Re: transposing cues
On Mon, Mar 24, 2014 at 04:33:38AM +0100, David Kastrup wrote:
Paul Scott waterho...@ultrasw.com writes:
2.19.3:
When transposing parts that use cueDuring or quoteDuring how
can I get the cues or quotes to be transposed? I thought this
worked easily in a fairly recent version.
In the following I would want the flute cue to be transposed
along with the clarinet notes.
\transposition is not in itself transposed, so if you use music for
different transpositions, you have to put the \transpose where you
establish the transposition.
Thank you!
Paul
fluteMusic = \relative{
\transposition c'
c''1 d e
}
\addQuote qfl \fluteMusic
clarinetMusic = \relative{
^\markup\tiny{(Fl.)}
\cueDuring qfl #up R1
b'1 c
}
\score{
\new StaffGroup
\new Staff {
\set Staff.instrumentName = Flute
\new Voice \fluteMusic
}
\new Staff {
\set Staff.instrumentName = Bb Clarinet
\transposition bes
\new Voice \clarinetMusic
}
\new Staff {
\set Staff.instrumentName = A Clarinet
\transposition a
\new Voice \transpose a bes \clarinetMusic
}
\layout{ \context{ indent = 0.7\in } }
}
--
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Re: Lilypond-book
On 24/03/14 11:38, Conor Cook wrote: Dear Lilypond community, I am relatively new to LilyPond and computing using command line, etc. I have been trying to experiment with creating a LaTeX document incorporating Lilypond via the lilypond-book feature, but I am running into problems. Why not have a look at Lyx, which makes it all fairly easy. The Lyx installation includes an example file showing the embedding of Lilypond code in a Lyx document - on my system the example file is /usr/share/lyx/examples/lilypond.lyx Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Tuplet notehead shared with non-tuplet notehead in another voice?
Hallo list,
I'd like the second note in voice one to share the notehead with the
last one in voice two. This is quite common in 19th century guitar music.
Thank you,
Thomas
--
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..[ c32]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Thomas Scharkowski t.scharkow...@t-online.de writes:
Hallo list,
I'd like the second note in voice one to share the notehead with the
last one in voice two. This is quite common in 19th century guitar
music.
Thank you,
Thomas
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..[ c32]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
Well, the durations of the first voice then simply are _wrong_. If you
want them to merge with the second voice, you need to scale them to
fit. I've not put this into shortest terms so that one can still figure
out that the scales come from a mismatch of a 5/6 to 7/8 division and
1/6 to 1/8. But you could equally well write
c8..*20/21[ c32*4/3]
in the first voice. Who said that music and mathematics are different
things?
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..*5/6*8/7[ c32*1/6*8/1]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
--
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Hi Thomas,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Here's one possibility, scaling the durations in the upper voice to fit:
{
\relative c'' {
\time2/8
{
c8..*20/21 [ c32*4/3]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
/ Fredrik
On 24 March 2014 09:53, Thomas Scharkowski t.scharkow...@t-online.de wrote:
Hallo list,
I'd like the second note in voice one to share the notehead with the last
one in voice two. This is quite common in 19th century guitar music.
Thank you,
Thomas
--
\version 2.19.3
{
\relative c'' {
\time2/8
{
c8..[ c32]
}
\\
{
\tuplet 3/2 8 {
c,16 e g e g c
}
}
}
}
--
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A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR
(1) how can I get a certain field to break across two (or more) lines?
example:
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries. All
rights reserved.
}
(2) I'd like to force more space (one or more blank lines) between the
header and the start of the score
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries. All
rights reserved.
}
\score {
\relative c' {
} }
(3) having some trouble with polyphony. What I'd like to do is to have on
the first note the stems going both up and down, and on the succeeding
notes, the higher notes with the stems pointing up and the lower notes
having stems pointing down. Presently, I have both notes on one stem in the
following snippet,
\score {
\relative c' {
\time 4/4 R1 \! |
r2 r4 d \( | \time 2/4 d' g, \f bf d, | \time 4/4 f bf, 2\ \)
r2\! |
} }
(4) would like to figure out how to get a tempo marking of quarter note =
c. 120 as an example.
(5) I am looking for a way to get the markup to left-align with the tempo
marking, but am not sure how to do it
\score {
\relative c' {
\tempo Lento Lontano, e molto legato
\numericTimeSignature
\time 4/4
r2^\markup { \bold Chorale-like } r4 f\pp\( |
}
}
Thanks! I've rediscovered LilyPond after an absence of a few years...
Mike Dean
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Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR
Am 24.03.2014 03:39, schrieb Mike Dean:
(1) how can I get a certain field to break across two (or more) lines?
example:
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries.
All rights reserved.
}
copyright = \markup \right-column { Copyright by Composer Name
For all countries Except for my aunt Mary.}
(2) I'd like to force more space (one or more blank lines) between the
header and the start of the score
http://lilypond.org/doc/v2.18/Documentation/notation/paper-size-and-automatic-scaling#fixed-vertical-spacing-_005cpaper-variables
search for markup-system-spacing
(3) having some trouble with polyphony.
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices
(4) would like to figure out how to get a tempo marking of quarter note
= c. 120 as an example.
Probably
http://lsr.di.unimi.it/LSR/Item?id=869
should give you an idea.
(5) I am looking for a way to get the markup to left-align with the
tempo marking, but am not sure how to do it
\override Score.RehearsalMark.break-align-symbols = #'(time-signature)
\mark \markup { \bold Chorale-like }
r2 r4 f\pp\( |
(untested!)
HTH a bit,
Thanks! I've rediscovered LilyPond after an absence of a few years...
Welcome back!
Marc
Mike Dean
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Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR
Am 24.03.2014 03:39, schrieb Mike Dean:
(1) how can I get a certain field to break across two (or more) lines?
example:
\version 2.18.0
\header {
copyright = Copyright © 2003 by composer-name. For all countries.
All rights reserved.
}
Perhaps you'd also like to try
\version 2.19.3
\paper { #(set-paper-size a6) }
\header {
copyright = \markup \center-column {
\wordwrap-lines { rather long text which is supposed
to be broken into lines where necessary;
note that wordwrap-lines is required,
else the paragraph will be left-bound in itself
and center-aligned to other elements
in \center-column {} }
\char ##x00a9
\wordwrap { rather long text which is supposed
to be broken into lines where necessary;
here, wordwrap results in a left-bound paragraph }
}
}
\markup \null
Best regards, Simon
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Well, the durations of the first voice then simply are _wrong_. If you want them to merge with the second voice, you need to scale them to fit. I've not put this into shortest terms so that one can still figure out that the scales come from a mismatch of a 5/6 to 7/8 division and 1/6 to 1/8. But you could equally well write c8..*20/21[ c32*4/3] in the first voice. Who said that music and mathematics are different things? Thank you for your help, David! I could have figured this out by myself! Thomas ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Tuplet notehead shared with non-tuplet notehead in another voice?
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to notate
a tuplet consisting of a quarter and an eighth note like we would do
today: \tuplet 3/2 {c4 c8} - instead c8. c16 is often used, even when
\tuplet 3/2 {c8 c c} is in other voices.
A dot after a note did not necessarily have the same meaning as today,
but play this not longer and the next on shorter than written,
depending on context.
Btw in french style notes égales meant _not_ to play eights notes as
notes inégales what you could also call swing feeling.
Thank you for your help.
Thomas
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
Original-Nachricht
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to notate
a tuplet consisting of a quarter and an eighth note like we would do
today: \tuplet 3/2 {c4 c8} - instead c8. c16 is often used, even when
\tuplet 3/2 {c8 c c} is in other voices.
A dot after a note did not necessarily have the same meaning as today,
but play this not longer and the next on shorter than written,
depending on context.
Btw in french style notes égales meant _not_ to play eights notes as
notes inégales what you could also call swing feeling
... and which is the default.
Thank you for your help.
Thomas
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Re: Tuplet notehead shared with non-tuplet notehead in another voice?
On Mon, 2014-03-24 at 12:38 +0100, Thomas Scharkowski wrote:
..
Hi Fredrik,
if I understand you correctly, you want the two voices to share a
notehead -- even when they are not simultaneous? Interesting.
Yes, it is.
:-)
It was common notation practice in italian baroque style, not to
notate
a tuplet consisting of a quarter and an eighth note like we would do
today: \tuplet 3/2 {c4 c8} - instead c8. c16 is often used, even
when
\tuplet 3/2 {c8 c c} is in other voices.
An example of this, typeset using LilyPond is posted here:
http://imslp.org/wiki/Special:ImagefromIndex/278632
To do this I set tuplet timing around the entire bass part and used
doubled time signatures (one hidden IIRC)
Richard
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Re: dodecaphonic-first accidental style
Rutger Hofman-2 wrote [...] As a fix, I made a small addition to music-functions.scm to add a dodecaphonic-first accidental style. Patch against 2.17.18-1 attached. [...] Using dodecaphonic-first and adding ! here and there works fine for me. I already apologize for replying to an old post (almost 1 year old!), but I am really interested in this dodecaphonic-first accidental style. The problem is I do not know how to deal with this .patch file! Also, as Urs pointed out, this kind of accidental style is common practice in contemporary scores, so maybe it could be consider to be added as a feature to LilyPond. That would be great! Thanks a lot and best regards to you all, Gilberto -- View this message in context: http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160770.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: dodecaphonic-first accidental style
David Nalesnik actually _did_ create a patch that I added to LilyPond. In 2.19 you can write \accidentalStyle 'dodecaphonic-no-repeat (Or with an 's' at the end?) which places dodecaphonic accidentals except when a pitch is repeated (in the same voice). HTH Urs Gilberto Agostinho gilbertohasn...@gmail.com schrieb am 24.03.2014: Rutger Hofman-2 wrote [...] As a fix, I made a small addition to music-functions.scm to add a dodecaphonic-first accidental style. Patch against 2.17.18-1 attached. [...] Using dodecaphonic-first and adding ! here and there works fine for me. I already apologize for replying to an old post (almost 1 year old!), but I am really interested in this dodecaphonic-first accidental style. The problem is I do not know how to deal with this .patch file! Also, as Urs pointed out, this kind of accidental style is common practice in contemporary scores, so maybe it could be consider to be added as a feature to LilyPond. That would be great! Thanks a lot and best regards to you all, Gilberto -- View this message in context: http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160770.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 -- Diese Nachricht wurde mit a href=https://play.google.com/store/apps/details?id=com.onegravity.k10.pro2;bK-@ Mail/b/a gesendet.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dodecaphonic-first accidental style
Urs Liska wrote David Nalesnik actually _did_ create a patch that I added to LilyPond. In 2.19 [...] This is wonderful!!! I recently installed version 2.19, but I didn't realize this was added. Thanks for the information Urs! Urs Liska wrote \accidentalStyle 'dodecaphonic-no-repeat (Or with an 's' at the end?) The correct syntax is with the s and also without the apostrophe: \accidentalStyle dodecaphonic-no-repeat Thanks again, take care, Gilberto -- View this message in context: http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160772.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: dodecaphonic-first accidental style
Gilberto Agostinho wrote The correct syntax is with the s [...] I meant without without the s, as in repeat and NOT repeats -- View this message in context: http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160773.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: dodecaphonic-first accidental style
- Original Message - From: Gilberto Agostinho gilbertohasn...@gmail.com To: lilypond-user@gnu.org Sent: Monday, March 24, 2014 12:49 PM Subject: Re: dodecaphonic-first accidental style Urs Liska wrote David Nalesnik actually _did_ create a patch that I added to LilyPond. In 2.19 [...] This is wonderful!!! I recently installed version 2.19, but I didn't realize this was added. Thanks for the information Urs! It's documented here: http://lilypond.org/doc/v2.19/Documentation/notation/displaying-pitches#automatic-accidentals -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dodecaphonic-first accidental style
But of course it's easy not to notice that addition. Phil Holmes m...@philholmes.net schrieb am 24.03.2014: - Original Message - From: Gilberto Agostinho gilbertohasn...@gmail.com To: lilypond-user@gnu.org Sent: Monday, March 24, 2014 12:49 PM Subject: Re: dodecaphonic-first accidental style Urs Liska wrote David Nalesnik actually _did_ create a patch that I added to LilyPond. In 2.19 [...] This is wonderful!!! I recently installed version 2.19, but I didn't realize this was added. Thanks for the information Urs! It's documented here: http://lilypond.org/doc/v2.19/Documentation/notation/displaying-pitches#automatic-accidentals -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user -- Diese Nachricht wurde mit a href=https://play.google.com/store/apps/details?id=com.onegravity.k10.pro2;bK-@ Mail/b/a gesendet.___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Lilypond-book
However, I have an especially large score I’d like to see rotated 90 degrees (so the bottom is to the right). How might I make that happen? That's not something I have any experience with. Can't help you there. Which, naturally, is one of the reasons why I prefer to echo all my responses to the mailing list. The other is so that anyone searching the archive for answers to similar questions can find them. I really only keep things off-list when they're off topic or require sharing private information. ✝ Br. Samuel (R. Padraic Springuel) PAX ☧ ΧΡΙΣΤΟΣ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: dodecaphonic-first accidental style
On 03/24/2014 01:50 PM, Gilberto Agostinho wrote: Gilberto Agostinho wrote
The correct syntax is with the s [...]
I meant without without the s, as in repeat and NOT repeats
Rutger Hofman-2 wrote
[...]
As a fix, I made a small addition to music-functions.scm to add a
dodecaphonic-first accidental style. Patch against 2.17.18-1 attached.
[...]
Using dodecaphonic-first and adding ! here and there works fine for me.
I already apologize for replying to an old post (almost 1 year old!), but I
am really interested in this dodecaphonic-first accidental style. The
problem is I do not know how to deal with this .patch file!
Right, so there is a new style dodecaphonic-no-repeat from 2.19.3
onwards. But it does something else than the style dodecaphonic-first
that I wrote about, long ago. dodecaphonic-no-repeat suppresses
accidentals for immediately repeated notes. dodecaphonic-first
suppresses accidentals for any notes that already occurred earlier in
the bar. My opinion is that there is still good use for
dodecaphonic-first; the main reason is that wiping out undesired
accidentals leaves visible traces because it consumes horizontal space,
whereas adding occasional forced accidentals works fully as desired.
I would love it if the dodecaphonic-first style can be patched into
lilypond; not only for the Greater Good, but also to relieve me from
applying it to each and every lilypond release, and maintaining it
across changes...
I renewed the patch for versions from 2.19.3 upwards. It is attached
(pre-2.19.3 and 2.19.3 onwards; it used to be a reverse-patch, no longer
now). It is extremely small. I also keep it in my github repo for
lilypond additions, in the patches/ dir:
https://github.com/rfhh/lily-contribs
That repo currently also contains my converter from NIFF to lilypond
(and the NIFF sdk, with 64-bit patch), and an upgraded version of
Han-Wen's pmx2ly converter that I used to prepare an edition of Bach's
BWV 146/1052a (on IMSLP).
Rutger
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--- music-functions.scm.orig 2013-10-06 19:05:19.0 +0200
+++ music-functions.scm 2013-10-24 21:13:35.305128903 +0200
@@ -1328,14 +1328,16 @@
(car alteration-def))
(else 0)))
-(define (check-pitch-against-signature context pitch barnum laziness octaveness)
+(define (check-pitch-against-signature context pitch barnum laziness octaveness all-naturals)
Checks the need for an accidental and a @q{restore} accidental against
@code{localKeySignature}. The @var{laziness} is the number of measures
for which reminder accidentals are used (i.e., if @var{laziness} is zero,
only cancel accidentals in the same measure; if @var{laziness} is three,
we cancel accidentals up to three measures after they first appear.
@var{octaveness} is either @code{'same-octave} or @code{'any-octave} and
-specifies whether accidentals should be canceled in different octaves.
+specifies whether accidentals should be canceled in different octaves.
+If @var{all-naturals} is ##t, notes that do not occur in @code{keySignature}
+also get an accidental.
(let* ((ignore-octave (cond ((equal? octaveness 'any-octave) #t)
((equal? octaveness 'same-octave) #f)
(else
@@ -1393,7 +1395,7 @@
(let* ((prev-alt (extract-alteration previous-alteration))
(this-alt (ly:pitch-alteration pitch)))
- (if (not (= this-alt prev-alt))
+ (if (or (and all-naturals (eq? #f previous-alteration)) (not (= this-alt prev-alt)))
(begin
(set! need-accidental #t)
(if (and (not (= this-alt 0))
@@ -1420,7 +1422,13 @@
accidental lasts over that many bar lines. @w{@code{-1}} is `forget
immediately', that is, only look at key signature. @code{#t} is `forever'.
- (check-pitch-against-signature context pitch barnum laziness octaveness))
+ (check-pitch-against-signature context pitch barnum laziness octaveness #f))
+
+(define-public ((make-accidental-dodecaphonic-rule octaveness laziness) context pitch barnum measurepos)
+ Variation on function make-accidental-rule that creates an dodecaphonic
+accidental rule.
+
+ (check-pitch-against-signature context pitch barnum laziness octaveness #t))
(define (key-entry-notename entry)
Return the pitch of an @var{entry} in @code{localKeySignature}.
@@ -1610,6 +1618,14 @@
`(Staff ,(lambda (c p bn mp) '(#f . #t)))
'()
context))
+ ;; Variety of the dodecaphonic style. Each note gets an accidental,
+ ;; except notes that were
Re: dodecaphonic-first accidental style
Hi Rutget, Rutger Hofman-2 wrote Right, so there is a new style dodecaphonic-no-repeat from 2.19.3 onwards. But it does something else than the style dodecaphonic-first that I wrote about, long ago. dodecaphonic-no-repeat suppresses accidentals for immediately repeated notes. dodecaphonic-first suppresses accidentals for any notes that already occurred earlier in the bar. Thanks for clarifying that. For the types of compositions I write, dodecaphonic-no-repeat is the solution I always needed. Rutger Hofman-2 wrote I renewed the patch for versions from 2.19.3 upwards. It is attached (pre-2.19.3 and 2.19.3 onwards; it used to be a reverse-patch, no longer now). It is extremely small. I also keep it in my github repo for lilypond additions, in the patches/ dir: https://github.com/rfhh/lily-contribs That's great, thanks for sharing it here! Thanks again. Regards, Gilberto -- View this message in context: http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160778.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: dodecaphonic-first accidental style
Am 24.03.2014 17:48, schrieb Gilberto Agostinho: Hi Rutget, Rutger Hofman-2 wrote Right, so there is a new style dodecaphonic-no-repeat from 2.19.3 onwards. But it does something else than the style dodecaphonic-first that I wrote about, long ago. dodecaphonic-no-repeat suppresses accidentals for immediately repeated notes. dodecaphonic-first suppresses accidentals for any notes that already occurred earlier in the bar. Thanks for clarifying that. For the types of compositions I write, dodecaphonic-no-repeat is the solution I always needed. Rutger Hofman-2 wrote I renewed the patch for versions from 2.19.3 upwards. It is attached (pre-2.19.3 and 2.19.3 onwards; it used to be a reverse-patch, no longer now). It is extremely small. I also keep it in my github repo for lilypond additions, in the patches/ dir: https://github.com/rfhh/lily-contribs That's great, thanks for sharing it here! I've just compiled a custom LilyPond with that patch in it and will soon upload it for review. Although dodecaphonic-no-repeat is what _I_ had asked for I do think this also makes sense. Did you know (as Daniel Spreadbury pointed out) that you *can't* preset accidental behaviour in the two most mature commercial products??? Thanks again. Regards, Gilberto -- View this message in context: http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160778.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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR
Am 24.03.2014 15:45, schrieb Mike Dean:
Hi Marc:
Thanks for the feedback!
Hi Mike,
please don't forget to reply to all, so that others can join the
discussion.
I have a further question lining up the two marks in question 5
having implemented your suggestion has resulted in the Chorale-like
markup above the Lento lontano... and the latter is lined up with the
time sig, with the Chorale-like lined up with the edge of the staff...
Why two marks? You should have \tempo and \mark instead.
I'm still trying to get a handle on the paper sizing variables... I
found the ragged-bottom = ##t option, but it didn't add a couple of
blank lines before the \score block, so I'm not doing something quite right.
Did you try changing the markup-system-spacing?
More about polyphony...the part I am transcribing starts out in unison,
but abruptly switches into a polyphonic format.
What I have is this:
\score {
\relative c' {
| \time 4/4 c2.\) f,4\( |
e d a' g | \time 2/4 f g ( | \time 4/4 f a 2. ) \) g4\( |
In which the polyphony starts in the 2/4 measure and ends with the
dotted half note in the next measure.
What I am having a trouble grasping is how to make the temporary
polyphony work...
Looking at the temporary polyphonic construct:
{ \voiceOne … }
\new Voice { \voiceTwo … }
\oneVoice
So would that mean that I can do the following
{ \voiceOne f4 g | \time 4/4 a2. }
\new Voice { \voiceTwo f4 g | \time 4/4 f2. }
\oneVoice g4
And would the temporary polyphony have to start at the beginning of a
measure?
r2 r4 { \voiceOne d4\f | \time 2/4 d' bf \time 4/4 f2 }
\new voice { \voiceTwo d4 | \time 2/4 g d | \time 4/4 bf2 }
\oneVoice r2
So I'm not sure where to put the hairpin diminuendo at the end of the
snippet, if it would have to go on voiceTwo...
Did you actually *compile* the examples you provide?
It probably makes sense to start the polyphony at the beginning of a
measure.
You may also have a look at the ... \\ ... shortcut for small
polyphonic parts.
HTH,
Marc
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Re: Using custom fonts and unicodes
Joey Di Nardo
username652...@gmail.com wrote:
I am currently trying to access custom unicode
characters via:
\markup{\override #'(font-name . "Blissymbolics") \char
##x1234}
Where 1234 is the unicode hexadecimal code, however this
is giving me incorrect, foreign characters, which leads me
to believe that the font I'm trying to access isn't visible
to lilypond.
Is this correct? And how do I fix it so that I can access
any individual character from any individual font I'd like.
I would like to be very specific for a moment, because your
terminology threw me off for a bit.
0x1234 is not a "custom Unicode character". U+1234 is the Ethiopian
pictograph syllable "SEE", which looks like this:
The Unicode glyph U+1234 always has the same meaning, everywhere, in
every font. There is a range of Unicode that is reserved for
private use (U+E000 to U+F8FF), which can be used for private
characters.
Now, it's quite possible that your font uses an encoding that is not
Unicode, in which glyph number 0x1234 has a different meaning. In
that case, the 0x1234 is NOT a Unicode codepoint. It's just a
character number. TrueType does allow for non-Unicode encodings,
although many programs can't deal with them. I don't know how
LilyPond handles them.
--
Tim Roberts, t...@probo.com
Providenza Boekelheide, Inc.
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Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR
Yes, I am compiling as I go along (not always merrily)
Mike Dean
On Mon, Mar 24, 2014 at 1:46 PM, Mike Dean dean...@aquinas.edu wrote:
I guess I haven't figured the two indicators out correctly...
\score {
\tempo \markup { \bold Lento Lontano, e molto legato}
\mark \markup { Chorale-like }
places Chorale-like above the tempo indicator, and aligns with the edge
of the staff.
What I haven't found is getting the Chorale-like line under and aligned
with Lento lontano, as follows
*Lento Lontano, e molto legato*
*Chorale-like*
I think I found it:
\tempo \markup \column { \bold Lento Lontano, e molto legato
Chorale-like}
is producing the desired output
Mike Dean
On Mon, Mar 24, 2014 at 1:05 PM, Marc Hohl m...@hohlart.de wrote:
Am 24.03.2014 15:45, schrieb Mike Dean:
Hi Marc:
Thanks for the feedback!
Hi Mike,
please don't forget to reply to all, so that others can join the
discussion.
I have a further question lining up the two marks in question 5
having implemented your suggestion has resulted in the Chorale-like
markup above the Lento lontano... and the latter is lined up with the
time sig, with the Chorale-like lined up with the edge of the staff...
Why two marks? You should have \tempo and \mark instead.
I'm still trying to get a handle on the paper sizing variables... I
found the ragged-bottom = ##t option, but it didn't add a couple of
blank lines before the \score block, so I'm not doing something quite
right.
Did you try changing the markup-system-spacing?
More about polyphony...the part I am transcribing starts out in unison,
but abruptly switches into a polyphonic format.
What I have is this:
\score {
\relative c' {
| \time 4/4 c2.\) f,4\( |
e d a' g | \time 2/4 f g ( | \time 4/4 f a 2. ) \) g4\( |
In which the polyphony starts in the 2/4 measure and ends with the
dotted half note in the next measure.
What I am having a trouble grasping is how to make the temporary
polyphony work...
Looking at the temporary polyphonic construct:
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
So would that mean that I can do the following
{ \voiceOne f4 g | \time 4/4 a2. }
\new Voice { \voiceTwo f4 g | \time 4/4 f2. }
\oneVoice g4
And would the temporary polyphony have to start at the beginning of a
measure?
r2 r4 { \voiceOne d4\f | \time 2/4 d' bf \time 4/4 f2 }
\new voice { \voiceTwo d4 | \time 2/4 g d | \time 4/4 bf2 }
\oneVoice r2
So I'm not sure where to put the hairpin diminuendo at the end of the
snippet, if it would have to go on voiceTwo...
Did you actually *compile* the examples you provide?
It probably makes sense to start the polyphony at the beginning of a
measure.
You may also have a look at the ... \\ ... shortcut for small
polyphonic parts.
HTH,
Marc
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Re: A couple of questions that I'm having trouble finding how to do it in the manuals or in the LSR
I guess I haven't figured the two indicators out correctly...
\score {
\tempo \markup { \bold Lento Lontano, e molto legato}
\mark \markup { Chorale-like }
places Chorale-like above the tempo indicator, and aligns with the edge
of the staff.
What I haven't found is getting the Chorale-like line under and aligned
with Lento lontano, as follows
*Lento Lontano, e molto legato*
*Chorale-like*
I think I found it:
\tempo \markup \column { \bold Lento Lontano, e molto legato
Chorale-like}
is producing the desired output
Mike Dean
On Mon, Mar 24, 2014 at 1:05 PM, Marc Hohl m...@hohlart.de wrote:
Am 24.03.2014 15:45, schrieb Mike Dean:
Hi Marc:
Thanks for the feedback!
Hi Mike,
please don't forget to reply to all, so that others can join the
discussion.
I have a further question lining up the two marks in question 5
having implemented your suggestion has resulted in the Chorale-like
markup above the Lento lontano... and the latter is lined up with the
time sig, with the Chorale-like lined up with the edge of the staff...
Why two marks? You should have \tempo and \mark instead.
I'm still trying to get a handle on the paper sizing variables... I
found the ragged-bottom = ##t option, but it didn't add a couple of
blank lines before the \score block, so I'm not doing something quite
right.
Did you try changing the markup-system-spacing?
More about polyphony...the part I am transcribing starts out in unison,
but abruptly switches into a polyphonic format.
What I have is this:
\score {
\relative c' {
| \time 4/4 c2.\) f,4\( |
e d a' g | \time 2/4 f g ( | \time 4/4 f a 2. ) \) g4\( |
In which the polyphony starts in the 2/4 measure and ends with the
dotted half note in the next measure.
What I am having a trouble grasping is how to make the temporary
polyphony work...
Looking at the temporary polyphonic construct:
{ \voiceOne ... }
\new Voice { \voiceTwo ... }
\oneVoice
So would that mean that I can do the following
{ \voiceOne f4 g | \time 4/4 a2. }
\new Voice { \voiceTwo f4 g | \time 4/4 f2. }
\oneVoice g4
And would the temporary polyphony have to start at the beginning of a
measure?
r2 r4 { \voiceOne d4\f | \time 2/4 d' bf \time 4/4 f2 }
\new voice { \voiceTwo d4 | \time 2/4 g d | \time 4/4 bf2 }
\oneVoice r2
So I'm not sure where to put the hairpin diminuendo at the end of the
snippet, if it would have to go on voiceTwo...
Did you actually *compile* the examples you provide?
It probably makes sense to start the polyphony at the beginning of a
measure.
You may also have a look at the ... \\ ... shortcut for small
polyphonic parts.
HTH,
Marc
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Re: dodecaphonic-first accidental style
Urs Liska wrote Did you know (as Daniel Spreadbury pointed out) that you *can't* preset accidental behaviour in the two most mature commercial products??? Oh I do, and how well I do... as an ex-Sibelius user, it was a pain to check the accidentals on my compositions. There was an option on Sib 6 that allowed you to add accidentals to all notes, but that was it! Then I had to check manually the whole score for repeated notes... and did I mention that when you change something such as a single accidental in a note, the layout of the bar is potentially lost and reset to the default (e.g., distance between two notes)?! Painful days back then :) -- View this message in context: http://lilypond.1069038.n5.nabble.com/dodecaphonic-first-accidental-style-tp141907p160784.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
chordname questions
I'm a clarinettist - we are not supposed to do chords, so please forgive me if these are idiot questions 1. the superscript modifier 6/9 is (from a google search) equivalent to 'add6 add9'. Yet lily puts it into the score as '6 add9' which is surely not the same thing at all ? 2. the 'sus' modifier should be followed by '2' or '4' and if lily finds sus on its own it just puts out the basic triad. But some scores include all three forms - triad, sus and sus4 implying that they are different. Shouldn't the unmodified sus generate just the first and fifth ? (specifying ^3 also seems to generate the full triad). Gerry Prosser ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: entering chords
2014-03-24 0:02 GMT+01:00 MING TSANG tsan...@rogers.com:
The sample clr you provide does not output exactly what I am looking. I am
looking for a function that will tweak the first enter pitch to have color
for all the .. entries not all the pitch inside the .. to have the same
color.
How about below?
Also, I added an optional argument, which you can use to specify which
chord-note should be colored.
Default is 'first'.
It's possible to switch to 'last'.
Other settings like 'fourth' at own risk:
Ofcourse specifying 'fourth' will result in an error, if any chord has
not enough notes.
\version 2.18.0
clr =
#(define-music-function (parser location which color music)
((procedure? car) color? ly:music?)
(music-map
(lambda (mus)
(if (music-is-of-type? mus 'event-chord)
(let* ((evt-chrd-nts (event-chord-notes mus)))
(if ( (length evt-chrd-nts) 1)
(let ((first-nh (which evt-chrd-nts)))
#{ \tweak #'color #color #first-nh #})
mus)
mus)
mus))
music))
myMusic =
\relative c' {
c e g4-!
d e f^xy
e-1
f---2^foo
}
\new Staff \clr #red \myMusic
\new Staff \clr #last #green \myMusic
\new Staff \clr #second #yellow \myMusic
Cheers,
Harm
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Re: entering chords
Thomas,
WOW! Thank you very much. Can this be adapted to {..1..}\\{..2..}
construct - upper color or lower color?
Emmanuel,
Ming.
On Monday, March 24, 2014 5:04:13 PM, Thomas Morley thomasmorle...@gmail.com
wrote:
2014-03-24 0:02 GMT+01:00 MING TSANG tsan...@rogers.com:
The sample clr you provide does not output exactly what I am looking. I am
looking for a function that will tweak the first enter pitch to have color
for all the .. entries not all the pitch inside the .. to have the same
color.
How about below?
Also, I added an optional argument, which you can use to specify which
chord-note should be colored.
Default is 'first'.
It's possible to switch to 'last'.
Other settings like 'fourth' at own risk:
Ofcourse specifying 'fourth' will result in an error, if any chord has
not enough notes.
\version 2.18.0
clr =
#(define-music-function (parser location which color music)
((procedure? car) color? ly:music?)
(music-map
(lambda (mus)
(if (music-is-of-type? mus 'event-chord)
(let* ((evt-chrd-nts (event-chord-notes mus)))
(if ( (length evt-chrd-nts) 1)
(let ((first-nh (which evt-chrd-nts)))
#{ \tweak #'color #color #first-nh #})
mus)
mus)
mus))
music))
myMusic =
\relative c' {
c e g4-!
d e f^xy
e-1
f---2^foo
}
\new Staff \clr #red \myMusic
\new Staff \clr #last #green \myMusic
\new Staff \clr #second #yellow \myMusic
Cheers,
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Discussing typographical standards (was: Tuplet notehead shared...)
Am 24.03.2014 13:33, schrieb Richard Shann:
An example of this, typeset using LilyPond is posted here:
http://imslp.org/wiki/Special:ImagefromIndex/278632
To do this I set tuplet timing around the entire bass part and used
doubled time signatures (one hidden IIRC)
Richard
The following is completely off-topic, but I'd like to share some
observations I often make and thoughts I have and ask for your opinion:
Looking at this score confirms me in my opinion that LilyPond default
output alone is no guarantee for a good-looking result in accordance
with typographical good use. This may be partly due to an older lilypond
version used, but there are some basic issues I see with this:
-- For what I know of best practice in typography, it is normally
unnecessary to use slurs for indicating melismata. Beaming
(\autoBeamOff, melismata with []), placement of syllables and
hyphenation/extender lines make the lyrics assignment unambiguous and
easy to read in all but the most complex cases (that is, when the
rhythmic complexity requires that the beaming corresponds to beat groups
and legibility would suffer in the opposite case---which will rarely
occur before 1900).
Certainly I know that the Lily authors knew what they were doing, when
they recommended using slurs for this purpose. This is used in excellent
hand-engraved editions as well, I think especially later in the 20th
century. Nevertheless I vote for the supposedly older use, as described
before.
-- The default Denemo output reflects the now common, but faulty
practice of writing syl- la- ble instead of syl - la - ble (with the
hyphens centered between syllables). The corresponding Lilypond code
would be { syl -- la -- ble }, see Learning Manual, Aligning lyrics to a
melody
http://lilypond.org/doc/v2.18/Documentation/learning/aligning-lyrics-to-a-melody.
-- The beginning of the first recitative is a good example where
inserting a line break at half-measure would significantly improve the
visual impression by a more even horizontal spacing. I found that it was
common in traditional hand-engraved scores to do such mid-measure breaks
(if measures aren't rather short), and thus I am often using \bar at
half-measure. Sometimes I even use an extra voice for something like
\repeat unfold 35 { s2 \bar s2 } and thus create more flexibility in
line-breaking. The disadvantage is that there is no possibility to
differ in likeliness between mid-measure and full-measure breaks, which
would then be desirable.
-- As always, the default margins are too small. This is already being
discussed as issue 3808
http://code.google.com/p/lilypond/issues/detail?id=3808 and will
hopefully be changed soon. I once read a comprehensive article
http://www.dante.de/tex/Dokumente/KohmSatzspiegel.pdf (in German) on
this topic from the German Tex user group's magazine, and the author
pointed out that in medieval manuscripts and renaissance prints an
outstandingly pleasing appearance is achieved by page margins which
cover up half of the page's space! This is luxury, of course, and
usually unaffordable, but I find it evident that having unusually
large margins (and simple ratios between the measurements of the page
and margins, and the top-margin smaller than the bottom-margin and so
on...) much improves the look of the page. It might necessitate to
decrease staff size, though, but anyway 16 pt are no way too small.
-- In order to increase legibility and clarity it's also much advisable
to use at least one StaffGroup, e.g.
\new StaffGroup {
\new Staff = fl {}
\new StaffGroup {
\new Staff = vl1 {}
\new Staff = vl2 {}
}
...
}
Using LilyPond unfortunately doesn't in itself guarantee flawless
typography (as Denemo advertises itself). You need to use it correctly
also, following the instructions in the manuals...
I hope I haven't been too moralist there, nor too extensive... sorry
if I have.
Best regards,
Simon
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Re: dodecaphonic-first accidental style
Am 24.03.2014 15:45, schrieb Rutger Hofman: Right, so there is a new style dodecaphonic-no-repeat from 2.19.3 onwards. But it does something else than the style dodecaphonic-first that I wrote about, long ago. dodecaphonic-no-repeat suppresses accidentals for immediately repeated notes. dodecaphonic-first suppresses accidentals for any notes that already occurred earlier in the bar. My opinion is that there is still good use for dodecaphonic-first; the main reason is that wiping out undesired accidentals leaves visible traces because it consumes horizontal space. This I find very interesting: even if the accidental’s stencil is turned off, it still takes up horizontal space. Seems like a bug, doesn’t it? Greetings, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: chordname questions
Gerry, I'm a clarinettist - we are not supposed to do chords, so please forgive me if these are idiot questions As a clarinettist, I feel compelled to assert that we have the capacity to do chords just fine. I hope you are getting more comfortable with it. 1. the superscript modifier 6/9 is (from a google search) equivalent to 'add6 add9'. Yet lily puts it into the score as '6 add9' which is surely not the same thing at all ? Actually, I think that these are the same, meaning the chord made up of scale degrees 1 3 5 6 9. One thing to realize is that the way that lilypond prints chord symbols is different from how it represents chords interally. In this case, you can modify lilypond to print add6 add9 for this type of chord if you want. In terms of theory, the notion of add comes into play when the numbers get beyond 7, since by convention (both in general musical practice, and in lilypond) anything above or including an unmodified 7 implies that a dominant 7th is in the chord. So, for any number less than 7, you can just write that degree after the chord root name, since you don't have to worry about what someone might do with the 7th, because you have not gone that high. You can make the case that add 6 is too verbose and perhaps confusing, since 6 gets the point across, and the add could make you think for a moment that the extension is actually higher than a 7th, which it is not. (unless, of course, you really mean 13). This is probably why the default lilypond chord symbol is 6 add9 rather than add6 add9. 2. the 'sus' modifier should be followed by '2' or '4' and if lily finds sus on its own it just puts out the basic triad. But some scores include all three forms - triad, sus and sus4 implying that they are different. Shouldn't the unmodified sus generate just the first and fifth ? (specifying ^3 also seems to generate the full triad). Suspended chords are an area where I think there is less general agreement (in musical practice) about what they mean. My general understanding about musical practice is that sus simply means there is no 3rd in this 'chord'. The most typical implication is that you are sounding the 4th instead of the 3rd, meaning scale degrees 1 4 5. However, like many things about the way lilypond represents chords, it is a balance between being unambiguous versus following some flavor of common usage. And in lilypond, the unambiguous often wins out. In this case, lilypond makes you specify what note is taking the place of the 3rd. Not sure I understand why the default behavior of specifying sus without another scale degree gives you a triad (it is certainly not based on typical musical interpretation of sus chords), but again, you have to realize that the chord input syntax is lilypond-specific and different than the dialect of printed chord symbols. Not quite sure what you mean by scores that have chord symbols that say triad. Never seen that before. In fact, until coming across lilypond, I have never seen anyone write a sus 2 chord. Just because you have seen something in a score--especially chord changes--doesn't mean that it is normal, accepted and well-understood. It could just be inconsistent. In any case, I would assume that both the sus and sus4 mean the same thing. I hope this helps, David Elaine Alt 415 . 341 .4954 *Confusion is highly underrated* ela...@flaminghakama.com skype: flaming_hakama -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Discussing typographical standards (was: Tuplet notehead shared...)
Simon,
Pardon me if I have not read your comments correctly. As I read them they
are about the defects of Lilypond yet are based on a score written by
Denemo.
Lilypond is a computer program. As such it is a mathematical system.
According to Godel's Incompleteness Theorems, any system is either
consistent or complete. The Lilypond system is consistent. It is not
complete, therefore some tweaking is necessary is certain circumstances.
Hand engraved music is not consistent. The engraver adjusts as necessary,
and the engraver is complete, i.e., able to address all situations.
In my limited work with Lilypond (less than two years and maybe 20 scores),
any incompleteness of Lilypond has been handily dealt with after
requesting help from the user's group.
Mark Stephen Mrotek
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Simon Albrecht
Sent: Monday, March 24, 2014 5:11 PM
To: Richard Shann; lilypond user list
Subject: Discussing typographical standards (was: Tuplet notehead shared...)
Am 24.03.2014 13:33, schrieb Richard Shann:
An example of this, typeset using LilyPond is posted here:
http://imslp.org/wiki/Special:ImagefromIndex/278632
To do this I set tuplet timing around the entire bass part and used
doubled time signatures (one hidden IIRC)
Richard
The following is completely off-topic, but I'd like to share some
observations I often make and thoughts I have and ask for your opinion:
Looking at this score confirms me in my opinion that LilyPond default output
alone is no guarantee for a good-looking result in accordance with
typographical good use. This may be partly due to an older lilypond version
used, but there are some basic issues I see with this:
- For what I know of best practice in typography, it is normally unnecessary
to use slurs for indicating melismata. Beaming (\autoBeamOff, melismata with
[]), placement of syllables and hyphenation/extender lines make the lyrics
assignment unambiguous and easy to read in all but the most complex cases
(that is, when the rhythmic complexity requires that the beaming corresponds
to beat groups and legibility would suffer in the opposite case-which will
rarely occur before 1900).
Certainly I know that the Lily authors knew what they were doing, when they
recommended using slurs for this purpose. This is used in excellent
hand-engraved editions as well, I think especially later in the 20th
century. Nevertheless I vote for the supposedly older use, as described
before.
- The default Denemo output reflects the now common, but faulty practice of
writing syl- la- ble instead of syl - la - ble (with the hyphens centered
between syllables). The corresponding Lilypond code would be { syl -- la --
ble }, see Learning Manual, Aligning lyrics to a melody
http://lilypond.org/doc/v2.18/Documentation/learning/aligning-lyrics-to-a-m
elody .
- The beginning of the first recitative is a good example where inserting a
line break at half-measure would significantly improve the visual impression
by a more even horizontal spacing. I found that it was common in traditional
hand-engraved scores to do such mid-measure breaks (if measures aren't
rather short), and thus I am often using \bar at half-measure. Sometimes
I even use an extra voice for something like \repeat unfold 35 { s2 \bar
s2 } and thus create more flexibility in line-breaking. The disadvantage is
that there is no possibility to differ in likeliness between mid-measure and
full-measure breaks, which would then be desirable.
- As always, the default margins are too small. This is already being
discussed as issue 3808
http://code.google.com/p/lilypond/issues/detail?id=3808 and will
hopefully be changed soon. I once read a comprehensive article
http://www.dante.de/tex/Dokumente/KohmSatzspiegel.pdf (in German) on this
topic from the German Tex user group's magazine, and the author pointed out
that in medieval manuscripts and renaissance prints an outstandingly
pleasing appearance is achieved by page margins which cover up half of the
page's space! This is luxury, of course, and usually unaffordable, but I
find it evident that having unusually large margins (and simple ratios
between the measurements of the page and margins, and the top-margin smaller
than the bottom-margin and so on.) much improves the look of the page. It
might necessitate to decrease staff size, though, but anyway 16 pt are no
way too small.
- In order to increase legibility and clarity it's also much advisable to
use at least one StaffGroup, e.g.
\new StaffGroup {
\new Staff = fl {}
\new StaffGroup {
\new Staff = vl1 {}
\new Staff = vl2 {}
}
...
}
Using LilyPond unfortunately doesn't in itself guarantee flawless
typography (as Denemo advertises itself). You need to use it correctly also,
following the instructions in the manuals.
I hope I haven't been too moralist there, nor too extensive. sorry if I
have.
\shape not impacting ties slurs on next line
The tie continued on a next line is not influenced by positioning override.
Instead, it's placed per default positioning. How can one move these continued
ties or slur?
\version 2.18.2
pushTieDown = \shape #'((0 . -1.0) (0 . -1.2) (0 . -1.2) (0 . -1.0)) Tie
{
\stemDown
\repeat unfold 16 { s4 }
s2 \pushTieDown a'_~ \break
a' s
\repeat unfold 16 { s4 }
}___
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Re: Generating Interest in LilyPond through Kickstarter
Richard Shann wrote: Presumably someone will generate a set of PDFs and put them on IMSLP. And people who are not prepared to read the LilyPond sources - they just want the printed score - will get those, and would be wise to do so, since someone malicious could generate an altered version the the LilyPond sources to do bad things. While LilyPond is a specialized interest thing malicious files are not going to happen, except by pranksters, but it is something to bear in mind. (I hate to sound a note of caution). Richard Richard, You make a good point. We are now thinking of providing the LilyPond sources to Kickstarter contributors as premiums, rather than putting them out in the public domain. Thanks, Paul T. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generating Interest in LilyPond through Kickstarter
Urs Liska wrote: I recently made a similar suggestion with the Winterreise, and some commented it problematic to create new free editions of pieces that already exist in good free editions. Urs Urs, Do you recall why others found this to be problematic? Thanks, Paul T. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generating Interest in LilyPond through Kickstarter
it would be more sensible to sell the .ly file at a higher cost. It is certainly the more valuable entity, both in terms of work in and future utility. Shane On Sat, Mar 22, 2014 at 5:27 AM, Johan Vromans address@hidden wrote: Paul Tannous address@hidden writes: Anyone wanting a printed copy, could download and install LilyPond if they didn't have it already. The idea would be to generate interest in LilyPond. That's a noble idea, but aren't you afraid that it will have the opposite effect and scare people away? I don't see many vanilla computer using musicians jump through the hoops of building and installing LilyPond just to get some score PDFs. Wouldn't something like this work better (amounts are arbitrary): - for 5$ or more you get the source - for 10$ or more you get the PDF - for 50$ or more you get a printed copy mailed -- Johan ___ Shane and Johan, After considering your comments, I and my team believe that we should offer the .ly files as the primary premiums to Kickstarter contributors. After all, anyone wanting to contribute to this initiative would most likely have an interest in LilyPond sources in general and in the LilyPond sources that we will be producing in particular. Thanks, Paul T. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Generating Interest in LilyPond through Kickstarter
Mike Solomon wrote: Sounds like a great idea! Make sure to e-mail choir directors across the US to see what may interest them - even if they cannot contribute financially to the project, it will have more chances of success if you have concerts lined up to which donors can go, a recording that they can receive, a program in which their name appears, etc.. All the best and good luck! Cheers, MS Mike, I think that your suggestion to reach out to choir directors is a good one. What do you believe would be the most efficient way to contact choir directors across the country? Thanks, Paul T. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
