2014-09-02 12:44 GMT+02:00 MING TSANG :
> James & Phil:
> I comment out line 421 which call solfege-engravers - both versions run ok.
> Un-comment out line 421 - v2.19.12 run ok; but fails with v2.19.13.
> I don't know scheme. I cannot not begin debug.
> Appreciated if you can help.
> Emmanuel,
> M
Frederico,
Thanks for the reply.
Turns out the noise issues also happens on a desktop install (Debian
Testing) with LP 2.18 and Frescobaldi 2.0.13 (the default in the Debian
repos). Intersting. All sound still works, just not playing midi files
from within Frescobaldi.
I *was* able to use t
At 12:21 02/09/2014 +0200, Alexander Kobel wrote:
I wonder whether a "large" partial measure should be notated as a
full measure (rest+upbeat) or a partial measure.
[...]
Or could anybody consult a copy of Gould or similar?
The one difficulty I have with Elaine Gould's otherwise splendid book
Schneidy wrote
> Forget \magnify #1, you do not neet it.
> Cheers,
> Pierre
Of course!
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2014-09-02 15:34 GMT+02:00 Jayaratna :
> thank you, it works wonderfully.
You're welcome.
> I just modified the tenor like this:
>
> \new Staff \with {
> \override TimeSignature.stencil = #(lambda (grob)
> (grob-interpret-markup grob
>#{
> \markup\con
Dear Pierre,
thank you, it works wonderfully. I just modified the tenor like this:
\new Staff \with {
\override TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob
#{
\markup\concat {
\musicglyph #"timesig.neomensural32"
Hi Andrea,
2014-09-02 13:58 GMT+02:00 Jayaratna :
> I am notating it using 3/1 and 6/1 fractions,
> but I would like to use timesig.neomensural98 (stroked O) and
> timesig.neomensural32 plus number 2 (O2) instead.
>
> How would you do it?
>
Try :
\version "2.18.2"
%\include "paper.ly"
\scor
Dear Lilypond experts,
I need to type a series of examples of mensural music, in which three parts
(Cantus, Altus & Bassus) contain 3 semibreves per bar, one part (Tenor)
contains three breves per bar. I am notating it using 3/1 and 6/1 fractions,
but I would like to use timesig.neomensural98 (str
Furthermore, there is the rule that, if there is an upbeat, upbeat and
last measure of the piece must add up to one full bar. I’m not sure
where it comes from and how widely it is obeyed, but at least for a
“classical” period in the 18th to 20th centuries it’s to be regarded as
standard. So as
On 09/02/2014 12:36 PM, Malte Meyn wrote:
I think this is not a matter of engraving rules but you should follow
the composer. (If I was the composer I would prefer a version with a
full measure beginning with a rest in this case. But I’m not Albert
Becker.) I’ve seen both versions in different pi
James & Phil:
I comment out line 421 which call solfege-engravers - both versions run ok.
Un-comment out line 421 - v2.19.12 run ok; but fails with v2.19.13.
I don't know scheme. I cannot not begin debug.
Appreciated if you can help.
Emmanuel,
Ming.
On Tuesday, September 2, 2014 5:47:18 AM, James
Another idea if it’s unclear what the composer wanted:
The first beat of measures 6 and 40 is not the ending of the phrase
before, but the beginning of a new one (phrases end in 5 and 39). So in
my opinion this measure “Bleibe” doesn’t have an “upbeat character”.
On 02.09.2014 12:36, Malte Me
I think this is not a matter of engraving rules but you should follow
the composer. (If I was the composer I would prefer a version with a
full measure beginning with a rest in this case. But I’m not Albert
Becker.) I’ve seen both versions in different pieces from different
composers.
Also, y
Dear all,
I wonder whether a "large" partial measure should be notated as a full
measure (rest+upbeat) or a partial measure. More specifically, it's the
beginning of the following piece:
- version 1, as partial
http://www3.cpdl.org/wiki/images/6/6c/Becker-albert_bleibe-abend-will-es-werden.
Ming,
Can you 'somehow' remove the solfege engraver for your example (keep the
includes but just remove for the sake of testing) the references to it.
I think the problem is in this 'Scheme' syntax.
If we can narrow it down to just that engraver then we stand a better
chance of working out t
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