I was thinking so much about the attachment that I forgot to say thank
you. And that "Tie Notes at Bar Lines" was what I was looking for, but
I'm glad to know that it might not work, lol.
If I might ask, because I've been wondering about this, what makes
doing notation so difficult? I know, of
I don't mind sending it here.
On Thu, Apr 7, 2016 at 4:18 PM, D. Michael McIntyre
> On 04/07/2016 07:19 AM, Silas Mortimer wrote:
>> Anyway, here's one example:
I should start doing that.
Anyway, as I said before, I had to make the time signature 2/4, which
would make a whole note of four beats span two measures. I know it's
weird, but I started composing the piece on guitar and wound up having
trouble finding the right signature before finding that 2/4
I appreciate it. And it sounds like the game is good, lol.
On Thu, Apr 7, 2016 at 10:55 AM, D. Michael McIntyre
> On 04/07/2016 10:44 AM, Silas Mortimer wrote:
>> do that and then use shortcuts in LilyPond to "clean it up" visually?
>> To be specific,
I did it again. Last time, Lorenzo, I promise.
So what I said:
Well, here's the problem: When I initially put the chord in, I made
the notes dotted whole notes, which made them span three measures.
And, now that I'm suddenly remembering what happened there, I
determined that a note BEFORE this
On 04/07/2016 10:44 AM, Silas Mortimer wrote:
> do that and then use shortcuts in LilyPond to "clean it up" visually?
> To be specific, what I'm asking is if LilyPond has ways of easily
> fixing problems like my first example.
The LilyPond export engine is very much GIGO. Garbage in, garbage
On 04/07/2016 08:37 AM, Lorenzo Sutton wrote:
> Rosegarden actually does have some 'intelligence' when it comes to
> interpreting notation (e.g. dynamics), but it cannot 'imagine' what you
> would like especially in terms of note onsets and lengths.
It also has totally separate durations and
On 07/04/2016 16:39, Silas Mortimer wrote:
> Oh, geez. It's been a long time since I've used a mailing list and I
> sent my reply to Lorenzo personally. Thanks for your patience,
Happy to help new RG users, it's the least one can do.. ;)
> Okay, here's what I said in the reply:
Yeah, I'm getting a better sense of the whole thing through this
thread. I like that it allows me to input notation as I find it a LOT
easier to think in that than the matrix editor, which, despite getting
the gist of it and being able to make modifications in it, I don't
fully understand yet.
Oh, geez. It's been a long time since I've used a mailing list and I
sent my reply to Lorenzo personally. Thanks for your patience,
Okay, here's what I said in the reply:
Oh, it definitely does help. It's not a showstopper by any means. I
asked all of this mainly because a) I'm new to
You could focus on how the piece sounds and when you have it the way you
want, make a duplicate and clean it up from a notation point of view. For
notation, I would just use a fermata where the matrix editor is messing
with the notation.
I love the fact that RG is a musical swiss army knife but
On 07/04/2016 00:27, Silas Mortimer wrote:
> One example is at one point I wanted to make a chord ring out
> longer than I'd originally put it and had already added notes after
> it. I searched for what I should do there, and from what I gather, I
> could only do that in the matrix
On 04/06/2016 06:27 PM, Silas Mortimer wrote:
> Is there some way I can keep the music as it is, but discard and
> regenerate the notation? I apologize for my ignorance here.
It seems to me the most productive way to deal with your questions would
be for me to run through your composition with
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