Re: Notehead color on programmed pitch change
-Original Message-
From: Thomas Morley [mailto:thomasmorle...@gmail.com]
Sent: Tuesday, May 26, 2015 5:33 PM
To: Peter Gentry
Cc: lilypond-user
Subject: Re: Subject: Re: Notehead color on programmed pitch change
2015-05-26 18:09 GMT+02:00 Peter Gentry peter.gen...@sunscales.co.uk:
Thanks very much for your solution - I'm not yet sure why it
works...how does 'tweaks know about notehead color? All very baffling
Well, most (every?) music-event may be tweaked.
Look at the terminal-output from:
\displayMusic
{
\tweak color #red c''1
}
My code adds this tweak to the NoteEvent under certain conditions.
Outlook strikes again - try this
Well, perhaps you'll have success persuading outlook to keep
your formating.
If not I'd look out for another mail-program ;)
Cheers,
Harm
Thanks for the pointer...
I tried this
{
c'1
\tweak color #red c''1
}
And the log gives
(make-music
'SequentialMusic
'elements
(list (make-music
'NoteEvent
'duration
(ly:make-duration 0)
'pitch
(ly:make-pitch 0 0))
(make-music
'NoteEvent
'tweaks
(list (list (quote color) 1.0 0.0 0.0))
'duration
(ly:make-duration 0)
'pitch
(ly:make-pitch 1 0
Maybe this use of \tweak would be useful to many people - like a door opening.
Still not sure how to interpret (list (list... But as long as Lily
does.:)
Now to experiment with other music properties..
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Re: Deal with repetitive rythm
Marc Hohl marc at hohlart.de writes:
Am 27.05.2015 um 00:12 schrieb Sébastien Besnier:
Hello,
... Is it a way to specify the rhythm, and then
gives the notes ? For example, my snippet could rewrite:
\repeatRythm{8. 16}{c, c f e d d e f}
Have a look at
http://lsr.di.unimi.it/LSR/Snippet?id=465
I would rather recommend http://lsr.di.unimi.it/LSR/Item?id=654
/Mats
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Re: Notehead color on programmed pitch change (now \tweak)
-Original Message-
From: Peter Gentry [mailto:peter.gen...@sunscales.co.uk]
Sent: Wednesday, May 27, 2015 10:16 AM
To: 'lilypond-user@gnu.org'
Cc: 'Thomas Morley'
Subject: Re: Notehead color on programmed pitch change
-Original Message-
From: Thomas Morley [mailto:thomasmorle...@gmail.com]
Sent: Tuesday, May 26, 2015 5:33 PM
To: Peter Gentry
Cc: lilypond-user
Subject: Re: Subject: Re: Notehead color on programmed pitch change
2015-05-26 18:09 GMT+02:00 Peter Gentry
peter.gen...@sunscales.co.uk:
Thanks very much for your solution - I'm not yet sure why it
works...how does 'tweaks know about notehead color? All
very baffling
Well, most (every?) music-event may be tweaked.
Look at the terminal-output from:
\displayMusic
{
\tweak color #red c''1
}
My code adds this tweak to the NoteEvent under certain conditions.
Outlook strikes again - try this
Well, perhaps you'll have success persuading outlook to keep your
formating.
If not I'd look out for another mail-program ;)
Cheers,
Harm
Thanks for the pointer...
I tried this
{
c'1
\tweak color #red c''1
}
And the log gives
(make-music
'SequentialMusic
'elements
(list (make-music
'NoteEvent
'duration
(ly:make-duration 0)
'pitch
(ly:make-pitch 0 0))
(make-music
'NoteEvent
'tweaks
(list (list (quote color) 1.0 0.0 0.0))
'duration
(ly:make-duration 0)
'pitch
(ly:make-pitch 1 0
Maybe this use of \tweak would be useful to many people - like
a door opening.
Still not sure how to interpret (list (list... But as long
as Lily does.:)
Now to experiment with other music properties..
Further to this it seems the effect of this tweak is rather odd. The color of
the following note head is changed but the note stem
is also thinner and this effect carries over to the next notes and indeed the
number of notes affected varies see
\version 2.19.15
\displayMusic
\relative {
c'4 c4 c4 c4
\tweak color #red c''4 c4 c4 c4
}
The plot thickens.
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Re: Height of start bar brace
Hi Joram,
2015-05-26 14:46 GMT+02:00 Noeck noeck.marb...@gmx.de:
Dear Pierre,
thanks for looking into this. However, I don't understand what you tell
me here. If I run your code, I see that it does *not* automatically
scale the brace but it is rather odd: too small or too big.
Cheers,
Joram
See:
2015-04-26 23:42 GMT+02:00 Nathan Ho when.possi...@gmail.com:
For some reason this solution doesn't automatically center the bracket
perfectly, but it's a start.
So I slightly change Nathan's code so that it 'centers' automatically, no
matter what scaling is (crazy scalings were just to show up).
As far as I understood, brace scale setting depends on you, doesn't it?
E.g. #0.99 :
%% =
http://lilypond.1069038.n5.nabble.com/Height-of-start-bar-brace-td175422.html
\version 2.19.16
\new PianoStaff
\with {
\override SystemStartBrace.stencil =
#(lambda (grob)
(let* ((scale-amount 0.99)
(stil (ly:system-start-delimiter::print grob))
(scaled-stil (ly:stencil-scale stil scale-amount
scale-amount))
(extent (ly:stencil-extent stil Y))
(height (- (cdr extent) (car extent
(ly:stencil-translate-axis
scaled-stil
(* -0.5 (- 1 scale-amount) (+ height 3.5))
Y)))
}
\new Staff { c'1 }
\new Staff { c'''1 }
\new PianoStaff
\with {
\override SystemStartBrace.stencil =
#(lambda (grob)
(let* ((scale-amount 0.99)
(stil (ly:system-start-delimiter::print grob))
(scaled-stil (ly:stencil-scale stil scale-amount
scale-amount))
(extent (ly:stencil-extent stil Y))
(height (- (cdr extent) (car extent
(ly:stencil-translate-axis
scaled-stil
(* -0.5 (- 1 scale-amount) (+ height 3.5))
Y)))
}
\new Staff { c1 }
\new Staff { c1 }
\new PianoStaff
\with {
\override SystemStartBrace.stencil =
#(lambda (grob)
(let* ((scale-amount 0.99)
(stil (ly:system-start-delimiter::print grob))
(scaled-stil (ly:stencil-scale stil scale-amount
scale-amount))
(extent (ly:stencil-extent stil Y))
(height (- (cdr extent) (car extent
(ly:stencil-translate-axis
scaled-stil
(* -0.5 (- 1 scale-amount) (+ height 3.5))
Y)))
}
\new Staff { c,1 }
\new Staff { c'1 }
\new PianoStaff
\with {
\override SystemStartBrace.stencil =
#(lambda (grob)
(let* ((scale-amount 0.99)
(stil (ly:system-start-delimiter::print grob))
(scaled-stil (ly:stencil-scale stil scale-amount
scale-amount))
(extent (ly:stencil-extent stil Y))
(height (- (cdr extent) (car extent
(ly:stencil-translate-axis
scaled-stil
(* -0.5 (- 1 scale-amount) (+ height 3.5))
Y)))
}
\new Staff { c,,1 }
\new Staff { c''1 }
Cheers,
Pierre
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Frescobaldi Windows Installer (was Re: ANN: Frescobaldi 2.18.1)
Op Tue, 26 May 2015 05:52:29 +0200 Helge Kruse helge.kr...@gmx.net schreef: many thanks for this excellent program and the installer. I had never any problem with the installation as it runs out of the box. The components in the installer are assembled by you with intention and I have the impression with caution. Hi Helge, I don't have a compiler setup on Windows, but I got binaries of Python, Qt, and all other libraries needed. Then I use a script that calls cx_Freeze to make a binary executable, includes all required libraries, manually copies the frescobaldi_app folder and then calls Inno Setup to make an installable executable of that. The installer packages are tested on my only laptop that has a Windows 7 installation (besides Xubuntu, which I always use). Then I also try Frescobaldi itself, running in Windows. For the longer term (when Python 3 becomes the default on Windows) I will probably stop maintaining the Windows installer. So on the longer term I am searching for someone who will maintain the Windows installer packaging (just like Mac packaging is done by other people), and concentrate on a good development and release process. Good luck! :) Wilbert -- Wilbert Berendsen (http://www.wilbertberendsen.nl) ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Notehead color on programmed pitch change (now \tweak)
-Original Message- From: Phil Holmes [mailto:m...@philholmes.net] Sent: Wednesday, May 27, 2015 11:49 AM To: Peter Gentry; lilypond-user@gnu.org Cc: 'Thomas Morley' Subject: Re: Notehead color on programmed pitch change (now \tweak) - Original Message - From: Peter Gentry peter.gen...@sunscales.co.uk To: lilypond-user@gnu.org Cc: 'Thomas Morley' thomasmorle...@gmail.com Sent: Wednesday, May 27, 2015 10:27 AM Subject: Re: Notehead color on programmed pitch change (now \tweak) Further to this it seems the effect of this tweak is rather odd. The color of the following note head is changed but the note stem is also thinner and this effect carries over to the next notes and indeed the number of notes affected varies see I think you'll find that this is nothing to do with tweak: it's either the way your PDF viewer rasterises the stems where the notehead is above the stave, or an optical illusion. Rasterising them at 1200 dpi and overlaying the stems in a image manipulating program showed them to be all identical. -- Phil Holmes Yes it is noting to do with tweak it arises from using the magnifier in the Frecobaldi output window - this can produce apparent variations in note stem width. They are an artefact and do not affect the printed output. Case closed. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
can baseline-skip be absolute?
Hello all, For many of the markup items in my scores, I use Lilypond’s built-in \abs-fontsize function, and Mike Solomon’s useful \absFontsize extension (designed for grobs that don’t respond to \abs-fontsize). In general, this is (for me) superior to using relative font sizes, since I have more exact control over the look of my scores. However, there are a few limitations. The first one I’d like to overcome is that baseline-skip is necessarily relative. Hence I can’t (e.g.) define a single bookTitleMarkup and use it in multiple score types with different basic staff sizes: the baseline-skip of my instrumental part (staff size 18.5) is larger than the baseline-skip of my full score (staff size 13.5). Is there any way to set baseline-skip in absolute measurements? Thanks, Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: can baseline-skip be absolute?
Hi Werner,
I use a solution as below.
This is great! Thanks.
1. Any thought about submitting a patch for inclusion in the main distro?
2. Maybe along with Mike Solomon’s \absFontSize function (which has proven
invaluable to me):
%%
allowGrobCallback =
#(define-scheme-function (parser location syms) (symbol-list?)
(let ((interface (car syms))
(sym (cadr syms)))
#{
\with {
\consists #(lambda (context)
`((acknowledgers .
((,interface . ,(lambda (engraver grob
source-engraver)
(let ((prop (ly:grob-property grob
sym)))
(if (procedure? prop)
(ly:grob-set-property! grob sym (prop grob)))
))
)
}
#}))
absFontSize =
#(define-scheme-function (parser location pt)(number?)
(lambda (grob)
(let* ((layout (ly:grob-layout grob))
(ref-size (ly:output-def-lookup (ly:grob-layout grob)
'text-font-size 12)))
(magnification-font-size (/ pt ref-size))
)))
\layout {
\context {
\Score
\allowGrobCallback font-interface.font-size
}
}
%%
3. With those two additions, what would remain that was not absolutely-sizeable?
Thanks,
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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Re: can baseline-skip be absolute?
I use a solution as below.
Oops! Here the complete e-mail.
Werner
==
#(define-public (pt-to-ss size)
Convert from points to staff space units.
;; The value `output-scale' gives the size (in mm) of the staff space at
;; the global staff size. By definition, the staff space for a staff
;; size of 20pt is 20pt / 4 = 5pt.
(let* ((5pt (ly:pt 5))
(output-scale (ly:output-def-lookup $defaultpaper 'output-scale 1))
(factor (/ output-scale 5pt))
(staff-space (* 5 factor)))
(/ size staff-space)))
#(define-markup-command (abs-baseline-skip layout props size arg)
(number? markup?)
#:category font
Use @var{size} as the absolute value for @code{baseline-skip} (in
points).
(interpret-markup layout
(cons `((baseline-skip . ,(pt-to-ss size)))
props)
arg))
\paper {
line-width = 170.0\mm
top-margin = 15.0\mm
bottom-margin = 15.0\mm
indent = 20.0\mm
top-markup-spacing = #`((basic-distance . ,(pt-to-ss 30))
(minimum-distance . ,(pt-to-ss 30))
(padding . 0)
(stretchability . 0))
...
}
bookTitleMarkup = \markup {
\abs-baseline-skip #20 {
\column {
\fill-line {
\abs-fontsize #18 \bold
\fromproperty #'header:title
}
...
}
}
}
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Re: can baseline-skip be absolute?
Is there any way to set baseline-skip in absolute measurements?
I use a solution as below.
Werner
==
#(define-public (pt-to-ss size)
Convert from points to staff space units.
;; The value `output-scale' gives the size (in mm) of the staff space at
;; the global staff size. By definition, the staff space for a staff
;; size of 20pt is 20pt / 4 = 5pt.
(let* ((5pt (ly:pt 5))
(output-scale (ly:output-def-lookup $defaultpaper 'output-scale 1))
(factor (/ output-scale 5pt))
(staff-space (* 5 factor)))
(/ size staff-space)))
#(define-markup-command (abs-baseline-skip layout props size arg)
(number? markup?)
#:category font
Use @var{size} as the absolute value for @code{baseline-skip} (in
points).
(interpret-markup layout
(cons `((baseline-skip . ,(pt-to-ss size)))
props)
arg))
\paper {
line-width = 170.0\mm
top-margin = 15.0\mm
bottom-margin = 15.0\mm
indent = 20.0\mm
top-markup-spacing = #`((basic-distance . ,(pt-to-ss 30))
(minimum-distance . ,(pt-to-ss 30))
(padding . 0)
(stretchability . 0))
...
}
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Re: Notehead color on programmed pitch change
On Wed, May 27, 2015 at 4:15 AM, Peter Gentry peter.gen...@sunscales.co.uk wrote: [...] (make-music 'SequentialMusic 'elements (list (make-music 'NoteEvent 'duration (ly:make-duration 0) 'pitch (ly:make-pitch 0 0)) (make-music 'NoteEvent 'tweaks (list (list (quote color) 1.0 0.0 0.0)) [...] Still not sure how to interpret (list (list... But as long as Lily does.:) We're simply creating a nested list: (list (quote color) 1.0 0.0 0.0) == (color 1.0 0.0 0.0) (list (list (quote color) 1.0 0.0 0.0)) == ((color 1.0 0.0 0.0)) By the way, (quote color) is just longhand for 'color Hope that helps, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic mark at the end of a bar
On Tue, 2015-05-26 at 12:47 -0500, David Nalesnik wrote:
Hi David,
On Tue, May 26, 2015 at 10:32 AM, David Sumbler da...@aeolia.co.uk
wrote:
I often use 's1*0\!' to end a hairpin just before a barline.
But how can a get a dynamic mark (e.g. 'ff') to appear at the
end of a
bar? In the following example, the first hairpin behaves as I
want.
The second one ends with a dynamic, but the new dynamic
appears at the
start of the following bar, even though it is attached to an
item which
occurs on the barline.
It occurs at the first moment of the new measure, not *on* the
barline.
Somehow you need to get the dynamic within the measure you want it.
You could do this by scaling durations:
\version 2.18.0
{
c''4\ c''2. s1*0\! |
R1 |
c''4\ c''2.*2/3 s2.*1/3\ff |
R1 |
}
or (cleaner, I think) by attaching the dynamics to a separate voice:
{
c''4\ c''2. s1*0\! |
R1 |
{ c''4 c''2.| }
{ s2.\ s4\ff | }
R1 |
}
Hope this helps!
It certainly helps a lot - thanks. The second is, to me, the neater
solution, and after a bit of trial and error I have things looking
reasonable.
But both of these are work-arounds for something which is actually
fairly normal musical notation. They are work-arounds because one
method implies that a note is not really the length that it appears to
be, and the other method implies that the dynamics actually belong to
another, silent voice. Neither of these is true in reality.
Ideally one shouldn't have to use trial and error, varying the length of
the second invisible rest, to get an acceptable appearance. We know
exactly where the final dynamic should go: it should be immediately
before the bar-line.
Perhaps at some stage the Lilypond developers could look at the
possibility of having a method of adding a dynamic (or text) for cases
like this, so that it is automatically right-aligned to a note or rest.
Additionally, if the note or rest comes immediately after a barline,
then the dynamic/text should be right-aligned to the barline itself. I
would suggest that a suitable input method would be to use a slash (/)
instead of or as well as the usual backslash (\).
I am not criticising Lilypond, which is magnificent. But it does seem
unfortunate that at the moment there is no way of directly inputting a
perfectly normal, if not particularly common, bit of standard notation.
David
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Re: Dynamic mark at the end of a bar
- Original Message - From: David Sumbler da...@aeolia.co.uk But both of these are work-arounds for something which is actually fairly normal musical notation. They are work-arounds because one method implies that a note is not really the length that it appears to be, and the other method implies that the dynamics actually belong to another, silent voice. Neither of these is true in reality. Ideally one shouldn't have to use trial and error, varying the length of the second invisible rest, to get an acceptable appearance. We know exactly where the final dynamic should go: it should be immediately before the bar-line. Perhaps at some stage the Lilypond developers could look at the possibility of having a method of adding a dynamic (or text) for cases like this, so that it is automatically right-aligned to a note or rest. Additionally, if the note or rest comes immediately after a barline, then the dynamic/text should be right-aligned to the barline itself. I would suggest that a suitable input method would be to use a slash (/) instead of or as well as the usual backslash (\). I am not criticising Lilypond, which is magnificent. But it does seem unfortunate that at the moment there is no way of directly inputting a perfectly normal, if not particularly common, bit of standard notation. I'm sorry, but you've lost me on this. What, musically, is the difference between a dynamic at the end of a bar, and the same dynamic at the start of the next bar. As I performer, I can't distinguish. -- Phil Holmes ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic mark at the end of a bar
Hi david
I think the hairpin alignment is with the DynamicText which aligns under
the note. So by moving the text the hairpin follows.
\once \override DynamicText.X-offset = #'x
So you could do
{
c''4\ \once \override DynamicText.X-offset = #'1.1 c''2.\ff |
R1 |
}
However in the first \! although ends the Hairpin can not be moved (that I
know of).
Two solutions i see.
1. create a hairpin
Long =
#(define-music-function
(parser location str)
(number?)
#{
-\markup
{
\halign #-1
\rotate #180
\combine
\draw-line #`(,str . 0.7)
\draw-line #`(,str . -0.7)
}
#}
)
{
c''4_\Long #-7.5
c''2. |
R1 |
c''4\ \once \override DynamicText.X-offset = #'1.1 c''2.\ff |
R1 |
}
2. create an invisible dynamic
inv = #(make-dynamic-script )
{
c''4\
\once \override DynamicText.X-offset = #'5.1
c''2.\inv |
R1 |
c''4\
\once \override DynamicText.X-offset = #'1.1
c''2.\ff |
R1 |
}
HTH
Stephen
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Re: Hairpin at an angle, parallel to glissando line
On 26/05/2015 20:17, Jacques Menu wrote: Hello David, Maybe this snippet can help you : http://lsr.di.unimi.it/LSR/Item?id=562 JM Le 26 mai 2015 à 08:53, David G castle.cub...@gmail.com mailto:castle.cub...@gmail.com a écrit : Hello all, Does anyone have any tips for achieving the effect in the attached image? image.png Effectively I want to make it automatically parallel to the glissando - there are two or three in the piece I'm engraving. Hairpins have a rotation property. Here's an example of rotating a hairpin 20 degrees anti-clockwise. The second and third parameters specify the point about which the rotation occurs, with zero for both values being rotation about the centre of the hairpin. f d16-\tweak rotation #'(20 0 0)^\ Nick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Deal with repetitive rythm
Am 27.05.2015 um 00:12 schrieb Sébastien Besnier:
Hello,
In a lot a pieces, there are often a rhythmic motif which is repeated.
For example, something like:
c,8. c16 f8. e16 d8. d16 e8. f16
is quite annoying to write. Is it a way to specify the rhythm, and then
gives the notes ? For example, my snippet could rewrite:
\repeatRythm{8. 16}{c, c f e d d e f}
Have a look at
http://lsr.di.unimi.it/LSR/Snippet?id=465
HTH,
Marc
Thank you,
Sebastien
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Re: Possible bug, attempting to use non-latin characters in verse
On 26/05/2015 17:31, Colin Jesse Kinlund wrote:
\version 2.18.2
firstVoice = \lyricmode {
I -- av -- na -- na, }
pirveliEkhma = \lyricmode {
ი -- ავ -- ნა -- ნა, }
melody = \relative c'' {
\time 5/4 c4 d e e8( d4.)}
\score {
\new ChoirStaff
\new Voice = pirveli
{ \melody }
\new Lyrics
\lyricsto melody
{ \firstVoice }
\new Lyrics
\lyricsto melody
{ \pirveliEkhma }
}
No problem visible with LP 2.19.21 on either Ubuntu 15.04 x64 or Windows
8.1 x64, once I changed \lyricsto melody to \lyricsto pirveli:
Nick
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Re: Height of start bar brace
Hi Pierre, now it makes sense to me. Thanks for the explanation. Once I know how to use it correctly, I see that this is perfectly what I was looking for. Thanks, Joram ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic mark at the end of a bar
On Wed, May 27, 2015 at 5:19 PM, Mats Bengtsson mats.bengts...@ee.kth.se
wrote:
As has already been discussed, the question is what the musical meaning of
such a notation would be. Certainly, I can think of printed music, not to
mention hand-written manuscripts, where dynamic marks are placed far from
the note they are intended to match, but it won't help the musician.
If you can show that this notation is established and has a specific
meaning, then it might be interesting to add support in LilyPond.
Otherwise,
you will have to live with the more or less clumsy workarounds.
I've seen it fairly frequently. This sort of effect is also notated like
so:
{
c''1~\p\
c''16\f r8. r4 r2
}
Basically, we are trying to indicate a note lasting a whole note, which
ends at a certain dynamic. The above notation is imprecise, of course, but
at least it helps guard against the tendency of instrumentalists to cut
notes short :)
DN
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Re: Dynamic mark at the end of a bar
Am 27.05.2015 um 22:03 schrieb David Sumbler: But both of these are work-arounds for something which is actually fairly normal musical notation. They are work-arounds because one method implies that a note is not really the length that it appears to be, and the other method implies that the dynamics actually belong to another, silent voice. No, it doesn’t. They are in separate parallel music expressions, one of which contains only skips and dynamics and the other contains everything else. But since there is no \new Voice (or \\ as a shorthand) here, both are read into one voice and one _stream of events_. Neither of these is true in reality. Ideally one shouldn't have to use trial and error, varying the length of the second invisible rest, to get an acceptable appearance. We know exactly where the final dynamic should go: it should be immediately before the bar-line. Perhaps at some stage the Lilypond developers could look at the possibility of having a method of adding a dynamic (or text) for cases like this, so that it is automatically right-aligned to a note or rest. Additionally, if the note or rest comes immediately after a barline, then the dynamic/text should be right-aligned to the barline itself. I would suggest that a suitable input method would be to use a slash (/) instead of or as well as the usual backslash (\). I am not criticising Lilypond, which is magnificent. But it does seem unfortunate that at the moment there is no way of directly inputting a perfectly normal, if not particularly common, bit of standard notation. I think the point here is very fundamental: Lilypond input language is designed to represent musical content. So while we are used (as all or most people not using Lilypond have been) to just graphically placing a dynamic sign using pen and paper or a WYSIWYG notation program, Lilypond follows an entirely different approach. Which especially in this case is a problem. (And perhaps it will emerge not to be a dilemma). So, until we’ve found a better solution matching the principles of Lilypond _and_ providing the traditional ‘inexact’, intuitive dynamics placement, we’ll go with the methods sketched by David. Regards, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic mark at the end of a bar
On Wed, 2015-05-27 at 16:52 -0500, David Nalesnik wrote: Hi David, On Wed, May 27, 2015 at 3:03 PM, David Sumbler da...@aeolia.co.uk wrote: But both of these are work-arounds for something which is actually fairly normal musical notation. They are work-arounds because one method implies that a note is not really the length that it appears to be, and the other method implies that the dynamics actually belong to another, silent voice. Neither of these is true in reality. Actually, I think I was a little imprecise talking about attaching the dynamics to a new voice here. I created SimultaneousMusic, rather than another Voice context. Note that this is done commonly enough by users parameterizing their input: one variable is used to store the notes, and another to store the dynamics. Simon also made this point - which I accept. (This is not to say that there isn't some hackery at work here :) ) Ideally one shouldn't have to use trial and error, varying the length of the second invisible rest, to get an acceptable appearance. We know exactly where the final dynamic should go: it should be immediately before the bar-line. Yes, but what of more complex examples, where a composer indicates a number of inflections on a single note? There are a number of examples of that here: https://www.youtube.com/watch?v=uav-OYUJ7BQ (including a simple one at the very beginning). How else could you notate these cases without the simultaneous music approach? True, but in these cases we actually want the dynamics to be at particular points within a bar, so the simultaneous music approach is logical. In my case, I want the dynamic to appear at the end of the bar - this, of course is the same moment in time as the start of the next bar+, but is not the same point on paper. The simultaneous music approach, however, requires us to pretend that we want the dynamic at some arbitrary moment just before the end of the bar. And the choice of that moment will vary, depending on how busy the music is on other staves in the same bar. It might also mean that we have to use one value for the score and another for the individual part - yet, in reality, we just want the dynamic to appear immediately before the bar-line regardless of what is happening elsewhere in the ensemble. David David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic mark at the end of a bar
Hi David, On Wed, May 27, 2015 at 3:03 PM, David Sumbler da...@aeolia.co.uk wrote: But both of these are work-arounds for something which is actually fairly normal musical notation. They are work-arounds because one method implies that a note is not really the length that it appears to be, and the other method implies that the dynamics actually belong to another, silent voice. Neither of these is true in reality. Actually, I think I was a little imprecise talking about attaching the dynamics to a new voice here. I created SimultaneousMusic, rather than another Voice context. Note that this is done commonly enough by users parameterizing their input: one variable is used to store the notes, and another to store the dynamics. (This is not to say that there isn't some hackery at work here :) ) Ideally one shouldn't have to use trial and error, varying the length of the second invisible rest, to get an acceptable appearance. We know exactly where the final dynamic should go: it should be immediately before the bar-line. Yes, but what of more complex examples, where a composer indicates a number of inflections on a single note? There are a number of examples of that here: https://www.youtube.com/watch?v=uav-OYUJ7BQ (including a simple one at the very beginning). How else could you notate these cases without the simultaneous music approach? Best, David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic mark at the end of a bar
On Wed, 2015-05-27 at 22:14 +0100, Phil Holmes wrote: - Original Message - From: David Sumbler da...@aeolia.co.uk But both of these are work-arounds for something which is actually fairly normal musical notation. They are work-arounds because one method implies that a note is not really the length that it appears to be, and the other method implies that the dynamics actually belong to another, silent voice. Neither of these is true in reality. Ideally one shouldn't have to use trial and error, varying the length of the second invisible rest, to get an acceptable appearance. We know exactly where the final dynamic should go: it should be immediately before the bar-line. Perhaps at some stage the Lilypond developers could look at the possibility of having a method of adding a dynamic (or text) for cases like this, so that it is automatically right-aligned to a note or rest. Additionally, if the note or rest comes immediately after a barline, then the dynamic/text should be right-aligned to the barline itself. I would suggest that a suitable input method would be to use a slash (/) instead of or as well as the usual backslash (\). I am not criticising Lilypond, which is magnificent. But it does seem unfortunate that at the moment there is no way of directly inputting a perfectly normal, if not particularly common, bit of standard notation. I'm sorry, but you've lost me on this. What, musically, is the difference between a dynamic at the end of a bar, and the same dynamic at the start of the next bar. As I performer, I can't distinguish. Well, I suppose that the difference logically and musically is none, if the note is followed by a rest. But what if it is followed by another note? In the example I gave there was a note lasting for one bar followed by a one bar rest. You are suggesting, it seems, that it would be all the same if the dynamic indicating the level which we want the crescendo to reach were attached to the rest in the next bar. In theory you are correct, but (a) I do not recall ever having seen this notation in the 62 years I have been playing music, and (b) it is illogical to apply a dynamic to a silence, although I admit that this objection is somewhat academic. However, I think that most performers would think that it looks wrong and it is therefore possibly a little confusing. Now consider an instance where, instead of a rest in the 2nd bar, we have another note which needs to be played in a similar manner to the first. In other words, we have 2 (or more) 1-bar notes, each of which starts at the same level (e.g. piano) and crescendoes to forte, say. Each note needs a separate hairpin, with an 'f' marking at the end and, with the possible exception of the 1st note, a 'p' marking at the start of the note. We would probably also put the word 'subito' or 'sub.' after the 'p' on the 2nd note. In this case the 'f' *must* come at the end of one bar and the 'p' at the start of the next. Having both at the start of the next bar would mean something quite different: we would be indicating a 'fp' accent on the second note. (And if we put 'fp sub.', not only will it make no difference but it will cause the performers to wonder what on earth the composer meant by it.) In the particular case I was dealing with, there is a time change at the barline. Having a time signature increasing the distance between the end of one bar and the start of the next would have made idiosyncratic placing of a dynamic at the start of the next bar (which only contains a whole bar rest) look even more weird than it would otherwise. And supposing that there is a line-break, or even a page-break at this point? That would look even more peculiar. In conventional music I have never seen a dynamic applied to a rest, so far as I can remember. In any case, this is all rather academic: the convention, in my experience, is that the destination dynamic in these cases is printed before the barline. I don't think anyone would think that notating music in an unconventional manner because the software makes it easier to do it that way is a good idea. David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Dynamic mark at the end of a bar
David Sumbler david at aeolia.co.uk writes: I often use 's1*0\!' to end a hairpin just before a barline. Is that needed? If you end it on the first note of the next bar, it should be typeset to end just before the barline, see http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-attached-to-notes#Selected-Snippets-32 But how can a get a dynamic mark (e.g. 'ff') to appear at the end of a bar? In the following example, the first hairpin behaves as I want. The second one ends with a dynamic, but the new dynamic appears at the start of the following bar, even though it is attached to an item which occurs on the barline. As has already been discussed, the question is what the musical meaning of such a notation would be. Certainly, I can think of printed music, not to mention hand-written manuscripts, where dynamic marks are placed far from the note they are intended to match, but it won't help the musician. If you can show that this notation is established and has a specific meaning, then it might be interesting to add support in LilyPond. Otherwise, you will have to live with the more or less clumsy workarounds. /Mats ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to add barre indications to automatic fret diagrams?
On 26.05.2015, at 23:58, Carl Sorensen c_soren...@byu.edu wrote: Let's try again. I have checked this version; it has the warning code. Yes, it does. Looks very good to me! Thanks a lot, patrick ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
