Hi All,
I have encountered an auto-beaming problem (actually, the Violist for whom I'm
doing transcriptions brought it to my attention).
When working in 3/4, Lilypond is autobeaming 8th notes in groups of 3 8th notes
per pulse (as if it were 6/8) rather than in groups of 2 8th notes per pulse.
Is
Hi Karen,
> When working in 3/4, Lilypond is autobeaming 8th notes in groups of 3 8th
> notes per pulse (as if it were 6/8) rather than in groups of 2 8th notes
> per pulse.
>
That's not entirely accurate, in 3/4 time the autobeaming by default
creates a single beam for the whole measure. In your
Martin,
Thank you so much - your recommendation worked like a charm!
Karen
On Tuesday, April 5, 2016 4:20 PM, Martin Neubauer
wrote:
Hi Karen,
When working in 3/4, Lilypond is autobeaming 8th notes in groups of 3 8th notes
per pulse (as if it were 6/8) rather than in groups of 2 8th
Even simpler (for the 3/4 case): /\set Timing.beamHalfMeasure = ##f/
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/AutoBeam-Behaving-Properly-tp189326p189330.html
Sent from the User mailing list archive at Nabble.com
On 06.04.2016 00:20, Martin Neubauer wrote:
Hi Karen,
When working in 3/4, Lilypond is autobeaming 8th notes in groups
of 3 8th notes per pulse (as if it were 6/8) rather than in groups
of 2 8th notes per pulse.
That's not entirely accurate, in 3/4 time the autobeaming by default
c
On 4/5/16 3:53 PM, "Karen Billings" wrote:
>Hi All,
>
>I have encountered an auto-beaming problem (actually, the Violist for
>whom I'm doing transcriptions brought it to my attention).
>
>When working in 3/4, Lilypond is autobeaming 8th notes in groups of 3 8th
>notes per pulse (as if it were 6/8
Carl,
Thanks for the additional detail - it was very helpful - at least for me.
Unfortunately, it is probably a bit too much info for our young (second-year)
viola student. I'm trying to keep his parts as "playable" as possibly. He
needs to focus on tuning and confidence at the moment - readi
On 6 April 2016 at 01:51, Simon Albrecht wrote:
> That would be unnecessary. Better use the beamHalfMeasure context
> property, which is also explained on that docs page.
>
Interesting. In my defence I can only say that this wasn't available back
when I started out with lilypond. But I played aro
Hi Martin,
On Apr 5, 2016, at 9:58 PM, Martin Neubauer wrote:
> I was wondering how often the odd half measure beam really leads to ambiguity
> between 3/4 and 6/8 time in properly typeset music.
In “West Side Story”, the half-measure beams in “America” indicate where the
measure grooves in 6/
On 6 April 2016 at 04:16, Kieren MacMillan
wrote:
> Hi Martin,
>
> On Apr 5, 2016, at 9:58 PM, Martin Neubauer wrote:
> > I was wondering how often the odd half measure beam really leads to
> ambiguity between 3/4 and 6/8 time in properly typeset music.
>
> In “West Side Story”, the half-measure
Kieren,
You hit the nail on the head!
Living in the southwestern U.S., I find myself going nuts between 6/8 and 3/4 -
WSS is the perfect example - except that here we go back and forth without any
actual notational indication (except maybe a hasty pencil mark). My head hurts
by the end of my
Even simpler (for the 3/4 case): /\set Timing.beamHalfMeasure = ##f/
From the Notation Reference:
"In engraving from the Romantic and Classical periods, beams often begin
midway through the measure in 3/4 time, but modern practice is to avoid
the false impression of 6/8 time (see Gould, p.
On 06.04.2016 04:46, Martin Neubauer wrote:
I was more curious about the existence of music that's strictly in 3/4
time and where the way of printing a three-quaver pickup would
actually make a difference.
There are hardly such cases before 1900, and that’s exactly why the
convention changed.
On 06.04.2016 09:10, Thomas Scharkowski wrote:
Even simpler (for the 3/4 case): /\set Timing.beamHalfMeasure = ##f/
From the Notation Reference:
"In engraving from the Romantic and Classical periods, beams often
begin midway through the measure in 3/4 time, but modern practice is
to avoid the
On 6 April 2016 at 09:10, Thomas Scharkowski
wrote:
> From the Notation Reference:
> "In engraving from the Romantic and Classical periods, beams often begin
> midway through the measure in 3/4 time, but modern practice is to avoid the
> false impression of 6/8 time (see Gould, p. 153)."
>
> Shou
Hi Martin,
> when I explored the effect of that setting, I wasn't sure the outcome is
> really that desirable
Wait… is your example **actually** what happens with Timing.beamHalfMeasure =
##f?
It’s awful. That should DEFINITELY not be the default.
In 3/4 time, my beaming is always in three pai
On 6 April 2016 at 13:23, Kieren MacMillan
wrote:
> Hi Martin,
>
> > when I explored the effect of that setting, I wasn't sure the outcome is
> really that desirable
>
> Wait… is your example **actually** what happens with
> Timing.beamHalfMeasure = ##f?
>
At least on my computer, yes. I didn't c
Original-Nachricht
Hi Martin,
when I explored the effect of that setting, I wasn't sure the outcome is really
that desirable
Wait… is your example **actually** what happens with Timing.beamHalfMeasure =
##f?
It’s awful. That should DEFINITELY not be the default.
In 3/4 ti
On Wed 06 Apr 2016 at 13:34:01 (+0200), Martin Neubauer wrote:
> On 6 April 2016 at 13:23, Kieren MacMillan
> wrote:
>
> > Hi Martin,
> >
> > > when I explored the effect of that setting, I wasn't sure the outcome is
> > really that desirable
> >
> > Wait… is your example **actually** what happen
On Tue 05 Apr 2016 at 22:16:40 (-0400), Kieren MacMillan wrote:
> Hi Martin,
>
> On Apr 5, 2016, at 9:58 PM, Martin Neubauer wrote:
> > I was wondering how often the odd half measure beam really leads to
> > ambiguity between 3/4 and 6/8 time in properly typeset music.
Apart from the example po
Hi Kieren,
my naive thinking for a 3/4 measure (or all n/4 measures) was 3 (or n)
groups of length 1/4. So I am a bit reassured by your mail that this is
not completely ignorant.
But of course the beamHalfMeasure is there for a reason and some say,
almost every beaming in a 3/4 measure is allowed
Subject: Re: AutoBeam Behaving Properly?
On 6 April 2016 at 01:51, Simon Albrecht mailto:simon.albre...@mail.de> > wrote:
That would be unnecessary. Better use the beamHalfMeasure context property,
which is also explained on that docs page.
Interesting. In my defence I can only say tha
mark=ca.rr@gnu.org
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
> Martin Neubauer
> Sent: Tuesday, April 05, 2016 6:59 PM
> To: Lilypond-User Mailing List
> Subject: Re: AutoBeam Behaving Properly?
>
>
>
> On 6 April 2016 at 01:51,
On 07.04.2016 04:21, Mark Stephen Mrotek wrote:
Martin,
Hemiola?
Cf. WTC I 3 Prelude, measures 97 – 104.
The Neue Bach-Ausgabe has the semiquavers beamed three and three only in
m. 97 & 98, and this clearly indicates primarily the distribution to the
hands: first three notes sinistra, nex
On 07.04.2016 04:21, Mark Stephen Mrotek wrote:
Martin,
Hemiola?
Cf. WTC I 3 Prelude, measures 97 – 104.
I don’t quite know how this is related to the current discussion, since
this example is clearly a case for manual beaming. What’s more, it’s
nothing to do with a hemiola. A hemiola in
Please ignore this e-mail. I’ve been having problems with my Internet
connection and it seemed like the previous one had failed to arrive. Sorry.
On 08.04.2016 00:05, Simon Albrecht wrote:
On 07.04.2016 04:21, Mark Stephen Mrotek wrote:
Martin,
Hemiola?
Cf. WTC I 3 Prelude, measures 97 – 1
#x27;Martin Neubauer'
; 'Lilypond-User Mailing List'
Subject: Re: AutoBeam Behaving Properly?
On 07.04.2016 04:21, Mark Stephen Mrotek wrote:
>
> Martin,
>
> Hemiola?
>
> Cf. WTC I 3 Prelude, measures 97 - 104.
>
The Neue Bach-Ausgabe has the semiquavers beamed three
x27;s
> playfulness.
>
> Regards,
>
> Mark
>
> -Original Message-
> From: Simon Albrecht [mailto:simon.albre...@mail.de]
> Sent: Thursday, April 07, 2016 1:47 PM
> To: Mark Stephen Mrotek ; 'Martin Neubauer'
> ; 'Lilypond-User Mai
On Thu, 2016-04-07 at 19:09 -0600, Karen S. Billings wrote:
> From an engineering standpoint, I would expect the "default" settings
> of an application to adequately address the "majority" of cases,
which would lead to endless arguments about which these are, and worse,
inconsistency when the majo
On 08.04.2016 02:42, Mark Stephen Mrotek wrote:
May I be so bold as to inquire, how does the beaming "clearly indicate"
nothing more than distribution of notes between hands?
1) It makes a lot of sense to play it that way
2) It was very common to indicate distribution of notes between hands
th
On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
[...]
> style, but something like that with no church rests, numerical time
What are these? Misericords?
Cheers,
David.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.
On Fri, 2016-04-08 at 07:40 -0500, David Wright wrote:
> On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
> [...]
> > style, but something like that with no church rests, numerical time
>
> What are these?
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rests#index-church-
On Fri 08 Apr 2016 at 14:04:21 (+0100), Richard Shann wrote:
> On Fri, 2016-04-08 at 07:40 -0500, David Wright wrote:
> > On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
> > [...]
> > > style, but something like that with no church rests, numerical time
> >
> > What are these?
> http:
On Fri, 2016-04-08 at 10:38 -0500, David Wright wrote:
> On Fri 08 Apr 2016 at 14:04:21 (+0100), Richard Shann wrote:
> > On Fri, 2016-04-08 at 07:40 -0500, David Wright wrote:
> > > On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
> > > [...]
> > > > style, but something like that with
34 matches
Mail list logo
