David Wright writes:
> … which of course it should, if only to say that such whitespace
> is optional and not preferred. That would make it is clearer that
> c4 d e f
> 8 8 8 8 8 8 8 8
> defines only 11 notes. The NR should be a reference for definitions
> like this, should it not.
>
> S
On Tue 01 May 2018 at 09:45:47 (+0200), Gianmaria Lari wrote:
> On 1 May 2018 at 09:39, David Kastrup wrote:
>
> > Gianmaria Lari writes:
> >
> > > --- Exceptions ---
> > > Making "s8 8 8" acting differently than "c8 8 8" introduce an
> > > exception.
> >
> > Not "introduces" but "constitutes" s
On Tue 01 May 2018 at 09:15:31 (+0200), David Kastrup wrote:
> David Wright writes:
>
> > On Tue 01 May 2018 at 00:15:24 (+0200), David Kastrup wrote:
> >> David Wright writes:
> >>
> >> > AFAICT the important exception that was introduced with naked
> >> > durations was that c 4 notates a sing
On 5/1/18 3:15 AM, David Kastrup wrote:
Let me quote the documentation on this:
Isolated durations – durations without a pitch – that occur within a
music sequence will take their pitch from the preceding note or
chord.
\relative { \time 8/1 c'' \longa \breve 1 2 4 8 16 32 64 128 128 }
[musi
Gianmaria Lari writes:
> Absolutely! And the problem is not really when "you see". It's when
> "you write". A learnear like me, after discovering the syntax "c4 4 4" will
> use with no problem like this:
>
> d4 c 4 4
>
>
> discovering that it engraves
>
> d4 c4 c4
>
>
> But starting from the
On 1 May 2018 at 09:39, David Kastrup wrote:
> Gianmaria Lari writes:
>
> > --- Exceptions ---
> > Making "s8 8 8" acting differently than "c8 8 8" introduce an
> > exception.
>
> Not "introduces" but "constitutes" since there was never a state with
> valid equal behavior.
>
> > Exceptions make
On 1 May 2018 at 05:32, David Wright wrote:
> On Tue 01 May 2018 at 00:15:24 (+0200), David Kastrup wrote:
> > David Wright writes:
> >
> > > AFAICT the important exception that was introduced with naked
> > > durations was that c 4 notates a single note whereas c4 4 notates two.
> >
> > There w
Gianmaria Lari writes:
> --- Exceptions ---
> Making "s8 8 8" acting differently than "c8 8 8" introduce an
> exception.
Not "introduces" but "constitutes" since there was never a state with
valid equal behavior.
> Exceptions make things a bit "more difficult" and in my opinion should
> be intr
r own OP, I couldn't quite understand why you would prefer s8 8 8 8
> over s8 s s s or s4. s8 unless you were machine-generating a variable
> constructed with spacers from a variable containing music.
>
>
There are different things we are discussing. I try to talk about that
separa
David Wright writes:
> On Tue 01 May 2018 at 00:15:24 (+0200), David Kastrup wrote:
>> David Wright writes:
>>
>> > AFAICT the important exception that was introduced with naked
>> > durations was that c 4 notates a single note whereas c4 4 notates two.
>>
>> There was no "exception" introduce
On Tue 01 May 2018 at 00:15:24 (+0200), David Kastrup wrote:
> David Wright writes:
>
> > AFAICT the important exception that was introduced with naked
> > durations was that c 4 notates a single note whereas c4 4 notates two.
>
> There was no "exception" introduced. c 4 always indicated a sing
David Wright writes:
> AFAICT the important exception that was introduced with naked
> durations was that c 4 notates a single note whereas c4 4 notates two.
There was no "exception" introduced. c 4 always indicated a single note
and c4 4 previously was invalid input.
> Thank goodness that my
On Fri 27 Apr 2018 at 22:56:31 (+0200), Gianmaria Lari wrote:
> On 27 April 2018 at 15:44, David Wright wrote:
>
> > [...]
> > Well, I don't know how the decision was arrived at, but my own view is
> > that it's the correct one. The duration-only notation is aimed at
> > people writing rhythms, a
On 27 April 2018 at 15:45, Simon Albrecht wrote:
> On 27.04.2018 10:53, Gianmaria Lari wrote:
>
>> To fix it I found two different ways.
>> First one:
>>
>> \version "2.19.81"
>> \score {
>> \new Voice <<
>> {f4 g a b}
>> {s4\< s4 s4 s4\!}
>>
>> Other possibilities:
> { s4
On 27 April 2018 at 15:44, David Wright wrote:
> [...]
> Well, I don't know how the decision was arrived at, but my own view is
> that it's the correct one. The duration-only notation is aimed at
> people writing rhythms, and they write them for instruments that play
> notes (and pseudonotes like
David Wright writes:
> On Fri 27 Apr 2018 at 14:58:13 (+0200), David Kastrup wrote:
>> David Wright writes:
>>
>> > I would assume it's because this notation (which arrived too late for
>> > me to make use of when it would have been handy¹) is designed for
>> > percussion and lets you write, say
On 27.04.2018 10:53, Gianmaria Lari wrote:
To fix it I found two different ways.
First one:
\version "2.19.81"
\score {
\new Voice <<
{f4 g a b}
{s4\< s4 s4 s4\!}
Other possibilities:
{ s4*3\< s4\! }
{ s2.\< s4\! }
{ s4\< s s s\! }
By the way: It is customary to always
On Fri 27 Apr 2018 at 14:58:13 (+0200), David Kastrup wrote:
> David Wright writes:
>
> > On Fri 27 Apr 2018 at 13:49:24 (+0200), Gianmaria Lari wrote:
> >> On 27 April 2018 at 11:56, Andrew Bernard wrote:
> >>
> >> > Hi Gianmaria,
> >> >
> >> > The shorthand of using a duration number only app
On 27 April 2018 at 14:58, David Kastrup wrote:
> David Wright writes:
>
> > On Fri 27 Apr 2018 at 13:49:24 (+0200), Gianmaria Lari wrote:
> >> On 27 April 2018 at 11:56, Andrew Bernard
> wrote:
> >>
> >> > Hi Gianmaria,
> >> >
> >> > The shorthand of using a duration number only applies to not
David Wright writes:
> On Fri 27 Apr 2018 at 13:49:24 (+0200), Gianmaria Lari wrote:
>> On 27 April 2018 at 11:56, Andrew Bernard wrote:
>>
>> > Hi Gianmaria,
>> >
>> > The shorthand of using a duration number only applies to notes, not rests.
>> >
>> > As per the NR:
>> >
>> > Isolated duratio
On Fri 27 Apr 2018 at 13:49:24 (+0200), Gianmaria Lari wrote:
> On 27 April 2018 at 11:56, Andrew Bernard wrote:
>
> > Hi Gianmaria,
> >
> > The shorthand of using a duration number only applies to notes, not rests.
> >
> > As per the NR:
> >
> > Isolated durations – durations without a pitch – t
Hi Gianmaria,
You would have to get somebody like DK to explain it. I think it may have
something to do with the semantics of the parser, where an isolated number
represents a pitch with the pitch name elided, and since rests have no
pitch, the parser would not know what to do. It seems hard to de
On 27 April 2018 at 11:56, Andrew Bernard wrote:
> Hi Gianmaria,
>
> The shorthand of using a duration number only applies to notes, not rests.
>
> As per the NR:
>
> Isolated durations – durations without a pitch – that occur within a music
> sequence will take their pitch from the preceding not
Hi Gianmaria,
The shorthand of using a duration number only applies to notes, not rests.
As per the NR:
Isolated durations – durations without a pitch – that occur within a music
sequence will take their pitch from the preceding note or chord.
That is how it is. More learned fellows may be abl
the following code:
>
> \version "2.19.81"
> \score {
> \new Voice <<
> {f4 g a b}
> {s4\< 4 4 4\!}
> >>
> \layout {}
> }
>
> I didn't expect to see this output:
>
>
>
> If I understood correctly this is the fact
On 27/04/2018 10:53, Gianmaria Lari wrote:
> And why spacer rests and rests don't "propagate" like note?
I'm not sure what you mean by that, but »regular« notes behave just the
same way:
<<
{f'4 g' a' b'}
\\
{d'4\< d'4*3\! }
>>
--
I am my own reality check.
signature.asc
Descripti
made some test with the code above and discovered something that maybe
for you all was clear but it wasn't for me. Have a look to the following
code:
\version "2.19.81"
\score {
\new Voice <<
{f4 g a b}
{s4\< 4 4 4\!}
>>
\layout {}
}
I didn't exp
Thank to everybody for the answers, now it's clear the difference between
the two writing.
Regarding the specific example Malte explanation was especially useful.
Thank you, g.
On 25 April 2018 at 11:51, Robert Schmaus wrote:
> Picture wooden building blocks which some of us still might rememb
Picture wooden building blocks which some of us still might remember from their
childhood. Every block has a single slot to attach stuff to.
s8 8 8 are 3 distinct cubes of edge length 1.
s8*3 is a single block measuring 1x1x3.
Cheers, Robert
> On 25 Apr 2018, at 10:09, Gianmaria Lari wrote
Gianmaria Lari writes:
> I don't understand the difference between s8 8 8 and s8*3.
s8 8 8 are three events with a duration of 8, s8*3 is a single event
with a duration of 8*3 . The duration 8*3 _looks_ like a duration of 8
(not relevant for s but for example if you write c8*3) but takes up 3
t
Am 25.04.2018 um 10:09 schrieb Gianmaria Lari:
dyn = { s8 \> 8 8 8 \!}
This places \> at the start of the first s8 and the \! at the start of
the fourth s8, so it comes after three eighths.
dyn = { s8 \> 8*3 \!}
This places \> at the start of the first s8 and the \! at the start
On 2018-04-25 01:09, Gianmaria Lari wrote:
I don't understand the difference between s8 8 8 and s8*3.
In the former, you are specifying three spacers, each an eighth note in
duration. In the latter, you are specifying a single spacer, with a
duration of three eighth notes.
-- Aaron Hill
_
I don't understand the difference between s8 8 8 and s8*3.
For example have a look to the following code that engrave two scores:
\version "2.19.81"
rh = \fixed c'{g8 8 8 8}
dyn = { s8 \> 8 8 8 \!}
{ << \rh \new Dynamics \dyn >> }
dyn = { s8 \> 8*3 \!}
{ << \rh \new Dynamics \dyn >> }
These a
Yes, I want the notes all beamed together, exactly like the result of the
snippet.
But I don't want to do that with the change staff command on some of the
notes of the upper staff: I want to write ALL the notes of the upper staff
in the upper block and all the notes of the lower staff in the lower
It's not clear to me what you want. Do you not want the notes all beamed
together? You cant put a cross staff stem to a space. What is wrong with
the change staff command?
Andrew
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the lower staff), but without
having to change staff within the upper staff.
More precisely, I want to use a spacer rest on the upper staff, in the
corresponding bar position, and put the note on the lower staff.
How can I do that?
Thanks
%
down = \change Staff="down"
up
Hello,
I would like to obtain the same graphical result of the below snippet (a
cross-staff stem for the second note on the lower staff) without the bad hack
"\override NoteHead.transparent = ##t d' " and using a spacer rest Instead,
How can I do?Thanks
%{
On 20 June 2011 01:20, Hwaen Ch'uqi wrote:
>
> Dear Xavier,
> Greetings, and many thanks for your solution of code -- and
> especially for your explanation. It works beautifully now, and I fully
> comprehend!
Great, glad I could help!
Cheers,
Xavier
--
Xavier Scheuer
On 19 June 2011 07:01, Hwaen Ch'uqi wrote:
>
> Greetings:
> As you will see from the attached pdf file, the center two
> measures differ from the intention of the code shown below. The upper
> voice is treated as if it is in bass clef. I would be grateful for any
> advice. Has it possibly some
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