Re: \relative versus \absolute (was Re: Macro/multiply notes)
On Sat, Jun 14, 2014 at 1:43 PM, Knute Snortum ksnor...@gmail.com wrote: I am still a novice at using LilyPond (maybe a sophomore) but I'd like to make one case for relative notes. I'm typesetting a piece where there are a lot of octave scale runs between both hands. It's very nice to be able to copy several beats or even bars of notes, irrespective of the clef, and paste them in. You couldn't do that with absolute notation. Knute Snortum (via Gmail) On Fri, Jun 13, 2014 at 10:35 AM, Pierre Perol-Schneider pierre.schneider.pa...@gmail.com wrote: 2014-06-13 19:19 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca: Hello all, Hi Kieren, I now code everything in absolute mode, and cannot believe how such a little change has improved my life. +1 But, as you say, “that’s just me”. =) Not just you, Kieren... ;) Cheers, Pierre For a long time, I exclusively used relative mode, but I'm having second thoughts. I just discovered that typesetting a piano piece which constantly uses temporary voices is much easier in absolute mode. Switching from voice to voice no longer gives any register surprises. Absolute mode also tempts me to skip a few measures when I want to procrastinate tackling a difficult spot but still want to keep working. --David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative versus \absolute (was Re: Macro/multiply notes)
David Nalesnik david.nales...@gmail.com writes: I just discovered that typesetting a piano piece which constantly uses temporary voices is much easier in absolute mode. Switching from voice to voice no longer gives any register surprises. Absolute mode also tempts me to skip a few measures when I want to procrastinate tackling a difficult spot but still want to keep working. Well, there is always \resetRelativeOctave, and after getting the octaves wrong, at most one note needs changing to get back into synch anyway. While the make-relative macro can help a lot, designing music manipulating macros that don't do surprising things in \relative mode is also tricky. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative versus \absolute (was Re: Macro/multiply notes)
On Fri, Jul 25, 2014 at 12:48 PM, David Kastrup d...@gnu.org wrote: David Nalesnik david.nales...@gmail.com writes: I just discovered that typesetting a piano piece which constantly uses temporary voices is much easier in absolute mode. Switching from voice to voice no longer gives any register surprises. Absolute mode also tempts me to skip a few measures when I want to procrastinate tackling a difficult spot but still want to keep working. Well, there is always \resetRelativeOctave, and after getting the octaves wrong, at most one note needs changing to get back into synch anyway. While the make-relative macro can help a lot, designing music manipulating macros that don't do surprising things in \relative mode is also tricky. One can also use octave checks in relative mode: http://lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-pitches#octave-checks ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Macro/multiply notes
Thomas Morley thomasmorle...@gmail.com writes:
2014-06-13 17:42 GMT+02:00 Hlolli hlo...@gmail.com:
Is is possible to do smoething like this:
{c'8 d' e' d'}*4 - c'8 d' e' d' | c'8 d' e' d' | c'8 d' e' d' | c'8 d' e'
d' ?
Just to save space I was hoping that repetitive musical patterns could be
repeted with multiplication/asterix sign?
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Afaik, closest you can do is:
\version 2.18.0
* =
#(define-scheme-function (parser location number)(number?)
(define-music-function (parser location music)(ly:music?)
#{ \repeat unfold $number $music #}))
*4 = \* 4
*3 = \* 3
*2 = \* 2
{ \*3 { \*4 { c'8 d' e' d' \*2 g'4 \bar || } \bar S } }
Ugh. How about
\\* =
#(define-music-function (parser location n m) (number? ly:music?)
#{ \repeat unfold $n $m #})
{ \*3 { \*4 { c'8 d' e' d' \*2 g'4 \bar || } \bar S } }
Saves defining separate commands and all that juggling with quotes.
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Re: \relative versus \absolute (was Re: Macro/multiply notes)
I am still a novice at using LilyPond (maybe a sophomore) but I'd like to make one case for relative notes. I'm typesetting a piece where there are a lot of octave scale runs between both hands. It's very nice to be able to copy several beats or even bars of notes, irrespective of the clef, and paste them in. You couldn't do that with absolute notation. Knute Snortum (via Gmail) On Fri, Jun 13, 2014 at 10:35 AM, Pierre Perol-Schneider pierre.schneider.pa...@gmail.com wrote: 2014-06-13 19:19 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca : Hello all, Hi Kieren, I now code everything in absolute mode, and cannot believe how such a little change has improved my life. +1 But, as you say, “that’s just me”. =) Not just you, Kieren... ;) Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative versus \absolute (was Re: Macro/multiply notes)
I would imagine that kind of practice, just squeeze musical material into instruments into their suitable range will make you less sensitive to which octave you are composing on. If it works for some, then good. Both in terms of timbre and counterpoint I would want to know excacly if I'm working with the a' on 440Hz or a'' ong 880Hz etc... -- View this message in context: http://lilypond.1069038.n5.nabble.com/Macro-multiply-notes-tp163291p163349.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative versus \absolute (was Re: Macro/multiply notes)
Another aspect: on english keyboards, the single quote ' is easily
reachable. But on german (and maybe other?) keyboards it’s further on
the right and you need the shift key to get it; the neo layout (a german
ergonomic layout which I use) also needs an extra key (called mod3, at
qwerty’s caps lock position). So it’s easier not to have to type all
these quotes (which can be very many when you write music for piccolo
flute, piano, …). And I find { a''' e c a''' } not as readable
as \relative a''' { a e' c a }.
Of course, for music with many big intervals may be better written in
absolute mode (you will need many ' and , anyway).
On 14.06.2014 20:43, Knute Snortum wrote:
I am still a novice at using LilyPond (maybe a sophomore) but I'd like to
make one case for relative notes. I'm typesetting a piece where there are
a lot of octave scale runs between both hands. It's very nice to be able
to copy several beats or even bars of notes, irrespective of the clef, and
paste them in. You couldn't do that with absolute notation.
Knute Snortum
(via Gmail)
On Fri, Jun 13, 2014 at 10:35 AM, Pierre Perol-Schneider
pierre.schneider.pa...@gmail.com wrote:
2014-06-13 19:19 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca
:
Hello all,
Hi Kieren,
I now code everything in absolute mode, and cannot believe how such a
little change has improved my life.
+1
But, as you say, “that’s just me”. =)
Not just you, Kieren... ;)
Cheers,
Pierre
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Re: \relative versus \absolute (was Re: Macro/multiply notes)
Knute Snortum ksnor...@gmail.com writes:
I am still a novice at using LilyPond (maybe a sophomore) but I'd like to
make one case for relative notes. I'm typesetting a piece where there are
a lot of octave scale runs between both hands. It's very nice to be able
to copy several beats or even bars of notes, irrespective of the clef, and
paste them in. You couldn't do that with absolute notation.
\transpose c c' { ... }
--
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Re: Macro/multiply notes
2014-06-13 17:42 GMT+02:00 Hlolli hlo...@gmail.com:
Is is possible to do smoething like this:
{c'8 d' e' d'}*4 - c'8 d' e' d' | c'8 d' e' d' | c'8 d' e' d' | c'8 d' e'
d' ?
Just to save space I was hoping that repetitive musical patterns could be
repeted with multiplication/asterix sign?
You can write:
\repeat unfold 4 { c'8 d' e' d' | }
The asterisk is used to scale durations:
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations
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Re: Macro/multiply notes
Do you know \repeat unfold?
\repeat unfold 4 { c'8 d' e' d' }
or
\repeat unfold 4 { c'8 d' e' d' | }
would do what you want (depending on whether you want bar checks).
Another hint (seems like you’re a LilyPond novice, correct me if I’m
wrong): have you already seen \relative?
\relative c' { c8 d e d }
does the same as
{ c'8 d' e' d' }
On 13.06.2014 17:42, Hlolli wrote:
Is is possible to do smoething like this:
{c'8 d' e' d'}*4 - c'8 d' e' d' | c'8 d' e' d' | c'8 d' e' d' | c'8 d' e'
d' ?
Just to save space I was hoping that repetitive musical patterns could be
repeted with multiplication/asterix sign?
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Macro-multiply-notes-tp163291.html
Sent from the User mailing list archive at Nabble.com.
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Re: Macro/multiply notes
bingo, thanks! Yes I'm novice. After 10+ years of music training, the relative instead of absolute is less comfortable. But that's just me. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Macro-multiply-notes-tp163291p163297.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Macro/multiply notes
2014-06-13 17:42 GMT+02:00 Hlolli hlo...@gmail.com:
Is is possible to do smoething like this:
{c'8 d' e' d'}*4 - c'8 d' e' d' | c'8 d' e' d' | c'8 d' e' d' | c'8 d' e'
d' ?
Just to save space I was hoping that repetitive musical patterns could be
repeted with multiplication/asterix sign?
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Macro-multiply-notes-tp163291.html
Sent from the User mailing list archive at Nabble.com.
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Afaik, closest you can do is:
\version 2.18.0
* =
#(define-scheme-function (parser location number)(number?)
(define-music-function (parser location music)(ly:music?)
#{ \repeat unfold $number $music #}))
*4 = \* 4
*3 = \* 3
*2 = \* 2
{ \*3 { \*4 { c'8 d' e' d' \*2 g'4 \bar || } \bar S } }
Cheers,
Harm
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\relative versus \absolute (was Re: Macro/multiply notes)
Hello all, the relative instead of absolute is less comfortable. But that's just me. When I started with Lilypond (ca. 2003), I immediately latched on to relative coding, and found absolute coding difficult, confusing, and [I thought] a waste of time. Now that I’m cranking out very big scores (e.g., 50+ staves, 20+ movements), with lots of [potential] transpositions and code reuse, I am a fine-manual-thumping born-again Absolute-ist: I now code everything in absolute mode, and cannot believe how such a little change has improved my life. I know it’s easier for some people to “get” relative mode… but as a result of my experiences in the last year or so, I would get behind the idea of the ‘Pond encouraging absolute mode over relative mode (e.g., in all official documentation, etc.). But, as you say, “that’s just me”. =) All the best, Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \relative versus \absolute (was Re: Macro/multiply notes)
2014-06-13 19:19 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca: Hello all, Hi Kieren, I now code everything in absolute mode, and cannot believe how such a little change has improved my life. +1 But, as you say, “that’s just me”. =) Not just you, Kieren... ;) Cheers, Pierre ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Macro/multiply notes
Thomas Morley thomasmorle...@gmail.com writes:
{ \*3 { \*4 { c'8 d' e' d' \*2 g'4 \bar || } \bar S } }
Allow me to quote David's approach:
\\* =
#(define-music-function (parser location n m) (index? ly:music?)
(make-music 'UnfoldedRepeatedMusic
'repeat-count n
'element m))
%% Use: \* 6 {c8 g e g}
Warning: It's addictive.
-- Johan
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