![]() ![]() Nethergarde and Okril’lon have already fallen, and while the Horde and the Alliance moved as quickly as they could to get reinforcements to their people, they are too late. Hundreds of strange-looking orcs are violently pouring into Azeroth, killing everything that stands in their path. The Dark Portal in the Blasted Lands has turned blood red. The patch was deployed on the Public Test Realm on Septemand released on October 14, 2014. Patch 6.0.2 is the pre-expansion patch for World of Warcraft: Warlords of Draenor. 5.11.2 Ability consolidation and refinement.5.10.2 Ability consolidation and refinement.5.9.4 Elemental Overload and Molten Earth.5.9.3 Elemental and Enhancement changes.5.9.2 Ability consolidation and refinement.5.8.5 Area-of-Effect attacks (Assassination, Combat).5.8.2 Ability consolidation and refinement.5.7.2 Ability consolidation and refinement.5.6.2 Ability consolidation and refinement.5.5.2 Ability consolidation and refinement.5.4.2 Ability consolidation and refinement.5.3.2 Ability consolidation and refinement.5.2.2 Ability consolidation and refinement.5.1.2 Ability consolidation and refinement.3.10 Crowd control and diminishing returns. ![]() ![]() 3.2 Primary character stats and attack power.2.3 Revamped Group Finder/Premade groups. ![]()
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![]() ![]() ↳ Search for classical guitar sheet music.↳ Use of nails in playing the classical guitar.↳ Archives of Public Space and its subforums.↳ How to Participate in the Delcamp Classical Guitar Forum.With long stems and small noteheads I perceive a tension in between these black and white elements. It's the amount of white, empty space which surrounds each object. A very important aspect of a good looking score is not the notation itself or the good looking font. It would be interesting to compare these programs with a page in real advanced notation. Arpeggio lines are sometimes too close to the notes and the final barline is missing. For example: ties between notes and starting after the rhythm dot. I would have used some other options than Daniel Spreadbury did. Sibelius: as I said, this is my own program. No gap and « Coda » slightly too far to the right. You immediately see the mixture of two fonts. and E in bar 27, there should be a better solution. Is this OK? If the reason is to avoid the collision between 2. Ending lines stop before the end of the System and start just somewhere above the music and too high on the next system. Ties look very good, starting after the rhythm dot and ending before the tied note. Everything looks solid, neat and mostly just as it should. Bar 18: the double barline interferes with the first note. Bar 15: E and F are overlapping on the 5th beat. Rhythm dots go the wrong way in the bass line. Again: stems for crotchets and minims seem to have a fixed length, not adapting to direction or voice level. Overture: slightly restless, because of the long stems and small noteheads. Part of the copyright text is aligned, part is centered. ![]() (but why DC?) There's a gap before the Coda, but it looks like an empty bar. Correct (non-redundant) indication of D.C. Bar 18 has a wrong 2nd ending, but the lines themselves look OK for me. The choice to indicate barnumbers straight is rather uncommon. The arpeggio line looks cheap, almost a corkscrew. Why indicating « 6-str guitar » when it's mentioned just above? Ties do not touch the rhythm dot, but are getting very close. The 8 attached to the key looks too small. LilyPond: a solid impression, slightly restless, cramped, because of the 5 bars per system and the uneven spacing between staves. al Coda »: wrong indication and wrong position. Same bar: why a separation between f and e on the 5th quaver? Bar 18: the $ seems not well positioned. Bar 15: The 1 for the first ending is floating and looks more like a fingering. Furthermore, I think this is a rather poor copyist job, nothing to blame the program for: D# in bar 3. Wedges are acceptable, but this is mainly due to the long stems. All ties are almost touching the rhythm dot they start on. Of all six programs, the longest stems for all quavers and the shortest for all crotchets. No gap between the double barline and the Coda.įinale: a bit rigid impression. al $ et poi la Coda » doesn't very good, especially for the big $. No specific stem-length rule for stems going up in high voices or down in low voices. The beam position often causes « wedges »: these small eye-irrating triangles, produced by the stem, the staff line and the beam. Rhythm dots in the bass line go the wrong way. Lilypond, Overture and Sibelius are OK and Score is the sharpest.Įncore: elegant impression. Encore and Finale look like a photocopy of an ink-jet out-print. Third remark: the PDF quality is not the same for each program. Not even some fingerings or technical indications. Second remark: this page of music isn't much of a challenge! Just standard, three voice writing without any special problems. First of all: I'm a Sibelius user and many of my observations depend on my personal preference and on what I'm used to. I made a laser out-print and did the exercise to find differences and to do a critical analysis. Thanks John, for this interesting document. So first, I would like to post my reply in the right section: Click on:īy inadvertance, I gave a long reply in English, forgetting I was in the French section. The same page is done in Encore, Finale, Lilypond, Overture, Score and Sibelius. John Rethorst posted a message in the French section about the comparaison of six notation programs, using an engraved page of the Elegy by Vyssotsky. ![]() |
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