Am Montag, den 21. Mai 2012 um 16:18:16 Uhr (+0200) schrieb Orm Finnendahl:
> The example for neo-modern in the documentation actually is an
> excellent example for a situation where the musician has to ask about
> the second fis because it's not obvious if the accidental has been
Am Montag, den 21. Mai 2012 um 15:58:14 Uhr (+0200) schrieb Jan Nieuwenhuizen:
> Question is: is neo-modern used and appreciated as it works right now
> and do we indeed need a "contemporary" style, or should neo-modern
> behave like Orm describes?
I would opt for that. The only situation, I know
Hi,
for years I'm sorely missing an accidental style for contemporary
music, which I always use and which is quite common among contemporary
composers in my experience. At the moment it requires quite some extra
work in every score implementing the accidentals explicitely although
its behaviour c
Am Montag, den 21. Mai 2012 um 15:37:33 Uhr (+0200) schrieb David Kastrup:
>
> \accidentalStyle "neo-modern" does not match your requirements?
>
its close, but the immediate repetition is the problem. I encounter
calls by musicians quite often if I don't explicitely restate the
accidental (even
what about \scaleTime ?
Am Monday, den 17. March 2008 um 13:51:10 Uhr (+0100) schrieb Valentin
Villenave:
> 2008/3/17, Mats Bengtsson <[EMAIL PROTECTED]>:
>
> > Graham Percival wrote:
>
> > > Happier with \multiplyDurations?
>
> > I don't think it's clearer and not less ambiguous either, so
Am 02. Februar 2007, 00:17 Uhr (+0100) schrieb Han-Wen Nienhuys:
>
> I simply read the mfbook cover to cover. It's available online, BTW.
>
I couldn't find it online. Can you give a link or send the book
off-list? I will also need to read through it for the microtonal
glyphs and only have the tu
Hi,
we use additional simple up/down arrows placed left to normal
accidentals, giving a concise way to specify the complete eighth tone
scale. The glyphs are actually included in the font. This would make
even more changing of alteration syntax necessary, though.
I don't mind to be able to combin
independent from the above selection of glyphs, as we usually try to
> strictly separate musical content and engraving style. Considering this
> principle, maybe the right thing is -- similarly to including proper
> internationalized notenames -- the user to \include his/her favourite
Am 27. Januar 2007, 12:06 Uhr (-0600) schrieb Trevor Bača:
>
> Question: would it be possible to have access to *both* sets of
> glyphs? It seems to me that I've seen both types of glyphs mixed
> together in single scores; usually the existing quartertone glyphs
> show exact quartertone alterations
Am 27. Januar 2007, 15:33 Uhr (+0100) schrieb Ole Schmidt:
> Hi,
>
> I did not understand if these accidentals are already implemented so
> that I can use them? If not, I'am interested strongly in using them,
> they are indeed much easier to read and to handle...
No, They aren't implemented
Hi,
for a while I wanted to suggest adding the option of using a different
style for microtone accidentals. I personally prefer the use of up or
down arrows on extended vertical lines of the standard accidentals
(see attached example). The advantage of this style is a better
differentiation of enh
Am 23. Januar 2007, 23:55 Uhr (+0100) schrieb Han-Wen Nienhuys:
>
> A harmonic head is slightly bigger so it protudes through the staff
> lines, if printed in a space. AFAIK, they only exist in the open form,
> and Trevor's use of the black form is not canonical.
There are many things not canoni
Hi,
something seems completely wrong here:
\version "2.11.7"
\relative c {
#(set-octavation 1)
b4~
#(set-octavation 2)
b4~
#(set-octavation 1)
b4~
#(set-octavation 0)
b4
}
all pitches should be the same (and lilypond obviously thinks so as it
prints the slurs) but the octaves are messed up
Am 29. Dezember 2006, 21:57 Uhr (+0100) schrieb Han-Wen Nienhuys:
>
> no, the rule is that you have to end a #...scheme... expression with space
I see. It still might be useful to mention in the docs. I'm not sure
how many users easily distinguish between #...scheme... expressions
and music expre
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