Re: [large/complex projects] where should transpositions go?
Dear Kieren,
I’d like to share two approaches I’ve developed for such issues. There’s
two caveats:
Firstly, I couldn’t take time to study your setup and how that makes
these approaches viable or not—sorry for that.
Secondly, if possible, I always try to use vanilla LilyPond tools, so I
prefer using tags as far as they may take me over using the
editionEngraver and I prefer complicated \include setups with Scheme
conditionals over using make. This is in an attempt to improve
maintainability and reduce overhead.
On 27.01.24 23:03, Kieren MacMillan wrote:
I don’t believe quoted music can be transposed directly (i.e., you need to
create a second, pre-transposed, quotation)
What I’ve started doing after running into this problem is for example
sop = { %{soprano music%} }
\addQuote "sop" \sop
\addQuote "sop8vb" \transpose c c, \sop
Recently I even put this into my standard include files to avoid having
that third (or more) lines from the example:
addQuote =
#(define-void-function (name music) (string? ly:music?)
(_i "Define @var{music} as a quotable music expression named
@var{name}, along with transposed versions @var{name8va} and
@var{name8vb}.")
(add-quotable name music)
(add-quotable (string-append name "8va")
#{ \transpose c c' $music #})
(add-quotable (string-append name "8vb")
#{ \transpose c c, $music #}))
Another technique is this:
%%% from my library/ly-utility.ily file
musicFunctionDummy = #(define-music-function (mus) (ly:music?) mus)
addToplevelMusicFunctions =
#(define-scheme-function (names) (symbol-list-or-symbol?)
(let* ((name-list (if (list? names) names (list names)))
(lookup-function
(lambda (name) (let ((fn (ly:parser-lookup name)))
(if (equal? fn '())
(begin
(ly:warning "Cannot find music function
~a to add to toplevel functions.\n" name)
musicFunctionDummy)
fn
(fn-list (map lookup-function name-list)))
(set! toplevel-music-functions
(append fn-list toplevel-music-functions
%%%
Example usage:
%%%
transposer = \transpose g f \etc
enharmonicsChooser = \keepWithTag #'originalSpelling \etc
\addToplevelMusicFunctions transposer,enharmonicsChooser
%%%
All the best for your projects!
Simon
Re: [large/complex projects] where should transpositions go?
Hi Valentin, I’m… a bit gobsmacked. > I think with large projects it is a good idea to establish a nice data flow. Agreed. > Basically your code does different things. For one thing you have musical > data, > for another thing you have formatting of said data, and then you also have > functions and stuff. Still on the same page with you. > Depending on your particular needs you can create you own way of specifying > data, layouts, stylesheets and such, and the cleaner you can separate these > the better you will be able to transparently do complex things. 100% >> 1. Should I have one output file per score, or use \book? I assume if it’s >> multiple files, and I want to keep them synchronized, I would want to use >> make (or similar) to trigger a compilation of all of them at once? > > Depends on what you want. Okay, I figured as much. ;) >> 2. Am I <<>>-ing the \global at the best spot(s)? > You could also add \global once in a toplevel DevNull Now *that* is a use of DevNull I’ve never considered (or even seen) before. Fascinating! > With such small differences it might be useful to notate chords by voices << > ... >> instead. I love this idea! > Here is a sketch demonstrating a few concepts of how you could specify data > and have custom music function make sense of it Here’s where my gob got smacked. If I understand correctly what you’ve done here — and TBH it will still take me a little time and testing to fully get my head around exactly how it’s working and the full scope/applicability — this approach is exactly the level of abstraction and reuse/adjustability I need. Thank you so much! I’ll get back to you if I have any questions. Best, Kieren. __ My work day may look different than your work day. Please do not feel obligated to read or respond to this email outside of your normal working hours.
Re: [large/complex projects] where should transpositions go?
Hi Kieren,
I think with large projects it is a good idea to establish a nice data flow.
Basically your code does different things. For one thing you have musical data,
for another thing you have formatting of said data, and then you also have
functions and stuff.
Depending on your particular needs you can create you own way of specifying
data, layouts, stylesheets and such, and the cleaner you can separate these
the better you will be able to transparently do complex things.
> 1. Should I have one output file per score, or use \book? I assume if it’s
> multiple files, and I want to keep them synchronized, I would want to use
> make (or similar) to trigger a compilation of all of them at once?
Depends on what you want.
> 2. Am I <<>>-ing the \global at the best spot(s)?
You could also add \global once in a toplevel DevNull
> 3. Compare the voicing of m3 in the SATB and SA voicings: mm1-2 are
> different, but m3 is the same. How can I do this kind of thing with the
> least amount of code duplication? I don’t believe quoted music can be
> transposed directly (i.e., you need to create a second, pre-transposed,
> quotation); I can’t see how to inject a transposition (e.g., using the
> Edition-Engraver) into a specific part of a score/variable; I really don’t
> want to have to break every variable into multiple subvariables to handle
> every difference between voicings (nor do I want to have complete
> duplicates, one per voicing!); etc.
With such small differences it might be useful to notate chords by voices <<
... >> instead.
Here is a sketch demonstrating a few concepts of how you could specify data
and have custom music function make sense of it:
%%
%%
replaceWithTag =
#(define-music-function (tags rep music)
(symbol-list-or-symbol? ly:music? ly:music?)
(music-map
(lambda (x) (if ((tags-remove-predicate tags) x)
x
rep))
music))
alternatives =
#(define-music-function (names musics) (symbol-list? ly:music?)
(ly:music-set-property! musics 'alternatives names)
musics)
selectAlternative =
#(define-music-function (alt music) (symbol? ly:music?)
(music-map
(lambda (x)
(if (ly:music-property x 'alternatives #f)
(assoc-get alt (map cons (ly:music-property x 'alternatives)
(ly:music-property x 'elements)))
x))
music))
preferredClef = \tag preferred-clef \clef "treble"
reflow =
#(define-music-function (style music) (list? ly:music?)
#{
\transpose #(ly:make-pitch 0 0) #(ly:make-pitch (assoc-get 'octave style
0) 0)
\removeWithTag #(assoc-get 'removes style '())
\selectAlternative #(assoc-get 'alternative style 'default)
\replaceWithTag preferred-clef \clef #(assoc-get 'preferred-clef style
"treble")
#music
#})
styles.tenor.preferred-clef = "treble_8"
styles.tenor.octave = -1
styles.bass.preferred-clef = "bass"
styles.bass.octave = -1
styles.choir_satb.alternative = #'sa
styles.choir_sa.alternative = #'satb
\language "english"
global = {
\tempo "Fast"
\key c \major
s1
\tag full { s1 }
\bar "||"
\key d \major
s1
\bar "|."
}
voice.michael = {
\preferredClef
c''4 4 4 4
\tag full { g'4 4 a'4 4 }
d'4 4 4 4
}
voice.chorus = \new Voice <<
{
c'4 4 4 4 \tag full { b4 4 cs'4 4 } d'4 4 4 4
}
{
e'4 4 4 4 \tag full { d'4 4 e'4 4 } fs'4 4 4 4
}
{
\alternatives satb,sa <<
{
g4 4 4 4 \tag full { g4 4 a4 4 }
}
{
g'4 4 4 4 \tag full { g'4 4 a'4 4 }
}
>>
a4 4 4 4
}
>>
\score {
<<
\new Devnull \global
\new Staff { \voice.michael }
\new Staff \reflow \styles.tenor { \voice.michael }
\new Staff \reflow \styles.bass { \voice.michael }
\new Staff \reflow \styles.choir_satb { \voice.chorus }
\new Staff \reflow \styles.choir_sa { \voice.chorus }
>>
}
%%
%%
Cheers,
Valentin
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Re: [large/complex projects] where should transpositions go?
Hi Timothy, > If I have understood Kieren correctly, he wants the option to configure his > score with a part either sung by a tenor voice at written pitch, or a treble > voice one octave higher. Correct. > The attached files illustrate a couple of suggestions that might help. > • Set up new contexts (TrebleStaff, TenorStaff) that automatically > insert the right clef, and transpose the notes up an octave in the > TrebleStaff. > • Use a tag group that is adjusted to build the various styles of > score, while keeping the definition of the scores fixed. This is a very interesting approach, which I will consider seriously for many of the applications I have. In particular, it is superior to my current “manually insert \transpose commands all over the place“ method. (And, p.s., I love the small but important abstractions you also implemented, like \KMTags — every reduction in duplication helps in such a complex/complicated structure!) The one constraint/situation this might not handle is when the transposition/octavation happens *mid-system*. I could, of course, just accept that I always have to end a system and French the staves appropriately… but at this stage of investigation, I want to know all of my options, and the pros/cons of each approach. Many thanks for this solution! Kieren. __ My work day may look different than your work day. Please do not feel obligated to read or respond to this email outside of your normal working hours.
Re: [large/complex projects] where should transpositions go?
On 28/01/2024 22:16, Wol wrote: On 28/01/2024 21:56, Timothy Lanfear wrote: Set up new contexts (TrebleStaff, TenorStaff) that automatically insert the right clef, and transpose the notes up an octave in the TrebleStaff. Are the notes supposed to be PLAYED an octave higher/lower, or just written. If I have understood Kieren correctly, he wants the option to configure his score with a part either sung by a tenor voice at written pitch, or a treble voice one octave higher. -- Timothy Lanfear, Bristol, UK.
