I have worked some more on the augmentation dot algorithms, including adding
the directions (/DotsUp, /DotsDown).
I would like your opinion on whether the attached regression test, which is
different from the current development regression tests, is correct. I think
it is, but I'd like your op
On Oct 28, 2016, at 03:51 , David Kastrup wrote:
> At any rate, does that mean that you are fine with
>
> << \sopranoI \\ \alto \\ \sopranoII >>
>
> and
>
> << \sopranoI \\ \altoII \\ \sopranoII \\ \altoI >>
>
> because that is what we currently have?
Until I read this thread, I didn’t know t
Thank you all for the replies. Problem solved.
Best regards
--
herbert.liec...@thinx.ch, ThinX AG, Bielstrasse 69, CH-4500 Solothurn
Tel +41 (0)32 623 81 66, Mobile +41 (0)76 334 81 66, http://www.thinx.ch
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lilypond-user
Btw, having the new list syntax in mind I wondered whether this would
work in recent development versions:
\compoundMeter 4/4,1/3
But it does not the 4/4 translates to (4 . 4) and not (4 4).
\compoundMeter (4,4),(1,3) does not work either. Can this list syntax be
grouped somehow? I mean in a way
On Fri 28 Oct 2016 at 11:22:00 (-0700), Tobin Chodos wrote:
> Forgive me if this is a too-easy issue for the list, but: is there a way to
> define a time compound time signature such as 4/4 + 1/3? That is, the
> measure is four quarter notes long plus one triplet eighth note.
Isn't this just 13/8
Am 28/10/16 um 11:01 schrieb David Kastrup:
Robert Schmaus writes:
Hi everyone,
I've never used implicit voice assignment and I doubt I will start with it now.
But since there's no real need for the ordering of voices _in the
code_ to match the vertical arrangement of the _engraved_ notes
> Forgive me if this is a too-easy issue for the list, but: is there a way
> to define a time compound time signature such as 4/4 + 1/3? That is,
> the measure is four quarter notes long plus one triplet eighth note.
Hi Tobin,
this is definitely a valid question for this list!
This snippet will
Am 28. Oktober 2016 10:52:08 GMT-07:00, schrieb tisimst
:
>I just wanted to add my two cents to the discussion here.
>
>I tend to engrave piano music more often than not and I don't mind the
>current syntax. The only thing that I'd rather like seeing improved is
>the
>nesting of the voices rests
Hi all,
Forgive me if this is a too-easy issue for the list, but: is there a way to
define a time compound time signature such as 4/4 + 1/3? That is, the
measure is four quarter notes long plus one triplet eighth note.
Thanks.
Tobin Chodos
___
lilypon
I just wanted to add my two cents to the discussion here.
I tend to engrave piano music more often than not and I don't mind the
current syntax. The only thing that I'd rather like seeing improved is the
nesting of the voices rests.
Rests tend to get pushed out of the center and away from the sta
On 2016-10-28 14:52, David Kastrup wrote:
Alexander Kobel writes:
What about \voiceUp and \voiceDown? Where the former are
counted from top to bottom, and the latter from bottom to top?
I prefer it if a LilyPond source is readable without explanations. That
makes it much easier to learn by
Alexander Kobel writes:
> What about \voiceUp and \voiceDown? Where the former are
> counted from top to bottom, and the latter from bottom to top?
I prefer it if a LilyPond source is readable without explanations. That
makes it much easier to learn by example and feel confident about it.
It al
Herbert Liechti wrote:
In Jazz notation you find often chords symbol in parenthesis (see the
attached picture for an example). It this case it indicates what to play
when doing a turnaround in other cases it indicates an alternative to the
standard chords.
For a quick pointer to an old function
Hi all,
> On 10/27/2016 4:38 PM, David Kastrup wrote:
>> I am a radical conservative: I want to keep everything the way it should
>> have been from the start.
>
> DAYMAKER!
Agreed. I love this. =)
As for the voice order, I think if possible it should be "top-down”. I’m
mulling over the precis
On 10/27/2016 4:38 PM, David Kastrup wrote:
> I am a radical conservative: I want to keep everything the way it should
> have been from the start.
DAYMAKER!
I'm watching this voice-order discussion closely. I have no position on
how LilyPond should work with this. I've been using it for less tha
On Fri, 2016-10-28 at 11:56 +0100, Richard Shann wrote:
> On Fri, 2016-10-28 at 10:43 +0200, Herbert Liechti wrote:
> > Hi
> >
> >
> > In Jazz notation you find often chords symbol in parenthesis (see the
> > attached picture for an example). It this case it indicates what to
> > play when doing
Hi Herbert,
several years ago, someone in the German lilypond forum posted a solution:
http://www.lilypondforum.de/index.php?action=profile;area=showposts;u=54
This can easily be adjusted to draw parentheses only on the left or right
side:
%
---
On 2016-10-28 12:31, David Kastrup wrote:
Alexander Kobel writes:
On 2016-10-27 23:38, David Kastrup wrote:
The majority tends to be silent.
Minority report out of the silent majority:
I got used to the status quo, which is totally natural once you
internalized the meaning of \voice.
Well
On Fri, 2016-10-28 at 10:43 +0200, Herbert Liechti wrote:
> Hi
>
>
> In Jazz notation you find often chords symbol in parenthesis (see the
> attached picture for an example). It this case it indicates what to
> play when doing a turnaround in other cases it indicates an
> alternative to the stand
Alexander Kobel writes:
> On 2016-10-27 23:38, David Kastrup wrote:
>> The majority tends to be silent.
>
> Minority report out of the silent majority:
> I got used to the status quo, which is totally natural once you
> internalized the meaning of \voice.
Well, walking on your hands is totally n
"Mark Stephen Mrotek" writes:
> David,
>
> If " Generally users don't know the proper order of voice arranging
> commands" would that not be the fault of those who do not read the
> manual?
Well, I write the manual more than I read it. Nevertheless I prefer it
if reading the manual is a reward
Robert Schmaus writes:
> Hi everyone,
>
> I've never used implicit voice assignment and I doubt I will start with it
> now.
>
> But since there's no real need for the ordering of voices _in the
> code_ to match the vertical arrangement of the _engraved_ notes (and
> isn't that also, what Lilypo
Dan Eble writes:
> On Oct 27, 2016, at 09:54 , David Kastrup wrote:
>>
>> << \context Voice = "1" \with \voiceThree ...
>> \context Voice = "2" \with \voiceOne ...
>> \context Voice = "3" \with \voiceTwo ...
>> \context Voice = "4" \with \voiceFour ...
>
> I’m not sure whether this thread
On 2016-10-27 23:38, David Kastrup wrote:
The majority tends to be silent.
Minority report out of the silent majority:
I got used to the status quo, which is totally natural once you
internalized the meaning of \voice. Hardly use it, though, but
that's a different story.
I agree with you th
Hi
In Jazz notation you find often chords symbol in parenthesis (see the
attached picture for an example). It this case it indicates what to play
when doing a turnaround in other cases it indicates an alternative to the
standard chords.
Is there a way to do that in lilypond? If found no hints in
Hi everyone,
I've never used implicit voice assignment and I doubt I will start with it now.
But since there's no real need for the ordering of voices _in the code_ to
match the vertical arrangement of the _engraved_ notes (and isn't that also,
what Lilypond is all about? You specify the inpu
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