Re: attachments and digest mode

[Tim Reeves]

> Message: 9
> Date: Thu, 5 May 2016 11:26:17 -0700
> From: Flaming Hakama by Elaine 
> To: Lilypond-User Mailing List 
> Subject: Re: attachments and digest mode
> Message-ID:
>

Re: Lilypond error behaviour

[Tim Reeves]

> Message: 4
> Date: Tue, 19 Apr 2016 01:48:17 -0500 (CDT)
> From: msk...@ansuz.sooke.bc.ca
> To: Noeck 
> Cc: lilypond-user@gnu.org
> Subject: Re: Lilypond error behaviour
> Message-ID:
>
> Content-Type: text/plain; charset=US-ASCII
> 
> On Tue, 19 Apr 2016, Noeck wrote:
> > think that is what confuses most people here. The error was non-fatal
> > but still after everything is done, an additional fatal error is 
raised
> > to draw attention to previous non-fatal errors.
> 
> Those are fatal errors.  They kill the program.  They're just not
> instantly fatal.
> 
> -- 
> Matthew Skala
> msk...@ansuz.sooke.bc.ca People before principles.
> http://ansuz.sooke.bc.ca/
> 


Maybe they should be called "mortally-wounding" errors? :)

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Re: When to Use Pound Signs

[Tim Reeves]

> > Message: 6
> > Date: Tue, 5 Jan 2016 21:55:42 -0700
> > From: Colin Campbell 
> > To: lilypond-user@gnu.org
> > Subject: Re: When to Use Pound Signs
> > Message-ID: <568c9e4e.6060...@shaw.ca>
> > 
> > On 16-01-05 09:47 PM, Andrew Bernard wrote:
> > 
> > I wonder if the spaces delimited by the lines are thorpes? I' also 
> > carpent for a living, though.
> 
> The main problem with that theory is that there are nine such thorps.
>

The only things there seem to be eight of is the ends of the line segments 
comprising it. I also note that a sharp symbol does not have four 
perpendicular intersections like the hash/pound/octothorpe but rather, the 
horizontal lines are slanted.

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Re: [OT} Was "Re: Rounded beams"

[Tim Reeves]

>"LilyPond's focus is creating good, readable scores.  That's what
typography is about.  Not creating visual artworks.  The boundary
conditions for bulk manufacturing work (like engraving once was) are not
that dissimilar: skilled and effective workers are not the same as
artists.  Typography is about rendering the content, not being it."


There are obviously some different philosophies at play here, but the line 
between "good, readable scores" and "visual artworks" is at least a little 
fuzzy, isn't it?


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Re: OT: Beauty of programming languages

[Tim Reeves]

Well, as a hornist, I reckon my instrument of choice is a lot closer to a 
"vague pointing instrument" than to a keyboard instrument! Sometimes when 
I point it this way it goes the other way. In reality, it depends more on 
my lips etc. than on my fingers, of which I use four when playing 
normally. I am not average, I confess.
:)


Tim Reeves


David Kastrup <d...@gnu.org> wrote on 09/14/2015 02:23:15 AM:

> From: David Kastrup <d...@gnu.org>
> To: Alexander Kobel <n...@a-kobel.de>
> Cc: Tim Reeves <tim.ree...@tokamerica.com>, lilypond-user@gnu.org
> Date: 09/14/2015 02:26 AM
> Subject: Re: OT: Beauty of programming languages
> 
> Alexander Kobel <n...@a-kobel.de> writes:
> 
> > On 2015-09-12 02:17, Tim Reeves wrote:
> >>  > Am 11.09.2015 um 20:17 schrieb David Bellows:
> >>  > > Urs, I'd still like to see a poll or at least all the answers
> >>  > > collected and analyzed etc.
> >>  >
> >>  > I didn't intend to drop that poll idea.
> >>  > But I find this thread very interesting and also touching, andit 
should
> >>  > not be just buried in the mailing list archive. We should let it 
fade
> >>  > out and then see if we can give it a decent place somewhere.
> >>  >
> >>  > Urs
> >>
> >>
> >> So far, in the small, non-random sample we have, it looks like the
> >> average user's age is somewhere around 60. I guess you can teach old
> >> dogs new tricks! ;)
> >
> > Well, another interpretation is that to be able to spend the amount of
> > time required for using LilyPond, you need to be either retired or (by
> > profession) really desperately in need for its specific feature set...
> 
> Actually, it's more like if you're trying to teach old tricks, you
> better look for old dogs.
> 
> Text-based entry is an old trick in computing terms.  It appeals to
> people considering a keyboard as the principal means of input and who
> think of a mouse primarily as the main enemy of punch cards.
> 
> Now I'd like to think that this should generally make sense to the
> average musician, given that a lot more people play pianos, organs,
> flutes and other instruments with digital 10-finger input than, say
> theremins or other vague pointing instruments.
> 
> But I have to admit that bowed strings have quite a bit of analog input,
> and a trumpet does not sport more buttons than the average mouse these
> days.
> 
> -- 
> David Kastrup
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Re: OT: Beauty of programming languages

[Tim Reeves]

> Message: 5
> Date: Fri, 11 Sep 2015 22:22:45 +0200
> From: Urs Liska 
> To: lilypond-user@gnu.org
> Subject: Re: OT: Beauty of programming languages
> Message-ID: <55f33815.40...@openlilylib.org>
> Content-Type: text/plain; charset=windows-1252
> 
> 
> 
> Am 11.09.2015 um 20:17 schrieb David Bellows:
> > Urs, I'd still like to see a poll or at least all the answers
> > collected and analyzed etc.
> 
> I didn't intend to drop that poll idea.
> But I find this thread very interesting and also touching, and it should
> not be just buried in the mailing list archive. We should let it fade
> out and then see if we can give it a decent place somewhere.
> 
> Urs
> 


So far, in the small, non-random sample we have, it looks like the average 
user's age is somewhere around 60. I guess you can teach old dogs new 
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Re: OT: Beauty of programming languages

[Tim Reeves]

Age: 49
Amateur hornist.
Typesetting of existing parts, occasionally creating simple exercises, 
fingering charts, etc. Not a regular user, but like to keep up on 
development.
I use Frescobaldi every time for some time now, and I've been using LP for 
roughly eight years.



Tim


> Message: 1
> Date: Thu, 10 Sep 2015 19:26:24 +0200
> From: Simon Albrecht 
> To: Peter Bjuhr , lilypond-user@gnu.org
> Subject: Re: OT: Beauty of programming languages
> Message-ID: <55f1bd40.3020...@mail.de>
> Content-Type: text/plain; charset=windows-1252; format=flowed
> 
> Am 10.09.2015 um 15:00 schrieb Peter Bjuhr:
> >
> >
> > On 2015-08-26 22:10, Urs Liska wrote:
> >>> This thread makes me wonder: what's the average age of LilyPond 
users
> >>> >and
> >>> >developers?
> >> Remind me in two weeks and I'll start a poll on Scores of Beauty ...
> >
> > I send in this reminder not because I'm especially interested in ages, 

> > but it would be interesting to know more about stuff like editor usage 

> > and if LilyPond is used for original compositions or for engraving 
> > existing compositions.
> 
> Age: 22
> I?m a student of church music, but very uncertain as to where (in music) 

> I will end up :-)
> I?ve been using LilyPond for roughly four years now, always through 
> Frescobaldi.
> The larger part of my typesetting work is existing music, though if I do 

> arrangements and compositions myself I also typeset them with LilyPond.
> 
> Best,
> Simon
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Re: sharping naturals

[Tim Reeves]

Message: 1
Date: Sat, 25 Jul 2015 12:07:19 +0200
From: David Kastrup d...@gnu.org
To: Wols Lists antli...@youngman.org.uk
Cc: lilypond-user@gnu.org
Subject: Re: sharping naturals
Message-ID: 87wpxok0tk@fencepost.gnu.org
Content-Type: text/plain

Wols Lists antli...@youngman.org.uk writes:

 On 25/07/15 08:04, David Kastrup wrote:
 If we wanted to support natural English note entry, it would become
 LilyPond's problem.

 As an irrelevant aside :-)

 Throwing another little spanner in the works - about what words mean ...

 I really hate it when people say English, and mean American ...

 (yes, we use the same names for pitch, but we do not use the same names
 for length ...)

Because UK went metric and the US loves the royals so much they stuck
with Imperial?

At any rate, Americans tend to write C4 instead of c' so I am not sure
why you are objecting against my characterization.

-- 
David Kastrup



---

I think he's referring to crotchets and quavers vs. quarter notes and 
eighth notes, but that doesn't enter into the Lilypond language directly, 
so it's of no consequence.


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Re:[OT] We need LilyPond office space...

[Tim Reeves]

 
 Today's Topics:
 
1. Re:[OT] We need LilyPond office space... (Simon Albrecht)


When I saw this subject line, I thought maybe someone wanted to make the 
cover sheets for their TPS reports using Lilypond! ;)

If you don't get it, watch this: 
https://www.youtube.com/watch?v=Fy3rjQGc6lA

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Re:http://lilypond.org hs

[Tim Reeves]

3. http://lilypond.org hs ? (Daniel Cartron)
4. RE:Bar number after volta repeat (Klaus Blum)
5. Re:http://lilypond.org hs ? (Federico Bruni)
6. Re:http://lilypond.org hs ? (tisimst)

 Message: 6
 Date: Thu, 5 Mar 2015 09:59:04 -0700 (MST)
 From: tisimst tisimst.lilyp...@gmail.com
 To: lilypond-user@gnu.org
 Subject: Re: http://lilypond.org hs ?
 Message-ID:
CACzy+cahw75ASBAzWOjrsmgxf8h=qdc2p_vvqkvc8hjdjgz...@mail.gmail.com
 Content-Type: text/plain; charset=utf-8
 
 I'm getting it down, too, using Chrome.
 
 - Abraham
 
 On Thu, Mar 5, 2015 at 9:41 AM, Federico Bruni [via Lilypond] 
 ml-node+s1069038n172655...@n5.nabble.com wrote:
 
  2015-03-05 17:22 GMT+01:00 Daniel Cartron [hidden email]
  http:///user/SendEmail.jtp?type=nodenode=172655i=0:
 
  plus moyen d'acc?der ? la doc en ligne, Firefox ne peut trouver le
  serveur ?
  l'adresse lilypond.org.
 
  Je suis le seul ou vous aussi ?
 
 
  It's working fine here.
  When in doubt, check first this kind of websites:
  http://www.downforeveryoneorjustme.com/
 
 

People who said it's working fine: refresh your browser, or follow your 
own advice and check http://www.downforeveryoneorjustme.com/
It says it's not just me.

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Re: How to handle changing transpositions

[Tim Reeves]

Urs,

As a horn player, I can assure you that the conventional way of writing 
horn parts is to use the same transposition in bass clef as is used in 
treble clef: written a perfect fifth higher than it sounds. There is 
something called 'old notation', used pre-20th century, that had the bass 
clef parts written a fourth lower than they sound.


Tim Reeves

 Message: 5
 Date: Tue, 09 Sep 2014 13:52:06 +0200
 From: Urs Liska u...@openlilylib.org
 To: lilypond-user@gnu.org
 Subject: Re: How to handle changing transpositions
 Message-ID: 540ee9e6.8020...@openlilylib.org
 Content-Type: text/plain; charset=windows-1252; format=flowed
 
 
 Am 09.09.2014 13:46, schrieb Simon Albrecht:
 
  Am 09.09.2014 um 11:46 schrieb Urs Liska:
  Hi list,
 
  I have a problem understanding how to efficiently deal with horn 
  parts that change their transposition with the clef.
 
  That is: In the treble clef the part is notated as \transpose f, c
  while in the bass clef it is notated in concert pitch.
  This is extremely unusual, I should say. Normally the bass clef would 
  be notated as \transpose f c, that is, as if it were octavating.
  And isn?t it rather confusing if the transposition changes with the 
  clef? I assume that your master copy of the ?Trunkene Lied? uses this 
  convention, but in your place I?d consider changing it, to be honest.
 
 Well, yes, that's the convention of the score. But I also recalled 
 having learned it that way. Once. Decades ago. I'll look into 
 documentation for current orchestration conventions.
 
 Thanks
 Urs
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Re: Happy 18th birthday, LilyPond

[Tim Reeves]

 Date: Sat, 1 Nov 2014 18:33:52 +0100
 From: Francisco Vila paconet@gmail.com
 To: David Kastrup d...@gnu.org
 Cc: LilyPond-Devel list lilypond-de...@gnu.org,   LilyPond-User list
lilypond-user@gnu.org
 Subject: Re: Happy 18th birthday, LilyPond
 Message-ID:
CACAEdyCdqPY=iceYWXf7vm95=dknj7bokueufha1tubeh5h...@mail.gmail.com
 Content-Type: text/plain; charset=UTF-8
 
 2014-11-01 11:43 GMT+01:00 David Kastrup d...@gnu.org:
  So it's more like 19 since July for (work on?) version 1.0.1 though 
our
  git history seems rather messed up.  Just out of interest: where did 
you
  get that 18-year number?
 
 You guessed it: I used the most na?ve method possible. I moved the
 scroll bar in gitk (without --all) at the bottom and there it was:
 
 commit 4f4ad24a3bfeb77cfd0ecca104319607bfd28a63
 Author: Han-Wen Nienhuys han...@xs4all.nl
 Date:   Wed Oct 9 14:04:46 1996 +0100
 
 Initial.
 
 -- 
 Francisco Vila. Badajoz (Spain)
 www.paconet.org , www.csmbadajoz.com
 


So Lilypond is old enough to vote in tomorrow's general election! (in the 
US) ;)


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Re: Bass and Treble Clef notes on the same clef

[Tim Reeves]

My first thought is...that's a really bad idea. 
But maybe there is some reason to do it that I had not considered...



Tim



From:   lilypond-user-requ...@gnu.org
To: lilypond-user@gnu.org
Date:   10/16/2014 01:32 PM
Subject:lilypond-user Digest, Vol 143, Issue 103
Sent by:lilypond-user-bounces+tim.reeves=tokamerica@gnu.org



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Today's Topics:

   1. Bass and Treble Clef notes on the same clef (Knute Snortum)


--

Message: 1
Date: Thu, 16 Oct 2014 13:32:19 -0700
From: Knute Snortum ksnor...@gmail.com
To: lilypond-user@gnu.org
Subject: Bass and Treble Clef notes on the same clef
Message-ID:
 CALmeJxT8q8Kc_Vknu-=a2kQAMtFX6xGzrzRMeNcr+ic=foa...@mail.gmail.com
Content-Type: text/plain; charset=utf-8

I have a situation I don't know how to deal with in LilyPond.  I have bass
clef and treble clef notes on the same staff.  I guess one way to do it is
to create a markup and a small bass clef sign and put it next to the 
treble
clef (and incorrect) gf which looks like a tied bf from the bass clef in
the first measure.  I could make a temporary ossia-type staff to hold the
bf pedal tone.

Any other thoughts?


[image: Inline image 1]

Knute Snortum
(via Gmail)


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Re: .ly to .svg - can't manage to get anything working

[Tim Reeves]

 
 Message: 4
 Date: Mon, 21 Jul 2014 12:33:13 +0200
 From: Urs Liska u...@openlilylib.org
 To: lilypond-user@gnu.org
 Subject: Re: .ly to .svg - can't manage to get anything working
 Message-ID: 53ccec69.50...@openlilylib.org
 Content-Type: text/plain; charset=ISO-8859-1; format=flowed
 
 Am 21.07.2014 12:27, schrieb tisimst:
  You can even make SVG output the default if that's something you were
  looking for.
 
 And you can hope for getting some level of graphical editing 
 possibilities with the SVG output in the foreseeable (?) future :-)
 
 -- 
 Urs Liska
 www.openlilylib.org
 


What's wrong with Inkscape, and why try to make one application do 
everything?


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Re: .ly to .svg - can't manage to get anything working

[Tim Reeves]

Ah, OK, that makes sense.
When you said  editing...the SVG output... I didn't get that idea.
Inkscape is , IMO, one of the greatest FOSS projects , along with 
Lilypond, ever.

Tim



From:   Urs Liska u...@openlilylib.org
To: Tim Reeves tim.ree...@tokamerica.com, lilypond-user@gnu.org, 
Date:   07/21/2014 09:33 AM
Subject:Re: .ly to .svg - can't manage to get anything working





On 21. Juli 2014 18:30:09 MESZ, Tim Reeves tim.ree...@tokamerica.com 
wrote:
 
 Message: 4
 Date: Mon, 21 Jul 2014 12:33:13 +0200
 From: Urs Liska u...@openlilylib.org
 To: lilypond-user@gnu.org
 Subject: Re: .ly to .svg - can't manage to get anything working
 Message-ID: 53ccec69.50...@openlilylib.org
 Content-Type: text/plain; charset=ISO-8859-1; format=flowed
 
 Am 21.07.2014 12:27, schrieb tisimst:
  You can even make SVG output the default if that's something you
were
  looking for.
 
 And you can hope for getting some level of graphical editing 
 possibilities with the SVG output in the foreseeable (?) future :-)
 
 -- 
 Urs Liska
 www.openlilylib.org
 


What's wrong with Inkscape, and why try to make one application do 
everything?


Nothing's wrong with Inkscape. But what we're trying to achieve is 
graphically editing the _input code_. That is: you drag something to where 
you want it and Frescobaldi inserts the appropriare override into the 
input file.

Urs


Tim Reeves


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Re: music

[Tim Reeves]

 Message: 3
 Date: Wed, 18 Jun 2014 00:39:17 +0200
 From: Hans Aberg haber...@telia.com
 To: keira mccook keira.mcc...@gmail.com
 Cc: lilypond-user@gnu.org
 Subject: Re: music
 Message-ID: d07e8d51-1752-46c2-9a0d-fd262680d...@telia.com
 Content-Type: text/plain; charset=us-ascii
 
 On 17 Jun 2014, at 18:12, keira mccook keira.mcc...@gmail.com wrote:
 
  I have dyslexia and i find it hard to read sheet music.I am starting 
uni in 
  September to study music. I've been instructed to improve my reading 
but it 
  seems impossible.is there any way you can help.
 
 You need to figure out what you need, perhaps from forums like [1], 
 where some give a number of helping suggestions, and LilyPond might 
 be able to do some; others say that music reading training will be 
 enough. Yet others point out it heavily depends on the individual.
 
 1. http://www.violinist.com/discussion/response.cfm?ID=9023
 
 

Keira,

Based on the discussion I perused at the link Hans provided, Lilypond 
might be able to help the dyslexic musician through the use of color:

Check out Coloring notes depending on their pitch as a starting point at 
http://www.lilypond.org/doc/v2.18/Documentation/snippets/pitches

Of course Lilypond is very flexible, and once you have the music entered 
(the hard part) you can adjust things like sizes and spacing, if that can 
help, too.

Just my 2 cents. I am not an expert.


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Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!

[Tim Reeves]

Ryan,

I'm not sure there's any way around that since each measure is so long and 
you can't break them across lines...

Personally, I like the second one (ten staves, ten staves) better than the 
nine/eleven version but that might just be me...



Tim


Ryan McClure ryanmichaelmccl...@gmail.com wrote on 04/17/2014 07:33:03 
PM:

 From: Ryan McClure ryanmichaelmccl...@gmail.com
 To: lilypond-user@gnu.org, 
 Cc: Tim Reeves tim.ree...@tokamerica.com
 Date: 04/17/2014 07:33 PM
 Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
 
 Hey Tim,
 
 Here is an updated version where I did 10 on each page. Look at the 
 penultimate line on the last page...it seems like no matter how I do
 it, I always get some sort of crammed measures. Any ideas?
 
 -Ryan
 -Original Message-
 From: Tim Reeves tim.ree...@tokamerica.com
 To: lilypond-user@gnu.org, ryanmichaelmccl...@gmail.com
 Subject: Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
 Date: Thursday, 17 April 2014, 19:20:37
 
  
  Message: 4
  Date: Thu, 17 Apr 2014 22:00:27 -0400
  From: Ryan McClure ryanmichaelmccl...@gmail.com
  To: lilypond-user@gnu.org
  Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
  Message-ID: 20140417220027.5926af75@RyansLinuxBox
  Content-Type: text/plain; charset=us-ascii
  
  Hello all!
  
  I'm currently arranging the Bach Cello Suites for Bassoon. I'm 
  arranging them to be more playable on the bassoon (breathing, 
  articulations, etc.) with the help of my private teacher. Attached 
  is the Praeludium of the first suite--How does it look? I want to 
  make this the best edition that I can.
  
  Ryan McClure
  ryanmichaelmccl...@gmail.com
  Music Education Major, Shepherd University
  Luna Music Engraving
  -- next part --
  A non-text attachment was scrubbed...
  Name: Suite1.pdf
  Type: application/pdf
  Size: 108858 bytes
 
 
 Did you try it with ten systems on both pages, instead of nine on the 
 first page, eleven on the second page? Might look more even. Just a 
 thought.
 
 I really like the cover page.
 
 I play the Bach Cello Suites frequently at home, transcribed for horn 
(by 
 Wendell Hoss), so I can appreciate what you're doing.
 
 Tim[attachment Suite1.pdf deleted by Tim Reeves/OAI] ___
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Re: Bach Cello Suite for Bassoon...Typed in LilyPond!!!

[Tim Reeves]

 
 Message: 4
 Date: Thu, 17 Apr 2014 22:00:27 -0400
 From: Ryan McClure ryanmichaelmccl...@gmail.com
 To: lilypond-user@gnu.org
 Subject: Bach Cello Suite for Bassoon...Typed in LilyPond!!!
 Message-ID: 20140417220027.5926af75@RyansLinuxBox
 Content-Type: text/plain; charset=us-ascii
 
 Hello all!
 
 I'm currently arranging the Bach Cello Suites for Bassoon. I'm 
 arranging them to be more playable on the bassoon (breathing, 
 articulations, etc.) with the help of my private teacher. Attached 
 is the Praeludium of the first suite--How does it look? I want to 
 make this the best edition that I can.
 
 Ryan McClure
 ryanmichaelmccl...@gmail.com
 Music Education Major, Shepherd University
 Luna Music Engraving
 -- next part --
 A non-text attachment was scrubbed...
 Name: Suite1.pdf
 Type: application/pdf
 Size: 108858 bytes


Did you try it with ten systems on both pages, instead of nine on the 
first page, eleven on the second page? Might look more even. Just a 
thought.

I really like the cover page.

I play the Bach Cello Suites frequently at home, transcribed for horn (by 
Wendell Hoss), so I can appreciate what you're doing.

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Re: lilypond-user Digest, Vol 133, Issue 102

[Tim Reeves]

 Message: 2
 Date: Thu, 12 Dec 2013 14:45:41 -0800
 From: Jim Long lilyp...@umpquanet.com
 To: lilypond-user@gnu.org
 Subject: Re: lilypond-user Digest, Vol 133, Issue 102
 Message-ID: 20131212224541.ga11...@ns.umpquanet.com
 Content-Type: text/plain; charset=us-ascii
 
 On Thu, Dec 12, 2013 at 07:24:51AM +0100, David Kastrup wrote:
  Kieren MacMillan kieren_macmil...@sympatico.ca writes:
  
   I was
   brainstorming an orchestration teaching tool, where one could find 
the
   distribution of notes in an instrument across an entire score, to 
show
   students where [good] composers tend to have their instruments play.
  
   How hard would that be to implement as a function?
  
  Probably easiest done as an engraver as then you have the timing
  information (absolute and bar number) available.
 
 Perhaps I misunderstand Kieren and/or David, but I took Kieren's
 idea to be a sort of 'spectral' analysis, whereas David's reply
 seems to imply a 'temporal' analysis.  At least, I understand
 Kieren to be wondering what is the distribution of pitches
 assigned to a given instrument throughout this score? or less
 technically, what portion of each instrument's range does this
 score utilize?  This is somewhat like a weighted ambitus as
 shown perhaps by a  bell curve which shows not only the highest
 and lowest pitches, but also includes the weighting of which
 pitches are used more frequently than others.
 
 David's comment makes me wonder, what group of instruments are
 likely to be playing [at all; and how loudly] during any given
 moment of the score, and how does the instrumentation (possibly
 including the relative density [note count, dynamics]) change
 through the timeline of the score?  This makes my mind's eye
 envision a line graph with dynamics as a dependent variable of
 time, and differently colored (or dotted/dashed) lines showing
 the relative amplitude (dynamics) of each instrument or group of
 instruments (strings/brass/woodwinds/percussion,
 kazoo/washtub/spoons, whatever).
 
 Not that I'm putting this on anyone's to-do list!  I just wanted
 to compliment both brainstormers for posing some interesting
 questions.
 

Jim,

Have you seen the 'musanim' music animations on YouTube?
Here is an example: http://www.youtube.com/watch?v=pSCXB-zwiJg (Beethoven 
Pastoral Symphony, first mvmt.)
The creator of the videos, and the software used  to make the videos, 
makes the software (MAM) available (for Windows only?): 
http://www.musanim.com/all/  - it uses a MIDI file as input

They are a moving graphical representation of the score with different 
colors representing different instruments, and some of them represent 
dynamics as well, and pitch represented by vertical position. If you could 
somehow print the entire thing out, it would accomplish the temporal 
analysis part.

This is not intended to be a solution to your problem, but it is related 
and interesting.

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Re: Automatic generation of scores skeletons

[Tim Reeves]

Jacques,

This sounds like a great idea to me. I'm surprised no one else has 
commented.


Tim Reeves


 Message: 1
 Date: Wed, 9 Oct 2013 18:15:15 +0200
 From: Jacques Menu jacques.m...@epfl.ch
 To: lilypond-user@gnu.org Users lilypond-user@gnu.org
 Cc: Jacques Menu jacques.m...@epfl.ch
 Subject: Automatic generation of scores skeletons
 Message-ID: f1291479-40e4-46ed-a095-f91aa1f91...@epfl.ch
 Content-Type: text/plain; charset=us-ascii
 
 Hello Folks,
 
 After struggling with irregular bars, I've been working on a Python3
 tool that transforms a spec such as:
 
 {
 title : Thema allegro,
 composer  : Ludwig van Beethoven (1808 -1854),
 tagline   : J. Menu - September 2013,
 enteredby : Jacques Menu,
 
 instrumentName: Bassoon,
 clef  : bass,
 key   : g \\major,
 time  : 2/4,
 
 initialUpBeat : 8*1,
 
 firstBarNumber: 129,
 lastBarNumber : 150,
 
 finalBarPosition  : 150:4/8,
 
 barNumbersAtBeginningOflines  : [135, 142, 146],
 
 tempoMarks: { 129:1/8:Thema allegro, 144:
 1/8:Coda},
 
 repeats   : [{128:4/8-136:3/8, 1, []}, 
 {136:4/8-144:3/8, 2, [144:1/8-144:3/8, 144:1/8-144:4/8]}],
 
 partName  : bassoonPart
 
 }
 
 into a ready-to-compile Lilypond source file.
 
 The latter contains either actual notes (all the same pitch) to 
 check the layout, or lines merely containing the %nnn comment at 
 the end, ready to be filled with the actual notes by whichever means.
 
 The spec is in JSON format, which avoids writing a specific parser.
 
 136:4/8-144:3/8 denotes a range starting at the 4th eight in 
 measure 136 and ending at the 4rd eight in measure 144, inclusive.
 
 There are still issues regarding the description of alternatives, as
 you can see.
 
 barNumbersAtBeginningOflines can be used optionally to force line 
 breaks, to help check the score comparing it with the original.
 There's also the possibility to specify doubleBarsPositions.
 
 The score described by the spec above is part of Beethoven's Trio X 
 WoO37 for flute, bassoon and piano:
 
 
 
 The same skeleton could be used for the other instruments, of course.
 
 Also, entering the spec data could be done in a GUI window as an 
extension.
 
 Do you think there could be interest in such a tool for anyone else 
 than its author?
 
 JM
 
 --
 
 Jacques Menu
 Ch. de la Pierre 12
 1023 Crissier
 
 mailto:jacques.m...@tvtmail.ch
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Re: Steinberg's progress report on new notation software

[Tim Reeves]

 Message: 9
 Date: Thu, 8 Aug 2013 01:35:47 -0700 (PDT)
 From: SoundsFromSound soundsfromso...@gmail.com
 To: lilypond-user@gnu.org
 Subject: Re: Steinberg's progress report on new notation software
 Message-ID: 1375950947119-148848.p...@n5.nabble.com
 Content-Type: text/plain; charset=us-ascii
 
 I'm surprised that no one else in those comments responded to any of the
 LilyPond mentions. 
 As a former SCORE user, personally I can't possibly imagine /ever /going
 back now that I've tried LilyPond. There truly is just no comparison.
 Period. 
 With LilyPond, you're only limited by your imagination.
 

That's funny. I always thought the one defining positive attribute of 
SCORE was that you *could do anything* imaginable (music notation-wise) 
with it. The drawback is that you *have to do everything* manually, one 
note at a time...requires a lot more thinking, deciding.
Whereas Lilypond has the best of both worlds - very good results 
automatically, plus all the flexibility to do crazy stuff.

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Re: lilypond-user Digest, Vol 124, Issue 124

[Tim Reeves]

 Message: 8
 Date: Sat, 16 Mar 2013 15:20:32 -0700
 From: Sarah k Alawami marri...@gmail.com
 To: lilly pond discuss discuss lilypond-user@gnu.org
 Subject: articulation  simbols 
 Message-ID: 70420b68-2597-433f-b1cc-47d884d5d...@gmail.com
 Content-Type: text/plain; charset=us-ascii
 
 Hello to all. I was tryign to look up accents and staccato marks in 
 lily pond. I found a lit of articulations but it just shows the 
 image of music and the manual at least as far as I can tell does not
 explain what % and - and + mean etc etc etc.
 
 I thin I remember how to do it but is there text I can write? I 
 tried accent and staccato, but that failed with a bang. i put 
 comments on where these things should be for my own benefit  so I 
 can add them before the project is due, and just wrote the notes 
 down  for now.
 
 any thoughts on how I should go about doing this?
 
 Thanks and be blessed.
 

+ is not really an articulation, it is the symbol for a stopped note. OK, 
Lilypond calls it an articulation. I don't (I'm a horn player, but so is 
Han-Wen who I'm sure put it in originally, so go figure!)

% is not an articulation, it is the symbol for a comment (in the lilypond 
code).

- combines with other symbols to make articulations: . (staccato)  
(accent)  - (tenuto) etc.
It is quicker to type than \staccato etc.

Example:
  d4- f- g- a
  g8-. e-. c-. g-.
  c4-- e-- d-^ f-^___
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Re: articulation simbols

[Tim Reeves]

 Message: 2
 Date: Mon, 18 Mar 2013 13:00:40 -0700
 From: Tim Reeves tim.ree...@tokamerica.com
 To: lilypond-user@gnu.org
 Subject: Re: lilypond-user Digest, Vol 124, Issue 124
 Message-ID:
 
of01d29e28.05b80cfb-on88257b32.00696897-88257b32.006de...@tokamerica.com
 
 Content-Type: text/plain; charset=us-ascii
 
  Message: 8
  Date: Sat, 16 Mar 2013 15:20:32 -0700
  From: Sarah k Alawami marri...@gmail.com
  To: lilly pond discuss discuss lilypond-user@gnu.org
  Subject: articulation  simbols 
  Message-ID: 70420b68-2597-433f-b1cc-47d884d5d...@gmail.com
  Content-Type: text/plain; charset=us-ascii
  
  Hello to all. I was tryign to look up accents and staccato marks in 
  lily pond. I found a lit of articulations but it just shows the 
  image of music and the manual at least as far as I can tell does not
  explain what % and - and + mean etc etc etc.
  
  I thin I remember how to do it but is there text I can write? I 
  tried accent and staccato, but that failed with a bang. i put 
  comments on where these things should be for my own benefit  so I 
  can add them before the project is due, and just wrote the notes 
  down  for now.
  
  any thoughts on how I should go about doing this?
  
  Thanks and be blessed.
  
 
 + is not really an articulation, it is the symbol for a stopped note. 
OK, 
 Lilypond calls it an articulation. I don't (I'm a horn player, but so is 

 Han-Wen who I'm sure put it in originally, so go figure!)
 
 % is not an articulation, it is the symbol for a comment (in the 
lilypond 
 code).
 
 - combines with other symbols to make articulations: . (staccato)  
 (accent)  - (tenuto) etc.
 It is quicker to type than \staccato etc.
 
 Example:
   d4- f- g- a
   g8-. e-. c-. g-.
   c4-- e-- d-^ f-^

Sorry for messing up the thread subject. One of the drawbacks of getting 
the emails in digest format is you have to change the subject when you 
reply.


Tim Reeves
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Re: Failing UTRLs in user digest messages

[Tim Reeves]

 
 What have I got wrong?
 
 I am using Outlook and IE9 with Vista Home Premium

Well, there's a couple things right there ;-)

Sorry, I could not resist.

(WinXP Pro SP3 32-bit here...hope to upgrade soon)

On a more serious note, I just copy and paste the URL into my  browser 
(Chrome), and chop off the end, so it takes me to the archived messages, 
then just navigate to the one I want. 



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Re: Notation of french horn

[Tim Reeves]

 
 Message: 5
 Date: Fri, 27 Apr 2012 10:07:42 +0200
 From: Jonas Olson jol...@kth.se
 To: lilypond-user@gnu.org
 Subject: Re: Notation of french horn
 Message-ID: 1335514062.13951.43.camel@appendix
 Content-Type: text/plain; charset=UTF-8
 
 Even though I do understand the nature of the valveless horn, I do not
 see why one omits the key signature today. Just tradition doesn't really
 explain it. Could someone clarify this? Here's how I understand it so
 far:
 
 On the valveless horn you change crooks to give the instrument a
 transposition that matches the music. That way, the music is always
 notated in C major (assuming major mode), just like how music sounding
 in B? major, played on a B? clarinet, is written as C major. Rather than
 calling this no key signature, I'd say we have the key signature of C
 major.
 
 When we switch over to valves, we no longer match the transposition of
 the instrument to the key of the music, so it's only natural for other
 key signatures to appear. To continue the tradition of valveless horns,
 one would rather have to consider every valve press to be a change of
 crooks that alters the transposition of the instrument, and then write
 for this transposition until it's time for the next valve press.
 
 In summary, having no key signature (rather, the key signature of C
 major) appears natural to me when dealing with valveless horns (whose
 transposition match the key of the music) but not when it comes to horns
 with valves. I'm looking forward to getting this explained to me!
 
 Regards,
 Jonas
 

Basically, I'd say the norm is to write out/typeset the horn part the 
way the composer originally wrote it, the exception being when the player 
is not [expected to be] skilled in transposition.
Transposition on-the-fly is typically expected of today's horn players due 
to the history of the instrument and historical practice.

I'll give some examples to try to illustrate the possibilities.

Mozart horn concerto in D major (1791) - originally played on a natural 
horn with a D crook, so written with no key signature - the modern player 
playing on an F horn simply (!) transposes the part down a minor third as 
he plays it. Exception is to transpose the part for him, so write it out 
for horn in F. Then the key signature is two sharps (for the horn - one 
sharp for everyone else!)

Tchaikovsky piano concerto in B flat minor (1875) - horn part originally 
written for valved horn, but *still* written with no key signature and 
accidentals instead of four flats key signature.
(Nineteenth century composers were slow to change the practice of writing 
as if they were writing for natural horn, maybe with pressure from horn 
players who were unused to seeing a key signature in all their Beethoven 
symphonies etc.)

Holst First Suite for Military Band (in E flat) (1909) - written for four 
horns in E flat - those were common in early twentieth century bands - 
horn parts have no sharps or flats in key signature - nowadays the player 
would get a part that said Horn in E flat and she would transpose down a 
whole step as she plays, or a part for horn in F (written out a whole step 
lower) would be provided and this would have two flats and not require 
thought by the player about transposing.

Holst's Jupiter from The Planets (c. 1916) C major, but six horns in F 
still with no key signature (should be one sharp). As a comparison, the 
clarinet parts have two sharps, and the English horn part has one sharp.

Gliere - Concerto for Horn in B flat major (1951) - horn in F, one flat in 
the key signature and this piece has lots of accidentals (mostly sharps 
and even double sharps!)

Bach Suites for Unaccompanied Cello  *transcribed* for horn in F - each 
piece has a key signature, either one more sharp or one fewer flats than 
the original, as needed.


I'd say almost everything written after the early-mid twentieth century is 
going to have key signatures, but as much of what we play was written 
earlier, it is very common for horn players to have parts without key 
signatures in front of them.


Hope this helps.


Tim Reeves

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Re: Notation of french horn

[Tim Reeves]

Jonas Olson jol...@kth.se wrote on 04/27/2012 02:06:07 PM:

 From: Jonas Olson jol...@kth.se
 To: Tim Reeves tim.ree...@tokamerica.com
 Cc: lilypond-user@gnu.org
 Date: 04/27/2012 02:06 PM
 Subject: Re: Notation of french horn
 
 Interesting to see the variations that occur.
 
 fre 2012-04-27 klockan 11:50 -0700 skrev Tim Reeves:
  Mozart horn concerto in D major (1791) - originally played on a
  natural horn with a D crook, so written with no key signature - the
  modern player playing on an F horn simply (!) transposes the part down
  a minor third as he plays it. Exception is to transpose the part for
  him, so write it out for horn in F. Then the key signature is two
  sharps (for the horn - one sharp for everyone else!)
 
 This is beside the main point, but just so I don't misunderstand
 something. Music in D major would have tree sharps for an instrument in
 F and two sharps for non-transposing instruments, wouldn't it?
 
 Jonas
 


Yes. I changed that example and didn't correctly change the key signature 
description.

Thanks for catching it.

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Re: transpose with intervals?

[Tim Reeves]

 
 Message: 5
 Date: Fri, 17 Feb 2012 17:26:00 +0100
 From: Jonghyun Kim agitato...@gmail.com
 To: lilypond-user@gnu.org
 Subject: transpose with intervals?
 Message-ID:
CAC8jf9e_5KjcSTtXWqhvLjLBjmFQtpUTyiw7xVe2B6dAycRB=a...@mail.gmail.com
 Content-Type: text/plain; charset=iso-8859-1
 
 Dear List,
 
 lilypond version: 2.14.2
 
 How can I transpose with intervals?
 
 I WANT TO DO THIS:
 \transpose -5 {\music}
 
 note:-5 means five semitones, so it's perfect fifth.
 
 OR
 \transpose perfect-fifth {\music}
 
 Any suggestion?
 
 Thanks,
 Jong


Actually, five semitones would be a perfect fourth, while seven semitones 
is a perfect fifth. (it's five steps away diatonically)

Tim Reeves

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Re: Instrument line in header block - first piece only?

[Tim Reeves]

 Message: 5
 Date: Thu, 09 Feb 2012 16:05:18 +0100
 From: David Kastrup d...@gnu.org
 To: lilypond-user@gnu.org
 Subject: Re: Instrument line in header block - first piece only?
 Message-ID: 874nv0nj2p@fencepost.gnu.org
 Content-Type: text/plain
 
 Brent Annable brentanna...@gmail.com writes:
 
  Actually, now that I think about it, the default 'instrument' line
  behaviour in the header seems a little odd to me. Does the instrument
  really need to be so demonstratively announced between movements or
  pieces if they are all part of the same document?
 
 It is common for wind instrument players to have to switch instruments
 between parts.
 
 -- 
 David Kastrup

It might be somewhat common for wind musicians to switch instruments 
during the course of a multi-movement work, or even during a movement, but 
it is not common to notate which instrument to play (apart from the top of 
the page) UNTIL one has to change.
I'm a horn player, so I'm not switching physical instruments except by my 
own choice (and I don't), but we frequently have different transpositions 
(which correspond to switching horns or crooks back in the old days) 
within a work, and I can assure you that the normal practice is to 
*assume* horn in F, until told otherwise. Clarinet players switch actual 
instruments more than anyone I'd say, and I don't play clarinet, so I 
can't speak to that, but I have a feeling that they likewise assume B-flat 
until they are told something else.

Tim Reeves

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Re: Experimental Web-based Lilypond Editor

[Tim Reeves]

 Message: 7
 Date: Wed, 1 Feb 2012 12:51:18 -0600
 From: Stan Sanderson stans...@gmail.com
 To: trevordixon trevordi...@gmail.com
 Cc: lilypond-user@gnu.org lilypond-user@gnu.org
 Subject: Re: Experimental Web-based Lilypond Editor
 Message-ID: 5baa1542-e5b8-497f-b717-b861edaa5...@gmail.com
 Content-Type: text/plain;   charset=us-ascii
 
 On Feb 1, 2012, at 5:32 AM, Helge Kruse helge.kr...@googlemail.com 
wrote:
 
  2012/2/1 trevordixon trevordi...@gmail.com:
  expected, and it will probably crash and be down at times. I've only 
tested
  it in Chrome 15 and Firefox 9. It should work in Internet Explorer 9 
or 10,
  but will almost certainly not work in IE8 or earlier.
  
  
  Let me know how it works for you!
  
  
 
 It works for a simple file on my iPad2 (iOS 5.0.1) using Safari. Could 
be
 interesting!
 
 Stan


Works fine for me on Chrome 16 but does not seem to work on Opera 11.61.

Should be very useful I think.

I agree with whomever said it would be good to be able to run the latest 
stable as well as the latest unstable, but I think running the latest 
unstable means a lot of maintenance for the webpage maintainer and might 
not be practical.


Tim Reeves

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Re: caesura but not as a breath mark

[Tim Reeves]

 Message: 3
 Date: Sat, 14 Jan 2012 02:41:34 +0100
 From: Hans Aikema hans.aik...@aikebah.net
 To: Tim Reeves tim.ree...@tokamerica.com
 Cc: lilypond-user@gnu.org
 Subject: Re: caesura but not as a breath mark
 Message-ID: 4f10dd4e.6030...@aikebah.net
 Content-Type: text/plain; charset=ISO-8859-1; format=flowed
 
 On 14-1-2012 0:54, Tim Reeves wrote:
  To be honest, I think it should be possible without using a breath 
  mark, since a railroad tracks is not really a breath. Tim . 
 
 Just made me wonder, given the 'centred on staff' nature: are you sure 
 you want the caesura and not the simile mark?
 
 For a simile-mark as 'double railroad tracks' you would have a \repeat 
 percent (Notation Reference: Short repeats) for a set of 16th notes
 


Actually, what I'm trying to reproduce is this:



The breath mark caesura-style, shifted down to center it, will work. I 
just thought there should/might be a better way.


Thanks,

Tim

centeredcaesura.png
Description: Binary data
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Re: caesura but not as a breath mark

[Tim Reeves]

Mike, 

Since a note or rest will add to the length of the measure which I don't 
want to do, could I do the same thing with another object? Maybe an object 
that does not have be undone later, like a clef would?

Why do I have to be such a purist? Argh.


Thanks,


Tim

m...@apollinemike.com m...@apollinemike.com wrote on 01/16/2012 
11:15:53 AM:

 From: m...@apollinemike.com m...@apollinemike.com
 To: Tim Reeves tim.ree...@tokamerica.com
 Cc: lilypond-user@gnu.org
 Date: 01/16/2012 11:15 AM
 Subject: Re: caesura but not as a breath mark
 
 On Jan 16, 2012, at 8:10 PM, Tim Reeves wrote:
 
  Message: 3
  Date: Sat, 14 Jan 2012 02:41:34 +0100
  From: Hans Aikema hans.aik...@aikebah.net
  To: Tim Reeves tim.ree...@tokamerica.com
  Cc: lilypond-user@gnu.org
  Subject: Re: caesura but not as a breath mark
  Message-ID: 4f10dd4e.6030...@aikebah.net
  Content-Type: text/plain; charset=ISO-8859-1; format=flowed
  
  On 14-1-2012 0:54, Tim Reeves wrote:
  To be honest, I think it should be possible without using a breath 
  mark, since a railroad tracks is not really a breath. Tim . 
  
  Just made me wonder, given the 'centred on staff' nature: are you 
sure 
  you want the caesura and not the simile mark?
  
  For a simile-mark as 'double railroad tracks' you would have a 
\repeat 
  percent (Notation Reference: Short repeats) for a set of 16th notes
  
  
  
  Actually, what I'm trying to reproduce is this:
  
  
  
  The breath mark caesura-style, shifted down to center it, will work. I 

  just thought there should/might be a better way.
  
  
  Thanks,
  
  Tim
 
 As a hack, you can use scripts.caesura.straight as the stencil for a 
note
 or rest at that staff position.
 
 Cheers,
 MS

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caesura but not as a breath mark

[Tim Reeves]

Hi,

How can I put in railroad tracks / caesura in the middle of the staff?
The only example I can find in the documentation has it as a breath mark, 
so it's at the top of the staff.
I want it vertically centered on the staff.


Thanks,

Tim

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Re: caesura but not as a breath mark

[Tim Reeves]

Hi,

 
 Message: 5
 Date: Fri, 13 Jan 2012 23:05:21 +0100
 From: Hans Aikema hans.aik...@aikebah.net
 To: lilypond-user@gnu.org
 Subject: Re: caesura but not as a breath mark
 Message-ID: 4f10aaa1.2090...@aikebah.net
 Content-Type: text/plain; charset=ISO-8859-1; format=flowed
 
 On 13-1-2012 21:39, Tim Reeves wrote:
  Hi,
 
  How can I put in railroad tracks / caesura in the middle of the 
staff?
  The only example I can find in the documentation has it as a breath 
mark,
  so it's at the top of the staff.
  I want it vertically centered on the staff.
 Tim,
 
 To align the caesura in the middle of the staff all you need to do in 
 addition to the LSR-snippet you mentioned is to override the Y-offset of 

 the breath mark:
 
 \relative c'' {
\override BreathingSign #'text = \markup {
  \musicglyph #scripts.caesura.straight
}
\override BreathingSign #'Y-offset = #0
c8 e4. \breathe g8. e16 c4
 }
 
 
 regards,
 Hans
 

So, just like the answer to the almost identical question about breath 
marks asked by someone else just a few hours ago, then? :-)

Thanks, Hans.

To be honest, I think it should be possible without using a breath mark, 
since a railroad tracks is not really a breath.


Tim

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Re: LilyPond and Python

[Tim Reeves]

BTW when LilyPond uninstalled, it left behind a lot of redundant entries 
in the Windoze registry. Not being a registry guru I have nothing 
constructive to add beyond commenting on this. :-(

-- 
Hilary


Also not a registry guru, but I use CCleaner (
http://www.piriform.com/ccleaner) to clean up my Win XP registry from time 
to time, particularly after uninstalling or upgrading a bunch of software.
 You might give it a try.


Tim Reeves

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Re: divisi lyrics above and below staff

[Tim Reeves]

Phil Holmes m...@philholmes.net wrote on 11/01/2011 07:40:01 AM:

 From: Phil Holmes m...@philholmes.net
 To: lilypond-user@gnu.org, Tim Reeves tim.ree...@tokamerica.com
 Date: 11/01/2011 07:40 AM
 Subject: Re: divisi lyrics above and below staff
 
 - Original Message - 
 From: Tim Reeves tim.ree...@tokamerica.com
 To: lilypond-user@gnu.org
 Sent: Monday, October 31, 2011 10:53 PM
 Subject: divisi lyrics above and below staff
 
 
  Hello list,
  
  I want to make divisi lyrics as described in NR 2.1.2 and put one set 
of 
  lyrics above the staff and the other set of lyrics below the staff.
  
  Is it possible?
  
  
  Thanks,
  
  Tim Reeves
 
 
 Does:
 
 \new Lyrics \with { alignAboveContext = StaffName } 
 
 do what you want?
 
 --
 Phil Holmes
 

Thanks, Phil.
Yes it does.  sheepishly I had actually found the answer before you 
replied and didn't have a chance to say so yet.

Tim

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Re: accidental in a header?

[Tim Reeves]

 Date: Tue, 1 Nov 2011 13:56:08 +
 From: Peekay Ex pkx1...@gmail.com
 To: Timothy Reeves timothyrree...@gmail.com
 Cc: lilypond-user@gnu.org
 Subject: Re: accidental in a header?
 Message-ID:
ca+t3wfkphi38e4fymedmrggthckzujlo277h+q4m_jo+by0...@mail.gmail.com
 Content-Type: text/plain; charset=ISO-8859-1
 
 Hello,
 
 On Mon, Oct 31, 2011 at 7:17 AM, Timothy Reeves
 timothyrree...@gmail.com wrote:
  Hello list,
  Could someone point me to the documentation or snippet that would show 
me
  how to put a flat sign into a header (e.g. in the subtitle)?
  The documentation says I can just use a \markup in a header, but I get
  errors when I try it. I need an example.
 
 
 \header {
   instrument = \markup { \concat { Trumpet - Part 2. B  \tiny \flat } 
}
 }
 
 -- 
 --
 James
 
 

Thanks, James.

It also works without the \concat.

I don't know what I did wrong before, because I thought I was doing the 
same thing as what you suggested. (!)

I notice that the flat (or sharp) sits low relative to the text. How 
would I shift it up a bit?

Tim

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Re: accidental in a header?

[Tim Reeves]

Xavier,


Xavier Scheuer x.sche...@gmail.com wrote on 11/01/2011 10:45:11 AM:

 From: Xavier Scheuer x.sche...@gmail.com
 To: Tim Reeves tim.ree...@tokamerica.com
 Cc: lilypond-user@gnu.org
 Date: 11/01/2011 10:45 AM
 Subject: Re: accidental in a header?
 
 On 1 November 2011 18:00, Tim Reeves tim.ree...@tokamerica.com wrote:
 
  Thanks, James.
 
  It also works without the \concat.
 
  I don't know what I did wrong before, because I thought I was doing 
the
  same thing as what you suggested. (!)
 
  I notice that the flat (or sharp) sits low relative to the text. How
  would I shift it up a bit?
 
 Use the \raise command:
 
   \raise #0.5 \tiny \flat
 
 All these markup commands are in Appendix of the notation manual:
 A.9 Text markup commands
 
http://lilypond.org/doc/v2.15/Documentation/notation/text-markup-commands.html

 
 Cheers,
 Xavier
 
 -- 
 Xavier Scheuer x.sche...@gmail.com


Thanks. The list is so helpful. I eventually find most of the answers I'm 
looking for in the documentation but the list is a time and 
frustration-saver.

I'm not a power user even though I've been using Lilypond for quite a 
while, mainly because I don't use it that often, and I usually do pretty 
conventional instrumental parts.
One thing I notice about LP is that there is often several different ways 
to do a thing, but when you need to combine it with some other thing, you 
can only use one of the options for the first thing, but you don't know 
that until you try to do the second thing.

Cheers,

Tim

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divisi lyrics above and below staff

[Tim Reeves]

Hello list,

I want to make divisi lyrics as described in NR 2.1.2 and put one set of 
lyrics above the staff and the other set of lyrics below the staff.

Is it possible?


Thanks,

Tim Reeves

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Re: wind instrument transposition (was Good work, Keith!)

[Tim Reeves]

 Message: 1
 Date: Tue, 4 Oct 2011 09:57:58 -0700
 From: Tim Roberts t...@probo.com
 To: lilypond-user@gnu.org lilypond-user@gnu.org
 Subject: Re: Good work, Keith!
 Message-ID: 4e8b3b16.6060...@probo.com
 Content-Type: text/plain; charset=UTF-8
 
 Francisco Vila wrote:
  Hello all, I think this is remarkable: Keith OHara has put Dvo??k's
  9th symphony in Mutopia. Kudos!
 
  http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=1793
 
 That is remarkable, indeed.
 
 There are some odd things in the key signatures.  Horn I, II in E,
 Horn III IV in C, then E and Trumpet I II in E, then C are all
 notated in the key of C throughout.  Mvt I starts in concert G, where an
 E instrument should be in the key of Eb.  Mvt II is in concert Db, but
 the clarinet I part, for A clarinet, starts out in written Eb instead of
 written E, and stays there when it switches to Bb clarinet 10 bars 
later.
 
 Is that the way Dvo??k wrote it?  Certainly, all the notes are here.
 
 -- 
 Tim Roberts, t...@probo.com
 Providenza  Boekelheide, Inc.
 

Tim,

Nothing odd about it at all. It would be odd if a horn part in C or E, 
etc. had any key signature at all.

Horn in E, which is a quite common transposition for horn, means that one 
plays a horn crooked (having a crook - a removable section of tubing - 
that make the overall length of the instrument what it needs to be) in E.
Nowadays, since we play valved horns, usually in F, and not natural horns 
with crooks, we would just play everything down a semitone from what is 
written, so when I play a written C (open horn, no valves) on a 'horn in 
E' part, I play a B natural, and since I'm playing it on a F horn, it is 
actually a fifth lower, so a concert E. Voila! 

I won't confuse you by telling you about double and triple horns!

Clarinet and trumpet are similar situations, but they didn't use crooks, 
they just had longer or shorter instruments for different keys.
Often orchestral trumpet players will play a C trumpet, rather than the 
standard B flat trumpet, and clarinet players sometimes play A clarinets 
and E flat clarinets, rather than the standard B flat clarinet.

Tim Reeves

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Re:High-level users?

[Tim Reeves]

3. Re:High-level users? (m...@apollinemike.com)

 Just got back home from transcribing chipmunk noises for my most recent 
 choral work.
 I'll just say that being called nuts is the single greatest compliment I 

 could possibly receive.
. 
 Cheers,
 MS
 
 

Very funny. Love it.
I'd really like to hear (and even see) a performance of some of your 
works.
They've got to be challenging.



Tim Reeves

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Re: voice instantiation syntax (was Re: Lilypond Lobbying)

[Tim Reeves]

How do you like syntax like this:
 e1 \ #0.25 \f #0.5 \ f2 \! #0.5

Well, it's starting to to look too much like perl, to my non-programmer 
eyes. 

That is to say, I don't particularly like it, at first glance. Although, 
maybe, if it makes sense, I  could get used to it.


Regards,


Tim Reeves

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Lilypond crashes when compiling snippet

[Tim Reeves]

Greetings,


I tried to compile the Creating music with Scheme (music box) snippet (
http://lsr.dsi.unimi.it/LSR/Item?id=346 ) and when I do, Lilypond crashes 
with the following output:

 %lilypond %args C:\Documents and Settings\timr\Desktop\Bach Prelude in 
C major.ly

Processing `C:/Documents and Settings/timr/Desktop/Bach Prelude in C 
major.ly'
Parsing...
Interpreting music... [8][16][24][32]
Processing time: 4 seconds

So it seems to get through compiling except it fails to generate the ps or 
pdf.

Any idea why?

I should add: I didn't know what version to tell Lilypond the snippet was, 
so I assumed the previous stable version, 2.12.3. Is that correct?

(LP 2.15.1 on Windows XP SP3)



Tim Reeves

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Re: font survey: which clef do you prefer?

[Tim Reeves]

 
 Message: 4
 Date: Wed, 6 Jul 2011 22:53:51 +0200
 From: Janek Warcho? lemniskata.bernoull...@gmail.com
 To: James Lowe james.l...@datacore.com
 Cc: lilypond-user lilypond-user@gnu.org
 Subject: Re: font survey: which clef do you prefer?
 Message-ID:
cabmdzepuhvu1cfjehx+aunfxtud0aezv4s68pclbvbpvz5k...@mail.gmail.com
 Content-Type: text/plain; charset=utf-8
 
 W dniu 6 lipca 2011 22:21 u?ytkownik James Lowe
 james.l...@datacore.com napisa?:
  Can we have some sharps and flats and perhaps some numeric signatures?
  There is no context for the clef otherwise (if you see what I mean).
 
 Attached.
 
 Janek


I preferred the rightmost one. More compact.



Tim Reeves

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Re: How to create and so on... snippets, examples, excerpts etc. with lilypond

[Tim Reeves]

 Message: 1
 Date: Thu, 7 Apr 2011 17:38:11 +0200
 From: Nils n...@hammerfeste.com
 Subject: How to create and so on... snippets, examples, excerpts
etc. with   lilypond
 To: lilypond-user lilypond-user@gnu.org
 Message-ID: 20110407173811.4ef09...@hammerfeste.com
 Content-Type: text/plain; charset=us-ascii
 
 Hello list,
 
 I regulary create educational music sheets and need a way to indicate 
 that the music is incomplete. In the handwriting world there are many 
 ways to do this. I only need one :) What is the Lilypond way to do this?
 I created some examples in inkscape, attached.
 
 Nils



Nils,

Wouldn't


http://lsr.dsi.unimi.it/LSR/Item?id=668 


work?




Tim Reeves

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Re: Favorite Lilypond-Score Printer?

[Tim Reeves]

Hello,

 
 Message: 5
 Date: Mon, 28 Mar 2011 07:49:23 -0600
 From: Carl Sorensen c_soren...@byu.edu
 Subject: Re: Favorite Lilypond-Score Printer?
 To: PMA peterarmstr...@aya.yale.edu, lilypond-user@gnu.org
lilypond-user@gnu.org
 Message-ID: c9b5ee03.1c0ff%c_soren...@byu.edu
 Content-Type: text/plain; charset=iso-8859-1
 
 On 3/27/11 5:45 PM, PMA peterarmstr...@aya.yale.edu wrote:
 
  
  
  Hi List.
  
  If you were shopping for a fine non-feature-crazy laser or inkjet
  printer to be used
  *only* for private publishing of your LilyPond scores (that trusty old
  dot-matrix will
  handle everything else), is there a make--model you would especially
  consider?
  
  One constraint -- it must output comfortably onto 11x17 inch card 
stock.
  
 
 As far as I'm concerned, it would be laser, not inkjet.
 
 For laser printers, it seems hard to go wrong with HP brand -- I've had 
a
 lot of different laser printers, and HP seems to be the best.
 
 The HP 5000 series seems to be well-regarded, although I've never used 
one.
 
 The HP 5000N  is a low-cost entry point.
 
 The HP 5100DTN costs more, but will handle duplexing (automatically 
print on
 both sides of the paper).  If you want double-sided printing, duplexing 
is
 marvelous (I just bought a duplexing printer, and I love it).
 
 HTH,
 
 Carl
 
 
 

FWIW,
The HP 4700DN laser printer I have used jams every time I try to print 
double-sided. So effectively it cannot print double-sided. Otherwise, it's 
alright.

I do agree though that laser is better than inkjet.

Tim Reeves

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Re: How do you tell tempo for indications in English (music question, not Lilypond question)

[Tim Reeves]

What you are asking, it seems is, 'what speed is 'cheerful''? 
Which doesn't makes much sense. 



I disagree... at least in part.
I think that there is a range of speeds that most musicians would say 
Yes, that is cheerful. when they hear it.
In other words it requires some musicality, some judgment, since it is 
less prescriptive than the Beethoven score where he writes half-note = 72.

There are certainly tempos which are not cheerful (e.g. quarter-note = 
52).

If you get it wrong in the MIDI file, don't feel bad. 
I've heard, for example, performances of Tchaikovsky's Fifth by 
professional orchestras (I know, it's the conductors fault, not the 
orchestra's) where the second movement was painfully slow - just WRONG to 
my ears (...and it's much harder to play the horn solo well ;-)

I'm sure there's more variability (of performance tempi) in Irish folk 
tunes than in Tchaikovsky symphonies, so it is to be expected.
Besides, I don't think anyone will confuse a MIDI performance with a 
live performance, and place too high an expectation on authenticity.


Tim Reeves




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Re: ANN: J. S. Bach - 371 Chorals ... extracting tar.bz2 files

[Tim Reeves]

7-Zip (which will extract tar and tar.bz2 files) is available for Windows 
and should solve this problem.

I use it with Windows XP. It's much better than WinZip.

from www.7-zip.org : 

The main features of 7-Zip
High compression ratio in 7z format with LZMA and LZMA2 compression
Supported formats:
Packing / unpacking: 7z, XZ, BZIP2, GZIP, TAR, ZIP and WIM
Unpacking only: ARJ, CAB, CHM, CPIO, CramFS, DEB, DMG, FAT, HFS, ISO, LZH, 
LZMA, MBR, MSI, NSIS, NTFS, RAR, RPM, SquashFS, UDF, VHD, WIM, XAR and Z.
For ZIP and GZIP formats, 7-Zip provides a compression ratio that is 2-10 
% better than the ratio provided by PKZip and WinZip
Strong AES-256 encryption in 7z and ZIP formats
Self-extracting capability for 7z format
Integration with Windows Shell
Powerful File Manager
Powerful command line version
Plugin for FAR Manager
Localizations for 79 languages


Tim Reeves

 
 Message: 6
 Date: Wed, 02 Feb 2011 10:05:47 +0100
 From: Phil H?zaine philippe.heza...@free.fr
 Subject: Re: ANN: J. S. Bach - 371 Chorals ? 4 voix + Etudes
d'anamorphoses: les diff?rentes versions d'un choral.
 To: lilypond-user lilypond-user@gnu.org
 Message-ID: 4d491e6b.3030...@free.fr
 Content-Type: text/plain; charset=UTF-8
 
 Le 02/02/2011 08:41, Helge Kruse a écrit :
  
   Original-Nachricht 
  Datum: Tue, 1 Feb 2011 22:13:55 +0100
  Von: Jan Warchoł lemniskata.bernoulli...@gmail.com
  An: Phil Hézaine philippe.heza...@free.fr
  CC: lilypond-user lilypond-user@gnu.org
  Betreff: Re: ANN: J. S. Bach - 371 Chorals à 4 voix + Etudes d
 \'anamorphoses: les différentes versions d\'un choral.
 
  That's great! I didn't know it was possible.
  How can i extract it? I have arichve manager called 7-zip, that
  handles tar.bz2, but it doesn't want to do anything with this pdf...
 
  cheers,
  Janek
  
  When I open the file in Acrobat Reader 9 and click on the .tar.bz2 
 file, I get the message 
  
  You have selected a file that cannotbe exported from Acrobat.
  
  What's wrong? Also, I am interested in including the source in the 
PDF.
 Where can I read how to do this. I hope should be possible, even if i 
 just had some trouble with it.
  
  Regards,
  Helge
 
 Hi,
 
 I guess you have not the tools to uncompress the tar.bz2 archive.
 However Windows is totally out of my world here.
 
 With pdftk you can include the source in the pdf:
 
 pdftk your_input.pdf  attach_files  your_archive.tar.bz2  output out.pdf
 
 Have fun.
 Phil.
 

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Re: ways of using Lilypond?

[Tim Reeves]

LilypondTool with jEdit (on Windows)



Tim Reeves

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Re: Printing barnumber 1 (oh no, not again)

[Tim Reeves]

 Message: 6
 Date: Wed, 10 Nov 2010 07:49:22 +0100
 From: Christ van Willegen cvwille...@gmail.com
 Subject: Re: Printing barnumber 1 (oh no, not again)
 To: Jan Warcho? lemniskata.bernoulli...@gmail.com
 Cc: Valentin Villenave valen...@villenave.net, lilypond-user@gnu.org
 Message-ID:
aanlkti=gxzgrf+1mslaqpphtkan-ls7eheu349yw3...@mail.gmail.com
 Content-Type: text/plain; charset=UTF-8
 
 On Wed, Nov 10, 2010 at 7:34 AM, Jan WarchoÅ?
 lemniskata.bernoulli...@gmail.com wrote:
  2010/11/10 Valentin Villenave valen...@villenave.net
  Then I'm very ashamed to say I found it to be rather hilarious... :)
 
  It doesn't matter whether the joke is funny or not.
 
 Jan,
 
 you're right, it may have been too risque to put here.
 
 I mentioned it before telling, so that people would have the option to
 read it, or not, but perhaps more restraint would've been better in
 this case.
 
 Christ van Willegen
 

As a horn player and lover of good humor, I never heard that version of 
the joke before.
The one I've heard leaves more to the imagination and would have been more 
appropriate: something along the lines of trumpet players being good 
kissers too, but my boyfriend is a horn player and kisses very well, but 
I just LOVE the way he HOLDS me.

There are so many good musician jokes - I just have to leave one more 
(it's so easy to remember):

What's the difference between a musician and a large pizza?.
A large pizza can feed a family of four!

ba-dump-bump!


Tim Reeves

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Re: Feature request

[Tim Reeves]

 Message: 6
 Date: Wed, 27 Oct 2010 15:48:22 +0100
 From: Graham Percival gra...@percival-music.ca
 Subject: Re: Feature request
 To: Tim McNamara tim...@bitstream.net
 Cc: Robert Clausecker fuz...@gmail.com, lilypond-user
lilypond-user@gnu.org
 Message-ID: 20101027144822.ga14...@futoi
 Content-Type: text/plain; charset=us-ascii
 
 On Wed, Oct 27, 2010 at 09:06:27AM -0500, Tim McNamara wrote:
  
  On Oct 27, 2010, at 8:05 AM, Valentin Villenave wrote:
  
  On Wed, Oct 27, 2010 at 2:05 PM, Robert Clausecker
  fuz...@gmail.com wrote:
  Hi guys!
  As we have a good support for SVG now, wouldn't it be nice to add a
  --svg switch to the program, so that you can write
  
 lilypond --svg fancystuff.ly
  
  I think we can safely assume that this kind of users *also* tend to
  know what a program's Documentation is, and where to look for it.
  What do you think?
  
  Hmm.  This is prompting a rather harsh reaction from me which will
  predictably draw all kinds of flames.  I am always bemused by the
  recurrent user-dismissive attitude that pervades Unix-based FOSS
  projects:
 
 Ironically, I'm the resident champinion of the shut up and read
 the docs, you stupid user camp for lilypond, but I thought the
 email was completely valid.
 
 - it was sent to bug-lilypond, which is where it should be.
 - it was a well-written, well-reasoned feature request.
 - it would unquestionably bring lilypond usage into a more
   consistent manner ( -f=xyz or --xyz )
 
 
 Now, I recall this being discussed a few years ago, and there was
 some reason why it was difficult to implement -f=svg.  So there's
 virtually no chance of it getting included before 2.14... but the
 feature request itself was, as far as I can tell, completely fine.
 The only reason why it shouldn't be in the tracker is if there's
 *already* a request for this precise thing.
 (I know it was discussed a few years ago, but I'm not certain if
 it got a tracker issue)
 
  We've got a bunch of arcane stuff in Lilypond, which is why we have
  four PDF files of documentation with a total of 1205 pages (for
  12.2.3),
 
 Much more than four, BTW.  I think we have 10.
 
 Cheers,
 - Graham
 
 


Wow, Graham has gone all soft and cuddly!
It must be the end of the world approaching. ;-)

BTW, I know what SVG is (I love Inkscape!) and know what a CLI is, though 
I don't use one often, but it's just plain easier to remember, not to 
mention to type, lilypond --svg fancystuff.ly than the current command.



Tim Reeves

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Re: orchestral template, please comment (horn transposition)

[Tim Reeves]

 Message: 4
 Date: Mon, 18 Oct 2010 06:25:50 -0400
 From: David Santamauro david.santama...@gmail.com
 Subject: Re: orchestral template, please comment
 To: Trevor Daniels t.dani...@treda.co.uk
 Cc: Keith E OHara k-ohara5...@oco.net, lilypond-user@gnu.org
 Message-ID: 20101018062550.370d4...@debussy
 Content-Type: text/plain; charset=US-ASCII
 
 
 On Mon, 18 Oct 2010 10:18:52 +0100
 Trevor Daniels t.dani...@treda.co.uk wrote:
 
  Shouldn't the music for the Horn in F be printed in D major?
 
 It is very common for key signatures to be omitted for Horn. As the
 notes themselves are correct transpositions, it looks ok.
 
 There is also a discrepancy between the transposition direction
 (down 5th or up 4th). Some scores actually place an ambitus-sort-of
 note at the beginning of the horn staff to indicate the transposition
 direction.
 
 One other comment that I think it would also be a good addition to the
 template is that between the differing instrument choirs (woodwinds,
 brass, voice, strings), there should be visual 'space' in addition to
 the grouping itself.
 
 David
 


David,

I am open to the possibility that I'm wrong in some cases, but in 
thirty-plus years of playing the horn, I've never seen any ambiguity in 
horn transposition like you describe.
Horn in F is *always* sounding a fifth lower than notated.
The only place I know of ambiguity is in parts with bass clef, where old 
notation means that the pitch as played is a fourth higher than what is 
notated, but this is limited to a certain period in history (i.e. 
classical period) and is generally discernible by context (e.g. if the 
note lower than it is possible to play for a good player, then it must be 
old notation).
In such cases, I've never seen the ambitus-like notation that you 
describe, but I can see how it would be helpful for those unsure of the 
notation.


Regards,

Tim Reeves

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Re: Optimising output for screen

[Tim Reeves]

 Message: 5
 Date: Fri, 24 Sep 2010 17:31:09 +0100
 From: Phil Holmes m...@philholmes.net
 Subject: Re: Optimising output for screen.
 To: Graham Percival gra...@percival-music.ca
 Cc: lilypond-user@gnu.org
 Message-ID: 9fadf3787e2141f5b5d436db4e695...@advent
 Content-Type: text/plain; format=flowed; charset=iso-8859-1;
reply-type=original
 
 - Original Message - 
 From: Graham Percival gra...@percival-music.ca
 To: Phil Holmes m...@philholmes.net
 Cc: Phil Burfitt phil.burf...@talktalk.net; Trevor Daniels 
 t.dani...@treda.co.uk; lilypond-user@gnu.org
 Sent: Friday, September 24, 2010 4:52 PM
 Subject: Re: Optimising output for screen.
 
 
  On Fri, Sep 24, 2010 at 4:42 PM, Phil Holmes m...@philholmes.net 
wrote:
  So I would conclude - if you need excellent screen display, you'll 
either
  need a carefully written PDF viewer, or a screen with a resolution of 

  around
  1000 dpi.
 
  If anybody is seriously interested in this issue, then why not look at
  the mailing list archives for one the discussions between developers
  (including Han-Wen, one of the founders of lilypond) about this
  PRECISE ISSUE ?  This whole discussion, and any time you guys have
  spent making images, is simply re-hashing the previous two discussions
  on this topic... except without the opinions of the person who knows
  lilypond the best.
 
  - Graham
 
  PS if you want a hint, one of those discussions was in 2007.
 
 
 Thanks.  Now read it.  Also:
 
 http://www.mailinglistarchive.com/lilypond-de...@gnu.org/msg01792.html
 
 I was making the images for my own interest and thought it was 
illustrative 
 of the way Reader works.
 
 --
 Phil Holmes
 



There was even earlier discussion in 2006, starting here: 
http://lists.gnu.org/archive/html/lilypond-user/2006-06/msg00198.html 

Tim Reeves

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RE: fermata not shown at playing parts (going OT)

[Tim Reeves]

 Message: 9
 Date: Sat, 17 Jul 2010 11:05:48 -0400
 From: James Lowe james.l...@datacore.com
 Subject: RE: fermata not shown at playing parts
 To: David Kastrup d...@gnu.org,   lilypond-user@gnu.org
 Message-ID: ee5ed9503d57144e895fa3d7533e9fd3ea2...@mail2
 Content-Type: text/plain;   charset=iso-8859-1
 
 play brass in an orchestra...you get all sorts on multi measure rests 
 (and there are s many rests! not that I'm bitter)... 
particularly
 what we would call in lilypond world a text spanner (rit, dim etc) if 
 that counts. But mainly markup text is always on multi measure rests in 
my scores.
 
 Playing 52 bars rest Largo is tough going I can tell you!
 


Tuba part in New World Symphony?
17 notes, right? But if you're paid, that's a lot per note!

Tim Reeves

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old vs new G clefs

[Tim Reeves]

I was trying to see what changes in 2.13.27  when I discovered that 
somewhere in 2.13 this happened:

The LilyPond G clef has been rotated 1.5 degrees clockwise for improved 
balance. The old and new versions can be compared by looking at the 
documentation: old version, new version. 

But this doesn't let me see both at the same time.  Is there an easy way 
to see them both on one page for comparison without installing an older 
version alongside the new.
Also, the page doesn't tell me what X is (in 2.13.x) where the change 
occurs, only that it occurs in 2.13 somewhere between 2.13.0 and 2.13.27. 
Any way to find out exactly where the change occurred?


Thanks,
Tim Reeves

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Re: new website 24-hour test

[Tim Reeves]

New page looks good in Chrome, OK in Opera as well. (missing upper left 
corner background image in Opera)


Tim Reeves

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Jazz chord analysis and accompaniment software

[Tim Reeves]

Hey, all you jazz-oriented Lilyponders - 

I got on the Impro-Visor (http://www.cs.hmc.edu/~keller/jazz/improvisor) 
mailing list (even though I don't play jazz I like listening to it and 
thought this was cool software) and I saw this other jazz-related software 
mentioned by someone.

http://members.shaw.ca/akochoi/Jazz.html 

quote:
T2G is a computer program that performs harmonic analysis on jazz chord 
charts. It also generates rhythm section accompaniments with a walking 
bass line, and piano and drums comping.  

I haven't played with it yet, but it looks good (there is a screenshot of 
a jazz chord chart on which his software has done Roman numeral style 
chord analysis.)

Check it out.


Tim Reeves


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Re: Jazz chord analysis and accompaniment software

[Tim Reeves]

Hey, all you [Mac-using] jazz-oriented Lilyponders - 

Sorry for replying to my own post, but I just noticed the software I 
mentioned is available for Mac only.

Guess I won't get to play with it. :-(

Anyone who does, please let me know what you think.


Tim Reeves



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Re: I just discovered the LilyPond Tool GUI Front end

[Tim Reeves]

 Message: 3
 Date: Wed, 19 May 2010 23:37:23 + (UTC)
 From: Charles Cave charles_c...@optusnet.com.au
 Subject: I just discovered the LilyPond Tool  GUI Front end
 To: lilypond-user@gnu.org
 Message-ID: loom.20100520t013438-...@post.gmane.org
 Content-Type: text/plain; charset=us-ascii
 
 I stumbled upon the Lilypond Tool project on Source Forge
 because it was mentioned in a post on this forum.
 
 http://sourceforge.net/projects/lily4jedit/reviews/
 
 What a wonderful looking program!  I can connect me MIDI
 keyboard and enter notes by playing on the keyboard.
 
 I am surprised this program hasnt been mentioned more frequently
 on this forum as it appears to be make Lilypond file creation
 so much easier. 
 
 How many Lilypond Tool users are on this list?
 
 Thanks
 Charles
 

At least one.

Seriously, quite a few, I believe. It's been mentioned many times here, as 
its creator, Bertalan Fodor, contributes here regularly.

Tim Reeves

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Re:Glissandos

[Tim Reeves]

 
 Message: 7
 Date: Fri, 7 May 2010 16:39:49 +1000
 From: Ossie Wilson Snr os...@exemail.com.au
 Subject: Re:Glissandos
 To: lilypond-user@gnu.org
 Message-ID: 000301caedb0$17578880$0202a...@grandpa
 Content-Type: text/plain; charset=us-ascii
 
 My daughter is arranging a simple song to be sung by primary school 
children
 in an eisteddfod  in the next few weeks and I am trying to typeset her
 arrangement in LP (2.12.2 on WINDOWS XP). There are non lyric passages 
where
 vocal sounds are used to indicate city noises, forest noises and ocean
 noises. These are to be defined by pictorial impressions of the way the
 sound fluctuates together with attached words like Vrmmm, bbring 
bbring
 etc on the song sheet submitted to the adjudicator before the 
performance
 and the song must presented with no deviation from that format.
 
 
 
 I have been using cross headed notes, arpeggios (with hidden notes), 
zigzag
 glissandos (also with hidden notes) etc to show these effects. However, 
I
 have struck a few problems.
 
 
 
 1)   I would like to be able to vary the width and 
lengthy
 of the zigzag on glissandos to better indicate the variation in pitch to 
be
 obtained.
 
 2)   Where noises vary from low pitch to high pitch and 
back
 down again, I have been using a series of connected glissandos (hidden
 notes) but there are gaps where the hidden notes are missing. I have
 attempted to close these gaps by adding to the length of the individual
 glissandos by changing the appropriate bound-details. This does lengthen 
the
 glissandos appropriately but also raises their angle from the horizontal 
so
 that the missing note space remains but at a higher pitch. I tried to 
avoid
 this by using the same function but using X instead of Y e.g.
 #'(bound-details right X). This did not work but showed no error in the 
log
 and did not show the glissando at all in any shape. I realize I am
 completely ignorant when it comes to modifying the behaviour of LP 
objects
 and rely on what I am able to read that someone else has devised. 
 
 Does anyone in the LP community have any practical advice on either or 
both
 of these problems (not just read the manuals) or can they suggest other
 symbols that already exist where these changes would not be required.
 
 
 
 Thanks for your interest. 
 
 
 
 Ossie Wilson



Ossie,

Would something like this work?:


\version 2.13.16
#(set-global-staff-size 24)


\header {
  title = Clusters snippet
}

\layout { ragged-right = ##t
\context { \Voice \override ClusterSpanner #'minimum-Y-extent = 
#'(-0.5 . 0.5)} 
}


fragment = \relative c' {
  \time 4/4 
  f fis2 e' f2 |
  d, es c' cis
}

 \new Staff \makeClusters \fragment
\new Staff \fragment

-



(I tried to make the clusters thinner with no success. Maybe someone else 
can say how to do that.

Or can you output lilypond to svg and add or fill in the glissandos you 
want using Inkscape?



Tim Reeves


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Re: a \new Score question

[Tim Reeves]

 I know that doing \new Score is generally not recommended, but in the 
process 
 of helping someone I came across a couple of questions, and the only 
solution 
 I could find required me to do \new Score. First, the goal here is have 
a 
 score with four separate staves, but an ambitus that encompasses all of 
them; 
 it's a canon.
 [...]

Interesting example!
Using a recent development version, it is possible to print the ambitus of
the whole score on the first system, by sightly adapting the example given
in Documentation/snippets/new/scheme-engraver-ambitus.ly



For a score containing transposing instruments, does the ambitus reflect 
the concert pitches of all instruments, or the pitches as written?



Tim Reeves


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Re: old-relative, what does it mean

[Tim Reeves]

 Message: 2
 Date: Fri, 19 Feb 2010 06:43:45 -0700
 From: Carl Sorensen c_soren...@byu.edu
 Subject: Re: old-relative, what does it men
 To: Stefan Thomas kontrapunktste...@googlemail.com, lilypond-user
lilypond-user@gnu.org
 Message-ID: c7a3e3a1.10298%c_soren...@byu.edu
 Content-Type: text/plain; charset=iso-8859-1
 
 
 
 
 On 2/19/10 6:33 AM, Stefan Thomas kontrapunktste...@googlemail.com
 wrote:
 
  Dear lilypond-users,
  I get sometimes a strange error message, that I do not understand:
  /usr/share/lilypond/2.12.2/ly/init.ly:29:0: Fehler: syntax error, 
unexpected
  SCM_TOKEN
  
  #(if (and (ly:get-option 'old-relative)
  I have no idea what that could mean.
  Does someone have an idea?
 
 It means that somehow this is not a place where scheme is allowed in the
 input file, but you have a scheme expression (i.e. starting with #). I'm
 surprised to see this in ly/init.ly.  Can you identify when you get this
 error message?
 
 Thanks,
 
 Carl
 


I have seen the syntax error, unexpected SCM_TOKEN when the file was 
missing a }.

Tim


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Re: dynamic and midi velocity

[Tim Reeves]

 Date: Thu, 18 Feb 2010 11:16:05 +0100
 From: Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu
 Subject: Re: dynamic and midi velocity
 To: Peter Chubb lily.u...@chubb.wattle.id.au
 Cc: miquel parera computer.music.n...@gmail.com,
lilypond-user@gnu.org
 Message-ID: 4b7d1365.1030...@organum.hu
 Content-Type: text/plain; charset=iso-8859-1
 
 Peter Chubb wrote:
  miquel == miquel parera computer.music.n...@gmail.com writes:
  
 
 
  miquel I want translate the dynamics of one note (\, \ff etc) to
  miquel midi velocity values (0-127) I'ts possible?
 
  Lilypond uses a separate volume channel, rather than velocity, to
  control MIDI dynamics.  There's a perl script `ConvertToVeolcity.perl'
  that can convert the midi output and add velocity info to each note.
  
 That's a bug then. Musically \p means velocity change and not volume.



Bert,

I'm curious what you mean by this comment. \p does not mean low volume but 
low velocity?
Do you mean you use (when you play an instrument) a low velocity (air 
velocity, velocity of striking a key or drum, velocity of bowing, etc.) in 
order to create a low volume (sound level) and so it's the velocity that 
you have to control?
AFAIK, MIDI velocity corresponds to the velocity of striking a key on a 
keyboard instrument (since that is what MIDI is usually controlled by, and 
modeled after) which is why things like pitch bends and other non-keyboard 
instrument specific effects are hard or impossible to represent in MIDI.
When I play the horn, I don't consciously think low velocity when I see 
a 'p' in my part. I think 'play soft'. My body reacts by reducing the 
velocity (and volume) of air going into the horn, but I wouldn't say it's 
a bug that I think 'p'=low volume or soft.
Bottom line, in *MIDI*, \p means velocity change and not volume. But 
*musically*, \p means low volume. MIDI is not music, but that's another 
discussion. ;-)
(There's a book out now, 'You Are Not a Gadget', that talks briefly about 
the limitations of MIDI and how we're kind of stuck with them since we 
enshrined MIDI as a standard.)

Tim Reeves


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Re: Circular Staff in Inkscape [was Re: Lilypond vs Score]

[Tim Reeves]

M Watts zwy648...@gmail.com wrote on 02/04/2010 05:18:40 AM:

 
  I have to admit - I tried it and it's not easy to get a staff to 
conform
  to a circle, for example. Maybe someone else can. My Inkscape skills 
are
  weak, though I love the software.
 
 
 
 Not sure how to wrap the entire staff in a circle, but you can easily 
 draw a circular staff in Inkscape:-
 
 Draw a circle (F5) with Ctrl held down, 115 px in size;
 
 Get outline only by Ctrl+Shift+F, click the X under Fill, and flat color 

 (2nd left) under Stroke paint (or click the X near bottom left of 
 window, and Shift-click a coler for line color);
 
 Clone it 4 times (Alt + D);
 
 Hit F1 and make sure the circle and all clones are selected by drawing a 

 selection box around the circle (the status bar will tell you if they're 

 all selected; you anly see the top one);
 
 Open the Transform dialog (Shift+Ctrl+M), go Scale, width  height both 
 110%, and make sure 'Scale proportionally' and 'Apply to each object 
 separately' are both checked.
 
 Click Apply :)
 
 Btw, Inkscape has layers -- use them if you don't want to be constantly 
 dragging the wrong notes and whatnot around.
 


Thanks, but this I could do, if I wanted to.
What I'd rather do is typeset the piece entirely in Lilypond, *then* warp 
and twist it, clone it, shade it, blur it, etc. with Inkscape. I know it 
can be done, I just lack the Inkscape-fu to do some of those things, 
specifically the first one.
Bertalan's trick is also very cool, but requires a lot of tweaking to get 
the stems at the correct angles, etc., and isn't very flexible.

Tim Reeves


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Re: Lilypond vs Score

[Tim Reeves]

 
 Message: 1
 Date: Tue, 2 Feb 2010 10:33:07 -0800 (PST)
 From: Jonathan Wilkes jancs...@yahoo.com
 Subject: Re: Lilypond vs Score
 To: lilypond-user@gnu.org
 Message-ID: 225545.87662...@web65612.mail.ac4.yahoo.com
 Content-Type: text/plain; charset=iso-8859-1
 
  Message: 9
  Date: Tue, 2 Feb 2010 11:15:37 +0100
  From: Valentin Villenave v.villen...@gmail.com
  Subject: Re: Lilypond vs Score
  To: Brett McCoy idragos...@gmail.com
  Cc: lilypond-user@gnu.org
  Message-ID:
  eefe316d1002020215q31a6d677pf2e1959189448...@mail.gmail.com
  Content-Type: text/plain; charset=UTF-8
  
  On Mon, Feb 1, 2010 at 11:10 PM, Brett McCoy idragos...@gmail.com
  wrote:
   From http://www.scoremus.com/score.html
  
  Aarg. Please add a warning before posting such links
  :)
 
 What kind of warning?  I don't understand.
 
  
  As far as I'm concerned: LilyPond is Free Software, Score
  is not. Period.
  
  Isn't life simple after all? :-)
 
 It's as simple as looking at the output examples on that website and 
 saying, Oh, it'd be neat to have a way to do curvy staff lines in 
 Lilypond, or whatever your particular impression is.
 
 -Jonathan
 



If recent reports are true, that svg output from Lilypond is working well 
now, then this kind of thing should be no problem. Generate the svg from 
LP, then open it with Inkscape and sculpt away.
I found this - http://freesvg.texterity.com:90/  - to convert a pdf to svg 
which can then be manipulated in Inkscape also.
I have to admit - I tried it and it's not easy to get a staff to conform 
to a circle, for example. Maybe someone else can. My Inkscape skills are 
weak, though I love the software.


Tim Reeves


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Re: developers developers developers

[Tim Reeves]

Graham wrote:
 
 For the record, **I have never recommended that somebody use
 lilypond**.  When meeting a technically-oriented composer,
 especially one working on algorithmic music, I might suggest that
 they should check it out.  But I think the original poster was
 entirely justified in switching back to Finale.
 
 That's why I cringe a bit whenever I hear people proudly
 announcing that they advertized lilypond to meeting X or
 conference Y.
 


I'm surprised. What about the beautiful output and flexibility? If they 
don't like the learning curve, what's the loss?

For me, I only use it for stuff that doesn't require much, if any, 
tweaking, but from the gist of what I read on the user list, maybe I'm in 
the minority.



Tim Reeves


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Re:Quit [now definitely O/T]

[Tim Reeves]

Jan wrote:

 Quitting with LilyPond seems to cost him nothing.

Well, the obvious solution for that is to start charging for Lilypond, so 
they have a disincentive to quit. ;-)


Tim Reeves


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Re: Problems with Lilypond Tool/JEdit

[Tim Reeves]

 Mark Austin wrote:
  2009/10/10 Nick Payne nick.pa...@internode.on.net:
  
  Mark Austin wrote:
  
  Having downloaded 2.13.4 for Windows, and not having used Lilypond 
for
  a few weks, I tried to complie a new tune. In attempting to convert 
to
  the new version, I got this error from Lilypond Tool:
 
  convert-ly.py --edit C:\Users\Mark Austin\Documents\Marks
  Files\Folklore\Mumming Plays\Music\Kempsford-01.ly
  c:\Program Files\LilyPond\usr\bin\python: can't open file 
'c:\Program
  Files\LilyPond\usr\bin\convert-ly.py': [Errno 2] No such file or
  directory
 
  Similarly, when trying gto compile a tune, I get:
 
  LilyPond ready.
  %lilypond %args C:\Users\Mark Austin\Documents\Marks
  Files\Folklore\Mumming Plays\Music\Kempsford-01.ly
  ERROR: In procedure primitive-load-path:
  ERROR: Unable to find file ice-9/boot-9.scm in load path
  Processing time:  3  seconds
 
  All the files convert and compile OK under the command line, and 
files
  that used to compile return the same errors.
 
  Have these files moved or something?
 
  
  The 2.13.4 default install dir is now C:\Program Files\GNU_LilyPond 
and not
  C:\Program Files\LilyPond...
  
 
  That explains it. Is there a patch available?
 
  
 Yes. Go to plugin options in jedit for lilypondtool and change the 
 lilypond path to the new location...
 
 Nick
 
 



Or, easier still, though some purist might object, rename the folder back 
to C:\Program Files\LilyPond. That's what I did ;-)



Tim Reeves


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Re: Failed file -- much wailing and gnashing of teeth!

[Tim Reeves]

Ralph,

It runs fine if you remove the unknown commands \dwn and \up.
You may have left out an \include or definitions of those commands.
(There is a command \dwn in arabic.ly which I suspect is not what you 
intended.)


Regards,

Tim Reeves




 I'm trying to make a minimal example of a problem, and I can't get the
 minimal example to run. Can anyone tell what's wrong?
 
 + Begin Snippet +
 
 \version 2.12.2
 
 % \include english.ly
 
 \header {
 instrument = Viola
 }
 
 VlaSndPosMusicII = {
 \transpose g c {
 \new Staff
 \relative c'' {
 %\set Staff.instrumentName = #1
 \key c \major
 \clef alto
 \time 4/4
 
 s4*1/10
 \set fontSize = #-3 % to reduce Prepare size
{g,4*9/10\dwn_0^\markup{ Prepare } a4\up_1 b_2 b_1 |
\unset fontSize % return to default size
\set Score.currentBarNumber = #1
 \bar ||
 }
 a4 d c e |
 \bar |.
 }
 }
 }
 
 %#(set-global-staff-size 17)
 
 
 
 % first etude
 \score {
 \VlaSndPosMusicII
 }
 
 
 
 +++ End Snippet ++
 
 + begin Error message :
 
 rpal...@rlaptop:~/SheetMusic/ly/Classical/vla/etudes/positions_2$ 
lilypond
 test_1.ly
 GNU LilyPond 2.12.2
 Processing `test_1.ly'
 Parsing...
 test_1.ly:1:0: error: syntax error, unexpected $undefined, expecting '='
 
 ��\test_1.ly:0: warning: : no \version statement found, please add
 
 \version 2.12.2
 
 for future compatibility
 error: failed files: test_1.ly
 
 ++ end Error message +
 
 I can't figure out what the expected '=' could be.
 
 
 -- 
 Ralph Palmer
 Montague City, MA
 USA
 palmer.r.vio...@gmail.com



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Re: Lilypond Speed

[Tim Reeves]

Frank wrote:
Am Donnerstag, 3. September 2009 schrieb Tim Reeves:

 Mainly for my own curiosity, I compiled the Reubke Sonata score to 
check
 timing:
 WinXP SP3 32-bit, LP 2.13.3, LPT 2.12.869, on Intel C2D E9600 (2.8GHz), 
2
 GB RAM

 5 min 38 seconds.

 A bit slower than the Linux times others got.

W00t, I got only
real5m47.699s
user5m32.306s
sys 0m11.697s
on my linux system (C2D @ 2 GHz), but I'm still on 2.12.1, which gave me 
some 
error messages, though the PDF was created. Perhaps 2.13 is a little 
faster(?)

-


Frank,

I forgot to mention that I also got quite a few warnings [not errors] on 
2.13.3 - I think due to a missing font - but like you still got the output 
file.
Did you also have 2GB of RAM? - I understand that the amount of physical 
memory available makes a big difference in compile times on a large LP 
file.
Perhaps if I ran Linux on my machine it would really scream, but I have to 
have Windows XP for work. At least its not Vista!

Tim


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Re: Lilypond Speed

[Tim Reeves]

Mainly for my own curiosity, I compiled the Reubke Sonata score to check 
timing:
WinXP SP3 32-bit, LP 2.13.3, LPT 2.12.869, on Intel C2D E9600 (2.8GHz), 2 
GB RAM

5 min 38 seconds.

A bit slower than the Linux times others got.

I do have a Vista machine at home (wife's PC) I could check it on if 
someone is interested, but I'd have to update the LP to make it 
meaningful.

Tim Reeves


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Re: Lilypond Speed

[Tim Reeves]

Hello,
 I'm curious how long it takes for other people to run lilypond on the 

following simple score:

\relative c' {
  c4 d e fis
}

I'm on winxp sp3, pentium 1.7Ghz with 512mb ram and it consistently takes 
7 seconds to complete, whether I do it on the command line or in 
LilypondTool.

-Jonathan


Using LilypondTool, the first time I compiled it took 27 seconds (!), then 
I  added the version statement (based on someone else's comment that it 
became shorter) and it took 0 seconds (that was the console output - I 
don't know how to get a more precise time - I would assume that means 0.5 
sec) and then I removed the version statement and it took 0 seconds again. 
LP 2.13.3, LPT 2.12.869, WinXP SP3, Core2Duo 2.8GHz, 2GB RAM.


Tim Reeves


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Re: website menus: gradient vs. solid

[Tim Reeves]

 
  I'm not certain if the question was clear, so let's do this again
  and put it to a vote.
 
  These two images have the same top-level menu item selected.
  Which is easier to see?
  Â http://lilypond.org/~graham/solid.png
  Â http://lilypond.org/~graham/gradients.png
  Â  Â (ok, the background to the lily icon doesn't match the other
  Â  Â  shades; this can be fixed easily)
 
  Please DO NOT complain that brown gradients doesn't fit the color
  scheme; changing the colors (either of the gradients or the rest
  of the page) is easy.
 
 
  For the record, I vote in favor of SOME kind of gradients. Â (not
  necessarily brown)
  Voting will end in 48 hours.
 
  Cheers,
  - Graham
 

I'm probably not helping much by saying so, but I prefer the solid - it 
just looks cleaner, and while the gradient version stands out more that 
might be just due to the darker color, and finally, I don't think it's 
*necessary* for it to stand out so much - it's right at the top, bold and 
underlined. It probably doesn't matter that much, though. Either way, it's 
a great improvement over the current page!


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Re: Aphex Twin deathWaltz

[Tim Reeves]

I don't know what Aphex Twin is, or what it has to do with the image, but 
I'd guess it's the name of a rock band. Am I right?

I think one of the flutists in the community orchestra I play in had that 
on her stand at a rehearsal once so I thought it might be some kind of 
inside flute joke...but on closer inspection...who knows what it is!
It reminds me of stuff in Herr Professor Schmutzig's Complete Method fur 
der Waldhorn or der Ventilhorn booklet that I got a photocopy of from my 
high school horn teacher. Funny stuff. Lots of inside jokes for horn 
players, like the Siegfried Long Call played upside down, a new embouchure 
position called einschmutzen etc.

see http://www.rjmartz.com/horns/Schmutzig/

unfortunately a quick search didn't turn up the musical examples inside 
this little gem...


Tim Reeves



 Message: 6
 Date: Sun, 2 Aug 2009 05:30:14 +0200
 From: James E. Bailey derhindem...@googlemail.com
 Subject: Re: Aphex Twin deathWaltz
 To: Michel Villeneuve michel.villene...@gmail.com
 Cc: lilypond-user@gnu.org
 Message-ID: 2705e087-d7d0-4210-ac24-574e8c49a...@googlemail.com
 Content-Type: text/plain; charset=us-ascii
 
 
 On 01.08.2009, at 22:24, Michel Villeneuve wrote:
 
  Ok, lilypond Gurus have a look at this :
  http://img.photobucket.com/albums/v60/Langer/misc/aphex-twin- 
  deathwaltz-2.jpg
  Beautiful and with lots of humour inside.
 
  I'm looking for the .ly file ;-)
 
 
  ___
  lilypond-user mailing list
  lilypond-user@gnu.org
  http://lists.gnu.org/mailman/listinfo/lilypond-user
 
 
 Wow, this is kind of the last place I'd expect an Aphex Twin 
 reference. Oh, and I remember first seeing this in my 10th grade 
 orchestra class.
 
 James E. Bailey
 
 


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Re: new website: draft 3

[Tim Reeves]

On Jun 29, 2009, at 12:48 AM, chip wrote:

Tim McNamara wrote:

On Jun 28, 2009, at 2:55 AM, chip wrote:

I think there is obviously far too much white space, also the same on the 
Downloads page.

I disagree and find that most web pages have too much stuff crammed into 
them, usually so much that it's hard to find the information one is 
looking for. I like the simplicity of the page and I don't even think the 
separator lines are necessary. If you want to see the mother of layout 
nightmares, look at the GoDaddy.com pages. Jeebus, those suck.

I agree with you, but, there is a happy medium. I think the Manuals page 
is it.

Well, there's naturally going to be more information on the documentation 
pages than on the home page, the downloads pages, etc. The home page and 
the download page are going to have more white space as a result. How is 
this a problem?

I thing it's also important to minimize the use of Javascript (unless 
you're doing Ajax), drop-down menus, etc. Most of that stuff can be done 
with HTML which loads faster and works with more browsers more 
predictably. Avoid cute for the sake of cute. Usability is the thing of 
key importance and not how nifty people will think the code is.
Again, I agree. There are ways to get drop-down menus without javascript, 
which I think should be, and can be, avoided for the entire site. 
Usability is the number 1 priority indeed, but appearance has to be up 
there as well. A simple site that looks attractive and contains a well 
balanced design can still be a very usable site. Lilypond is a very 
impressive program, and an overly simplistic web site would do it no 
justice whatsoever. IMHO.

I prefer elegant to overly simplistic.  ;-)

And personally I think that dropdown (and whatever one calls the same 
thing popping out horizontally) menus on web pages should be avoided, 
period. I hate the damn things. YMMV, etc. 







I happen to agree with Tim ;-) on this one: I'm viewing at 1900x1200 and I 
think the amount of white space is good in the present layout. I also 
generally don't like dropdown menus and rollover features. I don't like 
having to guess where things are or go on Easter egg hunts.

Finally, I think FAQs belong in the Introduction section not Infrequent 
Use even though it's true that they are not something that a person refers 
to more than a few times. OTOH, is the AU really a regular use item? Seems 
more like Infrequent Use to me. I know I've looked at it about 2 or 3 
times. Just my 2 cents.


Tim Reeves



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Re: Second release candidate of OOoLilyPond 0.4.0

[Tim Reeves]

 
 Message: 4
 Date: Thu, 11 Jun 2009 22:10:27 +0200
 From: Gilles THIBAULT gilles.thiba...@free.fr
 Subject: Re: Second release candidate of OOoLilyPond 0.4.0
 To: Samuel Hartmann samuel.hartmann...@gmail.com,   lilypond-user
lilypond-user@gnu.org
 Message-ID: 3ab0e65510764b14ab189fdbaae93...@pc64
 Content-Type: text/plain; format=flowed; charset=iso-8859-1;
reply-type=original
 
 
  The second release candidate is available under:
  http://www.hartmann-weine.ch/OOoLilyPond-0.4.0rc2.oxt
 Works now perfect for me.
 (The executable path is saved after closing).
 
 Thanks.
 
 Gilles
 
 
 

Works for me now, too, on WinXP with OOo 3.1.

Thanks for the update, Samuel!___
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Re: good free midi player?

[Tim Reeves]

 
 Does anybody know any good free midi player for windows?
 I mean so that intrument sounds are like the real instruments, not an
 awful output.
 
 Frédéric
 


I recommend Timidity, which is available for Windows as well as Linux. You 
can choose the sound font which supplies the different instrument sounds 
and some of them sound quite good. I think the Merlin sound font is one 
you should try. Sorry, I don't have a link. Try googling for it. That was 
how I found it IIRC.___
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Re: JEdit question

[Tim Reeves]

I've recently started using LilyPond.  I'm enjoying it.  I'm using 
JEdit with the LP plugins.  

I haven't been able to find an answer to this question in either the LP 
Help files or the JEdit help.  I'm probably not searching the index for 
the right terms. 

In the Editor, when I enter the backslash \ 

the editor autofills: 

\melody 



It shouldn't do that after typing just the backslash. It should bring up a 
dropdown list of many available commands, from \accent to 
\withmusicProperty. Then when you type the next letter, say 'b', it 
narrows down the list to all commands starting with 'b', and so on. Do you 
have the lilypond.xml file from Bertalan Fodor (LPTool author) in your 
jEdit modes folder?

You could disable the autocompletion by going to the plugin options in 
jEdit, and opening the general options for the Sidekick plugin, then 
unselecting the checkboxes within the Code Completion Options.



Tim Reeves
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Re: JEdit question

[Tim Reeves]

Glad it helped. From Francisco's answer, it looks like you could see 
better behavior if you updated your jEdit. I'm using 4.3pre16. (Or maybe 
he meant updating your LilypondTool. I'm not sure which.)



Tim Reeves





rathcof...@comcast.net 
05/14/2009 04:57 PM

To
Tim Reeves tim.ree...@tokamerica.com
cc

Subject
Re: JEdit question






Tim - see below.
- Original Message -
From: Tim Reeves tim.ree...@tokamerica.com
To: lilypond-user@gnu.org
Cc: rathcof...@comcast.net
Sent: Thursday, May 14, 2009 2:43:43 PM (GMT-0500) Auto-Detected
Subject: Re: JEdit question


I've recently started using LilyPond.  I'm enjoying it.  I'm using 
JEdit with the LP plugins. 

I haven't been able to find an answer to this question in either the LP 
Help files or the JEdit help.  I'm probably not searching the index for 
the right terms. 

In the Editor, when I enter the backslash \ 

the editor autofills: 

\melody 



It shouldn't do that after typing just the backslash. It should bring up a 
dropdown list of many available commands, from \accent to 
\withmusicProperty. Then when you type the next letter, say 'b', it 
narrows down the list to all commands starting with 'b', and so on. Do you 
have the lilypond.xml file from Bertalan Fodor (LPTool author) in your 
jEdit modes folder? Yes, it's in there.

You could disable the autocompletion by going to the plugin options in 
jEdit, and opening the general options for the Sidekick plugin, then 
unselecting the checkboxes within the Code Completion Options.  I think 
that solved it.  I turned off all the auto-completion and it stopped doing 
it.  Thanks.  I didn't know where to look!
 
Mike




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Re: Real World Usage

[Tim Reeves]

Look, I don't have a dog in this fight (i.e. there's nothing I need 
Lilypond to do that it doesn't do, etc.) but I have to protest that

Lilypond can do this, but nobody, including lilypond gurus, were able to
do this.

Since someone (i.e Kieren) just did it.

I was going to object to Kieren's statement that it wasn't particularly 
difficult (since I think it was), but I have to suppose that he intended 
that it wasn't particularly difficult *for him*. As to why it never been 
done before, I don't know. I suppose the sets of people who really wanted 
it and the people who were capable did not intersect and the right person 
didn't get asked.
Fortunately, we have this user-list.

I think Kieren's point is that no other music engraving software has the 
extensibility that Lilypond has (even if the learning curve is steep.)

I always know that if I did get to a point where I need Lilypond to do 
something that it doesn't appear to do, I can ask here and someone will 
likely be able to come up with a way to do it, even if they need to be 
motivated by, for example, telling them that lilypond is incapable. ;-)



Tim Reeves
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Re: why does this simple notation fail a barcheck?

[Tim Reeves]

Chip wrote:
 
 trpta = {
 \partial 8*1 e8-. |
 e4 d8 c4 d8 |
 e4 e8-. r r e |
 e4 d8 c4 d8 |
 e4 e8 r r fs |
 g4 fs8 g4 e8 |
 d2 d8 e |
 \times 2/3 {f4 fs b} |
 \times 2/3 {d c b} |
 g2.\fermata \bar || |
 r1*5
 }
 
 There errors are this -
 
 
 Interpreting music... [8]
 F:/Lilypond Files/Score Template.ly:41:21: warning: barcheck failed at: 
1/2
 \times 2/3 {f4 fs b}
  |
 F:/Lilypond Files/Score Template.ly:42:19: warning: barcheck failed at: 
1/4
 \times 2/3 {d c b}
|
 Preprocessing graphical objects...
 
 The piece is in 6/8 time.
 Thanks,
 Chip
 
 
 


In 6/8 time, there should be six eighth notes or three quarter notes per 
bar, but with a quarter-note triplet (your \times 2/3 {} construct) you 
have the equivalent of two quarter notes (triplet = three notes in the 
space of two), so you're a quarter note short in that bar.
It seems strange to me to even see a triplet in 6/8 time.

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Re: svg export

[Tim Reeves]

Yes, although I don't use them except with Lilypond. I just double-checked 
and MS Word recognizes the Emmentaler fonts.


Tim Reeves





Patrick McCarty pnor...@gmail.com 
02/18/2009 10:51 PM

To
Tim Reeves tim.ree...@tokamerica.com
cc
lilypond-user@gnu.org
Subject
Re: svg export






Hi Tim,

On Wed, Feb 18, 2009 at 2:52 PM, Tim Reeves tim.ree...@tokamerica.com 
wrote:

 On Wed, Feb 18, 2009 at 2:25 PM, Patrick McCarty pnor...@gmail.com
 wrote:
 
  I plan on fixing this in the future.  When you manage to install
  LilyPond's .otf fonts on your system, see if the attached SVG file
  renders correctly for you.  It renders decently in Firefox 3.

 I forgot to compress it.  This one should make it to the list.

 -Patrick


 Not for me. Lilypond 2.12.2-1 SVG output does not render correctly on
 Inkscape 0.46+ development version, Firefox 3 or Opera 9.6, and I have
 installed the Emmentaler fonts in my Windows (XP SP2) fonts folder. The
 closest to good output is with Inkscape but even there I get 
open-triangle
 noteheads instead of normal noteheads and in the browsers the SVG 
rendering
 is just terrible.

Hmm.  I'm not incredibly familiar with installing fonts on Windows,
but are the Emmentaler fonts recognized by any other programs after
you install them?

-Patrick

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Re: svg export

[Tim Reeves]

 
 On Wed, Feb 18, 2009 at 2:25 PM, Patrick McCarty pnor...@gmail.com 
wrote:
 
  I plan on fixing this in the future.  When you manage to install
  LilyPond's .otf fonts on your system, see if the attached SVG file
  renders correctly for you.  It renders decently in Firefox 3.
 
 I forgot to compress it.  This one should make it to the list.
 
 -Patrick


Not for me. Lilypond 2.12.2-1 SVG output does not render correctly on 
Inkscape 0.46+ development version, Firefox 3 or Opera 9.6, and I have 
installed the Emmentaler fonts in my Windows (XP SP2) fonts folder. The 
closest to good output is with Inkscape but even there I get open-triangle 
noteheads instead of normal noteheads and in the browsers the SVG 
rendering is just terrible.


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Re: Stopwatch time in markup

[Tim Reeves]

 Date: Sat, 24 Jan 2009 22:03:29 +0100
 From: James E. Bailey derhindem...@googlemail.com
 Subject: Re: Stopwatch time in markup
 To: Mark Polesky markpole...@yahoo.com
 Cc: lilypond-user@gnu.org, Tom Hall r...@ludions.com
 Message-ID: 5c862e1f-ac50-4e7b-b7bb-30b3f4503...@googlemail.com
 Content-Type: text/plain; charset=UTF-8; delsp=yes; format=flowed
 
 See, that's just amazing. personally, I think \markup \concat {4\char 
 ##x2032  33\char##x2033 } is a little shorter, but it's kind of 
 awesome that that can be done with all that stuff that apparently 
 means something.
 
 Am 24.01.2009 um 21:49 schrieb Mark Polesky:
 
  Don't forget you can store all the formatting as a music-function:
 
  timestamp =
  #(define-music-function (parser location minutes seconds) (number? 
  number?)
 (let ((min (number-string minutes)) (sec (number-string 
  seconds)))
  #{ \mark \markup \rounded-box \small \concat { $min â?² $sec 
  â?³ } #}))
 
  { c'1 \timestamp #4 #33 c' }
 
  And solely out of paranoia, here's a version that doesn't rely on
  the special utf-8 characters -- in case my prime and double-prime
  characters above get corrupted on the way to your mailbox/browser:
 
  timestamp =
  #(define-music-function (parser location minutes seconds) (number? 
  number?)
 (let ((min (number-string minutes)) (sec (number-string 
  seconds)))
  #{ \mark \markup \rounded-box \small \concat
  { $min \char ##x2032 $sec \char ##x2033 } #}))
 
 
  { c'1 \timestamp #4 #33 c' }
 
  - Mark
 
 

It's true, James that 

\markup \concat {4\char ##x2032  33\char##x2033 }

is shorter if you just use it once, but if you use it a few times, or many 
times, then

{ c'1 \timestamp #4 #33 c' }

is shorter, and easier. The long part, the definition, could even be 
hidden away in another file that you \include.

Mind you, I could not have written that function, but I'm glad that there 
are those who can, and console myself with the thought that if I had the 
time, I could learn too.

BTW, who is transcribing John Cage's work where the pianist just sits and 
plays nothing for exactly four minutes and thirty-three seconds? I'm sure 
the Lilypond output will be just gorgeous! ;-)___
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Re: lilypond-user Digest, Vol 74, Issue 101

[Tim Reeves]

 
 On Fri, 16 Jan 2009 11:59:47 -0700
 Andrew Hawryluk ahawry...@gmail.com wrote:
 
  Evince has a problem with the barlines (it's a bug). On Ubuntu, I work
  in Evince while I'm writing, but I print the final PDF from Adobe
  Acrobat.
 
 xpdf also does a good job and is lighter than Acroread.  It's in the 
repos.
 
 -- 
 Nicholas WASTELL
 France
 
 

Ha. Microsoft Office and Open Office are lighter than Adobe Reader 9! 
(At least on WinXP) It boggles the mind.
I installed Adobe Reader the other day, and when I saw how big it was, I 
promptly uninstalled it and found a free and more functional replacement.


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Re: nvlle version -pov 3.7 beta 30

[Tim Reeves]

2009/1/6 Martial addr...@hidden:
 funny but true
 http://cathemline.org/povcheri/random/index.html

A very nice piece of news for the (soon) resurrected LilyPond Report :-)


I don't read French (Je parle francais non?), but from what I infer from 
that webpage - that is very funny. Making 3d-looking shapes based on 
musical content. Who would've thought?



Tim Reeves

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Re: Fragment with broken/torn/shredded staff lines

[Tim Reeves]

I made a small change to the randomization code (attached).
- Mark


 
Mark, 

That is a very cool function. I don't have an immediate use for it, but I 
saved it for later, and I think it's a great illustration of the power of 
Lilypond.



Tim Reeves

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Re: question about transposing an interval of a 4th

[Tim Reeves]

 Umm... yeah.  The fact that he thinks this answers the question
 gives me *less* confidence that he knows what he's talking about.
 If he wanted it a perfect fourth lower, then \transpose does the
 job.  And normally when somebody says a fourth lower, they mean
 a perfect interval.  If he wants it a variable fourth lower, then
 it's not doable without scheme.
 
 - Graham

Yes, a variable fourth, if you want to call it that - you finally got it.
This is like the not-so-helpful answer You can't get there from here.
It just took about 20 messages to get to that conclusion.

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Re:New LilyPondTool version available for testing

[Tim Reeves]

 Message: 3
 Date: Wed, 17 Dec 2008 15:41:05 +0100
 From: Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu
 Subject: Re: New LilyPondTool version available for testing
 To: Tim Slattery slatter...@bls.gov
 Cc: lilypond-user@gnu.org
 Message-ID: 49490f81.8080...@organum.hu
 Content-Type: text/plain; charset=iso-8859-1
 
 Look at http://lilypondtool.organum.hu/demo.html
 
 Tim Slattery wrote:
  Bertalan Fodor (LilyPondTool) lilypondt...@organum.hu wrote:
 
  
  Hi,
 
  for more advanced LilyPondTool users I released a new version.
 
  Installation instructions:
 
  - Install Project Viewer plugin from Plugin Manager (it's a new 
dependency)
  - Replace LilyPondTool.jar with the following file:
  http://www.organum.hu/fileadmin/lilypondtool/2.11-r1/LilyPondTool.jar
  and download
  http://www.organum.hu/fileadmin/lilypondtool/2.11-r1/julie-0.1.jar
  
 
  Can you give a clue what this is and what it does? I find no
  description, only the jars (which implies that it's a Java system).
 
  
 


Bert,

I *really* appreciate LilyPondTool. I have been using it for some time and 
it makes using Lilypond so much easier and enjoyable. I also really 
appreciate the new capabilities and icons. Thankyou!

Some suggestions and questions:

1. How can I make the LilypondTool help work? It seems to be missing a 
help file. (Resource not found: LilyPondTool.jar!doc/users-guide.html)- I 
THINK YOU'RE WORKING ON THIS?

2. What does julie.jar do? (just curious)

3. Could you update your webpage (and the jEdit plugin repository) with 
links to the latest files? It would be much easier to upgrade that way. It 
was hard to get the needed files. I GUESS YOU'RE WAITING TO MAKE SURE IT 
IS STABLE.

4. Is there a way I can easily make LilyPondTool point to the 2.11.65 
documentation (which I have on my hard drive) when I click on Show 
LilyPond help in the LilypondTool menu?

5. The new properties.xml that you instructed us to replace our old 
properties.xml file with seems to be a totally different sort of file. I'm 
not sure what to do with it. Could you instruct me in more detail? Is it 
really needed?
(maybe I should have stayed away when I saw you wrote For more advanced 
LilyPondTool users - Sorry ;-)


Thanks a lot!

(I meant to send this message a few days ago, but I had some e-mail 
problem I guess...)

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Re: why is Dutch the default language for note-entry?

[Tim Reeves]

 Date: Wed, 17 Dec 2008 10:54:21 +0100
 From: Francisco Vila paconet@gmail.com
 Subject: Re: why is Dutch the default language for note-entry?

 Do English-speaking people read music saying g sharp f sharp all the 
time?

Yes. An extra syllable is not a problem for us, I guess.


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Re: Segmentation fault on file with bookparts

[Tim Reeves]

 
 Message: 1
 Date: Mon, 15 Dec 2008 07:01:36 -0800
 From: Patrick McCarty pnor...@gmail.com
 Subject: Re: Segmentation fault on file with bookparts
 To: Jonathan Kulp jonlancek...@gmail.com
 Cc: lilypond-user lilypond-user@gnu.org
 Message-ID:
d1c3ee7b0812150701o69707465yecb03f6fb9e6a...@mail.gmail.com
 Content-Type: text/plain; charset=UTF-8
 
 On Mon, Dec 15, 2008 at 5:25 AM, Jonathan Kulp jonlancek...@gmail.com 
wrote:
 
  Yes, I had trouble, too, when I tried downloading it from my site.  I 
think
  my admin doesn't allow serving of .tar files.  Try this one:
 
  http://dl4.louisiana.edu/lorca.tar
 
  Run lilypond on the lorca.ly file and see what happens.
 
 I am able to compile this file successfully.  Processing seemed
 normal, and there were only three types of warnings:
 
 warning: type check for `stencil' failed; value `#t' must be of 
type`unknown'
 warning: ignoring too many clashing note columns
 warning: too many colliding rests
 
 Patrick


Also ran successfully here on Win XP SP2, Lilypond 2.11.65, with many 
warnings. (different from above warnings!)

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Re: More vertical space between staves

[Tim Reeves]

Probably this was not the first time you compiled it, and a previous run's 
output (pdf file) was still open, preventing writing the new one. You were 
just looking at the old pdf.
Happens to me frequently. Close the pdf and re-run Lilypond on it.


Tim Reeves




 
 Interpreting music... [8]
 Preprocessing graphical objects...
 Finding the ideal number of pages...
 Fitting music on 1 page...
 Drawing systems...
 Layout output to `blues_2.ps'...
 Converting to `./blues_2.pdf'...
 error: failed files: blues_2.ly
 
 regards: Seppo


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Re:LilyPond is excessively slow on Windows Vista

[Tim Reeves]

Hajo Dezelski [EMAIL PROTECTED] wrote:

Thinkpad x61sNewUbuntu (Linux)Dual 1,6 GHz2 GB4-5 
s
Thinkpad x61sNewXP Dual 1,6 GHz2 GB2 s


Only one data point but interesting: Faster on WinXP than on Ubuntu.
Was it the latest of each? i.e. Ubuntu 8.10 and XP SP3?



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Re: LilyPond is excessively slow on Windows Vista

[Tim Reeves]

I also run Win Xp SP2 on my laptop (work provided) which is where I 
usually run Lilypond (typical .ly file compile times are about 5+/-2 
seconds from my memory), but I have a Vista machine (newer, wife uses 
mainly) and an older machine running Ubuntu for now at home. I want to get 
her used to the idea of Linux and make the switch the next time Vista 
crashes hard ;-)

Thanks for the information.

Did you mean you switched from Lilypond back to some proprietary music 
software and that forced you to use Windows instead of Linux? I don't know 
what DAW is.


Tim Reeves





Hajo Dezelski [EMAIL PROTECTED] 
11/12/2008 12:43 PM

To
Tim Reeves [EMAIL PROTECTED]
cc
lilypond-user@gnu.org
Subject
Re: LilyPond is excessively slow on Windows Vista






It was Ubuntu 8.10 but XP SP2 and I took the time measure from Lilypond. 
Of course I ran the tests several times. On XP I only ran the necessary 
processes and the compile times were stable. Ubuntu was right out of the 
box and compile times differed. I switched back to XP for it was easier 
for me to use other musical software (DAW)

Hajo

2008/11/12 Tim Reeves [EMAIL PROTECTED]

Hajo Dezelski [EMAIL PROTECTED] wrote: 

Thinkpad x61sNewUbuntu (Linux)Dual 1,6 GHz2 GB4-5 
s
Thinkpad x61sNewXP Dual 1,6 GHz2 GB2 s 


Only one data point but interesting: Faster on WinXP than on Ubuntu. 
Was it the latest of each? i.e. Ubuntu 8.10 and XP SP3? 



Tim Reeves



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---
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Re: What to do when \ and \ produce text

[Tim Reeves]

  The \cresc macro is defined in ly/spanners-init.ly and is preceded
 by a comment:
  
  % STOP: junkme!
  
  so it's clearly not well-supported It's certainly intended to 
 generate a text style crescendo cresc..
  However, at the time the macro was implemented, any setting of 
 crescendoText was automatically
  reverted after the next crescendo event (i.e. it worked like a 
 \once \set ...) so now that the crescendoText
  property works just as all other properties, it would make more 
 sense to let the macro be implemented as
  
  cresc =  {
   #(ly:export (make-event-chord (list cr)))
   \once \set crescendoText = \markup { \italic cresc. }
   \once \set crescendoSpanner = #'text
  }
  
  if we want it to remain. In contrast to using the supported and 
 documented macro \crescTextCresc,
  you don't get any dashed line when using \cresc. Note also that 
 there is a macro \endcresc that reverts
  the settings done by \cresc (which wouldn't be needed if we used 
 the above definition). 
 
 Given that what \cresc currently does can also be achieved with
 
\override DynamicTextSpanner #'dash-period = #-1.0
\crescTextCresc\
 
 as clearly shown in Notation Reference 1.3.1, it there really a need to 
 keep it? I can't say that I've seen many instances of the text cresc. 
 without the dashed line, but perhaps others have.

Please don't get rid of useful functions. What is it hurting to keep it?

Tim Reeves
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Re: mao

[Tim Reeves]

 
  So when I write Mao, it has *nothing* to do with chairman mao.
 
 
 Ah -- finally I get an explanation of mao in the writings of Graham.
 Obviously the M in WTM has just as much meaning as the F in WTF, but I 
have
 never before been able to find out when or why mao began to be used in
 place of less acceptable expletives.  Thanks for the explanation (and 
thanks
 for using mao instead of the other version!)
 

In other circles, MAO = monoamine oxidase.___
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Re: Score with large empty section at the top

[Tim Reeves]

  I think it is standard behaviour.
  I remember there was a command to let LilyPond display all the spaces
  it uses and its names. But I don´t remember the command and couldn´t
  find it by searching ...
 
 Take a look at Notation Reference 4.6.1: Displaying spacing.
 
 -Chris


He actually did include annotate-spacing = ##t in his Paper block in his 
file, but he had it commented out. Putting it back in did give several 
clues for how to change the spacing to his liking.___
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Re: lilypond-user Digest - no messages for a few days

[Tim Reeves]

For several days I didn't get any message digests from lilypond-user, but 
instead of resubscribing, I just looked at the archives a few times.
Now, all of sudden, today, I'm getting digests again. Anyone know what 
happened?

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Re: changelog (was: Arbitrary changes?)

[Tim Reeves]

It took me a couple of minutes to scan through the source code (of 
convert-ly.py) as Han-Wen suggested and find the changes in 2.11.51, so as 
a convenience to others, here they are:

\\octave changed to \\octaveCheck
arpeggioUp changed to arpeggioArrowUp
arpeggioDown changed to arpeggioArrowDown
arpeggioNeutral changed to arpeggioNormal
setTextCresc changed to crescTextCresc
setTextDecresc changed to dimTextDecresc
setTextDecr changed to dimTextDecr
setTextDim changed to dimTextDim
setHairpinCresc changed to crescHairpin
setHairpinDecresc changed to dimHairpin
sustainUp changed to sustainOff
sustainDown changed to sustainOn
sostenutoDown changed to sostenutoOn
sostenutoUp changed to sostenutoOff

Funny thing is, the only ones I use are the cresc and dim ones, and I 
don't see what was gained by those changes, but no big deal - I'd have to 
look them up the next time used them anyway most likely.


Tim Reeves
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Re: indexing (was LSR search is broken)

[Tim Reeves]

I agree with Kieren and Werner. 
Programming and Mathematics aside, if I'm standing in line, the first 
person to be served will be the first person in line, not the zeroth 
person in line. I don't think zeroth person in line has ever been 
uttered. And I'm not just being anti-pedantic. Believe me, I can be 
quite pedantic. ;-)



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Re: changelog (was: Arbitrary changes?)

[Tim Reeves]

True, but I usually avoid command line stuff. I'm on Windows XP.
Also, I learned a little bit by looking at the code. Not enough to do 
anything with it, mind you.


Tim Reeves





Graham Percival [EMAIL PROTECTED] 
07/09/2008 12:49 PM

To
Tim Reeves [EMAIL PROTECTED], Han-Wen Nienhuys 
[EMAIL PROTECTED]
cc
lilypond-user@gnu.org
Subject
Re: changelog (was: Arbitrary changes?)






Or you could have done what I suggested to Haipeng, and ran
convert-ly -s --from=2.11.50
to see a list of all these changes.  No looking at source code required.

Cheers,
- Graham


On Wed, 9 Jul 2008 10:58:30 -0700
Tim Reeves [EMAIL PROTECTED] wrote:

 It took me a couple of minutes to scan through the source code (of 
 convert-ly.py) as Han-Wen suggested and find the changes in 2.11.51,
 so as a convenience to others, here they are:
 
 \\octave changed to \\octaveCheck
 arpeggioUp changed to arpeggioArrowUp
 arpeggioDown changed to arpeggioArrowDown
 arpeggioNeutral changed to arpeggioNormal
 setTextCresc changed to crescTextCresc
 setTextDecresc changed to dimTextDecresc
 setTextDecr changed to dimTextDecr
 setTextDim changed to dimTextDim
 setHairpinCresc changed to crescHairpin
 setHairpinDecresc changed to dimHairpin
 sustainUp changed to sustainOff
 sustainDown changed to sustainOn
 sostenutoDown changed to sostenutoOn
 sostenutoUp changed to sostenutoOff
 
 Funny thing is, the only ones I use are the cresc and dim ones, and I 
 don't see what was gained by those changes, but no big deal - I'd
 have to look them up the next time used them anyway most likely.
 
 
 Tim Reeves
 

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