Thanks! I had given up since my permutations did not work the first time,
but since you so succintly repeated it, I thought I might have missed
something so I went back and tried it again.
Yes, \mergeDifferentlyHeadedOn works as you've described. The trick is you
do need the \change Staff and a
2010/11/5 David Kastrup :
> It might be argued on that grounds that German note names should be
> canonical: I know of no other note name language that has been employed
> similarly for silly acronyms and word games.
This comes to my mind:
Vive le roi, ut mi ut re re sol mi from Josquin
Granted
Valentin Villenave writes:
> I don't know about Swiss French, but here in France we rarely use "ut"
> at all; it is merely used by snobbish people when referring to a
> piece's tonality: "Sonate en Ut Majeur" (but regular people will just
> say "Do Majeur").
Interesting, because it is not snobbi
On Fri, Nov 5, 2010 at 9:18 AM, David Kastrup wrote:
> It might be argued on that grounds that German note names should be
> canonical: I know of no other note name language that has been employed
> similarly for silly acronyms and word games.
Ravel isn't consistent in this regard:
in this piece,
Am 05.11.2010 um 10:14 schrieb David Kastrup:
David Kastrup writes:
When writing ut queant laxis
http://en.wikipedia.org/wiki/Ut_queant_laxis>, French note names
would be more appropriate. Oh, we don't have them. The Italian note
names use "do" rather than "ut". I have a Swiss accordion s
David Kastrup writes:
> When writing ut queant laxis
> http://en.wikipedia.org/wiki/Ut_queant_laxis>, French note names
> would be more appropriate. Oh, we don't have them. The Italian note
> names use "do" rather than "ut". I have a Swiss accordion score from
> 1933 here, and it uses "ut" thr
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On Fri, Nov 05, 2010 at 09:18:05AM +0100, David Kastrup wrote:
[...]
> I'd say there is no point in providing different input languages.
Hey! I'm making some effort to provide *yet* another language ;-P
>
"Vicente Solsona" writes:
> On Thu, 04 Nov 2010 05:07:34 +0100, Colin Campbell wrote:
>>> > wrote:
>>>
>>> please remember to forward to the list.
>>> also please review your examples before posting. your example contains
>>> syntax errors.
>>>
>>> there's no E flat in your example. the only com
On Thu, 04 Nov 2010 05:07:34 +0100, Colin Campbell wrote:
> wrote:
please remember to forward to the list.
also please review your examples before posting. your example contains
syntax errors.
there's no E flat in your example. the only common note between voices 2
and 4 is an F (if I've inter
On Wed, 2010-11-03 at 21:40 +0100, Vicente Solsona wrote:
> On Wed, 03 Nov 2010 20:23:51 +0100, Ken wrote:
>
> > Not quite.
> >
> > Here's the fragment
> >
> > \new PianoStaff <<
> > \new Staff = "up" <<
> > \clef treble
> > \key a \minor
> > \time 3/8
> >
> > \new Voice [\voice
On Wed, 03 Nov 2010 19:01:18 +0100, Ken wrote:
Hi,
I tried looking in archives for a solution to my problem but I'm not sure
quite how to put in a search description.
I'm writing a 3-part piece for the piano. 3 voices. In one measure, I
have
the second and third (voiceFour in lliypond bec
On Wed, 03 Nov 2010 19:01:18 +0100, Ken wrote:
Hi,
I tried looking in archives for a solution to my problem but I'm not sure
quite how to put in a search description.
I'm writing a 3-part piece for the piano. 3 voices. In one measure, I
have
the second and third (voiceFour in lliypond be
On Wed, 03 Nov 2010 20:23:51 +0100, Ken wrote:
Not quite.
Here's the fragment
\new PianoStaff <<
\new Staff = "up" <<
\clef treble
\key a \minor
\time 3/8
\new Voice [\voiceOne \relative c'' { g16 a bf f' bf, c } }
\new Voice {\voiceTwo \relative c' { ef,16 f g a g a }
On 04/11/10 05:01, Ken wrote:
Hi,
I tried looking in archives for a solution to my problem but I'm not
sure quite how to put in a search description.
I'm writing a 3-part piece for the piano. 3 voices. In one measure,
I have the second and third (voiceFour in lliypond because the stems
ar
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