Re: Quoted music and midi (Cynthia Karl)
2015-03-16 2:02 GMT+01:00 Cynthia Karl pck...@mac.com: [...] Am I qualified to submit a bug report? I have read some comments that imply that bug reports from Joe User are not welcome. That's a misunderstanding! Bug reports are highly apreciated. Only a _known_ bug can be fixed. We have a bug-squad sorting bug-reports. Though do as advised here: http://www.lilypond.org/website/bug-reports.html Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chord names broken since 2.16
Hi, (all examples in C major for reading purposes, and German notation, so h(German)=b(English), and b(German)=(b-flat(English)) Am , schrieb Kieren MacMillan: Hi all, add9 is different from sus2, as add11 is different from sus4 Really? In the musical theatre world, add9” rarely (if ever) appears; the preferred notation is “add2” (which, as a side benefit, makes sight reading things like “C9” even faster and less error-prone). you might be true in this special case, but I (in my personal view) consider this to be inconsistent. And that is why: Csus2 = c d g Cadd9 = c e g d Csus4 = c f g Cadd11 = c e g f You see, there's a different meaning in the chords, since there's another musicional intention behind it: either I want the 3rd (whether minor or major) to be played (regardless of the instrumentalist beeing able to play it (again: Guitarist)), or not. And the chords sound different, as they should… :) I confess, the only two chords I can imagine right now beeing displayed with an add is add9 and add11 in cases (like Jazz notation), when someone reading C9 or C11 assumes the chord is C7/9 or C7/9/11, respectivly. But again, this is only my personal experience, YMMV. And this is also, why I introduced the example C13 vs. C6: For C13 I whould read C7/9/13, whereas a C6 whould just be a plain C with an added 6th. If one needs more complicated stuff, like #9, b13 a.s.o. I'd emphasize to write and print that special one down; Realbook-Style… Nothing I ever saw displayed Cadd6add9 +1 I have started to write things like “add6,9” for multi-adds. I never saw that, but ok… I'd write that as C6/9 to be able to distiguish between a plain C9 (read as C7/9). I've never seen that add stuff in other cases than I said earlier. Could you provide an example for such a notation? I would be very interested in seeing such a notation. The best solution is probably to have different defaults, but in any way: if chords are intented musically different, they should display in different ways… **All other things being equal**, I would concur. However, I’ve found (through much trial and error, in both jazz and musical theatre pit orchestra contexts) that the chord symbols should always err on the side of sight-readable if the “theoretically correct” version requires any second thought. Agreed. I'd suggest a notation where one can select different defaults, varying by the the intended musicians to read the score. What I've seen so far is (not a complete list, of course): Version 1: C = c e g Csus2 = c d g Csus4 = c f g C6 = c e g a C7 = c e g b C7/9 = c e g b d C6/9 = c e g a d C9 = c e g d C7/#9 = c e g b dis C7/9/11 = c e g b d f C11 = c e g f C7/9/13 = c e g b d a C7/#9/b13 = c e g b dis as Version 2: C = c e g Csus2 = c d g Csus4 = c f g C6 = c e g a C7 = c e g b C9 = c e g b d C6/9 = c e g a d Cadd9 = c e g d C7/#9 = c e g b dis C11 = c e g b d f Cadd11 = c e g f C13 = c e g b d a C7/#9/b13 = c e g b dis as Version 3: [please continue] Version 2 whould probably be read more quickly and correct by Jazz musicians, version 1 is more correct for a non-expert, but harder to read (since notated more complicated) for everyone else. I'd be interested in version 3, or 4, or… -- Mit freundlichen Grüßen Jan Kohnert ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Some MIDI questions
My lead sheet is done and now I want to work on the instruments. So my first question is #1 How to I stop the lyrics from appearing in the MIDI file? Ain't Misbehavin v4.ly Description: Binary data Also #2 How do I set the MIDI channel to use - in this case for the vibraphone? (This is because I have an old Roland Sound Canvas that I will be using for my project.) (The project is aiming at reproducing my jazz trio of vibes, electric guitar and acoustic bass - from 55 years ago - wow is it really that long!!) Thanks for your help…. Peter___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Text ignored by spacing
Hi,
can I put a text relative to an object without affecting spacing?
Considering, { c''-^note }, the note pushes the staff a bit down. I
would like it to appear at the same position w.r.t. the staff (it also
may be different, I don't care too much) but being ignored by spacing
(thus reaching into the top margin).
Is that possible?
My goal is to have debug-text which can be switched on but must not
affect the layout (may collide with the real content instead of pushing
anything around).
Best,
Joram
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Some MIDI questions
On Mon, Mar 16, 2015 at 10:09:18PM -0400, Peter Teeson wrote:
My lead sheet is done and now I want to work on the instruments.
So my first question is
#1 How to I stop the lyrics from appearing in the MIDI file?
When it comes to working with MIDI in lilypond, your best bet is always
to put your music in variables and use a separate \score dedicated for
MIDI, where you can put in only stuff intended for MIDI and leave out
everything else (or conversely, put in stuff needed to make MIDI work
nicely but shouldn't appear in the typeset score).
So I would put the music in one (set of) variable(s), and the lyrics in
another variable, and then in the \score block intended for typesetting,
use both (set of) variables, while in the \score block intended for
MIDI, leave out the lyrics variable(s). Something like this:
music = ... % put your instrumental notes here
lyrics = ... % put your lyrics here
% This block is intended for layout
\score {
\music
\addlyrics \lyrics
\layout {}
}
% This block is intended only for MIDI
\score {
\music
% N.B. don't put \lyrics here
\midi {}
}
Also
#2 How do I set the MIDI channel to use - in this case for the
vibraphone?
Perhaps this page might help?
http://lilypond.org/doc/v2.18/Documentation/notation/midi-instruments
T
--
It is the quality rather than the quantity that matters. -- Lucius
Annaeus Seneca
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Some MIDI questions
Am 2015-03-17 um 08:09 schrieb Peter Teeson peter.tee...@icloud.com: My lead sheet is done and now I want to work on the instruments. So my first question is #1 How to I stop the lyrics from appearing in the MIDI file? Ain't Misbehavin v4.ly Also #2 How do I set the MIDI channel to use - in this case for the vibraphone? (This is because I have an old Roland Sound Canvas that I will be using for my project.) (The project is aiming at reproducing my jazz trio of vibes, electric guitar and acoustic bass - from 55 years ago - wow is it really that long!!) As HST told you: use variables and different score blocks. Here’s my template in which I did that and collected a lot of tweaks that I regularly use. Comments only in German, but you’ll find your way... Greetlings, Hraban --- fiëé visuëlle Henning Hraban Ramm http://www.fiee.net http://angerweit.tikon.ch/lieder/ https://www.cacert.org (I'm an assurer) global_liedvorlage.ly Description: Binary data global.ly Description: Binary data ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Highlight or Cross out measures
On Mon, Mar 16, 2015 at 8:48 AM, Klaus Blum benbigno...@gmx.de wrote:
maybe this could help you:
%
-
\version 2.18.2
bgColor =
#(define-music-function (parser location y-lower y-upper color) (number?
number? color?)
#{\stopStaff
\override Staff.StaffSymbol $'stencil =
$(lambda (grob)
(let* ((staff (ly:staff-symbol::print grob))
(X-ext (ly:stencil-extent staff X))
(Y-ext (ly:stencil-extent staff Y)))
(set! Y-ext (cons
(+ (car Y-ext) (+ y-lower 2))
(+ (cdr Y-ext) (- y-upper 2
(ly:grob-set-property! grob 'layer -10)
(ly:stencil-add
(ly:make-stencil (list 'color color
(ly:stencil-expr (ly:round-filled-box X-ext
Y-ext 0))
X-ext Y-ext))
staff)))
\startStaff
#})
\relative c' {
c1
\bgColor #-2 #2 #yellow
c1
\stopStaff \revert Staff.StaffSymbol $'stencil \startStaff
c1
\bgColor #-3 #2 #green
c1
}
%
-
It's based on the code of snippet 726 which you've already found.
There has been another thread about that:
http://lilypond.1069038.n5.nabble.com/scheme-problem-colored-background-layers-td169023.html
http://lilypond.1069038.n5.nabble.com/scheme-problem-colored-background-layers-td169023.html
Awesome. That worked great. Thanks.
-Jay
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Pedals as Dynamics
Hi Andrew,
I’m using a Dynamics context for pedals. I would like to be able to replace
the vertical up bracket at the end of certain sustainOff events with an
arrowhead or other glyph or indeed some postscript. How could this be done?
What are pedal line markings exactly? Are they TextSpanners or
DynamicLineSpanners? While we are on the topic, where is the documentation
about how to change text at the right and left of TextSpanners? This sort of
thing: \once \override TextSpanner #'(bound-details right text) = \markup {
foo” }
Here are two functions I use, which should point you in the right direction.
Hope this helps!
Kieren.
__
sustainHalf =
\override SustainPedal #'stencil =
#(lambda (grob)
(grob-interpret-markup grob
(markup #:raise 0.1 ½ #:hspace -1 #:musicglyph pedal.Ped)))
pedalSim =
\once \override PianoPedalBracket #'stencil =
#(lambda (grob)
(let* (;; have we been split?
(orig (ly:grob-original grob))
;; if yes, get the split pieces (our siblings)
(siblings (if (ly:grob? orig)
(ly:spanner-broken-into orig)
'(
;; Modify the unbroken grob-stencil or the first part of the broken
;; grob-stencil.
(if (or (null? siblings)
(and (= (length siblings) 2)
(eq? (car siblings) grob)))
(let* (;; Get the default-stencil and its x-dimension and x-length.
(stil (ly:piano-pedal-bracket::print grob))
(stil-x-extent (ly:stencil-extent stil X))
(stil-x-length (interval-length stil-x-extent))
;; Create a stencil to be added to the default-stencil.
;; Gets its x-dimension and x-length.
(sim-stil
(grob-interpret-markup grob
(markup #:fontsize -1 #:hspace 1 #:italic sim.)))
(sim-stil-x-extent (ly:stencil-extent sim-stil X))
(sim-stil-x-length (interval-length sim-stil-x-extent))
(thickness (max (layout-line-thickness grob) 0.1))
;; The value to shorten the default-stencil from the right side.
;; 0.8 will shorten about 80%.
;; Hard-coded, could be turned into a music-function.
(amount 0.8))
;; Print a warning if the length of the default-stencil would not
;; warrant a sufficient output.
(if ( sim-stil-x-length stil-x-length)
(ly:warning PianoPedalBracket is too short))
;; Shorten the default-stencil.
(ly:grob-set-property!
grob
'shorten-pair
(cons 0 (* amount stil-x-length)))
;; Calculate the final stencil.
(let* (;; Get the shortened (default-)stencil
;; and its y-dimension.
(shortened-stil (ly:piano-pedal-bracket::print grob))
(shortened-stil-y-ext (ly:stencil-extent shortened-stil Y))
;; Modify the sim-stil to gain a little gap to the left and
;; enlarge it downwards a little (otherwise the
stencil-whiteout
;; will not work sufficient.
(new-sim-stil
(ly:make-stencil
(ly:stencil-expr sim-stil)
(interval-widen sim-stil-x-extent (* 2 thickness))
(cons (- (car shortened-stil-y-ext) thickness)
(cdr shortened-stil-y-ext)
(ly:stencil-add
shortened-stil
(ly:stencil-translate-axis
(stencil-whiteout new-sim-stil)
(* (- 1 amount) (- stil-x-length sim-stil-x-length))
X
;; TODO:
;; Is there any need to return #f explicitly?
;; Deleting it seems to make no difference.
;#f
)))
___
Kieren MacMillan, composer
www: http://www.kierenmacmillan.info
email: i...@kierenmacmillan.info
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chord names broken since 2.16
Hi all, add9 is different from sus2, as add11 is different from sus4 Really? In the musical theatre world, add9” rarely (if ever) appears; the preferred notation is “add2” (which, as a side benefit, makes sight reading things like “C9” even faster and less error-prone). Nothing I ever saw displayed Cadd6add9 +1 I have started to write things like “add6,9” for multi-adds. The best solution is probably to have different defaults, but in any way: if chords are intented musically different, they should display in different ways… **All other things being equal**, I would concur. However, I’ve found (through much trial and error, in both jazz and musical theatre pit orchestra contexts) that the chord symbols should always err on the side of sight-readable if the “theoretically correct” version requires any second thought. Cheers, Kieren. ___ Kieren MacMillan, composer www: http://www.kierenmacmillan.info email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Highlight or Cross out measures
Hi Jay,
maybe this could help you:
%
-
\version 2.18.2
bgColor =
#(define-music-function (parser location y-lower y-upper color) (number?
number? color?)
#{\stopStaff
\override Staff.StaffSymbol $'stencil =
$(lambda (grob)
(let* ((staff (ly:staff-symbol::print grob))
(X-ext (ly:stencil-extent staff X))
(Y-ext (ly:stencil-extent staff Y)))
(set! Y-ext (cons
(+ (car Y-ext) (+ y-lower 2))
(+ (cdr Y-ext) (- y-upper 2
(ly:grob-set-property! grob 'layer -10)
(ly:stencil-add
(ly:make-stencil (list 'color color
(ly:stencil-expr (ly:round-filled-box X-ext
Y-ext 0))
X-ext Y-ext))
staff)))
\startStaff
#})
\relative c' {
c1
\bgColor #-2 #2 #yellow
c1
\stopStaff \revert Staff.StaffSymbol $'stencil \startStaff
c1
\bgColor #-3 #2 #green
c1
}
%
-
It's based on the code of snippet 726 which you've already found.
There has been another thread about that:
http://lilypond.1069038.n5.nabble.com/scheme-problem-colored-background-layers-td169023.html
http://lilypond.1069038.n5.nabble.com/scheme-problem-colored-background-layers-td169023.html
Cheers,
Klaus
--
View this message in context:
http://lilypond.1069038.n5.nabble.com/Highlight-or-Cross-out-measures-tp173198p173221.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: Enhancement: command line option to transpose N halftones up or down
Hi Michael,
Am 16.03.2015 um 15:02 schrieb Michael Schuerig:
I've only been using LilyPond for a rather short time, so far mostly for
engraving short snippets transposed into several keys for practicing. Of
course, the transpose command works nicely for this.
However, it made me think of how transposing could be even nicer and now
I'm
wishing for a command line option to the lilypond command to transpose the
engraved document by N halftones up or down. The particular advantage
would
be that this way the original document doesn't need to be changed in any
way
in order to transpose it.
If you're simply dealing with numbers of semitones, how would you be able
to control whether the output begins on, say, F# versus Gb?
I can imagine something which specifies that the music begin on
such-and-such a pitch. For that, you could define a simple music
function--which really isn't saving any effort!
%%%
\version 2.19.16
beginOn =
#(define-music-function (layout props new mus)
(ly:pitch? ly:music?)
#{
\transpose #(ly:make-pitch 0 0) #new
#mus
#})
music = { c' d' e' f' }
{
\music
\beginOn es'' \music
\beginOn g \music
}
%%%
I'd have to investigate what would be possible from the command line.
--David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Enhancement: command line option to transpose N halftones up or down
Hello Michael,
I think this question is more appropriate for the -user list.
Since I usually call lily from inside frescobaldi, my solution to this
has been defining a variable for the resulting pitch:
\version 2.18
newTonic = des
music = \relative { c' }
\score {
\transpose c \newTonic \music
}
%%
Anyone else knowing how to get this via the commandline? I seem to
recall there was some possibility for custom options or something.
HTH, Simon
Am 16.03.2015 um 15:02 schrieb Michael Schuerig:
I've only been using LilyPond for a rather short time, so far mostly for
engraving short snippets transposed into several keys for practicing. Of
course, the transpose command works nicely for this.
However, it made me think of how transposing could be even nicer and now I'm
wishing for a command line option to the lilypond command to transpose the
engraved document by N halftones up or down. The particular advantage would
be that this way the original document doesn't need to be changed in any way
in order to transpose it.
Does this sound reasonable?
Michael
___
bug-lilypond mailing list
bug-lilyp...@gnu.org
https://lists.gnu.org/mailman/listinfo/bug-lilypond
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Enhancement: command line option to transpose N halftones up or down
Am 16.03.2015 um 16:09 schrieb Simon Albrecht:
Hello Michael,
I think this question is more appropriate for the -user list.
Since I usually call lily from inside frescobaldi, my solution to this
has been defining a variable for the resulting pitch:
\version 2.18
newTonic = des
music = \relative { c' }
\score {
\transpose c \newTonic \music
}
%%
Anyone else knowing how to get this via the commandline? I seem to
recall there was some possibility for custom options or something.
I have done something like that some time ago.
I put these definitions in an include file:
#(define opt-octave (or (ly:get-option 'octave) 0))
#(define opt-note (or (ly:get-option 'note) 0))
#(define opt-alteration (or (ly:get-option 'alteration) 0))
#(define to-pitch (ly:make-pitch opt-octave opt-note opt-alteration))
optionalTranspose = #(define-music-function (parser location music)
(ly:music?)
#{ \transpose c' $to-pitch $music #})
In the main file, you can use
\optionalTranspose { ...your music ...}
It is a bit cumbersome to specify
lilypond -dopt-octave=... -dopt-note=--- -dopt-alteration=... filename.ly
for each file, but aas I used this in a bash script to transpose a tune
in *all* keys, it didn't matter.
HTH,
marc
HTH, Simon
Am 16.03.2015 um 15:02 schrieb Michael Schuerig:
I've only been using LilyPond for a rather short time, so far mostly for
engraving short snippets transposed into several keys for practicing. Of
course, the transpose command works nicely for this.
However, it made me think of how transposing could be even nicer and
now I'm
wishing for a command line option to the lilypond command to transpose
the
engraved document by N halftones up or down. The particular advantage
would
be that this way the original document doesn't need to be changed in
any way
in order to transpose it.
Does this sound reasonable?
Michael
___
bug-lilypond mailing list
bug-lilyp...@gnu.org
https://lists.gnu.org/mailman/listinfo/bug-lilypond
___
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: Chord names broken since 2.16
From: Jan Kohnert j...@jankoh.mooo.com To: Lilypond-User Mailing List lilypond-user@gnu.org Subject: Re: Chord names broken since 2.16 Am , schrieb Kieren MacMillan: Hi all, add9 is different from sus2, as add11 is different from sus4 Really? In the musical theatre world, add9? rarely (if ever) appears; the preferred notation is ?add2? (which, as a side benefit, makes sight reading things like ?C9? even faster and less error-prone). you might be true in this special case, but I (in my personal view) consider this to be inconsistent. And that is why: Csus2 = c d g Cadd9 = c e g d Csus4 = c f g Cadd11 = c e g f I think you misread Kieren's comment. He was suggesting add2 as a clearer alternative to add9. Not sus2, but add2. For starters, the 2nd and 9th are synonymous, so there is no lack of clarity about which notes are in the chord in either case. And with a 2, you don't introduce the concept of but what about the 7th? that naturally pops into one's head when you see a chord with a 9th. You see, there's a different meaning in the chords, since there's another musicional intention behind it: either I want the 3rd (whether minor or major) to be played (regardless of the instrumentalist beeing able to play it (again: Guitarist)), or not. And the chords sound different, as they should? :) I would say that the biggest theoretical/ideological difference when discussing chords is whether you are using the chord symbol to specify/analyze a specific voicing, or whether you are using it to indicate the musical context--for example, chordal players who comp notes of their own choosing, or melodic players who are improvising. In the first context, it is a tautology to say that non-identical chords sharing the same chord symbol is problematic. In terms of the latter musical context, the add9 is ambiguous, since it leaves open the question of whether the chord functions as a dominant or not. Yes, we all understand that when you write add9 you don't want to hear a 7th. But that does not mean that in the tonal musical context the 7th somehow disappears. If a melodic player wanted to play a 7th while this chord occurs, even as a passing tone, which one would he or she choose? This is why add9 chords are virtually nonexistent in Jazz charts, since they do not supply musicians what they need to know to do their job. Not to say that there aren't sublime examples of using addX chords. But honestly, most of the time I've seen addX chords, the sole reason for the addX is that there is a melody note X that doesn't fit into the chord, and its presence is made known by specifying addX to the chord. The X note is not so much a part of the chord proper, but an artifact of the melody. (And in my opinion, in these cases, it probably sounds best to have the chordal player play the basic chord and not attempt to voice the X pitch, and let the melody player have free reign to phrase the X without collision. Unless of course, the reason for adding that note to the chord is to support singers who can't carry a pitch unless it is being sounded by someone else.) To be clear, I fully support lilypond being able to distinguish add9 chord from a dominant 9th chord (which it does already, by the way, even if it prints the same chord symbol for both of them as a default behavior.) But, let's not raise this edge case to some pedestal of chordal juju. It should be sufficient to modify the chord symbol used for add9 to say add9 rather than 9. (I'm not just ranting, see below for how to do this.) Agreed. I'd suggest a notation where one can select different defaults, varying by the the intended musicians to read the score. While I agree with this sentiment, I think that it is important to recognize that chord notation has many more variations than most other aspects of music notation. Both in terms of syntax ( M, maj, triangle, nothing, etc. to represent major) as well as intention (literal voicings, harmonic function, tabulature), there is still quite a bit of variation. Moreover, it is sometimes desirable to write the same chord in different ways, depending on the context. The notion that there is only one right spelling for a given chord is, in my opinion, a slightly misguided notion. As a result, I suspect that anyone who is doing anything moderately complicated for any length of time will run into a case where he/she need to learn how to modify the chord syntax. I agree that it would be helpful to have a few options for chord sytle sheets. Then again, there already are a few, such as the current default, the ubiquitous Jazz chords and Pop chords, and the forthcoming B+R stylesheet. How about we start with making these easy to find, and include clear instructions for how to use them? Next up would be instructions on how to add your own variations beyond these common stylesheets. Here are my notes on this topic: http://flaminghakama.com/flaming-lilypond-chords Here is one
Re: Enhancement: command line option to transpose N halftones up or down
Am 16.03.2015 um 17:43 schrieb Michael Schuerig: On Monday 16 March 2015 11:26:30 David Nalesnik wrote: Am 16.03.2015 um 15:02 schrieb Michael Schuerig: I've only been using LilyPond for a rather short time, so far mostly for engraving short snippets transposed into several keys for practicing. Of course, the transpose command works nicely for this. However, it made me think of how transposing could be even nicer and now I'm wishing for a command line option to the lilypond command to transpose the engraved document by N halftones up or down. The particular advantage would be that this way the original document doesn't need to be changed in any way in order to transpose it. If you're simply dealing with numbers of semitones, how would you be able to control whether the output begins on, say, F# versus Gb? Fair question -- I have no idea. I came up with the semitones so that the direction, up or down, is made explicit instead of left to LilyPond. This is normally achieved through \transpose c fis \music (up an augmented fourth) versus \transpose c fis, \music (down a diminished fifth). HTH, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re:Quoted music and midi (Cynthia Karl)
Cynthia Karl wrote: Poke. Really? Nobody (else) has an opinion on this (that agrees with mine)? Am I qualified to submit a bug report? I have read some comments that imply that bug reports from Joe User are not welcome. Please *do* fill out a bug report. In looking at the Notation Reference 1.6.3, it's clear that the usage you are proposing is consistent with the recommended usage. I guess what you'd really like to have is the quoted notes in the MIDI settings of the voice to which they are quoted. Your original report on lilypond-user appeared to be a pretty good bug report. I believe you could send it to bug-lilypond and it would be accepted. But just because it is accepted doesn't mean it will be worked on. We have a very limited developer community. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Enhancement: command line option to transpose N halftones up or down
On Monday 16 March 2015 11:26:30 David Nalesnik wrote: Am 16.03.2015 um 15:02 schrieb Michael Schuerig: I've only been using LilyPond for a rather short time, so far mostly for engraving short snippets transposed into several keys for practicing. Of course, the transpose command works nicely for this. However, it made me think of how transposing could be even nicer and now I'm wishing for a command line option to the lilypond command to transpose the engraved document by N halftones up or down. The particular advantage would be that this way the original document doesn't need to be changed in any way in order to transpose it. If you're simply dealing with numbers of semitones, how would you be able to control whether the output begins on, say, F# versus Gb? Fair question -- I have no idea. I came up with the semitones so that the direction, up or down, is made explicit instead of left to LilyPond. I can imagine something which specifies that the music begin on such-and-such a pitch. For that, you could define a simple music function--which really isn't saving any effort! My experience with LilyPond is very limited, as I wrote before, but my understanding is that such an approach would not work at the topmost level, i.e. for a book. As such, it could not be used without changing the document and that's exactly the thing I'd like to avoid. Also, that's why I think this is a valid enhancement request for the bug- list instead of the -user list. Michael -- Michael Schuerig mailto:mich...@schuerig.de http://www.schuerig.de/michael/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
