Please help this guy.
Werner
---BeginMessage---
Dear Werner,
I create a lot of piano four-hands scores, with separate PDFs for Primo and
Secondo (see, for instance, my transcription of Fascinating Rhythm on my
transcription website: http://www.moltoallegro.com/rich.html).
I've begun
On 31 May 2011 02:29, Sepand Shahab sepandsha...@alum.calarts.edu wrote:
Thanks very much, Xavier.
After the passage how can I revert the stem length, flag, and direction
settings to their default values?
% extend the stems to reach the other staff
\override Stem #'length = #15
On 31 May 2011 08:10, Werner LEMBERG w...@gnu.org wrote:
Please help this guy.
Werner
-- Forwarded message --
From: Fredric Dannen dan...@earthlink.net
To: w...@gnu.org
Date: Mon, 30 May 2011 20:40:05 -0500
Subject: Re: Special layout for a score : four hands
Dear
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:
Am Dienstag, 31. Mai 2011, 00:58:26 schrieb Sebastiano Vigna:
On May 27, 2011, at 10:48 PM, Xavier Scheuer wrote:
The LSR is undoubtedly a great source of tips for LilyPond Users.
I'd like to thank Sebastiano Vigna and the University of Milan for
developing such a good idea and hosting it.
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
Thanks for the answer,
improvisationOn / -Off seems to fit quite well – I didn’t see it when browsing
the notation reference.
However, if it is somehow possible, I’d prefer a rhythmic staff. Could I maybe
change some engravers for a single bar, which produce the desired effect (i.e.
Hello,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Nick Payne
)Sent: 31 May 2011 00:01
)To: Carl Sorensen
)Cc: lilypond-user@gnu.org
)Subject: Re: Script priority and
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
Am 30.05.2011 um 21:05 schrieb Andrea La Rose:
Jan-Peter,
That is fantastic work! Thanks for sharing it. Unfortunately, neither my
math nor my coding skills are anywhere near yours.
You're welcome :-)
What looks like magic math is just a little clue to get the right
note-length-number
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
I found one not very elegant solution: I can add one blank measure and page
break on every even page, and then use Adobe Pro to delete the even-numbered
pages. It works, but as I said, not very elegant.___
lilypond-user mailing list
On 31 May 2011 00:01, Nick Payne nick.pa...@internode.on.net wrote:
The documentation on script-priority in s.1.3.1 of the NR (Controlling the
vertical ordering of scripts) only mentions scripts attached to single
notes. Maybe a sentence or two should be added regarding chords.
Paraphrasing
Hi! I have solved:
i changed this \csl \repeat tremolo 4 { f,,16 \csr f'} with \csl \repeat
tremolo 4 { f,,16 {\csr f'}}
Thanks to all!
\version 2.13.62
csr = \change Staff = right
csl = \change Staff = left
\paper {
#(set-paper-size a4)
}
global = {
\key c \major
\time 4/4
}
right =
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,
On 12 May 2011 19:42, Trevor Bača trevorb...@gmail.com wrote:
Is there any way to turn these warnings off?
It's a bit convoluted, but you could redefine the
Time_signature_engraver in Scheme, removing the warning:
\version 2.15.0
#(define (funky-time-signature-engraver ctx)
(let
On 05/02/2011 02:55 AM, James Lowe wrote:
Paul,
)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Paul Scott
)Sent: 01 May 2011 20:15
)To: lilypond-user@gnu.org
)Subject: Re:
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