Re: naturalize pitches
On 2016-03-30 13:49, Jaime Oliver wrote: Sometimes it preferable to change the source directly instead of using function calls. Could you explain when this is the case? This was only a general reflection. The source code is more transparent without getting filtered by functions that change the output. Also if you want to change something after the function is applied things can get complicated. If we take the example of transposing to be more specific - transposing by Lilypond (with \transpose) contra transposing by Frescobaldi (Tools->Pitch->Transpose). The functionality is identical but Frescobaldi's version changes the source code but LilyPond only the output. When does this difference matter? If we for example have a music variable that we want to transpose from C (major) to B (Major), but want to change a couple of g# to g (natural) afterwards. Then I think the Frescobaldi method is preferable because we have to make a copy of the variable anyway. And it's more straightforward to actually change the pitches from g# to g than to change from a to ab. On the other hand if you know that you're not going to do any manipulation of the variable afterwards it's perhaps preferable to use the LilyPond method - in this case to avoid having to make a copy of the variable. In general I think working with LilyPond features a whole range of interesting decisions between manipulating the source code directly and using functions (internal or usermade) to manipulate the output. This is only a transposing instrument situation so it should be doable. Yes, not much to think about in that case. But I hope a made my point clearer!? :) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: naturalize pitches
On 2016-03-18 11:39, Jaime Oliver wrote: I am using version 2.18.2-1, with frescobaldi on a mac os x 10.11.2 Any help would be greatly appreciated! As you are using Frescobaldi you may want to take a look at Transpose, Modal transpose and Mode shift in Tools->Pitch. Sometimes it preferable to change the source directly instead of using function calls. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Better slashed graces
On 2015-11-30 18:01, tisimst wrote: I know that beamed grace notes don't /need/ a slash, so maybe there could be a hook to turn it on or off? There already is \slashedGrace. But it doesn't work for multiple notes. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: Beauty of programming languages
On 2015-08-26 22:10, Urs Liska wrote: This thread makes me wonder: what's the average age of LilyPond users >and >developers? Remind me in two weeks and I'll start a poll on Scores of Beauty ... I send in this reminder not because I'm especially interested in ages, but it would be interesting to know more about stuff like editor usage and if LilyPond is used for original compositions or for engraving existing compositions. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: OT: Beauty of programming languages
On 2015-09-10 15:57, Kieren MacMillan wrote: Just in case this doesn’t make it to the poll stage… >>>This thread makes me wonder: what's the average age of LilyPond users and developers? >>Remind me in two weeks and I'll start a poll on Scores of Beauty ... >I send in this reminder not because I'm especially interested in ages, but it would be interesting to know more about stuff like editor usage and if LilyPond is used for original compositions or for engraving existing compositions. Age: I am 46 (as of two weeks ago) Editor Usage: I recently switched to using Frescobaldi, after more than a decade of using Lilypad (i.e., the built-in editor that ships with the Mac OS X binary). Lilypond Usage: I am a composer. (Actually, as of my birthday I’m now a full-time composer: I “retired” from my erstwhile dual career in music and computer programming.) So, naturally, >95% of my Lilypond usage is for engraving original compositions. (I do transcribe/transpose/etc. a few existing compositions from time to time, but that’s a very small part of my overall workflow.) Thanks for sharing Kieren! I think there will be a poll eventually, but here's a short description in response: I'm 44 and a composer and developer. If I'm not mistaken I started using LilyPond and Frescobaldi in the autumn 2012. Apart from my small contribution to Das Trunkne Lied my work has been on my own original pieces. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: how to define rehersal marks globally?
On 2015-09-04 18:32, David Kastrup wrote:
>Hi,
>
>When I have a score, how can I define rehersal marks globally (instead of in
every voice) so that they appear in every other voice, when I print it out (like
below)?
>
>%%
>global= {
> \time 4/4
> \key c \major
>}
[...]
Well, the following might be relying a bit much on current semantics but
at least now it appears to do the trick.
global =
<<
\global
\new Devnull \violinOne
If you already have a variable with all the rehearsal marks I agree with
David's suggestion to use that as a Devnull. But if you are starting on
a new score I think it's a better solution to create the rehearsal marks
and other common stuff as an own variable, at least it's what I'd prefer.
Best
Peter
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Re: Ensemble full score annotations and parts
On 2015-08-21 08:54, tisimst wrote: We have a full score for an ensemble of several instruments that has a top line of extensive annotations. How does one go about creating this so that it appears not only in the full score, but also in every individual part? I have started to look at defining a custom context for a hidden staff that holds the brackets, but I am lost at this point. I feel sure this must be a common design pattern, which I can not yet discern. See attached sample image. Andrew I often will create another voice for structure, using spacer rests to align things, and put it in a variable that is reused in the full score and each part. This voice is placed in parallel with the other main voice of the first Staff. Or, you can put the same voice but in a separate, dedicated Dynamics context above the first staff. Either one of those should do what you need. - Abraham Normally I'd use a Devnull (context) for common parallel common stuff (including rehearsal marks, time signatures, tempo markings etc.). So I would say that this is the common design pattern. But as I understand it you are using modified textspanners for the annotations, so this will not work in your case. To change the basic structure as little as possible I would then use a Dynamics (context) instead of the Devnull context. (Just a personal testimony from a user.) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sharping naturals
When you use key signatures like A major or B Major you end up with a lot of naturals in the score for which you may have to manually add sharps. Is there a switch that will automatically sharp all the naturals? David, in a previous thread some time ago on a similar topic I think I recall that you mentioned that this may be better seen as an editor task than a task for LilyPond. In Frescobaldi (since v 2.18) there is a tool (Tools-Pitch-Mode shift) that adjusts the pitch to a given mode or scale. I just realized that this may be able to accomplish the above: If you enter: b c d e f g a and use the Mode shift tool with the mode b major the result will be: b cis dis e fis gis ais As mentioned before (in this thread), the problems start if you actually do not want some of the notes to be sharpened. Then of course you'll have to adjust this manually! But with a piece with only a few exceptionds to the given key it may be worth while to use this method... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: String Results of Changing Pitches
On 2015-08-09 15:37, Thomas Morley wrote: Not sure whether Frescobaldi has a feature which fits your needs better To transpose in Frescobaldi use Tools-Pitch-Transpose. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sharping naturals
On 2015-07-23 19:29, Malte Meyn wrote:
By the way, how would one write a g natural in b major, if ‘g’ lead to
a g sharp? ‘ges’? But if so, how to write a ges?
I assume you mean g# minor with the same accidentals in the key
signature as b major. The lead tone to gis (g sharp) is fisis (f
double-sharp) and not g (natural).
Take a look at the following example:
cmaj = { c' d' e' f' g' a' b' }
ahmin = { a' b' c'' d'' e'' f'' gis'' }
\score {
\new Staff {
\key c \major
\cmaj
}
\new Staff {
\key a \minor
\ahmin
}
\new Staff {
\key b \major
\transpose c b, { \cmaj }
}
\new Staff {
\key gis \minor
\transpose a gis { \ahmin }
}
}
Best
Peter
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Re: sharping naturals
On 2015-07-24 09:59, Urs Liska wrote: By the way, how would one write a g natural in b major, if ‘g’ lead to a g sharp? ‘ges’? But if so, how to write a ges? I assume you mean g# minor with the same accidentals in the key signature as b major. The lead tone to gis (g sharp) is fisis (f double-sharp) and not g (natural). I think you misunderstood Malte's (not completely properly worded) question. He didn't use 'lead' in the sense of leading note. What he meant is: If a key signature of b major (five sharps) is given and in a notation system typing 'g' would be interpreted as g sharp - what would you have to write if you want to express a g natural? Yes, sorry for the misunderstanding! I wasn't grasping the full context of his question... And as I've said that input language would then have a syntax to express 'natural'. Yes, naturally! :) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: = sign in time signature
On 2015-07-10 11:47, Menu Jacques wrote: Hello folks, Is there a way to obtain the following, i.e 3/4 = 9/8, from Jacques Ibert’s « Deux mouvements »? Thanks! JM Take a look at this https://github.com/openlilylib/openlilylib/tree/master/notation-snippets/interchangeable-metres. I don't rememberer the state of it but I think you could either do what you want or easily adapt it to do what you want. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Exporting quarter tones to midi?
On 2015-07-03 16:13, Urs Liska wrote: I guess my question then is whether there's a way to export it to another notation program - since all of them use a different protocol to define quarter tones. I saw that there's a lilypond-musicxml project but I am not sure what stage of development it is in. Just use Frescobaldi, enable the experimental features on the first Preference page and try to export your example. If it works - great. If it produces a crash - please report at https://github.com/wbsoft/python-ly/issues. If it*does* export but the export isn't good enough - please report at the same place. Sorry for the late response! Quarter tones should work in the Frescobaldi musicXML export! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Forwarding LilyPond issue
Reported on the Frescobaldi issue tracker: I'm a Fedora 22 user with Frescobaldi 2.18.1 and Lilypond 2.19. I'm having an issue when i try to engrave a score. It seems to fail when it tries to generate a pdf. Layout output to|duba.ps'...Converting to|./duba.pdf'... warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=./duba.pdf -c.setpdfwrite -fduba.ps)' failed (256) fatal error: failed files: /home/marsan/Documentos/Partituras/Coral/Duba/duba.ly What is wrong? Thanks. I'm not familiar with this (but Urs responded that it's a known issue). Is it a Fedora specific problem? Any workarounds? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Forwarding LilyPond issue
On 2015-07-08 09:57, Urs Liska wrote: fatal error: failed files: /home/marsan/Documentos/Partituras/Coral/Duba/duba.ly What is wrong? Thanks. I'm not familiar with this (but Urs responded that it's a known issue). Is it a Fedora specific problem? Any workarounds? It's not necessarily Fedora related as others have similar problems too. I encounter this on Debian also sometimes. Do you mean that it is just a matter of keep on trying and LilyPond will eventually succeed? (I've never seen this in Ubuntu.) It seems to have been introduced by some changes to the Ghostscript/Pango systems. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Forwarding LilyPond issue
(I've never seen this in Ubuntu.) On 2015-07-08 10:11, Urs Liska wrote: [...] it only affects binary releases and not my self-built LPs [...] That could explain why I haven't encountered it. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Forwarding LilyPond issue
On 2015-07-08 10:17, Andrew Bernard wrote: Hi Peter, I reported this some time ago for Fedora 22. The issue has been dealt with and fixed and is now working in 2.19.22. Previous versions fail with the error you show, but 2.19.22 is now good. It’s not a Frescobaldi error. Andrew Thanks! Good to know that it has been fixed! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using python snippets in Lilypond
On 2015-06-21 16:28, David Kastrup wrote: Dear All, I understand that there is a way to use python snippets within a lilypond score. Not that I know of, so it would seem that any such possibility would not be advertised widely and definitely not be a core feature of LilyPond. The LilyPond editor Frescobaldi may be extended in Python if I am not mistaken. Yes, you can use Python snippets in Frescobaldi, but not in the LilyPond code/score directly - instead they are created in a special Snippets editor. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using python snippets in Lilypond
On 2015-06-21 16:47, Urs Liska wrote: Just a question: would it be possible to call a Python script from Scheme (this should be possible) and use its output in LilyPond? Maybe you'll find some answers here: http://www.zak.co.il/a/itches/pyguile Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using python snippets in Lilypond
Yes, you can use Python snippets in Frescobaldi, but not in the LilyPond code/score directly - instead they are created in a special Snippets editor. So I create the python snippet - how do I then call it in the score? I apologize if this is too basic of a question... No I don't think it is too basic! I guess it interesting to compare it with a Scheme snippet, if you like, inside the LilyPond code. A scheme snippet is basically compiled together with the rest of the LilyPond code and can extend that code. With a Python snippet in Frescobaldi you can instead manipulate the LilyPond code to get the result you want. You don't call it from the score; you call it from the editor to change the score before it is compiled. If it's changes you perform regularly on the score, a Snippet could conveniently be applied to a keyboard shortcut or to the Snippets menu - otherways you run it from the Snippets manager. Hope that explains the basics! If you tell us more about what kind of snippet you want to run we could discuss this in more detail. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: using python snippets in Lilypond
On 2015-06-21 18:37, Paul Morris wrote: If it's changes you perform regularly on the score, a Snippet could conveniently be applied to a keyboard shortcut or to the Snippets menu - otherways you run it from the Snippets manager. Does anyone know if there is a way to add these snippets to the snippets menu in Frescobaldi? If there is I haven’t been able to find it. It would be much more convenient to access them there (rather than via the snippets manager panel). Yes, this is controlled by the top line in the Snippet (you have to open the Snippet in the Snippets editor to see that). If you put in menu: followed by the name of the section in the Snippets menu, they will appear there. I think you'll understand what I'm talking about if you look at some of the examples. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: offseting /makeCluster
On 2015-06-18 20:49, Peter Bjuhr wrote: I have no idea but I guess you have already tried using offsets!?? Perhaps that should have been: I guess you have tried all offsets!? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: offseting /makeCluster
On 2015-06-18 17:22, Gilberto Agostinho wrote: I need to notate a graphic score which uses some unusual notation for dynamics: they have their own staff and they consist of polygons (similar to dealing with volume of a track in Pro Tools, REAPER or other DAW). I realised that to avoid creating all these graphics using paths or even in Inkscape later on, I could use the \makeCluster function. But you can notice that \makeCluster changes the slopes at the positions where the noteheads should have been rather than where the barlines are, so the whole figure is slightly shifted to the right. I tried overriding the noteheads positions but to no avail. Would any of you have some suggestions on how to tackle this problem, that is, how to move the whole cluster slightly to the left? I have no idea but I guess you have already tried using offsets!?? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: offseting /makeCluster
On 2015-06-18 21:12, Gilberto Agostinho wrote: I guess you have tried all offsets!? You guessed wrong: I actually missed the most obvious offset which is Staff.ClusterSpanner.extra-offset (somehow I was convinced that it had to do with noteheads and that offset wasn't working). Using \override Staff.ClusterSpanner.extra-offset = #'( -0.5 . 0) does the trick... Thanks a lot and sorry for the silly post, Great, thanks! Sometimes the smallest thing can put you in the right direction... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Engrave error
On 2015-06-11 13:52, Wilbert Berendsen wrote:
Opened Frescobaldi today and got a 62097 error when I tried to engrave.
I did some research and the 62097 error seems to be triggered by Qt:
void QProcessPrivate::killProcess()
{
if (pid)
TerminateProcess(pid-hProcess, 0xf291);
}
see:
http://lists.qt-project.org/pipermail/development/2013-March/010157.html.
Not so much clues about why it was triggered though!
Best
Peter
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Re: Git + LilyPond
On 2015-06-07 11:35, Peter Bjuhr wrote: What I now consider is my best option in this case is to simply add the single repo as a remote in the larger repo and merge it in. Maybe I should add that normally this would probably be too simplistic, but it actually fits my file structure perfectly; because in the single repos at the top level I only have publication pdf:s and I have them ignored by git anyway. So when I merge the repos in as is they only create the suitable subfolder. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Git + LilyPond
Thanks for all suggestions. It's really appreciated! I have a question for those who use version control (and especially Git) with LilyPond: When I write a new piece (or rather when a first version is written) I'd like to edit this as a single repo. But when it's (more) finished I think it would be better to collect it with other pieces in a larger repo (with the history intact of course). How can I do this? Is it a good idea? why not using branches? if you're intending to merge repositories later anyway it might make sense to have them in one repository right from the start. I haven't really considered this because I like the idea of having the pieces initially as single repos and only use the larger repo as a showcase/collection/library. But I shall give it some more thought though! All the revision control magic I've seen until now ended with How could we ever have thought that was a good idea. Go with the flow. I agree! With Git I think it is often best to keep it simple - code orderly, record the the history and keep it in sync. (It's no bad bad thing to know some Git magic though if you really need it...) Therefore I was also hesitant of following some more advanced strategies I found. See e.g. http://blog.karssen.org/2013/06/06/importing-a-git-repo-into-another-one-keeping-all-history/ and several other discussions on the internets. This approach isn't very good because it includes an artificial commit that moves all stuff to some directory. You should rather use a subtree merge: https://git-scm.com/book/en/v1/Git-Tools-Subtree-Merging which allows to port commits between big repo and any remaining subrepos This is very useful. I'll save this for later reference. But I'm not sure I need this technique for the present purpose. What I now consider is my best option in this case is to simply add the single repo as a remote in the larger repo and merge it in. I'm glad I asked the question. I were complicating things too much before, I think. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Git + LilyPond
Hi all, I have a question for those who use version control (and especially Git) with LilyPond: When I write a new piece (or rather when a first version is written) I'd like to edit this as a single repo. But when it's (more) finished I think it would be better to collect it with other pieces in a larger repo (with the history intact of course). How can I do this? Is it a good idea? I have some clues how to achieve this (especially with submodules), but I'd like to hear your experiences and tips! (I vaguely remember some similar discussion about this!??) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: point-and-click from PDF viewer to lilypond editor
On 2015-06-06 10:40, Federico Bruni wrote: Does anybody here use point-and-click from an external PDF viewer (either Evince or Xpdf) to the lilypond editor? I find it useful when transcribing from a PDF manuscript, because I can organize three different windows (manuscript, PDF preview and lilypond editor) to work and compare. I've tried several editors but none works correctly: I did a quick test. I'm on Ubuntu 15.04, Evince is called Document Viewer. But what I understand it's the same. I'm sure it has worked in the past, but now I get an error already in the viewer: Unable to open external link. I tried the instructions here: http://www.lilypond.org/doc/v2.19/Documentation/usage/configuring-the-system-for-point-and-click#extra-configuration-for-evince. But it didn't help. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: slur syntax
On 2015-05-23 18:56, Peter Bjuhr wrote:
In Frescobaldi if you use Quick Insert to slur the four notes you'll get:
|a( b c d)|
I tend to think the syntax |a ( b c d )| is preferable, but maybe with
this syntax it is clearer that the '(' belongs to the 'a' and not to
the 'b' - and ')' belongs to the 'd'.
Compare if you will with:
|a \staccato b c d \staccato|
The staccato marks will end up on the notes that precedes the command,
that is a and d.
Yo can also compare with the phrasing slur:
|a( b c d)||
||
||a\( b c d\)||
||
||a\staccato b c d\staccato|
Best
Peter
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Re: slur syntax
On 2015-05-23 18:29, Gianmaria Lari wrote:
I understood that slur markers are not brackets in the mathematical
sense but simply mark something to start or end but don't understand the
consequences of this. Wouldn't be possible to slur the four notes a b c d
using the other syntax
(a b c d)
instead of
a (b c d)
?
Thank you, g.
In Frescobaldi if you use Quick Insert to slur the four notes you'll get:
|a( b c d)|
I tend to think the syntax |a ( b c d )| is preferable, but maybe with
this syntax it is clearer that the '(' belongs to the 'a' and not to the
'b' - and ')' belongs to the 'd'.
Compare if you will with:
|a \staccato b c d \staccato|
The staccato marks will end up on the notes that precedes the command,
that is a and d.
Best
Peter
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Re: What is the problem with \relative? (Was: Do we really offer the future?)
On 2015-04-26 15:13, Simon Albrecht wrote: If this is so easy for frescobaldi to have this converter relative2absolute, and so usefull to have input files in absolute, why not implant (implement) a commandline option to lily that would convert the relative blocks founds to absolute? Lilypond is intended for evaluating code, not for altering it. It’s perfectly fine to leave this tool for user interface software like Frescobaldi or Denemo. The relative2absolute tool used by Frescobaldi and other useful stuff actually is available from the commandline (but not as a part of LilyPond of course) since a while back. https://pypi.python.org/pypi/python-ly Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: E-mail management question
On 2015-04-23 16:59, SonusProj . wrote: Subscribing to this e-mail list is overwhelming me with e-mail posts that are beyond me and outside of my scope of interest. Is it possible to throttle the e-mail so I don't receive 70 e-mails a day? I guess I am seeing if there is a forum type format that I can come and go at my leisure but in real time so I can post question or responses as necessary. As you have a gmail account I can mention yet another possibility: You can create a tag for mails from this list. Then you can create a filter that lets mails with that tag skip the inbox. That way the list mails doesn't fill your inbox, and they are nicely collected by any email client with the help of the tag. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Slur and tie
On 2015-04-21 09:51, Urs Liska wrote:
is this correct?
\relative c''' { a,,( e' b' c) ~ c( b a d,) }
How is it different from:
\relative c''' { a,,( e' b' c ~ c b a d,) }
My musical intuition prefers the second line but the original score
reads the first.
The first version isn't technically wrong but rather strange and
pointless.
The second version is definitely preferrable.
What to do depends on the context of course. In a critical edition I'd
use the second version and add an annotation in the report.
Urs and Joram, I share e your musical intuition. But the practice of
using slurs have changed over time and is also different for different
instruments. Perhaps in the given context the slurring makes more sense!?
Best
Peter
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Re: Do we really offer the future?
On 2015-04-17 15:03, Urs Liska wrote: - most people in the business have moved away from taken the status quo with Finale and Sibelius for granted. - they know that they *have* to find new answers. - many (except a few die-hard reactionists) see that LilyPond and friends *can* offer answers to their questions - but they also see that these are maybe not the only possible answers and - that we (currently) can't guarantee straightforward migration paths. Market is hard, and everything is moving quite slowly, of course. But IF we should be able to come up with convincing solutions or at least roadmaps I see that we now have better chances than ever to get LilyPond a foot in the door with the publishing business in general. Sorry for that elaborate text, but I think it is important and hopefully fruitful. Indeed! I only want to make a short personal comment at this point and I may or may not enter the real debate later: As someone who has made the journey from (one of) the two established notation programs to LilyPond, I'm convinced it was the right decision for me but it would honestly be hard for me to recommend it for anyone else - composer or editor - at this point. In this respect I agree with your concern, Urs. But in analogy with Linux and others, LilyPond has a great community where some contribute to the core and others contribute to making tools, documentation etc that makes the rough core accessible to more people! So in my view we are more or less rapidly closing in on the point where it would be possible to recommend it to more than a few (albeit not all). Urs, I'd like to take the opportunity to thank you for all your effort in making LilyPond better! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Incorrect bar number comments in input file
On 2015-03-29 23:31, Charles Johnson wrote: Is it just me or are there often instances where bar number 'comments' are misnumbered in input files? Is this perhaps a tool autogeneration problem Kind regards, Charles Johnson One example of auto generated ly files is when using musicxml2ly. In this case the bar numbering refers to the next bar, and not the preceding bar. Here's an example: \clef treble \time 4/4 c2 d2 | % 2 c2 d2 This convention is also used in other places that you may have seen. Could this simply be a misunderstanding which bar the numbering refers to (has happened before)? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Implementation of \tuplet allow both incorrect and correct musical expressions
On 2015-03-26 10:53, Simon Albrecht wrote:
The essay
on writing readable tuplets was quite interesting.
From the context I assume you're referring to my post about tuplets on
the LilyPond blog:
http://lilypondblog.org/2014/09/how-to-write-readable-tuplets/. I'm
really glad you found it interesting!
The documentation mentions nothing about the intricacies of using
tuplets---why isn't there a link to this article from the section
2.1.7 of the Learning Manual where tuplets are first discussed?
Even before I read the essay I had some second thoughts that \tuplet
7/4 { c16 ... } might be clearer to the player if annotated as
\tuplet 7/8 { c32 ... } since 7 is closer to 8 than to 4 (i.e., I
anticipated the Nearness Rule).
I also found that certain arpeggios which appeared in a bassoon
composition of mine ( I just downloaded LilyPond about 10 days ago,
knowing nothing about it before, and learned enough of the basics to
engrave that composition)
Welcome as a LilyPond user!
[The arpeggios] seem easier to read if the notes are nominal 16ths
rather than following the Mathematical Rule:
{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } }
{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } }
So definitely there is a need for flexibility in using tuplets.
My main point in the text is that the flexibility of LilyPond has to be
used with care not to make the tuplets unnecessarily obscure.
Your example above seems strange to me. Compare this:
|{ c,,8( \tuplet 5/2 { g'16 c ef g c ) } c8 d2 s8 }||
||
||{ df8( \tuplet 7/2 { f16 bf df f bf df f~) } f8 d2 s8 } |
with this:
|{ c,,8( \tuplet 5/4 { g'16 c ef g c ) } c8 d2 }||
||
||{ df8( \tuplet 7/4 { f16 bf df f bf df f~) } f8 d2 }|
When placing five (5) and seven (7) 16ths over two (2) 16ths it seems to
me that you end up with an excessive 8th compared to what one expects
from reading the notation.
I am definitely impressed with LilyPond's capabilities and the input
language (I was a heavy user of LaTeX in my life before retirement, so
I am a fan of WYSIWYM tools).
Sincerely,
Ralph D. Jeffords
P.S. A bit about myself: I was a Research Computer Scientist before I
retired, but I'm also a bassoonist and even play the piano a bit (my
mother was a piano teacher).
Best
Peter
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Re: Implementation of \tuplet allow both incorrect and correct musical expressions
On 2015-03-26 21:47, Simon Albrecht wrote:
Peter, My strange example of tuplets using neither Math Rule nor
Nearness Rule will be clarified if I show the context. Here is
that context from a part of the piece I wrote for solo bassoon:
\version 2.18.2
\language english
\score {
\relative c' {
\partial 4
\clef bass
\key af \major
c,,8( { \tuplet 5/2 { g'16 c ef g c) } }
|
ef4\fermata
\tuplet 3/2 { df8 ef df }
\tuplet 3/2 { c df c }
\afterGrace bf4 \startTrillSpan { a32 bf \stopTrillSpan }
|
af,8-.[ c'-.
bf-. g,-.]
f-.[ af'-.
g-. ef,-.]
|
df8( { \tuplet 7/2 { f16 bf df f bf df f~) } }
f4~\fermata
\tuplet 3/2 { f8 ef( f }
\tuplet 3/2 { g16[ af g } f16 g])
|
} %relative
\layout { }
\midi { }
} %score
My point is that in this context, the 5/2 and 7/2 tuplets seem more
elegant than if you followed the Math Rule using 5/4 and 7/4, and
that the player would not be confused when playing the score. These
two tuplets are the only ones in this section and the triple beams
(required by Math Rule) look rather messy by comparison. Even
messier is the Nearness Rule giving 7/8 for the septuplet with a
quaduple beam.
Thanks for sharing the full snippet! You have learned LilyPond quickly!
And it's now easier to see what you are aiming for.
The first bar is an upbeat (partial) so the timing isn't exact anyway.
But the last bar with the septuplet is too crowded in my reading. I'd
definitively prefer 32ths here instead of 16ths.
But when you write that the 16ths are more elegant it suggests to me
that you're aiming for a notation with more rhythmical freedom like
grace notes or a cadenza. (You also use excessive brackets to enclose
these tuplets that to me invoke the feeling of something (rhythmically)
exceptional.)
Interesting that you perceive it that way. Certainly, it looks less
‘impressive’. :-) Personally, I’d probably prefer following the
Nearness Rule here. But, you see, for that reason it’s good that Lily
gives us the freedom to choose ourselves.
I totally agree! Lily should be a flexible tool and give the full
freedom that it is up to the composer/engraver to master.
Best
Peter
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Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18
On 2015-03-23 18:37, SoundsFromSound wrote: Hi all, I also am having quite a headache installing the new Frescobaldi 2.18 and python-ly on my friend's laptop. It's a new, clean install on Debian and I left all install locations as their default. I am getting the same error, saying python-ly is not found/up-to-date so Frescobaldi can't even open. Can you please tell me how I can fix this and get the application up and running? I tried removing all traces of Frescobaldi and then installing them to a different location, and still the same error. I've always had success updating Frescobaldi but 2.18 is the first time I've had such trouble. I'm certain it's to do with the python-ly install but I can't figure out why no matter where or how I install it, it fails. Thank you so much for any help! Hi Ben! Could you describe more in detail what steps you took to install Python-ly and Frescobaldi? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Frescobaldi] Re: ANN: Frescobaldi 2.18
On 2015-03-09 11:41, Simon Albrecht wrote: Hello, for whatever reason I keep running into problems whenever I try to upgrade Frescobaldi (or install it on another machine). This time, I downloaded the .tar.gz bundles of both frescobaldi 2.18 and python-ly 0.9.1 into ~/Frescobaldi/, unpacked them and installed them following the instructions, without any extra options. Then I deleted the ~/frescobaldi-2.0.15/ directory containing the old installation, but still Frescobaldi is complaining about not being able to find the correct version of python-ly. How can I go on? TIA, Simon Sorry, should have mentioned that this is on Ubuntu 14.10. Hi Simon! It seems to me that ~/frescobaldi-2.0.15/ is the source of the old installation and not where the old installation is. I also use Ubuntu 14.10, and when I run |sudo python setup.py install| Frescobaldi is installed in /usr/local/lib/python2.7/dist-packages. Can you confirm that you have no old installations in either /usr/lib/ or /usr/local/lib/? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Write result of abc2ly to standard output
Hi, when you use musicxml2ly and midi2ly you can write the output to stdout by this command: | ||--output=-| For abc2ly this doesn't work. Is there any workaround? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Write result of abc2ly to standard output
On 2015-02-16 21:56, Martin Tarenskeen wrote: when you use musicxml2ly and midi2ly you can write the output to stdout by this command: --output=- For abc2ly this doesn't work. Is there any workaround? abc2ly --output=/dev/stdout infile.abc works for me on Linux. Don't know about Mac or Windows. Thanks, Martin! I'm afraid the workaround must be platform independent... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi custom script
On 2014-10-26 13:31, Vaughan McAlley wrote: Sorry if I’m wrong, but can’t you type anything you like into Frescobaldi’s Engrave (Custom) command line window? Something like: python ~/scripts/myLilypondScript.py $filename ...should run the script and pass it the filename, however that works in Python. The command line window is of course expecting a command to run LilyPond. The flexibility of changing the command that is executed is thought for custom LilyPond calls. But as I understand it any command would be executed. The advantage is that you can make use of the shortcut $filename for the current document. Otherwise it's hard to see any benefits of that approach, I think. There are two issues I have at the moment- one is that it doesn’t seem to be possible to direct Lilypond output to stdout (Postscript in my case for piping to Ghostscript with lots of special options), and the second is that Frescobaldi forgets the custom command every time it quits, so you have to store it elsewhere. The ability to save a custom commands could perhaps be argued. At the moment the command is construed by the other settings. To catch the stdout message I think the best approach is to run the python script as a Snippet and to add the functionality to handle this. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi custom script
On 2014-10-24 15:01, Noeck wrote: Hi, I have a question concerning Frescobaldi: Is it possible to run a custom script (bash/python) from Frescobaldi. This would be my use case: I have a script that runs lilypond and then timidity and other tools to get ogg rehearsal files which are then packed in zip files. If I could run it from within Frescobaldi that would be cool. If I had a button or menu entry in Frescobaldi that runs it, and displays the output in the protocol area and the progress with the progress bar, that would be even better. Does anyone know if something like this is possible? Cheers, Joram Hi Joram, you can run a python script as a Snippet (Tools - Snippets). If it's possible to implement in detail is hard for me to say (without seeing your code), but I think that is what you could try if you want to do it within Frescobaldi. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spanner
On 2014-08-19 13:52, Peter O'Doherty wrote: Hi, I'm looking for something similar to the notation used in contemporary scores to indicate things like wide vibrato, microtonal undulations, indeterminate glissando - it closely resembles a trill spanner (without the tr) but is more rounded and with thinner lines. Is something similar to this available in lilypond? Many thanks. Peter Hi Peter, Joram Berger and myself wrote a couple of posts about using SMuFL fonts in LilyPond in the LilyPond-blog (Scores of Beauty). Especially take a look at no 5 in Joram's list in this post: http://lilypondblog.org/2014/02/feta-and-bravura/ If that looks interesting I could contribute with a code example. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Spanner
On 2014-08-19 15:15, Peter O'Doherty wrote:
On 08/19/2014 03:01 PM, Peter Bjuhr wrote:
On 2014-08-19 13:52, Peter O'Doherty wrote:
Hi,
I'm looking for something similar to the notation used in
contemporary scores to indicate things like wide vibrato, microtonal
undulations, indeterminate glissando - it closely resembles a
trill spanner (without the tr) but is more rounded and with
thinner lines. Is something similar to this available in lilypond?
Many thanks.
Peter
Hi Peter,
Joram Berger and myself wrote a couple of posts about using SMuFL
fonts in LilyPond in the LilyPond-blog (Scores of Beauty). Especially
take a look at no 5 in Joram's list in this post:
http://lilypondblog.org/2014/02/feta-and-bravura/
If that looks interesting I could contribute with a code example.
Best
Peter
es, that's exactly what I'm looking for, particularly the four
wiggles above the staff to the right of this example.
If you could share the code (if it's already available and doesn't
entail any extra work for you) that would be great.
Thanks,
Peter
I'm still not exactly sure what you want, but here's an example:
\include custom-music-fonts/smufl/definitions.ily
vibrato = \markup \smufllig
#'(wiggleVibratoSmallFaster
wiggleVibratoSmallFaster
wiggleVibratoSmallFaster
wiggleVibratoSmallFaster
wiggleVibratoSmallFaster
wiggleVibratoMediumFaster
wiggleVibratoMediumFaster
wiggleVibratoMediumFaster
wiggleVibratoLargeFaster
wiggleVibratoLargeFaster
wiggleVibratoLargeSlow)
\relative c''{
c1^\vibrato
}
If you change the glyph names I think you'll be able to get what you want.
Note that you need to download the files from
https://github.com/openlilylib/openlilylib to make the include work.
Further you need to install the SMuFL font Bravura. See
https://github.com/openlilylib/openlilylib/blob/master/custom-music-fonts/smufl/README.md
for more information.
Best
Peter
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Re: Spanner
On 2014-08-19 17:15, Peter Bjuhr wrote: If you change the glyph names I think you'll be able to get what you want. Here is the full list of glyphs to choose between: http://www.smufl.org/version/latest/range/multiSegmentLines/ Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Retrograde and inversion clefs
On 2014-08-09 00:11, guoguocuozuoduo wrote: Hi all, I am working on a piece that uses reversed and inverted clefs which indicate retrograde and inversion. The reversed clef is placed at the end of a line to indicate retrograde; the inverted clef is placed before the main clef to indicate inversion. How can I achieve this in Lilypond? Any help would be much appreciated. Attached is a picture to demonstrate what I would like to achieve. Hi, there are reversed clefs in the SMuFL library (see http://www.smufl.org/version/latest/range/clefs/). (I'm sorry for this incomplete answer. I'll be able to help out more tomorrow!) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Function for note string to fraction?
Thanks a lot! On 2014-05-20 00:49, Mark Polesky wrote: Peter Bjuhr wrote: And from there it would be easy to get the moment with 'ly:duration-string'. I don't think you need ly:duration-string; I think you can just skip that step. Yes, that was indeed a rambling. I meant I could get the moment with 'ly:duration-length'. And as far as I know, you do need to copy out the definition of parse-simple-duration, and above it add: #(use-modules (ice-9 regex)) Hope that helps. - Mark It works great! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Function for note string to fraction?
Thanks a lot! On 2014-05-20 00:50, Thomas Morley wrote: Is it possible to include and use 'parse-simple-duration' in a local script (without copy and pasting it)? Well, I would have no problem to c/p 'parse-simple-duration', though yes, it is possible: #(define (note-to-moment notestr) (let ((parsed ((@@ (lily) parse-simple-duration ) notestr))) (ly:duration-length (ly:make-duration (car parsed) (cadr parsed) #(write (note-to-moment 4.)) -- #Mom 3/8 Though, quoting guile-manual: — syntax: @@ module-name binding-name Refer to the binding named binding-name in module module-name. The binding must not have been exported by the module. This syntax is only intended for debugging purposes or as a last resort. !! Cheers, Harm Part of the problem with copy and pasting was that it didn't work. I got the final piece of the puzzle though by Mark. I would still prefer this solution, but what you're saying is that it isn't really suitable to use this kind of syntax and that it is better to copy-and-paste!? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Function for note string to fraction?
On 2014-05-20 10:26, David Kastrup wrote:
Mark Polesky markpole...@yahoo.com writes:
Then you would use it like this:
\set Timing.baseMoment = #(note-to-moment 4.)
Anything wrong with
\set Timing.baseMoment = #(ly:duration-length #{ 4. #})
Ok, you need 2.19 for it, but it seems like one of the cheaper
ways to ask the parser for input.
Thanks, indeed it is cheaper. But I'm not sure if I can use it. This is
part of a larger whole. Basically the user is intended to input a string
with the duration, and the string will be used both for
\set Timing.baseMoment
and for markup via
\note
I'll present the script shortly...
Best
Peter
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Re: Function for note string to fraction?
On 2014-05-20 12:02, David Kastrup wrote: Thanks, indeed it is cheaper. But I'm not sure if I can use it. This is part of a larger whole. Basically the user is intended to input a string with the duration, and the string will be used both for \set Timing.baseMoment and for markup via \note We probably should let \note accept a duration, but it's not actually hard to pick apart and use \note-by-number on the parts. One should always be careful with the word 'part' in musical circumstances... Maybe you misunderstood me!? I meant that the functionality was intended for a larger script... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Function for note string to fraction?
On 2014-05-20 12:23, David Kastrup wrote:
We probably should let \note accept a duration, but it's not actually
hard to pick apart and use \note-by-number on the parts.
Maybe you misunderstood me!? I meant that the
functionality was intended for a larger script...
So?
Maybe it was me that misunderstood you instead! Did you mean to use
\note like in your previous example:
\markup { \note { 4. } }
?
But why should \note-by-number be used for the parts, I didn't follow that?
Best
Peter
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Re: Function for note string to fraction?
On 2014-05-20 12:51, David Kastrup wrote: You want to enter a duration in a simple manner and use it in several contexts. One as markup, one as a duration or length. The suggestion was to let LilyPond see it not as a string but as a duration and go from there instead of writing your own duration parser. I don't understand the problem you have with that. I think the suggestion is great, at least for the purpose of the script I'm trying to write! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Function for note string to fraction?
On 2014-05-15 15:17, Peter Bjuhr wrote: is there already a function that converts a string 4. to the fraction '3/8', or the other-way round? Maybe it's helpful to know that the string is intended for use with \note, e g \note #4. #UP and the fraction is intended for use with \set Timing.baseMoment, e g \set Timing.baseMoment = #(ly:make-moment 3/8) After some research I think I've found a way forward with this: In ' scm/define-markup-commands.scm' there's a function/procedure called 'parse-simple-duration', which is used to translate from '\note' to '\note-by-number'. In a similar way I could use that to create the arguments to 'ly:make-duration'. And from there it would be easy to get the moment with ' ly:duration-string'. This all leads to an additional question: Is it possible to include and use 'parse-simple-duration' in a local script (without copy and pasting it)? If it's not possible I will settle with using \note-by-number instead! For those of you which find it easier to read code than my ramblings, here is what I've got so far: #(define (note-to-moment notestr) (let ((parsed (parse-simple-duration notestr))) (ly:duration-length (ly:make-duration (car parsed) (cadr parsed) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Function for note string to fraction?
Hi all, is there already a function that converts a string 4. to the fraction '3/8', or the other-way round? Maybe it's helpful to know that the string is intended for use with \note, e g \note #4. #UP and the fraction is intended for use with \set Timing.baseMoment, e g \set Timing.baseMoment = #(ly:make-moment 3/8) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Trill span problem
On 2014-05-08 16:22, Knute Snortum wrote:
I have a problem with sequential trill spans. they seems to be just a
little too long and therefore they stagger vertically. I would think
the solution is to shorten the trill span but I'm not sure how to do
this.
\version 2.18.2
\relative c''' {
\time 2/4
| f2 \startTrillSpan \ppp
| d2 \startTrillSpan
| c4 \startTrillSpan d \startTrillSpan
| c4 \startTrillSpan b \startTrillSpan
| c2 \startTrillSpan
| b2 \startTrillSpan
| a2 \startTrillSpan
| f2 \startTrillSpan
}
I don't know if it's the best solution, but you can try adding
\override TrillSpanner.bound-details #'right #'padding = #1.9
before all the trills.
Best
Peter
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Re: Oskar Fried: the Big Bang
Janek and I have made some fuzz recently about that secret March 11, and now's the time to disclose the great news: Our edition of Oskar Fried's songs was elected BEST EDITION 2014 by the German Music Publishers' Association, and we'll receive the award at the Frankfurt Musikmesse on Friday! :-) :-) :-) Congratulations! I'll surely support the campaign by buying a copy! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing stem stencil
On 2014-02-27 20:44, Peter Bjuhr wrote:
Hello,
I have a question about changing stems. In my case it's related to an
exploration of using SMuFL Fonts in LilyPond, which are made available
in the openLilyLib snippets repository by Joram Berger and Nathan Ho.
I would like to take the opportunity to thank them both!
[...]
Any guidance will be appreciated!
I found this http://lsr.di.unimi.it/LSR/Snippet?id=864, and thanks to
that I managed to set up this script:
\include ../smufl/definitions.ily
#(define (PendereckiTremolo-stem grob)
(if (ly:stencil? (ly:stem::print grob))
(let* ((stencil (ly:stem::print grob))
(X-ext (ly:stencil-extent stencil X))
(Y-ext (ly:stencil-extent stencil Y))
(width (interval-length X-ext))
(len (interval-length Y-ext)))
(ly:stencil-translate
(grob-interpret-markup grob
(markup #:smuflglyph stemPendereckiTremolo))
(cons 0 (interval-start Y-ext
#f))
\relative c'{
\override Stem #'stencil = #PendereckiTremolo-stem
f4 b c e
}
But if anybody wants to try this remember that it will only work with
the addition of the SMuFL script in the openLilyLib snippets repository
https://github.com/openlilylib/snippets/tree/master/custom-music-fonts/smufl
Best
Peter
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Re: Changing stem stencil
On 2014-02-28 17:18, Urs Liska wrote: Is the attachment really what you intended? No, I attach what it should look like. I don't know what could be wrong... Do you have the latest version of the smufl script? There is no fixed rule about this, but the suggestion for using this library is: - make the root directory of the repo available in LilyPond's include path and then reference the full path, in your case it would be: % from openlilylib/snippets \include custom-music-fonts/smufl/definitions.ily This is quite expressive IMO. Good that you point that out! Sorry for my sloppy include! Best Urs Best Peter attachment: stem-stencil-change.png___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing stem stencil
On 2014-02-28 18:36, Urs Liska wrote: Now that I've seen this works: It would be extremely cool if you could write a blog post about how one can create custom stuff using Bravura like this. I think there are some possible uses for that (e.g. clusters). Noeck's posts clearly point in that direction already, but if we had another post showing how you can actually _do_ it ... Yes, that's a good idea. I think this has potential! I'll be happy to write a post about it! And you should consider making this a snippet for our repo. I got an idea to turn this into a more generic function for changing the staff stencil, with the glyph to be used as an argument. Another question is where would I put the snippet? Is it ok if a snippet is dependent of another snippet in the library or should all smufl stuff be in the same folder? Best Urs Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing stem stencil
On 2014-02-28 22:18, Urs Liska wrote: That'd be great. Just come back to us when you're likely to get started. I think this actually has _two_ sides: accessing SMuFL glyphs on the one hand (as a practical way to extend Lily's own capabilities) and the process of replacing a stencil. I think it would be really good to have more tutorial like material about stuff like this to encourage people to experiment in these directions. I think I'd like to focus on how accessing SMuFL glyphs can solve some notational stuff like this and your question about the unstress symbol yesterday, if it's ok by you!? The other stuff can be an added bonus to the text. Actually I've already scratch down an introduction and some structural ideas in a draft. Hope it's alright? Another question is where would I put the snippet? I think it should be in the notation-snippets folder. Please have a look and see how it relates to the existing overriding-stencils snippet. Ok! Is it ok if a snippet is dependent of another snippet in the library or should all smufl stuff be in the same folder? It's OK to have such dependencies - as long as they're documented. The repo/library is designed to be includable. That means it is intended to be in LilyPond's include path (as I wrote in my earlier post). So basically when adding something to the library you can assume that the whole library is available. You can include another file either relatively from your snippet file or - and I'd prefer that - with its complete path from the library root (which makes your snippet more robust in case it should be moved to another directory). You should clearly state this dependency, something like this: I assume that the snippet is included as part of the library. If not you have to get file X and ensure that the following \include points to the right place. I'll remember that! Urs Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Changing stem stencil
On 2014-03-01 00:04, Nathan Ho wrote:
I'm glad to hear that my work on both the SMuFL package and the LSR
snippet has helped you! However, there's a much easier solution:
#(define (penderecki-tremolo grob)
(grob-interpret-markup grob
(markup #:vcenter #:smuflglyph pendereckiTremolo)))
\new Staff {
\override StemTremolo.stencil = #penderecki-tremolo
c'4:32 d'4:32 e'4:32 f'4:32
c''4:32 d''4:32 e''4:32 f''4:32
}
Regards,
Nathan
Hi Nathan,
thanks again for the (indirect) help!
It's of course better not change the whole stem in this case, great! But
maybe the trick to change stem can become handy in some other
circumstance...
Best
Peter
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Changing stem stencil
Hello,
I have a question about changing stems. In my case it's related to an
exploration of using SMuFL Fonts in LilyPond, which are made available
in the openLilyLib snippets repository by Joram Berger and Nathan Ho. I
would like to take the opportunity to thank them both!
Attached is my unsuccessful attempt to change the stem stencil. I've
also added a somewhat contrived version of the example so it can be
followed without the SMuFL script.
As you can see in the example I'm using
\override Staff.Stem.stencil = #ly:text-interface::print
\override Staff.Stem.text = \markup { | }
The stem is indeed changed but it doesn't follow the note head.
Any guidance will be appreciated!
Best
Peter
\version 2.19.0
% changing the stem using Bravura font
\include ../smufl/definitions.ily
Zstem = { \override Staff.Stem.stencil = #ly:text-interface::print
\override Staff.Stem.text = \markup { \smuflchar ##xE1F3 }
}
\score{
\relative c'{
%\stemUp
\Zstem
f4 b c e
}}
% more generic example
newStem = { \override Staff.Stem.stencil = #ly:text-interface::print
\override Staff.Stem.text = \markup { | }
}
\score{
\relative c'{
%\stemUp
\newStem
f4 b c e
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Re: light articulation
On 2014-02-27 18:33, Urs Liska wrote:
The attached image shows signs to denote heavy and light syllables in
poems (unfortunately I don't have an idea how they're called in English).
We have the portato in LilyPond/Feta which has a very similar meaning
to the lyric pendant, but if I'm not mistaken we don't have anything
to denote the contrary of a stress.
Any idea how to realize that, short of scanning and including an image?
And: Would that be a useful addition to our scripts?
Best
Urs
Hi Urs!
I find this very much related to my mentioned exploration of using SMuFL
Fonts in LilyPond. Is this what you want?
\include ../smufl/definitions.ily
\relative c'{
\stemUp
f4 _\markup { \smuflchar ##xE486 } % Unstress below
r4
\stemDown
f'4 ^\markup { \smuflchar ##xE485 } % Unstress above
r4
}
Best
Peter
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Re: light articulation
On 2014-02-27 22:09, Urs Liska wrote:
This is exactly the glyph I wanted. But unfortunately it really
doesn't look compatible with Feta (replace the last r4 with f--) and
see.
I'm not sure you would like the Bravura tenuto better:
\relative c'{
\stemUp
f4 _\markup { \smuflchar ##xE486 } % Unstress below
f--
\stemDown
f' ^\markup { \smuflchar ##xE485 } % Unstress above
f ^\markup { \smuflchar ##xE472 } % Tenuto
}
So I assume it would be good to add that to Feta ...
Agreed. Perhaps you could do an official request...
Best
Urs
Best
Peter
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Re: When was dot notation for dotted property paths added?
On 01/23/2014 10:40 AM, Urs Liska wrote: Somewhere in 2.17. David introduced the change from \override Stem #'length to \override Stem.length I would like to know in which LilyPond version this appeared. Somehow I don't seem to be able to think of the right search terms to locate the commit(s). Concretely, I have a snippet that needs \version 2.17.10 and I would like to know which notation I can use. Could it be this: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=commitdiff;h=680df85187d0f3862b1ef1cf7a14f8ad7b7f0ee9;hp=ee89ee2c8ee328ec261b822aa9e260c9d623c086 Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: When was dot notation for dotted property paths added?
On 01/23/2014 10:52 AM, David Kastrup wrote: Peter Bjuhr peterbj...@gmail.com writes: Could it be this: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=commitdiff;h=680df85187d0f3862b1ef1cf7a14f8ad7b7f0ee9;hp=ee89ee2c8ee328ec261b822aa9e260c9d623c086 No. Sorry! Probably followed an old link! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Split Parts
Hi Orm! On 01/21/2014 09:06 PM, Orm Finnendahl wrote: I'm taking the plunge to write a pretty big orchestra piece with lilypond (contemporary music) and am wondering how to organize the parts: There will be sections in the piece where e.g. the first violins are split (maybe sometimes only for a couple of bars and up to 14 different parts). In the score, the unisono parts should get notated only on one staff. For staff systems containing bars with divisi strings, each instrument should get its own staff (replicating existing unisono bars on all staffs). First of all, which version of LilyPond are you using? For creating parts with occasional string divisi I'd take a look at the technique of adding extra staffs http://www.lilypond.org/doc/v2.17/Documentation/snippets/staff-notation#staff-notation-adding-an-extra-staff If you're going to divide the strings in up to 14 different parts, maybe the best approach is to use the same technique also in the score. In the individual parts I'd like to have parts with each instrument having only his/her part in it. Do you mean that each string musician should get his/her own part? I would think this is highly unusual when dealing with occasional and shifting divisions. But if the divisions are done consequently throughout the piece it's doable to organize them as separate parts. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: PDF links to javascript?
On 01/17/2014 02:00 AM, Mike Blackstock wrote: Is there a way to change the textedit://uri mechanism in PDF point-and-lick links to point instead to a javascript function in the webbrowser? I've been looking around, but I know zilch about PDF documents; the closest I got was this, which tells me it's do-able (I think) http://stackoverflow.com/questions/5934211/getting-notified-when-the-user-clicks-a-link-in-an-embedded-pdf/5942729#5942729 Re. Why do you want to do this? My source code editor is a javascript app that runs in the browser - Code Mirror. For compilation, the source code is sent to a server over a node.js/socket.io http://socket.io websocket; when compilation is complete, server sends browser a signal and PDF is opened in iframe. I need 'point-and-click' events to call javascript functions. As I see it you need to change either the PDF itself or the javascript code run in the browser to achieve what you want. If we assume the output from LilyPond is what it is, to change the PDF you have to change the links manually in Acrobat Pro like described in the stackoverflow page you link to. One alternative to this is to use SVG instead and manually change the links in the XML code. This can of course be very inconvenient if you have many links that needs to be changed. If on the other hand you can change the javascript code this can be achieved much easier, I think. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Experiences from voice handling wanted
Hi Gilberto! On 01/16/2014 10:44 AM, Gilberto Agostinho wrote: Hmm, something is wrong, the first chord of my code is not being shown (at least here at Nabble) Hmm, strange problem with pasting the code... On 01/16/2014 10:36 AM, Gilberto Agostinho wrote: When engraving music that has only occasionally two or more voices (such as your example), I personally prefer to explicitly write all voices together at once [...] Thanks for sharing your preferred method! I think this normally is a good option in cases like this, and perhaps what most people would use. In my present case I must import the music via musicxml2ly because it's a piece I wrote previously in Finale (which I'm now going to finish and engrave in LilyPond). I think I'm going to use the method I sketched with partcombine and if there occasionally are more than two voices per staff I will fix it using your method in addition; but any other thoughts are very welcome! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Experiences from voice handling wanted
On 01/16/2014 11:14 AM, Peter Bjuhr wrote: In my present case I must import the music via musicxml2ly because it's a piece I wrote previously in Finale (which I'm now going to finish and engrave in LilyPond). Maybe I should clarify for those not familiar with the output of musicxml2ly that it always puts different voices as different music variables. So to use the method you propose Gilberto would mean a lot of rewriting of the code and is perhaps not the best option in this case... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: compilation problem when using add-grace-property
On 01/16/2014 10:29 AM, Gilberto Agostinho wrote:
I am trying to figure out why a code of mine is not compiling, and I found
that this is related to the add-grace-property. The error I receive is:
*Exited with return code -1073741819.*
\version 2.18.0
\score {
{ \grace {c''8 c''} c''1}
\layout {
\context {
\Score
\with{ $(add-grace-property 'Voice 'Stem 'details '((beamed-lengths
3.26 3.26 3.26 3.26))) }
}
}
}
Actually, every modification to 'Voice 'Stem in the add-grace-property works
fine, except for 'details. Am I doing something wrong here? And in case this
is relevant, I am running Windows 8 64bit.
I get Exited with exit status 1. (Ubuntu 13.10).
Could you point me to a reference how to use this?
Best
Peter
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Re: Experiences from voice handling wanted
Hi Michael,
thanks for your reply!
On 01/16/2014 07:17 PM, Michael Rivers wrote:
I think you just have to remember to use \oneVoice or \stemNeutral when the
2nd voice isn't playing.
\oneVoice is the best choice, isn't it, because it affects more than
just the stems!?
If the 2nd voice is coming and going frequently, you are much better off
using
{ \voiceOne
Music goes here
}
\new Voice {
{ \voiceTwo
Music goes here
}
}
\oneVoice
This way, when the voices split in two, the first voice can continue using a
slur it had begun before the voices split. If you use { } \\ {} to
split the voices, you'll get Cannot terminate slur errors, and then you
have to start the second voice before you really want to, fill it with
spacer rests and manually change the stemming -- no fun.
As mentioned previously what I have to work with in this case is an
output from musicxml2ly with the voices as separate music variables. It
could still be an option of course to use the structure you suggest and
I have done that previously from musicxml2ly outputs. But I still think
my best option in this case is to use the \partcombine solution, but I'm
very willing to listen to other suggestion. I know that there are a lot
of users with much more experience than myself.
Best
Peter
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Experiences from voice handling wanted
Hello all,
this is asking for advices from you experienced LilyPond users.
Lets say you're engraving music for an instrument capable of playing
multiple voices, and the structure of the music is a mix between using
one voice and several. (In my case I'm thinking about piano music, but
lets make this a more general question). Here is an example with two
voices as different variables:
\version 2.19.0
vOne = \relative c'' {
a c e2. g c es4 |
e'4. d8 c2 |
% \oneVoice
e g bes4 es ges b2.
}
vTwo = \relative c' {
s1
g'4 a b4. c8
s1
}
\score {
\new Staff
\new Voice {\voiceOne \vOne }
\new Voice {\voiceTwo \vTwo }
}
One main problem with this structure is the need to insert \oneVoice to
make voice one (vOne) behave optionally when alone. One possible
solution in this case is to use \partcombine:
\score {
\new Staff \with { printPartCombineTexts = ##f }
{ \partcombine \vOne \vTwo }
}
But this solution isn't available if more than two voices are used!?
My main question is what are your experiences in handling these kind of
musical structures? But really any thoughts on this are welcome!
Best
Peter
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Re: global variables
On 01/15/2014 04:33 PM, Paul Scott wrote:
+1
I've also been doing this for many years.
I've started using global variables more recently but can highly
recommend it!
On 01/15/2014 03:48 PM, jensgc wrote:
In effect - if there is someway to have \voiceA changed to \voiceAA in the
example below, it would be a lot easier to make the global skeleton that
seems to be needed.
voiceA = {
\time 2/4
\tempo Hurtigere 4 = 126
r4\mp gis, |
\time 3/4
gis gis ais |
\time 2/4
b b |
\time 3/4
ais cis b |
ais2.\fermata ~ |
}
voiceAA = {
\time 2/4
R2 |
\time 3/4
R2. |
\time 2/4
R2 |
\time 3/4
R2. |
R2. |
}
As far as I understand it you could use voiceA just as well as voiceAA
as the global variable; i e this will work:
\score {
\new Devnull \voiceA
\new Staff \voiceA
\new Staff \voiceB
}
I don't think this is recommendable as a general principle. But If you
have an existing score and no convenient method of generating the empty
global variable, this is still much simpler than putting the information
in all the parts.
Best
Peter
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Re: global variables
On 01/15/2014 04:54 PM, David Kastrup wrote: Peter Bjuhr peterbj...@gmail.com writes: I've started using global variables more recently but can highly recommend it! Just don't let any programmers hear that. David, I'm sorry; I must again ask you what you mean? Is this a joke I'm missing like the previous time with the biblical quote? Is it bad for the LilyPond programmers if many people use global variables? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: global variables
On 01/15/2014 05:15 PM, David Kastrup wrote: On 01/15/2014 04:54 PM, David Kastrup wrote: Peter Bjuhrpeterbj...@gmail.com writes: I've started using global variables more recently but can highly recommend it! Just don't let any programmers hear that. David, I'm sorry; I must again ask you what you mean? Is this a joke I'm missing like the previous time with the biblical quote? URL:https://en.wikipedia.org/wiki/Global_variable, 2nd paragraph. Of course, using a variable called global in LilyPond is only marginally related to using global variables. Ah, I see! I admit the choice of words was somewhat misleading! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: articulation marks
On 01/15/2014 05:40 PM, Martin Duclos wrote: I'm at a loss in finding a way to do some articulation marks. I'm looking for an accented staccato so should be a combination of -. and - on top of each other. Is this possible? I think the way to do this is to write the two articulations in succession, for example: b4 - -. The order doesn't seem to matter! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: nuancing and customizing midi rendering
On 01/15/2014 08:28 PM, Bric wrote: Please forgive me if this has been discussed and/or documented; I haven't found specifics yet. Are there lilypond controls for things like staccato, accents, and other articulations/dynamics, with respect to midi output? I noticed that the midi output is sensitive to the \staccato directive, for instance, trying alter the sound accordingly. But can one finesse the \staccato, controlling the exact length of the note, in milliseconds or whatever the midi resolution allows? also, any other similar ornamentations, and articulations one could control and customize in lily code ? I realize the piano, forte, fortissimo, etc., are honored, and there is a minimum and maximum midivolume directive, which apparently would factor into crescendo's and diminuendo's... How/where do i find out more ? Maybe this could be a good starting point!? http://www.lilypond.org/doc/v2.18/Documentation/notation/what-goes-into-the-midi-output_003f Take also a closer look at The Articulate script mentioned... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Frescobaldi] Re: Frescobaldi musicxml export
On 01/10/2014 07:37 AM, Martin Tarenskeen wrote: On Thu, 9 Jan 2014, j...@post.cz wrote: Hi, I am new to this forum and also new to Lilypond Frescobaldi. Still learning the basics... I would like to ask for some help with xml import/export since I am not able to get it to work. First you need to know that musicxml import (musicxml2ly) is usable, but far from perfect yet. The situation for musixml export is in a VERY early stage of development and not yet suitable for serious work. Too many even basic elements of music notation are not implemented. But at least someone is working on it and the future looks promising. TypeError: set_time() takes exactly 3 arguments (2 given) My guess is that you have not specified a time signature in you testing score: \time 4/4 Lilypond assumes 4/4 by default when time signature is given, but you version of Frescobaldi's musicxml importer doesn't. (has been fixed in development by now) Like Martin writes, the issue I think you're referring to was not fixed until quite recently. So you need to update to the latest development version for this to work. Sorry about the inconvenience! I also like to express that all usage report and feedback is inspiring for further development, thanks! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [Frescobaldi] Frescobaldi musicxml export
Hi Martin,
thanks for the report. It's very good for the development with some
feedback!
On 01/08/2014 08:49 AM, Martin Tarenskeen wrote:
Frescobaldi's musicxml export is still in an early stage of
development so I will not try to mail a list with all things that fail
or don't work yet. But I do want to report two little things.
1. It does not seem to know that Lilypond uses a default of 4/4 when
no timesignature is given.
% minimal example
\version 2.18.0
{c'}
% gives an error when trying to export musicxml
% minimal example
\version 2.18.0
{\time 4/4 c'}
% works correctly
The export does set 4/4 (and treble clef) as default, and your example
works when I try it on the latest development version of Frescobaldi.
2. It does not interpret the new \relative syntax correctly
% minimal example
\version 2.18.0
\relative {\time 4/4 d' e f g}
% gives VERY strange musicxml export result. Try it: export as
musicxml, % import the result, and you will see what I mean
Yes, the export is behind on this and some other 2.18 syntax (e g
\tuplet). I'll try to update this soon!
Best
Peter
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Heard on Twitter
In a reply the MuseScore Twitter account stated that the LilyPond export function will be removed in the next version: @shoorick77 Lilypond export is removed for next version in favour of consolidating efforts on MusicXML i/o http://twitter.com/musescore/status/409830922658529280 Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Gittip (and Supporting my work on LilyPond financially)
On 12/02/2013 02:03 AM, Paul Morris wrote: I have been keeping my eye on Gittip. It's basically a tool that lets individuals make ongoing weekly payments to other individuals (or organizations) to support whatever work they do. It happens that more often than not this is volunteer work on free/open-source software. What really makes it compelling is that Gittip does not make any money off of the transactions that go through it. They only charge a minimal fee to cover their own transaction costs (credit card fees). Gittip is itself funded by voluntary donations made through Gittip. The code that runs Gittip is in the public domain and hosted on Github. I'm not affiliated with Gittip, I'm just really interested and intrigued by its potential. I've often thought that it would make sense for projects like LilyPond/Frescobaldi/etc. After my own initial curiosity and Paul's words above I have now created an account on Gittip. On 12/05/2013 10:11 AM, David Kastrup wrote: The thought if everybody contributed just a little seems compelling. It's actually my experience that those who pledge to contribute a monthly payment less than €10 tend to stop after few months, probably because they think it does not make a difference. David, would you consider joining me? I think it would mean that it will be easier in general for people to set up a monthly payment (for LilyPonds future development). Anyway, it could perhaps attract some new people both to LilyPond itself and to its funding. (But it seems that it's more convenient to withdraw the money if you have an US bank account.) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frescobaldi Project Support
On 11/16/2013 02:06 PM, Urs Liska wrote: SoundsFromSound soundsfromso...@gmail.com schrieb: Does anyone know of a place where one can donate to help support the Frescobaldi project? I can't find any link on the website, http://www.frescobaldi.org/ and I was curious if there was another location maybe. No, there isn't. You should ask Wilbert Berendsen personally. Or you have a look at recent discussions in the Issue Tracker (don't miss closed ones and pull requests). There are a few exciting ideas around currently (and I'm not involved in all, otherwise I wouldn't write this here). Maybe there's something you find interesting and consider motivating individual contributors ... Regarding donations to the Frescobaldi project and also to LilyPond maybe this site could be interesting: https://www.gittip.com/ Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: musicxml2ly output indentation style
On 11/17/2013 07:02 PM, Martin Tarenskeen wrote: I did a short try with the dev version from Github (downloaded zip there) but I see no difference. Still had to use Tools-Format manually. Sorry for a stupid question, but did you install after download? But even if it works, it would still be a workaround instead of a real fix. Agreed, as also Urs pointed out. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: musicxml2ly output indentation style
On 11/14/2013 09:16 AM, Martin Tarenskeen wrote:
Hi,
The lilypond output that is produced from musicxml2ly uses another
indentation style than I see in my own scores when using for example
Vim or Frescobaldi, or in all examples in the Lilypond documentation.
for example:
%commonly used style
music = \relative c' {
a b c d
}
%musicxml2ly style
music = \relative c' {
a b c d
}
Hi Martin!
Thanks for pointing this out! In the latest development version of
Frescobaldi scores imported through internal musicXML import are now
reformatted (the same way as if Tools-Format were used).
Best
Peter
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Re: export to musescore
On 11/13/2013 12:00 PM, Peter Bjuhr wrote: On 11/12/2013 09:40 AM, Urs Liska wrote: the way to go would be MusicXML export. While this wish has popped up every now and then for years, Peter Bjuhr has just started to give it an actual try. We don't know how far this will get, but it will at least be a start for this very important improvement. When we've sorted out the options and have something like a roadmap we'll post about it again. I'd like to add that the actual development is partly taking place in the development version of Frescobaldi, perhaps someone has seen the menu element there and wondered. It's still very basic and limited so I would definitely hesitate to promote any real use of it besides for testing purposes. Maybe I should also clarify that the roadmap Urs is writing about is for a LilyPond export and not just for Frescobaldi users. We hope to get back with more info about this soon... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Cluster function
On 11/13/2013 08:43 PM, Mark Knoop wrote: Has anyone had success making clusters such as in the attached image? This is not possible with the builtin \makeClusters function which removes stems, beams, accidentals, etc. Ideally code something like cis' ais''8. \cluster c' ais''8. to produce this example. If not, any ideas as to where to start with such a function? I suppose I just need to get the positions of the two noteheads and draw a thick line in between. Have you seen this? http://lists.gnu.org/archive/html/lilypond-user/2008-10/msg00555.html Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar numbers position
On 11/10/2013 09:40 PM, Gilberto Agostinho wrote: Hi Janek, Janek Warchoł wrote ...i believe the barnumbers in the engraved examples interfere with clefs. I've seen some scores where similarly placed barnumbers looked like clef transposition (especially when the first bar in a system was 8th or 15th, and the number was placed right above the clef...). I believe that LilyPond's placement has the advantage of being unambiguous. I think you are right on this, it seems very logical. I only pointed it out because I never saw this style of bar numbers before. [\\] [...] I would be very glad to hear what you [Peter] and Ms. Gould think about it (I really need to buy this book as soon as possible!). There's no scan this time. What she writes is this: Place bar numbers at the beginning of each system, ideally above the clef of the top stave. Naturally she wouldn't approve of a solution where the bar numbers could be confused with clef transposition. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Bar numbers position
On 11/11/2013 09:28 AM, Peter Bjuhr wrote: What she writes is this: Place bar numbers at the beginning of each system, ideally above the clef of the top stave. The above quote is from p. 484 by the way... Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam positions and time signature spacing
On 11/10/2013 12:36 PM, David Kastrup wrote:
One should never _discard_ what an authority has to say and should try
tracking its reasoning, but if the results from following instructions
don't actually lead to convincing results (in particular when
comparing them with the printed results), one needs to do better than
follow instructions. And more often than not, heeding all constraints
mentioned in instructions at the same time is not even possible
sensibly, and then one needs to relax them using sensible priorities.
I like to try to broaden the discussion a little by doing what David
writes above, try tracking Gould's reasoning for the recommendation:
Gould is obviously not saying just that the recommended distance looks
better than any other distance; it's not a esthetical proportion for the
most beautiful looking score. What she is aiming at throughout the book
is clarity and readability of the notation especially in a performance
situation. To bring things to a head I think it would be very fair to
assume that she would rather have an ugly score that makes life easy for
the performer than a beautiful score that makes performance almost
impossible. Luckily what makes a beautifully engraved score for the most
part goes hand in hand with makes it easy to read and perform.
In this case with the distance to the first note this general attitude
can be assumed, she also explicitly states that she takes traditional
engraving practice into account. I personally would like to see her
recommendation as a sweat spot where you could be fairly sure to stay
out of trouble. The problems when you end up to close clef, key sign or
time sign are of course easily imagined in terms of readability. The
problems with a too great distance is less obvious, but huge separation
between elements can also hinder easy reading.
I think it's great that you, Gilberto, involve yourself in these
question. But I lack the knowledge of what has been discussed
previously. Does your analysis show any issues that should call for
adjustments of LilyPond's behaviour in this regard? I see no point in an
overall adjustment to the exact measure recommended by Gould, and that
has of course no one requested. What could perhaps merit as a subject
for further analycing and possible adjustments is as already mentioned
your third example (with clef only and with more accidentals). And I
would also add your fifth example to this list (with key signature and
with one accidental), because here is a potential problem mentioned by
Gould. Here is her example in LilyPond code:
{\key g \major
\override Score.TimeSignature.stencil = ##f
cis'' }
Here the accidental could be mistakenly taken for a part of the key
signature if it's too close. (The example appears fine to me when I
compile it, but I would like to mention it anyway.)
Best
Peter
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Re: Volunteers for a few comparison experiments
Janek is somewhat disappointed by aspects of LilyPond's performance, and I have the idea it would be good to put him (and his readers) in the right perspective by having some actual comparisons. While I have to admit he's right with his criticisms I assume in some (or all) aspects other tools would have failed completely And as I'm not happy with this unbacked assumption I would like to have some volunteers willing to engrave a few complex examples with Finale and Sibelius (up-to-date versions and sufficient experience required). I would like to volunteer for this, because it sounds important. But I only have Finale 2011. I used to upgrade to every other Finale version. But after I moved to LilyPond I have had no plans of upgrading! Maybe you could/should add also MuseScore to this (I've seen some testimonies of people moving from LilyPond to MuseScore), then I would have easier to work with the latest version!? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam positions and time signature spacing
On 11/11/2013 12:53 PM, Gilberto Agostinho wrote: Here the accidental could be mistakenly taken for a part of the key signature if it's too close. (The example appears fine to me when I compile it, but I would like to mention it anyway.) I think the worst case on my .PNG image was the one with clef and with more accidentals, where there is basically no spacing at all between the clef and the accidentals! The example you posted also seems to me to be rather close to the key signature. Gilberto, could you do the exact measurement also on this last example I posted? I think it would be interesting. I seemed to me that the confusion I mentioned as a possible problem was quite far-fetched in the actual result. (I can post the scan from Gould on this if you like!?) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Volunteers for a few comparison experiments
On 11/11/2013 05:35 PM, David Kastrup wrote: Peter Bjuhr peterbj...@gmail.com writes: I would like to volunteer for this, because it sounds important. But I only have Finale 2011. I used to upgrade to every other Finale version. But after I moved to LilyPond I have had no plans of upgrading! Sounds like for I the LilyPond thy typesetter am a jealous typesetter, visiting the misalignment of the glyphs upon the page unto the third and fourth printing. Sorry David, I don't get this!??? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam positions and time signature spacing
On 11/11/2013 05:35 PM, Gilberto Agostinho wrote: Here we go: http://lilypond.1069038.n5.nabble.com/file/n153739/image.png As you can see, the distances here are roughly 1 and 1.5 units, while the example I posted before (with clef and with more accidentals) has a distance of merely 0.5 units. Thanks! Based on these two examples, it would indeed seem that LilyPond is intelligent enough to adjust for this potential problem; in the first example where there were no risk of mistakenly take the accidental for a part of the key signature the distance were 1.3 and here when the risk is apparent it is 1.5. If this is the case and not just random coincidence I would completely drop this from the list of potential problems. What do you think Gilberto? Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Volunteers for a few comparison experiments
On 11/11/2013 05:52 PM, David Kastrup wrote: Peter Bjuhr peterbj...@gmail.com writes: Sounds like for I the LilyPond thy typesetter am a jealous typesetter, visiting the misalignment of the glyphs upon the page unto the third and fourth printing. Sorry David, I don't get this!??? Or like after I met my wide I never looked at any other woman. She's that pretty? No, that jealous. Ah, I see! That joke is admittingly funny, and the image of LilyPond as a jealous typesetter inhibiting my desire to upgrade is not without it's merits either! (The part about visiting the misalignments I still don't get but never mind that!) Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Volunteers for a few comparison experiments
On 11/11/2013 06:33 PM, David Kastrup wrote: Ah, thanks! You should expand this into The Ten Commandments of LilyPond! :-) Usually, the forced analogies get strained after making it past two bullet points at most. Then the greater the challenge! Seriously though, this is more meant as encouragement than an actual suggestion! Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam positions and time signature spacing
On 11/11/2013 12:53 PM, Gilberto Agostinho wrote: Although I agree with you that these things are important, there are certain things that could make problems clearer and are not used. Ex: it is not standard to write a little 8 under the bass clef when dealing with Contrabass in a non-transposed orchestral score (where tranposing instruments, such as clarinets and horns, are written in C, but octave transposing instruments, such as contrabass or piccolo flute stay with their registers changed). This is my point here: standards. Even if something is prettier, simpler, nicer, it still shouldn't matter if there is a rule or standard behind. And I think that LilyPond should output things as close as possible to these standards, and then let the users who want to change things use \tweaks and \overrides. My suggestion would be to follow a set of rules (if they exist), as I explained above. Gould seems to be a good choice, but of course it would be possible to have other sources. I just don't believe that we should be doing these things by the eye, because it looks balanced, etc. Hi again Gilberto, I have some problems interpreting what the conclusions from your reasoning would be and what it would imply for LilyPond. It would be rewarding for me and perhaps for yourself if you could expand a little on these lines of thought. If we're all to follow a set of rules there must be a very good reason for them for otherwise people will follow their own subjective ideas and desires. That would apply to legislation as well as other general rules. If you're a smaller group the rules could be somewhat more arbitrary because you could convince people to follow them only to become/stay part of the group. Gould's reason (even promise) is that if we follow her rules and recommendation the musicians would do a better job at interpreting the score and hence we have better music. It's also important to remember that the general rules only set the boundaries for our possibilities; we don't spend all our energy just avoiding breaking any laws. We still have to make tons of decisions where the laws can't guide us. We can of course invent some extra rules to make the decisions easier but that would be more on a personal or group level. We wouldn't request that all where to follow these rules. Applied to music notation I'd like to think that that was what David was referring to when he wrote: LilyPond should output things as best as possible within the framework of notation elements. If we accept Gould as the standard which to follow and if we believe in her promise that musicians will give a better performance, we still have a lot of decisions to make that Gould doesn't settle for us because it isn't her job. But every publishing house can have their own standards and set of rules expanding on the common standard for music notation. And every individual composer and engraver can have their. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Beam positions and time signature spacing
On 11/11/2013 07:21 PM, Gilberto Agostinho wrote: Peter Bjuhr wrote Based on these two examples, it would indeed seem that LilyPond is intelligent enough to adjust for this potential problem; in the first example where there were no risk of mistakenly take the accidental for a part of the key signature the distance were 1.3 and here when the risk is apparent it is 1.5. If this is the case and not just random coincidence I would completely drop this from the list of potential problems. What do you think Gilberto? In the first case, there is no risk of mistaken the flat accidental on the aes for a key signature, but on the bottom case it has the risk. And both have pretty much the same spacing (around 1.4 units). So I don't think LilyPond is adjusting for potential misunderstandings. No, you're probably right! Here is a more full account in different keys: https://drive.google.com/file/d/0B627QNBiKcXpYjI5ejJRUm93b00/edit?usp=sharing It seems to me that the difference is between naturals and other accidentals. Best Peter ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
