Erik Sandberg wrote:
> FWIW, Wikipedia says that the convention is to write the + after and
> accidentals before the number, as in
> 4+
> #4
>
> see:
> http://en.wikipedia.org/wiki/Figured_bass
>
> This suggests that there should be tweakable plusDirection ={LEFT,RIGHT} and
> accidentalDirectio
On Sunday 16 October 2005 00.15, Han-Wen Nienhuys wrote:
> John Mandereau wrote:
> >>what does +6 mean?
> >
> > It means the 6th is raised by a semitone; it is often (but not always)
> > used for the leading-tone (the 7th degree of the scale).
> >
> > For example, let's take the dominant seventh ch
John Mandereau wrote:
Han-Wen Nienhuys wrote:
John Mandereau wrote:
+4 is enough; there are never both "+" and an alteration on a number.
I'd like the "+" behaves like an alteration: it can be appended to any
number (not only +6 and +4 are used, but also +7 and +2), and its
direction can be s
Han-Wen Nienhuys wrote:
> John Mandereau wrote:
> > +4 is enough; there are never both "+" and an alteration on a number.
> > I'd like the "+" behaves like an alteration: it can be appended to any
> > number (not only +6 and +4 are used, but also +7 and +2), and its
> > direction can be set the sam
John Mandereau wrote:
So a
in 3rd inversion would be denoted by +4 flat ?
+4 is enough; there are never both "+" and an alteration on a number.
I'd like the "+" behaves like an alteration: it can be appended to any
number (not only +6 and +4 are used, but also +7 and +2), and its
direct
Han-Wen Nienhuys wrote:
> Ok, so the plus and slash refer to the harmonical function, whereas the
> sharp and flat refer to the alteration within the scale?
Yes, this is the principle.
> So a
>
>
>
> in 3rd inversion would be denoted by +4 flat ?
+4 is enough; there are never both "+" an
John Mandereau wrote:
what does +6 mean?
It means the 6th is raised by a semitone; it is often (but not always)
used for the leading-tone (the 7th degree of the scale).
For example, let's take the dominant seventh chord (in C Major ).
Its 3rd inversion (i.e. its position with the 7th at the b
Le samedi 15 octobre 2005 à 16:51 +0200, Han-Wen Nienhuys a écrit :
> John Mandereau wrote:
> > Why not <6c 5> <6 4> for a 6th with a continuation line?
>
> because "c" is a non-generic. We don't have any other part of the
> syntax that works like that.
>
> \set useBassFigureExtenders = ##t
John Mandereau wrote:
Syntax like what Matevz proposed is more convenient than long
"\set useBassFigureExtenders = ##t" and "\noContinuation" commands IMHO.
Why not <6c 5> <6 4> for a 6th with a continuation line?
because "c" is a non-generic. We don't have any other part of the
syntax that
Han-Wen Nienhuys wrote:
> Matevz Jekovec wrote:
> > But in practice, you have about the same amount of extended and
> > non-extended markings and switching them all the time this way is a bit
> > space consuming. My question is, is there a way to add an extender line
> > manually on certain chords?
Matevz Jekovec wrote:
2) The thirds for the stable chords are usually completely ommitted in
practice. In case there's an accidental before the third, only the
accidental itself is shown, without the number 3. Is there a way to use
+/- alteration markings as an independent element? eg. This examp
Matevz Jekovec wrote:
But in practice, you have about the same amount of extended and
non-extended markings and switching them all the time this way is a bit
space consuming. My question is, is there a way to add an extender line
manually on certain chords? I have something like eg. <6 5> <6 4> f
12 matches
Mail list logo
