Re: How to split stem?

2018-05-04 Thread Peter Terpstra 
Peter Terpstra wrote:

>[...]

Answer:
fixA = {
  \once \override Stem.length = #18
}

fixB = {
  \once \override NoteHead.X-offset = #1.3
  \once \override Stem.length = #7.5
  \once \override Stem.rotation = #'(30 0 0)
  \once \override Stem.extra-offset = #'(-0.4 . -0.2)
  \once \override Flag.style = #'no-flag
  \once \override Accidental.extra-offset = #'(3.75 . -0.25)
}

\relative c' {\stemUp 
  \time 3/4  
  << { 16-> [q-> \fixA ] } \\ 
 { \voiceThree s8 \fixB bes'! } >>
  
}



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How to split stem?

2018-05-04 Thread Peter Terpstra 
Dear people,
Found one example on the internet and reworked to get it fixed for my
situation but not ready yet.

\version "2.18.2"

fixA = {
  \once \override Stem.length = #18
}

fixB = {
  \once \override NoteHead.X-offset = #1.3
  \once \override Stem.length = #7.5
  \once \override Stem.rotation = #'(30 0 0)
  \once \override Stem.extra-offset = #'(-0.4 . -0.2)
  \once \override Flag.style = #'no-flag
  %\once \override Accidental.extra-offset = #'(4 . -.1)
}

\relative c' {\stemUp 
  \time 3/4 16-> [q-> 
  << { \fixA  } \\ { \voiceThree \fixB bes' } >>
  ]
}

How do i get the beam joined?

Thank you kindly in advance!


Peter


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Re: Intervals enharmony question

2018-05-04 Thread Colin Campbell 

On 2018-05-04 07:51 AM, Karlin High wrote:

On 5/4/2018 8:41 AM, Jacques Menu Muzhic wrote:

Hello Hans,

Sorry for not knowing, what does GHB mean in our context?



In another Hans Åberg message less than a month ago, it was an 
abbreviation for Great Highland Bagpipe.


I tried Googling it, but got an acronym collision with Gamma 
Hydroxybutyrate, a recreational drug.



There is also the possibility of confusing it with GBH, a police 
abbreviation of grievous bodily harm, although with the history of the 
pipes in battle, that wouldn't be wide of the mark.


--
Patience serves as a protection against wrongs as clothes do against 
cold. For if you put on more clothes as the cold increases, it will have 
no power to hurt you. So in like manner you must grow in patience when 
you meet with great wrongs, and they will then be powerless to vex your 
mind. - Leonardo da Vinci, painter, engineer, musician, and scientist 
(1452-1519)


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Re: Tuplet bracket spacing with multiple voices

2018-05-04 Thread foxfanfare 
I also agree with the suggestions, you should place two 8th rests instead.
But in case you wished to know the solution for your initial layout problem,
you could just put
"\set tupletFullLength = ##t" before the lower tuplet!



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Re: {SPAM 01.9} Re: Tie across voices

2018-05-04 Thread Simon Albrecht 

On 04.05.2018 19:23, David Sumbler wrote:

It seems that if, in a
<<{\musicA} {\musicB}>>
passage, \musicA does not specify a new Voice, then the music before
the << >> passage and, importantly, also the music afterwards will all
be treated as belonging to the same voice.  Is that correct?


Have a look at this example:


\version "2.19.80"

<<
  c
  c
>>

\new Staff
<<
  c
  c
>>

\new Staff
<<
  c
  \\
  c
>>

\new Staff
\new Voice
<<
  c
  c
>>


resulting in the attached output.
<<>> just combines music expressions simultaneously. Depending on which 
contexts are explicitly created, separate implicit contexts will be 
created or not.


Best,
Simon
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Re: Tuplet bracket spacing with multiple voices

2018-05-04 Thread Simon Albrecht 

On 04.05.2018 16:18, Aaron Hill wrote:

On 2018-05-04 13:47, Chris Yate wrote:

The following might be the tidiest solution (i.e. just remove the number
and brace). Other opinions welcome!


If you wanted the keep the lower tuplet bracket, you could write two 
explicit eighth rests to line up with the eighth notes above instead 
of the quarter rest.  It does put a little more ink on the page, but 
the resulting alignment could make the timing clearer. 


As a rule, tuplets should be treated like separate bars in terms of 
beaming and rest division. In a 3/8 bar, the correct spelling is { c8 r8 
r } instead of { c8 r4 } – so following best practice and the common 
authorities you need to split the rest anyway.


Best, Simon

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Re: Tempo & Markup

2018-05-04 Thread foxfanfare 
Malte Meyn-3 wrote
> Looks like I should get issue 5215 done soon 
> (https://sourceforge.net/p/testlilyissues/issues/5215/). I haven’t had 
> much time for LilyPond the last few weeks, hopefully it gets better soon.

Oh, I just watched your code, it is amazing!
Those options would be very welcomed in a future LilyPond version! :-)

Until then, I guess I'll keep using those markup commands...



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Re: {SPAM 01.9} Re: Tie across voices

2018-05-04 Thread David Sumbler 
On Thu, 2018-05-03 at 18:43 +0200, Lukas-Fabian Moser wrote:
> Hi David,
> 
> Am 03.05.2018 um 18:29 schrieb David Sumbler:
> > 
> > \version "2.19.81"
> > 
> > \new Staff {
> >    \time 6/8
> >    <<
> >  { \once \override MultiMeasureRest.staff-position = #10
> >    R2. | r4. e'''~ }
> >  \\
> >  { g''2.~ | g''~ }
> >    >>
> >   \oneVoice 2.~ | q |
> > }
> > 
> One possibility would be:
> 
> \version "2.19.81"
> 
> \new Staff {
>    \time 6/8
>    <<
>  { \once \override MultiMeasureRest.staff-position = #10
>    R2. | r4. e'''~ \hideNotes e'''2. }
>  \\
>  { g''2.~ | g''~
>    \oneVoice 2.~ | q |
>  }
>    >>
> }
> 
> If you don't want to continue inside a << \\ >> construct, try
> 
> \version "2.19.81"
> 
> \new Staff {
>    \time 6/8
>    <<
>  {
>    \voiceTwo g''2.~ | g''~
>  }
>  \new Voice {
>    \voiceOne \once \override MultiMeasureRest.staff-position =
> #10
>    R2. | r4. e'''~ \hideNotes e'''2.*0
>  }
>    >>
>    \oneVoice 2.~ | q |
> }
> 
> Explanation: << { } \\ { } >> is a shorthand which creates two new 
> (named) voices. Just taking << { } \new Voice { } >> makes sure the 
> first { } pair creates music in the "main" voice which is active
> outside 
> the << >>.

Thank you all for your suggestions.  I realise now that my original
request was unclear: I need both the upper and the lower notes to be
tied.

The second solution above seems to fit the bill perfectly.  It will be
very useful immediately, because in this passage of music there are
similar divisi sustained notes (but with different entry timings) also
in the 2nd violins, violas and cellos.

I hadn't hit on the idea of tying the note to another one of zero
length; very ingenious and worth remembering.

Just to clarify:

It seems that if, in a
<<{\musicA} {\musicB}>>
passage, \musicA does not specify a new Voice, then the music before
the << >> passage and, importantly, also the music afterwards will all
be treated as belonging to the same voice.  Is that correct?

David



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Re: Intervals enharmony question

2018-05-04 Thread Hans Åberg 

> On 4 May 2018, at 15:41, Jacques Menu Muzhic  wrote:
> 
> Hello Hans,
> 
> Sorry for not knowing, what does GHB mean in our context?

The Great Highland bagpipe [1]. It is notationally interesting (LilyPond 
supports it) in that the tuning note A has drifted upwards considerably, and 
also, the mixolydian key signature is normally not written out.

1. https://en.wikipedia.org/wiki/Great_Highland_bagpipe

>> The GHB is tuned to an A at around 480 Hz; some confuse it with a Bb.


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Re: Intervals enharmony question

2018-05-04 Thread Wols Lists 
On 04/05/18 17:14, Paul Scott wrote:
> On Fri, May 04, 2018 at 11:00:59AM +0100, Wols Lists wrote:
>> On 30/04/18 22:46, Torsten Hämmerle wrote:
>>> Hans Åberg-2 wrote
 I suspect the least pitch-flexible instrument is the oboe, as one
 typically uses that for a tuning reference pitch.
>>>
>>> Yep, and just to keep up tradition, it's the oboe player who operates the
>>> digital tuning device. ;D
>>>
>> Until you get the player (or novice conductor!) who tries to tune the
>> brass section to an A !!!
>>
>> I've had it happen - someone who insisted I tune my trombone to an A ...
> 
> Nevertheless any orchestra I've heard or played in in the US tunes to an A.
> 
> Bands tune to Bb and sometimes also to A.
> 
So if their A is out of tune, which tuning slide do they adjust? Hint -
there are TWO slides involved in an A ...

Likewise, on the 'bone, I can't tell you where I place the slide for an
A, I just "know", and a lot of that is probably micro-feedback - I hear
the note and my hand/arm just move slightly to get it in tune - tuning
to an A means I'll never adjust my tuning slide because it's actually
quite hard to play out-of-tune.

Cheers,
Wol


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Re: Intervals enharmony question

2018-05-04 Thread Paul Scott 
On Fri, May 04, 2018 at 11:00:59AM +0100, Wols Lists wrote:
> On 30/04/18 22:46, Torsten Hämmerle wrote:
> > Hans Åberg-2 wrote
> >> I suspect the least pitch-flexible instrument is the oboe, as one
> >> typically uses that for a tuning reference pitch.
> > 
> > Yep, and just to keep up tradition, it's the oboe player who operates the
> > digital tuning device. ;D
> > 
> Until you get the player (or novice conductor!) who tries to tune the
> brass section to an A !!!
> 
> I've had it happen - someone who insisted I tune my trombone to an A ...

Nevertheless any orchestra I've heard or played in in the US tunes to an A.

Bands tune to Bb and sometimes also to A.

Paul


> 
> Cheers,
> Wol
> 
> 
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Re: Hiding Time Signature

2018-05-04 Thread Garreth 
Thank you guys so much. Karlin's answer is super easy!



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Re: Intervals enharmony question

2018-05-04 Thread Torsten Hämmerle 
Karlin High wrote
>>> The GHB is tuned to an A at around 480 Hz; some confuse it with a Bb.
>>>
>> 
> 
> In another Hans Åberg message less than a month ago, it was an 
> abbreviation for Great Highland Bagpipe.

I suppose that's why it's called High Landpipe.




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Re: Tie across voices

2018-05-04 Thread Knute Snortum 
On Thu, May 3, 2018 at 9:30 AM David Sumbler  wrote:

> \version "2.19.81"
>
> \new Staff {
>   \time 6/8
>   <<
> { \once \override MultiMeasureRest.staff-position = #10
>   R2. | r4. e'''~ }
> \\
> { g''2.~ | g''~ }
>   >>
>  \oneVoice 2.~ | q |
> }
>
> In the above I want the lower note to be tied continuously.  As it
> stands, there is no tie between the 2nd and 3rd bars where the 2 voices
> become one.
>
> I have experimented a lot with invisible notes (as suggested in section
> 4.7.1 in the Learning Manual) and with additional voices, but I haven't
> yet managed to get the result I want.
>
> This is taken from a full score where the violins are divisi.  The
> notes continue for a further 10 bars, so I don't want to continue with
> up and down stems, which would look very untidy.
>
> Can somebody suggest how I can get the effect I want?


One more example:

%%%
\version "2.19.81"

\new Staff {
  \time 6/8
  <<
{ \once \override MultiMeasureRest.staff-position = #10
  R2. | r4. e'''~ }
\\
{ g''2.~ | g''~ }
  >>
 \context Voice = "2" \oneVoice 2.~ | q |
}
%%%

This works because <<{...}\\{...}>> is short for:

<<
  \context Voice = "1" { \voiceOne ... }
  \context Voice = "2" { \voiceTwo ... }
>>

---
Knute Snortum
(via Gmail)
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Re: Tuplet bracket spacing with multiple voices

2018-05-04 Thread Aaron Hill 

On 2018-05-04 13:47, Chris Yate wrote:
The following might be the tidiest solution (i.e. just remove the 
number

and brace). Other opinions welcome!


If you wanted the keep the lower tuplet bracket, you could write two 
explicit eighth rests to line up with the eighth notes above instead of 
the quarter rest.  It does put a little more ink on the page, but the 
resulting alignment could make the timing clearer.


-- Aaron Hill

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Re: Intervals enharmony question

2018-05-04 Thread Aaron Hill 

On 2018-05-04 13:51, Karlin High wrote:

In another Hans Åberg message less than a month ago, it was an
abbreviation for Great Highland Bagpipe.

I tried Googling it, but got an acronym collision with Gamma
Hydroxybutyrate, a recreational drug.


Playing a GHB under the influence of GHB.  That might be a serious 
crime, as some folks consider bagpipe music akin to assault.  (Not me, 
by the by.  I have a soft spot for a little raucous bleating.)


-- Aaron Hill

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Re: Intervals enharmony question

2018-05-04 Thread Karlin High 

On 5/4/2018 8:41 AM, Jacques Menu Muzhic wrote:

Hello Hans,

Sorry for not knowing, what does GHB mean in our context?

JM

Le 4 mai 2018 à 14:51, Hans Åberg > a écrit :


The GHB is tuned to an A at around 480 Hz; some confuse it with a Bb.





In another Hans Åberg message less than a month ago, it was an 
abbreviation for Great Highland Bagpipe.


I tried Googling it, but got an acronym collision with Gamma 
Hydroxybutyrate, a recreational drug.

--
Karlin High
Missouri, USA

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Re: Tuplet bracket spacing with multiple voices

2018-05-04 Thread Chris Yate 
The following might be the tidiest solution (i.e. just remove the number
and brace). Other opinions welcome!

\transpose f g {  \relative c'{
<<
  { r2 r4 \tuplet 3/2 { c8-. f-. c'-. }  f4 r r2}
  \\
  {  r2 \tuplet 3/2 { f,8-. c-. f-. }
   \omit TupletBracket \omit TupletNumber  \tuplet 3/2 { c8-. r4 }
  R1 }>> } }


[image: image.png]


On Fri, 4 May 2018 at 14:33 Chris Yate  wrote:

> Hi guys,
>
> This passage is a little tricky to write tidily on one staff, and I might
> change the way this is done. But the placing of the lower tuplet bracket
> (covereing the quaver and crotchet rest) doesn't seem to help...
>
> \transpose f g {  \relative c'{
> <<
>   {   r2 r4 \tuplet 3/2 { c8-. f-. c'-. }  f4 r r2 }
>   \\
>   { r2 \tuplet 3/2 { f,8-. c-. f-. } \tuplet 3/2 { c8-. r4 }  R1  }
> >>
> } }
>
> A few questions
>
> 1) Is the spacing of the bracket in the 2nd voice (a) as intended (b)
> optimal / correct?
> 1c) Is there a neat workaround to extend the bracket to cover the width of
> the notes in the first voice?
>
> 2) If I write this as two staves, I only want that in the *parts* not the
> score. How would you achieve that with the minimum of code repetition?
> (However it's eventually set, I would rather only have *one* instance of
> the notes in my 'music.ily').
>
> Chris
>
>
> [image: Capture.PNG]
>
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Re: Intervals enharmony question

2018-05-04 Thread Jacques Menu Muzhic 
Hello Hans,

Sorry for not knowing, what does GHB mean in our context?

JM

> Le 4 mai 2018 à 14:51, Hans Åberg  a écrit :
> 
>> 
>> On 4 May 2018, at 12:00, Wols Lists  wrote:
>> 
>> On 30/04/18 22:46, Torsten Hämmerle wrote:
>>> Hans Åberg-2 wrote
 I suspect the least pitch-flexible instrument is the oboe, as one
 typically uses that for a tuning reference pitch.
>>> 
>>> Yep, and just to keep up tradition, it's the oboe player who operates the
>>> digital tuning device. ;D
>>> 
>> Until you get the player (or novice conductor!) who tries to tune the
>> brass section to an A !!!
>> 
>> I've had it happen - someone who insisted I tune my trombone to an A ...
> 
> The GHB is tuned to an A at around 480 Hz; some confuse it with a Bb.
> 
> 
> 
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Tuplet bracket spacing with multiple voices

2018-05-04 Thread Chris Yate 
Hi guys,

This passage is a little tricky to write tidily on one staff, and I might
change the way this is done. But the placing of the lower tuplet bracket
(covereing the quaver and crotchet rest) doesn't seem to help...

\transpose f g {  \relative c'{
<<
  {   r2 r4 \tuplet 3/2 { c8-. f-. c'-. }  f4 r r2 }
  \\
  { r2 \tuplet 3/2 { f,8-. c-. f-. } \tuplet 3/2 { c8-. r4 }  R1  }
>>
} }

A few questions

1) Is the spacing of the bracket in the 2nd voice (a) as intended (b)
optimal / correct?
1c) Is there a neat workaround to extend the bracket to cover the width of
the notes in the first voice?

2) If I write this as two staves, I only want that in the *parts* not the
score. How would you achieve that with the minimum of code repetition?
(However it's eventually set, I would rather only have *one* instance of
the notes in my 'music.ily').

Chris


[image: Capture.PNG]
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Re: Intervals enharmony question

2018-05-04 Thread Hans Åberg 

> On 4 May 2018, at 12:00, Wols Lists  wrote:
> 
> On 30/04/18 22:46, Torsten Hämmerle wrote:
>> Hans Åberg-2 wrote
>>> I suspect the least pitch-flexible instrument is the oboe, as one
>>> typically uses that for a tuning reference pitch.
>> 
>> Yep, and just to keep up tradition, it's the oboe player who operates the
>> digital tuning device. ;D
>> 
> Until you get the player (or novice conductor!) who tries to tune the
> brass section to an A !!!
> 
> I've had it happen - someone who insisted I tune my trombone to an A ...

The GHB is tuned to an A at around 480 Hz; some confuse it with a Bb.



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Re: Intervals enharmony question

2018-05-04 Thread Hans Åberg 

> On 4 May 2018, at 12:00, Wols Lists  wrote:
> 
> On 30/04/18 22:46, Torsten Hämmerle wrote:
>> Hans Åberg-2 wrote
>>> I suspect the least pitch-flexible instrument is the oboe, as one
>>> typically uses that for a tuning reference pitch.
>> 
>> Yep, and just to keep up tradition, it's the oboe player who operates the
>> digital tuning device. ;D
>> 
> Until you get the player (or novice conductor!) who tries to tune the
> brass section to an A !!!
> 
> I've had it happen - someone who insisted I tune my trombone to an A ...

The GHB is tuned to an A at around 480 Hz; some confuse it with a Bb.



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Re: Tempo & Markup

2018-05-04 Thread Wols Lists 
On 04/05/18 12:34, foxfanfare wrote:
> But I was wondering if I could be able to write a small function for it.
> Is it possible to change the default command "2 = 76-84" so it will take
> my own markup preferences?

Almost certainly ...

I do the same thing with the header block on my music. Brass band music
always puts the instrument on the left, orchestras (and lilypond) put it
in the centre under the title.

Find the standard code in lilypond. Take a copy of the relevant
function, and modify it to suit you. Then #include your version in the
relevant part of your music. For example, my function that I've modified
belongs in the paper block, so I include my modified version in every
paper block. Yours probably belongs in the Score block, so include it in
every score block.

Or you could replace the standard version, but that will cause problems
with upgrades ...

Cheers,
Wol

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Re: Tempo & Markup

2018-05-04 Thread Malte Meyn 



Am 04.05.2018 um 13:34 schrieb foxfanfare:
Is it possible to change the default command "2 = 76-84" so it will take 
my own markup preferences?


Looks like I should get issue 5215 done soon 
(https://sourceforge.net/p/testlilyissues/issues/5215/). I haven’t had 
much time for LilyPond the last few weeks, hopefully it gets better soon.


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Tempo & Markup

2018-05-04 Thread foxfanfare 
Hi everyone,I currently try to change the default appearance of the \tempo
command.I'm particularly interested in changing the metronome text.I can do
this in a \markup command:But I was wondering if I could be able to write a
small function for it. Is it possible to change the default command "2 =
76-84" so it will take my own markup preferences?



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Re: Intervals enharmony question

2018-05-04 Thread Henning Hraban Ramm 
Am 2018-05-04 um 12:48 schrieb Wols Lists :
> (Oh - and something to watch for with *OLD* brass instruments, if they
> were band instruments they are typically tuned to something
> approximating Vienna pitch - they are noticeably sharp, something like
> A=460. Causes fun when you mix old and new instruments ...)

Similar if you try to mix baroque ("normal") and renaissance recorders.

Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
https://www.fiee.net





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Re: Intervals enharmony question

2018-05-04 Thread Wols Lists 
On 04/05/18 11:34, Aaron Hill wrote:
> As a piano/keyboards/bass/guitar player here who has only played with an
> "orchestra" for high school musicals many moons ago, you have me
> wondering now:
> 
> From what I thought happened, the oboist tunes to the piano if one is
> used or to a tuner otherwise.  From that point, I assume all the
> woodwinds can match the A and tune themselves.  Strings usually have an
> open A, and then they can tune the rest by fourths/fifths.  When and how
> do the brass typically get their reference pitch?

The majority of brass instruments are Bb instruments, so obviously,
that's the main reference pitch. In my concert band, we tune to the
oboe's Bb, or Eb and F for the Eb and F instruments.

In a brass band we just tune to the principal cornet. Quite what we do
with the Eb instruments, I'm not sure, since I've never played one and
it's never crossed my mind to notice ... :-)

(Oh - and something to watch for with *OLD* brass instruments, if they
were band instruments they are typically tuned to something
approximating Vienna pitch - they are noticeably sharp, something like
A=460. Causes fun when you mix old and new instruments ...)

Cheers,
Wol

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Re: Intervals enharmony question

2018-05-04 Thread Aaron Hill 

On 2018-05-04 10:00, Wols Lists wrote:

I suspect the least pitch-flexible instrument is the oboe, as one
typically uses that for a tuning reference pitch.


Yep, and just to keep up tradition, it's the oboe player who operates 
the

digital tuning device. ;D


Until you get the player (or novice conductor!) who tries to tune the
brass section to an A !!!

I've had it happen - someone who insisted I tune my trombone to an A 
...


Wols,

As a piano/keyboards/bass/guitar player here who has only played with an 
"orchestra" for high school musicals many moons ago, you have me 
wondering now:


From what I thought happened, the oboist tunes to the piano if one is 
used or to a tuner otherwise.  From that point, I assume all the 
woodwinds can match the A and tune themselves.  Strings usually have an 
open A, and then they can tune the rest by fourths/fifths.  When and how 
do the brass typically get their reference pitch?


-- Aaron Hill

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Re: tenuto fingering: 3t, 2t, 4t, etc.

2018-05-04 Thread Aaron Hill 

On 2018-05-04 05:19, Federico Bruni wrote:
Perhaps a smart function may be created but as I need only 4 
variations I can simply use 4 variables:


unoT = \markup \concat { \finger 1 \fontsize #-2.5 \raise #0.03 \bold 
t }
dueT = \markup \concat { \finger 2 \fontsize #-2.5 \raise #0.03 \bold 
t }
treT = \markup \concat { \finger 3 \fontsize #-2.5 \raise #0.03 \bold 
t }
quattroT = \markup \concat { \finger 4 \fontsize #-2.5 \raise #0.03 
\bold t }




The downside of this approach is that it creates TextScript objects,
so in case a score (as in my real project) is using some padding for
TextScript objects then the custom fingering will be placed away from
the note.

[ . . . ]

However I wonder if a better fallback could be provided when using a
letter with \finger.
As Feta numbers look as bold serif fonts, shouldn't the t in `\finger
"3t"` fall back to serif instead of sans?


Federico,

This approach here seems to generate Fingering objects, not TextScript 
objects:


%%%
\version "2.19.80"
tenutoFingeringMark = \markup \text \fontsize #2 \bold "t"
t = #(define-event-function (n) (index?)
  #{ \finger \markup \concat { #(format "~d" n) \tenutoFingeringMark } 
#})

{
  \override Staff.Fingering.color = #green
  \override Staff.TextScript.color = #red
  c\t1 d_\t2 e2^\markup Text
}
%%%

This uses the \text markup command, which by default seems to select a 
font with serifs.  You can obviously adjust \tenutoFingeringMark however 
you need to get the desired appearance.



Even if I was able to change David's function to use a markup for the
t, then the problem would remain: the number would be aligned
correctly but the t would not.


I am afraid I am not familiar with this particular notation to know what 
is expected, but the example I posted seems visually balanced to my eye. 
 What specific alignment are you desiring for these fingering marks?


-- Aaron Hill

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Re: Intervals enharmony question

2018-05-04 Thread Wols Lists 
On 30/04/18 22:46, Torsten Hämmerle wrote:
> Hans Åberg-2 wrote
>> I suspect the least pitch-flexible instrument is the oboe, as one
>> typically uses that for a tuning reference pitch.
> 
> Yep, and just to keep up tradition, it's the oboe player who operates the
> digital tuning device. ;D
> 
Until you get the player (or novice conductor!) who tries to tune the
brass section to an A !!!

I've had it happen - someone who insisted I tune my trombone to an A ...

Cheers,
Wol


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Re: Intervals enharmony question

2018-05-04 Thread Jacques Menu Muzhic 
Hello,

A friend of ours hired a pianist and a violin player, both skilled 
professionals, for his 50th birthday. The pianist took scores from his bag, 
placed them on the piano, and they played.

A the beginning of a new piece, the violin player had the previous one still in 
mind, and played the wrong note, then immediately fixed the position to match 
the new tonality.

I’s been a very nice experience for an amateur musician as myself, in which I 
clearly heard what a coma is.

JM


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Re: alternative and slur

2018-05-04 Thread Jan-Peter Voigt 

Hi,

you might use \repeatTie.
That is a tie, not a slur, but it looks OK.

HTH
Jan-Peter

Am 04.05.2018 um 09:57 schrieb Gianmaria Lari:

Have a look to this code and the resulting engraving:

\version "2.19.81"
{
   \repeat volta 2 {a( a a a}
   \alternative { {b1)} {c'1}}
}



Is there any way to indicate that the second alternative should be 
slurred like the first one - "a( a a a c1)" ?  Maybe an half slur? It's 
just a curiosity.


Thank


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alternative and slur

2018-05-04 Thread Gianmaria Lari 
Have a look to this code and the resulting engraving:

\version "2.19.81"
{
  \repeat volta 2 {a( a a a}
  \alternative { {b1)} {c'1}}
}



Is there any way to indicate that the second alternative should be slurred
like the first one - "a( a a a c1)" ?  Maybe an half slur? It's just a
curiosity.

Thank
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Re: Hiding Time Signature

2018-05-04 Thread Noeck 
Hi Garreth,

Karlin showed you the best way to do that.
But you were already close: 'False' is ##f and not #ff:

{
  \override Score.TimeSignature.stencil = ##f
  a
}

Cheers,
Joram

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