Re: Bruhns "big" e-minor prelude

[Ali Cuota]

Hello to all,

yes, this archive.org is great. Many thanks. I just discovered a pdf
from Harald Vogel that explains why this Prelude is so contrasting
(Orfeo in music - according to the theory of affects). This makes it
even more interesting. Actually I am wirting much more than
publishing, since I dont have internet home. I will then publish it in
IMSLP. Maybe I will give a try to Mutopia too...

Felix Domenica or smthg like that,

Francois 

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2018-03-29 21:23 GMT-05:00, Simon Albrecht <simon.albre...@mail.de>:
> On 30.03.2018 01:21, Karlin High wrote:
>> On 3/29/2018 3:16 PM, Ali Cuota wrote:
>>> in IMSLP the big e-minor prelude from Nikolaus Bruhns exists in pdf,
>>> with a reference to Mutopiaproject. In Mutopia, Bruhns ist not
>>> (anymore) in the composers list.
>>
>>
>>> I would be happy to have the source file if possible.
>>
>> Archive.org is an amazing service!
>>
>> <https://web.archive.org/web/2005074129/http://www.mutopiaproject.org:80/cgibin/make-table.cgi?Composer=BruhnsN>
>>
>>
>
> So is convert-ly: version 1.3.117->2.19.80 worked pretty well.
> And then I did a run of Frescobaldi’s (python-ly’s) auto-formatting, and
> corrected a whole lot of things manually, but just in terms of coding:
> \new instead of \context
> use \voiceXXX commands
> remove unnecessary overrides
> use \tempo instead of \mark "Adagio" 
> And lastly I took the single liberty of correcting g natural in m.12 to
> g sharp – I’m quite certain that that’s a typo.
>
> What I did not fix:
> Unnecessary R R R instead of R*x
> Unnecessarily complicated durations like R1*24/16
>
> That would be an important step before recontributing to Mutopia.
>
> Also, I made no changes to staff distribution 
>
> Best, Simon
>

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Bruhns "big" e-minor prelude

[Ali Cuota]

Hello to everybody with a question:

in IMSLP the big e-minor prelude from Nikolaus Bruhns exists in pdf,
with a reference to Mutopiaproject. In Mutopia, Bruhns ist not
(anymore) in the composers list.

Does the maintainer of this file reads here?

I would be happy to have the source file if possible.

Thanks in advance,

Francois

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Re: score beginning at end of first page of a bookpart

[Ali Cuota]

Many thanks, This looks like what I need. But I have to study this
home (I have internet only in an internet-shop).

Francois 

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2018-03-19 15:52 GMT-05:00, Karlin High <karlinh...@gmail.com>:
> On 3/19/2018 12:03 PM, Ali Cuota wrote:
>> I need to start a score at the end of page (in one case one system,
>> other case 3 systems), but I don't know how to fix it.
>
> To get good help, provide a tiny example.
> <http://lilypond.org/tiny-examples.html>
>
> This notation manual page might have the information you need.
> <http://lilypond.org/doc/v2.19/Documentation/notation/explicit-staff-and-system-positioning>
>
> And the Joram Berger LilyPond spacing map often clarifies things for me:
> <http://joramberger.de/files/LilypondSpacing.pdf>
> --
> Karlin High
> Missouri, USA
>

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Re: trillspann without trill

[Ali Cuota]

Many thanks. I will try it this afternoon.

Francois 

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2018-03-19 16:25 GMT-05:00, Susan Buckingham <slb@gmail.com>:
> If you set the TrillSpanner.bound-details.left.text = ##f this gets rid of
> the "tr"
>
> On Mar 19, 2018 2:06 PM, "Malte Meyn" <lilyp...@maltemeyn.de> wrote:
>
>>
>>
>> Am 19.03.2018 um 18:11 schrieb Ali Cuota:
>>
>>> Hi again,
>>>
>>> for Bach BWV 528, 2nd mvt,  meas. 38-39, I need a trillspann without
>>> trill (see not-so-tiny pic).
>>>
>>> How can I achieve this?
>>>
>>
>> Try one of the following:
>>
>> \version "2.19.81"
>>
>> {
>>   \override TrillSpanner.bound-details.left.text = #'()
>>   b1\startTrillSpan b\stopTrillSpan
>>   b\prall
>>   b\prallprall
>> }
>>
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score beginning at end of first page of a bookpart

[Ali Cuota]

Hello Lilyponders,

I have a (I suppose simple) question about layout/paper.

I need ta start a score at the end of page (in one case one system,
other cas 3 systems), but I dont know how to fix it.

Actually, the page with one system is vertically overstrectched (but
how to fix systemspace only for one / the first system?

And in both case, how to get a ragged-first-top = ##f ?

Thanks in advance,

Francois

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Re: \pralllUp inside Staff

[Ali Cuota]

Hi Torsten,

done. Again many thanks, this works perfectly.

BTW: I will publish in imslp, this seems more interesting for
everybody, than mutopia.

Francois 

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2018-02-27 11:22 GMT-05:00, Ali Cuota <alicuota...@gmail.com>:
> Hallo Torsten,
>
> Many thanks anyway. I am now without lilypond on the road again, but I
> will try it tonight
>
> I wish a nice day for you and everybody here,
>
> Francois  style="border-top: 1px solid #D3D4DE;">
>   
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>   
> 
>  height="1">
>
> 2018-02-26 17:51 GMT-05:00, Torsten Hämmerle <torsten.haemme...@web.de>:
>> Hi Francois,
>>
>> my previous answer probably went amiss, so the 2nd attempt...
>>
>>
>> Ali Cuota wrote
>>>  in BWV 572 (trio Sonate d-minor)
>>
>> Ah, I guess you mean BWV 527... ;)
>>
>>
>> Ali Cuota wrote
>>> he wants a prallUp (well I
>>> understand it this way) inside the staff (see picture). I tried with
>>> the 3 ways I found inside the Notation manual (\raise, \super,
>>> \dir-column) (version 2.18.2) but none works.
>>
>> \raise and \super are markup commands.
>> And,  in this case, by squeezing the prallup below the beam between the
>> notes, the note spacing will be affected and you should try to set
>> X-offset
>> and Y-offset of the Script (technically, \prallup is a Script).
>> In order to move the follow-up notehead a bit further away, you could use
>> extra-spacing-width.
>>
>> In my example, I've included the complete measure and added another
>> stave,
>> just to show the correct rhythmic alignment of the resulting note
>> columns:
>>
>>  \version "2.18.2"
>>
>>  \new PianoStaff <<
>>\new Staff \relative {
>>  \key d \minor
>>  \time 6/8
>>  d''8 ~ d32 cis b a e'16 g, g8\prall
>>  \once\override Script.Y-offset = #-1.5
>>  \once\override Script.X-offset = #3.2
>>  \once\override Script.extra-spacing-width = #'(0 . 0.5)
>>  f\prallup as
>>}
>>\new Staff \relative {
>>  \clef bass
>>  \key d \minor
>>  \time 6/8
>>  bes!8 g a d,8. es16 c! d |
>>}
>>  >>
>>
>> prallup-inside.png
>> <http://lilypond.1069038.n5.nabble.com/file/t3887/prallup-inside.png>
>>
>> HTH,
>> Torsten
>>
>>
>>
>> --
>> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>>
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Re: \pralllUp inside Staff

[Ali Cuota]

Hallo Torsten,

Many thanks anyway. I am now without lilypond on the road again, but I
will try it tonight

I wish a nice day for you and everybody here,

Francois 

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2018-02-26 17:51 GMT-05:00, Torsten Hämmerle <torsten.haemme...@web.de>:
> Hi Francois,
>
> my previous answer probably went amiss, so the 2nd attempt...
>
>
> Ali Cuota wrote
>>  in BWV 572 (trio Sonate d-minor)
>
> Ah, I guess you mean BWV 527... ;)
>
>
> Ali Cuota wrote
>> he wants a prallUp (well I
>> understand it this way) inside the staff (see picture). I tried with
>> the 3 ways I found inside the Notation manual (\raise, \super,
>> \dir-column) (version 2.18.2) but none works.
>
> \raise and \super are markup commands.
> And,  in this case, by squeezing the prallup below the beam between the
> notes, the note spacing will be affected and you should try to set X-offset
> and Y-offset of the Script (technically, \prallup is a Script).
> In order to move the follow-up notehead a bit further away, you could use
> extra-spacing-width.
>
> In my example, I've included the complete measure and added another stave,
> just to show the correct rhythmic alignment of the resulting note columns:
>
>  \version "2.18.2"
>
>  \new PianoStaff <<
>\new Staff \relative {
>  \key d \minor
>  \time 6/8
>  d''8 ~ d32 cis b a e'16 g, g8\prall
>  \once\override Script.Y-offset = #-1.5
>  \once\override Script.X-offset = #3.2
>  \once\override Script.extra-spacing-width = #'(0 . 0.5)
>  f\prallup as
>}
>\new Staff \relative {
>  \clef bass
>  \key d \minor
>  \time 6/8
>  bes!8 g a d,8. es16 c! d |
>}
>  >>
>
> prallup-inside.png
> <http://lilypond.1069038.n5.nabble.com/file/t3887/prallup-inside.png>
>
> HTH,
> Torsten
>
>
>
> --
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>
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\pralllUp inside Staff

[Ali Cuota]

Hello to all Lyliponders,

I am typesetting different Works from J.S.Bach and now with following question:
 in BWV 572 (trio Sonate d-minor) he wants a prallUp (well I
understand it this way) inside the staff (see picture). I tried with
the 3 ways I found inside the Notation manual (\raise, \super,
\dir-column) (version 2.18.2) but none works.

Thanks in advance,

Francois
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pre-processors for change note_language

[Ali Cuota]

Hi again,

Do we have some preprocessors to translate noteNames from one language
to other? I never read about it, but maybe I missed the point in the
doc.

Thanks in advance,

Francois

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Re: typesetting: doing it twice

[Ali Cuota]

Dear Simon,

thanks for your much better formulation: coordinating Mutopia ( or
even people without the idea of publishing, but accepting others do it
for them).

This is my question.

Francois 

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2018-02-18 16:10 GMT-05:00, Simon Albrecht <simon.albre...@mail.de>:
> On 18.02.2018 21:40, Ali Cuota wrote:
>> Hello Lilyponders,
>>
>> I have a question about planning typesetting:
>> Do we have any possibility to say which piece we will typeset, by
>> date. To avoid 2 persons typesetting the same at the same moment?
>
> Hi Francois,
>
> what are you referring to? LilyPond users in general?
> It does seem like in addition to Mutopia there are several small
> projects with similar scope and very much uncoordinated.
> If I’m honest: I like the idea of having ‘all’ of public domain music
> available for free as high-quality LilyPond code, but I’m pretty
> pessimistic about it happening without the backing of a really powerful
> institution.
>
> Best, Simon
>

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typesetting: doing it twice

[Ali Cuota]

Hello Lilyponders,

I have a question about planing typesetting:
Do we have any possibility to say which piece we will typeset, by
date. To avoid 2 persons typesetting the same at the same moment?

Thanks in advance,

Francois

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Re: getting paid for an include (I offer)

[Ali Cuota]

Dear Werner, and Dear all,

I dont want to set NDT for new compositions. I just want to enjoy
diversity of engraving, with their different valid points. And surely
we will continue to play barock and polypnohic music for many years.

In the mean time, I had and deeper and serious look to Scheme and
Python. This is nothing for me :-(
Nevertheless, I have questions, who knows...

1 - in the User-manual of Lilypond, chapter 1.1, there is a script for
"Ez_numbers_engraver" This is interesting of course, but I cant figure
out how to modify it for letters (all would be easier with a table).

2 - in usr/schare/lilypod/current/tablature.scm I miss many things,
one of them is: where is it declared that the lines representing the
strings are to be drawn?

3 - the concept of jianpu is nice. But I also swim in python-code.

4 - chapter 2.2.77 in internals refers to printing noteHead in words,
but here too, :-/

Well these are my first questions, maybe somebody wants to help... But
if I go ths way of DIY, I will have many questions. Probably too much
questions.

Francois 

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2017-12-29 12:44 GMT-05:00, Werner LEMBERG :
>>> ???  Are you really trying to reactivate Neue Deutsche
>>> Orgeltabulatur, three hundred years after it was abandonded?
>>
>> There can be multiple reasons why one would do that: [...]
>
> All of these are valid points.  However, it seems to me that he wants
> to actually *add* features to this tablature, which I consider three
> hundred years too late.  Similar to figured bass, Neue Deutsche
> Orgeltabulatur can't handle more elaborated music, so there were
> really good reasons to change to normal, modern notation.
>
>
> Werner
>
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Re: getting paid for an include (I offer)

[Ali Cuota]

Dear Karl, Werner and All,

Thanks Karl these are two points.

Also stretching the score is really a poit in concert (not mentionned
that another aproach of the matter is recommended from pedagogists). I
had a try with OO-calc and OO-writer, the score reduces to half of
traditional score, and more is even possible. This is huge. Vierne's
Toccata has 8 pages, these are 3 turns, quite difficult to manage. in
TAB this would be 4 letter-pages, that fits on the musik stand. No
turns.
Of course a musician can and should learn by heart, but the stressing
life doesnt allow to learn everything by heart. And I dont want to
work anymore with assistants.

For programming, I am definitely not the man. Thats why I would pay.

Anyway, the end of the year is at the door, so I wish all a good start in 2018.

Francois 

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2017-12-29 7:35 GMT-05:00, k...@aspodata.se :
> Werner:
> ...
>> ???  Are you really trying to reactivate Neue Deutsche Orgeltabulatur,
>> three hundred years after it was abandonded?
>
> There can be multiple reasons why one would do that:
>
> . the somewhat academic point in being able to do that
>
> . when transcribing things I've found that that is easier if I first
> can get something that looks similar with the piece I'm transcribing,
> and then convert it into something a performer would like
>
> . the notation suited the performers at that time (1550-1700), so
> there might be some value in beeing able to understand why they used it
> and beeing able to use it oneself, and for that end, beeing able to
> make a cleaner version of a source tabulature
>
> Regards,
> /Karl Hammar
>
> ---
> Aspö Data
> Lilla Aspö 148
> S-742 94 Östhammar
> Sweden
> +46 173 140 57
>
>
>
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Re: getting paid for an include (I offer)

[Ali Cuota]

Dear Werner,

sadly, you are right. I had a closer look at what I thought to be an
''es'' but is a ''dis'',

Nevertheless, in my idea it should be the user who would choose
alternatives (historical (only sharps and b), my-way (flats, sharps
and even double-falts and d-sharps), and alternative.

I see python is used for jianpu, but I cant determine what it does
(what it uses from lily for the output, and if it reads from a
standard ly-file)

Is it better I serch a scheme programmer or a python-man?

Francois

2017-12-27 15:00 GMT-05:00, Werner LEMBERG :
>
>> About the flat in the new german TAB,
>
> AFAIK there doesn't exist a flat at all in the Neue Deutsche
> Orgeltabulatur.
>
>> I would be pleased if you confirm me, or not: in Scheidemann's
>> Judentanz, I read the (recurrent) es as it is and not as a s.
>
> I don't understand this sentence.  Please rephrase and use quotes to
> properly make a distinction between note names and normal text!
>
>> For, if this is how I read, the es could be the hook toward left
>> (the is anyway toward right).
>
> Please provide a small image with marks that show what you mean.
> Looking into the scan of the autograph, I only see alterations one
> semitone up (i.e., a sharp).
>
>
> Werner
>

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Re: getting paid for an include (I offer)

[Ali Cuota]

Hello Werner and All,

I have readen your article. Many thanks anyway. I didnt thought that
the TAB was the standard notation before our actual system.
About the flat in the new german TAB, I would be pleased if you
confirm me, or not: in Scheidemann's Judentanz, I read the (recurrent)
es as it is and not as a s. Although german paleology is not my
strength, I am waiting to your confirmation.
For, if this is how I read, the es could be the hook toward left (the
is anyway toward right).

greetings

Francois

2017-12-24 15:00 GMT-05:00, Ali Cuota <alicuota...@gmail.com>:
> Hello All, Werner and Malte,
>
> For me, one of the plus point of this TAB is to read (I already use it
> writing, by hand, and practice actually in old printed TABs, I am not
> far enough for the handwritten Tabs) like Pachelbel, Bruhns,
> Buxtehude, the Bach's etc. Maybe I will learn something new about
> "thinking" music...
> Another point is stretching (quite much) scores. On the music stand
> during concerts it makes a big difference.
> And last but not least, I would be interested to test it on my
> singing-students, since the higher-lower pitches are picturally
> reflected in this TAB.
> (Also for handwriting music , drawing the lines is not necessary,
> whitch is a good point, but its OT. I am interested in am include in
> order to use the repesotories of *.ly files, of course.)
>
> The need of a font is clear. I would be quite happy with an historical
> font (with the specials of this tab, and a modernized font. I would
> care for it.
>
> What I definitely cant do is programming more than 2 or 3 lines. Thats
> why I need help. I suppose this would be interesting to have the
> output in lilypond, in order to mix pentagram-music and TAB, for
> pedagogic uses for examples.
>
> Jianpu seems to go this way, but I would let the programmer choose how
> he wants to process the whole topic.
>
> Francois
>
> 2017-12-24 5:45 GMT-05:00, Werner LEMBERG <w...@gnu.org>:
>>
>>>> https://de.wikipedia.org/wiki/Tabulatur#Neue_deutsche_Orgeltabulatur
>>>
>>> Hi, I would be interested maybe; coincidentally I’m just now reading
>>> Willi Apel’s book on notation and the next chapter I’ll read is
>>> about the old and the new German organ tab.
>>
>> It's an interesting topic indeed – even J.S. Bach has used Neue
>> Deutsche Orgeltabulatur.  As an example, see page 300 in the following
>> article.
>>
>>   https://www.tug.org/TUGboat/tb37-3/tb117lemberg.pdf
>>
>>
>> Werner
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Re: getting paid for an include (I offer)

[Ali Cuota]

Hallo Werner,

Excuse me, the New German Tabulatur is my topic.
https://de.wikipedia.org/wiki/Tabulatur#Neue_deutsche_Orgeltabulatur

Danke

Francois, 

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target="_blank" style="color: #4453ea;">www.avg.com 




2017-12-23 14:30 GMT-05:00, Werner LEMBERG :
>
>> I would like to use the keyboard TAB
>> (https://de.wikipedia.org/wiki/Tabulatur) as alternative to "normal"
>> notation.
>
> Which one?  There are so many tablutures.  Please give an example
> (i.e., the `normal' notation and the tablature version).
>
>
> Werner
>

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getting paid for an include (I offer)

[Ali Cuota]

Dear lilyponders,

I have very very basic notions about programming and cant do what I
really want, so I come to you all to ask for (paid) help.

I would like to use the keyboard TAB (https://de.wikipedia.org/wiki/Tabulatur)
as alternative to "normal" notation.

My idea is to pass normal *.ly files to get the output as
new-german-TAB, even if the ly-file has to be slightly modified (or having an
error-messages-management in the "newGermanTab" files that ignores the
irrelevant parts of the file.ly)

Does somebody be interested in programming this file for money (or
even free of course)?

I had this post in the devel-list, maybe it is better here?!?

Thanks in advance,

Francois

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Re: Engraving the old way

[Ali Cuota]

It is mostly, and very interesting; but he also works with computer
typesetting. Short before the end of the video. 

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target="_blank">https://ipmcdn.avast.com/images/icons/icon-envelope-tick-green-avg-v1.png;
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/>
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target="_blank" style="color: #4453ea;">www.avg.com 




2017-10-16 15:26 GMT-05:00, Karlin High <karlinh...@gmail.com>:
> On Mon, Oct 16, 2017 at 2:21 PM, Ali Cuota <alicuota...@gmail.com> wrote:
>> Hi,
>>
>> Which app does er use in is Home-office?
>>
>> Francois
>
> Do you mean in the video? I think it was a hammer and engraving punches. :)
>
>> 2017-10-12 14:00 GMT-05:00, Herbert Liechti <herbert.liec...@thinx.ch>:
>>> https://www.youtube.com/watch?v=CYZbULcoVtw
>>>
>>> Enjoy & best regards
>>>
>
>
> --
> Karlin High
> Missouri, USA
>

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Re: Engraving the old way

[Ali Cuota]

Hi,

Which app does er use in is Home-office?

Francois 

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target="_blank">https://ipmcdn.avast.com/images/icons/icon-envelope-tick-green-avg-v1.png;
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/>
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target="_blank" style="color: #4453ea;">www.avg.com 




2017-10-12 14:00 GMT-05:00, Herbert Liechti :
> https://www.youtube.com/watch?v=CYZbULcoVtw
>
> Enjoy & best regards
>

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Re: Spiridione, Nova Instructio pro pulsandis organis

[Ali Cuota]

Thanks, this helps much I think.
Francois

2016-07-12 12:52 GMT-05:00, Mark Stephen Mrotek <carsonm...@ca.rr.com>:
> Francois,
>
> Here is a reference. The actual article is in California.
> http://www.worldcat.org/search?q=su%3ASpiridion%2C+1615-1685.+Nova+instructi
> o.=hot_subject
>
> Mark
>
> -Original Message-
> From: lilypond-user
> [mailto:lilypond-user-bounces+carsonmark=ca.rr....@gnu.org] On Behalf Of
> Ali
> Cuota
> Sent: Tuesday, July 12, 2016 10:24 AM
> To: lilypond-user <lilypond-user@gnu.org>
> Subject: OT: Spiridione, Nova Instructio pro pulsandis organis
>
> Hello,
>
> I know this is quite OT actually, but who knows where there is an extended
> review of this work?
> Thanks in advance,
> Francois
>
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OT: Spiridione, Nova Instructio pro pulsandis organis

[Ali Cuota]

Hello,

I know this is quite OT actually, but who knows where there is an
extended review of this work?
Thanks in advance,
Francois

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A call to Cantique de Fauré

[Ali Cuota]

Hello,

Does somebody where to find the Cantique de Jean Racine in Ly?
Mutopia, cpdl, imslp and so far google say no. :-(

In https://lists.gnu.org/archive/html/lilypond-user/2005-01/msg00295.html
Sir Michiel Lange was asking about a solution for manual changes, so
maybe he can help?

Thanks in advance

Franck

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OT: pedagogics with MIDI

[Ali Cuota]

Hello,

I know this question is OT, but maybe someone can tell me where to ask
or simply knows...

I am searching a setting of programs based on MIDI diff. I found
MIDICMP for win, but what I want is for a university so the technik
should not be shown.

Usage should be:
1 - Teacher prepares and store exercises (preferably with frescobaldi):
Exercise is made of text or pic (the question, shown) and a MIDI-file1
(hidden, unreadable, that has two voices: one for the reght answer,
one for the metronom-tapping)
2 - Student look at question, starts tapping (lets say one measure
counting) and answer with connected MasterKB that generate MIDI-file2,
in rythm of tapping (with teacher adjustable tolerance for rythm).
3 - Program compare both MIDI-files, generates a percent answer and
stores it or send it to another program.

This all for developping online practical harmony and counterpoint excersises...

And should work in Win and Linux (or at least cygwin)...

Thanks in advance,

Francois

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Re: Is Sibelius really as bad as this?

[Ali Cuota]

I would think (trying to think business) that tweaking a score in Sib
is faster than in lily. So they receive any bad Sib and tweak it by
hand. (this appies to Fin and Sco too, in a less ergonomic manner).
It maybe easier to find experienced tweakers for these programs that
are older than lily. And they have these workers.
Now, change for lily tweakers would mean a change in personal and
contratists. And for this change, the managers should express absolute
aesthetic requirement, but they first care for maximal rentability
(they have to). (this will get worse with the free comerce agreement
between US and UE and consequent dispariton of subsidies for culture).
Lilypond and nice engraving is not vital to sell.
The solution is biologic...
Francois


2015-05-29 9:23 GMT-05:00, Richard Shann rich...@rshann.plus.com:
 On Fri, 2015-05-29 at 10:29 +0200, Urs Liska wrote:


 Am 29.05.2015 um 10:13 schrieb Richard Shann:

  On Thu, 2015-05-28 at 21:16 +0200, Jacques Menu wrote:
   Hello Richard,
  
   Find attached what I get after raw import of the XML file into
   Sibelius 7.1.3 and then export as PDF.
  
   It seems there’s no difference with what you got from IMSLP.
  
   JM
 
  Well, again I couldn't view this in Evince but I could open it with
  Iceweasel, and it shows something interesting: in bar 13 the original
  has a cautionary accidental in parentheses.
 
  Denemo's MusicXML import ignores this field (yes! I've submitted a bug
  report for this) so I have inserted it manually, getting the attached
  typeset LilyPondBar13.png.
 
  The hand-written Sibelius output was particularly bad for this (see
  SibeliusHandGenerated.ly), while Sibelius's MusicXML import, like
  Denemo's, ignored the cautionary attribute when re-importing its own
  MusicXML (see SibeliusImportedFromMusicXML.png attached - this has been
  snipped from your file).
 
  Reading this mailing list gave me the impression that Sibelius was a
  required format for some publishing houses.

 This is correct. From my own experience and comments by others most
 (major) publishers require you to submit one of the following:;
 - Finale files
 - Sibelius files
 - SCORE files
 - PDF

  How can this be?

 Good question.
 Has to be put also the other way round: How can it be that practically
 noone accepts LilyPond yet? It can't be the text approach alone,
 otherwise they wouldn't use SCORE (and sometimes even Amadeus which is
 very similar to LilyPond in a way).

 I think the answer may be that they re-typeset everything in-house, so
 even a manuscript is acceptable. Have you ever had a chance to ask them?

 Richard





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Re: What is the problem with \relative? (Was: Do we really offer the future?)

[Ali Cuota]

Hello,

If this is so easy for frescobaldi to have this converter
relative2absolute, and so usefull to have input files in absolute, why
not implant a commandline option to lily that would convert the
relatibe blocks founds to absolute?

Francois

2015-04-26 5:12 GMT-05:00, Gilles gil...@harfang.homelinux.org:
 On Sun, 26 Apr 2015 09:58:33 +0200, Johan Vromans wrote:
 On Sun, 26 Apr 2015 05:52:04 + (UTC)
 Keith OHara k-ohara5...@oco.net wrote:

 I wish the manual did not use the implicit \relative c'' {}
 (sometimes \relative c' {} ) enclosing the examples.  As soon as
 the input gets complicated, \relative becomes difficult to figure
 out.

 I've always considered \relative as an operation that should be
 applied as
 close to the actual notes as possible. This gives the least suprises,
 if
 any.

   \relative c'' {
 \new PianoStaff 
   \new Staff { \time 2/4 c4 e | g g, | }
   \new Staff { \clef bass c,,4 c' | e c | }
 
   }

 This is, indeed, asking for problems...

 I totally agree.
 This kind of forgiveness from the LilyPond parser allows for
 the ultimate bad practice of inextricably mixing typographical
 information with musical information.

 I fully understand and admit that the learning and notation
 manual want to present self-contained examples (so that the
 linked LilyPond code can readily compile), but I'm advocating
 that readers should be made aware that it is only intended for
 illustrating specific aspects of notation and that it should
 not be done for any project for which maintainance is a concern.
 [Some of the templates are complete counter-examples for this
 aspect of best practices. The templates sections should probably
 show an image of the intended output but link to zip file
 containing the skeleton of a real project (possibly with a
 README file).]

 One should strive to separate editorial and musical information
 to the utmost that LilyPond permits, not take advantage that
 LilyPond allows for obfuscated code!


 Best regards,
 Gilles


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Re: What is the problem with \relative? (Was: Do we really offer the future?)

[Ali Cuota]

Thanks, just found it. I will consider it for my future works.

Francois

2015-04-25 13:08 GMT-05:00, Noeck noeck.marb...@gmx.de:
 Hi,

 I didn't want to enter the absolute/relative discussion, but
 now I have to add one advantage when entering notes in the relative mode:
 In case of a wrong , or ' (or missing) all following notes are in the
 wrong octave and I am more likely to spot the error.

 Cheers,
 Joram

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Re: What is the problem with \relative? (Was: Do we really offer the future?)

[Ali Cuota]

Hello,

I am only a user and very thankfull, both for ly and for relative. I
would have had really thought much longer about ly if relative had not
be available. Now, I understand the pro of absolute, and I think the
solution is in the editors functionalities. If, let say Frescobaldi,
would offer a preprocessor to translate a block from relative to
absolute, this would be done. Relative is easy to write, absolute easy
to read, so why choose? Both is better...

Cheers,

Francois

2015-04-25 5:34 GMT-05:00, Simon Albrecht simon.albre...@mail.de:
 Am 25.04.2015 um 00:38 schrieb Thomas Morley:
 Hi all,

 I'm a little late to the party...

 One very annoying thing about \relative is when you want to use
 music-functions catching some music doing something with it.

 Here the less complex function I could think of, returning different
 results for absolute and relative.
 (It's only a show-case, the functionality could be achieved easily
 with other predefined commands, but I hope you'll get the point.)

 repeat-note =
 #(define-music-function (parser location music)(ly:music?)
(make-sequential-music (list music (ly:music-deep-copy music

 \absolute { c'1 \repeat-note c'' }
 \relative c' { c \repeat-note c'1 }
 Well, either we require doing

 \version 2.19.17

 repeat-abs-note =
 #(define-music-function (parser location music)(ly:music?)
 (let ((music #{ \absolute $music #}))
   (make-sequential-music (list music (ly:music-deep-copy music)

 \absolute { c'1 \repeat-abs-note c'' }
 \relative c' { c \repeat-abs-note c''1 }

 or we consider this a bug in (or enhancement request to)
 (ly:music-deep-copy), towards which I’m inclined.

 Yours, Simon

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Re: What is the name of this and how to code in lily

[Ali Cuota]

Hello,

This is a tremolo https://ccrma.stanford.edu/software/cmn/cmn/cmn.html
Unfortunately, I dont know right now where to find it in the doc.

Greetings

2015-02-06 22:10 GMT-05:00, MING TSANG tsan...@rogers.com:
 Hi lilyponders,
 I transcribe a score and I dont know how tackle the past measure. (refer to
 the png file. - the three slanted line on 2nd 8th chord and the last half
 chord)I don't know what it is called, therefore I cannot search. I had
 browse the whole snippet file and cannot find any reference.Help is
 appreciated.
 Immanuel,Ming.

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Re: Lyric syllables

[Ali Cuota]

Hi,

Why not Al -- le -- _ lu -- ia in spite of Al -- le -- e -- lu -- ia?
Is this notation from Schein?

Franck

2015-02-05 8:22 GMT-05:00, Charles Johnson cehjbtinter...@gmail.com:
 On 05/02/15 10:43, Phil Holmes wrote:
 Most people, I think, prefer code inline where this is possible.  If
 not, attachments are OK.

 Phil,

 The following illustrates the syllable thing, but the slightly bigger
 problem is reproduction of the verse numbers is slightly out of whack.
 Is there a remedy for this? I have to say that i have simplified the
 original round-tripping of the various import-exports that went on.


 \version 2.18.2

 % automatically converted by musicxml2ly from s-1.xml

 \header {

   poet = One-in-a-bar

   encodingsoftware = PDFtoMusic Pro v1.5.0 Build 14482 (c) Myriad -
 http://www.myriad-online.com;

   composer = Schein

   title = Surrexit Christus

 }

 #(set-global-staff-size 19.1113832445)

 \paper {

   paper-width = 20.99\cm

   paper-height = 29.7\cm

   top-margin = 1.0\cm

   bottom-margin = 1.0\cm

   left-margin = 1.0\cm

   right-margin = 1.0\cm

 }

 \layout {

   \context { \Score

   autoBeaming = ##f

 }

 }

 Soprano =  \relative e' {

   \clef treble \stopStaff \override Staff.StaffSymbol #'line-count =

   #5 \startStaff \key g \major \time 3/4

   % \break e4 s2 | % 2

   \partial 4 e4 |

   g2 g4 | % 3

   b2 g4 | % 4

   \time 2/4  g2 ( | % 5

   fis2 ) | % 6

   e2 | % 7

   fis2 | % 8

   a4 a4 | % 9

   b2 |

   a2 | % 11

   b4 g4 ~ | % 12

   g4 fis4 | % 13

   \time 3/4  g2 g4 | % 14

   b2 g4 | % 15

   fis2 fis4 | % 16

   e2 e4 | % 17

   fis2 gis4 | % 18

   \time 2/4  a4. g8 _. | % 19

   a4 _. g4 _. |

   \time 3/4  fis4. e8 _. e4 ~ | % 21

   \time 2/4  e4 dis4 | % 22

   e2 \bar |.

 }

 Alto =  \relative b {

   \clef treble \stopStaff \override Staff.StaffSymbol #'line-count =

   #5 \startStaff \key g \major \time 3/4

   \partial 4 b4 | % 2

   e2 e4 | % 3

   g2 e4 | % 4

   \time 2/4  d2 ~

   d2 | % 6

   d4 ( cis4 ) | % 7

   d2 | % 8

   fis4 fis4

   g2 |

   fis2 | % 11

   g4 d4 ~ | % 12

   d4 d4

   \time 3/4  d2 d4 | % 14

   g2 d4 | % 15

   d2 d4 | % 16

   d2 cis4

   d2 d4 | % 18

   \time 2/4  c4. d8 _. | % 19

   e4 _. e4 _. |

   \time 3/4  d4. b8 _. b4 ~

   \time 2/4  b4 b4 | % 22

   b2 \bar |. }

   SopranoVerseOne =  \lyricmode { 1.Sur -- re -- xit Chri --

   stus ho -- di -- e, Al -- le -- lu -- ia, Al -- le -- lu --

   ia, Hu -- ma -- no pro so -- la -- mi -- ne, Al -- le -- e -- e

   -- e -- e -- e -- e -- lu -- ia. }

   SopranoVerseTwo =  \lyricmode { 2. Mor -- tem qui pa --

   ssus pri -- di -- e, Al -- le -- lu -- ia, Al -- le -- lu --

   ia, mi -- se -- rri -- mo pro ho -- mi -- ne, Al -- le -- e -- e

   -- e -- e -- e -- e -- lu -- ia. }

   SopranoVerseThree =  \lyricmode { 3. Mu -- lie -- er -- es ad tu --
 mu -- lum,

   Al -- le -- lu -- ia, Al -- le -- lu --

   ia, por -- ta -- ver -- unt a -- ro -- ma -- ta, Al -- le -- e -- e

   -- e -- e -- e -- e -- lu -- ia. }

   AltoVerseFour =  \lyricmode { 4. Di -- sci -- pu -- lis hoc di -- ci
 -- te,

   Al -- le -- lu -- ia, Al -- le -- lu --

   ia, su -- rrex -- it Chri -- stus ho -- di -- e, Al -- le -- e -- e

   -- e -- e -- e -- e -- lu -- ia. }

   AltoVerseFive =  \lyricmode { 5. In hoc Pa -- schal -- i gau -- di
 -- o,

   Al -- le -- lu -- ia, Al -- le -- lu --

   ia, be -- ne -- dic -- a -- mus Do -- mi -- no, Al -- le -- e -- e

   -- e -- e -- e -- e -- lu -- ia. }

   AltoVerseSix =  \lyricmode { 6. Lau -- de -- tur sanc -- ta Tri --
 ni -- tas,

   Al -- le -- lu -- ia, Al -- le -- lu --

   ia, De -- o di -- ca -- mus gra -- ti -- as, Al -- le -- e -- e

   -- e -- e -- e -- e -- lu -- ia. }

   % The score definition

   \score {

 

   \new ChoirStaff 

 \new Staff = sopranos 

   %\new Lyrics \lyricsto Soprano \SopranoVerseOne

   %\new Lyrics \lyricsto Soprano \SopranoVerseTwo

   %\new Lyrics \lyricsto Soprano \SopranoVerseThree

   \new Voice = sopranos {

 \Soprano

   }

 

 \new Lyrics \lyricsto sopranos {

   \SopranoVerseOne

 }

 \new Lyrics \lyricsto sopranos {

   \SopranoVerseTwo

 }

 \new Lyrics \lyricsto sopranos {

   \SopranoVerseThree

 }

 \new Staff = altos 

   %\new Lyrics \lyricsto Alto \AltoVerseFour

   %\new Lyrics \lyricsto Alto \AltoVerseFive

   %\new Lyrics \lyricsto Alto \AltoVerseSix

   \new Voice = altos {

 \Alto

   }

 

 \new Lyrics \lyricsto altos {

   \AltoVerseFour

 

Re: Hungarian Gregorian

[Ali Cuota]

Dear Sr. Judit,

I thought, there is some kind of reason like this one...

Honestly, the conventional gregorian typo is almost self-explanatory,
and has a very tough spelling. I noticed this first when trying to
use another (more lily-friendly than gregorian.ly) system.
But nevertheless, I follow this thread and see if there is an
automagic solution for your use.

Cordially

Franck

2015-01-28 18:48 GMT-05:00, Trevor Daniels t.dani...@treda.co.uk:
 Hi

 Bad news, I'm afraid.  There is no simple way to change the shape of the
 note heads used in Gregorian ligatures (the things coded as \[ ... \]).
 These ligatures are built up from a wide variety of glyphs in
 Vaticana_ligature_engraver.cc.  The whole ligature is then treated as a
 single graphical object so the spacing of its components is not affected by
 changes in layout.  The same applies to Mensural notation.

 The work done by Pierre is an excellent start, but as he acknowledged it's
 not easy to use.  If this could be coupled with a suitable input syntax
 which could be interpreted by a music function to invoke the new grobs he
 defined it would be much more usable.  As a final stage that could be
 converted into a new engraver.  But that is quite a lot of work.

 Sorry this is not much help.

 Trevor

   - Original Message -
   From: Rita Composer
   To: Pierre Perol-Schneider
   Cc: lilypond-user...@gnu.org ; lilypond-user@gnu.org
   Sent: Wednesday, January 28, 2015 8:24 PM
   Subject: Re: Hungarian Gregorian


   Hi,


   Wow, that looks perfect :-)
   My little problem, is that it seems very complicated to me to creat/
 edit...


   I was wandering, that could you override  melisma setting?
   Because I have problem with the  shape of the notes.
   (I don't know the name of this \[ g a h c \] )


   I could solve the 5th line, we can override stem.
   I hope it's possible, and I don't have to deal with so complicated
 adjusting.


   Here is my example again. Where it would be great to change the shape of
 the  classical gregorian notes.


   Thanks
   Sister Judit


   chantEgy = \relative c' {
   \override NoteHead.style = #'default

   \[ g a h c \]

   c h a g \divisioMinima

   \[ h4 \virga a g \] d' c h a g \divisioMinima

   \finalis

   }

   verba = \lyricmode {

   Lo -- _ _ _ rem ip -- sum do -- lor _ _ sit a -- men a -- men

   }

   \markup { 3 }

   \score {

   \new VaticanaStaff 

   \override VaticanaStaff.StaffSymbol #'line-count = #5

   \new VaticanaVoice = melody \chantEgy

   % \new VaticanaVoice = melody \chantKettő

   \new Lyrics = one \lyricsto melody \verba

   

   \layout {

   \context {

   \VaticanaStaff

   \override StaffSymbol.color = #black

   \override LedgerLineSpanner.color = #black

   }

   }

   }



   2015-01-28 17:36 GMT+01:00 Pierre Perol-Schneider
 pierre.schneider.pa...@gmail.com:

 please respond to the list


 Hi Sister Judith,


 Yes, you're right - not so much time though, interesting time I should
 say!

 I've added a draft to the LSR : http://lsr.di.unimi.it/LSR/Item?id=973

 Stems and ornaments have been changed into other characters.

 Glad you loke it.


 Cheers,
 Pierre



 2015-01-28 17:26 GMT+01:00 Rita Composer ritacompo...@gmail.com:

   Wow, thank you so much!!!


   The layout/ view is almost perfect :-)

   The curved stems are a bit too far from the notes.


   Am I right that you used signs instead of notes?

   You must have been spending quite much time to do. (for me it seems a
 bit complicated at the moment...I try to get used to it)


   Thank you very much!

   Sister Judit



   2015-01-28 15:48 GMT+01:00 Pierre Perol-Schneider
 pierre.schneider.pa...@gmail.com:

 Hi,


 First of all, I have to admit that I know almost nothing about those
 type of chants.

 Anyway...

 AFAIK, there is no predefined context or commands that will do -
 exactly - such scores.
 I've done something similar on the german forum :
 http://www.lilypondforum.de/index.php?topic=1801.msg9962#msg9962

 The main idea was to put one voice per grouped note.


 In your particular case it does not seem to be a good idea; So
 please find attached a compilable file :

 1. I've tried to stick as much as possible to your original pdf.

 2. the idea was to change the note heads stencil with grouped notes
 - with or without stems, spaces and/or ornaments.

 3. not easy...


 Hope you'll find better and/or easier solution.


 Cheers,

 Pierre









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Re: strange behaviour with dotted note before gregorian music

[Ali Cuota]

Here it is.

Franck

2015-01-27 12:46 GMT-05:00, James Lowe p...@gnu.org:
 Hello

 On 27/01/15 16:05, Ali Cuota wrote:
 Hello again,

 version 2.18.0
 I have a western-notation piece that finishes with a dotted-note a4.
 (very last note)
 then a gregorian piece.
 both comes in a book.ly with include ...
 Compiling the sole gregorian is ok
 Compiling the book makes the gregorian have dotted (augmentum) at
 every notes except \pes
 This is note so terriffic since putting a s8*1/1000 at the western
 piece or at the beginning of the gregorian piece solves the problem,
 but I would say this is a bug...

 Franck

 can you provide a tiny example please?

 James

\version 2.18.0

\score {
\relative c'' { \time 6/8 \partial 4.
a4. a4. \bar ||
}
\addlyrics{
bla bla
}
\layout {
  indent = #0
  ragged-last = ##f
}
}\version 2.18.0

% #(set-global-staff-size 18)
% #(set! paper-alist (cons '(mi tamaño . (cons (* 200 mm) (* 130 mm))) paper-alist))
#(set-default-paper-size letter)

\paper {
  #(set-paper-size letter)
  two-sided = ##t
  inner-margin = 20 \mm
  outer-margin = 15 \mm
  top-margin = 20\mm
  bottom-margin = 12\mm
%  print-page-number = ##f
%  head-separation = 0\mm
  foot-separation = 0\mm
%  page-count = 62
%  #(ly:set-option 'point-and-click #f)
}


\layout {
  \context {
  \Score
  \remove Bar_number_engraver } 
  ragged-last = ##f
  }

\header {
dedication = Catedral Primada de Bogotá
title = Canta con nosotros
subtitle = Cantoral del Coro Polifónico
subsubtitle = Edición 2015
tagline = 
}

\include dotted.ly
\include grego.ly

\layout {
  \context {
  \Score
%  \remove Bar_number_engraver } 
%  ragged-last = ##t
  }
}
\version 2.18.0

\include gregorian.ly

\score {
  
\new VaticanaVoice = cantus
{
  \clef vaticana-do3
  d
  \[ d \pes e \]
  d
  \finalis
  %%%
}
\new Lyrics
\with {
  \override LyricHyphen.minimum-distance = #2 % Pierre: .7
  \override VerticalAxisGroup.nonstaff-relatedstaff-spacing = #'((basic-distance . 6))
  \override StanzaNumber.font-size = #-3.4
}
\lyricsto cantus
{
Re -- bla -- bla.
}
  
  \layout {
ragged-last = ##f
system-count = 2
#(layout-set-staff-size 30)
\context {
  \Score
  \override SpacingSpanner.packed-spacing = ##t
}
\context {
  \VaticanaStaff
  \override StaffSymbol.color = #black
  \override LedgerLineSpanner.color = #black
  \override StaffSymbol.staff-space = #1.4 %(magstep 5)
  \override VaticanaLigature.thickness = #1.3
}
\context {
  \Lyrics
  \override LyricText.font-size = #-2.6
}
  }
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Re: strange behaviour with dotted note before gregorian music

[Ali Cuota]

James,
you are right, I just wanted to answer fast between 2 appointments.
Here it is
Franck

2015-01-27 17:07 GMT-05:00, James Lowe p...@gnu.org:
 On 27/01/15 18:25, Ali Cuota wrote:
 Here it is.

 Hardly a 'tiny' example

 http://lilypond.org/tiny-examples.html

 Can you at least get rid of the cruft that isn't anything to do with the
 problem? I.e. a single file would help to determine if the problem is to
 do with the 'include' function or not.

 Are all those lyric override settings necessary to show the problem, is
 the ragged-last setting needed? ditto system count and all those context
 overrides etc etc etc).

 The point is that the more complex your example the less likely that it
 will even be looked at let alone acknowledged as a bug.

 James


\version 2.18.0
\include dotted.ly
\include grego.ly\version 2.18.0

\score {
\relative c'' { \time 6/8 \partial 4.
a4. a4. \bar ||
}
\addlyrics{
bla bla
}
}\version 2.18.0

\include gregorian.ly

\score {
  
\new VaticanaVoice = cantus
{
  \clef vaticana-do3
  d
  \[ d \pes e \]
  d
  \finalis
}
\new Lyrics
\lyricsto cantus
{
Re -- bla -- bla.
}
  
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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

[Ali Cuota]

Hello Pierre,

Merci, many thanks. The plica is ok this way, so I will use these
settings for the remaining of the project.
Its a choir-book with modern and polyphonic music, and essentials of
gregorian, for Colombia (hopefully then for the whole latin-America).

Franck

2015-01-27 3:31 GMT-05:00, Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com:
 Thank you Franck,


 For some reason, I did not find any way to change the flexa stem length.
 For more details see gregorian.ly file and:
 http://www.lilypond.org/doc/v2.19/Documentation/internals/vaticana_002dligature_002dinterface
 Here's where I am so far:

 \version 2.18.0
 \include gregorian.ly

 \score {
   
 \new VaticanaVoice = cantus
 {
   \clef vaticana-do3
   f
   \[ g \pes a \] a
 -\tweak Y-offset #-.3 -\tweak font-size #2 \ictus
 d' c'
   \[ c' \flexa
 \tweak Accidental.X-offset #-4.7 bes
 \] a
   \[ a
 -\tweak Y-offset #2.2 -\tweak thickness #4 \episemInitium
 \flexa g \episemFinis \]
   \divisioMaior
   s a \tweak Accidental.X-offset #-1.4 bes a
   \[ g \flexa f \] e
   \[ f \flexa e \] \augmentum d
   \finalis
   %%%
 }
 \new Lyrics
 \with {
   \override LyricHyphen.minimum-distance = #2 % Pierre: .7
   \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
 #'((basic-distance . 6))
 }
 \lyricsto cantus
 {
   Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
   -- _ su -- per _
   et nu -- bes plu -- _ ant Jus -- _ tum.
 }
   
   \layout {
 ragged-last = ##f
 #(layout-set-staff-size 40)
 \context {
   \Score
   \override SpacingSpanner.packed-spacing = ##f
 }
 \context {
   \VaticanaStaff
   \override StaffSymbol.color = #black
   \override LedgerLineSpanner.color = #black
   \override StaffSymbol.staff-space = #2 %(magstep 5)
   \override VaticanaLigature.thickness = #1.3
 }
 \context {
   \Lyrics
   \override LyricText.font-size = #-3
 }
   }
 }

 HTH,
 Pierre



 2015-01-27 3:42 GMT+01:00 Ali Cuota alicuota...@gmail.com:

 Hello,

 Here it is, although this is a little longer. The attachment is what I
 get.
 I need bigger gregorian scores to fit in the rest of the book (common
 western notation).

 \version 2.18.0
 \include gregorian.ly

 \score {
   
 \new VaticanaVoice = cantus {
   \override Staff.StaffSymbol.color = #black
   \override Staff.StaffSymbol.staff-space = #1.4 %(magstep 5)
   \override NoteHead.font-size = #4
   \clef vaticana-do3
   f
   \[ g \pes a \] a
 -\tweak Y-offset #-.2 \ictus
 d' c'
   \[ c' \flexa
 \tweak Accidental.X-offset #-5.2 bes
 \] a
   \[ a
 -\tweak Y-offset #1.8 \episemInitium
 \flexa g \episemFinis \]
   \divisioMaior
   s a \tweak Accidental.X-offset #-1.4 bes a
   \[ g \flexa f \] e
   \[ f \flexa e \] \augmentum d
   \finalis
   %%%
 }
 \new Lyrics
 \with {
 \override LyricHyphen.minimum-distance = #2 % Pierre: .7
 \override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
 #'((basic-distance . 6))
 }
 \lyricsto cantus
 {
   Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
 -- _ su -- per _
   et nu -- bes plu -- _ ant Jus -- _ tum.
 }
   
 \layout {
 ragged-last = ##f
 \context {
 \Score
 \override SpacingSpanner.packed-spacing = ##f
 }
   \context {
\Lyrics
\override LyricText #'font-size = #1
   }
   }
 }

 2015-01-26 16:34 GMT-05:00, Schneidy pierre.schneider.pa...@gmail.com:
  Hi Franck,
  please provide a compilable example.
 
  Cheers,
  Pierre
 
 
 
  -
  ~Pierre
  --
  View this message in context:
 
 http://lilypond.1069038.n5.nabble.com/CHanging-key-size-accidental-size-and-stem-size-in-gregorianMusic-tp171003p171058.html
  Sent from the User mailing list archive at Nabble.com.
 
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strange behaviour with dotted note before gregorian music

[Ali Cuota]

Hello again,

version 2.18.0
I have a western-notation piece that finishes with a dotted-note a4.
(very last note)
then a gregorian piece.
both comes in a book.ly with include ...
Compiling the sole gregorian is ok
Compiling the book makes the gregorian have dotted (augmentum) at
every notes except \pes
This is note so terriffic since putting a s8*1/1000 at the western
piece or at the beginning of the gregorian piece solves the problem,
but I would say this is a bug...

Franck

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Re: Hungarian Gregorian

[Ali Cuota]

Dear S. Judit,

I read already your first post, and I fear I cannot help with this.
But I would like to know what/who is this notation good for.

Thanks in advance,

Franck

2015-01-27 14:49 GMT-05:00, Rita Composer ritacompo...@gmail.com:
 Dear Listmembers,

 Could you help me, how can I creat something like this?
 https://drive.google.com/file/d/0BzQDuwMSrodQU19yRTVLM0F3ZHM/view?usp=sharing

 I found something simmilar in version 2.19.15 here
 http://lilypond.org/doc/v2.19/Documentation/notation/working-with-ancient-music_002d_002dscenarios-and-solutions
 just above Ancient and modern from one source but the noteheads are still
 not close enough.
 They should be exactly next to eachother.

 Thank you very much!
 Sister Judit
 This is what I could create, but it is quite weak:

 chantEgy = \relative c' {

 \override NoteHead.style = #'default

 \[ g a h c \]

 c h a g \divisioMinima

 \[ h4 \virga a g \] d' c h a g \divisioMinima

 \finalis

 }

 verba = \lyricmode {

 Lo -- _ _ _ rem ip -- sum do -- lor _ _ sit a -- men a -- men

 }

 \markup { 3 }

 \score {

 \new VaticanaStaff 

 \override VaticanaStaff.StaffSymbol #'line-count = #5

 \new VaticanaVoice = melody \chantEgy

 % \new VaticanaVoice = melody \chantKettő

 \new Lyrics = one \lyricsto melody \verba



 \layout {

 \context {

 \VaticanaStaff

 \override StaffSymbol.color = #black

 \override LedgerLineSpanner.color = #black

 }

 }

 }


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Re: repeat, alternative, partial and full bar

[Ali Cuota]

Dear Mats,

thanks, this is perfect. One time more amazed with the doc. I would
not have searched this in the doc.

The point is the common rythm of spanish Señor ten piedad (Kyrie)
Cristo ten piedad etc
Señor needs (better said: is generally solved with) an upbeat and is
repeated, Cristo needs a downbeat and is repeated, then again Señor
etc
Generally the composers write the repeats, but in this case I have to
write it with \repeat volta 2

Anyway this is solved,

Franck

2015-01-26 7:11 GMT-05:00, Mats Bengtsson mats.bengts...@ee.kth.se:

 Ali Cuota alicuota618 at gmail.com writes:


 Hello,

 I want to see exactly what shows this minimal example, except that the
 space is not desired.
 This is from an hymn melody and I do the SATB setting. So I would like
 to have the original optic. And with so short repeats, it doesnt
 make sense to enlarge the alternative.
 Now, without the s8, the half-note of alternative 2. begins in the
 remaining half-beat and so the rest of the song.
 Thats why.

 As has already been pointed out, the notation in your example doesn't
 really
 make sense, rhythmically. In particular, the second alternative would
 provide the second half of the bar starting before the first alternative,
 so
 the bar lines after the second repeat seem half a bar off, to me. Anyway,
 if
 you just want to avoid the space provided by s8, you could read about
 scaling durations at
 http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations.
 The resulting example would then be
 \relative c' {
 \partial 8
 \repeat volta 2 { d8 d4 d8 d }
 \alternative { { d4.*4/3 } { d2 } }
 d8 d8 d8 d8 d2
 }

 /Mats


 Thanks in advance

 Franck

 2015-01-26 1:58 GMT-05:00, Brian Barker b.m.barker at btinternet.com:
  At 19:54 25/01/2015 -0500, you wrote:
 I wonder how to codify correctly this minimal example:
 
  That depends on what you want to see!
 
 the s8 is here to fullfill the bar, but take some space and should not.
 
  o Why do you think you need this? If you want to go back to the
  starting quaver upbeat, it's important that the first-time bar is
  *not* complete. But that would mean that the repeat bar-line comes at
  a point within a bar, not at the end. The second-time part would have
  to start with a partial bar of only a quaver length.
 
  o Your first-time bar (as marked) is half a bar. Is this ever
  permissible? None of Elaine Gould's examples show this.
 
  o With the first-time bar being only the second half of a bar, the
  minim at the start of the second-time version completes the bar and
  should be followed by a bar line. Then the four barred quavers and
  the final minim should be a contiguous bar - with no intervening
  bar-line. Is that what you mean?
 
 Is there a better way?
 
  Yes - but that depends on exactly what you mean. I started to try to
  correct this, but that's not possible without knowing how you think
  it should actually expand.
 
  Brian Barker - privately
 
 






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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

[Ali Cuota]

Hello,

Here it is, although this is a little longer. The attachment is what I get.
I need bigger gregorian scores to fit in the rest of the book (common
western notation).

\version 2.18.0
\include gregorian.ly

\score {
  
\new VaticanaVoice = cantus {
  \override Staff.StaffSymbol.color = #black
  \override Staff.StaffSymbol.staff-space = #1.4 %(magstep 5)
  \override NoteHead.font-size = #4
  \clef vaticana-do3
  f
  \[ g \pes a \] a
-\tweak Y-offset #-.2 \ictus
d' c'
  \[ c' \flexa
\tweak Accidental.X-offset #-5.2 bes
\] a
  \[ a
-\tweak Y-offset #1.8 \episemInitium
\flexa g \episemFinis \]
  \divisioMaior
  s a \tweak Accidental.X-offset #-1.4 bes a
  \[ g \flexa f \] e
  \[ f \flexa e \] \augmentum d
  \finalis
  %%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto cantus
{
  Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
-- _ su -- per _
  et nu -- bes plu -- _ ant Jus -- _ tum.
}
  
\layout {
ragged-last = ##f
\context {
\Score
\override SpacingSpanner.packed-spacing = ##f
}
  \context {
   \Lyrics
   \override LyricText #'font-size = #1
  }
  }
}

2015-01-26 16:34 GMT-05:00, Schneidy pierre.schneider.pa...@gmail.com:
 Hi Franck,
 please provide a compilable example.

 Cheers,
 Pierre



 -
 ~Pierre
 --
 View this message in context:
 http://lilypond.1069038.n5.nabble.com/CHanging-key-size-accidental-size-and-stem-size-in-gregorianMusic-tp171003p171058.html
 Sent from the User mailing list archive at Nabble.com.

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Re: repeat, alternative, partial and full bar

[Ali Cuota]

Hello,

I want to see exactly what shows this minimal example, except that the
space is not desired.
This is from an hymn melody and I do the SATB setting. So I would like
to have the original optic. And with so short repeats, it doesnt
make sense to enlarge the alternative.
Now, without the s8, the half-note of alternative 2. begins in the
remaining half-beat and so the rest of the song.
Thats why.
Thanks in advance

Franck

2015-01-26 1:58 GMT-05:00, Brian Barker b.m.bar...@btinternet.com:
 At 19:54 25/01/2015 -0500, you wrote:
I wonder how to codify correctly this minimal example:

 That depends on what you want to see!

the s8 is here to fullfill the bar, but take some space and should not.

 o Why do you think you need this? If you want to go back to the
 starting quaver upbeat, it's important that the first-time bar is
 *not* complete. But that would mean that the repeat bar-line comes at
 a point within a bar, not at the end. The second-time part would have
 to start with a partial bar of only a quaver length.

 o Your first-time bar (as marked) is half a bar. Is this ever
 permissible? None of Elaine Gould's examples show this.

 o With the first-time bar being only the second half of a bar, the
 minim at the start of the second-time version completes the bar and
 should be followed by a bar line. Then the four barred quavers and
 the final minim should be a contiguous bar - with no intervening
 bar-line. Is that what you mean?

Is there a better way?

 Yes - but that depends on exactly what you mean. I started to try to
 correct this, but that's not possible without knowing how you think
 it should actually expand.

 Brian Barker - privately



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CHanging key.size, accidental.size and stem.size in gregorianMusic

[Ali Cuota]

Hello,

I use these settings now, since this fits in the whole book (using
\include's and a mix of gregorian and western-traditional-notation).

But the size of Keys, accidentals and stems doesnt fit, and I dont
find how to override these...

(also #(layout-set-staff-size xx) doesnt have any effect)

Thanks in advance,

Franck

\version 2.18.0
\include gregorian.ly
\score {
  
\new VaticanaVoice = cantus {
  \override Staff.StaffSymbol.color = #black
  \override Staff.StaffSymbol.staff-space = #1.4 %(magstep 5)
  \override NoteHead.font-size = #4
  \clef vaticana-do3
  % here the music
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto cantus
{
here the text
}
  
  \layout {
  ragged-last = ##f
  \context {
  \Score
  \override SpacingSpanner.packed-spacing = ##t
  }
  \context {
  \Lyrics
  \override LyricText #'font-size = #1
  }
  }
}

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repeat, alternative, partial and full bar

[Ali Cuota]

Hello,

I wonder how to codify correctly this minimal example:

\relative c' {
\partial 8
\repeat volta 2 { d8 d4 d8 d }
\alternative { { d4. s8 } { d2 } }
d8 d8 d8 d8 d2
}

the s8 is here to fullfill the bar, but take some space and should
not. Is there a better way?

Thanks in advance!

Franck

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Re: Pianostaff 4-part writing and rests

[Ali Cuota]

Hi,
Lastly got this help from Marc Hohl:
http://lsr.di.unimi.it/LSR/Item?id=336
Hope this helps
Franck

2015-01-24 11:41 GMT-05:00, Mark Stephen Mrotek carsonm...@ca.rr.com:
 Peter,

 A rest can be positioned by using a pitch name, duration, \rest, e.g.,
 c8\rest puts an eighth rest where c would be  (depending on the clef).
 The
 attached example might be clearer.

 Mark

 -Original Message-
 From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
 [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
 Peter Danemo
 Sent: Saturday, January 24, 2015 7:44 AM
 To: lilypond-user@gnu.org
 Subject: Pianostaff 4-part writing and rests

 Hello!

 I'm a pretty unexperienced Lilypond user. I'm working on the layout of a
 small piece. It's basically a hymn written using a piano staff. If both
 voices have a rest on the first beat and start on the second beat I get two
 quarter note rests. I need it to be just one. I learned how to make a rest
 invisible, but that doesn't change the position for the remaining rest.

 Is there a easy way of doing this?

 Furthermore, the piece ends with just 3 bars on the last line. But i fills
 upp the whole page anyway. Is there a way of getting the 3 bars to take up
 the same as the bars above? Making a 4th invisible bar!?

 Best wishes!
 /Peter



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Re: Pianostaff 4-part writing and rests

[Ali Cuota]

and is automagic!

2015-01-24 17:25 GMT-05:00, Ali Cuota alicuota...@gmail.com:
 4 me works best,

 F

 2015-01-24 16:55 GMT-05:00, Kieren MacMillan
 kieren_macmil...@sympatico.ca:
 Hi all,

 Lastly got this help from Marc Hohl:
 http://lsr.di.unimi.it/LSR/Item?id=336

 The linked issue
 (https://code.google.com/p/lilypond/issues/detail?id=1228)
 currently has a status of “abandoned” — well, at least the associated
 patch
 does, if not the whole issue.

 Is there a technical reason why the most up-to-date engraver (e.g.,
 https://github.com/openlilylib/openlilylib/blob/c53380f5ca460d244a017389dc4bcb79a3f04d14/editorial-tools/merge-rests-engraver/definition.ily)
 has not been (or cannot be) rolled into the main Lilypond codebase? Or is
 it
 technically sound, and now it's only a matter of somebody making an
 appropriate/official patch and submitting it?

 The merged output is definitely standard engraving practice, so it would
 be
 nice to see this enhancement in Lilypond, if the coding is already done
 (or
 at least very close).

 Thanks,
 Kieren.
 ___

 Kieren MacMillan, composer
 www:  http://www.kierenmacmillan.info
 email:  i...@kierenmacmillan.info


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Re: Pianostaff 4-part writing and rests

[Ali Cuota]

4 me works best,

F

2015-01-24 16:55 GMT-05:00, Kieren MacMillan kieren_macmil...@sympatico.ca:
 Hi all,

 Lastly got this help from Marc Hohl:
 http://lsr.di.unimi.it/LSR/Item?id=336

 The linked issue (https://code.google.com/p/lilypond/issues/detail?id=1228)
 currently has a status of “abandoned” — well, at least the associated patch
 does, if not the whole issue.

 Is there a technical reason why the most up-to-date engraver (e.g.,
 https://github.com/openlilylib/openlilylib/blob/c53380f5ca460d244a017389dc4bcb79a3f04d14/editorial-tools/merge-rests-engraver/definition.ily)
 has not been (or cannot be) rolled into the main Lilypond codebase? Or is it
 technically sound, and now it's only a matter of somebody making an
 appropriate/official patch and submitting it?

 The merged output is definitely standard engraving practice, so it would be
 nice to see this enhancement in Lilypond, if the coding is already done (or
 at least very close).

 Thanks,
 Kieren.
 ___

 Kieren MacMillan, composer
 www:  http://www.kierenmacmillan.info
 email:  i...@kierenmacmillan.info

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