I don't know that Urs was contemplating "irrational" in the mathematical
sense, but in the more logical sense of being something not governed by an
easily understood relationship, such as one measure generating two and the
next two generating one, and then maybe four develops to 10 and 9 to 5, or
s
Am 05.07.2013 17:20, schrieb David Kastrup:
Urs Liska writes:
Hi Richard,
thanks for your suggestions.
I was just thinking about how to deal with the different timings (I
would have found that too, but later) when your second suggestion came
in.
This works for the given situation.
But as you
Urs Liska writes:
> Hi Richard,
>
> thanks for your suggestions.
> I was just thinking about how to deal with the different timings (I
> would have found that too, but later) when your second suggestion came
> in.
>
> This works for the given situation.
> But as you say I will have situations whe
Hi Richard,
thanks for your suggestions.
I was just thinking about how to deal with the different timings (I
would have found that too, but later) when your second suggestion came in.
This works for the given situation.
But as you say I will have situations where it won't be sufficient
becaus
Hi Urs.
I tried to send a reply earlier. I don't know if I succeeded, but the method I
suggested was not good enough anyway. Here's my second attempt at a solution to
your problem:
\version "16.0"
firstVersion =\relative e'' {e2. e4 | g2. cis,4 |}
secondVersion =\scaleDurations #'(2 . 1)\relative
Hi Urs.
In your example, if you lay the second version out as if the notes had twice
the durations they actually have, then it looks nice:
\version "16.0"
firstVersion =\relative e'' {e2. e4 | g2. cis,4 |}
secondVersion =\scaleDurations #'(2 . 1)\relative e'' {e4~ e16[ fis] e[ fis]
g4. cis,8 |}
\
Urs Liska wrote
> what would be an elegant way to synchronize a passage of music that is
> of different length in two staves?
>
> I need to make an example where the composer made a second version that
> compressed two bars into one. At the same time he modified the melody
> around common ancho
