Any suggestions on unfolding D.S. al Coda repeats
Hi, To generate a complete midi from a score, I need to unfold D.S. al Coda repeats. Any suggestions how to do this? -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: welcome, helpers!
Trevor Daniels wrote: On 23.09.2007 (02:18), Eyolf Ostrem wrote: On 22.09.2007 (18:08), Graham Percival wrote: Great! We have our first claim; Michael Rasmussen is doing Pitches. I'll have a look at simultaneous, then. eyolf OK, I'll have a bash at the tutorial 2.4 Songs, but I'll look at just the 2.4.1 Printing lyrics subsection. I'll leave 2.4.2 Lead sheets to someone else or a later time. Trevor I'll do Rhythms. -- Mark Knoop [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tuplets (was: GDP for kids :)
2007/9/21, Trevor Bača [EMAIL PROTECTED]: In German the word is Tupel vs. Duole, Triole, Pentole etc. I never really heard Tupel in musical context, only mathemathically. My musical lexicon doesn't know it - but my favourite online dictionary doesn't know tuplet either. Yeah, I may be spreading unsubstantiated rumours here, but the term seems definitely to have shown up first in English (rather than FR or DE) and I *think* it actually originated in an early version of the Finale user manual (God help us). I've never been able to verify this last bit, but, if true, it would at least explain why the word doesn't seem to exist in any EN dictionaries yet. Henning, is das (?) Tupel the same word that gets used in math to talk about ordered collections of stuff like (17, 18, 29)? EN has tuple for such things ... and tuplet (with the final t) seems to be a completely novel musical term backformed from triplet, quadruplet, quintuplet, [s|h]extuplet, etc. Maybe DE has to make due with only one form of the word? Or possibly you guys could borrow in Tuplet? Or perhaps that simply looks absurd ... As Mark Knoop wrote, (indeed das) Tupel is normally a vector and as a musical term seems to be as common as tuplet. For the German tuplets named Duole, Triole, Quartole, Quintole/Pentole etc. the neologism would have to be die Tupole, but I guess that's silly. Greetlings, Hraban ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Halfprall and accidentals
Using the before mentioned Unicode font Euterpe and the Unicode
character U+1D19D (written \U1D19D below) in it, I was able to create
an ornament sign similar to \prall (but shorter) using the definition
halfprall=^\markup {\override #'(font-size . 3.5) {\U1D19D}}
However, when combining an accidental, as say in b^\halfprall^\sharp,
the accidental may erratically end up below, different uses on long
distances may influence each there.
So I suspect I should define a proper markup object, as in the file
script.scm, which defines
(define-public default-script-alist
'(...
(prall .
((script-stencil . (feta . (prall . prall)))
(padding . 0.20)
(avoid-slur . around)
(direction . 1)))
...
But I am not sure exactly how to do that for the character U+1D19D.
And it would be nice to define a markup similar to b-., but with the
. replaced by U+1D19D, which then should expand to \halfprall. Is
that possible?
Hans Åberg
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Re: Any suggestions on unfolding D.S. al Coda repeats
2007/9/24, Johan Vromans [EMAIL PROTECTED]: To generate a complete midi from a score, I need to unfold D.S. al Coda repeats. Any suggestions how to do this? There is no automagical way to do it (at least there wasn't when I asked last time). Try to split your voives in several parts, assign them to variables and use different sections (and sets of those variable-bound music) to construct print and midi output. I use that e.g. for rounds - the PDF should just show the one voice, but the MIDI plays the whole harmony. In this case it's simple, I just use the same voice several times, offset by some rests. Greetlings, Hraban ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tuplets (was: GDP for kids :)
2007/9/24, Henning Hraban Ramm [EMAIL PROTECTED]: As Mark Knoop wrote, (indeed das) Tupel is normally a vector and as a musical term seems to be as common as tuplet. For the German tuplets named Duole, Triole, Quartole, Quintole/Pentole etc. the neologism would have to be die Tupole, but I guess that's silly. In French, no generic term exist; when we translated the documentation we had to create a rather ugly mathematical word: since the terms we use are triolet == meaning triplet quartolet quintolet etc... We created the n-olet which is a neologism I haven't seen anywhere in French. But when I'll translate the comic into French, I think I'll just use triolet since it's by far the most common word. Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Pitched articulations
Is it possible to get a small note within parenthesis written out like when using \pitchedTrill, but for say \prall (and if so, how it is done)? Hans Åberg ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: welcome, helpers!
On 9/21/07, Graham Percival [EMAIL PROTECTED] wrote: I've posted initial instructions for GDP helpers here: http://opihi.cs.uvic.ca/~gperciva/helper.txt If somebody could send those to the list (as a reply to this), that would make it easier for other people to read. ASIDE: I wouldn't believe this if I didn't see it for myself, but attempting to send that email to the list causes the switch in my parent's house to stop working. My brother theorizes that the power output of my ethernet interface is too high, and thus it disrupts the router when I attempt to send large packets. We tried repeated experiments, and this is 100% repeatable -- when I attempt to send that message, via SMPT (to gmail), HTTP (via gmail webmail), or even scp (to the current host), our switch stopped working. I had to bzip that text file in order to scp it. (!) We're not idiots or unfamiliar with computers -- I'm doing a Masters in the subject, and my brother has a Ph.D in computer science. This is totally amazing. Hi Graham, Trevor, IIRC you didn't officially sign up as a helper, but you're in charge of the Inspirational Headwords. If you could come up with something for Pitches and Rhythms soon, that would be awesome. Remember that these don't need to be existing, famous pieces of music; a portion of your own compositions would be great for Rhythms. Also remember that we can always update stuff later. Let's get something to slap in there to demonstrate the concept. :) Will do. Also, your power shenanigans are bizarre ... ;-) -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
overriding system indent
[Lilypond 2.11.33] Hello all, Is there any way to override the indent length of a system mid-score? Maybe something along the lines of \overrideProperty #Score.NonMusicalPaperColumn #'line-break- system-details #'((indent . 15)) [which, of course, doesn't actually work...] ? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tuplets (was: GDP for kids :)
2007/9/21, Trevor Bača [EMAIL PROTECTED]: Yeah, I may be spreading unsubstantiated rumours here, but the term seems definitely to have shown up first in English (rather than FR or DE) and I *think* it actually originated in an early version of the Finale user manual (God help us). I've never been able to verify this last bit, but, if true, it would at least explain why the word doesn't seem to exist in any EN dictionaries yet. Does this mean that we should consider not using the word? Not that I have anything against Finale (hehe :-), but do we have to copy their strange nomenclature? The question is, I suppose: - is it a good term (perhaps it is; are there any alternatives for a cover-all term for -- eh, for tuplets...?) - is the term so well-established in note-typesetting circles that it would be strange not to use it, even if the answer to the first question is no? Personally, I thought it was a strange term when I first came across it -- yes, in the Finale manual -- especially since 90% of all tuplets are TRIplets, but on the other hand, once one gets used to it, it is a handy term. Just wondering. Eyolf -- It is commonly reported, my dear Georad, that there exists great natural virtue in the melange experience. Perhaps this is true. There remain within me, however, profound doubts that every use of melange always brings virtue. Me seems that certain persons have corrupted the use of melange in defiance of God. In the words of the Ecumenon, they have disfigured the soul. They skim the surface of melange and believe thereby to attain grace.: They deride their fellows, do great harm to godliness, and they distort the meaning of this abundant gift maliciously, surely a mutilation beyond the power of man to restore. To be truly at one with the virtue of the spice, uncorrupted in all ways, full of goodly honor, a man must permit his deeds and his words to agree. When your actions describe a system of evil consequences, you should be judged by those consequences and not by your explanations. It is thus that we should judge Muad'Dib. -- The Pedant Heresy ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tuplets
Eyolf Østrem wrote: Does this mean that we should consider not using the word? Not that I have anything against Finale (hehe :-), but do we have to copy their strange nomenclature? The question is, I suppose: I've never touched Finale, but I've heard the word tuplet many times before. It's certainly widely used in North America. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Collision of arpeggio with 8va; Collision of accidental with bar
Hello!
In the following snipplet I created a connected arpeggio in a piano staff
and transposed both staffs one octave up (8va). The 8va and the arpeggios
collides.
In the following bar the accidentel of the ees colliedes with the bar.
Has anyone any ideas?
Thanks
(windows XP)
\version 2.10.33
pianorh = \relative c'{
\clef treble \time 4/4 \key f \major
c2 #(set-octavation 1)g' c e2\arpeggio #(set-octavation 0) |
f1 }
pianolh = \relative c'{
\clef bass \time 4/4 \key f \major
c2 #(set-octavation 1)g' c e2\arpeggio #(set-octavation 0)|
ees4 ees ees ees }
\score {
\new PianoStaff = piano
\set PianoStaff.connectArpeggios = ##t
\new Staff \pianorh
\new Staff \pianolh
\layout { ragged-right = ##t }
}
--
View this message in context:
http://www.nabble.com/Collision-of-arpeggio-with-8va--Collision-of-accidental-with-bar-tf4508611.html#a12858097
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.
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Re: tuplets (was: GDP for kids :)
Am 2007-09-24 um 14:24 schrieb Valentin Villenave: In French, no generic term exist; when we translated the documentation we had to create a rather ugly mathematical word: since the terms we use are triolet == meaning triplet quartolet quintolet etc... We created the n-olet which is a neologism I haven't seen anywhere in French. If we do the same in German, we get n-Ole/Nole. The half of that would be a Seminole. ;-) Greetlings from Lake Constance --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: welcome, helpers!
Trevor Bača wrote:
Something like this? These are the closing measures of the first
movement of the Ravel sonatine.
Other than the things you mentioned, looks great. See it in action here:
http://opihi.cs.uvic.ca/~gperciva/lilypond/Documentation/index.html
One note: click on the image, and see the source. All the headwords
will have the same \paper{} section; you simply create great stuff in
the ly snippet section. This way you should be able to see exactly
what the doc output will look like.
If you'd rather have the headwords with slightly different
specifications (larger font, slightly changed line-widths), that's
possible... but I'd like every headword to have the same specs.
Don't miss the #(set-global-staff-size) -- that should be placed inside
the cut--paste section. I'll file a bug report about that.
One concern: is Ravel mutopia-worthy? How long has he been dead? I
hate to ask, but... :(
2. Is there a way to set slur attachment points to *end-of-stem*
rather than notehead? The two-note chordal slurs would look better
that way. If it's intensely manual I don't wanna mess with it; but if
there's a smart way to make that specification, then cool.
IIRC this feature was removed in 1.6 or so (because it wasn't a smart
way :) and was never re-implemented (in a smart way).
Cheers,
- Graham
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Re: GDP: welcome, helpers!
Graham Percival wrote: One concern: is Ravel mutopia-worthy? How long has he been dead? I hate to ask, but... :( Wikipedia lists his date of death as 28 Dec 1937, so his music will go out of copyright in most of the world on 1 January 2008. To be extra safe, you should stick to music first published before 1923 to ensure that it is out of copyright in the USA. See the Wikipedia Public Domain page for more info: http://en.wikipedia.org/wiki/Public_Domain Regards, Chris -- Chris Sawer - [EMAIL PROTECTED] - Mutopia team leader Free sheet music for all at: http://www.MutopiaProject.org/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: welcome, helpers!
On 9/24/07, Graham Percival [EMAIL PROTECTED] wrote:
Trevor Bača wrote:
Something like this? These are the closing measures of the first
movement of the Ravel sonatine.
Other than the things you mentioned, looks great. See it in action here:
http://opihi.cs.uvic.ca/~gperciva/lilypond/Documentation/index.html
Oh wow. The exact image is at ...
http://opihi.cs.uvic.ca/~gperciva/lilypond/Documentation/user/lilypond/Pitches.html#Pitches
... and looks great to my eyes (minus the slur gripes I mentioned in
the previous mail).
Question: is the amount of the Ravel example what you're looking for?
I think you had said 8 staves total (either 8 *1 or else 4 * 2 or else
2 * 4 or else 1 * 8)? This is only half that amount, but looks right
to my eyes. What do you think?
One note: click on the image, and see the source. All the headwords
will have the same \paper{} section; you simply create great stuff in
the ly snippet section. This way you should be able to see exactly
what the doc output will look like.
Perfect. This is exactly what I was looking for.
If you'd rather have the headwords with slightly different
specifications (larger font, slightly changed line-widths), that's
possible... but I'd like every headword to have the same specs.
Yes, agreed.
Don't miss the #(set-global-staff-size) -- that should be placed inside
the cut--paste section. I'll file a bug report about that.
OK.
Question: should the global-staff-size be the same for all headwords?
I'm leaning towards yes ... I'll see if I can make it happen.
One concern: is Ravel mutopia-worthy? How long has he been dead? I
hate to ask, but... :(
Ravel died in 1937 but the Sonatine was finished earlier, in 1905
(http://en.wikipedia.org/wiki/Sonatine_%28Ravel%29). Isn't copyright
something like 75 years max? If so the Sonatine should be public by
now, though it's possible that any of his various publishers along the
way may have taken out renewals or something.
Please somebody correct me, but my understanding of fair use is that a
snippet of absolutely anything, regardless of medium -- score,
soundfile, text, film, whatever -- is perfectly acceptable to use, so
long as you're not trying to make any money with it (which we're in
the bizarrely unique position of). So I would assume that a snippet
of any score -- even a bit of Grisey published only a couple of years
back -- should be completely acceptable; I seem to remember the upward
limit being something like no more than 10% of a work quoted, even if
in separate fragments.
At any rate, there are three separate copyright strategies (at least)
that we can take with the headwords:
1. Use only stuff that we're absolutely certain is public domain,
which in our case means tonal stuff from the common practice;
2. Use whatever we want, so long as we're respect fair use guidelines
in a professional way;
3. Write our own examples.
Copyright strategy #1 is certainly the safest and there is without
doubt an abundance of beautiful material in scores of the common
practice. But many of the most beautiful scoring achievements of all
live in later centuries.
Copyright strategy #2 should be fine. This is the point of fair use, after all.
Copyright strategy #3 is actually a possibility for our team -- we
have a community of composers available (and I'm not just guessing
here -- I've traded score with many new friends on the list, and I've
been quite astounded in some cases). So this might ultimately be the
most interesting strategy of all -- commission each chapter's headword
from a different composer on the list. I'll get the ball rolling by
hacking up an original headword for 1.2 Rhythms, just as you had
suggested. If the example works (beautiful and characteristic of Lily,
both interesting and inviting) then maybe we can ask some of the other
composers on the list to contribute, too, or extend an open
invitation; I'd be happy to help guide the process and make
selections.
2. Is there a way to set slur attachment points to *end-of-stem*
rather than notehead? The two-note chordal slurs would look better
that way. If it's intensely manual I don't wanna mess with it; but if
there's a smart way to make that specification, then cool.
IIRC this feature was removed in 1.6 or so (because it wasn't a smart
way :) and was never re-implemented (in a smart way).
Hm, I thought I remembered as much, but couldn't be sure. OK, it's not
a requirement.
What *is* a requirement is getting rid of that hideous line-breaking
with the slurs at the beginning of line two.
Perhaps someone else on the list can help clean up the example and
answer some of my earlier questions about the Ravel fragment ... or
perhaps not since my posts to both user and devel were rejected do
violating our 64k message size limit ... which still, years on, makes
absolutely no sense to me.
If anyone else is following this thread and wants to look at the
proposed snippet for 1.1 Pitches, please click
Re: GDP: welcome, helpers!
Trevor Bača wrote: ... and looks great to my eyes (minus the slur gripes I mentioned in the previous mail). Well, the slur across the key signature looks _awful_... but maybe that'll encourage new developers to tackle more bugs. :) Question: is the amount of the Ravel example what you're looking for? I think you had said 8 staves total (either 8 *1 or else 4 * 2 or else 2 * 4 or else 1 * 8)? This is only half that amount, but looks right to my eyes. What do you think? IIRC I said 4 staves, so this is perfect. :) (I'm pretty certain that I _did_ say up to 4 single-staff lines; I'm not just making this up) Question: should the global-staff-size be the same for all headwords? I'm leaning towards yes ... I'll see if I can make it happen. Yes, but that's part of the file that's auto-generated. (not part of your ly snippet area) Please somebody correct me, but my understanding of fair use is that a snippet of absolutely anything, regardless of medium -- score, soundfile, text, film, whatever -- is perfectly acceptable to use, so long as you're not trying to make any money with it (which we're in the bizarrely unique position of). Err... no, that is totally incorrect. Movie piracy (on the internet, not in physical form) is almost entirely not trying to make money with it, but is forbidden by law in most countries. (let's not get sidetracked by a discussion about morality; I'm only addressing the legal status of fair use or fair dealing, as I understand them with my non-expert knowledge, in Western countries) So I would assume that a snippet of any score -- even a bit of Grisey published only a couple of years back -- should be completely acceptable; I seem to remember the upward limit being something like no more than 10% of a work quoted, even if in separate fragments. Again, no. Many university post a no more than 10% of the work rule in various places, but that's already using their special educational exceptions. 2. Use whatever we want, so long as we're respect fair use guidelines in a professional way; I'm not positive that fair use applies in this case. If we were evaluating the musical worth of Ravel -- particularly if we were comparing it to something else -- then quoting six bars is totally fine. But we're not reviewing his work; we're using his music as an example of our typesetting quality. 3. Write our own examples. This is my preferred option. That's why I started composing, after all. So this might ultimately be the most interesting strategy of all -- commission each chapter's headword from a different composer on the list. I'll get the ball rolling by hacking up an original headword for 1.2 Rhythms, just as you had suggested. If the example works (beautiful and characteristic of Lily, both interesting and inviting) then maybe we can ask some of the other composers on the list to contribute, too, or extend an open invitation; I'd be happy to help guide the process and make selections. I would rather not go this route. I'm all for composers contributing their own work, but not in any kind of competitive manner. I could easily see this getting out of hand. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tuplets (was: GDP for kids :)
2007/9/24, Valentin Villenave [EMAIL PROTECTED]: In French, no generic term exist; when we translated the documentation we had to create a rather ugly mathematical word: since the terms we use are triolet == meaning triplet quartolet quintolet etc... In Spanish there is a generic term but it's a bit long: grupos de valoración especial which I'd reverse translate to special timing groups. In the manual I have abbreviated it as grupos especiales Now maybe it would be the time to invent the word N-illo meaning TRESillo, CUATRillo etc. -- Francisco Vila. Badajoz (Spain) http://www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tuplets
I've 56 years old been in music both student or educator for 47 of them and live in the Northwestern part of the US and until this discussion had never heard the word tuplet. Jay Message: 2 Date: Mon, 24 Sep 2007 12:04:01 -0700 From: Graham Percival [EMAIL PROTECTED] Subject: Re: tuplets To: Eyolf ?strem [EMAIL PROTECTED], lilypond-user@gnu.org Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=UTF-8; format=flowed Eyolf ��strem wrote: Does this mean that we should consider not using the word? Not that I have anything against Finale (hehe :-), but do we have to copy their strange nomenclature? The question is, I suppose: I've never touched Finale, but I've heard the word tuplet many times before. It's certainly widely used in North America. Cheers, - Graha Yours- Jay Jay Hamilton www.soundand.com 206-328-7694 --- [EMAIL PROTECTED] wrote: From: [EMAIL PROTECTED] To: lilypond-user@gnu.org Subject: lilypond-user Digest, Vol 58, Issue 89 Date: Mon, 24 Sep 2007 18:32:50 -0400 Send lilypond-user mailing list submissions to lilypond-user@gnu.org To subscribe or unsubscribe via the World Wide Web, visit http://lists.gnu.org/mailman/listinfo/lilypond-user or, via email, send a message with subject or body 'help' to [EMAIL PROTECTED] You can reach the person managing the list at [EMAIL PROTECTED] When replying, please edit your Subject line so it is more specific than Re: Contents of lilypond-user digest... Today's Topics: 1. Re:tuplets (was: GDP for kids :) (Eyolf ?strem) 2. Re:tuplets (Graham Percival) 3. Collision of arpeggio with 8va; Collision of accidental with bar (Edde) 4. Re:tuplets (was: GDP for kids :) (fi?? visu?lle) 5. Re:GDP: welcome, helpers! (Graham Percival) 6. Re:GDP: welcome, helpers! (Chris Sawer) 7. Re:GDP: welcome, helpers! ( Trevor Ba?a ) -- Message: 1 Date: Mon, 24 Sep 2007 18:22:37 +0200 From: Eyolf ?strem [EMAIL PROTECTED] Subject: Re: tuplets (was: GDP for kids :) To: lilypond-user@gnu.org Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=utf-8 2007/9/21, Trevor Ba��a [EMAIL PROTECTED]: Yeah, I may be spreading unsubstantiated rumours here, but the term seems definitely to have shown up first in English (rather than FR or DE) and I *think* it actually originated in an early version of the Finale user manual (God help us). I've never been able to verify this last bit, but, if true, it would at least explain why the word doesn't seem to exist in any EN dictionaries yet. Does this mean that we should consider not using the word? Not that I have anything against Finale (hehe :-), but do we have to copy their strange nomenclature? The question is, I suppose: - is it a good term (perhaps it is; are there any alternatives for a cover-all term for -- eh, for tuplets...?) - is the term so well-established in note-typesetting circles that it would be strange not to use it, even if the answer to the first question is no? Personally, I thought it was a strange term when I first came across it -- yes, in the Finale manual -- especially since 90% of all tuplets are TRIplets, but on the other hand, once one gets used to it, it is a handy term. Just wondering. Eyolf -- It is commonly reported, my dear Georad, that there exists great natural virtue in the melange experience. Perhaps this is true. There remain within me, however, profound doubts that every use of melange always brings virtue. Me seems that certain persons have corrupted the use of melange in defiance of God. In the words of the Ecumenon, they have disfigured the soul. They skim the surface of melange and believe thereby to attain grace.: They deride their fellows, do great harm to godliness, and they distort the meaning of this abundant gift maliciously, surely a mutilation beyond the power of man to restore. To be truly at one with the virtue of the spice, uncorrupted in all ways, full of goodly honor, a man must permit his deeds and his words to agree. When your actions describe a system of evil consequences, you should be judged by those consequences and not by your explanations. It is thus that we should judge Muad'Dib. -- The Pedant Heresy -- Message: 2 Date: Mon, 24 Sep 2007 12:04:01 -0700 From: Graham Percival [EMAIL PROTECTED] Subject: Re: tuplets To: Eyolf ?strem [EMAIL PROTECTED], lilypond-user@gnu.org Message-ID: [EMAIL PROTECTED] Content-Type: text/plain; charset=UTF-8; format=flowed Eyolf ��strem wrote: Does this mean that we should consider not using the word? Not that I have anything against Finale (hehe :-), but do we have to copy their strange nomenclature? The question is, I suppose: I've never touched Finale, but I've heard the word tuplet many times before. It's certainly widely used in North America. Cheers, - Graham -- Message: 3
