Re: repeat ottava

[David Kastrup]

Gianmaria Lari  writes:

> I have a fragment that needs to be repeated twice with alternate ending and
> the second time one octave higher. The following is an example that would
> be ok...
>
> \version "2.19.52"
>
> \score {
>   {
> \mark "2nd time 8va"
> \repeat volta 2 {c' d' e' f'}
> \alternative {{a a a a}{b b b b}}
>   }
>   \layout {}
> }
>
>
> ...but I need to generate the midi too. What can I do?

Let's just cheat.

\version "2.19.52"

\score {
  {
\mark "2nd time 8va"
\repeat volta 2 {c' d' e' f'}
\alternative {{a a a a}{\transposition c'' b b b b \transposition c'}}
  }
  \layout {}
  \midi {}
}

Well, you probably want to have midi-expanded repeats with that, but you
get the drift.

-- 
David Kastrup

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repeat ottava

[Gianmaria Lari]

I have a fragment that needs to be repeated twice with alternate ending and
the second time one octave higher. The following is an example that would
be ok...

\version "2.19.52"

\score {
  {
\mark "2nd time 8va"
\repeat volta 2 {c' d' e' f'}
\alternative {{a a a a}{b b b b}}
  }
  \layout {}
}


...but I need to generate the midi too. What can I do? Should I avoid
"repeat volta", use variable and a midi and layout score? This is what I
did:

\version "2.19.52"

frag = {c' d' e' f'}
alta = {a a a a}
altb = {b b b b}

music =  {
  \mark "2nd time 8va"
  \repeat volta 2 \frag
  \alternative {\alta \altb}
}

\score {
  \music
  \layout {}
}


musicmidi = {
  \mark "2nd time 8va"
  \frag
  \alta
  \transpose c c' {
\frag \altb
  }
}


\score {
  \musicmidi
  \layout {}
}


Does exist any better way to do it?
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Re: Suppressing warnings

[Simon Albrecht]

Am 28.02.2017 um 03:13 schrieb Andrew Bernard:
I have a warning '... crescendo too small...' which I want to ignore 
in the log output.


Using this (at the top level):

#(ly:expect-warning "crescendo too small")

does nothing.

How exactly do you suppress warnings?


From trial and error, I think the string in #(ly:expect-warning "") 
needs to match the _beginning_ of the warning string, so I often use 
things like

"no viable" (sc. "initial configuration found")

HTH, Simon
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Re:Vocal scores with extra staves

[Joseph Austin]

>
> > Also, there appear to be unmatched << .  Is closing >> implied, or is
> > this just a short-cut  example?
>
> The `>>` are there, but your email reader may interpreting them as a
> quotation level (though there is no text in the quotation).  Try copying
> the whole email into a plain text editor and then deleting the top part
> and footer that isn't in the code block.  Klaus's email conveniently has
> the `%--` lines to mark the beginning and end of the code block.
>
> Incidentally, this is may be why you're missing a `}` as well; the
> "quotations" are separating things so that you're not copying the whole
> code block.  Your reply, for instance, in quoting Klaus's email doesn't
> contain the whole code block.
> --
> ?
> Br. Samuel, OSB
>
>
Thanks--
Mac mail was deleting the >> etc.
The missing >> [right angle brackets] were causing the syntax errors of
unexpected  }  [right curly bracket].

Copying to TextEdit didn't  fix it.
But when using G-mail on Chrome,
everything came thru and copied and typeset successfully.

Now I need to figure out an easy way to crop G-mail replies and put the
reply text at the bottom!

Joe Austin
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Re: Bar counts and repeats in repetitive music

[Peter Toye]

Jeffery,

I'm trying to get my head around the code you sent me - it seems that real 
programmers (you and David both) don't write comments :)

Displaying multiple bar numbers needs a bit more thought. Firstly, it has to be 
switchable off. One of my examples has a single bar repeated 16 times - I 
suspect the bar numbering would be wider than the music. Also, should the bar 
numbers be on the first bar of the repeated section (probably a good default), 
and if not, how does one specify which bar to number? At the moment, probably 
not worth while spending time on.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Wednesday, February 22, 2017, 3:00:51 PM, you wrote:

> By the way, sorry I lost track of this thread, but I do think it is
> just as well possible to reconstitute the bar number engraver to show
> multiple numbers, like if you had a four bar phrase starting at 5
> repeated twice it could say "5, 9" instead of just "5".

> It's an interesting problem, so if you are still looking for a
> solution, give this thread a little bump and I'll have a swing at it.
> Or if you found/find a way yourself, definitely post it!

> Best,
> Jeffery

> On Wed, Feb 22, 2017 at 4:41 AM, Peter Toye  wrote:
>> Jeffery,

>> I owe you a beer. Are you ever in the Salisbury (England) area? If not, take
>> a holiday here.

>> Best regards,

>> Peter
>> mailto:lilyp...@ptoye.com
>> www.ptoye.com

>> -

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Diminuendo goes over subdìseqyent rests

[Son_V]

I mean that the diminu2 \! e4 \< endo goes from the its note through the
first rest and its "point" ends on the second rest. I don't think it's
correct and the result looks ugly to me. The code (an xml file written with
Musescore) at that point is 

es1 \> \breathe | % 21
R1*2 | % 23
d2 \! e4 \< fis4 | % 24

what can I do? Thanks.



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Diminuendo-goes-over-subdiseqyent-rests-tp200578.html
Sent from the User mailing list archive at Nabble.com.

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Re: Vocal scores with extra staves

[David Wright]

On Tue 28 Feb 2017 at 18:32:22 (+1100), Andrew Bromage wrote:
> On 28/2/17 3:23 pm, David Wright wrote:
> >Sorry. I was labouring under the misapprehension that you _wanted_
> >staves starting mid-page (as in your OP, but placed correctly between
> >the upper voices and the piano), and that Klaus was advocating
> >frenching the score instead.
> Not really.

Yes. Really. (That's a statement of fact about my mind.)

> What I want is to bring a staff into existence for a small
> amount of time, and that case is solved, but I was also interested
> in the general case.

Well, I don't have a clue whether that staff has to be brought into
existence anywhere, or just at the beginning of a line; only that you
want the number of staves to change from time to time. But I'm glad
whatever you wanted is solved, whichever method you adopted.
(I thought the big guns here might have commented on your syntax
extension and where that syllable actually goes. I only brought a
pea-shooter to bear on it.)

> The general case is that you have a complex score with many varying
> combinations of parts in unison on occasions, and you need to
> reduce it down to a size such that the singers and the rehearsal
> pianist have a fighting chance without turning a page every two seconds.
> 
> Thankfully not something I have to do...

Oh, I thought that's what you _did_ have to scale it up to, and
that a G Finale was an example of your type of score.

I can see that reducing the number of pages helps, but there's also
consideration for the people who have to perform from this type of
score (usually it's singers). How frequently are they going to have
to switch between staves (and clefs)?

Just as an example, the opening page of the Finale could have been
set on two staves, but it's not worth the hassle as it's going to
have to break into four at the third system anyway, because of the
rhythmic and lyric differences. It's compromise all along.

Cheers,
David.

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Re: \ottava without bracket

[David Nalesnik]

Hi Andrew,

On Mon, Feb 27, 2017 at 6:52 PM, Andrew Bernard
 wrote:
> Hi David,
>
> This is excellent and useful. Also works, of course, when using something
> like \set Staff.ottavation = "8".
>
> Why not make this a snippet in LSR?
>

Sure, I will look it at some more, and submit.

Ideally, I'd like to add something to the codebase.

Best,
David

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Re: repeat ottava

[Gianmaria Lari]

>> I have a fragment that needs to be repeated twice with alternate ending
and
>> the second time one octave higher. The following is an example that would
>> be ok...
[]
> Let's just cheat.
>
> \version "2.19.52"
>
> \score {
>   {
> \mark "2nd time 8va"
> \repeat volta 2 {c' d' e' f'}
> \alternative {{a a a a}{\transposition c'' b b b b \transposition c'}}
>   }
>   \layout {}
>   \midi {}
> }

:

It works with the alternative  - b b b b - that gets correctly transposed
but it doesn't with the repeat body - c' d' e' f'  -. Do I miss anything?

Thank you!
g.
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Re: Bar counts and repeats in repetitive music

[Jeffery Shivers]

On Tue, Feb 28, 2017 at 6:56 AM, Peter Toye  wrote:
> Jeffery,
>
> I'm trying to get my head around the code you sent me - it seems that real
> programmers (you and David both) don't write comments :)
>
> Displaying multiple bar numbers needs a bit more thought. Firstly, it has to
> be switchable off. One of my examples has a single bar repeated 16 times - I
> suspect the bar numbering would be wider than the music.

What if, in that case, there was an option to display as "1, 2, 3 ...
15" or "1, 2, 3 - 15" or something like that (using arbitrary numbers
there of course). I suggest this as an *option* because there may be
some cases where you want to display all five, six or more bar numbers
without ellipsis.

> Also, should the
> bar numbers be on the first bar of the repeated section (probably a good
> default), and if not, how does one specify which bar to number? At the
> moment, probably not worth while spending time on.
>

I actually think this is an interesting problem, and I would guess
that you aren't the only LP'er who has wanted something like this
before (or will in the future).

This is either a matter of scheming up a new engraver or using markup.
The latter will at least take less time, so I will see if I can come
up with a convincing approach that way first.

> Best regards,
>
> Peter
> mailto:lilyp...@ptoye.com
> www.ptoye.com

-- 

Jeffery Shivers
 jefferyshivers.com
 soundcloud.com/jefferyshivers

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Re: repeat ottava

[David Kastrup]

Gianmaria Lari  writes:

>>> I have a fragment that needs to be repeated twice with alternate ending
> and
>>> the second time one octave higher. The following is an example that would
>>> be ok...
> []
>> Let's just cheat.
>>
>> \version "2.19.52"
>>
>> \score {
>>   {
>> \mark "2nd time 8va"
>> \repeat volta 2 {c' d' e' f'}
>> \alternative {{a a a a}{\transposition c'' b b b b \transposition c'}}
>>   }
>>   \layout {}
>>   \midi {}
>> }
>
> :
>
> It works with the alternative  - b b b b - that gets correctly transposed
> but it doesn't with the repeat body - c' d' e' f'  -. Do I miss anything?

Well, this was more a sketch of the functionality to use than a sane
proposal.  If you are going to use \expandRepeats, you'll likely want to
order this as

\score {
  {
\mark "2nd time 8va"
\repeat volta 2 {c' d' e' f'}
\alternative {{a a a a \transposition c''}{b b b b \transposition c'}}
  }
  \layout {}
  \midi {}
}

instead, namely setting up the "transposition" for the next repeat at
the end of the preceding alternative.

-- 
David Kastrup

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Re: \ottava without bracket

[David Nalesnik]

On Tue, Feb 28, 2017 at 10:09 AM, David Nalesnik
 wrote:
> Hi Andrew,
>
> On Mon, Feb 27, 2017 at 6:52 PM, Andrew Bernard
>  wrote:
>> Hi David,
>>
>> This is excellent and useful. Also works, of course, when using something
>> like \set Staff.ottavation = "8".
>>
>> Why not make this a snippet in LSR?
>>
>
> Sure, I will look it at some more, and submit.
>
> Ideally, I'd like to add something to the codebase.
>

A question: what is the expected behavior when an ottava crosses a
line break?  The code above will always print a bracket, for such a
continuation.

David

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Re: Diminuendo goes over subdìseqyent rests

[Simon Albrecht]

Am 28.02.2017 um 13:36 schrieb Son_V:

I mean that the diminu2 \! e4 \< endo goes from the its note through the
first rest and its "point" ends on the second rest. I don't think it's
correct and the result looks ugly to me. The code (an xml file written with
Musescore) at that point is

es1 \> \breathe | % 21
R1*2 | % 23
d2 \! e4 \< fis4 | % 24

what can I do? Thanks.


That’s hardly Lily’s problem. The input code asks for a diminuendo that 
starts at the onset of bar 21 and ends at the onset of bar 24. And 
that’s what Lily will engrave. If the diminuendo should stop before the 
rest, write

{
  es1\>
  R1*2\!
}
or
{
  es1\> <>\!
  R1*2
}
– the second one uses an empty chord (which has zero duration) to attach 
the ending of the \>, which might look more favourable in the code.


Best, Simon

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Re: Bar counts and repeats in repetitive music

[Simon Albrecht]

Am 28.02.2017 um 12:56 schrieb Peter Toye:
I'm trying to get my head around the code you sent me - it seems that 
real programmers (you and David both) don't write comments :)


I figure that’s more a question of whether they have time and motivation 
to do so.
Best practice would probably be writing enough comments that someone who 
is reasonably familiar with the language and context should understand 
it at first reading.


Best, Simon
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Re: Bar counts and repeats in repetitive music

[David Kastrup]

Peter Toye  writes:

> David and other,
>
> All of which makes me think that it's not really worth while pursuing
> this development any further. As an ex-programmer (yes, I sometimes
> did write comments, but in assembler you rather have to)

How else would you keep track of cycle counts?

.Z80

NAME('SCROLL')

ENTRY   SCRLFT,SCRRIG
PUBLIC  SCRX

EXT STAGE,SHBTAB
EXT DELAY
EXT SCREEN,OUTCTL

DSEG

SCRLFT: LD  IY,STAGE;14(20)
LD  HL,SCRX ;30
LD  A,4 ;37
ADD A,(HL)  ;44
LD  (HL),A  ;51
ADD A,44;58
LD  L,A ;62
LD  H,0 ;69
LD  E,L ;73
LD  D,H ;77
ADD HL,HL   ;88
ADD HL,DE   ;99
EX  DE,HL   ;103
ADD IY,DE   ;118
LD  A,12;125
LD  (SPSAVE),SP ;145
LD  SP,SCREEN+22;155
SCRL05: EX  AF,AF'  ;4
LD  A,(IY)  ;23
AND 31  ;30
ADD A,A ;34
LD  C,A ;38
LD  B,0 ;45
LD  HL,SHBTAB   ;55
ADD HL,BC   ;66
LD  E,(HL)  ;73
INC HL  ;79
LD  D,(HL)  ;86
LD  C,4 ;93
SCRL10: LD  A,70H   ;7
OR  C   ;11
DEFWOUTCTL  ;22
LD  B,16;29
SCRL11: EX  DE,HL   ;4
LD  E,(HL)  ;11
INC HL  ;17
LD  D,(HL)  ;24
INC HL  ;30
EX  DE,HL   ;34
REPT11
EX  (SP),HL ;35
DEC SP  ;41
DEC SP  ;47
ENDM;551
EX  (SP),HL ;586
LD  HL,22+40H   ;596
ADD HL,SP   ;607
LD  SP,HL   ;611
DJNZSCRL11  ;10008
SRL C   ;10016
JR  C,SCRL20;10023 / 30237
LD  HL,-16*40H  ;10033
ADD HL,SP   ;10044
LD  SP,HL   ;10048
JP  SCRL10  ;10058
SCRL20: LD  A,70H
DEFWOUTCTL
EX  AF,AF'  ;30241
DEC A   ;30245
INC IY  ;30255
JP  NZ,SCRL05   ;363335
SCRL21: LD  SP,(SPSAVE) ;363373
LD  A,182
JP  DELAY

Though I have to admit that this was from my youth, an age where you
consider yourself and your memory immortal.

DELAY is sort of a misnomer: it does not actually do any delay but
tells the timing logic how much time a routine spent doing its job.
Since we are talking about 363373 cycles on a 4MHz machine, the unit for
"DELAY" would appear to be slices of 0.5ms.

Scrolling by 16 pixels on a bitmapped display by using

EX  (SP),HL ;19
DEC SP  ;25
DEC SP  ;31

as the workhorse rather than

LDI ;16
LDI ;32

may seem a bit overoptimizing but it leaves quite more registers
available for loop control and stride adjustment and only takes 3 bytes
instead of 4.

Sorry for the distraction: your remark about the necessity of commenting
assembly language triggered this memory.

It turns out that basically the module moving player and monsters
actually has bonafide comments in it (and it is not timing-critical so
there are no cycle counts and no call of DELAY).  A collaborator
insisted on them.

-- 
David Kastrup

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Re: repeat ottava

[Gianmaria Lari]

On 28 February 2017 at 18:31, David Kastrup  wrote:
>
> Gianmaria Lari  writes:
>
> >>> I have a fragment that needs to be repeated twice with alternate
ending
> > and
> >>> the second time one octave higher. The following is an example that
would
> >>> be ok...
> > []
> >> Let's just cheat.
> >>
> >> \version "2.19.52"
> >>
> >> \score {
> >>   {
> >> \mark "2nd time 8va"
> >> \repeat volta 2 {c' d' e' f'}
> >> \alternative {{a a a a}{\transposition c'' b b b b \transposition
c'}}
> >>   }
> >>   \layout {}
> >>   \midi {}
> >> }
> >
> > :
> >
> > It works with the alternative  - b b b b - that gets correctly
transposed
> > but it doesn't with the repeat body - c' d' e' f'  -. Do I miss
anything?
>
> Well, this was more a sketch of the functionality to use than a sane
> proposal.  If you are going to use \expandRepeats, you'll likely want to
> order this as
>
> \score {
>   {
> \mark "2nd time 8va"
> \repeat volta 2 {c' d' e' f'}
> \alternative {{a a a a \transposition c''}{b b b b \transposition c'}}
>   }
>   \layout {}
>   \midi {}
> }
>
> instead, namely setting up the "transposition" for the next repeat at
> the end of the preceding alternative.

just because you used in both your example the magic "\transposition" I
would not say that your first example was just a "sketch" of what you did
in your last example :)

Anyway, really nice escamotage. I will try to avoid it anytime that's
possible... but not more!

Thanks!!
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Re: \ottava without bracket

[David Nalesnik]

Hi Harm,

On Tue, Feb 28, 2017 at 1:02 PM, Thomas Morley  wrote:
> 2017-02-28 16:09 GMT+00:00 David Nalesnik :
>> Hi Andrew,
>>
>> On Mon, Feb 27, 2017 at 6:52 PM, Andrew Bernard
>>  wrote:
>>> Hi David,
>>>
>>> This is excellent and useful. Also works, of course, when using something
>>> like \set Staff.ottavation = "8".
>>>
>>> Why not make this a snippet in LSR?
>>>
>>
>> Sure, I will look it at some more, and submit.
>>
>> Ideally, I'd like to add something to the codebase.
>>
>> Best,
>> David
>
>
> Hi David,
>
> I was working on a patch introducing ottavaText as a context-property.
> Maybe we could coordinate or at least avoid doing work twice.

I don't think this would conflict with anything I may try.  I'd just
be modifying the print function.
>
> I'll attach what I've done so far.
> It's not finished yet: I'd like to polish it and add entries in NR and
> Changes, probably worth a regtest as well.
>

Sure, go ahead!  It will be much more convenient storing texts in a
context property.

There's a comment in lily/ottava-bracket.cc about the desirability of
being able to switch between longer and shorter texts based on
available space:  Maybe that could be part of the overall plan.
>
> P.S.
> Did you notice
> https://sourceforge.net/p/testlilyissues/issues/5064/#23bb
> ?

No, I hadn't seen it.  Thanks for pointing this out to me!

I'm not certain what the best way to fix this is.  (I added a comment
to the issue tracker.)

Best,
David

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Re: Is there any way to use dynamics as prefixes?

[Thomas Morley]

2017-02-28 20:37 GMT+01:00  :
> On 02/28/17 20:14, David Kastrup wrote:

>> But if you prefer the latter, just start your music file with
>>
>> "("=<>(
>
>
> What is this, Perl?


Nope.
See declarations-init.ly for the original:
"(" =  #(make-span-event 'SlurEvent START)

David's suggestion simply redefines it. See the output of:

%% original
"(" =  #(make-span-event 'SlurEvent START)

\void \displayMusic (
\void \displayLilyMusic (


%% redefined
"("=<>(

\void \displayMusic (
\void \displayLilyMusic (

Cheers,
  Harm

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merging different voices

[Federico Camara Halac]

Hello list, 

This is my first post here and I’m fairly new to Lilypond, but I need some 
help. I am using Lilypond to compose, and I need to merge 4 scores into one. 
All four scores have the same 6 instruments and time signature (4/4), and all 
rhythms fall into the same grid of 16th notes. 

What I imagine by ‘merging’ is something like superimposing pixels (multiply, 
add, substract, divide) but applying this to the 16th-note ‘pixel’.

Is this something that can be done within Lilypond? Any suggestion would be 
really appreciated!

Thanks!

Fede



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Re: Is there any way to use dynamics as prefixes?

[David Kastrup]

caag...@gmail.com writes:

> On 02/28/17 20:14, David Kastrup wrote:
>> Well, but slurs can start at the same note where another slur ends, and
>> `c'4( d')( e')' is a lot clearer to me than `(c'4 (d') d')'
>
> I can honestly say I've never seen that, and I can't really imagine
> how that'd even be played. I agree that that looks like some sort of
> weird nesting, which isn't too great.
>
>> But if you prefer the latter, just start your music file with
>>
>> "("=<>(
>
> What is this, Perl?

It reassigns a new meaning to "(", and the new meaning is <> (the empty
chord) with an opening slur attached (the old meaning is taken before
"(" gets redefined).

>> and you are all set.  At one point of time, LilyPond worked like that,
>> and it wasn't really working all that well.
>
> Might be better to just get used to it, then. Would probably help if
> Vim's lilypond highlighting didn't suck.
>
>> Incidentally, the empty chord <> is helpful for your example as well:
>>
>> <>\mp
>> \notes
>> \notes
>> <>\ff
>> \notes
>> ...
>
> That seems quite useful, yes. AsI'm guessing it basically creates an
> empty zero-length chord and attaches stuff to that.

Yes.

> how come the dynamics look like they're attached to the next note
> instead of before it?

Because the chord is zero-length.  And because the musical timing of
articulations is at the start of the notes they are attached to rather
than at their end since all synchronization happens when an event
_starts_.  So <>\ff starts the \ff at the preceding note's end and the
following note's start, and this works out as placing it in the same
position as the following note.

-- 
David Kastrup

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Re: merging different voices

[Urs Liska]

Hi Fede,

welcome to LilyPond!


Am 28.02.2017 um 23:06 schrieb Federico Camara Halac:
> Hello list, 
>
> This is my first post here and I’m fairly new to Lilypond, but I need some 
> help. I am using Lilypond to compose, and I need to merge 4 scores into one. 
> All four scores have the same 6 instruments and time signature (4/4), and all 
> rhythms fall into the same grid of 16th notes. 
>
> What I imagine by ‘merging’ is something like superimposing pixels (multiply, 
> add, substract, divide) but applying this to the 16th-note ‘pixel’.

Do you mean you have four scores that have some kind of similar
"outline" or formal structure and you want to process them along the
lines of (to mention just one example) "I want a sound at this 16th note
if there is a sound in all four scores at that point" or similar kinds
of operations?

>
> Is this something that can be done within Lilypond? Any suggestion would be 
> really appreciated!

It is difficult to tell what you actually want to achieve. But in
general I would say: yes, this kind of stuff should definitely be good
to do with LilyPond. But I wouldn't expect it to be "beginner-level".
But much depends on what you really need. It *may* be that all you need
is one complicated Scheme function - and then there are good chances
that someone finds the challenge interesting and helps you on this list.

Good luck
Urs

>
> Thanks!
>
> Fede
>
>
>
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-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org


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Re: Is there any way to use dynamics as prefixes?

[Gianmaria Lari]

>
> > This also applies to slurs - `(c'4 d' e' f')` is a lot clearer to me
> > than `c'4( d' e' f)`.

Well, but slurs can start at the same note where another slur ends, and
> `c'4( d')( e')' is a lot clearer to me than `(c'4 (d') d')'
>

Just a curiosity David, have you ever considered this other syntax(:

c'4( d')( e') -> c'4()d'()e'
c'4( d' e' f) -> c'4( d' e') f

?
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Re: Is there any way to use dynamics as prefixes?

[David Kastrup]

Gianmaria Lari  writes:

>>
>> > This also applies to slurs - `(c'4 d' e' f')` is a lot clearer to me
>> > than `c'4( d' e' f)`.
>
> Well, but slurs can start at the same note where another slur ends, and
>> `c'4( d')( e')' is a lot clearer to me than `(c'4 (d') d')'
>>
>
> Just a curiosity David, have you ever considered this other syntax(:
>
> c'4( d')( e') -> c'4()d'()e'
> c'4( d' e' f) -> c'4( d' e') f
>
> ?

It falls apart once you try using in-chord slurs.

-- 
David Kastrup

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Re: Bar counts and repeats in repetitive music

[David Nalesnik]

On Tue, Feb 28, 2017 at 12:02 PM, Simon Albrecht  wrote:
> Am 28.02.2017 um 12:56 schrieb Peter Toye:
>
> I'm trying to get my head around the code you sent me - it seems that real
> programmers (you and David both) don't write comments :)
>
>
> I figure that’s more a question of whether they have time and motivation to
> do so.
> Best practice would probably be writing enough comments that someone who is
> reasonably familiar with the language and context should understand it at
> first reading.
>

Well, time is an issue.  Also an issue is the feeling that a good
solution requires functionality which isn't (so far as I know) part of
LilyPond.  (It would be nice to be able to get info about the unfolded
music when it's folded -- i.e., the bar numbers Peter is after.)   And
that I shouldn't be coopting the MeasureCounter grob.

Also relevant is the fact that this code requires a lot of familiarity
with LilyPond internals.  Certainly a comment here and there is
useful, and I'm remiss, but you would still have to know how to write
a Scheme engraver.

Best,
David

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Is there any way to use dynamics as prefixes?

[caagr98]

I think it's rather weird that you write `c'4\ff d'` instead of `\ff c'4 
d'`. Other constructs such as `\tempo` and `\mark` are before the notes 
they affect - why aren't dynamics?


For a more practical example, playing the same thing multiple times with 
different dynamics with prefix dynamics would be easy:


```
notes = {c'4 d' e' f'}

\mp
\notes
\notes
\ff
\notes
```

Doing the same with suffix dynamics would be rather messy - especially 
not adding any dynamic mark at the second instance.


This also applies to slurs - `(c'4 d' e' f')` is a lot clearer to me 
than `c'4( d' e' f)`.


(This is the first time I ever use a mailing list, so please tell me if 
I'm doing anything horribly wrong.)


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Re: \ottava without bracket

[Thomas Morley]

2017-02-28 16:09 GMT+00:00 David Nalesnik :
> Hi Andrew,
>
> On Mon, Feb 27, 2017 at 6:52 PM, Andrew Bernard
>  wrote:
>> Hi David,
>>
>> This is excellent and useful. Also works, of course, when using something
>> like \set Staff.ottavation = "8".
>>
>> Why not make this a snippet in LSR?
>>
>
> Sure, I will look it at some more, and submit.
>
> Ideally, I'd like to add something to the codebase.
>
> Best,
> David


Hi David,

I was working on a patch introducing ottavaText as a context-property.
Maybe we could coordinate or at least avoid doing work twice.

I'll attach what I've done so far.
It's not finished yet: I'd like to polish it and add entries in NR and
Changes, probably worth a regtest as well.

Cheers,
  Harm

P.S.
Did you notice
https://sourceforge.net/p/testlilyissues/issues/5064/#23bb
?
From dfa574353db72775a028f172da6f5c5009c5f69d Mon Sep 17 00:00:00 2001
From: Thomas Morley 
Date: Tue, 28 Feb 2017 18:48:27 +
Subject: [PATCH] Introduce context-property ottavaText

---
 ly/engraver-init.ly   |  7 +++
 scm/define-context-properties.scm |  2 ++
 scm/define-music-callbacks.scm| 13 +++--
 3 files changed, 16 insertions(+), 6 deletions(-)

diff --git a/ly/engraver-init.ly b/ly/engraver-init.ly
index 693f9eb..41665df 100644
--- a/ly/engraver-init.ly
+++ b/ly/engraver-init.ly
@@ -768,6 +768,13 @@ automatically when an output definition (a @code{\\score} or
   topLevelAlignment = ##t
 
   timing = ##t
+
+  ottavaText =
+#'((2 . "15ma")
+   (1 . "8va")
+   (0 . #f)
+   (-1 . "8vb")
+   (-2 . "15mb"))
 }
 
 
diff --git a/scm/define-context-properties.scm b/scm/define-context-properties.scm
index 75f1807..dd362fe 100644
--- a/scm/define-context-properties.scm
+++ b/scm/define-context-properties.scm
@@ -494,6 +494,8 @@ any effect the note would have had on accidentals in other voices.")
 
  (ottavation ,markup? "If set, the text for an ottava spanner.
 Changing this creates a new text spanner.")
+ (ottavaText ,list? "An alist containing pairs of ottava-number and markup.
+Used to get the text for @code{OttavaBracket}.")
  (output ,ly:music-output? "The output produced by a score-level
 translator during music interpretation.")
 
diff --git a/scm/define-music-callbacks.scm b/scm/define-music-callbacks.scm
index 5cc1db1..d8150cb 100644
--- a/scm/define-music-callbacks.scm
+++ b/scm/define-music-callbacks.scm
@@ -77,12 +77,13 @@ to be used by the sequential-iterator"
 (list (context-spec-music
(make-apply-context
 (lambda (context)
-  (let ((offset (* -7 octavation))
-(string (assoc-get octavation '((2 . "15ma")
-(1 . "8va")
-(0 . #f)
-(-1 . "8vb")
-(-2 . "15mb")
+  (let* ((offset (* -7 octavation))
+ (ottava-label-list
+   (ly:context-property context 'ottavaText))
+ (string
+   (if (pair? ottava-label-list)
+   (assoc-get octavation ottava-label-list)
+   #f)))
 (set! (ly:context-property context 'middleCOffset) offset)
 (set! (ly:context-property context 'ottavation) string)
 (ly:set-middle-C! context
-- 
2.1.4

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Re: Is there any way to use dynamics as prefixes?

[Thomas Morley]

Hi,

2017-02-28 19:53 GMT+01:00  :
> I think it's rather weird that you write `c'4\ff d'` instead of `\ff c'4
> d'`. Other constructs such as `\tempo` and `\mark` are before the notes they
> affect - why aren't dynamics?

Here's a little misunderstanding. \mark and \tempo are music-functions
not affecting a certain note directly, whereas dynamics and slurs are
indeed part of the 'articulations property of a 'NoteEvent.

Why postfix-syntax?
It's a design-decision, made long time before I was around here.
Maybe others can comment on this.

> For a more practical example, playing the same thing multiple times with
> different dynamics with prefix dynamics would be easy:
>
> ```
> notes = {c'4 d' e' f'}
>
> \mp
> \notes
> \notes
> \ff
> \notes
> ```
>
> Doing the same with suffix dynamics would be rather messy - especially not
> adding any dynamic mark at the second instance.

Try:
notes = { c'4 d' e' f' }

{
  <>\mp
  \notes
  \notes
  <>\ff
  \notes
}

>
> This also applies to slurs - `(c'4 d' e' f')` is a lot clearer to me than
> `c'4( d' e' f)`.

You'll get used to it very soon.

> (This is the first time I ever use a mailing list, so please tell me if I'm
> doing anything horribly wrong.)

If you have concerns about your behaviour on this list, I recommend to read:
http://www.catb.org/~esr/faqs/smart-questions.html

Cheers,
  Harm

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Re: Is there any way to use dynamics as prefixes?

[caagr98]

On 02/28/17 20:14, David Kastrup wrote:

Well, but slurs can start at the same note where another slur ends, and
`c'4( d')( e')' is a lot clearer to me than `(c'4 (d') d')'


I can honestly say I've never seen that, and I can't really imagine how 
that'd even be played. I agree that that looks like some sort of weird 
nesting, which isn't too great.



But if you prefer the latter, just start your music file with

"("=<>(


What is this, Perl?


and you are all set.  At one point of time, LilyPond worked like that,
and it wasn't really working all that well.


Might be better to just get used to it, then. Would probably help if 
Vim's lilypond highlighting didn't suck.



Incidentally, the empty chord <> is helpful for your example as well:

<>\mp
\notes
\notes
<>\ff
\notes
...


That seems quite useful, yes. AsI'm guessing it basically creates an 
empty zero-length chord and attaches stuff to that, how come the 
dynamics look like they're attached to the next note instead of before 
it? Is it because that would be silly?


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Re: Is there any way to use dynamics as prefixes?

[caagr98]

On 02/28/17 20:26, Thomas Morley wrote:

Hi,

2017-02-28 19:53 GMT+01:00  :

I think it's rather weird that you write `c'4\ff d'` instead of `\ff c'4
d'`. Other constructs such as `\tempo` and `\mark` are before the notes they
affect - why aren't dynamics?


Here's a little misunderstanding. \mark and \tempo are music-functions
not affecting a certain note directly, whereas dynamics and slurs are
indeed part of the 'articulations property of a 'NoteEvent.


That makes sense. The engraver itself wouldn't care that dynamics change 
the following notes itself; the midi converter just interprets it that way.



Why postfix-syntax?
It's a design-decision, made long time before I was around here.
Maybe others can comment on this.


For a more practical example, playing the same thing multiple times with
different dynamics with prefix dynamics would be easy:

```
notes = {c'4 d' e' f'}

\mp
\notes
\notes
\ff
\notes
```

Doing the same with suffix dynamics would be rather messy - especially not
adding any dynamic mark at the second instance.


Try:
notes = { c'4 d' e' f' }

{
  <>\mp
  \notes
  \notes
  <>\ff
  \notes
}


As I said to David Kastrup, that seems very useful.



This also applies to slurs - `(c'4 d' e' f')` is a lot clearer to me than
`c'4( d' e' f)`.


You'll get used to it very soon.


I guess so. Changing it would only confuse other people trying to read 
my scores.



(This is the first time I ever use a mailing list, so please tell me if I'm
doing anything horribly wrong.)


If you have concerns about your behaviour on this list, I recommend to read:
http://www.catb.org/~esr/faqs/smart-questions.html


Thanks, I'll check that out.


Cheers,
  Harm



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Re: Is there any way to use dynamics as prefixes?

[David Kastrup]

caag...@gmail.com writes:

> I think it's rather weird that you write `c'4\ff d'` instead of `\ff
> c'4 d'`. Other constructs such as `\tempo` and `\mark` are before the
> notes they affect - why aren't dynamics?
>
> For a more practical example, playing the same thing multiple times
> with different dynamics with prefix dynamics would be easy:
>
> ```
> notes = {c'4 d' e' f'}
>
> \mp
> \notes
> \notes
> \ff
> \notes
> ```
>
> Doing the same with suffix dynamics would be rather messy - especially
> not adding any dynamic mark at the second instance.
>
> This also applies to slurs - `(c'4 d' e' f')` is a lot clearer to me
> than `c'4( d' e' f)`.

Well, but slurs can start at the same note where another slur ends, and
`c'4( d')( e')' is a lot clearer to me than `(c'4 (d') d')'

But if you prefer the latter, just start your music file with

"("=<>(

and you are all set.  At one point of time, LilyPond worked like that,
and it wasn't really working all that well.

Incidentally, the empty chord <> is helpful for your example as well:

<>\mp
\notes
\notes
<>\ff
\notes
...

-- 
David Kastrup

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Re: Bar counts and repeats in repetitive music

[Peter Toye]

David and other,

All of which makes me think that it's not really worth while pursuing this 
development any further. As an ex-programmer (yes, I sometimes did write 
comments, but in assembler you rather have to) it's just a bit frustrating not 
to be able to work it out by myself.

What you and Jeffery have cooked up is more than adequate for my immediate 
needs. For which many thanks again.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Tuesday, February 28, 2017, 6:32:53 PM, you wrote:

> On Tue, Feb 28, 2017 at 12:02 PM, Simon Albrecht  
> wrote:
>> Am 28.02.2017 um 12:56 schrieb Peter Toye:

>> I'm trying to get my head around the code you sent me - it seems that real
>> programmers (you and David both) don't write comments :)


>> I figure that’s more a question of whether they have time and motivation to
>> do so.
>> Best practice would probably be writing enough comments that someone who is
>> reasonably familiar with the language and context should understand it at
>> first reading.


> Well, time is an issue.  Also an issue is the feeling that a good
> solution requires functionality which isn't (so far as I know) part of
> LilyPond.  (It would be nice to be able to get info about the unfolded
> music when it's folded -- i.e., the bar numbers Peter is after.)   And
> that I shouldn't be coopting the MeasureCounter grob.

> Also relevant is the fact that this code requires a lot of familiarity
> with LilyPond internals.  Certainly a comment here and there is
> useful, and I'm remiss, but you would still have to know how to write
> a Scheme engraver.

> Best,
> David___
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Re: merging different voices

[Jeffery Shivers]

On Tue, Feb 28, 2017 at 5:06 PM, Federico Camara Halac
 wrote:
> Hello list,
>
> This is my first post here and I’m fairly new to Lilypond, but I need some 
> help. I am using Lilypond to compose, and I need to merge 4 scores into one. 
> All four scores have the same 6 instruments and time signature (4/4), and all 
> rhythms fall into the same grid of 16th notes.
>
> What I imagine by ‘merging’ is something like superimposing pixels (multiply, 
> add, substract, divide) but applying this to the 16th-note ‘pixel’.
>

Just to echo what Urs wrote, it is unclear what exactly you want. Can
you provide a small snippet of code
(http://lilypond.org/tiny-examples.html) or a (small size) image or
anything else to maybe illustrate what you want?

If you really want to do this arithmetic-y stuff (btw, about that: do
you mean multiply, add, etc. the *pitches* only, or the
rhythms/dynamics too, or something else?), I am guessing that would
require quite a hefty procedure, though it certainly is possible (also
already said by Urs).

I wonder if you mean that you want to get the average or median pitch
for each *grid* cell. Or maybe you have a specific algorithm in mind?

> Is this something that can be done within Lilypond? Any suggestion would be 
> really appreciated!
>
> Thanks!
>
> Fede
>
>
>
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-- 

Jeffery Shivers
 jefferyshivers.com
 soundcloud.com/jefferyshivers

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