gslindstrom wrote:
> I am working on a piece in 4/4 time and would like to have triplets on the
> upbeat of "4". How can I indicate that the three notes should come on the
> 2nd half of the beat?
You have had several replies to this that all interpreted your question
differently from the way I di
On 24/02/12 10:38, -Eluze wrote:
gslindstrom wrote:
I am working on a piece in 4/4 time and would like to have triplets on the
upbeat of "4". How can I indicate that the three notes should come on the
2nd half of the beat?
have a look at
http://lilypond.org/doc/v2.15/Documentation/notation-b
Hello,
I am working on a piece in 4/4 time and would like to have triplets on the
upbeat of "4". How can I indicate that the three notes should come on the
2nd half of the beat?
Thanks,
--greg
--
View this message in context:
http://old.nabble.com/Triplet-question-tp33381935p333
p://lilypond.org/doc/v2.15/Documentation/notation-big-page#upbeats and
re-ask if this is not clear
hth
Eluze
--
View this message in context:
http://old.nabble.com/Triplet-question-tp33381935p33382099.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
On Mon, 24 May 2004, Edward Sanford Sutton, III wrote:
> On Monday May 24 2004 06:54, Mats Bengtsson wrote:
>
> > From a mathematical point of view, shouldn't the bar line
> > occur exactly at the same spot as the middle note of the triplet or
> > 7-tuplet?
>
> Actually I think it falls within t
Some composers used to feel that, in music that changed its metre
frequently, a consistent time signature would help the performers. The
example that comes to my mind first is the sonata for trumpet and piano
by Kent Kennan - because he wrote it with a consistent time signature,
despite all the
On Tuesday May 25 2004 10:14, Thorkil Wolvendans wrote:
> Hi Ed & everyone!
>
> At 19:17 24-5-04, you wrote:
> >I haven't ever seen, or heard of, triplets going over a bar line (except
> > when I got Lilypond to do it on my school assignment by mistake).
>
> I attached an example from the book "Mus
Hi Ed & everyone!
At 19:17 24-5-04, you wrote:
I haven't ever seen, or heard of, triplets going over a bar line (except when
I got Lilypond to do it on my school assignment by mistake).
I attached an example from the book "Music Notation in the 20th Century" by
Kurt Stone. It gives a nice example
On Monday May 24 2004 06:54, Mats Bengtsson wrote:
> From a mathematical point of view, shouldn't the bar line
> occur exactly at the same spot as the middle note of the triplet or
> 7-tuplet?
Actually I think it falls within the note; it would have to be expressed with
a note tied over the bar.
On Monday May 24 2004 05:13, Joerg Anders wrote:
> Hi all!
>
> Please excuse a rather music theoretical question:
>
> Is it possible a triplet oversteps the measure end ?
>
> Regard this example:
>
>
> \notes\relative c' {
> \clef violin
> \time 4/4
> g'8 b2 \times 2/3 { g4 a b } f
Joerg Anders wrote:
Hi all!
Please excuse a rather music theoretical question:
Is it possible a triplet oversteps the measure end ?
Regard this example:
\notes\relative c' {
\clef violin
\time 4/4
g'8 b2 \times 2/3 { g4 a b } f8 g2.
}
It were nice if anybody could say: "Very seld
Hi all!
Please excuse a rather music theoretical question:
Is it possible a triplet oversteps the measure end ?
Regard this example:
\notes\relative c' {
\clef violin
\time 4/4
g'8 b2 \times 2/3 { g4 a b } f8 g2.
}
It were nice if anybody could say: "Very seldom, practically
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