"
Apparently, the error column is being tracked by counting characters,
but is displayed by counting bytes. The indicator appears too early
because of that (which caused me to look for the wrong bug in an input
file of mine).
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__
-Eluze writes:
> David Kastrup wrote:
>>
>>
>> The following input file:
>>
> … which is a .bin file and should be a .ly file - but downloaded its content
> looks like
>
> \markup{
> Määä A♯ B♭ \break
> }
>
> now, if i comment the \break
-Eluze writes:
> David Kastrup wrote:
>>
>> -Eluze writes:
>>
>>> now, if i comment the \break (or omit it), the file compiles quite well -
>>> did i miss something?
>>
>> The subject line and the problem description?
>>
>>
Patrick McCarty writes:
> On 2009-10-18, David Kastrup wrote:
>>
>> GNU LilyPond 2.13.4
>> Processing `bad.ly'
>> Parsing...
>> bad.ly:4:16: error: syntax error, unexpected MUSIC_IDENTIFIER
>> MÃÃÃ A\342\231
>>
Patrick McCarty writes:
> On 2009-10-18, David Kastrup wrote:
>>
>> GNU LilyPond 2.13.4
>> Processing `bad.ly'
>> Parsing...
>> bad.ly:4:16: error: syntax error, unexpected MUSIC_IDENTIFIER
>> MÃÃÃ A\342\231
>>
o the list
and not even get it filed into the bug database, let alone deserve an
answer.
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Graham Percival writes:
> On Sun, Oct 25, 2009 at 02:16:27PM +0100, David Kastrup wrote:
>> Valentin Villenave writes:
>>
>> > 2009/10/24 Frédéric Bron :
>> >> 1. can somebody feed the bug tracker with this bug?
>> >
>> > Sorry, I got lo
Graham Percival writes:
> On Mon, Oct 26, 2009 at 01:43:59PM +0100, David Kastrup wrote:
>> A response time of a week is a sign that the mechanism is not working
>> out.
>
> We *don't* have a response time of a week. Currently the only
> person who has shown the sl
any
accidental changes within xxx and yyy need to be consolidated into the
following rejoined voice: if there are different accidentals in xxx and
yyy for a note, a recurrence of the note after the split needs a
cautionary accidental.
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Valentin Villenave writes:
> On Sun, Oct 18, 2009 at 2:34 PM, David Kastrup wrote:
>> % \bracket appears to correctly bracket an entire construct, but
>> % calculate its overall dimension just from its last part
>
> Thanks, but the actual bug doesn't even need t
Valentin Villenave writes:
> On Thu, Oct 29, 2009 at 11:08 PM, Neil Puttock wrote:
>> This bug looks like #807, which has a patch pending.
>
> Indeed. But what about #882 then?
Sounds like somebody should apply the patch and reevaluate all related
bugs given their sample c
Graham Percival writes:
> On Fri, Oct 30, 2009 at 11:15:45AM +0100, David Kastrup wrote:
>> Valentin Villenave writes:
>>
>> > On Thu, Oct 29, 2009 at 11:08 PM, Neil Puttock wrote:
>> >> This bug looks like #807, which has a patch pending.
>&g
clef-change size.
I _think_ that these effects would likely be visible in the HTML
documentation as well.
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eat them as inline material.
So it might be nice to be able to specify special padding/adjustment for
single-line formatting. If there was a way to find out post-fact what
kind of formatting was actually employed for any snippet, this might
also be nice. But one can probably guess somewhat reliably by checking
the width of the result.
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of input, the improvement of the
contributor's guide would appear to be a task at frog level once a
decision about the scope of code changes has been made.
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Valentin Villenave writes:
> On Sun, Dec 20, 2009 at 11:01 AM, David Kastrup wrote:
>> The current state of make-markup-command is less than satisfactory since
>> make-markup-command and make-builtin-markup-command have different
>> syntaxes and semantics, making the latter
c c |
% This is how it should (could) be
c8[ c r c] c c c c |
}
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David Kastrup writes:
> lilyp...@googlecode.com writes:
>
>> Comment #4 on issue 898 by v.villenave: Enhancement: rests should be
>> taken into account when determining beaming intervals
>> http://code.google.com/p/lilypond/issues/detail?id=898
>>
>> David, c
moment, the best I can come up with is the generic "Bug
> Team". Suggestions appreciated.
"Bug squad".
http://www.girlgeniusonline.com/comic.php?date=20060315> shows one
of them in action.
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Francisco Vila writes:
> 2010/2/1 Graham Percival :
>> At the moment, the best I can come up with is the generic "Bug
>> Team". Suggestions appreciated.
>
> Flysprayers :-)
You would not want to poison the frogs.
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table name for people _removing_ them would
be _debuggers_. However, that name happens to be already a _proper_
computing related name for the task within Lilypond, and thus is no
longer suitable as an informal one.
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comforting in this
instance.
It's obviously my favorite, having proposed it, and I have been appalled
by "buggers". However, I have not seen that I could have added anything
to the discussion that had not already been said and considered.
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gt; argument counterintuitively is not remembered for the following
> chords, contrary to the "s" spacer rests.
I don't see anything counterintuitive. s is part of the input syntax,
\skip is a macro taking an explicit duration as argument.
I should be rather surprised if the latter
snippet that transposes
using "minimal accidentals". It is conceivable that employing this
snippet will avert the abort.
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u think otherwise)
Whole-measure rests are centered in the _bar_, not with other noteheads.
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local/tmp/lilypond/Documentation/out-www//notation/wind.texi:91: Cross
reference to nonexistent node `List of articulations' (perhaps incorrect
sectioning?).
[...]
And so forth and so on.
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Neil Puttock writes:
> On 8 April 2010 19:24, David Kastrup wrote:
>
>> And so forth and so on.
>
> I've pushed a compile fix which should sort this out for you.
Thanks. Appears to work here.
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Phil Holmes writes:
> At the end of a piece of music, a text Pedal down marking (from
> \sustainOn) should automatically be marked with a Pedal up marking,
Why?
> but isn't.
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bug-li
uctor will thank the typesetters if the score does not require
the full focus of the musicians.
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s for widows and clubs (and hyphens at the end of a page), they
come into play only once line breaking is already completed. With a
rigid layout, there is nothing you can do to fix the previous bad
decision. You can only call it foul and have TeX emit a
ypond is that you
should be able to quote reasonably simple input to a musician without
Lilypond knowledge, and he'll be able to figure out what you mean.
3 and its ilk don't really fit into that category. Too clever.
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shape acceptable for committing,
and the original contributor has lost interest.
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: note-column has no direction
{<<\new Voice { c } s>> {
c } }
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David Kastrup writes:
> When compiling
>
> \new Voice \with {\consists "Ambitus_engraver"}
> {<<\new Voice { c } s>> { c } }
>
> I get the following two "programming error"s. What's up?
A simpler test case is
\new Voice \with {\consi
bass notes and _lower case_ chord names for the chord buttons in the
lower staff.
It would not do to just use textual markup here since textual markup is
not transposable.
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time.
Anyway, I should think that this bug description including a list of
relevant examples should warrant being recorded by the bug squad.
All the best.
David Kastrup writes:
> David Kastrup writes:
>>
>> I get the following two "programming error"s. What's up?
"Dmytro O. Redchuk" writes:
> On Wed 09 Jun 2010, 16:52 David Kastrup wrote:
>
>> Anyway, I should think that this bug description including a list of
>> relevant examples should warrant being recorded by the bug squad.
> i simply can not understand (tm) what
Reinhold Kainhofer writes:
> Am Mittwoch, 9. Juni 2010, 16:52:58 schrieb David Kastrup:
>> Uh, am I by now in everybody's killfile, or do people just enjoy having
>> me throw a fit for every contribution?
>
> To be honest, I can imagine that some people might reall
robably a bit too optimistic to assume that such a best shot will
always lead to correct results.
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eport. So adding to the tracker with a
canned phrase "Small example, and error symptom still missing" might
well be a safe choice in any case.
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Graham Percival writes:
> On Thu, Jun 10, 2010 at 2:37 PM, David Kastrup wrote:
>
>> And of course, adding more information is done _automatically_ when
>> someone responds to the tracked report. So adding to the tracker
>> with a canned phrase "Small example, an
> You need to create the voice explicitly, as implicit voice generation
> does not work with things like quotes (or tempo marks inside
> triplets):
>
> \new Voice {
> \relative c'' {
> \quoteDuring #"part" { s4 }
> }
> }
Is there a good reason
Reinhold Kainhofer writes:
> Am Montag, 14. Juni 2010, um 12:28:48 schrieb David Kastrup:
>> Reinhold Kainhofer writes:
>> > You need to create the voice explicitly, as implicit voice generation
>> > does not work with things like quotes (or tempo marks inside
>
ic is not an articulation. Regardless how it is implemented
inside of Lilypond.
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ressive-marks#broken-crescendo-hairpin>
<>
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ed lines). Maybe the
accompanying text can be amended so that the intent becomes clearer?
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t; beginning.
ly:context-current-moment maybe?
> 3. An understanding of why I need (begin ) blocks and what they do..
They execute all inner forms in sequence, and are just a single form on
the outside. The Lisp equivalent would be (progn ...).
> 4. A REPL for testing
the second Allegro is only there because of being in the inside
of \repeat unfold?
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ore cleverness than a straight approach to the problem, I
don't see how it could not be an issue. Lilypond is supposed to be a
tool for typesetting music, not some contraption which we can cleverly
trick into typesetting music.
If we wanted that, we would still be usi
'll find the details in the lilypond documentation that need to get
installed separately as "lilypond-doc" and will likely unpack into
/usr/share/doc/lilypond-doc where you can browse through them with your
browser.
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_
ike
we currently do visually.
This bug report is just one more outcome of Lilypond having no clean
concept of dynamics related to voices rather than merely to current
time.
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timate code would
> possibly break by changing this?
\relative c'' {
<< { c2\f } \\ { a2 } >>
}
Namely code that makes use of the fact that a dynamic specification in a
single voice contaminates all other voices (and the Midi) by default.
If all
ke something that could be addressed without something
else caving in.
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er
> appropriate email addresses to reply to yours.
> Can't you do the same?
With Emacs, it is a matter of doing C-c C-t after F . The followup will
then be both sent to the nntp server as well as to the poster, marked as
a "courtesy copy".
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s1 \break}
> }
> \new Staff {
> \clef bass
> \repeat unfold 12 {s1 \break}
> } >> }
Hm. Initial skyline estimate does not take into account the systems
themselves and/or the clef?
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"too tight" or "too loose". It
is a matter of "too unpredictable".
And if you really want to see some hot action, just write
\score { c }
as often as you want. Regardless of how much of those you put into the
file, the outcome will be just a single page.
A
"Phil Holmes" writes:
> "David Kastrup" wrote in message
> news:87vd5nny58@lola.goethe.zz...
>> "Phil Holmes" writes:
>>
>> [Please don't write anything important below your signature, as mail
>> clients will cut this away
David Kastrup writes:
> David Kastrup writes:
>
>> I have to disagree with your assessment: the behavior of 12.3 made sense
>> under the constraints the code worked with. It was a result of its
>> design decisions. The result of 13.35 does not make sense. As you can
&
David Kastrup writes:
> I have to disagree with your assessment: the behavior of 12.3 made sense
> under the constraints the code worked with. It was a result of its
> design decisions. The result of 13.35 does not make sense. As you can
> easily see by removing the markup, it is
you change c to c1 then it
> breaks just fine).
Oh. Wow.
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Check the first two systems on the second page of the following score:
\repeat unfold 80 { c' c' }
Perhaps skylines should not be taken as literally as that, but padded
out somewhat.
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bu
measure that's why the MultiMeasureRest complains.
> No LilyPond bugs as far as I can tell.
Incomprehensible error messages count as bugs.
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in order to get output spacing consistent with the layout of
the previous pages.
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"Phil Holmes" writes:
> "David Kastrup" wrote in message
> news:87mxqvcsvr@lola.goethe.zz...
>>
>> Check the output of the following:
>>
>> test = { c-1-^ r f-2-^ r c-3-^ r f-4-^ r c-1-^ r f-2-^ r c-3-^ r }
>> \score {
>>
"Phil Holmes" writes:
> "David Kastrup" wrote in message
> news:8762xjcltg@lola.goethe.zz...
>>
>> What is wrong with the above?
>
> Nothing. It's just that it's one of many you've posted, and I wanted
> to know which you
"Dmytro O. Redchuk" writes:
> On Sun 03 Oct 2010, 03:12 David Kastrup wrote:
>> Wilbert Berendsen writes:
>>
>> > Op donderdag 30 september 2010 schreef Marnix:
>> >
>> >> L.S.,
>> >>
>> >> For the following file
&
eways would, at one particular
threshold, completely unlock the teeth. A smoother transition from
locked to unlocked would appear to make sense, hence the suggestion to
pad "diagonally", where the sum of adjacent horizontal and vertical
distances should not f
user that they will need to turn off
> autobeaming manually after the cadenza, as does the notation reference.
>
> I think this is the right thing to do.
I think a revert would be more appropriate.
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bug
"Dmytro O. Redchuk" writes:
> On Wed 06 Oct 2010, 07:44 David Kastrup wrote:
>> Carl Sorensen writes:
>>
>> > On 10/5/10 5:50 PM, "Keith E OHara" wrote:
>> >>
>> >> If \cadenzaOff turns autobeaming on, then what about score
or on two different runs even.
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lody" \lyricmode { An ex
-- am -- ple. }
} >>
}
if I am not mistaken.
It is likely that you can return a parallel music expression explicitly
using Scheme.
Perhaps it would be nice to allow #<< instead of #{ as a shortcut for
creating a music expression returning parallel music.
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ested on the LSR:
> http://lsr.dsi.unimi.it/LSR/Item?id=720
I have some problems reconciling "Fixed" with "workaround".
"workaround" corresponds to categories "Wontfix" or "Postponed" or a
priority "Low". But "Fixed" and "workar
sonably documented way to arrive at a good
result, with simple input and the usual defaults resulting in awful
output, I have my reservations about everything being fine.
I think that the default horizontal padding should at the very least not
be smaller than the usual vertical padding.
--
missing (a
> musian would play a cis instead)
I don't think so. A musician would at most grumble.
You can read the details in the lilypond notation manual, in the chapter
"Automatic accidentals".
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ot actually required for anything.
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ving parts.
I am afraid that you are trying to evaluate my proposal by tweaking
existing knobs. The existing knobs are no use for a reasonable
automatic resolution of the problem.
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Valentin Villenave writes:
> On Fri, Oct 29, 2010 at 9:56 AM, David Kastrup wrote:
>
> Greetings David,
>
>> Oh, by the way: it would be nice to have an option to let Lilypond use
>> the same space stretching on the last page (in case it fits) than on the
>> la
;
> % uncommenting this note fixes the problem:
> % d
> }
Uh, can you define "compiles fine"? It produces output that is not in
any manner a sensible representation of the input.
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;s notion of continuity
(we have that also in repeat alternatives, codas and similar) is too
naive.
> This is not well understood by users and it would really help if
> this could be solved.
The above would not solve it. Some things would work, some things would
not. Depending on the
elf.
That way, one could, if one wanted, reintroduce subvoice contexts
without changing the meaning of existing valid sources (namely sources
that don't fiddle with non-working properties in the wrong context).
And we _have_ snippets fiddling with typesetting stuff two times, using
transparent
Chords can be formed in a subcontext of their own, and manipulated
accordingly. Subvoices can be used for tasks now done using multiple
versions pasted over each other using transparency and disabling
collision detection. I mean, ugh.
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ow to fix it
> yourself.
Let me just point out that if ties are resolved at the voice level, and
\\ introduces subvoices/threads/whatever (presumably one level above
"chord" level which would be responsible for the stemming), then we
would not be losing our voice when entering a { \\ }
As long as they don't clutter the code all
too badly. In this case, I have the feeling that they might. But
without any prospective code, I can't judge that aspect.
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ff than before.
In commercial settings, stagnation often means death. With free
software, stagnation mostly means stagnation.
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x27;t
> become the default behaviour.
>
> I hope this would require a
> \set slashedBeamedAcciaccatura = ##t % default is ##f
> or something like that to be activated.
Why? There is no sense to use the same notation as an appoggiatura by
default since both duration and onset of
re is some executable called gsnd or so (Ghostscript no
display), but you should not really need it if the devices are already
set on the command line. For Windows, something like gswin32c is needed
(the c is important).
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"Phil Holmes" writes:
> "David Kastrup" wrote in message
> news:87y68dmy2e@lola.goethe.zz...
>> "Phil Holmes" writes:
>>
>>> The PC is unusable when it's running - all the Ghostscript command
>>> line interfaces get
t differently could also help us solve
> syntax inconsistencies such as r1\fermata vs R1-\fermataMarkup?
Not sure that the right solution to this problem lies here.
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o the last stable version.
<>
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David Kastrup writes:
> Take a look at the following:
>
> \markup { \concat { \center-column { Ooh ah }
> \center-column { Ah oooh }
> \center-column { Ooh ah }
> } }
>
> It would appear that the middle column has no horizontal size at
Reinhold Kainhofer writes:
> Am Mittwoch, 15. Dezember 2010, um 15:43:42 schrieb David Kastrup:
>> Take a look at the following:
>>
>> \markup { \concat { \center-column { Ooh ah }
>>\center-column { Ah oooh }
>>\center-column { Ooh a
Martine Zwerling writes:
> Consider adding the GUITAR to you list of instruments transposing one
> octave lower than written.
Nowadays usually indicated by using an ottava G clef (like that used
nowadays for tenors). So for current music practice, it is written at
pitch.
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ure is _not_ repeated with a clef
change. So there is no visual or logical reason to assume "accidentals
are reset". If that was the underlying assumption for a clef change,
the key signature would be repeated.
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"Phil Holmes" writes:
> "David Kastrup" wrote in message
> news:87ei92oxo3@lola.goethe.zz...
>> "Phil Holmes" writes:
>>
>>> \relative c' {
>>> \clef bass cis2 c
>>> \clef tenor cis2 \clef bass c % natu
Reinhold Kainhofer writes:
> Am Dienstag, 28. Dezember 2010, um 14:23:14 schrieb Phil Holmes:
>> "David Kastrup" wrote in message
>> > I don't think it is correct. If you set the above with \key g\major,
>> > you will notice that the key signature is _
"Phil Holmes" writes:
> "David Kastrup" wrote in message
> news:87aajqowbn@lola.goethe.zz...
>> "Phil Holmes" writes:
>>
>>>
>>> Apologies. As you're probably aware, I'm a Windows man, and some
>>> posti
a
flagged note. And that even though I am testing Mike's patch right now.
vi = \relative c'' { cis16 e g4 b,8 a e'16 fis32 g ~ g16 fis8 e16 }
vii = \relative c'' { g8 b e4 ~ e16 d cis b a8 b }
{ \key d\major
\partcombine \vi
Reinhold Kainhofer writes:
> Am Samstag, 8. Januar 2011, um 22:25:51 schrieb David Kastrup:
>> So what do we get? The part combiner messes with the beaming in a
>> manner that does not look like an improvement (arguably by design),
>
> The "problem" with beamin
Reinhold Kainhofer writes:
> Am Samstag, 8. Januar 2011, um 23:30:21 schrieb David Kastrup:
>> Reinhold Kainhofer writes:
>> > Am Samstag, 8. Januar 2011, um 22:25:51 schrieb David Kastrup:
>> >> So what do we get? The part combiner messes with the beaming in a
&
Reinhold Kainhofer writes:
> Because the part-combiner does not check how long notes are... It just
> checks onsets of notes.
That can't be the whole story since the spurious solo does not occur
throughout when one voice is syncopated, just at its end.
--
Da
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