Re: LilyPond issue 34 question

2018-09-26 Thread Lukas-Fabian Moser 

Hi,

My question is: are there actual music scores containing voices with 
initial grace notes groups of different lengths?


Torsten already explained why all the grace groups at the beginning of 
the piece should all have the same length. To address your question: 
It's not hard to make them effectively have the same length even if the 
respective total displayed lengths differ.


For example: The following leads to the well-known problem of misplaced 
clef/key changes:


\version "2.19.80"

\new PianoStaff <<
  \new Staff \relative e' {
    \key a \major
    \grace { e16 a cis }
    e4
  }
  \new Staff {
    \clef bass
    \key a \major
    \grace e8
    4
  }
>>

But either of the following variants may be used (basically depending on 
how the rhythmic relationship between the different grace groups should 
be understood):


\version "2.19.80"

\new PianoStaff <<
  \new Staff \relative e' {
    \key a \major
    \grace { e16 a cis }
    e4
  }
  \new Staff {
    \clef bass
    \key a \major
    \grace e8*3/2
    4
  }
>>

or

\version "2.19.80"

\new PianoStaff <<
  \new Staff \relative e' {
    \key a \major
    \grace { e16 a cis }
    e4
  }
  \new Staff {
    \clef bass
    \key a \major
    \grace { s16 e8 }
    4
  }
>>

or even

\version "2.19.80"

\new PianoStaff <<
  \new Staff \relative e' {
    \key a \major
    \grace { e16 a cis }
    e4
  }
  \new Staff {
    \clef bass
    \key a \major
    \grace { s8 e8*1/2 }
    4
  }
>>

and maybe even

\version "2.19.80"

\new PianoStaff <<
  \new Staff \relative e' {
    \key a \major
    \grace { e16*2/3 a cis }
    e4
  }
  \new Staff {
    \clef bass
    \key a \major
    \grace { s16 e8*1/2 }
    4
  }
>>

I think you get my drift. :-)

Best
Lukas
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Re: Instructions to install lilypond onto Raspberry Pi

2018-09-26 Thread Urs Liska 



Am 26.09.2018 um 21:32 schrieb Karlin High:

On 9/26/2018 1:40 PM, Partitura Organum wrote:
And it worked! So my tablet build of Lilypond 2.21.0 (from source as 
it was on 17th  August) now runs on a Raspberry Pi as well.


Good going! How about writing a Scores of Beauty blog post about the 
project?





That sounds like a great idea. But rather than that link you should get 
in touch with me directly ;-)

Urs


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Re: Instructions to install lilypond onto Raspberry Pi

2018-09-26 Thread Karlin High 

On 9/26/2018 1:40 PM, Partitura Organum wrote:
And it worked! So my tablet build of Lilypond 2.21.0 (from source as it 
was on 17th  August) now runs on a Raspberry Pi as well.


Good going! How about writing a Scores of Beauty blog post about the 
project?




--
Karlin High
Missouri, USA

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Re: Tempo declaration on different staves

2018-09-26 Thread Partitura Organum 



On 23-9-2018 15:49, Kieren MacMillan wrote:



Of course, a lot of it is simply personal preference/style, so there’s no big 
need to change if you don’t agree with my reasoning! I was just offering a 
possible improvement.

Cheers,
Kieren.




Thanks for explaining. I'll think about it. There's obviously no 
one-solution-fits-all with Lilypond, yet I think it pays to take the 
reasoningof experienced users into consideration.


Regards,
Auke

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Re: Instructions to install lilypond onto Raspberry Pi

2018-09-26 Thread Partitura Organum 



On 18-9-2018 15:49, Federico Bruni wrote:



Il giorno mar 18 set 2018 alle 14:53, Karlin High 
 ha scritto:

On 9/18/2018 7:05 AM, Vivyan wrote:

did they have any success building lilypond?


I don't know if this is the exact thread that Federico Bruni had in 
mind, but it should be close.






Actually, I meant this one (it's an Android tablet, arm processor):
http://lilypond.1069038.n5.nabble.com/How-to-create-an-installer-from-the-Lilypond-build-tree-td215616.html#a215747 






As mentioned in the other thread, I managed to create a deb-package from 
the lilypond build on my tablet. I copied the deb-file to one of my 
Raspberries and ran dpkg -i on it.

After that I had to 'apt-get install' three dependencies:
- guile-1.8-dev
- libpangoft2-1.0
- ghostscript

And it worked! So my tablet build of Lilypond 2.21.0 (from source as it 
was on 17th  August) now runs on a Raspberry Pi as well.


Regards,
Auke


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Re: How to create an installer from the Lilypond build tree?

2018-09-26 Thread Engraver 



For future reference if anyone searching the archives comes across this 
thread: I finally managed to create a debian package for the lilypond 
build I made on my tablet (arm architecture). There exists a tool, 
called "checkinstall", that can be used to install a build from source 
and at that at the same times creates a deb-package for it. It can also 
create installers for several other distros.


Regards,
Auke



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Re:Octave shifts in polyphonic setting

2018-09-26 Thread Flaming Hakama by Elaine 
> -- Forwarded message --
> From: Jogchum Reitsma 
> To: lilypond-user 
> Date: Tue, 25 Sep 2018 21:13:23 +0200
> Subject: Octave shifts in polyphonic setting
> Hi,
>
> When entering a piece of music with some one-, some two- and some
> three-voiced bars, quite often notes in previous bars go up or down an
> octave, when entering new bars.
> Restoring this from the first bars affected by adding or deleting
> apostrophes or comma's, sometimes lead again to side effects. Rather
> frustrating...
>
> Is there a way to prevent this?
>

regards, Jogchum Reitsma
>


% There is no problem with using relative mode, per se.
% You just need to have an explicit \relative for every voice.

% So, instead of something like this,
% where you have to adjust the octaves at the start of each segment

\relative c'' {
c1
<<
{ c8 d e f g2 }
{ g,4   b2. }
{ e,8 d c d d2 }
>>
c'1
}

% You would use something like this,
% Where each segment is specified, and doesn't interfere what comes after.

\relative c'' {
c1
<<
\relative c'' { c8 d e f g2 }
\relative c'' { g4   b2. }
\relative c'  { e8 d c d d2 }
>>
c1
}


HTH,

Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: LilyPond issue 34 question

2018-09-26 Thread Torsten Hämmerle 
Hi Jacques,

First of all, the different \grace durations (s128 instead of s8. resp. s16
s s) makes the Key Signature and Time Signature appear twice.
Second, if you use spacer rests of the correct duration, the 16th grace
notes notes will be naturally spaced and key and time sigs will happen in
the same point of time as they should.

If you try \grace { s16 } or \grace { s8 } just for fun, the shifted Time
Signature will just fall within the grace notes.

\grace { s4 } (longer than three 16th notes) will displace everything so
that you'll get a standard treble clef first an a overlayed bass clef in the
lower staff if you look closely. KeySignature and TimeSignature are doubled
and overlayed etc.

Exaggerating it and even setting \grace { s2 } or \grace { s1 } the double
KeySignature/TimeSignature will be shifted away from each other, but still
overlap.


To make a long story short (and, technically, it's not at all trivial,
otherwise this issue would have been closed many years ago):
Why not just using *matching* durations for all the auxiliary \grace spaces?

All the best,
Torsten



--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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LilyPond issue 34 question

2018-09-26 Thread Jacques Menu 
Hello folks,

This issue happens when a voice has grace notes ahead of the voices and the 
some other don’t.
The work around is to add grace notes ahead of the latter.

In the example below, I added such grace notes ahead of 
P_POne_Staff_One_Voice_One and P_POne_Staff_One_Voice_Two. 

Strangely enough, \grace { s128 } in P_POne_Staff_One_Voice_One produces a 
wider grace notes display than \grace { s4 }:


My question is: are there actual music scores containing voices with initial 
grace notes groups of different lengths?

Thanks for your help!

JM





\version "2.19"

P_POne_Staff_One_Voice_One = \relative {
  \key a \major
  \numericTimeSignature \time 2/4
  \clef "treble"
  \grace { s128 } cis'''2 \arpeggio | % 1
}

P_POne_Staff_One_Voice_Two = \relative {
  \key a \major
   \numericTimeSignature \time 2/4
  \clef "treble"
  \grace { s16 s16 s16 } 4 \arpeggio s4  | % 1
}

P_POne_Staff_Two_Voice_Three = \relative {
  \key a \major
  \numericTimeSignature \time 2/4
  \clef "bass"
  \grace { a,16 [ ( cis16 e16 ] } a8 [ ) a8 a8 a8
  ] |
}

\score {
  <<
\new PianoStaff <<
  \set PianoStaff.instrumentName = "Piano"
  \set PianoStaff.connectArpeggios = ##t

  \new Staff = "P_POne_Staff_One" <<
\context Voice = "P_POne_Staff_One_Voice_One" <<
  \voiceOne

  \P_POne_Staff_One_Voice_One
>>
\context Voice = "P_POne_Staff_One_Voice_Two" <<
  \voiceTwo

  \P_POne_Staff_One_Voice_Two
>>
  >>

  \new Staff = "P_POne_Staff_Two" <<
\context Voice = "P_POne_Staff_Two_Voice_Three" <<
  \P_POne_Staff_Two_Voice_Three
>>
  >>
>>
  >>

  \layout {}
  }
}



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Re: Octave shifts in polyphonic setting

2018-09-26 Thread Jogchum Reitsma 

Hi Mark,

I use the second one, with explicit voice-setting, and in that 
construction I encountered the problems mentioned in the OP.
But the solutions offered by David and Matthew, in the previous answers, 
work in my case.


Thanks for your answer!

regards,
Jogchum
.
Op 25-09-18 om 22:18 schreef Mark Stephen Mrotek:

Jogchum,

I encountered the same when setting multi-voiced fugues and using the
<<{  }\\{   }\\{  }>> construct. Is that what you use?

My solution is to set each voice explicitly, e.g.,

\new Voice = "soprano"
  { \voiceOne \relative c'' {
   f4 f f f }
  }
  
  \new Voice = "alto"

  { \voiceTwo \relative c'' {

aes4 aes aes aes }

  }

More information here
http://lilypond.org/doc/v2.19/Documentation/learning/explicitly-instantiatin
g-voices

Mark


-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Jogchum Reitsma
Sent: Tuesday, September 25, 2018 12:13 PM
To: lilypond-user 
Subject: Octave shifts in polyphonic setting

Hi,

When entering a piece of music with some one-, some two- and some
three-voiced bars, quite often notes in previous bars go up or down an
octave, when entering new bars.
Restoring this from the first bars affected by adding or deleting
apostrophes or comma's, sometimes lead again to side effects. Rather
frustrating...

Is there a way to prevent this?

regards, Jogchum Reitsma



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