:imj-...@bluewin.ch>> wrote:
> Hello David and Pierre,
>
> The instrument name is actually "Viola da
Hello Folks,
I’ve been struggling with this for some time, got help from this list, and
finally came up with the following (probably partial) observation:
\vspace is taken into account only in \column* blocks, and needs to
have some space (" ") before and/or after it.
Hence this kind of
Hello folks,
Is there a way to get the slur above the tremolo in the sample below, as found
in the attached manuscript image?
Thanks for you help!
JM
\version "2.19.15"
{
\time 3/4
\clef "bass"
\repeat tremolo 6 { e8 -. } |
}
___
lilypond
>
> Hi Jacques,
>
> there is already a snippet that might help:
> http://lsr.di.unimi.it/LSR/Item?id=772
> <http://lsr.di.unimi.it/LSR/Item?id=772>
>
> Cheers,
> Klaus
>
>
> Le 8 mars 2015 à 19:31, Cynthia Karl a écrit :
>
>> Message: 2
&
Hello Pat,
I tried:
{
\time 3/4
\clef "bass"
\repeat tremolo 6 e8 -\markup {\draw-dotted-line #'(5.1 . 2.3)} |
}
but the slur doesn’t show up.
JM
> Le 8 mars 2015 à 21:34, Cynthia Karl a écrit :
>
>
>> On Mar 8, 2015, at 2:42 PM, Menu Jacques wrote:
Hello folks,
Someone recently supplied on this list a way to draw large, colored brackets to
emphasize repeats, with fixed X offsets though.
I tried to go one step further by defining functions in order to be able to
specify the X offset at will.
\displayMusic showed me what to put in their bo
t;
> On Mon, May 4, 2015 at 3:56 AM, Menu Jacques <mailto:imj-...@bluewin.ch>> wrote:
> Hello folks,
>
> Someone recently supplied on this list a way to draw large, colored brackets
> to emphasize repeats, with fixed X offsets though.
>
> I tried to go one step fu
Hello folks,
I’m bumpinp into a problem with the following example :
\version "2.19.21"
symbols = {
\time 3/4
c4-.\5-3 d\4-0 ( e\4-2 )
f4-.\4-3 \f g\3-0 a\3-2 ^\fermata
}
\score {
<<
\new Staff { \clef "G_8" \symbols }
\new TabStaff { \symbols }
>>
}
Hello folks,
I’d like the vertical dashed line to be created automatically between the third
and fourth beat of each bar in this example, without having to resort to '\bar
"!"’ explicitly each time :
\relative {
\time 5/4
c'4 c c \bar "!" c c |
c'4 c c \bar "!" c c |
}
Couldn’t find the
pat
> }
> and inserting it into one of the \voices in parallel.
> I don’t think there is a more specific solution for that already – would be
> worth a thought though, something like
> \set defaultHalfBarLine = "!" (?).
>
> Yours, Simon
>
> Am 09.07.2015 um 22:2
Hello folks,
Is there a way to obtain the following, i.e 3/4 = 9/8, from Jacques Ibert’s «
Deux mouvements »?
Thanks!
JM
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Hello Peter,
Great, thanks!
JM
> Le 10 juil. 2015 à 12:11, Peter Bjuhr a écrit :
>
>
>
> On 2015-07-10 11:47, Menu Jacques wrote:
>> Hello folks,
>>
>> Is there a way to obtain the following, i.e 3/4 = 9/8, from Jacques Ibert’s
>> « Deux mouveme
Hello folks,
In the following code, I get the bass clef twice before the 6/8 time signature.
The problem only arises when the parallel music containing the new CueVoice is
directly followed by a \clef command.
Uncommenting the "\once\omit Staff.Clef » command before \clef "bass" removes
two cl
Hello folks,
How can I get the rests parallel to the CueVoice to be as in the attached PNG
image, i.e right below the staff?
Also, the flute stems are too short.
Thanks a lot!
JM
%%%
\version "2.19.22"
\relative {
\clef "alto"
\key d \major
\time 2/4
a16 ( [ cis16 a16 cis16
Hello David,
Thanks for your help!
I’ll look more into \cueDuring, but this solution is already fine.
JM
> Le 21 juil. 2015 à 19:19, David Kastrup a écrit :
>
> Menu Jacques writes:
>
>> Hello folks,
>>
>> How can I get the rests parallel to the CueVoice t
Hello folks,
In the example below, using Staff.instrumentName makes no difference compared
to DrumStaff.instrumentName.
Are both equivalent, or should DrumStaff.instrumentName clearly be preferred?
Thanks for your help!
JM
—
\version "2.19"
P_PTwo_Staff_One_Voice_One = \relative {
\key c
Hello Folks,
There exists DrumStaff and RythmicStaff and DrumVoice, but no RhythmicVoice.
In the example below from musicxml2ly, '\context Voice’ is used in the
RhythmicStaff.
Any reason for this asymmetry?
JM
—
\version "2.19.58"
% automatically converted by musicxml2ly from 73a-Percussion.
Caagr98’s answer to my other post regarding DrumStaff vs Staff for instrument
name is also an answer to this one:
there’s no alias defined for RhythmicVoice, but Voice should be preferred
anyway it seems.
JM
> Le 13 déc. 2017 à 10:04, Menu Jacques a écrit :
>
> Hello Folks,
>
&g
Hello Folks,
Surely this question has arosen before, but I don’t seem to be able to find the
answer.
How can I get a slur on the last note of a staff, such as the attached?
Thanks for your help!
JM
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Found this way:
<<
{ d4-1 }
{ s8 ( s8 ) }
>>
Maybe there are others…
JM
> Le 14 déc. 2017 à 10:50, Menu Jacques a écrit :
>
> Hello Folks,
>
> Surely this question has arosen before, but I don’t seem to be able to find
> the answer.
>
> How can I ge
Hello Davide,
Thanks! Is there a way for this solution to apply to all \laissezVibrer
occurrences, so as to put it in global variable?
JM
> laissezVibrer
> Le 14 déc. 2017 à 11:01, Davide Liessi a écrit :
>
> 2017-12-14 10:50 GMT+01:00 Menu Jacques :
>> How can I get a slu
Hello folks,
MusicXML has the notion of multiple chord names, i.e.:
480
0
major
4
4
r, I just place two
> ChordNames contexts in the score and have the upper one contain mostly
> spacers plus the alternative chord names wherever one is needed ...
>
> Best, Robert
>
> On 15 Dec 2017, at 00:20, Menu Jacques <mailto:imj-...@bluewin.ch>> wrote:
>
Hello folks,
MusicXMl has the notion of brackets (LilyPond’s ligatures) line-ends:
Hello folks,
The LPNR states that:
Hammer-on and pull-off can be obtained using slurs.
\new TabStaff {
\relative c' {
d4( e\2)
a( g)
}
}
Is that the regular way to write such fretted strings instruments music, or is
sometimes an H or P placed between the two notes, as Finales doe
t;
> On Twitter <https://twitter.com/Bart_Issimo>
> On Identi.ca <http://identi.ca/bartart3d>
> On Google+ <https://plus.google.com/u/0/b/116379400376517483499/>
>
> 2017-12-22 15:19 GMT+01:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
> Hello folks,
>
Hello folks,
The edge-height pair can be given a value with:
\once \override Staff.LigatureBracket.edge-height = #'(0 . +0.7)
but how can I change only one of the members of the pair, leaving the other one
as it is?
Thanks for your help!
JM
_
Hello folks,
A happy new year 2018!
How can one suppress the denominators in \compoundMeter below? single-digit
seems to act only on simple meters:
\relative c' {
\once\override Staff.TimeSignature.style = #'single-digit
\compoundMeter #'((2 8) (3 8))
c8 d e fis gis
c8 fis, gis e d
Hello folks,
In the example below, how can the ossia be brought closer to the upper staff
while keeping the same distance between the two regular staves?
Thanks for your help!
JM
\version "2.19.80"
\new PianoStaff <<
\new Staff = "up" \relative {
c''4 b d c
<<
{
Hello folks,
The example below illustrates the possibilities in LilyPond, and there are
several ways to obtain the same graphics appearance, such as acciaccatura and
slashedGrace slurred.
As a matter of style, are some of them to be preferred/avoided?
Thanks for your help!
JM
%
Hello folks,
P_POne_Staff_One_Voice_Two below contains rests which may seem to be make the
score more difficult to read that spacers.
Apart for single voice staves where rests are necessary, is there a
best-practise style for multivoice staves?
Thanks for your help!
JM
%%%
\version
Hello folks,
Using http://lsr.di.unimi.it/LSR/Item?id=204 as a starting point, I obtained
the code below, that produces:
Is there a simpler way to obtain the same score?
Thanks for your help!
JM
%%%
\version "2.19.80"
%% http://lsr.di.unimi.it/LSR/Item?id=204
%% see also
Hello folks,
A friend of mine would like to produce scores with the fingerings for his F
diatonic accordion.
In the « Score for diatonic accordion » example in the snippets, it is not
shown how:
AccordionTabTwoCBesDur = {
% pull 1
%8 8 8 |
8 8 8 |
% push 2
%4|
4|
% pull 3
Hello folks,
I've modified the AccordionPushSpanner example supplied by someone on this list
(can't find who it was, unfortunately), giving the attached file and the score :
How can I tune the settings to align the bar lines lower tips with the single
staff line, and hide the dots in the repea
« draw ».
The next important step will be to convert the actual note pitches into the
fingerings that should be displayed instead.
JM
AccordionPushSpannerExample.ly
Description: Binary data
> Le 27 mars 2018 à 13:16, Menu Jacques a écrit :
>
> Hello folks,
>
> I'v
Hello Harm,
Thanks for your help and thanks a lot to David for supplying this useful Scheme
code. I’ll use that for sure!
JM
> Le 31 mars 2018 à 16:16, Thomas Morley a écrit :
>
> 2018-03-30 18:25 GMT+02:00 Menu Jacques <mailto:imj-...@bluewin.ch>>:
>> Hello,
>&
Hello folks,
In 23c-Tuplet-Display-NonStandard.xml, part of the unofficial LP MusicXML
suite, there’s:
C
5
136
1
eighth
3
2
breve
Hello folks,
String instruments sometimes use scordaturas: I’ve wondered how this is noted
in modern scores, but couldn't find examples on the Internet.
Can anyone give pointers to actual scores showing that?
Thanks!
JM
___
lilypond-user mailing li
Hello folks,
In the example below, chords are split over two voices by musicxml2ly, as it
found them (as harmonies) in the MusicXML file.
Would it be better to have only one chords part in such a case, to have Ebm9 at
the same horizontal level as the other three chords, as MuseScore does in the
Hello folks,
Is there a way to enforce a note name such a D instead of the fret number in a
TabStaff?
That would be nice to display scordaturas.
Thanks for your help!
JM
\version "2.19.80"
\relative c {
\new TabStaff {
\omit Staff.TimeSignature
\hide Stem
\mark "DADGAD"
Hello folks,
Say I’m considering chords with an E flat root.
Is is always true that:
- the diminished fifth is B double flat
- the augmented fifth is B natural
- the diminished unisson is E double flat
- the augmented unisson is E natural
or can this depend on
Hello,
It seems there are no names in Svenska and some other languages for sequiflat
and sesquisharp pitches.
Will that be added when triple accidentals are introduced?
Thanks for your help!
JM
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lilypond-user mailing list
lilypond-user@gnu.org
h
Hello folks,
The MusicXML example below causes musicxml2ly 2.19.80 to create the following
code, which is not acceptable to LilyPond:
Starting lilypond 2.19.80 [ExtendStartAndStop.ly]...
Processing
`/Users/menu/Documents/LaTeX/PartitionsLilypond/lyrics/ExtendStartAndStop.ly'
Parsing...
/Users/
Hello folks,
What is the best way to write such a length, that cannot be written with dots?
I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:
\version "2.19.80"
\relative {
\time 5/4
<<
\new Voice {
a' b c d e |
}
\new Voice {
R1 R4 |
}
Hello folks,
Working on intervals, I bump into this question.
How is the right column below to be filled?
Downward interval between B## and:
B#:augmented unison or minor second?
B: major second or ...?
Bb:minor third or ...?
Bbb: major third or ...?
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