that an Allow_interrupt_engraver could be added to
the official distribution?
Trevor.
On Mon, Nov 4, 2013 at 4:50 PM, Piaras Hoban phoba...@gmail.com wrote:
Hi list,
A few weeks back I posted seeking a little help in implementing one of the
more peculiar notational devices of Brian Ferneyhough, namely
On 05/11/13 07:44, Werner LEMBERG wrote:
Please submit this snippet to the LSR!
He can't, it's the actual beginning of Ferneyhough's score and so under
copyright.
The notation is cool, though, and I'm sure it's easy to come up with a similar
example that is original.
Am 06.11.2013 16:39, schrieb Joseph Rushton Wakeling:
On 05/11/13 07:44, Werner LEMBERG wrote:
Please submit this snippet to the LSR!
He can't, it's the actual beginning of Ferneyhough's score and so
under copyright.
Really?
From my experience publishers don't have/make problems with
Urs Liska u...@openlilylib.org wrote:
Am 06.11.2013 16:39, schrieb Joseph Rushton Wakeling:
On 05/11/13 07:44, Werner LEMBERG wrote:
Please submit this snippet to the LSR!
He can't, it's the actual beginning of Ferneyhough's score and so
under copyright.
Really?
From my experience
and often misapplied fair use clause in American
copyright law.
Hm, the last time I was faced with this question I understood that educational
or critical review applies when you are dealing with the work in question,
i.e. when you write an article about Ferneyhough and want to demonstrate
something
and often misapplied fair use clause in American
copyright law.
Not everybody is living in the U.S.A. though, and the licensing in other
countries LilyPond may get distributed to is governed by local laws
invoked by corporations having cross-licensing deals.
That would be the case even if Ferneyhough
On 06/11/13 18:55, David Kastrup wrote:
That would be the case even if Ferneyhough were not British to start
with.
Your other points are fine, but what's Ferneyhough's nationality got to do with
it?
FWIW, he's been resident in the US for 25+ years now, and his publisher is
German
On 06/11/13 17:06, Urs Liska wrote:
Really?
From my experience publishers don't have/make problems with giving a free
licence to use such an excerpt for such a purpose.
IIRC stuff in the LSR is supposed to be dedicated to the public domain, and
there's no way I can see to do that.
Anyway,
to the public
domain, and there's no way I can see to do that.
You can always ask the publisher. But of course, that would mean if
people made a sampler/remix including just a rendition of those bars,
there could be no royalty payments to Ferneyhough and/or his publisher
and/or his resident thug agency
Am 06.11.2013 19:07, schrieb Joseph Rushton Wakeling:
I would imagine it should work well with your own Lilypond examples
project?
Oh my, of course!
Why didn't I think of this myself???
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lilypond-user mailing list
lilypond-user@gnu.org
Hi list,
A few weeks back I posted seeking a little help in implementing one of the
more peculiar notational devices of Brian Ferneyhough, namely 'interruptive
polyphony'.
I've managed to find a way to implement these automatically and wanted to
share the code in case anyone in future
This is beautiful and mind blowing :)
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Ferneyhough-style-Interruptive-Polyphony-tp153387p153389.html
Sent from the User mailing list archive at Nabble.com.
___
lilypond-user
A few weeks back I posted seeking a little help in implementing one
of the more peculiar notational devices of Brian Ferneyhough, namely
'interruptive polyphony'.
I've managed to find a way to implement these automatically and
wanted to share the code in case anyone in future is looking
On 6 mars 2013, at 20:06, Trevor Bača trevorb...@gmail.com wrote:
On Tue, Mar 5, 2013 at 11:26 PM, Trevor Bača trevorb...@gmail.com wrote:
On Mon, Mar 4, 2013 at 3:42 PM, Thomas Morley thomasmorle...@googlemail.com
wrote:
2013/3/4 Joseph Rushton Wakeling
On 03/04/2013 05:29 PM, Trevor Bača wrote:
Is anyone else out there using Ferneyhough-style flared hairpins?
I'd probably use them if they were available.
I'm considering sponsoring the work and I'm curious to know if there would be
any other adopters if the feature were implemented
On 03/04/2013 05:29 PM, Trevor Bača wrote:
I'm considering sponsoring the work and I'm curious to know if there would be
any other adopters if the feature were implemented.
... could we make this a 2-in-1 to also cover his
brackets-to-show-extent-of-dynamic notation? This actually couples
2013/3/4 Joseph Rushton Wakeling joseph.wakel...@webdrake.net:
On 03/04/2013 05:29 PM, Trevor Bača wrote:
I'm considering sponsoring the work and I'm curious to know if there would
be
any other adopters if the feature were implemented.
This workaround was posted more than 2 years ago in the
that
they should.)
It might also be worth pointing out that two competing interpretations of
these 'nonbinary' time signatures have developed in the literature over the
past couple of decades: what we might call the 'Ferneyhough' and the
'Sciarrino' interpretations, respectively.
Ferneyhough's usage
Just wondering if Lilypond can handle this type of situation;
In Ferneyhough's etudes transcendentales,
he employs meters such as 2/12 or 2/10,
acting as literal subdivisions of the semi-breve.
This of course translates to n-tuplets,
but frees up the score (and mind) a
bit so that one can really
On Jul 5, 2011, at 8:29 AM, Joey wrote:
Just wondering if Lilypond can handle this type of situation;
In Ferneyhough's etudes transcendentales,
he employs meters such as 2/12 or 2/10,
acting as literal subdivisions of the semi-breve.
This of course translates to n-tuplets,
but frees up
On 07/05/2011 08:57 AM, m...@apollinemike.com wrote:
On Jul 5, 2011, at 8:29 AM, Joey wrote:
In Ferneyhough's etudes transcendentales,
he employs meters such as 2/12 or 2/10,
acting as literal subdivisions of the semi-breve.
The easiest way would be to create an override for the time
On Jul 5, 2011, at 11:45 AM, Joseph Wakeling wrote:
On 07/05/2011 08:57 AM, m...@apollinemike.com wrote:
On Jul 5, 2011, at 8:29 AM, Joey wrote:
In Ferneyhough's etudes transcendentales,
he employs meters such as 2/12 or 2/10,
acting as literal subdivisions of the semi-breve.
The
Probably Joey doesn't want to use \time 4/5 but to scale durations.
I adjusted your example a little bit so one sees better what happens:
{
\time 2/10
\times 4/5 { c'8 c'8 } \bar ||
% \scaleDurations scales without tuplet numbers or brackets
\scaleDurations #'(4 . 5) { c'8 c'8
On 07/05/2011 12:26 PM, Urs Liska wrote:
Probably Joey doesn't want to use \time 4/5 but to scale durations.
I adjusted your example a little bit so one sees better what happens:
Nice solution! Very convenient to have since right now I'm working on a
few contemporary-music examples for the
Am 05.07.2011 13:45, schrieb Joseph Wakeling:
On 07/05/2011 12:26 PM, Urs Liska wrote:
Probably Joey doesn't want to use \time 4/5 but to scale durations.
I adjusted your example a little bit so one sees better what happens:
Nice solution! Very convenient to have since right now I'm working
El Thu, 13 Mar 2008 10:16:02 +
Mark Knoop [EMAIL PROTECTED] escribió:
Attached FYI is the source for some excerpts from the second movement
of Opus Contra Naturam...
thanks for sharing this excerpt, i found many things to learn.
but could you please clarify this part of the code? :
%
luis jure wrote:
El Thu, 13 Mar 2008 10:16:02 +
Mark Knoop [EMAIL PROTECTED] escribió:
Attached FYI is the source for some excerpts from the second movement
of Opus Contra Naturam...
thanks for sharing this excerpt, i found many things to learn.
but could you please clarify
El Thu, 13 Mar 2008 14:21:43 +0100
Mats Bengtsson [EMAIL PROTECTED] escribió:
See
http://lists.gnu.org/archive/html/lilypond-user/2007-08/msg00533.html
with all follow-ups for the discussion behind this LSR example.
thanks for the link. my problem was that i had found this (user
manual,
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