> On Oct 18, 2014, at 14:48 , Kieren MacMillan
> wrote:
>
>> Does anyone know how to reduce the spacing between glyphs in these
>> custom time signatures?
>
> #{ \markup \concat { \musicglyph #"timesig.C22" \musicglyph
> #"timesig.C22" } #}))
> Hope this helps!
Lovely! Thank you! And wi
Dan Eble writes:
> Does anyone know how to reduce the spacing between glyphs in these
> custom time signatures? I’ve tried overriding word-space. I’ve tried
> \translate. Neither had the desired effect. Thanks.
\version "2.18.0"
timeTwoOne = {
\once \override Staff.TimeSignature.stencil =
> Does anyone know how to reduce the spacing between glyphs in these
> custom time signatures?
\version "2.18.0"
timeTwoOne = {
\once \override Staff.TimeSignature.stencil =
#(lambda (grob)
(grob-interpret-markup grob
#{ \markup \concat { \musicglyph #"timesig.C22" \musicglyph #"timesi
Does anyone know how to reduce the spacing between glyphs in these
custom time signatures? I’ve tried overriding word-space. I’ve tried
\translate. Neither had the desired effect. Thanks.
--
Dan
\version "2.18.0"
timeTwoOne = {
\once \override Staff.TimeSignature.stencil =
#(lambda (grob
On Sep 26, 2014, at 08:20 , Simon Albrecht wrote:
> Am 26.09.2014 um 04:10 schrieb Dan Eble:
>> I have a hymnal in which many songs have time signatures with symbols
>> "cc" and "¢¢" [doubled cut-time symbol]. I can't find any information on
>> these online. Does anyone know what they actually
actual content of Dan's original email, I got nothing.
>>
>> ~Conor
>>
>> From: Martin Tarenskeen
>> Subject: Re: Time signatures ¢¢ and cc
>> Date: September 26, 2014 at 8:27:53 AM CDT
>> To: Simon Albrecht
>> Cc: Dan Eble , lilypond-user@gnu.org
&g
n's original email, I got nothing.
>
> ~Conor
>
> From: Martin Tarenskeen
> Subject: Re: Time signatures ¢¢ and cc
> Date: September 26, 2014 at 8:27:53 AM CDT
> To: Simon Albrecht
> Cc: Dan Eble , lilypond-user@gnu.org
> Reply-To: Martin Tarenskeen
>
>
>
>
music
that describes ourselves as a society.
What’s that say about waltzes?
Hmm…
As for the actual content of Dan's original email, I got nothing.
~Conor
> From: Martin Tarenskeen
> Subject: Re: Time signatures ¢¢ and cc
> Date: September 26, 2014 at 8:27:53 AM CDT
> To: Sim
Hello list, hello Martin,
You wrote:
> One of the things I remember from my music Theory and History classes is
> that C had not much to do with the letter "C" but was in fact half of a
> circle. The Circle O was used when there were 3 beats in a measure, the
> Tempus Perfectum, 3 being the Hol
Hello list, hello Simon,,
thank's for that, just a little correction:
You wrote:
> The double cut c time signature occurs in Schubert, op. 90, no. 4
It's definitely
Schubert, op. 90, no. 3 instead of
Schubert, op. 90, no. 4
> disambiguation of c and cut c. There are numerous historical
> depe
On Fri, 26 Sep 2014, Simon Albrecht wrote:
Now the interpretation and history of the various time signatures derived in
some way from mensural notation is a complex issue, as is the disambiguation
of c and cut c.
One of the things I remember from my music Theory and History classes is
that
Am 26.09.2014 um 04:10 schrieb Dan Eble:
I have a hymnal in which many songs have time signatures with symbols
"cc" and "¢¢" [doubled cut-time symbol]. I can't find any information on
these online. Does anyone know what they actually mean? Were they
common historically, or is this hymnal just
I have a hymnal in which many songs have time signatures with symbols
"cc" and "¢¢" [doubled cut-time symbol]. I can't find any information on
these online. Does anyone know what they actually mean? Were they
common historically, or is this hymnal just using them ad hoc?
My hypothesis based on
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