How does one shift a rest in a voice horizontally to avoid collisions with
notes in other voices? Using force-hshift on the NoteColumn does not seems to
move them. Using version 2.19.4.
Andrew
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On 18/04/14 17:05, Andrew Bernard wrote:
How does one shift a rest in a voice horizontally to avoid collisions
with notes in other voices? Using force-hshift on the NoteColumn does
not seems to move them. Using version 2.19.4.
I define the following function
rsh = #(define-music-function (par
"a.l.f.r.e.d.o" writes:
> Hi, everybody.
> I sometimes have to write many accidentals in a bar and was wondering
> if there was a way I could write the music in C major and then
> transpose only the notes I need to be "sharpened" or flattened.
Sure. You just need to mark the notes you need to
2014-04-18 9:05 GMT+02:00 Andrew Bernard :
> How does one shift a rest in a voice horizontally to avoid collisions with
> notes in other voices? Using force-hshift on the NoteColumn does not seems
> to move them. Using version 2.19.4.
>
Hi Andrew,
%
\version "2.19.4"
{
r4 \t
Something along these lines perhaps:
\score {
\new Staff {
\once\override Staff.TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob (markup #:fontsize 5 #:vcenter
"X")))
\time 4/4
\cadenzaOn
c'1 \bar "|"
\cadenzaOff
Am 18.04.2014 10:43, schrieb Piaras Hoban:
Something along these lines perhaps:
\score {
\new Staff {
\once\override Staff.TimeSignature.stencil = #(lambda (grob)
(grob-interpret-markup grob (markup #:fontsize 5 #:vcenter
"X")))
\time 4/4
\cadenza
Hi Andrew,
> How does one shift a rest in a voice horizontally to avoid collisions with
> notes in other voices? Using force-hshift on the NoteColumn does not seems to
> move them. Using version 2.19.4.
Could you give an example of a collision?
This would certainly be considered a bug, as the \
Hey Ryan, Tim, et al.,
I'm a double bassist who has enjoyed playing these cello suites for
years. I also used to be managing editor of a music publisher in the days
when engraving was done with a re-built Olympia typewriter and hand-drawn
slurs. A single page of melody, words and guitar chords wou
Hi Brian,
2014-04-18 8:26 GMT+02:00 Brian Barker :
> But perhaps you are referring to the method of textual input in Lilypond,
> where notes that are named "sharp" or "flat" need to be qualified as such,
> notwithstanding what the \key indication would appear already to imply. (In
> this way, Li
Hi,
On Fri, Apr 18, 2014 at 7:41 AM, Thomas Morley wrote:
> Hi Brian,
>
> 2014-04-18 8:26 GMT+02:00 Brian Barker :
>
> > But perhaps you are referring to the method of textual input in Lilypond,
> > where notes that are named "sharp" or "flat" need to be qualified as
> such,
> > notwithstanding w
2014-04-18 4:00 GMT+02:00 Ryan McClure :
> Hello all!
>
> I'm currently arranging the Bach Cello Suites for Bassoon. I'm arranging them
> to be more playable on the bassoon (breathing, articulations, etc.) with the
> help of my private teacher. Attached is the Praeludium of the first
> suite--Ho
At 14:41 18/04/2014 +0200, Thomas Morley wrote:
2014-04-18 8:26 GMT+02:00 Brian Barker:
But perhaps you are referring to the method of textual input in
Lilypond, where notes that are named "sharp" or "flat" need to be
qualified as such, notwithstanding what the \key indication would
appear alr
2014-04-17 21:08 GMT+02:00 Mike Solomon :
> Padding’s the winner! Many thanks.
>
Hi again,
For some reason I totally forgot to try this :
%%
\relative c'' {
\key b \major
\override Score.TimeSignature.stencil = ##f
\tuplet 5/4 {
ais8 b e4 d8
}
At 07:57 18/04/2014 -0500, David Nalesnik wrote:
In my experience, speaking that sort of thing--calling F-sharp "F" ...
Sorry, but who made that suggestion, please? This was about
notation, not description!
On Fri, Apr 18, 2014 at 7:41 AM, Thomas Morley wrote:
... I don't want it differen
Am 18.04.2014 15:38, schrieb Brian Barker:
At 14:41 18/04/2014 +0200, Thomas Morley wrote:
2014-04-18 8:26 GMT+02:00 Brian Barker:
But perhaps you are referring to the method of textual input in
Lilypond, where notes that are named "sharp" or "flat" need to be
qualified as such, notwithstanding
2014-04-15 0:14 GMT+02:00 David Nalesnik :
> Harm,
>
>
> On Mon, Apr 14, 2014 at 12:07 PM, David Nalesnik
> wrote:
>>
>>
>>
>> On Mon, Apr 14, 2014 at 8:53 AM, David Nalesnik
>> wrote:
>>>
>>>
>>> I can't figure out where that 1.1 comes from, though.
>>>
>>
>> This happens in accidental-placement
I don’t know about consensus, but Trent Kynaston’s arrangements for saxophone
notates these figures using grace notes and slurs. This seems more idiomatic
for winds, in my experience. I rather like the string notation, since it
suggests simultaneous notes/chords.
Holland
> What is the consensu
Hi Brian,
On Fri, Apr 18, 2014 at 8:43 AM, Brian Barker wrote:
> At 07:57 18/04/2014 -0500, David Nalesnik wrote:
>
>> In my experience, speaking that sort of thing--calling F-sharp "F" ...
>>
>
> Sorry, but who made that suggestion, please? This was about notation, not
> description!
>
But Li
Hi Harm,
On Fri, Apr 18, 2014 at 8:49 AM, Thomas Morley wrote:
> thanks for all your work you've put on this.
> I'm ashamed I didn't try it out so far.
> I hope I can find the time to do it the next days.
>
No problem. If you don't get a chance to look at it, no worries!
Best,
David
At 08:58 18/04/2014 -0500, David Nalesnik wrote:
On Fri, Apr 18, 2014 at 8:43 AM, Brian Barker wrote:
By the way, if you get to have a thousand times as many votes as I
do, I'll make a note not to bother competing with you in any future
dispute. ;^)
Not sure how to take that, but I certainly
At 15:48 18/04/2014 +0200, Urs Liska wrote:
Am 18.04.2014 15:38, schrieb Brian Barker:
No - certainly not (though I know people who do!). You are quite
right not to believe I could be that foolish. But there is still a
difference in the representations: in musical notation, a note on
the F l
On 18 April 2014 04:00, Ryan McClure wrote:
>
> Hello all!
>
> I'm currently arranging the Bach Cello Suites for Bassoon.
> I'm arranging them to be more playable on the bassoon (breathing,
> articulations, etc.) with the help of my private teacher.
> Attached is the Praeludium of the first suite-
Mark Mathias gmail.com> writes:
> I also used to be managing editor of a music publisher in the days when
engraving was done with a re-built Olympia typewriter and hand-drawn slurs.
I would like to nominate this as the single most insane sentence to be posted
on this mailing list all week. Per
I'm engraving a score where each instrument repeats a different bar. To
achieve this I tried moving the Default_bar_line_engraver to the Staff
context, but now the repeat bar lines don't appear at all.
The metre stays the same, so I don't think I have to move the
Timing_translator also, but the re
I'm transcribing a piece that has multiple parts and in those multiple
parts, I have multiple staves.
After compiling, the staff layout becomes:
part1:staff1
part2:staff1
part1:staff2
part2:staff2
Obviously for the score, I'd like:
part1:staff1
part1:staff2
part2:staff1
part2:staff2
I'm sure I j
I had the opportunity to try one of those music typewriters when I
visited Ludwig Music Publishing. It was astonishing that you could
properly line anything up with it, but the fellow that showed it to me
could still use it to excellent effect. Anyway it really was in a way
good technology.
Shane
Ryan,
I'm not sure there's any way around that since each measure is so long and
you can't break them across lines...
Personally, I like the second one (ten staves, ten staves) better than the
nine/eleven version but that might just be me...
Tim
Ryan McClure wrote on 04/17/2014 07:33:03
Have you looked at the Anna Magdalena copy? The phrasing is different.
On Fri, Apr 18, 2014 at 12:55 PM, Tim Reeves wrote:
> Ryan,
>
> I'm not sure there's any way around that since each measure is so long and
> you can't break them across lines...
>
> Personally, I like the second one (ten stave
a.l.f.r.e.d.o wrote
> Hi, everybody. I sometimes have to write many accidentals in a bar and was
> wondering if there was a way I could write the music in C major and then
> transpose only the notes I need to be "sharpened" or flattened.
Hi, I wouldn't recommend this, but if you're determined to
Clarification:
part1 = Violin 1
part2 = Violin 2
On 04/18/2014 10:31 AM, Dave Higgins wrote:
> I'm transcribing a piece that has multiple parts and in those multiple
> parts, I have multiple staves.
>
> After compiling, the staff layout becomes:
> part1:staff1
> part2:staff1
> part1:staff2
> part
2014-04-18 18:23 GMT+02:00 Mark Knoop :
> I'm engraving a score where each instrument repeats a different bar. To
> achieve this I tried moving the Default_bar_line_engraver to the Staff
> context, but now the repeat bar lines don't appear at all.
>
> The metre stays the same, so I don't think I ha
Urs Liska wrote
> So actually it's _this_ part that's causing the confusion: a notehead on
> the first staff space can represent an f, a fes, a fis - or even a
> completely different pitch governed by the clef or a generally active
> transposition. In that sense musical notation is highly ambigu
2014-04-18 18:31 GMT+02:00 Dave Higgins :
> I'm transcribing a piece that has multiple parts and in those multiple
> parts, I have multiple staves.
>
> After compiling, the staff layout becomes:
> part1:staff1
> part2:staff1
> part1:staff2
> part2:staff2
>
> Obviously for the score, I'd like:
> par
>> I also used to be managing editor of a music publisher in the days when
engraving was done with a re-built Olympia typewriter and hand-drawn slurs.
>I would like to nominate this as the single most insane sentence to be
posted
on this mailing list all week. Perhaps all month.
@James: If you ar
> >Music engraving with a typewriter? Does anyone have a photo of this? I'm
> >really intrigued!
http://www.musicprintinghistory.org/music-typewriters.html
Cheers,
Kieren.
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The Musicwriter was it! Very cool site, thanks!
Mark
On Fri, Apr 18, 2014 at 3:50 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:
> > >Music engraving with a typewriter? Does anyone have a photo of this?
> I'm really intrigued!
>
> http://www.musicprintinghistory.org/music-typewrite
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