Re: Time signature at end of score.

On Wed, 2016-05-25 at 09:44 +, Charles Suncana wrote: > OK thanks, I´ll do that in future. Weird that it still seems to work. Well, by chance, you had got nothing in \global that couldn't appear after the music, else LilyPond would have errored. I hope you can get to grips with LilyPond

Re: OT: high-precision tuner app

The reference pitch wasn't standardised until quite late in history, and there were many local variations (some related to organ pitch). If you were a composer writing in a place with a low pitch standard, you might write the parts higher on paper. Thus Purcell's theatrical music (female roles

Re: OT: high-precision tuner app

Someone mentioned local organ tuning as explaining historical differences. The one at Abbatiale de Payerne (Switzerland) is 422 Hz: http://www.abbatiale-payerne.ch/musique/orgues/orgue-paroissiale/ see near the bottom of the page. I was told about it by my oboe teacher, who often plays

Re: OT: high-precision tuner app

On Wed, 25 May 2016 17:38:55 +0100 Wols Lists wrote: > Maybe I didn't word it very well. Take a Baroque part, written for eg > A=400, and try and sing it at the modern A=440 without transposing it. > > Painful ... in other words the pitch has risen but, obviously, our

Re: OT: high-precision tuner app

A440 was made an ISO standard in 1955. Bands (orchestral) still routinely ignore it. The pitch was raised especially during the late 19th century partially due to the ability of pianos to withstand greater string tension which gave the ability to produce louder sound to cover larger and larger

Re: slur corehack

On 25.05.2016 02:15, Flaming Hakama by Elaine wrote: I would say that, on the contrary, \tweak and \override are not documented. At least, not well enough to be useful for use with slurs. In the case of slurs, searching for "lilypond slurs tweak", the documentation that comes up describes how

Re: OT: high-precision tuner app

Since we're OT anyhow... On Tue, 24 May 2016 13:58:48 +0100 Anthonys Lists wrote: > Not a modern phenomenon. A lot of Baroque parts are almost unsingable in > the original pitch because they were written for A=400 or somesuch. Why are they almost unsingable? They

footnote counter

I am trying to find the following two things regarding footnotes: 1) How might I retrieve the accumulated number of footnotes either for an entire document/section, or at least for a single page? 2) In the notation doc [ http://lilypond.org/doc/v2.19/Documentation/notation.pdf], pg. 481, the

Re: slur corehack

On Tue 24 May 2016 at 17:15:59 (-0700), Flaming Hakama by Elaine wrote: > > > It seems like the state of the art is to tweak each slur individually > > > using \shape to specify displacements from current control points. > > > > \shape is a very nice tool. > > This advantage inherits a

Re: Time signature at end of score.

On Wed, 2016-05-25 at 08:30 +, Charles Suncana wrote: > global = { > > } > > violin = \relative c'' { \time 3/4 d4 e f | g f e | d2.\bar "|." > \global > % Music follows here. > > } This isn't the idea - you have emptied the \global and still not placed the music after the comment

Re: Time signature at end of score.

-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 I'm also a beginner at Lily, but as a programmer I'm quite certain you have found the problem. Consider the violin stanza: violin = ... { \time 3/4 ... \global ... } "global" has no special meaning, it is just expanded in line, hence: violin =

RE: Time signature at end of score.

Hi again, after persevering a bit I think the problem as using the Score wizard in Frescobaldi. Here is my tiny problem: \version "2.18.2" \header { } \layout { \context { \Voice \consists "Melody_engraver" \override Stem #'neutral-direction = #'() } } global = { \key d

Re: OT: high-precision tuner app

Isn't that related to the independent church organ tunings back then: the higher they were tuned, the brigher they sounded in a church. Sadly, the human voice cannot be tuned up the same way an organ can... See e.g. https://de.wikipedia.org/wiki/Orgelton (in German). On Wed, May 25, 2016 at 8:05

Re: high-precision tuner app

> On 23 May 2016, at 21:09, N. Andrew Walsh wrote: > I'm using a system of scales with over 180 distinct pitches (and which is > theoretically unlimited; I just chose to stop there). If it is enough to play the pitches and tune by ear, I have written two programs

Re: OT: high-precision tuner app

On Wed, 25 May 2016 10:42:34 +0200 Olivier Biot wrote: > Isn't that related to the independent church organ tunings back then: the > higher they were tuned, the brigher they sounded in a church. A=400 is almost a G. It's lower. But my question was: Why are they "almost

Re: OT: high-precision tuner app

Hi Johan, > But my question was: Why are they "almost unsingable" in the original > pitch? Did the human voice get higher since? For centuries, women weren’t allowed to sing in church. So men and boys had to cover all parts, including the higher ones. Although boy sopranos and altos have

Re: OT: high-precision tuner app

On 25/05/16 07:05, Johan Vromans wrote: > Since we're OT anyhow... > > On Tue, 24 May 2016 13:58:48 +0100 > Anthonys Lists wrote: > >> Not a modern phenomenon. A lot of Baroque parts are almost unsingable in >> the original pitch because they were written for A=400 or