- Original Message -
From: "Werner LEMBERG"
To:
Cc: ; ;
; ;
Sent: Friday, August 12, 2011 6:23 AM
Subject: Re: Adds a glyph for tied lyrics. (issue4808074)
No lyric ties either...
So your view is that lyric ties are not used in the real world?
No. I simply can
>> No lyric ties either...
>
> So your view is that lyric ties are not used in the real world?
No. I simply can't discuss how lyric ties should look like since I
haven't seen real-world examples in the scores I've used up to now.
It seems that German engraving for classical music can live witho
I forgot these cases (o~è~in; a~è~in; o~è~an...). They are often elided
("quest'in" instead of "questa~è~in") by editors and composers.
So your view is that lyric ties are not used in the real world? I
still feel them as a pedagogy resource for young musicians or
something. Or maybe old score
Le 11/08/2011 13:16, Francisco Vila disait :
2011/8/11 Werner LEMBERG:
An example is the second aria of Susanna in Mozart's `Le Nozze
di Figaro', bar 16:
f2 f8 e8 g8c8
fin -- chè l'a -- "ria è an" -- cor
Almost all singers I've met during my work as a coach have
problems
2011/8/11 Werner LEMBERG :
>
>>> An example is the second aria of Susanna in Mozart's `Le Nozze di
>>> Figaro', bar 16:
>>>
>>> f2 f8 e8 g8 c8
>>>
>>> fin -- chè l'a -- "ria è an" -- cor
>>>
>>> Almost all singers I've met during my work as a coach have problems
>>> if they sin
>> An example is the second aria of Susanna in Mozart's `Le Nozze di
>> Figaro', bar 16:
>>
>> f2 f8 e8 g8 c8
>>
>> fin -- chè l'a -- "ria è an" -- cor
>>
>> Almost all singers I've met during my work as a coach have problems
>> if they sing it the first time :-)
>
> That mak
2011/8/10 Werner LEMBERG :
>> An example is the second aria of Susanna in Mozart's `Le Nozze di
>> Figaro', bar 16:
>>
>> f2 f8 e8 g8 c8
>>
>> fin -- chè l'a -- "ria è an" -- cor
>
> BTW, the next bar is
>
> a8[ d8] f8 g,8[ b8] d8
>
> bru -- "na, e il" mon -- do
2011/8/10 Werner LEMBERG :
>> I can't find it now, but I definitely remember having seen three
>> syllables in a soprano aria (I think it was Italian). It was
>> something like "-- to e in".
>
> An example is the second aria of Susanna in Mozart's `Le Nozze di
> Figaro', bar 16:
>
> f2 f8 e8
> An example is the second aria of Susanna in Mozart's `Le Nozze di
> Figaro', bar 16:
>
>f2 f8 e8 g8c8
>
> fin -- chè l'a -- "ria è an" -- cor
BTW, the next bar is
a8[ d8] f8 g,8[ b8] d8
bru -- "na, e il" mon -- do
:-)
Werner
__
> I can't find it now, but I definitely remember having seen three
> syllables in a soprano aria (I think it was Italian). It was
> something like "-- to e in".
An example is the second aria of Susanna in Mozart's `Le Nozze di
Figaro', bar 16:
f2 f8 e8 g8c8
fin -- chè l'a
Am Mittwoch, 10. August 2011, 19:54:52 schrieb bordage.bertr...@gmail.com:
> > Finally, 2nd and 3rd stanzas look _very_ improbable to me in that it
> > has three syllables on a single note, which requires two lyric ties.
> > o~y is a synalepha and it could be a in-word diphthong, y~ho is
> > anothe
Secondly, it does not follow the policy for syllable separator, which
is '[space]--[space]', not '-[space]'.
I already fixed it in this patch (for every language).
Finally, 2nd and 3rd stanzas look _very_ improbable to me in that it
has three syllables on a single note, which requires two lyri
2011/8/9 :
> I'd make the tie slightly shorter. I find it awkward that two adjacent
> ties collide so easily, for example here
> {
> \time 3/4
> \relative c' { c2 e4 g2 e4 }
> \addlyrics { gran- de_a- mi- go }
> \addlyrics { pu- "ro y ho-" nes- to }
> \addlyrics { pu- ro~y~ho- nes- to }
> }
So do I, but a shorter tie would collide with commas. The best solution
is probably to shorten the tie and lower it according to the Y-extent of
the covered letters. But this requires much more work.
Maybe having two sizes of lyric ties would also be a good idea: a short
one and the default one.
I'd make the tie slightly shorter. I find it awkward that two adjacent
ties collide so easily, for example here
{
\time 3/4
\relative c' { c2 e4 g2 e4 }
\addlyrics { gran- de_a- mi- go }
\addlyrics { pu- "ro y ho-" nes- to }
\addlyrics { pu- ro~y~ho- nes- to }
}
(example from documentat
Passes make and reg tests
http://codereview.appspot.com/4808074/
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Changes done.
Passes make, regtest comparison and make doc.
Bertrand
http://codereview.appspot.com/4808074/
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I've created tracker issue:
http://code.google.com/p/lilypond/issues/detail?id=1807
Could you upload some pngs showing before/after output? It would be
helpful for those who cannot build the patch themselves.
http://codereview.appspot.com/4808074/
__
a 'while you're there' nitpick.
http://codereview.appspot.com/4808074/diff/18/Documentation/notation/vocal.itely
File Documentation/notation/vocal.itely (right):
http://codereview.appspot.com/4808074/diff/18/Documentation/notation/vocal.itely#newcode612
Documentation/notation/vocal.itely:612: c
Please use tabs in MF files. Besides that, everythings looks fine.
http://codereview.appspot.com/4808074/
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Reviewers: ,
Message:
Better handling of lyric ties:
* The space between two tied words is no more fixed. Its value is
word-space. The default space is therefore decreased.
* New glyph, so that we won't need an external font.
* Increased vertical space between words and tie. It is therefore now
p
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