On 2020-01-28 1:27 pm, Bric wrote:
This might be broadening the scope of the original concern, but as
food for thought:
One would want to control the timing of the HH closing for *artistic*
purposes... the HH closing can make for rhythmic expression (and often
does, in live performance)
Arron,
Thank you for the new methodology. I shall use it in the future.
The score is a movement (heavily ornamented) from a Mozart Piano Sonata
(K311). It is not much more than 80 measures.
The error does seem to come and go, once with the slur notation, once with
the beaming notation.
It has
> On January 27, 2020 at 8:45 PM Aaron Hill wrote:
>
>
> On 2020-01-27 12:27 pm, Denis Bitouzé wrote:
> > Hello,
> >
> > the following drum partition has (semi-)opening hihat. In the Midi
> > output, the resonance of this hihat is not stopped, even if followed by
> > an explicitly closed
On Tue, Jan 28, 2020 at 1:46 AM Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> Hi Paolo,
>
> > is it possible to draw one or more horizontal lines, above/below the
> staff, that are completely ignored for collisions with the score's grobs?
>
> Absolutely: just use
Thank you Aaron and Martin.
It's very clear.
Best regards, g.
On Tue, 28 Jan 2020 at 14:25, Aaron Hill wrote:
> On 2020-01-28 4:52 am, Gianmaria Lari wrote:
> > Just a curiosity. Why lilypond engrave this:
> >
> > \version "2.19.83"
> > {\partial 8*7 g8 8 8 8 8 8 8}
> >
> >
> > like
> >
> >
On 2020-01-28 4:52 am, Gianmaria Lari wrote:
Just a curiosity. Why lilypond engrave this:
\version "2.19.83"
{\partial 8*7 g8 8 8 8 8 8 8}
like
g8[ 8 8] 8[ 8 8 8]
I would expect:
g8[ 8 8 8] 8[ 8 8]
Notes within the anacrusis are adjacent to the end of the measure. To
beam
Just a curiosity. Why lilypond engrave this:
\version "2.19.83"
{\partial 8*7 g8 8 8 8 8 8 8}
like
g8[ 8 8] 8[ 8 8 8]
I would expect:
g8[ 8 8 8] 8[ 8 8]
Thanks, g.
