Hi Karlin and Klose,
You get a lot more than just a treble clef, although that's what the OP was
asking. You get a very refined and subtle complete font. Cadence is very
subtle.
I tend to think of Abraham's work as what is called payware in the flight
sim world - not commercial greed but some rec
Hi Stefano,
On Thu, Feb 8, 2018 at 4:43 PM, Stefano Troncaro
wrote:
> Hello again!
>
> I managed to modify David's translation of ly:hairpin::print to have it use
> two properties, Hairpin.rotate and Hairpin.straight-end, to achieve almost
> all the results I wanted.
Glad you got some use out of
Hello again!
I managed to modify David's translation of ly:hairpin::print to have it use
two properties, Hairpin.rotate and Hairpin.straight-end, to achieve almost
all the results I wanted.
The idea is that Hairpin.rotate can be either a numerical value,
representing the angle of rotation, or a p
2018-02-08 13:28 GMT+01:00 Kale Good :
> Hello,
>
> In the following snippet, I have two issues:
>
> Some chords placed in voice two require one right hand fingering above the
> staff and positioned left-of-default, the other below the staff and
> positioned right-of-default (note: fingerings are a
> On 8 Feb 2018, at 15:53, David Kastrup wrote:
>
> Hans Åberg writes:
>
>>> On 8 Feb 2018, at 13:53, David Kastrup wrote:
>>>
>>> Of course, organs are not
>>> really tuned equally tempered even now, but that's not because of a lack
>>> of competence.
>>
>> A factor might be the type of
On 2/8/2018 10:53 AM, Kieren MacMillan wrote:
For me personally, I can definitely say I am happy I bought Cadence: I've
completely switched over to Cadence as the font for my housestyle. The treble
clef is the big benefit, but there are also lots of other little improvements
(to my eye).
Che
Hi Karlin (et al.),
> Look at the font examples for Abraham Lee's Cadence, and decide if a
> different treble clef is worth $39 USD for your purposes or not.
For me personally, I can definitely say I am happy I bought Cadence: I've
completely switched over to Cadence as the font for my housesty
Hi Hilary,
Keeps getting wierder. Again different behaviour. Who can know the Mind of
Google?
Anyway, it's an old link that I had that is no longer current (but worked
for me tonight!).
Urs gave the right one.
Glad you like Emmentaler, but others have different qualities, but quite
subtle.
On
Hans Åberg writes:
>> On 8 Feb 2018, at 13:53, David Kastrup wrote:
>>
>> Of course, organs are not
>> really tuned equally tempered even now, but that's not because of a lack
>> of competence.
>
> A factor might be the type of partials available: a Mainstage baroque
> organ patch does not ha
On 08/02/18 06:39, klose wrote:
Hi Andrew,
Thank you for your reply but it looks like the ink is dead?
I get a Google "sign in" page, which IMV is worse than a dead link.
(I'm happy with the Emmentaler font.)
___
lilypond-user mailing list
lilypon
Am 08.02.2018 um 11:09 schrieb André Rohrbach:
Hi :)
I use LilyPond in combination with LaTeX since a few weeks and I'm
very happy about this great piece of software!
Yesterday I came across an issue using lilypond-book:
If you are just starting to use LilyPond with LaTeX I suggest you have
Not sure about quotes, but LaTeX, as a rule, hates spaces in filenames.
They should be avoided at all costs in LaTeX documents. Even though
lilypond-book is a preprocessor (and thus not subject to the same
restrictions), it thus wouldn't surprise me that it is the same way.
--
Hi :)
I use LilyPond in combination with LaTeX since a few weeks and I'm
very happy about this great piece of software!
Yesterday I came across an issue using lilypond-book:
Just tried to use special characters (mostly spaces and single quotes)
in filenames while working with \lilypondfile.
Tried
Hi :)
I use LilyPond in combination with LaTeX since a few weeks and I'm very
happy about this great piece of software!
Yesterday I came across an issue using lilypond-book:
Just tried to use special characters (mostly spaces and single quotes) in
filenames while working with \lilypondfile.
Tried
> On 8 Feb 2018, at 13:53, David Kastrup wrote:
>
> Of course, organs are not
> really tuned equally tempered even now, but that's not because of a lack
> of competence.
A factor might be the type of partials available: a Mainstage baroque organ
patch does not have any partials besides octav
> On 8 Feb 2018, at 11:32, N. Andrew Walsh wrote:
>
> I agree, and we find even older semi-equal temperaments on instruments from
> ancient China that also make clear that theorists knew what those tunings
> were. But the first-hand accounts of theorists and composers (and prior to
> the 20th
> On 8 Feb 2018, at 11:26, N. Andrew Walsh wrote:
>
> please note the qualifier "in the 18th century." The technological means to
> tune *exact* equal temperament weren't available until around the 1830s, and
> weren't in widespread use until later in the
> 19th, and only universal in the 20th
> On 8 Feb 2018, at 11:26, N. Andrew Walsh wrote:
>
> please note the qualifier "in the 18th century." The technological means to
> tune *exact* equal temperament weren't available until around the 1830s, and
> weren't in widespread use until later in the
> 19th, and only universal in the 20t
Organ's can be tuned equally with ease, although it is fairly time intensive.
(A midsize instrument, say 25 stops, will take about 8 hrs. to do) It is not a
lack of competence but a general lack of consistent temperature that frequently
gives the general tuning fuzziness to the organ. It is a ve
On 08.02.2018 05:40, Shane Brandes wrote:
What is it you don't like about that glyph? Your not the only person
who has said as much and I have yet to hear a decent explanation.
I think it’s simply a very characteristic glyph, one that sticks out and
goes beyond the ordinary, and as such it’s g
"N. Andrew Walsh" writes:
> Hi David,
>
> On Thu, Feb 8, 2018 at 10:39 AM, David Kastrup wrote:
>
>>
>> Don't be silly. Equal temperament most certainly is not
>> "technologically impossible".
>
>
> please note the qualifier "in the 18th century." The technological
> means to tune *exact* equal
On 2/8/2018 12:51 AM, klose wrote:
Thank you but they are not free. Any manuals explaining how to do it by
myself?
Look at the font examples for Abraham Lee's Cadence, and decide if a
different treble clef is worth $39 USD for your purposes or not.
https://www.musictypefoundry.com/product/mt
Hello,
In the following snippet, I have two issues:
1. Some chords placed in voice two require one right hand fingering
above the staff and positioned left-of-default, the other below the
staff and positioned right-of-default (note: fingerings are already
in a #(down up) setup; the #(up
Hi bb,
Don't react like that. You are very welcome here. But this is a list of
generally serious minded folk, and many very learned musical practitioners,
so you will always get a good and sometimes intense discussion, with no
nonsense brooked! This is all for the good.
Do stay. This list is an i
Am 08.02.2018 um 10:16 schrieb David Kastrup:
Blöchl Bernhard writes:
Am 08.02.2018 01:08, schrieb Urs Liska:
Am 07.02.2018 um 22:56 schrieb Blöchl Bernhard:
If one is only playing the notes of the sheet is this really
important?
YES!
Not in equally tempered scale. All that feelings of
oh :(
alas! It looked so interesting from the description and the one time I
flipped through it.
Well then! I can strike that rather expensive bauble off my wish-list in
that case, and move on to others.
Cheers,
A
On Thu, Feb 8, 2018 at 11:39 AM, Andrew Bernard
wrote:
> Hi Andrew,
>
> That's
Hi Andrew,
That's the Jorgensen book. Has been generally discredited in most respects.
[There are other lists where this has been hashed out very thoroughly.]
Sorry! [Way too OT to go into the reasons here.]
Readily available on Amazon and so on.
Andrew
On 8 February 2018 at 21:26, N. Andrew W
I agree, and we find even older semi-equal temperaments on instruments from
ancient China that also make clear that theorists knew what those tunings
were. But the first-hand accounts of theorists and composers (and prior to
the 20th century, those two disciplines had a lot more overlap) was that
e
Hi David,
On Thu, Feb 8, 2018 at 10:39 AM, David Kastrup wrote:
>
> Don't be silly. Equal temperament most certainly is not
> "technologically impossible".
please note the qualifier "in the 18th century." The technological means to
tune *exact* equal temperament weren't available until around
> On 8 Feb 2018, at 10:39, David Kastrup wrote:
>
> "N. Andrew Walsh" writes:
>
>> It is entirely acceptable to be a music hobbyist who enjoys a passing
>> familiarity with the classical tradition and is largely uninterested
>> in more … esoteric discussions of theory. It is absolutely *not*
> On 8 Feb 2018, at 10:39, David Kastrup wrote:
>
> "N. Andrew Walsh" writes:
>
>> It is entirely acceptable to be a music hobbyist who enjoys a passing
>> familiarity with the classical tradition and is largely uninterested
>> in more … esoteric discussions of theory. It is absolutely *not*
> On 8 Feb 2018, at 01:59, Andrew Bernard wrote:
>
> Good question, and lots of good answers. Modern practice is to follow the
> order of the circle of fifths. But that was not always the case. So, indeed,
> depends on your historical context. Bach was writing in G sharp for the WTC,
> and it
> On 8 Feb 2018, at 01:59, Andrew Bernard wrote:
>
> Good question, and lots of good answers. Modern practice is to follow the
> order of the circle of fifths. But that was not always the case. So, indeed,
> depends on your historical context. Bach was writing in G sharp for the WTC,
> and it
"N. Andrew Walsh" writes:
> It is entirely acceptable to be a music hobbyist who enjoys a passing
> familiarity with the classical tradition and is largely uninterested
> in more … esoteric discussions of theory. It is absolutely *not* all
> right to be spreading historical inaccuracies of this s
Hi Blöchl,
Speaking as a harpsichordist myself, with a background in maths and
theoretical physics, and consequently a lifelong student of tuning and
temperaments, what you say is a little unusual in that a majority of
scholars and musicians believe the Well Tempered Clavier was written to
establi
On Thu, Feb 8, 2018 at 9:38 AM, Blöchl Bernhard <
b_120902342...@telecolumbus.net> wrote:
>
> Not in equally tempered scale. All that feelings of keys refer to the
> historic tunings. And by the way, do you know that Bachs "Wohltemperierte
> Klavier" was written just to show how awfull that sounds
Blöchl Bernhard writes:
> Am 08.02.2018 01:08, schrieb Urs Liska:
>> Am 07.02.2018 um 22:56 schrieb Blöchl Bernhard:
>>>
>>> If one is only playing the notes of the sheet is this really
>>> important?
>>>
>>
>> YES!
>>
>
> Not in equally tempered scale. All that feelings of keys refer to the
> hi
Am 08.02.2018 01:08, schrieb Urs Liska:
Am 07.02.2018 um 22:56 schrieb Blöchl Bernhard:
If you use equally tempered scale f♭ major is really identical with e
major. (That is not true in just tempered tuning.) May be with my
limited knowledge of music I misunderstood something?
Maybe you shoul
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