Anthony Youngman wrote:
Well, there's English, and there's "English". I've come across the term
"anacrusis" and would never have thought of calling it a pickup. "lead
in" or "upbeat" are the terms I mostly hear people use, I think.
Obviously there are regional differences. Pickup which can be
:-) I talk about crotchets, minims etc. This
mailing list is about the only place I ever meet terms like "quarter
note".
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
u.org] On Behalf Of Erik Sandberg
Sent: 13 July 2006 09:30
To: lilypond-devel@g
Erik Sandberg wrote:
Anacrusis seems to be another related word:
http://www.music.vt.edu/MUSICDICTIONARY/texta/Anacrusis.html
A quick googling suggests that anacrusis and pickup seem to be the most
correct terms, and then pickup is better because I have never heard the word
anacrusis. (unfortun
On Wednesday 12 July 2006 23:01, Paul Scott wrote:
> Graham Percival wrote:
> > Erik Sandberg wrote:
> >> On 7/9/06, Graham Percival <[EMAIL PROTECTED]> wrote:
> >>> Erik Sandberg wrote:
> >>> In an ideal world we wouldn't need workarounds like this, but it's
> >>> useful to have a "fudge factor" \
Hi, y'all --
Paul wrote:
In my experience upbeat is the second half of a beat where downbeat
is the first half of a beat.
If it needs to be changed "pickup(s)" at least means what you seem
to be referring to.
For the record, "upbeat" and "pickup" are generally considered
synonymous -- se
Graham Percival wrote:
Erik Sandberg wrote:
On 7/9/06, Graham Percival <[EMAIL PROTECTED]> wrote:
Erik Sandberg wrote:
In an ideal world we wouldn't need workarounds like this, but it's
useful to have a "fudge factor" \partial. Perhaps we could rename it,
and hide it somewhere in the manual un
Erik Sandberg wrote:
On 7/9/06, Graham Percival <[EMAIL PROTECTED]> wrote:
Erik Sandberg wrote:
In an ideal world we wouldn't need workarounds like this, but it's
useful to have a "fudge factor" \partial. Perhaps we could rename it,
and hide it somewhere in the manual under "advanced tweaks"?
On 7/12/06, Mathieu Giraud <[EMAIL PROTECTED]> wrote:
On 7/6/06, Juergen Reuter <[EMAIL PROTECTED]> wrote:
> please note that \partial or \upbeat, whatever you call it, has
> musicologically a special meaning: the first, incomplete bar, and the last
> bar of a piece or of a major section of a pi
On 7/6/06, Juergen Reuter <[EMAIL PROTECTED]> wrote:
please note that \partial or \upbeat, whatever you call it, has
musicologically a special meaning: the first, incomplete bar, and the last
bar of a piece or of a major section of a piece (typically the bar before
the next "||" bar glyph) shoul
> "Juergen" == Juergen Reuter <[EMAIL PROTECTED]> writes:
Juergen> I am not sure, if line breaks by default should be
Juergen> allowed only on true bar lines or also on pseudo bar
Juergen> lines.
In general, a repeat sign is one of the better places for a page
break.
--
Laura (m
: Mats Bengtsson
Cc: lilypond-devel@gnu.org; Juergen Reuter
Subject: Re: Problem with partial
Ah, ok; I understand. Still, I think that using \partial in this
situation is kind of abuse that accidentally works. I guess the real
problem here is that lily models repeat signs as bar lines; but I am
also
On 7/10/06, Anthony Youngman <[EMAIL PROTECTED]> wrote:
Will \makebar handle
\makebar { d4 d \bar "||" d d }
which is a SINGLE bar?
Yes, barlines and measures are separate concepts in lily (Timing
contexts insert bar lines between measures).
Erik
___
ubject: Re: Problem with \partial
IMHO, I think the best practise for creating a single bar with length,
is to
use
\set Timing.barLength = #(make-moment ...)
at the beginning of the bar, plus a corresponding \unset after the bar.
The
set/unset is of course cumbersome, which is why some people curren
hough...
Cheers,
Wol
-Original Message-
From:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
u.org] On Behalf Of Juergen Reuter
Sent: 07 July 2006 17:31
To: Mats Bengtsson
Cc: lilypond-devel@gnu.org; Juergen Reuter
Subject: Re: Problem with partial
Ah, ok; I understand. Still, I think that
On 7/9/06, Graham Percival <[EMAIL PROTECTED]> wrote:
Erik Sandberg wrote:
> On Friday 07 July 2006 16:34, Graham Percival wrote:
I'm convinced as far as proper notation goes. But I'd still like to
have a "add time" command to avoid some bugs. I agree that it's a bad
reason, but unless there's
Erik Sandberg wrote:
On Friday 07 July 2006 16:34, Graham Percival wrote:
\noTimeSignature
c4 c c c | d d d d \partial 4 d | c c c c
That's still a different concept than using \partial in the beginning of a
piece. IMHO, using \partial mid-piece is bad practise, because it's difficult
to rea
Ah, ok; I understand. Still, I think that using \partial in this
situation is kind of abuse that accidentally works. I guess the real
problem here is that lily models repeat signs as bar lines; but I am also
wondering how a repeat sign should actually look like, if it does not
coincide with
On Fri, 7 Jul 2006, Graham Percival wrote:
In my example, I _did_ state
\noTimeSignature
c4 c c c | d d d d \partial 4 d | c c c c
... and some contemporary music may want to change the number of beats in a
bar without changing the notated time signature. Whatever we think of that
practice
On Friday 07 July 2006 16:34, Graham Percival wrote:
> Juergen Reuter wrote:
> > For example, if a song with 4/4 meter starts with "\partial 4 f4", the
> > last bar should, by convention, have a total length of 3 quarter notes.
> > Having said that, you never should use "\partial" or "\upbeat" some
Juergen Reuter wrote:
For example, if a song with 4/4 meter starts with "\partial 4 f4", the
last bar should, by convention, have a total length of 3 quarter notes.
Having said that, you never should use "\partial" or "\upbeat" somewhere
within a piece. If lily nevertheless accepts it within a
One common example where people today use it in the middle of a score
is repeats, where the repeat sign is in the middle of a bar
(especially in combination with prima/secunda volta). Currently,
LilyPond doesn't automatically take this into account. Of course, the
best solution in this situation
:
[EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]
u.org] On Behalf Of Erik Sandberg
Sent: 06 July 2006 08:10
To: Graham Percival
Cc: lilypond-devel@gnu.org
Subject: Re: Problem with \partial
On Wednesday 05 July 2006 17:54, Graham Percival wrote:
> Erik Sandberg wrote:
> > Perhpaps \partia
Hi all,
please note that \partial or \upbeat, whatever you call it, has
musicologically a special meaning: the first, incomplete bar, and the last
bar of a piece or of a major section of a piece (typically the bar before
the next "||" bar glyph) should sum up to a complete bar.
For example,
Erik Sandberg wrote:
On Wednesday 05 July 2006 17:54, Graham Percival wrote:
IMO, \partial is just fine. If there's some confusion, by all means we
can clarify the docs. As always, I gratefully accept any specific
recommendations for doc changes.
IMHO using \partial in the middle of a bar is
On Wednesday 05 July 2006 17:54, Graham Percival wrote:
> Erik Sandberg wrote:
> > Perhpaps \partial should be renamed to \upbeat or similar, in order to
> > prevent this kind of confusion? (\partial only indicates that a bar is
> > shortened, while \upbeat indicates that the command only is releva
Erik Sandberg wrote:
Perhpaps \partial should be renamed to \upbeat or similar, in order to prevent
this kind of confusion? (\partial only indicates that a bar is shortened,
while \upbeat indicates that the command only is relevant for upbeats)
So what happens here?
\noTimeSignature
c4 c c c
On Wednesday 05 July 2006 12:02, Thies Albrecht wrote:
> Hi Owen!
>
> Dr A V Le Blanc schrieb:
> > I have a problem with \partial, which doesn't seem to be
> > covered in the docs or examples I've found.
> >
> > I have a piece in 4/4 with the first measure having one beat,
> > while the last has 3.
Hi Owen!
Dr A V Le Blanc schrieb:
I have a problem with \partial, which doesn't seem to be
covered in the docs or examples I've found.
I have a piece in 4/4 with the first measure having one beat,
while the last has 3. There are 4 voices, and in each of them
I begin with something like this
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