On 15 December 2017 at 07:20, Saul Tobin wrote:
> Reading your example, it seems to me that the "FAIL" is caused by the
> hypothetical user misunderstanding the semantics of relative mode. Using
> relative mode without explicitly defining what pitch the phrase is meant to
> be relative to is unre
Hi List,
I'm trying to use the \featherDurations command on a brief passage:
\relative c' {
a,,^\markup { \italic "subito meno mosso" }\( b cis dis eis8\)
\override Beam.grow-direction = #LEFT
\featherDurations #(ly:make-moment 2/1)
{ a,32[\( b cis dis eis]\)\fermata }
\override Beam.grow-di
From: Flaming Hakama by Elaine
> Subject: Re: Auto-transposition
It was pointed out to me that this claim is untrue:
> And the behavior of \relative that is weirdest:
>
> * The octave of \relative is lowered when used with bass clef.
>
> The fix for the clef issue is to use a \transpose w
Flaming Hakama by Elaine writes:
> And the behavior of \relative that is weirdest:
>
> * The octave of \relative is lowered when used with bass clef.
>
> The fix for the clef issue is to use a \transpose when you use it with bass
> clef.
That one is nonsense. \relative does not interact in
David Kastrup writes:
> Flaming Hakama by Elaine writes:
>
>> And the behavior of \relative that is weirdest:
>>
>> * The octave of \relative is lowered when used with bass clef.
>>
>> The fix for the clef issue is to use a \transpose when you use it with bass
>> clef.
>
> That one is nonsen
On 15/12/17 06:20, Saul Tobin wrote:
> Relative mode makes perfect sense if you're entering music that cares
> mainly about the relationship between notes within a phrase (i.e. most
> music). IMO absolute mode might be easier from the perspective of the
> software, but it's not how most musicians t
If you mean alternative chords on top of each other, I just place two
ChordNames contexts in the score and have the upper one contain mostly spacers
plus the alternative chord names wherever one is needed ...
Best, Robert
> On 15 Dec 2017, at 00:20, Menu Jacques wrote:
>
> Hello folks,
>
> M
Hello Robert,
Thanks for your answer. I’d been wondering whether something would be possible
with a single ChordNames contexts, but yours is clearly a solution.
A nice day!
JM
> Le 15 déc. 2017 à 11:15, Robert Schmaus a écrit :
>
> If you mean alternative chords on top of each other, I just
On Thu, Dec 14, 2017 at 5:04 PM, Neo Anderson wrote:
> Dear All,
>
> Anyway, I'm thankful you've taken your time to solve my problem.
>
> On Thursday, December 14, 2017, 1:29:22 AM GMT+1, Kieren MacMillan <
> kieren_macmil...@sympatico.ca> wrote:
>
>
> Hi David,
>
> >> Because my only goal was to
Maybe one of the Scheme wizards could come up with such a solution but I doubt
it would really be worth the trouble as the two-contexts solution is easy to
use ... and flexible too, in case someone needs secondary alternatives and/or
font, colour, ... changes in the alternatives.
Have a good d
On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote:
> On 15/12/17 06:20, Saul Tobin wrote:
> > Relative mode makes perfect sense if you're entering music that cares
> > mainly about the relationship between notes within a phrase (i.e. most
> > music). IMO absolute mode might be easier from th
On 2017-12-15 13:30, Ralph Palmer wrote:
Greetings -
Just a reminder and note:
I have been using \relative for years and have been quite happy with
it. Perhaps my situation is fairly unique. I transcribe a lot of
fiddle tunes, then transpose them down an octave and into alto clef.
Using \
Hi all,
Mats wrote:
> By the way, whoever is working on the Changes document for upcoming 2.20,
> don't forget to mention about \fixed!
+1
David W wrote:
> Just use \relative early.
The fact that this works like it does is further evidence that \relative is not
sufficiently intuitive. I'm pre
Hi List,
I have used Lilypond for a few years now. I (almost) always use \relative and
I have never had trouble with it. Indeed, as a lay person, I have no idea
which octave
c'4 d' e' f' g'1
is – I know I could look it up, but it is certainly not in my head. So for
someone with little or n
Kieren MacMillan writes:
> Hi all,
>
> Mats wrote:
>> By the way, whoever is working on the Changes document for upcoming
>> 2.20, don't forget to mention about \fixed!
>
> +1
2.19.22 apparently. I'd have pegged it at 2.18 already.
--
David Kastrup
___
writes:
> Hi List,
>
> I have used Lilypond for a few years now. I (almost) always use
> \relative and I have never had trouble with it. Indeed, as a lay
> person, I have no idea which octave
> c'4 d' e' f' g'1
> is – I know I could look it up, but it is certainly not in my head.
So what ref
On Dec 15, 2017 12:59 AM, "David Kastrup" wrote:
David Kastrup writes:
> Flaming Hakama by Elaine writes:
>
>> And the behavior of \relative that is weirdest:
>>
>> * The octave of \relative is lowered when used with bass clef.
>>
>> The fix for the clef issue is to use a \transpose when y
On 15/12/17 13:45, David Wright wrote:
> On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote:
>> On 15/12/17 06:20, Saul Tobin wrote:
>>> Relative mode makes perfect sense if you're entering music that cares
>>> mainly about the relationship between notes within a phrase (i.e. most
>>> music).
Flaming Hakama by Elaine writes:
> David Kastrup writes:
>
>> Flaming Hakama by Elaine writes:
>>
>>> And the behavior of \relative that is weirdest:
>>>
>>> * The octave of \relative is lowered when used with bass clef.
>>>
>>> The fix for the clef issue is to use a \transpose when you use
> Hi List,
>
> I have used Lilypond for a few years now. I (almost) always use
> \relative and I have never had trouble with it. Indeed, as a lay
> person, I have no idea which octave
> c'4 d' e' f' g'1
> is – I know I could look it up, but it is certainly not in my head.
So what reference pi
On Fri 15 Dec 2017 at 15:52:28 (+), Wols Lists wrote:
> On 15/12/17 13:45, David Wright wrote:
> > On Fri 15 Dec 2017 at 10:02:19 (+), Wols Lists wrote:
> >> On 15/12/17 06:20, Saul Tobin wrote:
> >>> Relative mode makes perfect sense if you're entering music that cares
> >>> mainly about t
On Fri, Dec 15, 2017 at 7:57 AM, David Kastrup wrote:
> Flaming Hakama by Elaine writes:
>
> > David Kastrup writes:
> >
> >> Flaming Hakama by Elaine writes:
> >>
> >>> And the behavior of \relative that is weirdest:
> >>>
> >>> * The octave of \relative is lowered when used with bass cle
In Frescobaldi you can choose the Engrave (custom) option which lets
you add to the command line, and remembers the last used setting.
But I think your solution is better.
Best,
Edward
--
Dr. Edward Neeman
Adjunct Instructor, South Georgia State College
Collaborative Pianist, Valdost
On 15/12/17 17:48, Flaming Hakama by Elaine wrote:
> > Actually, I think it had to do with midi output for bass
> clarinet. The
> > sample I used was not transposed the octave, and I had to
> compensate by
> > transposing the music down.
>
> According to Wikipedia, bass c
In Frescobaldi you can choose the Engrave (custom) option which lets
you add to the command line, and remembers the last used setting.
I'd never noticed that option. However, after trying it I don't like
that it pulls up the dialog each time. This slows me down because it
requires me to inte
Flaming Hakama by Elaine writes:
> On Fri, Dec 15, 2017 at 7:57 AM, David Kastrup wrote:
>
>> Flaming Hakama by Elaine writes:
>>
>> > Actually, I think it had to do with midi output for bass clarinet. The
>> > sample I used was not transposed the octave, and I had to compensate by
>> > trans
> Subject: Re: Re: Auto-transposition
>
> By the way, whoever is working on the Changes document for upcoming 2.20,
> don't forget to mention about \fixed!
>
>/Mats
>
I volunteered to do this, so I will make sure to work on describing this
feature.
> > I don't think there is a clear advan
I would highly recommend against this type of coding style.
\resetRelativeOctave belongs IMO always as part of the definition of a
music expression, ideally on the line directly preceding note entry.
Personally, I think it is preferable to define all of the music for each
context by explicitly typ
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