On 7 Apr 2009, at 18:37, > wrote:
it is transposed twice in opposite
directions: first by the composer who writes the sheet music
actually, the composer usually scribbles all the music in score at
pitch
and leaves part copying (with appropraite transpositions) to a
specialist
who has a g
Bravo, Peter,
I say go with this, it is pitched just right for the intended audience.
You've got a note-reference "Bes" in there which will need to be marked
as translatable.
Cheers,
Ian Hulin
Peter Chubb wrote:
I reckon it'd be better to split the whole thing into three entries.
Whether a
On Tue, Apr 7, 2009, Peter Chubb said:
> Here's my rough try at the three entries:
kudos Mr Chubb, trust the son of a son of a scoundrel...
I like em all, but as usual, i do have a couple of quibbles.
> Notes like a, b, c etc., describe a relationship between themselves,
> not an absolute pi
On Tue, Apr 7, 2009, "Anthony W. Youngman"
said:
>>So do we care what reference concert pitch uses? Does it matter if it's
>>A=440, or A=445, or A=450?
>
> It does matter that the reference is accurate.
it also matters that the 'Standard' is not always observed; especially for
the music of Moz
On Tue, Apr 7, 2009, Hans Aberg said:
> On 7 Apr 2009, at 08:18, Peter Chubb wrote:
> it is transposed twice in opposite
> directions: first by the composer who writes the sheet music
actually, the composer usually scribbles all the music in score at pitch
and leaves part copying (with appro
In message <87skkl7zry.wl%pe...@chubb.wattle.id.au>, Peter Chubb
writes
I reckon it'd be better to split the whole thing into three entries.
Whether an instrument transposes or not has nothing to do with concert pitch.
I'm reasonably happy with this, and am happy to wait for Kurt to chime
in
On 7 Apr 2009, at 08:18, Peter Chubb wrote:
Here's my rough try at the three entries:
Concert Pitch:
Notes like a, b, c etc., describe a relationship between themselves,
not an absolute pitch. The nature of the relationship is the
so-called temperament (q.v.). To be in tune, a group instrumen
Sent: Tuesday, April 07, 2009 7:18 AM
Subject: Re: Concert Pitch (a second try)
I reckon it'd be better to split the whole thing into three
entries.
Whether an instrument transposes or not has nothing to do with
concert pitch.
Here's my rough try at the three entries:
In message , Carl D. Sorensen
writes
I'm going to step in here, perhaps where wise men fear to tread.
The LilyPond music glossary isn't intended to be a definitive music
dictionary, is it?
So do we care what reference concert pitch uses? Does it matter if it's
A=440, or A=445, or A=450?
It
I reckon it'd be better to split the whole thing into three entries.
Whether an instrument transposes or not has nothing to do with concert pitch.
Here's my rough try at the three entries:
Concert Pitch:
Notes like a, b, c etc., describe a relationship between themselves,
not an absolute pitch.
On Mon, Apr 06, 2009 at 06:11:32PM -0600, Carl D. Sorensen wrote:
> I'm going to step in here, perhaps where wise men fear to tread.
>
> The LilyPond music glossary isn't intended to be a definitive music
> dictionary, is it?
Nope, not at all.
> So do we care what reference concert pitch uses?
On 4/6/09 6:41 PM, "Paul Scott" wrote:
> Carl D. Sorensen wrote:
>> So do we care what reference concert pitch uses? Does it matter if it's
>> A=440, or A=445, or A=450?
>>
>
> Some of us care for a non-notational reason: Woodwinds are built to
> specific proportions which make them much
Carl D. Sorensen wrote:
I'm going to step in here, perhaps where wise men fear to tread.
The LilyPond music glossary isn't intended to be a definitive music
dictionary, is it?
Nope. A basic understanding of transposition should be all that is
important here.
So do we care what reference
I'm going to step in here, perhaps where wise men fear to tread.
The LilyPond music glossary isn't intended to be a definitive music
dictionary, is it?
So do we care what reference concert pitch uses? Does it matter if it's
A=440, or A=445, or A=450?
Aren't the key issues that:
1) Concert pit
On Mon, Apr 6, 2009, "Anthony W. Youngman"
said:
> Sounds good.
one down? !!!
> I think it's your use of "informally adopted" that jars - it implies
> that they've ignored the Standard, when the standard didn't even exist
> at the time.
didnt have any one particular standard in mind; when o
In message ,
dem...@suffolk.lib.ny.us writes
On Sun, Apr 5, 2009, "Anthony W. Youngman"
said:
Okay, we've got more feedback (isn't this fun :-).
welcome to electronic commiteedom :-)
1.64 Concert pitch
The convention (standardised by ISO 16) that A above middle C represents
the note at 44
On Sun, Apr 5, 2009, "Anthony W. Youngman"
said:
> Okay, we've got more feedback (isn't this fun :-).
welcome to electronic commiteedom :-)
> 1.64 Concert pitch
>
> The convention (standardised by ISO 16) that A above middle C represents
> the note at 440 Hertz. This is commonly notated by t
On 6 Apr 2009, at 00:11, Hans Aberg wrote:
Depending on the design of the instrument, some instruments have a
lowest (pedal) note whose wavelength is twice the length of the
instrument and can play all harmonics thereof (1/2, 2/2, 3/2...),
while others have a pedal note whose wavelength is fo
On 5 Apr 2009, at 23:12, Anthony W. Youngman wrote:
Okay, we've got more feedback (isn't this fun :-).
You might have fun for a life-time! :-)
I'll try and do it again, following on from the comment that the
existing (and my replacement) entries actually try to cram too much
into the entr
Okay, we've got more feedback (isn't this fun :-). I'll try and do it
again, following on from the comment that the existing (and my
replacement) entries actually try to cram too much into the entries.
1.64 Concert pitch
The convention (standardised by ISO 16) that A above middle C represents
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