On Tue, 10 May 2016 17:44:30 +0200
Wilbert Berendsen wrote:
> that at the moment you type the `g`, Frescobaldi automatically writes
> a comma after the next c, which was already existing:
Now, that would be wonderful!
___
lilypond-user mailing list
l
Op Fri, 29 Apr 2016 21:58:38 +1000
Matt Hood schreef:
> Add in temporary polyphonic passages, chords, etc, and it all just
> becomes an exercise in trial and error. Any tips for keeping control?
Makes me think of an intelligent input mode for Frescobaldi, where the
first note after the place you
On 3 May 2016 at 04:53, David Wright wrote:
> Perhaps composers don't sweat over individual notes like that and/or
> don't need a decent looking copy in front of them. Some compose at the
> piano, don't they.
When I’m composing, I don’t want to have to deal with anything more
technologically adva
On Sat 30 Apr 2016 at 10:38:55 (+0200), Malte Meyn wrote:
> Am 30.04.2016 um 05:43 schrieb David Wright:
> >But it's no surprise that composing directly into LP is only really
> >possible in absolute mode.
>
> It’s not. I’ve always done it in \relative mode using octave checks,
> I never had any p
On Sat 30 Apr 2016 at 09:22:14 (+0200), Noeck wrote:
> Am 30.04.2016 um 05:43 schrieb David Wright:
> > it would be great
> > if it could convert into a canonical style, where canonical could be
> > defined in ways such as: every note with pitch&duration; duration (or
> > even pitch) on only the fi
> On May 1, 2016, at 8:38 AM, Paul Morris wrote:
>
> I just tried it and it requires the explicit reference pitch like: \fixed
> c’’ { … }
…and that makes sense because the first note may not be in the base octave.
-Paul
___
lilypond-user mailing l
> On May 1, 2016, at 3:46 AM, Johan Vromans wrote:
>
> Can this also be written as:
>
> \fixed {
> \key a \major
> \time 6/8
> cis''8. d16 cis8 e4 e8 |
> b,8. cis16 b,8 d4 d8 |
> }
>
> just like \relative?
No, I just tried it and it requires the explicit reference pitch like:
\fixed c’’ {
On Sat, 30 Apr 2016 17:22:27 -0400
Paul Morris wrote:
> \fixed c'' {
> \key a \major
> \time 6/8
> cis8. d16 cis8 e4 e8 |
> b,8. cis16 b,8 d4 d8 |
> }
Can this also be written as:
\fixed {
\key a \major
\time 6/8
cis''8. d16 cis8 e4 e8 |
b,8. cis16 b,8 d4 d8 |
}
just like \rela
> On Apr 29, 2016, at 6:56 PM, Jeff Olson wrote:
>
> And for the limited range of a guitar (3.5 octaves) I can \transpose c c'
> to minimize the number of octave marks in absolute mode (so range is e, to
> b'').
> Thus I never encounter long high runs of 32nds above c'''.
The latest dev version
Hi Joram,
> What I like about relative:
> 2) most mistakes are easily spottet as all the rest of the voice is off
> by one octave. […] In absolute mode, only one note is in the wrong octave.
This is the ONLY thing I miss about relative mode… but it is (was) VERY helpful
for proof-reading.
Cheer
Am 30.04.2016 um 05:43 schrieb David Wright:
But it's no surprise that composing directly into LP is only really
possible in absolute mode.
It’s not. I’ve always done it in \relative mode using octave checks, I
never had any problems.
___
lilypon
Hi,
Kieren and his choice for absolute is already mentioned.
What I like about relative:
1) mostly for for vocal scores, very few '/, are needed
2) most mistakes are easily spottet as all the rest of the voice is off
by one octave. While some find this annoying, I think it helps a lot to
find mi
Hi David,
Am 30.04.2016 um 05:43 schrieb David Wright:
> it would be great
> if it could convert into a canonical style, where canonical could be
> defined in ways such as: every note with pitch&duration; duration (or
> even pitch) on only the first note of each line (omitted elsewhere);
Frescoba
On Fri 29 Apr 2016 at 17:52:16 (-0300), Caio Giovaneti de Barros wrote:
>
> On 4/29/16 7:27 AM, "Carl Sorensen" wrote:
> >>About a year ago, Kieren indicated that he has decided to go completely
> >>absolute mode, even to the point
> >>of redoing his historic code:
> >>
> >>https://lists.gnu.org
On 4/29/2016 4:56 PM, Jeff Olson wrote:
< 41312
41340
Okay, now I know what you mean by the > problem and I've modified my
ways and the script (to insert a couple of leading blanks) to show e.g.
< 41312
> 41340
HTH,
Jeff
___
lilypond-user maili
On 4/29/2016 5:58 AM, Matt Hood wrote:
What does everyone prefer? Relative, absolute, or a mix of both?
Summary: For my work, a perl script confimed my choice of absolute
mode in conjunction with judicious use of \transpose,
but for other people it suggests relative is better.
On 4/29/16 7:27 AM, "Carl Sorensen" wrote:
About a year ago, Kieren indicated that he has decided to go completely
absolute mode, even to the point
of redoing his historic code:
https://lists.gnu.org/archive/html/lilypond-user/2015-04/msg00846.html
I was not aware of Kieren's opinion, but a
Putting it on the list (my mistake leaving it off earlier).
On 4/29/16 7:27 AM, "Carl Sorensen" wrote:
>On 4/29/16 5:58 AM, "Matt Hood" wrote:
>
>
>>I¹ve got a non-technical question regarding mode of pitch input. What
>>does everyone prefer? Relative, absolute, or a mix of both?
>
>About a yea
On Fri, Apr 29, 2016 at 7:58 AM, Matt Hood wrote:
> Hi all,
>
> I’ve got a non-technical question regarding mode of pitch input. What does
> everyone prefer? Relative, absolute, or a mix of both?
>
I always use relative.
> I’ve always stuck to relative, but I feel like I’ve hit a brick wall as
Am 29.04.2016 um 13:58 schrieb Matt Hood:
What does everyone prefer? Relative, absolute, or a mix of both?
I always use \relative without reference pitch because reference pitches
confused me every single time I used them. In RhythmicStaffs I use only
durations without pitch (possible in 2.
On 29/04/2016 12:58, Matt Hood wrote:
Hi all,
I’ve got a non-technical question regarding mode of pitch input. What does
everyone prefer? Relative, absolute, or a mix of both?
Relative. Every time. Alhough I'm sure other people will disagree with
me :-)
I’ve always stuck to relative, but I
Hi all,
I’ve got a non-technical question regarding mode of pitch input. What does
everyone prefer? Relative, absolute, or a mix of both?
I’ve always stuck to relative, but I feel like I’ve hit a brick wall as far as
fluency goes. I’m still quite slow at it, and I spend half of my time trying
22 matches
Mail list logo
