On 31 May 2011 20:36, Kieren MacMillan kieren_macmil...@sympatico.ca wrote:
Yes! For the record, in Lilypond there is an easier way (IMO) to have the
same outpu:
{
\time 3/4
\times 3/2 { c2*1/2 c }
}
Thank you, everyone!
I'll keep proposal 1: dotted notes c4. c4. |
That's what
Hi,
I have a question not about LilyPond itself but about notational
conventions (rules). Maybe you know better or I know some have great
references such as Ted Ross or Gardner Read.
In 3/4 times, what would be the recommended notation of the following
rhythm?
\time 3/4
% proposal 1:
On May 31, 2011, at 11:17 AM, Xavier Scheuer wrote:
Hi,
I have a question not about LilyPond itself but about notational
conventions (rules). Maybe you know better or I know some have great
references such as Ted Ross or Gardner Read.
In 3/4 times, what would be the recommended notation
Ho, I won't troll about conventions, I promise... I think you could see
on IMSLP to see ancient engravings (19th century, Breitkopf, Pleyel,
...) to see that there are a lot of different way to do it, and
especially to see which one is the best for you.
Generally speaking, it depends on what
On Tue, May 31, 2011 at 11:22:16AM +0100, m...@apollinemike.com wrote:
On May 31, 2011, at 11:17 AM, Xavier Scheuer wrote:
\time 3/4
% proposal 1: dotted notes
c4. c4. |
I would never do this unless there was a longer section of hemiolas.
I'd be sorely tempted to change to
\time
I would have to agree with the other correspondents here, that there is no
one answer.
Conventionally, your 4th example is likely to be used, as it keeps the 3
beats in the measure clear. Generally, dotted notes don't start on the weak
part of a beat and extend into the next beat.
However, if
Graham Percival gra...@percival-music.ca writes:
On Tue, May 31, 2011 at 11:22:16AM +0100, m...@apollinemike.com wrote:
On May 31, 2011, at 11:17 AM, Xavier Scheuer wrote:
\time 3/4
% proposal 1: dotted notes
c4. c4. |
I would never do this unless there was a longer section of
Hi David,
The whole point of hemiolas is to fit with the timing.
Yes.
Changing the meter ruins the pun.
Only if a hemiola feel is what you want. ;)
it seems like a crutch for people uncapable of dealing with the duality
of inner and outer rhythmic structure of a syncopated phrase.
As
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi David,
The whole point of hemiolas is to fit with the timing.
Yes.
Changing the meter ruins the pun.
Only if a hemiola feel is what you want. ;)
it seems like a crutch for people uncapable of dealing with the duality
of inner
Hi David,
Which is exactly the opposite approach in that it banishes all but one
aspect of the music.
Yes — I was only comparing the extremity of your approach with the extremity of
his.
It would appear to me that if one wants to have a flow of accents
unrelated to some no longer
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi David,
Like with poetry, if you have to use means of forcing the meter to
the performer, and if the
performer has to take explicit means to force the meter to the
listeners, one might suspect that the content to be conveyed might
Hi David,
In the notation? Hardly. If you have stuff from a reasonably good
poet, you can usually word-wrap it without noticeable structural damage.
I think most poets would disagree.
In fact, you might seriously improve the auditory delivery of bad poetry
performers by doing so because
Kieren MacMillan kieren_macmil...@sympatico.ca writes:
Hi David,
In the notation? Hardly. If you have stuff from a reasonably good
poet, you can usually word-wrap it without noticeable structural damage.
I think most poets would disagree.
Shall I compare thee to a Summer's day? Thou art
Shall I compare thee to a Summer's day? Thou art more lovely and more
temperate: rough winds do shake the darling buds of May and Summer's
lease hath all too short a date. Sometime too hot the eye of heaven
shines and often is his gold complexion dimm'd; and every fair from fair
sometime
Kieren MacMillan wrote
So count me as another vote for there is no single correct answer.
I echo those words, and I offer another suggestion:
{
\time 3/4
\override TupletNumber #'text =
#(tuplet-number::non-default-tuplet-denominator-text 2)
\times 3/4 { c2 c }
\revert
Hi Richard,
I echo those words, and I offer another suggestion:
{
\time 3/4
\override TupletNumber #'text =
#(tuplet-number::non-default-tuplet-denominator-text 2)
\times 3/4 { c2 c }
\revert TupletNumber #'text
}
Using minims avoids a disadvantage of two crotchets,
16 matches
Mail list logo
