Am 30.12.2011 08:02, schrieb Keith OHara:
Xavier Scheuer gmail.com> writes:
On 19 December 2011 09:38, C.Flothow gmx.de> wrote:
I had read all that and I still don't see anything there that helps
with my problem!
Am 30.12.2011 08:02, schrieb Keith OHara:
Xavier Scheuer gmail.com> writes:
On 19 December 2011 09:38, C.Flothow gmx.de> wrote:
I had read all that and I still don't see anything there that helps
with
Am 25.12.2011 23:21, schrieb Xavier Scheuer:
On 25 December 2011 23:09, C.Flothow wrote:
That was a quick answer but sadly not to my question.
I did not intend to keep the markup-ting in the bass-notes because it is
clearly something which belongs to the B.c player. Already for part of the
Am 25.12.2011 18:13, schrieb James:
Hello,
On 25 December 2011 16:43, C.Flothow wrote:
Hej!
in a piece which I've been transscribing there is repeatedly an extender
line in the figured bass without a number in front. This means of course:
hold the accord.
I've tried to indicate t
Hej!
in a piece which I've been transscribing there is repeatedly an extender
line in the figured bass without a number in front. This means of
course: hold the accord.
I've tried to indicate this with a markup, but that's of course not the
same.
%
Am 18.12.2011 23:04, schrieb James:
Hello,
On 18 December 2011 21:19, C.Flothow wrote:
The following turned up when I tried to print out the part of the first
violin in a Christmas piece. I'm not shure whether the players can cope with
that but it would be nice if everything looked &q
The following turned up when I tried to print out the part of the first
violin in a Christmas piece. I'm not shure whether the players can cope
with that but it would be nice if everything looked "normal".
I've tried a few things and did not succeed and I've found nothing in
the docs. (And I nee
Am 12.06.2011 02:12, schrieb Nicholas Moe:
On p. 125 of my Gardner Read (1964), it says:
"To cancel the double flat and restore the original single flat, it
was formerly required—as cited in the rules on page 123—to write a
natural sign plus the single flat. Today the tendency is to use merely
th
Dmytro O. Redchuk schrieb:
У пт, 2010-01-08 у 18:57 +0100, C.Flothow пише:
Editing ancient music often implies that you have to halve note values
to make the score readable for modern musicians.
On the other hand it is much easier to correct your score if you can use
original
Editing ancient music often implies that you have to halve note values
to make the score readable for modern musicians.
On the other hand it is much easier to correct your score if you can use
original values (and sometimes you want to use both versions anyway).
I've tried a number of ways to get
When trying to prepare an example for this list (concerning the missing
paragraph "Ancient and Modern from One Source") I came across the
following problem:
\version "2.12.2"
{\time2/2 \times 1/2{\relative c''{g1 g \time 3/2 f fis2 g1 a2 a b
c4 a~a g2 g4 f2 \time 2/2 e1 }}}
produc
1. IMHO, under the heading "appoggiatura" there should be a cross
reference similar to the one under "acciaccatura".
Not having an English music education it was not clear to me that
You have to look under "grace notes" to find more about issues
concerning appoggiaturas.
Are there more mu
Can anyone explain (and possibly help with) the following behavior of
repeat with alternatives:
If I use the snippet as it stands everything looks fine.
But if I add the original appoggiaturas then everything goes to pieces.
Even one such spells trouble.
Thanks
Chris
\version "2.12.2"
staffC
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