Markup in ChordNames context

[Peter Chubb]

Hi,
Sometimes in vocal+ukulele music I want to indicate that a
particular chord uses an alternate fingering.  I'd like to add
an asterisk and a footnote with fret diagram for these cases.
But the obvious
\chordmode { d^"*" }
fails with  "error: string outside of text script or
\lyricmode"

I'm using Lilypond 2.22.2

Can someone give me a clue?

Peter C

Re: Score and parts

[Peter Chubb]

> "bob" == bobroff@centrum is  writes:

bob> For different output in score vs part you can use tags.
bob> 
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html

You can also create  a 'global' music to put in parallel with each
part.  E.g.,

\version "2.20.0"

global = {
   \key e \minor
   \time 3/4
   \repeat unfold 2 s2.
   \time 4/4
   \key e \major
   s1
   \bar "|."
}

fluteOne = \relative c'' {
  c2. c2. cis1
}

fluteTwo = \relative c'' {
  a2. a2. a1
  }

\score {
   \new Staff <<
\global
\fluteOne
>>
}

\score {
   \new Staff <<
\global
\fluteTwo
>>
}
\score {
   \new StaffGroup <<
\new Staff <<
 \global
 \fluteOne
>>
\new Staff <<
 \global
 \fluteTwo
 >>
 >>
}

Re: Notesheet Flute varibles defined and ready for call...

[Peter Chubb]

> "darkijah" == darkijah   writes:


darkijah> If anyone knows how to make a whole lyrics line into one
darkijah> specific colors, please do share! :) Lots of ideas, but I am
darkijah> new and do not have a programmers mind! :

Just set whatever colour you want ...

\version "2.22.0"
lyricBlack= { \revert LyricText.color }
lyricRed = { \override LyricText.color = #red }

verse = \lyrics
{
  Black text \lyricRed Red Text \lyricBlack Black Text
}

\score {
  <<
\new Staff \new Voice=tune \relative c'' { a4 a a a | a a2. }
\lyricsto tune \verse
  >>
}


Peter C

Re: Changing volta number text

[Peter Chubb]

>>>>> "Peter" == Peter Chubb  writes:
>>>>> "Ralph" == Ralph Palmer  writes:
Ralph> I've gone slightly crazy on a couple of occasions, trying to
Ralph> figure out how to change a volta number, either to a different
Ralph> number(s) or to text.

Peter> You need to handle the whole thing yourself, rather than using
Peter> the \alternative construct,

I should mention, if you do this, you'll need to do something
different for Midi output.  See e.g., the snippet at
https://lsr.di.unimi.it/LSR/Item?id=915

Peter C

Re: Changing volta number text

[Peter Chubb]

>>>>> "Ralph" == Ralph Palmer  writes:

Ralph> I've gone slightly crazy on a couple of occasions, trying to
Ralph> figure out how to change a volta number, either to a different
Ralph> number(s) or to text.

You need to handle the whole thing yourself, rather than using the
\alternative construct,

Something like this:


\version "2.22.0"

test = {
  \time 3/4
  \repeat volta 3
  {
a'4 b' c' |
b'4 c' d' |
  }
  \set Score.repeatCommands = #'((volta "1., 3." ))
  e'4 f' g' |
  d'4 c' b' |
  \set Score.repeatCommands = #'((volta #f) (volta "2.") end-repeat)
  r2.
  \set Score.repeatCommands = #'((volta #f) end-repeat (volta "4."))
  g'4 a' b' |
  \set Score.repeatCommands = #'((volta #f))
  c'2.
}

\score {
  \test
}

-- 
Dr Peter Chubbhttps://trustworthy.systems/
Trustworthy Systems GroupCSE, UNSW

Re: Tempo marking with 2 notes

[Peter Chubb]

> "Ahanu" == Ahanu Banerjee  writes:


Ahanu> Can anyone provide a simple way to make a tempo marking like
Ahanu> this: "♩= 텞 " ?

Something like this?

\version "2.22.0"

\score {
  \new Staff { \time 3/4 r2.^
   \markup {
   \note {2.} #UP
   = 
   \note {2} #UP
 }
   |
   \time 2/4 r2
 }
}

See http://lilypond.org/doc/v2.22/Documentation/notation/music for the
markup syntax.  Earlier versions used #"2." instead of {2.} for the
durations.

Peter C

Re: Lyrics as verses or in system?

[Peter Chubb]

Thanks that looks pretty much like what I want.
I felt sure that someone would have done it already!

--
Peter C

Lyrics as verses or in system?

[Peter Chubb]

Hi,
  When I'm typesetting hymns, I'd like to be able to enter lyrics once
  only, so that they are between the staves of a system for the choir,
  and below a single melody line for the congregation.

  Is there an easy way to join syllables and strip durations,
  underscores, hyphens, and extenders from a lyricmode block to create
  a markup block?  

  So I could write something like this:

  verse = \lyricmode {
this is a verse __
it real -- ly could be worse
  }

  \score {
 <<
 \new Staff \new Voice = tune { \music}
 \new Lyrics \lyricsto tune \verse
 >>
  }

  \markup {
  \column {
 \left-align {
\lyrics-to-markup \verse
 }
  }
  }

where \lyrics-to-markup would (logically) convert the \lyricmode verse content 
to:
  "this is a verse"
  "it really could be worse"


--
Peter Chubb

Re: Another way \articulate messes up bar line checks

[Peter Chubb]

>>>>> "Knute" == Knute Snortum  writes:

Knute> Here's another way that "articulate.ly" messes with bar line
Knute> checks.  If you put a \repeat volta in the middle of a measure,
Knute> you cannot get reliable bar line checks (|) after that.  Here's
Knute> my MWE:

That's a problem with the music.  To avoid the barcheck fail the
last bar should have only three crotchets in it, to match the anacrusis.  If 
you replace
\articulate with \unfoldRepeats you'll see the issue.

Like so:
%%%START
\version "2.20.0"

rightHand = \relative c' {
  \repeat volta 2 {
\partial 4 f4
c4 d e f |
c4 d e
  }

  \repeat volta 2 {
f4 |
c4 d e  % f
  }
  f4 |
}
\score { \unfoldRepeats \rightHand }

-- 
Peter ChubbTel: +61 2 9490 5852  http://ts.data61.csiro.au/
Trustworthy Systems GroupCSIRO's Data61

Re: URL in footer

[Peter Chubb]

>>>>> "Noeck" == Noeck   writes:

Noeck> Hi, you are looking for \with-url (it is a bit hidden under the
Noeck> section “Graphic”):

Thanks!  I was searching through the "text" section and missed this.

-- 
Dr Peter Chubb Tel: +61 2 9490 5852  http://ts.data61.csiro.au/
Trustworthy Systems Group Data61, CSIRO (formerly NICTA)

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Re: \unfoldRepeats for midi file

[Peter Chubb]

> "Ming" == Ming Tsang  writes:


Ming> Peter, I did reply all and I got mail
Ming> delivery fail on your rmail address.
You probably included HTML, which causes my spam daemon to reject it.

Ming> Thank you for the
Ming> answer. One question: how can I just want to show few color
Ming> lyric text only? I try to use {}, but it shows all lyric text in
Ming> color.  Ming

You need to delimit the coloured part.  Something like
 words=\lyricmode {
you \markup {\with-color #green can} see the \markup
{\with-color #red} frog
 }

See e.g.,
http://lilypond.org/doc/v2.19/Documentation/snippets/text#text-formatting-lyrics-syllables

Peter C

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Re: Question about the horizontal spacing

[Peter Chubb]

>>>>> "Rus" == Rus  <rustik...@mail.ru> writes:

Rus> ― How can I control (I need to increase) the space
Rus> between the bar line and the following note (or lyrics syllable)?

One thing you could try is set the alignment of the first syllable to
LEFT, to force it to start at the same place as the note.

\version "2.18.2"
\score { 
  \new StaffGroup
  <<
<<
  \new Staff {
\relative c' {
  \override Staff.BarLine.space-alist.next-note = #'(fixed-space . 3)
  c d e f c d e f c d e f c d e f
}
\addlyrics {
  \override LyricText.self-alignment-X = #LEFT
  a bb cc dd
  aa bb cc dd
   bb cc dd
  a bb cc dd
}
  }
>>
\new Staff {
  \relative c' { c d e f c d e f c d e f c d e f }
}
  >>
}


-- 
Dr Peter Chubb Tel: +61 2 9490 5852  http://ts.data61.csiro.au/
Trustworthy Systems Group   Data61 (formerly NICTA)

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Re: [OT] Grammatic gender

[Peter Chubb]

For interest, here's a link to a short article written by Poul
Anderson, as if English were purged of almost all non-germanic words,
and still used German-style compounds.

Very off topic!
https://groups.google.com/forum/message/raw?msg=alt.language.artificial/ZL4e3fD7eW0/_7p8bKwLJWkJ


-- 
Dr Peter Chubb Tel: +61 2 9490 5852  http://ts.data61.csiro.au/
Trustworthy Systems Group   Data61 (formerly NICTA)

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Re: Suggestions for page layout

[Peter Chubb]

> "David" == David Wright  writes:

David> On Wed 25 Oct 2017 at 13:34:04 (-0700), Flaming Hakama by
David> Elaine wrote:

>> I was hoping for something more organic to lilypond, that is text-
>> and command line-based.
>> 
>> Does anyone have any suggestions for a workflow to accomplish this,
>> or what tools to look at?

David> I used to use psnup, psbook and suchlike, which looked after
David> computing the page ordering. But I don't work with .ps files
David> any more, only PDFs, so now I use pdfjam and pdftk; the former
David> for tiling, scaling and shifts, the latter for things that
David> involve whole pages.

For a simple approach try pdfbook which provides an easy-to-use
wrapper for pdfjam.

Peter C

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Re: Halving/doubling durations

[Peter Chubb]

> "David" == David Kastrup  writes:

David> pe...@chubb.wattle.id.au writes:
>> 
>> It'd be fairly easy to write a music function that does this, but I
>> wanted to ask first if there was one already existing I could use.

David> \shiftDurations #1 #0 { music ... }

Thanks David!  That's exactly what I want.  But I think I'll try to
get a patch to add \shiftDurations to the docs so it can be found by
others ...

Peter C

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Re: \articulate command and rit. was: Re: lilypond-user Digest, Vol 147, Issue 102

[Peter Chubb]

 Cynthia == Cynthia Karl pck...@mac.com writes:
Cynthia Maybe you can answer a question about \articulate: if I
Cynthia generate a pdf file for the score containing the \midi block,
Cynthia why doesn't the pdf file reflect what is in the midi file?
Cynthia For example, the pdf file generated by my original snippet
Cynthia shows a time signature of 4/4, but each measure actually
Cynthia contains 8 quarter-note beats.


The way articulate works is to replace each note with a shortened note
and a space or rest.

So c4 becomes c4*5/8 r4*3/8 --- you can't see the scaling in the  PDF
file

Peter C

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Re: Bug in articulate.ly + TrillSpan + full-measure rests

[Peter Chubb]

 Davide == Davide Liessi davide.lie...@gmail.com writes:

Davide Dear Peter, Il 24/02/15 06.48, Peter Chubb ha scritto:
 I had a brainstorm -- the problem is SkipMusic which isn't handled
 anywhere.  But we can use a SkipEvent instead, and it all works!!!

Davide Alas it does not: I get the same barcheck failures both in the
Davide minimal example I posted and in the real use case and the
Davide trill spanner still does not end.

Davide Instead I tried to mimick in articulate.ly the workaround
Davide suggested by Joram () and it seems to work: I get correct
Davide trills and no barcheck warnings.

That works!

Can you get Joram to push a patch to Rietveldt?  I'd rather the kudos
for the fix went to the person who developed it.


BTW, articulate was developed as a hack for the Artemis robot
instrument challenge; changes in Lilypond since then mean that it's
rather out of date.  Some of the functionality is now already in the
Lilypond C++ core (shortening non-legato notes); it'd be nice to clean
it up.  Especially as at the time I taught myself scheme and lilypind
internals enough to create the script; there are lots of things that
are sub-optimal.  So it really needs a complete rewrite, using some of
the ideas, but not much of the code.


Peter C
-- 
Dr Peter Chubb  peter.chubb AT nicta.com.au
http://www.ssrg.nicta.com.au  Software Systems Research Group/NICTA

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Re: Bug in articulate.ly + TrillSpan + full-measure rests

[Peter Chubb]

 Davide == Davide Liessi davide.lie...@gmail.com writes:

Davide Dear Peter, Il 04/02/15 09.46, Peter Chubb ha scritto:
 Looks like the code that was added to do agogic accents (aka swing)
 expands MultiMeasureRestMusic and throws away any articulation
 events (like the end of the trill spanner) on the way.
 
 The fix is probably to add the ariculations in at the end of
 ac:unFoldMusic when expanding MultiMeasureRestMusic.

Davide How can I do this?


I had a brainstorm -- the problem is SkipMusic which isn't handled
anywhere.  But we can use a SkipEvent instead, and it all works!!!

diff --git a/ly/articulate.ly b/ly/articulate.ly
index bbfea19..882cf95 100644
--- a/ly/articulate.ly
+++ b/ly/articulate.ly
@@ -483,11 +483,11 @@
 (make-sequential-music
  (list-tabulate eff-nrep (lambda (i) (ly:music-deep-copy m
  ((MultiMeasureRestMusic)
-  (make-sequential-music
-   (list
+   (event-chord-wrap! (make-sequential-music (list
(make-music 'BarCheck)
-   (make-music 'SkipMusic 'duration (ly:music-property m 'duration))
-   (make-music 'BarCheck
+   (make-music 'SkipEvent 'duration (ly:music-property m 'duration)
+'articulations (ly:music-property m 'articulations))
+   (make-music 'BarCheck)
  (else
   m)))
(unfold-repeats music)))

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Re: Bug in articulate.ly + TrillSpan + full-measure rests

[Peter Chubb]

 Davide == Davide Liessi davide.lie...@gmail.com writes:

Davide Dear Peter, Il 04/02/15 09.46, Peter Chubb ha scritto:
 Looks like the code that was added to do agogic accents (aka swing)
 expands MultiMeasureRestMusic and throws away any articulation
 events (like the end of the trill spanner) on the way.
 
 The fix is probably to add the ariculations in at the end of
 ac:unFoldMusic when expanding MultiMeasureRestMusic.

Davide How can I do this?

Not sure ...

I tried this, but it didn't work --- more investiagtion (that I don;t
have time for at present is needed:
diff --git a/ly/articulate.ly b/ly/articulate.ly
index bbfea19..48a8535 100644
--- a/ly/articulate.ly
+++ b/ly/articulate.ly
@@ -486,7 +486,8 @@
   (make-sequential-music
(list
(make-music 'BarCheck)
-   (make-music 'SkipMusic 'duration (ly:music-property m 'duration))
+   (make-music 'SkipMusic 'duration (ly:music-property m 'duration)
+'articulations (ly:music-property m 'articulations))
(make-music 'BarCheck
  (else
   m)))
@@ -538,7 +539,7 @@
   ((BeamEvent) ; throw away beam events, or they'll be duplicated by turn 
or trill
(loop factor newelements tail actions))
 
-  ((LineBreakEvent FingeringEvent MarkEvent BreathingEvent TieEvent 
SkipEvent RestEvent) ; pass through some events.
+  ((SkipMusic LineBreakEvent FingeringEvent MarkEvent BreathingEvent 
TieEvent SkipEvent RestEvent) ; pass through some events.
(loop (cons 1 1) (cons e newelements) tail actions))
 
   ((ArticulationEvent)
(END)

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Re: Bug in articulate.ly + TrillSpan + full-measure rests

[Peter Chubb]

 Noeck == Noeck  noeck.marb...@gmx.de writes:

Noeck Hi Davide,

 I would expect \articulate to correctly handle trill spanners
 regardless to what \stopTrillSpan is attached to.

Noeck Yep, me too. That’s why I said: I don’t know how to fix it.

Looks like the code that was added to do agogic accents (aka swing)
expands MultiMeasureRestMusic and throws away any articulation events
(like the end of the trill spanner) on the way.

The fix is probably to add the ariculations in at the end of
ac:unFoldMusic when expanding MultiMeasureRestMusic.


--
Dr Peter Chubb  peter.chubb AT nicta.com.au
http://www.ssrg.nicta.com.au  Software Systems Research Group/NICTA

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Re: Rallentando and accelerando in MIDI

[Peter Chubb]

 David == David Sumbler da...@aeolia.co.uk writes:

David Which brings me back now to my other question: how do I get
David midi (specifically, the articulate.ly script) to recognize my
David rits and ralls?  I have tried entering them with \tempo, with
David \mark and just as markup, but nothing seems to work.

This used to work, but it's possible that changes in Lily have made it
stop working.

Last time it worked, \tempo rit wasn't available, so the syntax was:

 a^rit.

or similar.

--
Dr Peter Chubb  peter.chubb AT nicta.com.au
http://www.ssrg.nicta.com.au  Software Systems Research Group/NICTA

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Re: \articulate problem

[Peter Chubb]

 Patrick == Patrick or Cynthia Karl pck...@me.com writes:

Interesting.

The problem is in the Prall rendition:

It comes out as:

{  d'' 32  c''   d''   c'' 1*-1/32 }

This is generated from a ly:music-compress function applied to
 { d''32 c'' d'' c'' }
 to squash it to the same length as the original semiquaver.

I have no idea where that 1*-1/32 comes from , but that's where the
`backwards in midi time' message originates, I think.


Peter C

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Re: One instrument out of form

[Peter Chubb]

 Dan == Dan van Ginhoven danfa...@hotmail.com writes:

Dan Hi!  I'm writing lilypond score for six brass instruments from
Dan old handwritten sheets.  The tune I'm working with has the form:

Dan {Intro 4 bars} {A repeat twice 32 bars} {B repeat twice 16 bars}
Dan {A 32 bars} {Trio repeat twice 32 bars }

Dan Alas, Tenor I breaks the form thus: {Intro 4 bars} {A 64 bars} {B
Dan repeat twice 16 bars} {C 32 bars} {Trio repeat twice 32 bars}

I'd unfold the repeat of A for the standard parts in the conductor's
score.

And add rehearsal marks at appropriate places, because this could make
the bar numbering different on the individual parts from that on the
conductor's score.

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Re: MIDI and Volta repeats in parallel music

[Peter Chubb]

 Michael == Michael Ellis michael.f.el...@gmail.com writes:

Michael On Sun, Nov 23, 2014 at 4:46 PM, pe...@chubb.wattle.id.au
Michael wrote:
 What's more, is there a reason to have the structure in a different
 voice?

Michael Good question. For me, it's mostly about the DRY principle
Michael (don't repeat yourself).  I'm in the process of writing a
Michael program that tries to maximize one's opportunities to exploit
Michael the repetitive aspects of most compositions when entering the
Michael notation for multiple voices.  It's a work in progress, but
Michael if you're curious it lives at
Michael https://github.com/Michael-F-Ellis/TransLily

My point I think is that the structure is the structure of the voice,
not the structure of the staff.  Which is why, BTW, the MIDI repeats
don't unfold.

Visibly the structure voice shows the repeats, but the repeats aren't
actually in the music voice.


So when you unfold you get:
   
 \music
 { \structure \structure \structure }
   
   

I
Michael As for the whole \repeat unfold business, I'd love to
Michael understand why LP can merge repeats in the PDF but can't do
Michael it MIDI.  I know the developers are really smart folks, so it
Michael must be way more challenging than I'm imagining.

t can't merge them in the PDF either.  But when it prints them as
repeat symbols, you can't tell from the printout.

Try this:
---
\version 2.18.0

music= 
\new Staff 
  \new Voice \relative c' { c4 c c c }
  \new Voice \relative c' { \repeat volta 2 { s1 }}



\score {
  \music
}

\score {
  \unfoldRepeats \music
}


---
And look at the PDF.  The second system shows the unfolded structure.

Peter C

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Re: ?ly2video - create videos from your LilyPond projects

[Peter Chubb]

 FireTight == FireTight  fireti...@gmail.com writes:

FireTight Hello, my name is Jiri FireTight Szabo and I would like
FireTight to introduce program ly2video to you. This program can
FireTight generate videos from your LilyPond projects that contains
FireTight moving music staff, which is synchronized to music (
FireTight 
http://www.youtube.com/playlist?list=PL444F0513202699C4feature=view_all
FireTight examples ). If you are interested, you can download it
FireTight 
http://code.google.com/p/ly2video/downloads/detail?name=ly2video_v1.0.zip
FireTight here . I hope you will enjoy it! :)

Thanks --- this is pretty awesome.

I had to change it a bit to get it to work on linux (patch appended).

It'd be neat if this could work with articulate a bit better --- to
expand trills and turns for example, and better handle appogiaturas.

I found that music with many acciaccaturas caused the timing to get a
bit out --- the video started to lag further and further behind, until
it caught up at the end.

BTW these changes are just a hack, except for the call to
subprocess.check_call, which is needed --- the real fix would be
to build the filenames using the system path separator.

Also it'd be nice if the downloadable zip file unpacked into its own
directory so it created a single directory full of stuff rather than
several and a file or two.

--- ly2video/ly2video.py2012-05-21 09:29:36.0 +1000
+++ ly2video-new/ly2video.py2012-06-07 19:53:42.082361794 +1000
@@ -501,7 +501,7 @@
 frame.putpixel(((resolution[0] / 2) + 1, pixel), color)
 
 # save that frame
-frame.save(.\\notes\\frame + str(frameNum) + .png)
+frame.save(./notes/frame + str(frameNum) + .png)
 frameNum += 1
 
 sys.stderr.write(SYNC: Generating frames for page 
@@ -932,8 +932,7 @@
 
 # call TiMidity++ to convert MIDI (ly2videoConvert.wav)
 try:
-subprocess.call(winTimidity + timidity ly2videoConvert.midi -Ow,
-stderr=subprocess.STDOUT) 
+subprocess.check_call([winTimidity + timidity, 
ly2videoConvert.midi, -Ow])
 except subprocess.CalledProcessError as err:
 sys.stderr.write(ERROR:\n)
 sys.stderr.write( TiMidity++: There has been some error.\n)
@@ -956,7 +955,7 @@
 # call FFmpeg (without title)
 if not useTitle:
 if os.system(winFfmpeg + ffmpeg -f image2 -r  + str(fps)
- +  -i .\\notes\\frame%d.png -i ly2videoConvert.wav 
+ +  -i ./notes/frame%d.png -i ly2videoConvert.wav 
  + output) != 0:
 sys.stderr.write(ERROR: Calling FFmpeg has failed.\n)
 return 13
@@ -965,13 +964,13 @@
 # create video with title
 silentAudio = generateSilence(titleLength)
 if os.system(winFfmpeg + ffmpeg -f image2 -r  + str(fps)
- +  -i .\\title\\frame%d.png -i 
+ +  -i ./title/frame%d.png -i 
  + silentAudio +  -same_quant title.mpg) != 0:
 sys.stderr.write(ERROR: Calling FFmpeg has failed.\n)
 return 14
 # generate video with notes
 if os.system(winFfmpeg + ffmpeg -f image2 -r  + str(fps)
- +  -i .\\notes\\frame%d.png -i ly2videoConvert.wav 
+ +  -i ./notes/frame%d.png -i ly2videoConvert.wav 
  + -same_quant notes.mpg) != 0:
 sys.stderr.write(ERROR: Calling FFmpeg has failed.\n)

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Re: Problem with articulate.ly

[Peter Chubb]

 Nick == Nick Payne nick.pa...@internode.on.net writes:

Nick The example below builds without error and gives the output I
Nick want.  However, if I include articulate.ly, then the output is
Nick garbaged even though I haven't used \unfoldRepeats \articulate,
Nick and I get the following warnings in the log:

That's because you have a two-note argument to \appogiature.  Use
\grace instead --- an appogiatura should only be one note.  Articulate
changes the default meaning of appoggiatura so the ornament steals
time from the principal note not the preceding note.  

Nick /home/nick/lilypond/examples/test.ly:8:59: warning: already have
Nick a beam \times 4/6 { a32[( g) fis( g) \appoggiatura { fis16 [ g]
Nick } a32 g] } warning: cannot end slur warning: unterminated slur

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Re: articulate.ly with rall not working?

[Peter Chubb]

 Malte == Malte Meyn malte.m...@studium.uni-erlangen.de writes:

Malte On 13.03.2012 03:52, Peter Chubb wrote:
 Thomas == Thomas Morley thomasmorle...@googlemail.com
 writes:
 
Malte Hm. I see two problems: 1. Did I understand right, that -rall
Malte changes the tempo in a single step? That’s more like “subito
Malte meno mosso” than “rallentando”, isn’t it?.  

Yes but it's as close as I can get wihtout a LOT more work.

2. \set
Malte tempoWholesPerMinute doesn’t have any effect in the midi
Malte output.  Is that a bug or a misunderstanding? I use Lilypond
Malte 2.14.2-1 Linux 64.

It worked before feb last year.
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Re: articulate.ly with rall not working?

[Peter Chubb]

 Thomas == Thomas Morley thomasmorle...@googlemail.com writes:

Thomas \version 2.14.2 \include articulate.ly

Thomas \score { \unfoldRepeats \articulate  \relative c' { c8-. d-.
Thomas e-.  f-.  g-.-rall f-.  e-.  d-.  c-.  d-.  e-.  f-.  g-.
Thomas f-.  e-.  d-.  c1-.  }
 
Thomas   \midi { } }

The rallentendo actually does happen, but at the tempo you're going, it's not
paticularly deep.

If I add a \displayLilyMusic before the \unfoldRepeats I see:

 {
 { c'8*1/2 r } { d' r } { e' r } { f' r } { \set tempoWholesPerMinute = 
#(ly:make-moment 9 1 0 1)


   { g'-rall  r } } { f' r } { e' r } { d' r } { c' r } { d' r } { e' r } 
{ f' r } { g' r } { f' r } { e' r } { d' r } { c'1*1/2 r } 
   } 


Note the setting of tempoWholesPerMinute.  This corresponds to a 40% slowdown.
The default is MM crotchet=60, this should slow down to about MM
crotchet=36.  However, note this is the *only* tempo adjustment ---
you need to start with a tempo.

I suggest
\version 2.14.2
\include articulate.ly

\score {
\displayLilyMusic\unfoldRepeats \articulate

 \relative c' {
 \set tempoWholesPerMinute = #(ly:make-moment 4 80)
 c8-. d-.  e-.  f-.
g-.-rall f-.  e-.  d-.
 c-.  d-.  e-.  f-.
 g-.  f-.  e-.  d-.
 c1-.
}
  
  \midi { }
}

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Re: articulate.ly with rall not working?

[Peter Chubb]

Looks like there's been a semantic change in Lilypond.

It used to be you could  
   \set tempoWholesPerMinute = 60
or similar anywhere in the Lilypond input and the result would be a
tempo change at that point.  It looks as if now there's a different
event, TempoChangeEvent, that does the work.

I'll have a go at changing articulate to fix this.
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Re: Git - date of last modification for each score

[Peter Chubb]

 Jakub == Jakub Pavlík seve...@post.cz writes:

Jakub Hi,

Jakub I have a large project containing many small scores (in large
Jakub files each containing a bundle of scores) which often change.
Jakub The project is stored in a git repository.  I would like to be
Jakub able to get the date of last modification for each of the
Jakub scores from git. Does anyone have an idea how to do it?

Try
git log -1 --pretty=%ai filename

to get the last modification date for that filename.

git log-- get the revision log for the filename
-1 -- Just the most recent revision
--pretty=%ai -- Print the author's commit date in ISO format.

Peter C

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Re: Lyrics in StaffGroup

[Peter Chubb]

 Peter == Peter O'Doherty k.p.odohe...@gmail.com writes:

Peter Hi, Can someone please advise me where \addlyrics { \text }
Peter should go in the code below? I'm using a StaffGroup so it's not
Peter straightforward.  Many thanks, Peter


Name the mezzoSopVoice then use \lyricsto:


Peter mezzoSopranoVoice = \new Voice { \set Staff.instrumentName =
Peter #Mezzo-soprano }

 mezzoSopranoVoice = \context Voice = tune { \set Staff.instrumentName =
#Mezzo-soprano }

Peter cello = \new Voice { \set Staff.instrumentName = #Cello \clef
Peter bass_8 }

Peter \score { 
Peter   \new StaffGroup  
Peter   \new Staff  \mezzoSopranoVoice 

 \lyricsto tune \new Lyrics \lyricmode{ words }

Peter   \new Staff  \cello 
Peter
Peter\layout { \context { } 
Peter   }
Peter }



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Adding dynamics to lyrics

[Peter Chubb]

Hi,
I've been trying to work out how to add dynamics to lyrics, to
give singers guidance.

I tried the obvious:

foo = \lyricmode { start\p quiet -- ly \cresc and get loud -- er \f }

but the dynamics appear to be interpreted as lyrics. (I was
expecting either a syntax error or for them to be interprete
as dynamics).

Peter C
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Re: Adding dynamics to lyrics

[Peter Chubb]

 Peter == Peter Chubb lily.u...@chubb.wattle.id.au writes:

Peter Hi, I've been trying to work out how to add dynamics to lyrics,
Peter to give singers guidance.

For the benefit of search-engine-land, the way to do this is to use a
separate dynamics context.  Like this:

dynA={ s4\p s4\ s2 s4\mf s2. }
tune=\relative c' { c4 d e f g r2. }
words = \lyricmode { some sil -- ly words yah  }

\score {
   
   \new Staff \context Voice = tune \tune
   \new Dynamics \dynA
   \lyricsto tune \new Lyrics \words
   
}

The Dynamics context looks better above the words; if it's below with
Lilypond 2.15.3 it sometimes collides with the next staff down (assuming
multi-stave systems).
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Re: Adding dynamics to lyrics

[Peter Chubb]

 Christ == Christ van Willegen cvwille...@gmail.com writes:

Christ On Wed, Aug 31, 2011 at 05:48, Peter Chubb
Christ lily.u...@chubb.wattle.id.au wrote:
 For the benefit of search-engine-land, the way to do this is to use
 a separate dynamics context.  Like this:

Christ The problem with specifying it like this, is that you'll have
Christ to repeat note lengths throughout the whole dynamic
Christ context. If you make a mistake anywhere, you'll have to fix it
Christ twice!

I know --- it's horribly error-prone from that POV.  What's more, one
has to count note values carefully to get the dynamics in the right
place, rather than just specifying them naturally next to the words.

But at present I can't find a better way to do it.
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Re: Editors? Emacs bindings for Frescobaldi?

[Peter Chubb]

 James == James Harkins jamshar...@gmail.com writes:

James At Mon, 20 Jun 2011 07:51:54 -0400, Christopher R. Maden wrote:
 What OS are you using?
 
 I use Evince under Ubuntu/GNOME to view PDF files, and it
 automatically notes when the file has changed.  When I recompile in
 Emacs, Evince refreshes the view momentarily afterward.  Evince or
 one of the other Open Source PDF viewers may be of some help for
 you.

James Ah... OK, I hadn't tried changing the file and
James re-rendering. Indeed, that works well (Ubuntu 10.04
James here)... except, I have to open the PDF externally. If I use
James C-c C-s within Emacs, it's a compilation process and doing
James C-c C-l will ask if I want to kill the old one (from C-c
James C-s). If I say no, it won't re-render. If I say yes, it closes
James the window.

I just do C-c C-c and then View --- xpdf then runs in the background.
C-c C-c again reruns lilypond, hit R in the Xpdf window and it
refreshes.  Done!

Peter C

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Re: Editors? Emacs bindings for Frescobaldi?

[Peter Chubb]

 James == James Harkins jamshar...@gmail.com writes:

James At Tue, 21 Jun 2011 13:33:48 +1000, Peter Chubb wrote:
 I just do C-c C-c and then View --- xpdf then runs in the
 background.  C-c C-c again reruns lilypond, hit R in the Xpdf
 window and it refreshes.  Done!

James Hm... no, that's not happening here. If it were, I'd be
James clam-happy. See screenshots for the sequence.

James 1. I hit C-c C-s (View in the command menu). Note
James Compilation:run Compiling.

Don't do that!  Use \C-c \C-c instead.  Command-on-master doesn;t
invoke compilation mode (which you can only ever have one of) but uses
a background process instead.


Peter C
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Re: Autobeam partial and grace note

[Peter Chubb]

 christophe == christophe 1710 chris1...@free.fr writes:

christophe \version 2.14.0 \header {tagline =}

christophe One = \relative d'' {

christophe \time 3/4 | % 1 \partial 8*2 \acciaccatura d8 c8\p
christophe ( b8 ) c4-. c, e g4 -. c e g4 -.  }

christophe Two = \relative c { \clef bass \time 3/4 \partial 8*2 r4
christophe | % 2 c4\p r4 g4 -. | % 3 }

You need to keep the lengths of all teh first bars in the parallel
parts the same -- which means adding a fake acciaccatura in part Two:

  \acciaccatura s8
or similar --- see the docs, at
http://www.lilypond.org/doc/v2.14/Documentation/notation/special-rhythmic-concerns
 
subsection Known Issues and Warnings

Peter C

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Re: problem with articulate and ties in chords

[Peter Chubb]

I've taken a look at  this now ... there's no easy way to fix the
problem.  To articulate something like

a~ c4 a c

you need to split the c into a note and a rest.  At present it rewites
it, essentially, to 

a~ c8.. r16 a c4

To make this work, it'd have to rewrite to:

{a4~ a} \\ {c8.. r16 c4}

and unfortunately that's beyond my scheme ability.
If you split it before articulate sees it, like so:

{a ~ a} {c c}

the MIDI will be correct. You need to fiddle stem directions usually,
to make the PDF look OK when you do this.


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Re: problem with articulate and ties in chords

[Peter Chubb]

 Martin == Martin Tarenskeen m.tarensk...@zonnet.nl writes:


Martin I am using lilypond 2.13.62 now.  The following example seems
Martin to show that \articulate has a problem with tied chords, Or am
Martin I doing something wrong ?

No, you're not doing anything wrong.  You've just run into an issue I
hadn't thought of in the design of Articulate --- none of the instruments
I play can do chords!

I shan't have time to look at the problem until next week.  In the
meantime if there are any Scheme coders out there, please have a go
(my scheme is awful!)

Peter C
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Re: Dynamics on chords

[Peter Chubb]

 Albu == Albu  alabal...@hotmail.com writes:



Albu Thanks Eluze, its not the chord name, here goes an example:

Albu \version 2.12.1 \relative c' { f1~  f c'~ ais' %I want to
Albu put a crescendo and decrescendo here c'4

This is what I use.  It's nowhere near perfect.

\version 2.12.1

\relative c' { f1 ~ 
 
  {  f c' ~ ais' c'4 } \\
  {s8\ s4. \!\ s4. s8\!}

 c2\pp 
 
 c b' g' \\
 {s8\ s4 s8\!}

}


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Re: Tied notes interfere with correct placement of lyric

[Peter Chubb]

 Richard == Richard Opheim rvaci...@gmail.com writes:

Richard \version 2.12.3 {%{Measure 1 %} e8 g8 f8 a8 ~ %{Measure 2
Richard %} a8 c8 d4 } \addlyrics {A B C D } %first part \addlyrics
Richard {\skip4\skip4\skip4\skip4 E F } %second part
 
Richard In the example above, lyric E in the second part is supposed
Richard to line up vertically with note c8. However, when the a8 of
Richard measure 1 ties with the a8 of measure 2, E seems not to
Richard recognize c8 (though it would if it weren't for the tie in
Richard the other part) and slides over to d4.

You have two voices.  So make tell Lilypond that you have two voices.

Something like this:
vOne= { e8 g f a ~ | a s4. }
vTwo={ s2 | c8 d4 s8 }
\score {
  
   \context Staff = top {
   \time 2/4 
   \partcombine \context Voice = vOne \vOne
   \context Voice = vTwo \vTwo
   }
   
   \lyricsto vOne \context Lyrics = partOne  { A B C D  __ }
   \lyricsto vTwo \context Lyrics =partTwo { E F }
 
}
 
Richard How can I get lyric E to align with c8?
 
Richard bonus question: If I put an extender on lyric D, how can I
Richard keep it from extending past a8 in the 2nd measure?

Th 

Richard Richard Opheim



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Re: with 2.13.61, file on wikipedia no longer compiles

[Peter Chubb]

 Marc == Marc Mouries m...@mouries.net writes:

Marc On 5/11/2011 10:26 PM, Nick Payne wrote:
 I did a copy and paste of the ly source from that web page, saved
 it as UTF-8, and it builds without any errors at all. Lilypond
 2.13.61 running on Ubuntu amd64.
 
 Nick
Marc thanks for checking out.  I converted the file to UTF-8 and now
Marc the pdf gets generated but it's blank.

Marc The log file contains: # -*-compilation-*- Processing
Marc `C:/Users/Marc/Documents/Au Clair de la Lune.ly' Parsing...
Marc Interpreting music... [8] Preprocessing graphical objects...
Marc Finding the ideal number of pages...  Fitting music on 1 page...
Marc Drawing systems...  Layout output to `/Users/Marc/Documents/Au
Marc Clair de la Lune.ps'...  Converting to `/Users/Marc/Documents/Au
Marc Clair de la Lune.pdf'...  `(gs -q -dNOSAFER
Marc -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89
Marc -dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200
Marc -sDEVICE=pdfwrite -sOutputFile=/Users/Marc/Documents/Au Clair de
Marc la Lune.pdf -c.setpdfwrite -f/Users/Marc/Documents/Au Clair de
Marc la Lune.ps)' failed (1) error: failed files:
Marc C:\\Users\\Marc\\Documents\\Au Clair de la Lune.ly

I see this kind of thing if my current locale is set to a non-UTF-8
locale, and I try to process files containing UTF-8 characters.

Dunno how to set locale on Windows though.
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Re: Soundfonts and MIDI output (beginner questions)

[Peter Chubb]

 Heather == Heather W Reichgott heather.reichg...@gmail.com writes:

Heather [1 multipart/alternative (7bit)] [1.1 text/plain;
Heather ISO-8859-1 (7bit)]

Heather I have been using Lilypond for some time, and have used MIDI
Heather sequencing software before, too. Back in the early 90s I
Heather taught myself Cakewalk Apprentice with MIDI output for my
Heather early composition projects. :) But I am a beginner regarding
Heather the inner workings of MIDI. I have some beginner questions
Heather about soundfonts.

Heather 1. Is the choice of soundfont a property of the MIDI file
Heather itself, or a property of the playback software? (Or both?) I

It's a property of the playback software.  MIDI encodes `banks'  and
`programs' within `banks' only.  Bank 0 progams have a conventional
mapping to instruments (the so-called GM instrument set), and this is
coded at present into Lilypond's MIDI performer, in midi.scm,
instrument-names-alist.  So Lilypond's output is always bank 0, with
program number dependent on the Staff.midiInstrument setting for each staff.

This provides maximum portability, so if you give a MIDI file to
someone else he or she will hear the same instruments you do (although
the actual sounds may be different, depending on what synthesizer is
used).

If you want to use different configurations for different performances
with timidity the simplest way is to use multiple configuration files.
you could create, for example, a file called pc51.cfg containing only:
  soundfont /usr/share/midi/PC51.sf2
then do
  timidity -c pc51.cfg file.midi
to use it.

Heather 2. Is there an easy way to see a list of all the instruments
Heather in a soundfont and hear samples of the sounds?

You could try something like swami (which I've never used!)
http://www.swamiproject.org/

Peter C

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Re: Using the articulate.ly script AND getting nice-looking engraved output - how to

[Peter Chubb]

There's no easy way the way I wrote the code to change the amount of
separation for the default non-legato case.  I suggest adding
something like this:
nonLegato = #(define-music-function (parser location factor music)
   (pair? ly:music?)
   Adjust times of note to add tenuto, staccato and 
normal articulations.
The first argument gives the degree of articulation for
the usual (non-legato) case.

(set! ac:normalFactor factor)
(music-map ac:articulate-chord music)
   )

used thus:

\unfoldRepeats \nonLegato #'(15 . 16) \yourMusic

15/16 is what some of the writers here suggested.

The other thing that would be worth doing, is adding legato and
non-legato or detached as keywords that alter the articulation factor
in the ac:getactions function.

Peter C

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Re: suggestion for articulate

[Peter Chubb]

 Graham == Graham Percival gra...@percival-music.ca writes:

Graham On Fri, Apr 15, 2011 at 12:54:53PM +1000, Peter Chubb wrote:
David A fixed ratio seems a mistake to me: like optical scaling of
David fonts, the ratio should depend on the length of the note as
David well as the speed of the piece.  And one does not want to have
David chords end early in one voice merely because the voice had a
David longer note starting the chord.
 
 I agree, but that's really hard to implement.  Maybe if Grahame's
 virtual violinist can turn into a virtual orchestra, and interpret
 music properly (instead of just playing whatever Lilypond produces
 like a robotic MIDI player)  but I think that's a long way off.

Graham Yes, it's a long way off.  I'm not intending to touch
Graham expressive music performance at all in my PhD; rather, I'll
Graham make tools which all humans to direct the computer's
Graham performance as easily as possible.  (which may still not be
Graham very easy!)

Indeed.

Graham The catch-phrase for this is let machines do what machines
Graham are good at; let humans do what humans are good at.  :)
Graham Humans aren't good at manually specifying physical parameters
Graham every 0.006 seconds, but they _are_ good at correcting the way
Graham that notes are played (generally every 0.2 - 2.0 seconds, at
Graham least for monophonic violin music).


Graham As for other instruments: I'm hoping to get physical
Graham measurements of a viola and cello during the summer.  It would
Graham be a blast to work on other instruments (clarinet, oboe,
Graham horn), but that would require physical modelling code for
Graham them.  At the moment, the only open source code that I'm aware
Graham of for clarinet is STK... but as I type this, I recall that
Graham although the STK string model uses an algorithm from 1986, the
Graham clarinet one is 1998 or 2002.  So maybe that's a feasible
Graham thing to investigate.

A clarinet would be way cool.  Recorders and portative organs
shouldn't be too hard either.   But there's always  tendency to get
distracted while doing a PhD.  Try not to be!

Peter C



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Re: Using the articulate.ly script AND getting nice-looking engraved output - how to

[Peter Chubb]

 Tom == Tom Cloyd t...@tomcloyd.com writes:

Thanks Tom

Tom While the slight separation of notes in the midi output often
Tom seems to improve the sound of music for instruments which don't
Tom normally sound legato, such as classic guitar, it can also make
Tom other instruments, such as organ, sound unrealistic. One approach
Tom to reducing or eliminating this problem is to experimentally
Tom alter a single line in the articulate.ly script - here is an
Tom example of such an alteration:

Tom #(define ac:normalFactor '(15 . 16))

Can anyone suggest a way that this can be changed outside the script?
I tried
  legato=#(set! ac:normalFactor '(1 . 1))
in a normal lily file, but it didn't seem to work.  The value in the
#(define...) statement in the included file was the one used.

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Re: suggestion for articulate

[Peter Chubb]

 胡海鹏 == 胡海鹏  - Hu Haipeng hhpmu...@163.com writes:

胡海鹏 Hello, Before I make a 16 track midi to show the remaining bug
胡海鹏 on midi output in the recent devel versions, I'll suggest an
胡海鹏 improvement upon articulate.ly. I changed the following line,
胡海鹏 and the non-slurred music sounds more natural, while the
胡海鹏 slurred music still gets more smooth: #(define ac:normalFactor
胡海鹏 '(15 . 16)) Regards Haipeng


What really needs to happen is that this (and the other paramet6ers)
need to be documented.  Whether 15/16 or 7/8 sounds better depends on
the instrument and the style of the music being played, and how
non-legato you want the normal articulations to be.  In the original
parameter settings I was aiming for baroque music practice: something
like this for Bach's English Suite (This is Pogorelich's playing):

http://lawrence.li/blog/audio/01%20English%20Suite%20No.2%20in%20A%20minorBWV%200807_%20Prelude.mp3

And in CPE Bach's `True art of playing the Keyboard' he says that
otherwise unmarked notes should be held for half their marked values,
suggesting #(define ac:normalFactor '(1 . 2))

But see Jackson, `Performance Practice: A Dictionary-guide for
Musicians' on articulation.  Performance practice varies widely.
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Re: suggestion for articulate

[Peter Chubb]

 David == David Kastrup d...@gnu.org writes:


David A fixed ratio seems a mistake to me: like optical scaling of
David fonts, the ratio should depend on the length of the note as
David well as the speed of the piece.  And one does not want to have
David chords end early in one voice merely because the voice had a
David longer note starting the chord.

I agree, but that's really hard to implement.  Maybe if Grahame's
virtual violinist can turn into a virtual orchestra, and interpret
music properly (instead of just playing whatever Lilypond produces
like a robotic MIDI player)  but I think that's a long way off.

As it is, you can adjust the shortening of the notes for non-legato
playing as you wish.  In practice playing in a small group, the only
time when we really care about different voices ending at different
times is on the final chord of a cadence:  and cadences usually fall at the
end of a phrase marked with a phrasing slur or are explicitly marked
tenuto so it isn't an issue.  I can see there could be problems in
some music though.


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Re: New version of articulate available

[Peter Chubb]

There's now a new version of Articulate on the NICTA website.

The only change is the licence --- this version (1.6) is released
under GPL version 3.0, so there should be no barrier to distributing
it with Lilypond.

As usual, it's available from
http://nicta.com.au/people/chubbp/articulate

Sorry i can't give a link to the direct download file, as the CMS
generates such links in ways I can't fathom.

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Re: Notes lining up, and warnings

[Peter Chubb]

 Father == Father Gordon Gilbert fatherg...@gmail.com writes:

Father Can someone help me here?  On this Anglican chant , in the
Father tenth measure (end of the first section of verse two) the
Father melody notes are 1/2 notes and the harmony notes are whole
Father notes, yet in my pdf viewer, they are not lined up as I would
Father like them.  I've tried in LilyPondTool to shift them a bit,
Father but it doesn't seem to be working for some reason.  (It
Father introduces a horiz. shift expression into the line, but it
Father seems to have no effect.)

The problem is that the tenor and bass parts cross over here.
Lilypond offsets one of them to show this.

If you make the bass line stay below the tenor line all the way then
the line-up is perfect.

I found some of the formatting a bit strange --- but here's hwhat I
adjusted to get a result.  you may want to change it!

\header {
  filename = Psalm121.ly
  enteredby = Gordon Gilbert
  composer = Anglican Chant
  date=2011
  title = I Will Lift Up Mine Eyes
  subtitle = Psalm 121
  arranger = Gordon Gilbert
  mutopiacomposer = \composer
  maintainer = Gordon Gilbert
  maintainerEmail = g...@angelsroost.ca
  lastupdated = 2011 * March * 22
}

\version 2.13.29
\paper{
%  #(set-paper-size letter)
}

global= {
  \time 4/4 \key d \major
  \override Staff.TimeSignature #'transparent = ##t
  \skip 1*3 \bar ||
  \skip 1*4 \bar ||
  \skip 1*3 \bar ||
  \skip 1*4 \bar ||
}

sop =  \relative c' {
  fis1 a2 b d1
  fis,1 a2 b a a a1
  a1 b2 d2 cis( b)
  fis1 a2 b a e fis1
}

alto =  \relative c' {
d1 e2 fis g1
d1 e2 d e e fis1
d1 fis2 fis e1
d1 cis2 d e cis d1
  
}

tenor = \relative c' {
a1 a2 b b1
b1 cis2 b d cis a1
a1 b2 b b1
b,1 a'2 b a a a1
}

bass = \relative c' {
d,1 cis2 b g1
b1 a2 g a2 a d1
d1 fis2 fis b,1
b1 a2 g a a d d,1

}



text =  {

}



\score {
 \context ChoirStaff 
   \context Staff =upper  
   { 
 \clef G 
 
   \global
\context Voice = sop {\voiceOne \sop}
   \context Voice = alto {\voiceTwo \alto }
 
   }
   \context Staff = lower  
   { 
 \clef F
 
   \global
   \context Voice = tenor {\voiceOne \tenor}
   \context Voice = bass {\voiceTwo \bass}
 
   }
 

\layout{
indent = 0.0\pt
}
  \midi {
   \context {
  \Score
  tempoWholesPerMinute = #(ly:make-moment 120 4)
}
 }
   }
\markup{
  \wordwrap-string #

1.  I WILL lift up mine | eyes un . to the | hills: *  O | whence -
cometh my | help?

2. My help cometh | even from the | LORD, * who | hath made heaven and | earth.

3. HE will not suffer thy | foot to be moved:  *  and he that |
keepeth thee will not | sleep.

4. Behold,| he that keep . eth | Israel  *  shall | neither slumber nor | sleep.

5. THE LORD him- | self is thy | keeper:  *  the LORD is thy de- |
fence upon thy right | hand;

6. So that the sun shall not | burn thee by | day,  *  nei- | ther the
moon by | night.

7. THE LORD shall pre - | serve thee from all | evil:  *  yea, it is
even | he that . shall keep thy | soul.

8. The LORD shall preserve thy going | out and thy coming | in,  *
from this time | forth for ever- | more.
}

  \markup { \wordwrap-string #

  Glory be to the | Father, and to the Son, * and | to the Holy Ghost;
}

 \markup {
   \wordwrap-string #
 As it was in the beginning, is | now, and ever | shall be, * world
without | end. A- | men.

 }  


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Re: New version of articulate available

[Peter Chubb]

 David == David Kastrup d...@gnu.org writes:p

David Graham Percival gra...@percival-music.ca writes:

 On Mon, Mar 21, 2011 at 11:46:21AM +0100, David Kastrup wrote:
 The GPLv3 states under 5 Conveying modified source versions
 
 I don't see articulate.ly as a modified source version, unless I
 misunderstand that term.

David The whole Lilypond of tomorrow is a modified source version of
David today, containting parts that various authors licensed as their
David personal contribution under the GPLv3 to the Lilypond project.

David And are you going to guarantee that articulate.ly is not going
David to be changed by anybody but the original copyright holder?

You can do that now under GPLv2.

But I've talked to the lawyers, and will arrange a new release this
week under GPL v3.0.  I still can't put in `or later'.  But that
should do for now.


 But making it an _integral_ part of Lilypond will not be feasible.
 
 You're talking about moving the code into a C++ performer, right?

David Into _anything_ being run as an integral and substantial part
David of Lilypond operation.

It will never be this.  and to avoid any future issue I'd much
rather have it in a `contrib' directory, so it's clear it's
distributed with lilypond but is not a core part of lilypond. It would
then fall under the `collection' rules in the GPL.  This would also be
useful for other snippets/scheme/ly libraries.

Currently we don't have a `contrib' tree.

Moving articualte functionality into a performer (which I think is the
right approach long-term) isn't a copyright issue, because you can't
just copy the code (scheme into C++?).  The *only* tricky bit, the
only part of articulate that contains any substantial IP, is
calculating trill timings. And it's a real hack full of mostly but not
perfect heuristics, and should probably be redesigned anyway.

Peter C

--
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Re: Verse-chorus-verse with repeat, multiple ending, pick-up, and varying rhythm

[Peter Chubb]

 Christopher == Christopher R Maden cr...@maden.org writes:

Christopher Finally had an excuse to learn this excellent tool.  I
Christopher set a simple four-verse English folk song, with a
Christopher concertina arrangement.  It looks pretty darn good... but
Christopher it could look better, and I couldn’t figure out how to
Christopher bring in those last bits.
Christopher 1) Verse pick-ups.  I’d like verses 2–4 to start in the
Christopher first alternative ending on the pickups there, rather
Christopher than before the start of the repeat.  I tried a few
Christopher things that resulted in text below the concertina line or
Christopher duplication of the alternatives, but the only solution I
Christopher could contemplate was to \skip the entire chorus for
Christopher every verse.  If that’s the only way, I’ll do it, but
Christopher surely there is a better way to get the lyrics to follow
Christopher the actual flow of the notes.

If you put the chorus and verse into separate voices, it may work
better for you.  Something like this (no guarantees, I haven't tried to
compile it)

preambleOne=\lyricmode { \set stanza=#'1. 
 Oh, __ _ 
 }
verseOne=\lyricmode{Am -- ble is a
 ... 
 }
ChorusWords=\lyricmode {\set stanza=#'Chor.
  ...
   }

preambleTwo=\lyricmode{\set stanza=#'2. 
Well, a
}

\score {
  \context StaffGroup 
   \context Staff=Tenor {
   \context Voice=preamble \relative c' {R1 | r2 r4 a8 g}
   \context Voice=verse \relative c' \repeat volta 4 {
...
\context Voice=chorus {
 
}
}\alternative{
{ f2 \context Voice=interverse { r4 a8 g }}
{f1\fermata}}}
\lyricsto preamble \context Lyrics = one \preambleOne
\lyricsto verse \context Lyrics=one \verseOne
\lyricsto chorus \context Lyrics = one \chorusWords
\lyricsto verse \context Lyrics=two \verseTwo
\lyricsto verse \context Lyrics=three \verseThree
\lyricsto interverse \context Lyrics=one \preambleTwo
\lyricsto interverse \context Lyrics=Two \preambleThree
\lyricsto interverse \context Lyrics=Three { \preambleThree 
\lastWordFour}

}


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Re: New version of articulate available

[Peter Chubb]

 Henning == Henning Hraban Ramm hra...@fiee.net writes:

Henning Am 2011-03-18 um 11:47 schrieb Graham Percival:

 On Fri, Mar 18, 2011 at 09:17:47AM +0100, Marc Hohl wrote:
 Just adding articulate.ly in ly/ and giving one example in the
 docs is probably not what you expect ...
 
 Why not?  That's certainly how I'd start going about this.  I
 haven't looked at it, so I might notice some problem with that
 approach when I see a patch.  Or other people might notice some
 problem with the approach.  But that's definitely how to begin.

Henning I wouldn’t make articulate default – I try it with every song
Henning I typeset and like the result not always.

Henning E.g. chords get shortened, that sounds ugly, esp. with organ
Henning or the like. Or would I’ve to mark all chords tenuto? Of
Henning course I can \articulate only some voices - but therefore it
Henning must not be default.

The default phrasing is non-legato.  If you want chords to slur into
each other, articulate needs to know that --- so put them under a slur
or a phrasing slur.

Henning Didn’t check: Does articulate handle fermatas/ritardandos?

It handles ritardandos if they're marked rall. or rit.

Fermatas are still on the to-do list.

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Re: New version of articulate available

[Peter Chubb]

On 20/03/2011, at 7:55 PM, Francisco Vila paconet@gmail.com wrote:

 2011/3/18 Francisco Vila paconet@gmail.com:
 2011/3/18 Graham Percival gra...@percival-music.ca:
 On Fri, Mar 18, 2011 at 09:17:47AM +0100, Marc Hohl wrote:
 Just adding articulate.ly in ly/ and giving one example in the docs
 is probably not what you expect ...
 
 Why not?  That's certainly how I'd start going about this.  I
 haven't looked at it, so I might notice some problem with that
 approach when I see a patch.  Or other people might notice some
 problem with the approach.  But that's definitely how to begin.
 
 The attached patch includes and documents the Articulate script.
 
 I've not checked, but is the license compatible with that of lilypond?
 A simple line stating this file has the same license as the lilypond
 package would serve.

It's released under GPL version 2.0 
Its copyright is held by myself and by my employer, NICTA, who reserve the 
right to release it under other licences at other times, and who wish the 
notice of copyright in the file to be retained.

I also assert my moral right to be identified as the original author of the 
code,

Ultimately I expect all this not to be an issue, as the articulate script is 
really a hack.  Its functionality should really be part of the Performer 
context.  And I'm hoping that now that attention has been focussed more on good 
MIDI output, someone will start hacking on that code to make the articulate 
script obsolete.

Peter C
 

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Re: New version of articulate available

[Peter Chubb]

 Graham == Graham Percival gra...@percival-music.ca writes:

Graham On Sun, Mar 20, 2011 at 04:23:12PM +0100, David Kastrup wrote:
 Graham Percival gra...@percival-music.ca writes:
 
  The suggestion that a .ly file would somehow be a derivative work
  of lilypond is ridiculous.
 
 Depends on how interlocked and crossdependent it is with internals
 of Lilypond and whether or not stuff has been cross-copied.

Graham If there's no allowances for interoperability, and if the
Graham amount of interlocked-ness (how do we measure this?) of
Graham articulate.ly means that it's a derivative work, then any
Graham serious use of scheme functions in lilypond would
Graham automatically mean that the music must be GPLv3 or later.

I wrote articulate in 2008.  At that time, Lilypond was released under
GPL v2.0.  Therefore at that time there was no conflict.

There's no in principle reason why it shouldn't be relicensed under
GPL3.0, except it means another round with our lawyers to get a
release signed, which I really don't want to have to do.

I'll do it if I have to to get it merged, but i was hoping it wouldn't
be necessary.

Graham Isn't that precisely the question?  You wrote: It is not even
Graham clear that Peter can release/distribute it under GPL version
Graham 2.0 unless it will work unmodified with a version of Lilypond
Graham released under GPL version 2.0

It will so work.  It was written to use the public interfaces provided
by version 2.12, which is GPL version 2.0.  And that is why GPL v2.0
was chosen as the licence when I went through the rigmarole I had to
to get clearance to release it.

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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Peter Chubb]

 Graham == Graham Percival gra...@percival-music.ca writes:
 Graham Percival gra...@percival-music.ca writes:

 It comes down to this: - new tool for composers.

It's also a tool for music teachers.  And I'd argue that that is as
important if not more so.Human students do an awful lot of
interpretation of what they're told.  Robots can't.  So you have to
be explicit about more of your assumptions when teachign a robot to play.

Our robotic clarinet was designed so that we could understand what was
going on in the mouthpiece, the fingers, the vocal cavity, and the
interaction of all those with the reed, so that we could reproduce not
only beautiful music (which we managed I think) but also beginners'
mistakes.  When we can say what makes a particular combination of lip
pressure, tonguing and fingering `squeak' in that annoying way that
beginner (and some semi-pro) clarinettists have, we can work out how
to teach them not to.



Peter C
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New version of articulate available

[Peter Chubb]

Version 1.5 of the Articulate scripts is now available from
http://www.nicta.com.au/people/chubbp/articulate/ 

This version adds support for mordents --- thanks to Patrick Karl who
reported the issue.

The next big thing I'd like Lilypond to do is to handle dynamics in
MIDI better.  The problem is things like:
\version 2.13.55
\score {
   \relative c' {
   \set Staff.midiInstrument = clarinet
   \tempo 8=44
   \cadenzaOn
   fis'8\ppp \ ~ fis2. ~ fis8 \!\ \bar |
   }
}
(from Messiaen's `Abime des Oiseaux', bar 13) -- a smooth crescendo
over almost the full range of the instrument.  Lily renders it in
three steps.  And the original is more like:

\score {
   \relative c' {
\set Staff.midiInstrument = clarinet
   \tempo 8=44
   \cadenzaOn
   
fis'1 \\
{ s8\ppp \ ~ s2. ~ s8 \!\ }

   \bar |
   }
\layout{}
\midi{}
}

but that renders really badly.
   
   

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Re: [OT] Vivi, the Virtual Violinist, plays LilyPond music

[Peter Chubb]

Hi Graham,
   Vivi is WAY COOL.  I really like the way you
   start with a physical model of the instrument.

   I was also interested in the training aspect, as it
   links in with Deborah de Graaff's work here on how eminent
   musicians practice and learn new pieces. See
   http://marcs.uws.edu.au/links/ICoMusic/Full_Paper_PDF/deGraaff_Schubert.pdf  

   And I'm sure you've also seen the automatic music performance work
   from KTH?  http://www.speech.kth.se/music/performance/download/ 
   It's all open source.

--
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Re: Baroque Articulation mark

[Peter Chubb]

 Shane == Shane Brandes sh...@grayskies.net writes:

Shane According to the book Ornamentation in baroque and
Shane post-baroque music it is an English sign (apparently many
Shane traveling musicians from the continent picked up its use) that
Shane can variously be interpreted as a mordent or trill so you will
Shane have to work out from context which sounds better for each
Shane instance you see it. Although it might be Herr Finger (He was a
Shane German in the employ of James II) was consistent in his
Shane usage. So as with all such ornament go by what sounds best.

A lot of marks in early music just mean, `ornament this note'
with the form of the ornament left to the taste and skill of the
performer. 

Peter C


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Re: soprano staff did not transpose

[Peter Chubb]

If you want to transpose the whole song, it's easiest to put the
\transpose in the score block instead of doing each staff separately.

It's almost never worth transposing individual voices unless you're
entering from different sources (for example, I once had the clarinet
part from one edition, and the flute part from a different edition,
and the piano and vocals from yet another edition, all in different
keys, and was trying to get something playable...)

\score {
   \transpose c bes \context GrandStaff 
  ...
   
   \layout{
  ...
   }
}
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Intersystem marks?

[Peter Chubb]

A number of my early scores have a short double slanted line between
systems.  This is helpful to separate systems on a closely spaced
page.

How can I get Lilypond to do something similar?  I'm not sure what
the mark is  called, but have had a look in the learning manual and
notation references in the likely places, and can't find it.
--
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Re: Intersystem marks?

[Peter Chubb]

 Marek == Marek Klein ma...@gregoriana.sk writes:

Marek (quoted-printable)] Hi Peter,


Marek I have found it:
Marek http://lilypond.org/doc/v2.13/Documentation/notation-big-page#
Marek separating-systems

Thankyou, that's just what I was looking for.

Peter C

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Re: Suppressing chords in MIDI output

[Peter Chubb]

 Christopher == Christopher Meredith chmered...@gmail.com writes:

Christopher I use chordmode to print the chords above the piano
Christopher music, but when rendering the MIDI file, I would prefer
Christopher the chords to not be played.  Is there a way to have only
Christopher the voices (and not the chords) output to MIDI?

It's generally best to have a separate score block for MIDI output, so
you can unroll repeats and so on --- just leave the chords out of
that score.

accomp=\chords {c4 f g2:7}
tune=\relative c'' { c4 c b a}
\score {
   
   \context Chords \accomp
   \context Staff {\key c \major \time 4/4 \tune}
   
   \layout{}
}
\score  {
   \unfoldRepeats 
   \context Staff {\key c \major \time 4/4 \tune}
   
   \midi {}
}

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Re: Confusion about beaming

[Peter Chubb]

 Marc == Marc Schonbrun m...@marcschonbrun.com writes:

Marc Hello, I was wondering about why the decision was made in the
Marc input syntax parser to view beaming groups as follows:


Marc \relative { c8 d [e f g a b c] }

Marc The above snippet beams from the d through to the final c. At
Marc first glance, it would appear that the brackets are encasing the
Marc e through c, and those notes would end up beamed together, but,
Marc alas, this is not the case.

LilyPond used to do treat brackets (for beaming) and parentheses (for
slurs and grouping) as grouping operators.  It was decided at one
point to change as much of the syntax as possible to be postfix -- so
`[' isn't a grouping symbol outside the start of a group, but a
`start-beam' operator attached to the note it follows.  Likewise (
isn't a grouping symbol but a 'start-slur' operator attached to the
note it follows.  If these symbols are treated as paired grouping operators,
it's difficult to handle nesting properly --- beams, slurs and phrase
marks are all independent groups.

This leaves { and } the only real grouping symbols, and they have to
nest strictly.  But slurs, phrasemarks and beams can span groups, and
each other.



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Re: please help a newbie with partial measures

[Peter Chubb]

 Phil == Phil Holmes m...@philholmes.net writes:

Phil Rose, Here's a very simple version of some music laid out as
Phil hymns frequently seem to be.  I think you should be able to use
Phil this to modify what you've already done.

You don't need the  partials except at the start.

See some of the hymns I've typeset at mutopiaproject.org.

For example:
http://www.mutopiaproject.org/cgibin/piece-info.cgi?id=195

But basically, a \bar || just causes a double barline to be typeset
without changing Lilypond's idea of the current moment in the bar.

Peter C
--
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Re: new website 24-hour test

[Peter Chubb]

 Graham == Graham Percival gra...@percival-music.ca writes:

Graham We’re testing our new website! For the next 24 hours, the new
Graham website will be the default website; after that, we will
Graham switch back to the old website while we examine feedback and
Graham make improvements to the new website.

Mostly looks good in Opera.

But shouldn't the copyright now be 2010 for the new version of NR,
website, etc?

After you get into the NR or the LM, there seem to be no easy link to get
back to the main pages.  You have to hit `back to documentation index'
(http://lilypond.org/doc/v2.12/Documentation/index.html) 
then `lilypond,.org' to get back to the front page.  Is this
deliberate?  Also the Documentation Index doesn't appear to have the
same style as the rest of the web frontmatter.  Maybe it'd be better
to scrap that page, and instead point `documentatioon index' at
http://lilypond.org/manuals.html 

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Re: Hide staff on printout but retain midi

[Peter Chubb]

 northofscotland == northofscotland  strath100-...@yahoo.co.uk writes:

northofscotland I am typesetting a mediaeval trouvere song and want
northofscotland to add a drone to the midi but hide the somewhat
northofscotland redundant music in the printout.  Is there a simple
northofscotland way to do this, please?  -- View this message in
northofscotland context:

The simplest way is to use two score blocks, one for MIDI and one for
printout.

PeterC

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Re: noobie question. percussion instruments

[Peter Chubb]

 Roberto == Roberto Morales roberto...@prodigy.net.mx writes:

Roberto Hi Xavier Thanks for your observation in my mistyping, but I
Roberto still got the same mistake and compilation still looks clean


Roberto #(define platillos '( (chinesecymbal triangle AFICS #f -3 )
Roberto (
crashcymbal default #f 1) ) )

There are some non-printing characters in there -- a control-B and a
control-A --- they may be perturbing your results.



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\autochange and rests

[Peter Chubb]

Hi,
   I have a simple piece that I'm trying to arrange for my daughter
   who's a beginner pianist.  I can write it out all on the treble
   clef, but then there are a few low A notes below the staff that
   need leger lines.  Using \autochange
   splits it nicely, but it looks wrong -- how can I get \autochange
   to fill in the gaps in the staves with rests?
   (some people may recognise the tune).

This is with \autochange:
   \version 2.12.3
   \score {
 \context PianoStaff {
\autochange \relative c' { 
  \key a \minor \time 2/2 a2 a4 a | 
  e4 e e2 
}
 }
   }

This is what I want, but automatically:
   \version 2.12.3
   \score {
 \context PianoStaff 
   \context Staff = RH  \relative c' {
 \time 2/2
 \key a \minor
 R1 | 
 e4 e e2 |
   }
   \context Staff = LH  \relative c' {
 \clef F
 \time 2/2
 \key a \minor
 a2 a4 a | 
 R1 |
   }
 
   }
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Re: Accidental not properly notated in score

[Peter Chubb]

 Patrick == Patrick Karl pck...@mac.com writes:

Patrick Can anyone explain why the 2nd d-sharp is not notated in the
Patrick music in the following snippet:

Patrick \version 2.12.2
Patrick \relative g'' { \partial 4 r4 r2. dis4 e2.
Patrick\repeat volta 2 { \partial 4 c8 dis e2.  } }

The \repeat volta N {} construct doesn't actually create a new bar.
So the second d-sharp is in the same bar as the first, so Lilypond
doesn't notate it.

As  player, I find it easier if repeats start and end at bar
boundaries, so maybe:

 \relative g'' {
   \partial 4 r4 |
   r2. dis4 |
   e2. c8 dis |
   \repeat volta 2 {
 e2. 
   } \alternative {
 {
   c8 dis | 
 }{
   r4 | 
 }
   }
}

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Re: Tempo markings and tempo dynamics

[Peter Chubb]

 Reinhold == Reinhold Kainhofer reinh...@kainhofer.com writes:

Reinhold -BEGIN PGP SIGNED MESSAGE- Hash: SHA1

Reinhold Am Montag, 29. März 2010 22:10:25 schrieb Kieren MacMillan:
 Hi Phil,
 
  I checked and found that I create the rall marking as a
 \markup, as  suggested in the documentation.
 

Thecurrent version of the articulte script understands \markup a
tempo and rall etc., to change the MIDI tempo.

See http://www.nicta.com.au/people/chubbp/articulate for the script.

I haven't updated it to understand the \tempo rall etc., commands, yet.
--
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Re: articulate and tie playback above 2.13.8

[Peter Chubb]

Hi,
  Please try the attached fixed script -- I think it'll work now.



articulate.ly
Description: Binary data
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Re: articulate and tie playback above 2.13.8

[Peter Chubb]

 GBK == GBK  GBK writes:

GBK Hello, I find the problem concerning ties playback since
GBK 2.13.8. When I use articulate script, the ties are broken in
GBK midi. Please try yourself to find where the bug is.

Are the ties broken when you don't use articulate.ly?

I don't have such a recent version of Lilypond yet (I'm still using
the Debian-supplied 2.12.3 most of the time) and I don't see the
problem.  I may have time to work on it next week :=)  Most likely the
format of the scheme music has changed a little, and the articulate
script no longer parses it correctly, so tries to shorten the first
note that's tied.

Peter C
--
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Re: dynamic and midi velocity

[Peter Chubb]

 bachelet == bachelet  w...@theps.net writes:

bachelet any luck finding this script, I'd like to use it, too


It was in this mailing list, at
http://www.mail-archive.com/bug-lilyp...@gnu.org/msg03960.html 

Peter C


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Re: Lyrics across multi-voice sections

[Peter Chubb]

 Alberto == Alberto Simões al...@alfarrabio.di.uminho.pt writes:

Alberto Hello I have a music where in some places the voice splits,
Alberto like:

Alberto  { g2 ~ g8 } \\ { s8 e8[ dis d] cis } 

Alberto I was trying to make lyrics align with the top voice of these
Alberto splits.  I tried to use:

You need to tell LilyPond which voice is which.

The \\ construct creates two new voices, neither of which is aligned
with your lyrics.  What you probably want is something like this:

 \context Voice = tune { a b c 
  \context Voice = tune { \voiceOne g2 ~ g8 }
  \context Voice = alternate { \voiceTwo  s8 e8[ dis d] cis } 
   \oneVoice a b c
 }
 \lyricsto tune \theWords



Grahame, this is such a FAQ thaqt we either need to add a section to
the LM in `voices and vocals', or modify the `I'm hearing voices'
section, or add an explicit `implicit voice instantiation with vocals'
section.  Or some other solution?

If you tell me which you'd prefer I'll try to whip yup a patch this week.
--
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Re: lilypond tool and MidiInput

[Peter Chubb]

 Graham == Graham Percival gra...@percival-music.ca writes:

Graham On Mon, Feb 15, 2010 at 12:37 AM, Peter Chubb
Graham lily.u...@chubb.wattle.id.au wrote:
 Trevor == Trevor Daniels t.dani...@treda.co.uk writes:
 
Trevor Peter's original announcement, with articulate.ly and some
Trevor instructions for its use is at
Trevor http://lists.gnu.org/archive/html/lilypond-user/2008-08/msg00108.html

Graham Yes, so it would be nice if somebody could send a small
Graham documentation suggestion according to...

Graham huh.  lilypond.org seems to be down at the moment, so I'll
Graham just describe it: on the new webpage, click on Community, then
Graham Development, then documentation suggestions.

Here's a patch.  Feel free to edit for style :-)

Signed-off-by: Peter Chubb peter.ch...@nicta.com.au

---
 Documentation/usage/external.itely |   20 +++-
 1 file changed, 19 insertions(+), 1 deletion(-)

Index: lilypond/Documentation/usage/external.itely
===
--- lilypond.orig/Documentation/usage/external.itely2010-02-17 
12:44:00.551158469 +1100
+++ lilypond/Documentation/usage/external.itely 2010-02-17 13:13:15.338160699 
+1100
@@ -592,6 +592,24 @@
 @node MIDI articulation
 @subsection MIDI articulation
 
-TODO stub for info about Dr. Peter Chubb's @file{articulate.ly}
+LilyPond can be used to produce MIDI output, for `proof-hearing' what
+has been written.  However, only dynamics, explicit tempo markings,
+and the notes and durations themselves are produced in the output.
+
+At
+...@uref{http://@/www@/.nicta@/.com@/.au/@/people/@/chubbp/@/articulate}
+is one attempt to get more of the information in the score into the
+MIDI.  It works by shortening notes not under slurs, to `articulate'
+the notes.  The amount of shortening depends on any
+articulation markings attached to a note: staccato halves the note
+value, tenuto gives a note its full duration, and so on.
+
+The script also realises trills and turns, and could be extended to
+expand other ornaments such as mordents.
+
+Its main limitation is that it can only affect things it knows about:
+anything that is merely textual markup (instead of a note property) is
+still ignored.
+
 
 


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Re: lilypond tool and MidiInput

[Peter Chubb]

 Graham == Graham Percival gra...@percival-music.ca writes:

Graham Thanks, modified and pushed.  For the record, I wasn't
Graham expecting (or fishing for) an actual patch; the page I was
Graham trying to point people at was:
Graham 
http://lilypond.org/doc/v2.13/Documentation/contributor/documentation-suggestions

Graham (in particular, the small additions section)


I'm more used to generating patches. :-)


Peter C
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Re: dynamic and midi velocity

[Peter Chubb]

I had a quick look at what it would take to generate notes with
different velocities instead of just CC 7 events.  It's harder than it
should be: dynamic events always come after the notes they affect, so
I couldn't see an obvious/easy way to get the current dynamics while
processing a note, nor is it obvious to me how to get at notes in the
same voice as a dynamic indication at the same timestep.

Nor is it obvioous to me how to tell which voices dynamic indications
should be applied to.  Sometimes they should be for several (e.g.,
centered piano dynamics), sometimes just to the voice they are
attached to.  And there's still the issue of handling what instruments
are capable of, and adjusting expression accordingly.

There are three classes of instruments I can think of:
  1.  Instruments that play at a fixed volume no matter what you do:
  -- harpsichord, most organ stops, recorder, etc.
  2.  Instruments where the volume is determined at the start of a
  note, but you can't change it afterwards:
  -- piano, clavichord, most percussion, plucked strings, etc.
  3.  Instruments that can change volume anywhere -- most woodwinds and brass,
  swell stops on the organ, etc.

So I'm leaving it in the `too hard' basket for now.

Peter C

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Re: dynamic and midi velocity

[Peter Chubb]

 miquel == miquel parera computer.music.n...@gmail.com writes:


miquel I want translate the dynamics of one note (\, \ff etc) to
miquel midi velocity values (0-127) I'ts possible?

Lilypond uses a separate volume channel, rather than velocity, to
control MIDI dynamics.  There's a perl script `ConvertToVeolcity.perl'
that can convert the midi output and add velocity info to each note.

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Alternatives in the *middle* of a volta

[Peter Chubb]

Hi,
I'm trying to set some music that could logically be expressed
like this:

\repeat volta 3 {
\firstPart
\alternative {{
\firstMiddle \bar ||
}{
\finalEnd ^Fine \bar ||
}}
\secondPart
}

So the music looks like:


+--+++
| vv1,2|| v 3|
Fine
|: music    | music|| end|| music ... |  :|


Lilypnd 2.12.2 doesn't like \alternative in the middle of a repeated
section.

Is there a sane way to do this? 


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Re: Alternatives in the *middle* of a volta

[Peter Chubb]

 Tim == Tim McNamara tim...@bitstream.net writes:

Tim On Feb 14, 2010, at 2:54 AM, Peter Chubb wrote:

 Is there a sane way to do this?


Tim Thinking as a player, I'd rather see this as a coda

It's only one bar in the middle.  I'd like to
get it onto one page --- the only obvious to me alternative would mean
repeating the verse music after the repeat, so you'd have:

  |: verse ... | normal_ending || chorus ... :| verse ... | final_ending ||

 ^^^_same as^^

instead of my preferred:


  +++---+
  | vv1,2  || v 3   |
Fine
|: verse  |  normalend || finalend  || chorus ... |  :| 

I prefer the latter as a musician because:
-- it's shorter (no need for a page turn)
-- it's obvious how many times to play the various parts
-- it's really easy to skip over one bar in the middle.
-- it shows the structure of the music better.  In *this* case
the main difference is that the first note of the chorus comes at the
end of `normalend'; finalend is just a semibreve in the voice parts,
and an arpeggio in the accompaniments.

--
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Re: lilypond tool and MidiInput

[Peter Chubb]

 Trevor == Trevor Daniels t.dani...@treda.co.uk writes:

Trevor Graham Percival wrote Sunday, February 14, 2010 10:49 PM


Trevor Peter's original announcement, with articulate.ly and some
Trevor instructions for its use is at
Trevor http://lists.gnu.org/archive/html/lilypond-user/2008-08/msg00108.html

I try to keep it up to date at
http://www.nicta.com.au/people/chubbp/articulate --- people have been
sending me bug reports, which I've been trying to address as I have
time, and the result keeps getting better.

As add-on scheme/lilypond code it doesn't really quite fit into the
current LilyPond codebase anywhere that's obvious.  Any chance of
adding a `contrib' directory so things like this could be distributed
with LilyPond?  Or if not that, then a `loosely related work' section
to the webpage?

--
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New Articulate script available for better midi output

[Peter Chubb]

Hi Folks,
   There's a new version of the `articulate' script available at
http://www.nicta.com.au/people/chubbp/articulate

Changes are:
-- fix bad synchronisation after breathing, explicit line
break and fingering events
-- add staccatissimo
-- fix duration of trillspanners

Thanks to all the people who gave feedback/bugreports/patches  (there
were three people who sent staccatissimo patches!)

For those who don't know yet, `articulate' is a bunch of scheme code
that rewrites lily input to make it sound right in the midi output;
basically shortening notes to mark out phrase and slur ends, staccato
and staccatissimo, and realising trills, turns and some tempo
markings.

You use it by:

\include articulate.ly
\score {
   \unfoldRepeats \articulate put your music here
   \midi{}
}

(or there's a convenience script called `lilywrap' in the tarball that
makes exactly these additions to a lilypond file and invokes lilypond
for you).

Peter C

The direct download link is
http://www.nicta.com.au/__data/assets/file/0009/21888/articulate-1.3.tar.gz 

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Re: score runs off the page

[Peter Chubb]

With 2.12.2, the overture compiles (with some warnings), and looks OK
on a4 paper, except for the last page, where bar numbers are printed for
non-existant staves.  Also the copyright notice on the first page
collides with the music.

With 2.13.9, the 'cello parts run off the bottom of the first page,
and on the second and third pages the systems are expanded to fill the
page instead of taking their natural height.  The problem with bar
numbers from bar 40 is still there.  I've found the problem for the
bar numbers: on line 357 of overture.ly you've typed 111 instead of 11
for the number of rests.

Putting an explicit \break after bar 6 gives a nice page turn (almost
all parts have rests) and fixes the spacing problem on A4 paper.

Here're the changes I made:

--- overture.ly~2009-12-11 22:00:06.0 +1100
+++ overture.ly 2009-12-19 11:59:15.0 +1100
@@ -25,7 +25,7 @@
   marks = {
 \set markFormatter = #format-mark-box-numbers
 \tempo \allegro 4=120
-s2.*6 | s1*5/4*2 |
+s2.*6 \break | s1*5/4*2 |
 \mark \default s1*9/8*3 | s1*5/4*4 |
 \tag #'score { s2. s2^\rit | \mark \default s1*9/8*3^\atempo | }
 \tag #'midi { s2 s8 \tempo 4=116 s \tempo 4=112 s \tempo 4=106 s \tempo 
4=98 s \tempo 4=90 s | \tempo 4=100 s \tempo 4=120 s1 | s1*9/8*2 | }
@@ -354,7 +354,7 @@
 f a,8-.-\!\sf r r4 r8 f a,4\mf\ ~ f a,8-.\!\sf r4 |
 r f a,\mf\ ~ f a,8-.\!\sf r r2 |
 R1*5/4^\fermataMarkup \bar ||
-R1*5/4*111 |
+R1*5/4*11 |
   }
 
   tuba = \relative c, {


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Re: Switching music for PDF and Midi

[Peter Chubb]

 Akira == Akira  i.love.the.pika...@gmail.com writes:

Akira What I want to say is just on this picture. Please see this
Akira picture:
Akira 
http://lh6.ggpht.com/_Rub71FvXx30/Sv1NLn_iKgI/ADc/I-Amwi5RrK8/differentmusicpdfmidi.JPG

Akira I'm typesetting a piece that includes trills, but a problem
Akira occurred: trill spanners does not work in midi.  So I have to
Akira switch different notations like:

An alternative is to use my `articulate' script that attempts to
rewrite trill and trillspanners to do the `right thing'.  It's a
little limited (it doesn't obey sharp of flat notations, and always
starts on  the upper note, according to baroque practice, and it
sometimes gets the time for each twiddle wrong) but it's a start.

http://www.nicta.com.au/people/chubbp/articulate

I'll be putting a new version up soon.


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Re: anybody know apache? (dir structure of docs)

[Peter Chubb]

 Graham == Graham Percival gra...@percival-music.ca writes:

Graham Anybody want to save me a half an hour of maintenance, and a
Graham few hours of sanity?  Look this up.  (alternately, if you
Graham already know apache, just answer the question)

Yes you can do it.

In fact there is more than one way.

If you want /foo/ to always be the same as /xyz/bah/ you can do it
with an alias.

Alias /foo /var/www/xyz/bah/
   ^ note full path name on server.

If you want the browser to redirect and reload from a different URL,
you can do:
Redirect /foo http://x.y.z/xyz/bah




Graham On Mon, Nov 09, 2009 at 12:31:31PM -0200, Han-Wen Nienhuys
Graham wrote:
 On Mon, Nov 9, 2009 at 9:54 AM, Jan Nieuwenhuizen jann...@gnu.org
 wrote:
 
  The technical reasons for using web/ and doc/v2.xx are:   -
 easier rsyncing, moving, verifying   - clean namespace --
 currently we have quite some other     things at the root.  it's
 easy to get collisions, we     need to really think this through
 very well before     going forward with this
 
 Can't we have the directory structure internally with /web/ ,
 /download/ what have you, and use some serverside URL rewriting to
 make translate
 
 /foo/
 
 into
 
 /web/foo/
 
 ? Does apache have mechanisms for rewriting the serving path
 without rewriting the URL that appears in browser window?

Graham I would like this.  I'd like that a lot.  We could keep the
Graham simpler build structure, but still have simpler urls.

Graham Cheers, - Graham


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Re: chord names in piano staff

[Peter Chubb]

 henrik == henrik pantle pan...@gmx.de writes:

henrik hi, i wonder where to find the solution for my problem.  i
henrik guess a lot of others do too.

henrik i want the chord names above the piano staff:

You need to add a score block thus:

guitarChords = \chordmode { ...}
upper = \relative { ... }
lower = \relative { ... }

\score {
   
\context ChordNames \guitarChords
\context GrandStaff 
\context Staff = upper \upper
\context Staff = lower \lower

   
}


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Funny partcombine behaviour

[Peter Chubb]

I'm trying to combine some parts, and see funny behaviour.  

This input (lily 2.12.2):
-
\version 2.12.0

accomp=\relative c' {
  c e g4. r8 r2
}

voice= \relative c'' {
  g4. r8 r2
}

\score {
  \context Staff {
\partcombine \voice \accomp
  }
}
---
produces this:

inline: x.png

The idea is to merge a vocal line into a piano accompaniment.  The
pianist can choose to play the top note, or not, as s/he feels is most
appropriate.  (actually, most of my pianist friends treat the written
accompaniment  as a guideline, rather than something to play verbatim)

More complex examples sometimes merge the note-heads, but add extra dots.

I've solved my problem at the moment by explicitly notating the
tune (where it doesn't follow the top line of the accompaniment exactly) in the 
piano
part, and putting the tune into a Devnull context for the lyrics to
match to.  But is there a neater way to get what I want?

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Re: [midi] [articulate] \stopTrillSpan, \staccatissimo, and \appoggiatura

[Peter Chubb]

 Iain == Iain Nicol i...@thenicols.net writes:

Iain Hi, I've playing about with Peter Chubb's `Articulate' for
Iain improved MIDI output.  (Thanks, Peter: I wrote a less ambitious
Iain file a bit back---and then accidentally deleted it.)

Iain Anyway, I've got a few suggested changes, with patches.  The
Iain patches are against the copy of articulate linked to from
Iain http://www.nicta.com.au/people/chubbp/articulate; the patches
Iain should apply with `patch  file.diff' in the same directory as
Iain articulate.ly.

Oh, Thanks!!!  I'll review it later when I have a moment.

Iain 1. Trills.  I'm not sure about this(!), but my interpretation of
Iain the fragment c\startTrillSpan d e\stopTrillSpan is that it's
Iain similar to c\trill d\trill e In contrast, articulate thinks it's
Iain similar to c\trill d\trill e\trill

I don't know what it's supposed to do, so I'll bow to superior experience.


Iain 2. Staccatissimo.  I've got a simple patch to add
Iain \staccatissimo.  Nothing fancy: it's implemented just like the
Iain \staccato, only it takes a quarter of the note's value by
Iain default, not a half.

Good Oh.

Iain 3. Appoggiatura.  Unfortunately, articulate's \appoggiatura
Iain doesn't quite work.  For example, \include articulate.ly
Iain \articulate {\appoggiatura d8 c4} doesn't give quaver to both
Iain the d and the c.  Instead, it halves the written length of each
Iain of the two notes; it's like you'd written d16 c8.

Hmm  It should make it d8 c8 -- in Baroque and other early music
(which is my main area of interest), an appogiatura starts at the
start of the main note, and takes half its value.  Maybe you want an
acciaccatura? 



Iain To test this, look at or listen to the output of the following
Iain file.  We want the crotchets of both voices to sound together,
Iain but they don't.  \include articulate.ly \score { 
Iain \articulate \relative c' {\appoggiatura d8 c4 c c c} \relative
Iain e' {e4 e e e }
 
Iain   \midi{} \layout{} } The attached patch fixes this.

Iain (Finally, I noticed there's been a heated discussion on -devel
Iain recently about licensing.  I know my patches are really small,
Iain possibly---probably?---not big enough to be copyrightable.  I
Iain also know that articulate.ly is licensed as GPL v2 only...
Iain However, for the sake of being unambiguous: I consider my
Iain patches to be GPL v2 or later.)

Hmmm.  I wrote the license clauses after taking legal advice; as an
add-on to LilyPond, it has to have the same licence, viz. GPL 2.

I'm happy to relicense when LilyPond does.

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Re: Can't compile Mutopia file

[Peter Chubb]

 M. Ramos == M. Ramos  savio.deb...@gmail.com writes:

M. Ramos Can't compile the file below, mysteriouos commands: 

The file looks to be for quite an old version of LilyPond.

To fix, look in the `extra information' fields in the Mutopia website
for the piece, and find out which lilypond version it is for.  Then
add a line

\version x.y.z
(where x.y.z is the version it is for) and run convert-ly on the
result.  Then try again with LilyPond.

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Re: mugshots for web page? [WAS: The LilyPond Report, again!]

[Peter Chubb]

 Anthony == Anthony W Youngman lilyp...@thewolery.demon.co.uk writes:

Anthony In message 1252345554.16636.3.ca...@heerbeest, Jan
Anthony Nieuwenhuizen janneke-l...@xs4all.nl writes
 Or what about stealing a creative idea from
 
 http://www.fotosearch.com/photos-images/anonymous.html
 
 such as the profile.
 
 Greetings, Jan.

Anthony I'd just use the picture of me by E. H. Shepard, except I
Anthony haven't done anything to get me a place on that list. I can't
Anthony think of anything for you, though, unless you can find a
Anthony picture of your place on the Round Table? That might be a
Anthony good one.

Unfortunately, E.H. Shepherd is still in copyright.
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Re: Articulate midi script

[Peter Chubb]

 Grammostola == Grammostola Rosea rosea.grammost...@gmail.com writes:


Grammostola But I got this message:

Grammostola d...@debian:~/lilypondfiles$ lilywrap lilywraptest.ly
Grammostola /usr/local/lilypond/usr/bin/lilypond: unrecognized
Grammostola option: `--midi'


Here's an updated lilywrap script.

You don't actually have to use lilywrap: all it does is insert
 \include articulate.ly
 near the top of the file, and insert

\unfoldRepeats \articulate

around the main part of the score.  In fact, in the general case,
you're better off adding it all by hand --- especially if there is
anything between the \score{ and the first bit of real music.



lilywrap
Description: Binary data

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Re: Articulate midi script

[Peter Chubb]

 Grammostola == Grammostola Rosea rosea.grammost...@gmail.com writes:

Grammostola Peter Chubb wrote:
Grammostola When using lilywrap I get:

Grammostola  lilywrap dynamics.ly /usr/local/bin/lilywrap: 23: Syntax
Grammostola error: ( unexpected

Hmmm.  Are you using a non-standard /bin/sh ??? It sounds like you're
using one that isn't POSIX-compliant, and doesn't understand the
`function' keyword, or doesn't understand shell functions.

You probably have dash installed as the system shell.  Here's an
updated verion of the script that will work with Dash, and will
*still* work on POSIX compliant shells, but will no longer work with
the traditional Korn shell.



lilywrap
Description: Binary data



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Re: Articulate midi script

[Peter Chubb]

 Peter == Peter Chubb lily.u...@chubb.wattle.id.au writes:


Peter You probably have dash installed as the system shell.  Here's
Peter an updated verion of the script that will work with Dash, and
Peter will *still* work on POSIX compliant shells, but will no longer
Peter work with the traditional Korn shell.

Arrrgh.  A bug.  Fixed below.



lilywrap
Description: Binary data
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Thoughts on Midge (was: Re: [midi] Re: Articulate midi script)

[Peter Chubb]

 Grammostola == Grammostola Rosea rosea.grammost...@gmail.com writes:

Grammostola David Raleigh Arnold wrote:
 
 Again, why not get in touch with the developer(s) of midge? The
 syntax is completely different, but it is *text-based* and GNU.  It
 is dedicated to midi, not notation.  Why not find a way to use
 their work, at worst by means of a translation script?  Regards,
 daveA
 

I had a look at midge.  The main thing it adds that Lilypond doesn't
have, is much greater control over individual notes.  You can add
bends (so presumably could implement a portamento or glissando,
although it appears to be limited to 4 semitones, which is too small
for most of the music I deal with); you can control attack and decay,
and effects such as reverb. chorus and pan.

Musical stuff (articulations, ornaments, dynamics, tempo variations
such as rit. or stringendo, etc., etc) has to be interpreted and
written explicitly in expanded form into the midge source.

While midge could be used as an intermediate format for MIDI output, I
can't see at present what it would gain for us --- the level of
abstraction over a standard binary MIDI file is very small.

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Thoughts on Midge (was: Re: [midi] Re: Articulate midi script)

[Peter Chubb]

 Grammostola == Grammostola Rosea rosea.grammost...@gmail.com writes:

Grammostola David Raleigh Arnold wrote:
 
 Again, why not get in touch with the developer(s) of midge? The
 syntax is completely different, but it is *text-based* and GNU.  It
 is dedicated to midi, not notation.  Why not find a way to use
 their work, at worst by means of a translation script?  Regards,
 daveA
 

I had a look at midge.  The main thing it adds that Lilypond doesn't
have, is much greater control over individual notes.  You can add
bends (so presumably could implement a portamento or glissando,
although it appears to be limited to 4 semitones, which is too small
for most of the music I deal with); you can control attack and decay,
and effects such as reverb. chorus and pan.

Musical stuff (articulations, ornaments, dynamics, tempo variations
such as rit. or stringendo, etc., etc) has to be interpreted and
written explicitly in expanded form into the midge source.

While midge could be used as an intermediate format for MIDI output, I
can't see at present what it would gain for us --- the level of
abstraction over a standard binary MIDI file is very small.  And the
hard bits would still be hard: understanding the textual annotations
that composers put into their scores, and interpreting them.

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Re: Articulate midi script

[Peter Chubb]

 Grammostola == Grammostola Rosea rosea.grammost...@gmail.com writes:

Grammostola Grammostola Rosea wrote:
 Hi,
 
 I was wondering if the acticulate midi script is already in
 Lilypond?

Not yet.

 
 http://www.nicta.com.au/people/chubbp/articulate
 
 
 I put articulate.ly in my lilypondfiles folder and the script in
 /usr/local/bin
 
 But I got this message:
 
 d...@debian:~/lilypondfiles$ lilywrap lilywraptest.ly
 /usr/local/lilypond/usr/bin/lilypond: unrecognized option: `--midi'
 

Looks like the code in lilywrap.sh that tries to work out what
arguments to give Lilypond to generate just midi is broken.  I'll try
to fix it today or tomorrow, and get a new version up.

Peter C

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Re: Lilypond - chord progression

[Peter Chubb]

 Christian == Christian Henning chhenn...@gmail.com writes:


Christian I added the duration for the two c:m but the second c:m is
Christian still not showing. Mhmm, weird.

If you set chordChanges, then chords are printed only when they
change.  You have two c-minors in a row, so the second will not be
printed --- it's the same chord. 

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Re: Lilypond Speed

[Peter Chubb]

 Nick == Nick Payne njpa...@internode.on.net writes:

Nick As I have just had a rather powerful evaluation server to play
Nick around with for a few days while I tested our various Windows
Nick and Linux server builds on it, I thought I'd also take the
Nick opportunity to compare the build speed of a reasonably
Nick substantial score. I used Reinhold's setting of Reubke's sonata
Nick on the 94th psalm. I tested on three machines, all running the
Nick same version of Lilypond:

Nick 1. Dell GX620 workstation, Pentium D dual-core 3.0GHz CPU,
Nick1Gb RAM, Ubuntu 9.04 x86: 10min 11sec 
Nick 2. Dell GX745 workstation, Pentium D dual-core 3.4GHz CPU,
Nick2Gb RAM, WinXP SP3: 9min 22sec 
Nick 3. PowerEdge R710 server, dual quad-core Xeon 5560 2.8GHz CPUs,
Nick24Gb RAM, Debian 5 amd64: 4min 4sec


I think you'll find the main difference is in size of L2/L3 cache,
and amount of RAM.  Lily (like many object-oriented programs) tends to
have quite a deep stack, and to use lots of memory --- which it
visits in what looks to the processor like random orders --- so small
caches generate lots of cache misses, which slows things down.  If you
run out of RAM and have to swap, things get even worse.

Xeon 5560: 256k L2, 8M L3 cache (which is almost as fast as the Pentium D's L2 
cache)
Pentium D: 1M L2 cache, no L3 cache.
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Re: Lilypond Speed

[Peter Chubb]

 Han-Wen == Han-Wen Nienhuys hanw...@gmail.com writes:

Han-Wen On Mon, Aug 31, 2009 at 8:03 PM, Peter
Han-Wen Chubblily.u...@chubb.wattle.id.au wrote:

 I think you'll find the main difference is in size of L2/L3 cache,
 and amount of RAM.  Lily (like many object-oriented programs) tends
 to have quite a deep stack, and to use lots of memory --- which it
 visits in what looks to the processor like random orders --- so
 small caches generate lots of cache misses, which slows things
 down.  If you run out of RAM and have to swap, things get even
 worse.

Han-Wen More importantly: LilyPond is single-threaded, so the number
Han-Wen of cores is irrelevant.

That doesn't explain why going from the Core Duo to the Xeon
dropped the time from 11 minutes to 4 minutes.  The reason, as I said,
is the increased cache size.

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