Re: Best name for function to create cross-style noteheads
Carl Sorensen-3 wrote: 2) For each of the instances you identified in part 1), what do you call the resulting note? I've never heard the term 'dead note' but 'ghost note' is very common. Doesn't matter if it's a string or wind instrument. Neither is it limited to woodwinds, it occurs in brass as well. Listen to Miles Davis, Chet Baker, etc. and you will hear this a lot. For string instruments I experience this to be especially common among electric bass players. Regards, Tao -- View this message in context: http://www.nabble.com/Best-name-for-function-to-create-cross-style-noteheads-tp24593037p24600863.html Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best name for function to create cross-style noteheads
TaoCG schrieb: Carl Sorensen-3 wrote: 2) For each of the instances you identified in part 1), what do you call the resulting note? I've never heard the term 'dead note' but 'ghost note' is very common. Doesn't matter if it's a string or wind instrument. Neither is it limited to woodwinds, it occurs in brass as well. Listen to Miles Davis, Chet Baker, etc. and you will hear this a lot. On guitar and bass, a ghost note has a parenthesized note head, whereas a dead note is plucked and dampened at the same time, so that you only hear the sound of the plucking. The pitch is used to clarify which sting you use (when there is no tablature), or to make sure that the damping finger is not moved away from its former position (because the same note is played normal style after the dead note, e.g.) For string instruments I experience this to be especially common among electric bass players. As a bass player, I found in every book of teaching bass that I own the term dead note (even in german book the english term is used). Regards, Tao ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: feature request (concerning midi-output)
2009/7/21 Werner mey@web.de:
\midi {
\context {
\Score
% harmonies = ##f
% (output all voices but no harmonies from chordNames!)
}
}
There's already a way to do it. Try something such as
\midi {
\context {
\type Performer_group
\name ChordNames
\consists Swallow_performer
}
}
Regards,
Valentin
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Re: midi output without harmonies from ChordNames
2009/7/21 Mark Polesky markpole...@yahoo.com: % midi-out all voices but not harmonies from ChordNames Commands that are too specific are not as useful. The syntax allows you to create as many score blocks as you like containing as many combinations of elements as you like. The user has control of many individualparameters, which is a more flexible approach than having commands that do a lot at once. (Oops, didn't see this thread before the one on -devel.) Werner, what you're looking for can already be done with user-customized contexts and performers (see my answer in the other discussion). Regards, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best name for function to create cross-style noteheads
On Tuesday 21 July 2009, Mark Polesky wrote: Trevor Daniels wrote: Given the wide variation in the use of the x-shaped note head I think the only possible name to use is one that reflects the shape of the note head - crossNote, crossNoteHead or similar - rather than trying to find a suitable generic name which adequately covers all these disparate uses. XHead. daveA -- Very easy guitar music, solos, duets, exercises. Intermediate guitar solos, theory, banjo, harmonica. Free download of technical exercises worth a lifetime of practice. Compare Segovia's scale set with DGT: http://www.openguitar.com/scalescomparison.html ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best name for function to create cross-style noteheads
David Raleigh Arnold schrieb: On Tuesday 21 July 2009, Mark Polesky wrote: Trevor Daniels wrote: Given the wide variation in the use of the x-shaped note head I think the only possible name to use is one that reflects the shape of the note head - crossNote, crossNoteHead or similar - rather than trying to find a suitable generic name which adequately covers all these disparate uses. XHead. daveA Yes, I think I could live with \xHeadOn, \xHeadOff and \xHead respectively. Marc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Line-width in Lilypond-book
Hi everyone,
I am trying to adjust the line width in a lilypond-book example, but
whatever I try, it always look like a ragged right style. What I want is
to stretch the line, in order to the chords places more distant one from
each other.
I searched in earlier messages and someone named Morton had the same
problem:
http://www.mail-archive.com/lilypond-user@gnu.org/msg28520.html
Graham said that this bug was fixed in 2.10.6.
I am using 2.12.1 and have this problem.
This is the latex code:
\begin{center}
\lilypondfile[noindent,line-width=10
\cm,staffsize=15]{exemplos/parte_4/cap01/exemplo01.ly}
\end{center}
This is the Lilypond code:
\version 2.12.0
cima = {
\time 5/4
\relative c''{a4 b c d e} \\
\relative c'{f4 g aes bes c}
\bar ||
\time 3/2
\relative c' {c e g b2 d fis a cis e gis b dis }
\bar ||
\time 4/2
\relative c' {a d g2 c f bes b e a d g c }
\bar ||
}
\score {
\new Staff \with { \remove Time_signature_engraver } \cima
\layout {
% ragged-right = ##t
% indent = 2.5\cm
}
\midi {
\context {
\Score tempoWholesPerMinute = #(ly:make-moment 60 4)
}
}
}
Thanks in advance.
Hugo Ribeiro
Brazil
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Re: Line-width in Lilypond-book
2009/7/22 Hugo Leonardo Ribeiro hugole...@gmail.com:
Hi everyone,
I am trying to adjust the line width in a lilypond-book example, but
whatever I try, it always look like a ragged right style. What I want is
to stretch the line, in order to the chords places more distant one from
each other.
Try noragged-right ?..
This is the latex code:
\begin{center}
\lilypondfile[noindent,line-width=10
\cm,staffsize=15]{exemplos/parte_4/cap01/exemplo01.ly}
\end{center}
This is the Lilypond code:
\version 2.12.0
cima = {
\time 5/4
\relative c''{a4 b c d e} \\
\relative c'{f4 g aes bes c}
\bar ||
\time 3/2
\relative c' {c e g b2 d fis a cis e gis b dis }
\bar ||
\time 4/2
\relative c' {a d g2 c f bes b e a d g c }
\bar ||
}
\score {
\new Staff \with { \remove Time_signature_engraver } \cima
\layout {
% ragged-right = ##t
% indent = 2.5\cm
}
\midi {
\context {
\Score tempoWholesPerMinute = #(ly:make-moment 60 4)
}
}
}
Thanks in advance.
Hugo Ribeiro
Brazil
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--
Dmytro O. Redchuk
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Re: Line-width in Lilypond-book
To handle this problem on my own files, I make sure to use false ragged-right setting inside the included lilypond file. Jon On Wed, Jul 22, 2009 at 9:11 AM, Hugo Leonardo Ribeiro hugole...@gmail.comwrote: Hi everyone, I am trying to adjust the line width in a lilypond-book example, but whatever I try, it always look like a ragged right style. What I want is to stretch the line, in order to the chords places more distant one from each other. I searched in earlier messages and someone named Morton had the same problem: http://www.mail-archive.com/lilypond-user@gnu.org/msg28520.html Graham said that this bug was fixed in 2.10.6. I am using 2.12.1 and have this problem. -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best name for function to create cross-style noteheads
Hi all, Just adding my 2¢... I might disagree. I'm big on semantics, and I would rather have a lot of commands that create the same look but mean different things, than have one command that creates a look which could mean a lot of different things. I don't know how people will be using LilyPond in the future, but I'd like for the program not to get stuck in ambiguous semantics. I agree with your concern with semantics. -1: I would much rather see one WISIWYG (What It Says Is What You Get) function rather than multiple WIMGRITSCDF (What It Means Gets Resolved Internally To Some Completely Different Function) functions. First of all, it minimizes namespace crowding; secondly, it reduces confusion and complexity in the docs (no need for crossrefs, etc.). The user semantic would be worse. -1: The *composer-user* semantic might [!] be worse, but the *engraver-user* semantic would be better. There are two different kinds of semantics that apply. One is the semantic that the composer sees. The other is the semantic that the engraver sees. If by engraver you mean person who is using Lilypond to engrave, then +1. =) The main problem I see in this thread is that we're trying to turn Lilypond into a *composing* application rather than thinking of it as purely an *engraving* application: when I *compose* for strings (I use pen and paper) I create/use/think harmonics, but when I *engrave* the score (I use Lilypond) I code/use/think diamond. There could be an argument that we don't want to unnecessarily expand the namespace +1. I think that your argument about having correct semantics is a valid argument. Meh... -1/2. ;) Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Line-width in Lilypond-book
On 7/22/09 8:11 AM, Hugo Leonardo Ribeiro hugole...@gmail.com wrote:
Hi everyone,
I am trying to adjust the line width in a lilypond-book example, but
whatever I try, it always look like a ragged right style. What I want is
to stretch the line, in order to the chords places more distant one from
each other.
I searched in earlier messages and someone named Morton had the same
problem:
http://www.mail-archive.com/lilypond-user@gnu.org/msg28520.html
Graham said that this bug was fixed in 2.10.6.
I am using 2.12.1 and have this problem.
This is the latex code:
\begin{center}
\lilypondfile[noindent,line-width=10
\cm,staffsize=15]{exemplos/parte_4/cap01/exemplo01.ly}
\end{center}
You need to set ragged-right = ##f in your \lilypondfile call.
HTH,
Carl
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Re: Best name for function to create cross-style noteheads
Mark Polesky wrote: Trevor Daniels wrote: Given the wide variation in the use of the x-shaped note head I think the only possible name to use is one that reflects the shape of the note head - crossNote, crossNoteHead or similar - rather than trying to find a suitable generic name which adequately covers all these disparate uses. What do you guys think? - Mark \damped /music-expression/ with synonyms \crosshead /music-expression/ \guitarpizz /music-expression/ Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
anchors in the music stream?
Hello all,
Like many Lilyponders, I break down my code into variables, e.g.
global (for time signature changes, etc.), notes, dynamics, etc. The
main irritation with this (IMO) is that each variable requires a
complete set of skips in order to keep the timing accurate.
Would it be technically feasible/possible to establish a system of
anchors instead? That is, could we declare an anchor point in the
global setup, and then refer to it in other code? e.g.
global =
{
\time 4/4 s4*4*10
\time 3/4 s4*3*5
\time 7/4 s4*7
\time 4/4 \anchor #'coda s4*4*10
\bar |.
}
tempoChanges =
{
\tempo \markup Opening tempo
\anchorTo #'coda \tempo \markup Extremely slow
}
??
Just a brainstorm from someone who doesn't understand the internals
enough to immediately see the stupidity of this idea... =)
Thanks,
Kieren.
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Re: anchors in the music stream?
Kieren MacMillan wrote: Like many Lilyponders, I break down my code into variables, e.g. global (for time signature changes, etc.), notes, dynamics, etc. The main irritation with this (IMO) is that each variable requires a complete set of skips in order to keep the timing accurate. Would it be technically feasible/possible to establish a system of anchors instead? That is, could we declare an anchor point in the global setup, and then refer to it in other code? Have you tried using the \tag command? http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Different-editions-from-one-source#Using-tags - Mark ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: anchors in the music stream?
Hi Mark, Have you tried using the \tag command? http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Different- editions-from-one-source#Using-tags Certainly I've used \tag for filtering content, but I don't understand how \tag could help with the problem I'm describing... could you elaborate on what you're thinking? Thanks, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best name for function to create cross-style noteheads
Ian Hulin schrieb: Mark Polesky wrote: Trevor Daniels wrote: Given the wide variation in the use of the x-shaped note head I think the only possible name to use is one that reflects the shape of the note head - crossNote, crossNoteHead or similar - rather than trying to find a suitable generic name which adequately covers all these disparate uses. What do you guys think? - Mark \damped /music-expression/ with synonyms \crosshead /music-expression/ \guitarpizz /music-expression/ A guitar pizziccato is not indicated by cross head notes, so the latter will be misleading. Marc Cheers, Ian ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: anchors in the music stream?
On Wed, Jul 22, 2009 at 9:05 AM, Kieren
MacMillankieren_macmil...@sympatico.ca wrote:
Hello all,
Like many Lilyponders, I break down my code into variables, e.g. global (for
time signature changes, etc.), notes, dynamics, etc. The main irritation
with this (IMO) is that each variable requires a complete set of skips in
order to keep the timing accurate.
Would it be technically feasible/possible to establish a system of anchors
instead? That is, could we declare an anchor point in the global setup, and
then refer to it in other code? e.g.
global =
{
\time 4/4 s4*4*10
\time 3/4 s4*3*5
\time 7/4 s4*7
\time 4/4 \anchor #'coda s4*4*10
\bar |.
}
tempoChanges =
{
\tempo \markup Opening tempo
\anchorTo #'coda \tempo \markup Extremely slow
}
??
Just a brainstorm from someone who doesn't understand the internals enough
to immediately see the stupidity of this idea... =)
That's a neat idea. It might be easier to do something like:
global =
{
\time 4/4 s4*4*10
\time 3/4 s4*3*5
\time 7/4 s4*7
\time 4/4 \anchor #'coda s4*4*10
\bar |.
}
\addAt #'coda \global {\tempo \markup Extremely slow}
Then the addAt function could weave the tempo in at the correct point.
Though I'm not sure how easy this would be either.
=
I've thought about something similar before and I think anchors would
be a good syntax (I don't know about the internals) to make it work:
global = {s1*4 \anchor #'place s1*4}
part = \relative c' {c1 c c c \assertAt #'place c c c c \assertEnd}
anotherPart = \relative c' {e1 e e \assertAt #'place e e e e \assertEnd} %Error
\score { \new Staff{ \global \part } \new Staff{ \global
\anotherPart } }
This would work similar to bar checks. Errors would be thrown when the
anchor and assertion don't line up. I think this might be more
complicated than the above use.
In any case I think anchors could be very useful for a variety of purposes.
-Jay
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eps, markup and adding hammer-on/pull-off to tablature
Hi all,
I'm trying to add hammer-on and pull-off to a tablature.
These are not supported by tablature.ly, so I was told to use an .eps
file and \markup to get what I want.
I need your help to understand how to do it actually.
Please direct me to a place of the manual where this issue is discussed.
So far, I've seen this example but I don't know how to implement it:
http://lists.gnu.org/archive/html/lilypond-user/2005-02/msg00208.html
I attach the .eps file, a simple example and the file tablature.ly
(which is needed...for those who don't have and want to try..).
Could you give me some hint?
I don't know hot to go on..
Thanks in advance,
Federico
tablature.ly
source file of the GNU LilyPond music typesetter
(c) 2009 Marc Hohl m...@hohlart.de
% some publications use the triangle-shaped note head
% for palm mute, so here we go:
palmMuteOn = {
\override NoteHead #'style = #'do
}
palmMuteOff = {
\revert NoteHead #'style
}
% for single notes (even in chord constructs ...),
% or grouped notes in {...}
palmMute =
#(define-music-function (parser location note) (ly:music?)
;; are we inside a ...?
(if (eq? (ly:music-property note 'name) 'NoteEvent)
;; yes - add a tweak
(begin (set! (ly:music-property note 'tweaks)
(acons 'style 'do (ly:music-property note 'tweaks)))
note)
;; no - use predefined commands to switch to triangle-shaped note heads
#{
\palmMuteOn
$note
\palmMuteOff
#}))
% x-tab-format uses a x instead of the fret number:
#(define (x-tab-format str context event)
(make-whiteout-markup
(make-vcenter-markup
(markup #:musicglyph noteheads.s2cross
% dead notes are marked with a cross-shape note head,
% both in normal notation and in tablature:
deadNotesOn = {
\set tablatureFormat = #x-tab-format
\override NoteHead #'style = #'cross
}
deadNotesOff = {
\unset tablatureFormat
\revert NoteHead #'style
}
% for single notes (even in chord constructs ...),
% or grouped notes in {...}
deadNote =
#(define-music-function (parser location note) (ly:music?)
;; are we inside a ...?
(if (eq? (ly:music-property note 'name) 'NoteEvent)
;; yes - add a tweak
(begin (set! (ly:music-property note 'tweaks)
(acons 'glyph-name 2cross
(acons 'style 'special
(ly:music-property note 'tweaks
note)
;; no - use predefined commmands for changing
;; note head and tablature fret signs
#{
\deadNotesOn
$note
\deadNotesOff
#}))
% To distinguish between palm mute and dead notes, we have to
% check whether the grob-property 'style is set; if it is,
% then we want to draw a whiteout cross for the tab note head:
#(define (tab-note-head::whiteout-if-style-set grob)
(let ((style (ly:grob-property grob 'style)))
(if (and (symbol? style)
(string=? (symbol-string style) special))
(stencil-whiteout (ly:note-head::print grob))
(ly:text-interface::print grob
% definitions for the moderntab clef:
% the moderntab clef will be added to the list of known clefs,
% so it can be used as any other clef:
%
% \clef moderntab
%
#(add-new-clef moderntab markup.moderntab 0 0 0)
% this function decides which clef to take
#(define (clef::print-modern-tab-if-set grob)
(let ((glyph (ly:grob-property grob 'glyph)))
;; which clef is wanted?
(if (string=? glyph markup.moderntab)
;; if it is moderntab, we'll draw it
(let* ((staff-symbol (ly:grob-object grob 'staff-symbol))
(line-count (ly:grob-property staff-symbol 'line-count))
(staff-space (ly:grob-property staff-symbol 'staff-space 1)))
(grob-interpret-markup grob (make-customTabClef-markup line-count staff-space)))
;; otherwise, we simply use the default printing routine
(ly:clef::print grob
% define sans serif-style tab-Clefs as a markup:
#(define-markup-command (customTabClef layout props num-strings staff-space) (integer? number?)
(define (square x) (* x x))
(let* ((scale-factor (/ staff-space 1.5))
(font-size (- (* num-strings 1.5 scale-factor) 7))
(base-skip (* (square (+ (* num-strings 0.195) 0.4)) scale-factor)))
(interpret-markup layout props
(markup #:vcenter #:bold
#:override (cons 'font-family 'sans)
#:fontsize font-size
#:override (cons 'baseline-skip base-skip)
#:left-align #:center-column (T A B)
% if the stems are drawn, it is nice to have a double stem for
% (dotted) half notes to distinguish them from quarter notes:
#(define-public (tabvoice::draw-double-stem-for-half-notes grob)
(let ((stem (ly:stem::print grob)))
;; is the note a (dotted) half note?
(if (= 1 (ly:grob-property grob 'duration-log))
Re: Best name for function to create cross-style noteheads
Hans Aberg wrote: On 21 Jul 2009, at 20:20, Carl Sorensen wrote: ... a question come up about the name for some notation. In rock (and maybe jazz) guitar, there is a note described as a dead note that is notated in both tablature and staff notation with a cross-style notehead. This note is played on a muted string, so it gets rhythm but no real pitch. The code has been developed with the name \deadNotesOn, \deadNotesOff, and \deadNote. The same notation appears to be used in woodwinds for what is sometimes called a ghost note. In my experience ghost notes are in parentheses. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best name for function to create cross-style noteheads
Hans Aberg wrote: On 21 Jul 2009, at 20:20, Carl Sorensen wrote: ... a question come up about the name for some notation. In rock (and maybe jazz) guitar, there is a note described as a dead note that is notated in both tablature and staff notation with a cross-style notehead. This note is played on a muted string, so it gets rhythm but no real pitch. The code has been developed with the name \deadNotesOn, \deadNotesOff, and \deadNote. The same notation appears to be used in woodwinds for what is sometimes called a ghost note. In my experience ghost notes are in parentheses. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
Hi, I'm resurrecting a laptop whose hard drive died. I'm trying to set up Emacs lilypond-mode. AU 2.2.1 tells me to do a 'make install' in the elisp directory. I don't see a makefile and 'make install' doesn't find an install target rule. Am I missing something or are the docs behind? Thanks, Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Best name for function to create cross-style noteheads
Sorry for the noise. I didn't think the first version of this email had succeeded. Paul Paul Scott wrote: Hans Aberg wrote: On 21 Jul 2009, at 20:20, Carl Sorensen wrote: ... a question come up about the name for some notation. In rock (and maybe jazz) guitar, there is a note described as a dead note that is notated in both tablature and staff notation with a cross-style notehead. This note is played on a muted string, so it gets rhythm but no real pitch. The code has been developed with the name \deadNotesOn, \deadNotesOff, and \deadNote. The same notation appears to be used in woodwinds for what is sometimes called a ghost note. In my experience ghost notes are in parentheses. Paul Scott ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
clip-systems png output?
hi, am a total newbie to lilypond, but way impressed, hope to use it a lot.
interested in outputting clips as png, so trying various combinations, all of
which are the same result.
file scale.ly:
\version 2.12.0 % necessary for upgrading to future LilyPond versions.
#(ly:set-option 'clip-systems #t)
\header{
%title = A scale in LilyPond
}
\score {
\relative c' {
c d e f g a bes c d ees8( e) c4 b c~ c1
}
\layout {
clip-regions
= #(list
(cons
(make-rhythmic-location 3 0 4)
(make-rhythmic-location 4 0 4)))
}
}
lilypond --png scale.ly
i get a clipped eps (or so it would appear), and a full ps and png. if i leave
out the --png, i get a clipped pdf.
am i doing this wrong, or is it not possible to get a png clip?
thanks,
ian
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Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
On 23.07.2009, at 04:20, Paul Scott wrote: Hi, I'm resurrecting a laptop whose hard drive died. I'm trying to set up Emacs lilypond-mode. AU 2.2.1 tells me to do a 'make install' in the elisp directory. I don't see a makefile and 'make install' doesn't find an install target rule. Am I missing something or are the docs behind? Thanks, Paul Scott That only applies if lilypond-mode isn't installed on your platform (first paragraph, last sentence). Usually you can just move the files to where they need to go and ammend your ~/.emacs appropriately James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: eps, markup and adding hammer-on/pull-off to tablature
BODY { font-family:Arial, Helvetica, sans-serif;font-size:12px; }
I know nothing about tablature, but to use your EPS file in a markup
would be something like
markup { epsfile #X #8 #hammer-pull.eps }
where the first parameter is the axis and the second is the amount
to scale by.
Nick
On Thu 23/07/09 6:24 AM , Federico Bruni brunol...@gmx.com sent:
Hi all,
I'm trying to add hammer-on and pull-off to a tablature.
These are not supported by tablature.ly, so I was told to use an
.eps
file and markup to get what I want.
I need your help to understand how to do it actually.
Please direct me to a place of the manual where this issue is
discussed.
So far, I've seen this example but I don't know how to implement it:
http://lists.gnu.org/archive/html/lilypond-user/2005-02/msg00208.html
I attach the .eps file, a simple example and the file tablature.ly
(which is needed...for those who don't have and want to try..).
Could you give me some hint?
I don't know hot to go on..
Thanks in advance,
Federico
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Re: Lilypond and Jazz chords
In my discussion with my jazz professional, we looked at complex chords, in fact we deliberately looked for complex ones to find out how they were expressed. We found, quite amazingly that the more complex the chord got the more ambiguous its name became. The other thing we noted is that frequently, the note which was noted in a complex chord name was part of the melody. Thus, naming it became irrelevant in the context of performing. Begin the Beguine is a good example. The turn is essentially repetitions of the same phrase over and over again varied slightly each time. Around bar 60, part of the melody is embellished so that the d minor 7th chord flattens the 5th (by means of the melody), then goes on to stretch the chord even further until you have (implied by the melody again) a chord that has a diminished triad on the bottom, the middle is a minor chord then a major 7th is added to that. After that, Cole Porter's melody line descends in whats alsmost a complete whole tone scale. However, the Sher Real Standards Book only notes the dm7th chord. Good musicians can find their way without getting overly detailed. As we found out, the more complex chords were almost always made complex by melodic means. Attempting to note all the detailed complexity destroyed the intention of what was mean to be a kind of short hand. It also cluttered the score making it harder to sight read rather than easier. Further from this note about seriously complex chords, an indication of c13th not only means that you add a thirteenth but alerts the player that some of the expected 7th and 9ths will likely be left out. As much as it is an indication of what note to play, it can also imply what not to play. You are right, the bass lead sheet is the origin of the indications for the keyboard player. In looking through much music, they are rare events (ususaly) occuring at cadence points where it was important that the keyboard and bass players knew more precisely what the other was playing. From my observations what they most frequently do is indicate the inversion of the named chord to be used. The only tune I found with used them for extended portions of a tune was Bill Evans Waltz for Debbie where it is a part of a specific modulation. But again it is simply pointing out the correct inversion of the chord from the bass part. One other custom I was told about was that unlike the usual custom of placing the key signature at the beginning of each line, the correct way for jazz musicians to write a score is to note the key signature and time signatures only at the beginning of a piece or where they change. The Sher books follow this custom. However this is not really a problem for lilypond because it can be more or less easily done with methods already in Lilypond. The Sher publications I'm using are based themselves on sources that Lilypond has already noted, So it seems there is at least some general agreement that these sources are authentic and close to what is actually used. I will note one thing i observed when actaully taking a score to the piano is that the notation of em7 b5 told me more quickly which notes to change in the chord. When I came to a half dimished symbol i had to think through more steps to get to the right notes. I don't know if others have this experience, but it could answer the question of why its use began. I think all that is left to be done here is see what the programmers come up with and give it a try. Beyond this is a job for the musicology crowd. cheers, davidf ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: 2.13.3 docs emacs mode documentation AU 2.2.1 out of date?
James E. Bailey wrote: On 23.07.2009, at 04:20, Paul Scott wrote: Hi, I'm resurrecting a laptop whose hard drive died. I'm trying to set up Emacs lilypond-mode. AU 2.2.1 tells me to do a 'make install' in the elisp directory. I don't see a makefile and 'make install' doesn't find an install target rule. Am I missing something or are the docs behind? Thanks, Paul Scott That only applies if lilypond-mode isn't installed on your platform (first paragraph, last sentence). I believe that lilypond isn't installed. This is a fresh install of everything since the hard drive died. Even so why would the makefile be gone if I had done the lilypond-mode install. Usually you can just move the files to where they need to go and ammend your ~/.emacs appropriately I do see where the lilypond-mode file is so I can probably install it manually but I still wonder about the documentation. Thanks, Paul James E. Bailey ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
