Re: GDP: NR 3
Graham Percival wrote Friday, July 18, 2008 1:28 AM On Thu, 17 Jul 2008 11:10:11 +0100 Trevor Daniels [EMAIL PROTECTED] wrote: Graham Percival wrote Thursday, July 17, 2008 9:37 AM I think 3.5.7 is unnecessary. Just add , in any MIDI player which supports pitch bending to the item in 3.5.2. I included this because the only mention of microtones in NR 1/NR 2 (AFAICS) is rather buried in Note names in other languages, with no heading to @ref to. They're covered in Accidentals. If the current material in there isn't sufficient, we could add more...? Anyway, @ref to Accidentals. OK, found it. I'll @ref to there and mention quarter tones, which is the index entry I missed. (As an aside, it's a pity we can't ref to index entries.) I'm not certain if we need a separate subsubsection for instrument names. Why not merge that with 3.5.3? Agreed it is too short to remain on its own, but it doesn't really belong in a section about \midi. Maybe merging it into 3.5.1 would be better? No objection here. Done Cheers, - Graham Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.5 Simultaneous, second draft
Daniel:
On Thu, Jul 17, 2008 at 10:53:03PM +0200, Karl Hammar wrote:
Daniel:
Why not? I find myself wanting to go into two (or three) voices and back
again very frequently when typesetting percussion parts, and the 'right'
way is far too long-winded - often it would be longer than the music it
encloses. I always use the method given in the second example in NR
2.5.1.3 Percussion Staves, i.e. explicitly instantiating the voices
beforehand and using \\, in combination with skip-of-length. Does this
That is strange, why do you need to do the \new DrumVoice-lines in
...
count as the right way, or is it still the wrong way? As a user, it
would be much easier for me to just be able to tell Lilypond once that
I'm doing drums, and then just put the music in, without using any kind
of method at all.
Ok, what happens if you replace the bd4 sn4 etc. with the snares from
last example of 2.5.1.2 ? By doing it this way, a tie is missing:
Isn't the missing tie just the usual ties can't cross voices problem?
Yes.
I tend to work around that by the trick of 'hoisting' one end of the tie
into the other voice, replacing it with a space in its original voice.
So, in your example
\version 2.11.52
\new DrumStaff
\new DrumVoice = 1 { s1 *2 }
\new DrumVoice = 2 { s1 *2 }
\drummode {
sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8 sn4:32~ |
{ \repeat unfold 16 hh16 }
\\
{ sn4 sn8 sn16 sn16 sn4 r4 }
}
the relevant lines become
sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8
{ s4 | \repeat unfold 16 hh16 }
\\
{ sn4:32 ~ | sn4 sn8 sn16 sn16 sn4 r4 }
Ok, this is not a problem that you cannot handle.
In vocal music, one wants to relate text with music using \lyricsto.
That is harder if you create new voices, which makes that coupling
harder to see and maintain.
My way of handling these problems is to always explicitly name any new
voice I use and letting the main thread of music belong to the same
voice throughout. Not making new a new voice makes my typesetting
easier.
So, it becomes:
Which way of creating the second voice and handling problems like
the above is most easily explained and understood by users?
Which one should go into NR 1.5?
Regards,
/Karl
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adding a location to the lilypond path
I'm just curious if it's possible to add a location to my lilypond path. I've managed to build lilypond from source (and it's much faster), and I'm just wondering if there's an easy way to add folder with some \include files that I occasionally or frequently use. Something simple like ~/lilypond_includes/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: NR 1.5 Simultaneous, second draft
2008/7/18 Karl Hammar [EMAIL PROTECTED]:
In vocal music, one wants to relate text with music using \lyricsto.
That is harder if you create new voices, which makes that coupling
harder to see and maintain.
This could be explained in Vocal Music, but I think that in NR1.5
Simultaneous the more general the better.
My way of handling these problems is to always explicitly name any new
voice I use and letting the main thread of music belong to the same
voice throughout. Not making new a new voice makes my typesetting
easier.
Do not forget my questions about what voice numbers get these new voices.
So, it becomes:
Which way of creating the second voice and handling problems like
the above is most easily explained and understood by users?
Which one should go into NR 1.5?
The examples in the chapter speak by themselves, the simplest method
is completely valid for complex polyphony.
I could start explaining how to add a second voice (being the first
the same as surrounding music), then expose the most commonly used
construction as a short for this, even if it creates two voices.
Complete Bach's pieces have been typeset using only a big { } \\ {
} \\ { } without problems. Tips for vocal music have their own
chapter. What do you think?
--
Francisco Vila. Badajoz (Spain)
http://www.paconet.org
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Re: GDP: NR 1.5 Simultaneous, second draft
Francisco Vila wrote Thursday, July 17, 2008 10:35 PM
2008/7/17 Karl Hammar [EMAIL PROTECTED]:
Ex1: { \A } \\ { \B }
creates TWO new voices, which get you into problems when doing \lyricsto,
where
Ex2: { \voiceOne \a } \new Voice { \voiceTwo \b } \oneVoice
only creates ONE new voice, \a belongs to the same voice as the
surronding
music.
Ex1 is a dead end, nice for simple notes, everewhere else you have to do
Ex2.
Before summarizing, I have a question: Ex1 creates 2 new voices; Ex2
clearly creates 1 new voice, and they are \voiceOne and \voiceTwo.
What voice numbers are the two new voices in Ex1?
The answer to this is in LM 3.2.2 Explicitly instantiating voices
What voice numbers
are a and b in {\a}{\b} ? (call it Ex0)
Depends what's in \a and \b, but the construct itself will
generate two staves implicitly, not voices.
--
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http://www.paconet.org
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Re: question about lyrics changing via \set associatedVoice
Thank you, Karl. That fixed my problem perfectly!
Steven
Karl Hammar wrote:
Steven:
...
into the tenor voice. I've tried inserting the command \set
associatedVoice = #three one syllable before the point where the
voice association needs to change to tenor but what happens is simply
that the lyrics stop happening altogether (at that point). My thinking
...
\score{
\context StaffGroup
\context Staff = upper
\clef treble
\context Voice = one \upperOne
\context Voice = two \upperTwo
\lyricsto two \new Lyrics {
%% \set stanza = 1.
\verse
}
\context Staff = lower
\clef bass
\context Voice = one \lowerOne
\context Voice = two \lowerTwo
}
...
Where is the voice three?
Maybe you meant:
\context Staff = lower
\clef bass
\context Voice = three \lowerOne
\context Voice = four \lowerTwo
But then the problem is that the \lyricsto comes before the
\context Voice = tree.
To solve that problem use the technique from
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Vocal-ensembles#Vocal-ensembles
I.e. place a \new Lyrics = vocals { s1 } where you want to have the
text, and move the lyricsto to the end.
Regards,
/Karl
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Lilypond under Leopard
Hi, Folks No, I am not asking how to install Lilypond in Leopard. I know there are at least two options: - to compile it from the source, using a set of instructions and macports (that installs/reinstalls almost everything) - and another option that is to use the G4 binary (the one I use, as the previous one failed) My question is another (or, my questions...) - is it known why the 10.4 binary doesn't work under 10.5? - if so, is there any work on preparing a standard binary for Leopard? Cheers Alberto -- Alberto Simões - Departamento de Informática - Universidade do Minho Campus de Gualtar - 4710-057 Braga - Portugal ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Still confused about context vs. new
On Fri, Jul 18, 2008 at 08:50:51AM +0100, Trevor Daniels wrote:
In the meantime, the distinction is explained in NR 5.1.2 Creating
contexts, although this section has not yet been reviewed in GDP so maybe
it could be improved. Let me know to what extent it helps you. In any
case I'll bear your comments in mind when I get to that section.
I've just read it, and I'm still not quite clear. It looks like the only
difference between \new and \context is that \new ensures that you get a
fresh context by ignoring the identifier you give if necessary, whereas
\context deals with name collisions by smushing the new context into the
existing one in some way I don't understand.
This sort of makes the DrumVoice explicit instantiation make sense: if
\\ acts like \context rather than \new, then it is smushing its operands
into the \new DrumVoice=n { \skips } thing above.
If this is way off the mark I guess the section in question needs some
serious loving.
--
I tried snorting coke once, but the bubbles went right up my nose and I
knocked the glass over. -- ‘Sordid Confessions of a Teenage Innocent’
http://surreal.istic.org/ Krogoths are for defence.
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Re: GDP: NR 1.5 Simultaneous, second draft
(Sorry, forgot GNU lists don't set Reply-To, so sent this to Mr. Hammar
off-list by accident. Reposting to the list for the benefit of the
archives.)
On Thu, Jul 17, 2008 at 10:53:03PM +0200, Karl Hammar wrote:
Daniel:
Why not? I find myself wanting to go into two (or three) voices and back
again very frequently when typesetting percussion parts, and the 'right'
way is far too long-winded - often it would be longer than the music it
encloses. I always use the method given in the second example in NR
2.5.1.3 Percussion Staves, i.e. explicitly instantiating the voices
beforehand and using \\, in combination with skip-of-length. Does this
That is strange, why do you need to do the \new DrumVoice-lines in
drummode? Example of 2.5.1.3:
I don't know, but without those lines the effect is that each voice gets
to be on its own staff, only the first of which is in drum mode. I guess
that \\ creates the needed Voice contexts if they don't already exist,
but uses the default Voice rather than DrumVoice, which is then
'rejected' by the DrumStaff, pushing the voices out into separate
staves.
It sort of makes sense if I think about it as a programmer, but as a
user it's pretty annoying behaviour, especially as the first time I came
to do it it took a few hours of flicking between pages in the manual to
work out the appropriate incantation, and to find the skip-of-length
thing.
count as the right way, or is it still the wrong way? As a user, it
would be much easier for me to just be able to tell Lilypond once that
I'm doing drums, and then just put the music in, without using any kind
of method at all.
Ok, what happens if you replace the bd4 sn4 etc. with the snares from
last example of 2.5.1.2 ? By doing it this way, a tie is missing:
Isn't the missing tie just the usual ties can't cross voices problem?
I tend to work around that by the trick of 'hoisting' one end of the tie
into the other voice, replacing it with a space in its original voice.
So, in your example
\version 2.11.52
\new DrumStaff
\new DrumVoice = 1 { s1 *2 }
\new DrumVoice = 2 { s1 *2 }
\drummode {
sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8 sn4:32~ |
{ \repeat unfold 16 hh16 }
\\
{ sn4 sn8 sn16 sn16 sn4 r4 }
}
the relevant lines become
sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8
{ s4 | \repeat unfold 16 hh16 }
\\
{ sn4:32 ~ | sn4 sn8 sn16 sn16 sn4 r4 }
--
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http://surreal.istic.org/ Peace through superior firepower.
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Re: GDP: NR 1.5 Simultaneous, second draft
2008/7/18 Daniel Hulme [EMAIL PROTECTED]:
So, in your example
\version 2.11.52
\new DrumStaff
\new DrumVoice = 1 { s1 *2 }
\new DrumVoice = 2 { s1 *2 }
\drummode {
sn16 sn8 sn16 sn8 sn8:32~ sn8 sn8 sn4:32~ |
(...)
I'm really afraid I'm not paying too much attention to this thread in
all that relates to Drums, I beg you, if anybody could summarize what
is more relevant to put into NR1.5 Simultaneous regarding to this,
I'll be very grateful.
Please understand that I am no way an expert in all kinds of
specialist notation, just I have learnt more about LP syntax these
months working on GDP than in two years of doc/web/binary
translations.
--
Francisco Vila. Badajoz (Spain)
http://www.paconet.org
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