I would need some help removing the autmatically generated natural signs
that I see in lilypond's output.
I coded this:
| global = {
| \time 4/4
| \key g \major
| \tempo \markup { \concat {Mouv. \super t} de Marche}
| }
|
| #(set-global-staff-size 16.5)
|
| melody = \rel
On 12/8/2017 2:09 PM, Chris Jones wrote:
I would need some help removing the autmatically generated natural signs
that I see in lilypond's output.
I coded this:
| global = {
| \time 4/4
| \key g \major
| \tempo \markup { \concat {Mouv. \super t} de Marche}
| }
|
| #(set-global
On 12/8/2017 2:09 PM, Chris Jones wrote:
I would need some help removing the autmatically generated natural signs
that I see in lilypond's output.
I coded this:
| global = {
| \time 4/4
| \key g \major
| \tempo \markup { \concat {Mouv. \super t} de Marche}
| }
|
| #(set-global
(
On 12/8/2017 2:09 PM, Chris Jones wrote:
I would need some help removing the autmatically generated natural signs
that I see in lilypond's output.
| melody = \relative c {
| \global
| \partial 16 d'16 \bar "||"
| \set melismaBusyProperties = #'()
|
On Fri 08 Dec 2017 at 14:09:31 (-0500), Chris Jones wrote:
> I would need some help removing the autmatically generated natural signs
> that I see in lilypond's output.
>
> I coded this:
>
> | global = {
> | \time 4/4
> | \key g \major
> | \tempo \markup { \concat {Mouv. \super t} d
Am 8. Dezember 2017 20:22:32 MEZ schrieb Ben :
>(
>On 12/8/2017 2:09 PM, Chris Jones wrote:
>> I would need some help removing the autmatically generated natural
>signs
>> that I see in lilypond's output.
>>
>> | melody = \relative c {
>> | \global
>> | \partial 16 d'16
On 12/8/2017 2:58 PM, Urs Liska wrote:
(from documentation)
"...
To determine whether to print an *accidental*, LilyPond examines the
pitches and the key signature. The key signature only affects the
*/printed/***accidentals, not the note’s pitch!
--> This is a feature that often causes confu
Urs,
> But to be fair one should note that there are serious encoding systems out
> there that work like the OP expects, for example the MEI encoding format or
> the Amadeus notation software.
> When I discussed the topic with an Amadeus power user he said that he would
> go nuts with all the
Am 8. Dezember 2017 21:06:05 MEZ schrieb Ben :
>On 12/8/2017 2:58 PM, Urs Liska wrote:
>>
>>> (from documentation)
>>> "...
>>>
>>> To determine whether to print an *accidental*, LilyPond examines the
>>> pitches and the key signature. The key signature only affects the
>>> */printed/***accidenta
Hi,
this isa bad hack I would not recommend, but you *could* revert the key
back to c major without showing it:
\relative {
\key g \major
c'
\once \omit Staff.KeyCancellation
\key c \major
d e f g a b c
}
Midi, transposition etc. will be broken, of course.
Cheers,
Joram
_
On 08.12.2017 20:09, Chris Jones wrote:
Wouldn't this become rather painful/tedious if the gentleman who wrote
this particular song had had the bright idea of transposing it to
a fancier key like... G# major for instance?
If that were the case I would have to add an "is" to just about every
sing
On 08.12.2017 20:58, Urs Liska wrote:
I think this is a great way to explain this concept. And I also belong to the
party of those who want to write down (encode) what it*is* and not what it
looks like.
However, sometimes in ancient music accidentals are _not_ part of the
actual content, bu
On Fri, Dec 08, 2017 at 02:22:32PM EST, Ben wrote:
> (
> On 12/8/2017 2:09 PM, Chris Jones wrote:
[..]
>
> (from documentation)
> "...
>
> To determine whether to print an *accidental*, LilyPond examines the pitches
> and the key signature. The key signature only affects the
> */printed/***accide
On Fri, Dec 08, 2017 at 03:23:35PM EST, Noeck wrote:
> Hi,
>
> this isa bad hack I would not recommend, but you *could* revert the key
> back to c major without showing it:
>
> \relative {
> \key g \major
> c'
> \once \omit Staff.KeyCancellation
> \key c \major
> d e f g a b c
> }
>
>
Chris Jones writes:
> But that is precisely the documentation I have been reading over and
> over without being able to quite understand the implications.
>
> And I think that my problem lies with the last word: "... hear".
>
> Since I am not a musician but a mere scribe when I am looking at sh
On Fri, Dec 08, 2017 at 03:30:00PM EST, Simon Albrecht wrote:
> On 08.12.2017 20:09, Chris Jones wrote:
> > Wouldn't this become rather painful/tedious if the gentleman who wrote
> > this particular song had had the bright idea of transposing it to
> > a fancier key like... G# major for instance?
>
On Fri, Dec 08, 2017 at 04:40:51PM EST, David Kastrup wrote:
> Chris Jones writes:
>
[..]
>
> Don't underestinmate the anonymous grease monkeys in printers' shops.
Far from my intention I can assure you.
As a matter of fact without being an expert I have great respect for
quality typesetting,
On 08.12.2017 23:18, Chris Jones wrote:
As a matter of fact without being an expert I have great respect for
quality typesetting, past and present... paper-oriented or digital.
Quality typesetting requires some degree of understanding about what you
are typesetting; so if you’re going to do qu
On Fri 08 Dec 2017 at 16:21:41 (-0500), Chris Jones wrote:
> On Fri, Dec 08, 2017 at 02:22:32PM EST, Ben wrote:
> > (
> > On 12/8/2017 2:09 PM, Chris Jones wrote:
>
> [..]
> >
> > (from documentation)
> > "...
> >
> > To determine whether to print an *accidental*, LilyPond examines the pitches
>
On Sun, Dec 10, 2017 at 03:16:12PM EST, David Wright wrote:
> On Fri 08 Dec 2017 at 16:21:41 (-0500), Chris Jones wrote:
> > On Fri, Dec 08, 2017 at 02:22:32PM EST, Ben wrote:
> > > (
> > > On 12/8/2017 2:09 PM, Chris Jones wrote:
[..]
> This response seems to invite a brief explanation.
>
> You
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