Brian kozaczek wrote
> Hi All,
>
> How do I break ties from a chord (single voice) that overlap a changed
> time signature in the next measure?
>
> Thanks,
>
> Brian
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Hi Brian,
does this snippet help?
http://lilypond.org/doc/v2.18/Documentation/snippets/editorial-annotations#editorial-annotations-using-the-whiteout-property
Best,
Joram
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Hi All,
How do I break ties from a chord (single voice) that overlap a changed time
signature in the next measure?
Thanks,
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Am 17.04.2017 um 13:47 schrieb Thomas Morley:
2017-04-17 13:35 GMT+02:00 Marc Hohl :
Hi Harm,
(ly:grob-set-property! grob 'space-alist
'((staff-bar extra-space . 1))
Ah, that's the way to go here – thanks a lot for your brilliant solution!
2017-04-17 13:35 GMT+02:00 Marc Hohl :
> Hi Harm,
>>
>> (ly:grob-set-property! grob 'space-alist
>> '((staff-bar extra-space . 1))
>
>
> Ah, that's the way to go here – thanks a lot for your brilliant solution!
>
> Can you explain why you use
Hi Harm,
Am 16.04.2017 um 21:25 schrieb Thomas Morley:
2017-04-16 17:54 GMT+02:00 Marc Hohl <m...@hohlart.de>:
[...]
I tried to go one step further and include the key signature and time
signature in my example, see the attached code.
[...]
Hi Marc,
how about
ine-breaking = #(lambda (grob) (if (equal?
>> (ly:item-break-dir grob) LEFT) (ly:grob-set-property! grob 'stencil
>> (lambda (grobb) (grob-interpret-markup grobb #{ \markup \translate
>> #'(0 . 2) \flip \musicglyph #"clefs.G" #})
>
>
> I tried to go one step
-breaking = #(lambda (grob) (if (equal?
(ly:item-break-dir grob) LEFT) (ly:grob-set-property! grob 'stencil
(lambda (grobb) (grob-interpret-markup grobb #{ \markup \translate
#'(0 . 2) \flip \musicglyph #"clefs.G" #})
I tried to go one step further and include the key signature and time
Am 21.02.2017 um 13:23 schrieb k...@aspodata.se:
Jean Brefort:
...
You might use something like:
\override Staff.TimeSignature #'stencil = #ly:text-interface::print
\override Staff.TimeSignature #'text = \markup {\musicglyph #"timesig.mensural34"
\lower #0.9 \bold \large "3"}
Thanks,
Karl:
> Phil Holmes:
> > From:
> > >I have a piece with the following time sigs:
> > > alla breve
> > > timesig.mensural34 followed by a 3.
> > > alla breve
> > >
> > > How do I typeset the timesig.mensural34 followed by a 3 where
> > > it should be ?
...
Found a solution,
Jean Brefort:
...
> You might use something like:
> \override Staff.TimeSignature #'stencil = #ly:text-interface::print
> \override Staff.TimeSignature #'text = \markup {\musicglyph
> #"timesig.mensural34" \lower #0.9 \bold \large "3"}
Thanks, that make the time sigs same size.
Regards,
Phil Holmes:
> From:
> >I have a piece with the following time sigs:
> > alla breve
> > timesig.mensural34 followed by a 3.
> > alla breve
> >
> > How do I typeset the timesig.mensural34 followed by a 3 where
> > it should be ?
...
> > I try to typeset [1], on page 6 (101 in the
Le mardi 21 février 2017 à 12:29 +0100, k...@aspodata.se a écrit :
> I have a piece with the following time sigs:
> alla breve
> timesig.mensural34 followed by a 3.
> alla breve
>
> How do I typeset the timesig.mensural34 followed by a 3 where
> it should be ?
>
> ///
>
> I try to typeset
- Original Message -
From: <k...@aspodata.se>
To: <lilypond-user@gnu.org>
Sent: Tuesday, February 21, 2017 11:29 AM
Subject: ancient custom time signature
I have a piece with the following time sigs:
alla breve
timesig.mensural34 followed by a 3.
alla breve
How
I have a piece with the following time sigs:
alla breve
timesig.mensural34 followed by a 3.
alla breve
How do I typeset the timesig.mensural34 followed by a 3 where
it should be ?
///
I try to typeset [1], on page 6 (101 in the original), there is this
mensuration (time sig.):
"tempus
o an solution), so finally the "issue 34" can be solved in the core of
lilypond one day in the future.
Arnold
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Simon Albrecht writes:
> On 13.02.2017 18:35, Michael Rivers wrote:
>> I guess it must be incredibly difficult to solve or it would
>> have been solved by now.
>
> Very recently, David Kastrup wrote about having made like half a dozen
> attempts that didn’t work out. And
On 13.02.2017 18:35, Michael Rivers wrote:
I guess it must be incredibly difficult to solve or it would
have been solved by now.
Very recently, David Kastrup wrote about having made like half a dozen
attempts that didn’t work out. And he’s definitely the most capable
programmer and the one
rs. I know absolutely nothing about the inner
workings, but I guess it must be incredibly difficult to solve or it would
have been solved by now.
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Sent fro
2017-02-11 22:49 GMT+01:00 Thomas Weber :
> Am 11.02.2017 um 13:51 schrieb Thomas Morley:
>>
>>
>> Arnold has put up some work to get a more automagic workflow.
>>
>> http://lsr.di.unimi.it/LSR/Item?id=990
>> http://lsr.di.unimi.it/LSR/Item?id=978
>>
>> IIRC his work is not
Am 11.02.2017 um 13:51 schrieb Thomas Morley:
Arnold has put up some work to get a more automagic workflow.
http://lsr.di.unimi.it/LSR/Item?id=990
http://lsr.di.unimi.it/LSR/Item?id=978
IIRC his work is not finished, so you probably will need to fall back
to grace-spacers sometimes...
another solution would be to put the spacer grace in a separate variable
(e.g. \global), as opposed to adding invisible graces in every staff ...
cheers
Arne
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2017-02-11 8:48 GMT+01:00 Thomas Weber :
> I already realized that:
>
>>> Le 10 févr. 2017 à 23:23, Thomas Weber a écrit :
>>>
>>> * I can add a "grace space" to the bottom staff
>
>
>
> But I tried to avoid this for the following reasons:
>
>
>>> * The staffs
On 11.02.2017 08:48, Thomas Weber wrote:
Would you work with tags to remove the invisible graces?
Sounds like a good idea.
Of course this is not a nice situation, cumbersome to deal with. But
it’s an extremely hard-to-fix bug also.
Best, Simon
Am 10.02.2017 um 23:48 schrieb Jacques Menu Muzhic:
Not a bug, but a feature : you have to add graces in all voices :
I already realized that:
Le 10 févr. 2017 à 23:23, Thomas Weber a écrit :
* I can add a "grace space" to the bottom staff
But I tried to avoid this
Am 10.02.2017 um 23:48 schrieb Jacques Menu Muzhic:
> Not a bug, but a feature
Well, I'd say a bug but a well known one:
https://sourceforge.net/p/testlilyissues/issues/34/
Joram
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can add a "grace space" to the bottom staff[1]
>
> Both solutions have the following disadvantages I want to avoid:
>
> * The staffs won't work standalone (missing time signature or broken spacing).
> * I have to analyze all other staffs when writing out one staff.
&g
ntly? There are dirty workarounds:
* I can fix it by removing the \time from the bottom staff.
* I can add a "grace space" to the bottom staff[1]
Both solutions have the following disadvantages I want to avoid:
* The staffs won't work standalone (missing time signature or broken spacing
Thank you the first suggestion worked yes I forgot version and yes I was
using \cadenzaOn
best
j
On Wed, Jan 25, 2017 at 2:56 AM, <lilypond-user-requ...@gnu.org> wrote:
> Re:\removing the time signature (Noeck)
--
Jay Hamilton
Sound & Silence
www.soundand.com
> here are two more possibilites. I would choose the first one:
Btw: Why is the spacing different between the two?
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Hi Sam,
here are two more possibilites. I would choose the first one:
\version "2.19.53"
% version 1
{
\omit Staff.TimeSignature
% \override Staff.TimeSignature.stencil = ##f % equivalent
\cadenzaOn % start a cadenza (no meter)
a a a a a1 \bar "|"
}
% version 2
\score{
{
a4 a a
nd.org/doc/v2.18/Documentation/notation/
> displaying-rhythms#metronome-marks
> >
> > \set Score.tempoHideNote = ##t
> >
> > ___
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>
> > lilypond-user@
>
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
>
&
o/lilypond-user
You would use \set Score.tempoHideNote = ##t to hide a time signature? Hmm,
I'm afraid I've never done that. I would have thought it would be something
like:
\once \override Staff.TimeSignature #'stencil = ##f
Are you using \cadenzaOn in this piece? Or are you using meters
On 25 January 2017 at 00:31, Sam Frybyte wrote:
> I know it's possible but I need someone to direct me to the snippet or
> place in the manuals so I can invisiblize it for a cadenza piece, just the
> link.
>
I know it's possible but I need someone to direct me to the snippet or
place in the manuals so I can invisiblize it for a cadenza piece, just the
link.
Thanks
--
Jay Hamilton
Sound & Silence
www.soundand.com
206-328-7694
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Hello Malte,
Excellent, thanks!
JM
> Le 15 janv. 2017 à 23:18, Malte Meyn a écrit :
>
> Am 15.01.2017 um 22:00 schrieb Menu Jacques:
>> Hello,
>>
>> Going on with my Gabrieli example, there is a time change to 3/2, and I
>> can’t get rid of the warning message on the
Am 15.01.2017 um 22:00 schrieb Menu Jacques:
> Hello,
>
> Going on with my Gabrieli example, there is a time change to 3/2, and I
> can’t get rid of the warning message on the first R1*3/2.
>
> Thanks again for your help!
>
> JM
You can adjust the measureLength for this last, shorter measure
Hello,
Going on with my Gabrieli example, there is a time change to 3/2, and I can’t
get rid of the warning message on the first R1*3/2.
Thanks again for your help!
JM
%%
\version "2.19.44"
PartPFourVoiceOne = \relative g {
\set Score.barNumberVisibility =
Hello Andrew, Marte and Simon,
Thanks for the solutions, sorry I missed that topic in december.
Maybe such use of Staff.timeSignatureFraction is worth being mentioned in this
context in the LPNR? (Score.measureLength is not as of 2.19.31).
JM
> Le 13 janv. 2017 à 17:13, Simon Albrecht
On 13.01.2017 15:12, N. Andrew Walsh wrote:
I'd probably reduce all note-values by half
I strongly advise against that. It obscures the historical evolution of
notation and thus takes away an important bit of information from the
performer. And honestly: it doesn’t make it significantly
Hi Andrew,
The example I needed it for last year was Italian music from about the same
period and I was making an edition from the original score, so it may have
been fairly common practice at that time.
Andrew
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. In this case, I'd
probably reduce all note-values by half and keep the slashed-c in the time
signature.
But like I said: my own expertise in this area is rather limited.
Cheers,
A
On Fri, Jan 13, 2017 at 2:29 PM, Menu Jacques <imj-...@bluewin.ch> wrote:
> Hello folks,
>
> In a Canzon
Am 13.01.2017 um 14:29 schrieb Menu Jacques:
> Hello folks,
>
> In a Canzon by Gabrieli, we have 4/2 time written as slashed C:
>
\time sets timeSignatureFraction and measureLength. So you can either
use time and set one of these context properties or you set both of them
and don’t need
Hi Jacques,
\set Staff.timeSignatureFraction = #'(2 . 2)
\time 4/2
I asked the same question in December,
Andrew
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Hello folks,
In a Canzon by Gabrieli, we have 4/2 time written as slashed C:
I tried:
\once \override Score.TimeSignature.stencil = ##f
\numericTimeSignature\time 2/2 | % 1
\numericTimeSignature\time 4/2 | % 1
but this displays no time signature at all since both \time’s occur
11.01.2017 um 18:46 schrieb Malte Meyn:
You can get the duration from the context property timeSignatureFraction
or baseMoment:
%
\version "2.19.53"
{
\time 12/8
\applyContext
#(lambda (context)
(display (ly:context-property
context
Am 11.01.2017 um 14:00 schrieb Thomas Weber:
> Dear all,
>
> I wonder how I can create a duration that is so to say exactly one time
> signature denominator long (e.g. an eigth in 6/8, a quarter in 4/4
> etc.). I thought something like this would work:
You can get th
Dear all,
I wonder how I can create a duration that is so to say exactly one time
signature denominator long (e.g. an eigth in 6/8, a quarter in 4/4 etc.). I
thought something like this would work:
#(make-music
'SkipEvent
'duration
(ly:make-duration 0 0 1
Thanks, that looks good. However, is there a way to enable it again if
needed? This trick is only needed in the beginning of the piece, not
throughout the whole score. If it can be only changed globally, then I'll
deal with the extra space I guess. Curious though if it's possible to do it
only
Hi Krzystof,
Is this what you require (based on the MWE you sent me personally)?
If so, it’s a matter of putting things in the right logical structural place.
Andrew
== snip
\version "2.19.50"
\language "deutsch"
global = {
\key b \major
\numericTimeSignature
What is going on guys,
Thanks for your recent help, now I'm digging LilyPond more and more, but
after searching in the manuals/snippets, I couldn't find how to fix this:
http://i.imgur.com/L5YCxnv.png
In this case time signature is stated in the beginning, when instrument
starts solo. Then I
i use a shorthand mark up command to insert music snippets into text.
See below definition "WriteScore"
I'd like to add a command to hide the time signature
\override Staff.TimeSignature #'stencil = ##f
In scheme the command should be something like this :
(make-music 'Overri
it's unimportant whether Lilypond crashes as long as we can generate
> something that can be patched together as a png or svg file and then
> printed.
>
>
>
>
>
> --
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or svg file and then
printed.
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ctions, then deleting the
> actual meter used and engraving the real time signature by hand on both
> staves. Then we use a tuplet to squish one meter so that it fits in the time
> of the other meter (to within 7 parts in 100,000, which is probably close
> enough).
>
> Here's the score. Unf
Lilypond crashes with the familiar error code if we enter those time
signatures directly. But there is a workaround, and it involves
approximating both meters with smaller rational fractions, then deleting the
actual meter used and engraving the real time signature by hand on both
staves. Then we
> On 5 Nov 2016, at 00:03, David Wright wrote:
>>> Mairi's Wedding is completely regular; it has five 8-bar
>>> sections, which happens to sum to 40:
>>
>> But they have to play it A B A B B, where each letter is a 8-bar section.
>
> For that original tune, that's
On Fri 04 Nov 2016 at 21:09:20 (+0100), Hans Åberg wrote:
>
> > On 4 Nov 2016, at 20:31, David Wright wrote:
> >
> > On Fri 04 Nov 2016 at 10:55:45 (+0100), Hans Åberg wrote:
> >> On 4 Nov 2016, at 03:21, David Wright wrote:
> >
> > (in a
> On 4 Nov 2016, at 20:31, David Wright wrote:
>
> On Fri 04 Nov 2016 at 10:55:45 (+0100), Hans Åberg wrote:
>> On 4 Nov 2016, at 03:21, David Wright wrote:
>
> (in a different timezone)
>
>>> My own experience of dancing is mainly
>>> in
On Fri 04 Nov 2016 at 10:55:45 (+0100), Hans Åberg wrote:
> On 4 Nov 2016, at 03:21, David Wright wrote:
(in a different timezone)
> > My own experience of dancing is mainly
> > in the Scottish Country Dancing tradition, where such rhythmic
> > irregularities would be
not sure exactly what meter you want, but if the proportions are
>> 3+3+3+3+1, then it will likely feel like a common 9 = 2+2+2+3 with a slight
>> time bend shortening the last beat a bit, which is normally done.
>
> I don't want any meter. All I wanted to do was answer t
n the
web or are there special books?
> If he doesn't, then
> the question was unclear and we're answering something that wasn't asked.
Well, most of us concluded that the OP probably knew what notes should
be contained in each bar better than the appropriate time signature,
looking at the question pos
> of every measure. If he does, then the 3's are correct. If he doesn't, then
> the question was unclear and we're answering something that wasn't asked.
>
>
>
> --
> View this message in context: http://lilypond.1069038.n5.
> nabble.com/compound-time-signature-with-non-dupl
Yes, I realized that. Thanks for the correction.
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On Fri 04 Nov 2016 at 02:44:56 (+0100), Urs Liska wrote:
>
>
> Am 04.11.2016 um 02:39 schrieb Urs Liska:
> >
> > Am 02.11.2016 um 19:10 schrieb Chris Yate:
> >> particularly as it utterly confuses those players that don't know how
> >> to parse it.
> > Any musical notation utterly confuses those
ge in context:
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5:4 5:4 q q 5:4 5:4
Both measures add up to eight quarter notes, but the pulse is irregular due
to the broken tuplets.
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ns are now 3+3+3+3+ 4+4+ 4+4+ 3+3+3+3+ 4+4 / 48.
> >>> So taking this Leventikos pattern, I've bent the "4/4+1/3" so
> >>> that it contains similar tupleticity, to coin a nonce word.
> >>
> >> Yes, indeed. In the Leventikos, the quadruplet pattern occ
Am 04.11.2016 um 02:39 schrieb Urs Liska:
>
> Am 02.11.2016 um 19:10 schrieb Chris Yate:
>> particularly as it utterly confuses those players that don't know how
>> to parse it.
> Any musical notation utterly confuses those players that don't know how
> to parse it. Actually you could extend
Am 04.11.2016 um 01:56 schrieb mclaren:
> Oops. Unless I'm mistaken, 4 + 1 triplet eighth note would be 4 + 1/6, not 4
> + 1/3.
You *are* mistaken. 4 quarters + 1 triplet eight is 4/4 + 1/12.
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On Thu 03 Nov 2016 at 18:00:59 (-0700), mclaren wrote:
> "Wouldn't that rather be (4 + 2/3)/4?"
>
> Yes, I think you're right. 1/3 is presumably half of the value of a triplet
> quarter note, so 1 triplet eighth note. I've corrected that in my second
> Lilypond example. My bad.
>
> Change the
Am 02.11.2016 um 19:10 schrieb Chris Yate:
> particularly as it utterly confuses those players that don't know how
> to parse it.
Any musical notation utterly confuses those players that don't know how
to parse it. Actually you could extend that to written text as well.
On Thu 03 Nov 2016 at 17:13:14 (-0700), mclaren wrote:
> I have an even more diabolical question, related to the one at the start of
> this thread.
>
> But let me first answer the original question, which was: "Is there a way to
> implement a non-binary time signature like
ot of 1119, now, that's
considered exotic today.
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a 3 to get the meter
to display correctly. But the measures do print correctly, so this code
should get what Tobin Chodos wants, I think, 4 quarter notes + 1 triplet
eighth in every measure.
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taff { \clef "treble"
\relative c''
\override Staff.TimeSignature #'stencil = ##f
\time 13/8
% We need this time signature to get the beat
% structure, but this time signature won't print.
% Now we insert the time sig that does print.
% This is the time signature
On 04/11/2016 01:13, mclaren wrote:
> This seems like an entirely valid question. 1/3 would be a single triplet
> note, right? That is, if we're dealing with (4 + 1/3)/4, then what we want
> is 4 quarter notes + 1 triplet quarter note, correct?
Wouldn't that be rather (4 + 2/3)/4?
--
Not the
I have an even more diabolical question, related to the one at the start of
this thread.
But let me first answer the original question, which was: "Is there a way to
implement a non-binary time signature like 4 + 1/3?" I think I know a way to
do this.
This seems like an entirely vali
o coin a nonce word.
>>
>> Yes, indeed. In the Leventikos, the quadruplet pattern occurs consistently.
>> When performing, there are slower 1/16th contrasted with faster ones. Some
>> performers have triplets on the 2s, and quintuplets occur in Balkan music as
>> we
t; >>>>>
> >>>>> On Fri 28 Oct 2016 at 11:22:00 (-0700), Tobin Chodos wrote:
> >>>>>> Forgive me if this is a too-easy issue for the list, but: is there a
> >>>>>> way to
> >>>>>> define a time compound
Wed 02 Nov 2016 at 20:10:39 (+0100), Hans Åberg wrote:
>>>>
>>>>> On 28 Oct 2016, at 21:48, David Wright <lily...@lionunicorn.co.uk> wrote:
>>>>>
>>>>> On Fri 28 Oct 2016 at 11:22:00 (-0700), Tobin Chodos wrote:
>>>>>> Forgive m
, David Wright <lily...@lionunicorn.co.uk> wrote:
> >>>
> >>> On Fri 28 Oct 2016 at 11:22:00 (-0700), Tobin Chodos wrote:
> >>>> Forgive me if this is a too-easy issue for the list, but: is there a way
> >>>> to
> >>>> define a time
ri 28 Oct 2016 at 11:22:00 (-0700), Tobin Chodos wrote:
>>>> Forgive me if this is a too-easy issue for the list, but: is there a way to
>>>> define a time compound time signature such as 4/4 + 1/3? That is, the
>>>> measure is four quarter notes long plus one triplet
ue for the list, but: is there a way to
> >> define a time compound time signature such as 4/4 + 1/3? That is, the
> >> measure is four quarter notes long plus one triplet eighth note.
> >
> > Isn't this just 13/8? Three triplet eighth notes make a quarter note.
> > So
> On 2 Nov 2016, at 19:02, tisimst <tisimst.lilyp...@gmail.com> wrote:
>
> ... as Kieren and I saw on a facebook group the other day when a composer
> started a discussion about having a bar with an "irrational" 2/6 time
> signature. Wow, the flames that ensued!
> On 28 Oct 2016, at 21:48, David Wright <lily...@lionunicorn.co.uk> wrote:
>
> On Fri 28 Oct 2016 at 11:22:00 (-0700), Tobin Chodos wrote:
>> Forgive me if this is a too-easy issue for the list, but: is there a way to
>> define a time compound time
h it's not *embraced* by
> all.
>
> ... as Kieren and I saw on a facebook group the other day when a composer
> started a discussion about having a bar with an "irrational" 2/6 time
> signature. Wow, the flames that ensued! It's quite simple:
>
> { \time 2/6 \tuplet 3/2 {
ed a discussion about having a bar with an "irrational" 2/6 time
signature. Wow, the flames that ensued! It's quite simple:
{ \time 2/6 \tuplet 3/2 { c'4 c' } }
... with or without the tuplet number/bracket.
--
Abraham
--
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David Wright writes:
> On Wed 02 Nov 2016 at 12:49:07 (-0400), kieren_macmillan kieren_macmillan
> wrote:
>
>
> I guess I had expected a reference/url/scan rather than "yes".
Zere is some music notation zat makes me 'url.
--
David Kastrup
On Wed 02 Nov 2016 at 12:49:07 (-0400), kieren_macmillan kieren_macmillan wrote:
I guess I had expected a reference/url/scan rather than "yes".
I realise that all sorts of "odd" notations were around in
preclassical times, But wouldn't claim to understand them.
Does the example I've given
> Forgive me if this is a too-easy issue for the list, but: is there a way> > to define a time compound time signature such as 4/4 + 1/3? That is,> > the measure is four quarter notes long plus one triplet eighth note.> > this is definitely a valid question for this list!> Th
On Fri 28 Oct 2016 at 21:13:57 (+0200), Noeck wrote:
> > Forgive me if this is a too-easy issue for the list, but: is there a way
> > to define a time compound time signature such as 4/4 + 1/3? That is,
> > the measure is four quarter notes long plus one t
On 28.10.2016 21:50, Noeck wrote:
Btw, having the new list syntax in mind I wondered whether this would
work in recent development versions:
\compoundMeter 4/4,1/3
But it does not the 4/4 translates to (4 . 4) and not (4 4).
\compoundMeter (4,4),(1,3) does not work either. Can this list syntax
Btw, having the new list syntax in mind I wondered whether this would
work in recent development versions:
\compoundMeter 4/4,1/3
But it does not the 4/4 translates to (4 . 4) and not (4 4).
\compoundMeter (4,4),(1,3) does not work either. Can this list syntax be
grouped somehow? I mean in a way
On Fri 28 Oct 2016 at 11:22:00 (-0700), Tobin Chodos wrote:
> Forgive me if this is a too-easy issue for the list, but: is there a way to
> define a time compound time signature such as 4/4 + 1/3? That is, the
> measure is four quarter notes long plus one triplet eighth note.
Isn't thi
> Forgive me if this is a too-easy issue for the list, but: is there a way
> to define a time compound time signature such as 4/4 + 1/3? That is,
> the measure is four quarter notes long plus one triplet eighth note.
Hi Tobin,
this is definitely a valid question for this list!
Thi
Hi all,
Forgive me if this is a too-easy issue for the list, but: is there a way to
define a time compound time signature such as 4/4 + 1/3? That is, the
measure is four quarter notes long plus one triplet eighth note.
Thanks.
Tobin Chodos
2016-10-27 19:06 GMT+02:00 holl...@hollandhopson.com
<holl...@hollandhopson.com>:
> I just ran into a problem that seems to be related to Devnull. The second
> ending time signature reverts to 3/4 time. If I comment out the Devnull line
> then the time signatures are as expec
I just ran into a problem that seems to be related to Devnull. The second
ending time signature reverts to 3/4 time. If I comment out the Devnull line
then the time signatures are as expected. Am I using Devnull in the wrong way?
Is this a bug?
Thanks,
Holland
\version "2.19.30&quo
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