On Mon, Aug 13, 2012 at 11:50:34PM +0200, james wrote:
> In the following:
> \version "2.14.2"
> \score {
>\relative c' {
> \time 2/4
> \set Staff.keySignature = #`(((0 . 4) . ,SHARP) ((0 . 3) . ,SHARP))
> \clef treble
> c8 a c d
> %%% Commenting out the following line
Keith OHara writes:
>> I would find it a perfectly acceptable solution to have key signatures be
>> consistent for all octaves, regardless with display method is chosen
>> [...] make my life a lot easier.
>
> The simple forms \set Staff.keySignature =#`(2 . ,FLAT) \key d\minor
> apply to all
Mats Bengtsson ee.kth.se> writes:
> needed the feature while trying to typeset some of the Mystery sonatas
> by Biber, which are written in scordatura, i.e. a violin with a
> non-standard tuning. In these pieces, the notation reflects how you
> should press the fingers, not what it should soun
David Kastrup writes:
> Mats Bengtsson writes:
>
>> I needed the feature while trying to typeset some of the Mystery
>> sonatas by Biber, which are written in scordatura, i.e. a violin with
>> a non-standard tuning. In these pieces, the notation reflects how you
>> should press the fingers, not
Mats Bengtsson writes:
> On 08/15/2012 04:14 PM, lilypond-user-requ...@gnu.org wrote:
>>> Lilypond docs do not seem to explain any way to print the key signature
>>> >>>accidentals on different lines than standard, except for this
>>> >>> crazy method
>>> >>>where the alterations count for just o
For a two flat key, some early music facsimile has two Bb's in the key
signature, one for each octave.
On Wed, Aug 15, 2012 at 10:52 AM, Mats Bengtsson
wrote:
>
> On 08/15/2012 04:14 PM, lilypond-user-requ...@gnu.org wrote:
>
>> Lilypond docs do not seem to explain any way to print the key signat
On 08/15/2012 04:14 PM, lilypond-user-requ...@gnu.org wrote:
Lilypond docs do not seem to explain any way to print the key signature
>>>accidentals on different lines than standard, except for this crazy method
>>>where the alterations count for just one octave.
>>>
>>>
>>>There was no way to al
On 2012-08-14 23:24, David Rogers wrote:
On Tue, 14 Aug 2012 22:58:57 +0200
james wrote:
Honestly, what's most important to me is where the sharps/flats in
the key signature are placed.
Looking at the PDF example, I can't understand which line is supposed
to be the good one. They both look w
james writes:
> On Aug 15, 2012, at 9:54 AM, David Kastrup wrote:
>
>> Keith OHara writes:
>>
>>> David Kastrup gnu.org> writes:
>>>
That image does not make sense to me at all. Notes appear in key
signature (though in a different octave) and still carry an accidental.
How d
On Aug 15, 2012, at 12:18 PM, james wrote:
>
> On Aug 15, 2012, at 9:54 AM, David Kastrup wrote:
>
>> Keith OHara writes:
>>
>>> David Kastrup gnu.org> writes:
>>>
That image does not make sense to me at all. Notes appear in key
signature (though in a different octave) and still
Keith OHara writes:
> David Kastrup gnu.org> writes:
>
>> That image does not make sense to me at all. Notes appear in key
>> signature (though in a different octave) and still carry an accidental.
>> How do you distinguish a normal key signature (valid across all octaves)
>> from a restrict
David Kastrup gnu.org> writes:
> That image does not make sense to me at all. Notes appear in key
> signature (though in a different octave) and still carry an accidental.
> How do you distinguish a normal key signature (valid across all octaves)
> from a restricted-octave one (valid only in
james writes:
> Honestly, what's most important to me is where the sharps/flats in the
> key signature are placed. I attach the image of what I expect:
That image does not make sense to me at all. Notes appear in key
signature (though in a different octave) and still carry an accidental.
How do
David Rogers writes:
> On Tue, 14 Aug 2012 23:47:52 +0200
> Reinhold Kainhofer wrote:
>
>> Some old handwritings have e.g. the f sharp in the keysignature not
>> at the top line, but between the lowest and second-lowest line. If
>> you want to create an authentic reprint of the autograph, you mi
On Tue, 14 Aug 2012 23:47:52 +0200
Reinhold Kainhofer wrote:
> Some old handwritings have e.g. the f sharp in the keysignature not
> at the top line, but between the lowest and second-lowest line. If
> you want to create an authentic reprint of the autograph, you might
> also want to preserve the
On Tue, 14 Aug 2012 22:58:57 +0200
james wrote:
> Honestly, what's most important to me is where the sharps/flats in
> the key signature are placed.
Looking at the PDF example, I can't understand which line is supposed
to be the good one. They both look wrong to me.
When I read music, I want th
On Aug 14, 2012, at 5:00 PM, David Kastrup wrote:
> james writes:
>
> So I fail to make _any_ sense of your example. If I had to guess, I'd
> say the octave specifications are there for overriding the default
> octaves chosen by the key signature engraver, but without being fixed to
> a certai
David Kastrup gnu.org> writes:
> james googlemail.com> writes:
>
> > \set Staff.keySignature = #`(((0 . 4) . ,SHARP) ((0 . 3) . ,SHARP))
>
> Ok, consider me annoyed now. Yes, we have some snippets documenting
> this sort of thing, but what is it even supposed to mean?
I suspect people r
james writes:
> In the following:
> \version "2.14.2"
> \score {
>\relative c' {
> \time 2/4
> \set Staff.keySignature = #`(((0 . 4) . ,SHARP) ((0 . 3) . ,SHARP))
> \clef treble
> c8 a c d
> %%% Commenting out the following line solves the problem %%%
> \clef bas
james writes:
> In the following:
> \version "2.14.2"
> \score {
>\relative c' {
> \time 2/4
> \set Staff.keySignature = #`(((0 . 4) . ,SHARP) ((0 . 3) . ,SHARP))
> \clef treble
> c8 a c d
> %%% Commenting out the following line solves the problem %%%
> \clef bas
In the following:
\version "2.14.2"
\score {
\relative c' {
\time 2/4
\set Staff.keySignature = #`(((0 . 4) . ,SHARP) ((0 . 3) . ,SHARP))
\clef treble
c8 a c d
%%% Commenting out the following line solves the problem %%%
\clef bass
e fis d c
}
\layout {}
21 matches
Mail list logo
