RE: Notation in Soprano Clef

[Mark Stephen Mrotek]

David Kastrup,

Thank you for your kind attention to my request.
I shall attempt both of your procedures.

Mark

-Original Message-
From: David Kastrup [mailto:d...@gnu.org] 
Sent: Friday, November 01, 2019 4:33 PM
To: Mark Stephen Mrotek 
Cc: lilypond-user@gnu.org
Subject: Re: Notation in Soprano Clef

"Mark Stephen Mrotek"  writes:

> Hello all,
>
>  
>
> A C.P.E. Bach Piano sonata has the upper staff written with the 
> soprano clef.
>
> My skill at reading music in soprano clef is minimal. So I am 
> attempting a translation to treble clef.
>
> Does Lilypond have means to assist in this task?

I see you included examples.  Well, you can just remove one staff line at the 
bottom and put it at the top, and then you are in treble clef.
If that's too hard, it would appear like it's written in C Minor (or parallel), 
so the half-steps in staff are G-A♭ and D-E♭ which look like B-C and F♯-G, so 
pretend that this is really written in E Minor in treble clef and afterwards 
use Frescobaldi's transpose function to get it from E down to C.

It's a similar operation as transcribing something from treble clef to bass 
clef.

--
David Kastrup

Re: Notation in Soprano Clef

[David Kastrup]

"Mark Stephen Mrotek"  writes:

> Hello all,
>
>  
>
> A C.P.E. Bach Piano sonata has the upper staff written with the soprano
> clef.
>
> My skill at reading music in soprano clef is minimal. So I am attempting a
> translation to treble clef.
>
> Does Lilypond have means to assist in this task?

I see you included examples.  Well, you can just remove one staff line
at the bottom and put it at the top, and then you are in treble clef.
If that's too hard, it would appear like it's written in C Minor (or
parallel), so the half-steps in staff are G-A♭ and D-E♭ which look like
B-C and F♯-G, so pretend that this is really written in E Minor in
treble clef and afterwards use Frescobaldi's transpose function to get
it from E down to C.

It's a similar operation as transcribing something from treble clef to
bass clef.

-- 
David Kastrup

Re: Notation in Soprano Clef

[David Kastrup]

"Mark Stephen Mrotek"  writes:

> Hello all,
>
>  
>
> A C.P.E. Bach Piano sonata has the upper staff written with the soprano
> clef.
>
> My skill at reading music in soprano clef is minimal. So I am attempting a
> translation to treble clef.
>
> Does Lilypond have means to assist in this task?

LilyPond note entry names notes by pitch, not position in system.  You
can, after entering, view in soprano clef whether your entry matches the
source visually.

You can also figure out where the semitones in staff end up given the
key, figure out a suitable key that would have those semitone positions
if the clef were actually the treble clef, and then enter in that key,
pretending that it were in treble clef.

Afterwards you use Frescobaldi's transpose function to transpose your
input to the actual original key, proofread with soprano clef and
finally reprint with treble clef.

-- 
David Kastrup

Notation in Soprano Clef

[Mark Stephen Mrotek]

Hello all,

 

A C.P.E. Bach Piano sonata has the upper staff written with the soprano
clef.

My skill at reading music in soprano clef is minimal. So I am attempting a
translation to treble clef.

Does Lilypond have means to assist in this task?

 

Thank you,

 

Mark



soprano.pdf
Description: Adobe PDF document
\version "2.19.83"

\relative c'' {
  \key ees \major
  \time 3/4
  \clef soprano
  
  <<{ees4 bes4. r16 g | aes8. bes32 c bes8 [r16 g'] g4}\\
{g,4 g4. r16 ees | f4 g8 [r16 bes] bes4}>> |
  
}


\relative c'' {
  \key ees \major
  \time 3/4
  \clef treble

  <<{ees4 bes4. r16 g | aes8. bes32 c bes8 [r16 g'] g4}\\
{g,4 g4. r16 ees | f4 g8 [r16 bes] bes4}>> |

  }

  

Re: Table of Contents in Two Columns?

[Simon Albrecht]

On 01.11.19 22:33, Solomon Foster wrote:
Any hints how to do this?  I've got to say, at this point I feel like 
not really understanding markup / markuplist is my major obstacle to 
getting things done.  I can't even tell in this is a simple problem 
I'm asking or a subtle and difficult one.



Unfortunately the latter. LilyPond isn’t equipped for that kind of text 
processing; while markuplist can be used for pagebreakable markup, there 
is no way of directing it into columns other than hard-coding breaks, 
splitting it up and using \line or \table markup (list) commands.


Your best bet to actually do this would be modifying paper size and/or 
line-width for the book-part or book in which you have the TOC and using 
external tools to produce the two-column layout.


Best, Simon

Table of Contents in Two Columns?

[Solomon Foster]

Hi all,

Thanks so much for the earlier help on things I needed to get a tune book
up and running.  At this point I'm successfully generating a fully
functional 122 page tune book, and I'm just looking for ways to improve the
appearance of things a tad.

Perhaps the biggest one (and one that will, with luck, make the book
shorter) is how to get the table of contents and index to come out in two
columns.

I'm using the built in table of contents facility, and the related snippet
http://lsr.di.unimi.it/LSR/Item?id=763 for an index.  While the ToC and
index I'm generating are perfectly usable, each line in either has more
than half a page of blank space between the tune name and the page number,
so using two columns will make it easier to read and save about six pages
in the process.

Any hints how to do this?  I've got to say, at this point I feel like not
really understanding markup / markuplist is my major obstacle to getting
things done.  I can't even tell in this is a simple problem I'm asking or a
subtle and difficult one.

Thanks,
Sol

-- 
Solomon Foster: colo...@gmail.com
HarmonyWare, Inc: http://www.harmonyware.com

Re: Error using layout control

[Urs Liska]

Am 1. November 2019 18:57:37 MEZ schrieb Peter Toye :
>I'm trying to find out exactly what grobs are produced as one point ins
>a score, so tried engraving with layout control and "display grob
>names" ticked on the layout control.

For the record: this refers to the Frescobaldi functionality Layout Control 
Mode.

> And got this on the log:
>
>warning: no such internal option: debug-grob-names
>Processing `D:/Peter/Music/Lilypond/Herz/Variations/Intro/Intro.ly'
>Parsing...C:/Program Files
>(x86)/Frescobaldi/frescobaldi_app/layoutcontrol/debug-layout-options.ly:65:8:
>In procedure ly:parser-include-string in expression
>(ly:parser-include-string parser "\\include
>\"display-grob-names.ily\""):
>C:/Program Files
>(x86)/Frescobaldi/frescobaldi_app/layoutcontrol/debug-layout-options.ly:65:8:
>Wrong number of arguments to #ly:parser-include-string>
>Exited with return code 1.
>
>Where do I go from here please?

Stating which Frescobaldi and LilyPond versions you are using.

Urs

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

-- 
Diese Nachricht wurde von meinem Android-Gerät mit K-9 Mail gesendet.

Error using layout control

[Peter Toye]

I'm trying to find out exactly what grobs are produced as one point ins a 
score, so tried engraving with layout control and "display grob names" ticked 
on the layout control. And got this on the log:

warning: no such internal option: debug-grob-names
Processing `D:/Peter/Music/Lilypond/Herz/Variations/Intro/Intro.ly'
Parsing...C:/Program Files 
(x86)/Frescobaldi/frescobaldi_app/layoutcontrol/debug-layout-options.ly:65:8: 
In procedure ly:parser-include-string in expression (ly:parser-include-string 
parser "\\include \"display-grob-names.ily\""):
C:/Program Files 
(x86)/Frescobaldi/frescobaldi_app/layoutcontrol/debug-layout-options.ly:65:8: 
Wrong number of arguments to #
Exited with return code 1.

Where do I go from here please?
 
Regards,

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

Re: octavating slurs

[David Wright]

On Fri 01 Nov 2019 at 13:51:49 (+0100), Simon Albrecht wrote:
> On 01.11.19 00:10, David Olson wrote:
> > This is for sight-singing fun; I'll hand out a song sheet, we'll
> > spend 2 or 3 minutes on this, once through, then sing something
> > else.
> > 
> > So, for the basses who take the profound option, it would be nice
> > if there was a slur symbol right where their eyes are focused
> > 
> > If it can't be done, we'll live with it...
> 
> It can be done, as David K. wrote. However, I want to say that there
> are good reasons why this isn’t normally done and this is a case where
> LilyPond’s default behaviour shouldn’t be overridden unless one has
> good reasons to break the rule in a special instance. “I like it
> better that way” and “That’s what I’m used to” are (almost) never good
> reasons.
> 
> Also, doing everything to accommodate inexperienced sight-readers can
> often lead to bad conclusions.

You must have many examples, yes?

Cheers,
David.

Re: octavating slurs

[David Olson]

> Also, doing everything to accommodate 
> inexperienced sight-readers can often lead to bad conclusions.

Well,  experienced  sight-singers have certain expectations.

If you are ever in Los Angeles on a Monday night, 
and want to attend a midnight sight-singing session, 
(shape note singing)
let me know.


Most people think of sight-singing as a means to an end. 

Collective sight-singing is nirvana. 



One might speak of "hedonic sight singers" (able to sight-sing for pleasure),

and "ahedonic sight singers" (unable to feel pleasure while sight-singing).


Sorry, my comments are no longer lilypondish, 

nevertheless represent a little-known aspect of the sociability of music. 

Thanks again, David Kastrup, and others who built this option into Lilypond!

David Olson
Los Angeles


p.s. Also, these songs are not so difficult.




- Original Message -
From: "Simon Albrecht" 
To: "dadadharma @dslextreme.com" , "lilypond-user" 

Sent: Friday, November 1, 2019 5:51:49 AM
Subject: Re: octavating slurs

On 01.11.19 00:10, David Olson wrote:
> This is for sight-singing fun; I'll hand out a song sheet, we'll spend 
> 2 or 3 minutes on this, once through, then sing something else.
>
> So, for the basses who take the profound option, it would be nice if 
> there was a slur symbol right where their eyes are focused
>
> If it can't be done, we'll live with it...


It can be done, as David K. wrote. However, I want to say that there are 
good reasons why this isn’t normally done and this is a case where 
LilyPond’s default behaviour shouldn’t be overridden unless one has good 
reasons to break the rule in a special instance. “I like it better that 
way” and “That’s what I’m used to” are (almost) never good reasons.

Also, doing everything to accommodate inexperienced sight-readers can 
often lead to bad conclusions.

Best, Simon

Re: define-markup-command with variable number of arguments

[Thomas Morley]

Am Fr., 1. Nov. 2019 um 15:34 Uhr schrieb Karsten Reincke :

> does anyone has / know about an example of a define-markup-command 
> implementation
> using a variable number of arguments / parameters?

Nope, optional arguments are not possible using define-markup-command.

> Unfortunately, in my system (Linux Ubuntu 19.10 with Lilypond 2.18...) the 
> normal
> GUILE / scheme syntax (define (x y . args) ) (doanythingwith args) ) seems to
> executable.
>
> The tutorial LilyPond Extending mentions that there exist such an opportunity
> (page 19.), but does not contain any example.

The section of the Extending-tutorial refers to functions, not to the
define-markup-command which is a macro.
(At least if I've identified the section you refer to correctly, I
usually use the big-page-html-version of the docs.)

You could go for properties (see define-markup-commands.scm), but the
syntax in coding and calling it differs ofcourse and you may encounter
unwished side-effects (if namings interfer with grob-properties).

For variable amount of args I'd go for list? (or the like) and let the
body of your code sort it out.


Cheers,
  Harm

Re: Ricochet bowing articulations

[Pierre Perol-Schneider]

Il some output problems occur, please try:

\version "2.19.83"


#(define-markup-command (ric-mkp layout props note)(ly:music?)
  (interpret-markup layout props
   #{
 \markup {
\override #'(baseline-skip . 1.5)
\left-column
{
  \line { \hspace #1 \teeny\bold "ric." }
  \score {
\new Devnull \fixed b' {
  \shape #'(((-1 . -.3) (-1 . -.5) (1 . -.5) (1 . -.3))) Slur
  \slurUp #note
}
\layout {
  \context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/4)
  }
  \context {
\Devnull
\consists Stem_engraver
\omit Stem \omit Flag
\consists Axis_group_engraver
\consists Rhythmic_column_engraver
\consists Slur_engraver
\consists Note_heads_engraver
\consists Spacing_engraver
\override NoteHead.stencil = #(lambda (grob)
  (grob-interpret-markup grob #{ \markup\musicglyph
#"dots.dot" #}))
  }
}
  }
}
  } #}))

ric = -\tweak X-offset #1 ^\markup \ric-mkp \etc

% Test:
{
  d''4 \ric ##{ b16( 16 8 16 16 8 16 16 16) #}
  s2.
  d''4 \ric ##{ b16( 16 16 16 16 16 16 16) #}
  s2.
  d''4 \ric ##{ b8( 8 8 8 8 8 4 16 16 16) #}
  s1..
  d''4 \ric ##{ b128( 128) #} % <= bad output...
  s2.
  d''4 \ric ##{ b4( 4 16) #}
}

Cheers,
Pierre

Le ven. 1 nov. 2019 à 14:30, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> a écrit :

> You're welcome Ben.
> Simply enter values of "b" (which should remain the same) from full to
> 16th note. Minimum is 3 values, so 3 dots. Either e.g. b16( b b) or b16( 16
> 16) is ok.
> Higher values (32, 64, 128) won't show thinner spaces.
> If only two values are entered, (e.. b16( 16)) the output does not show
> what is expected.
> Cheers,
> Pierre
>
> Le ven. 1 nov. 2019 à 13:20, Ben  a écrit :
>
>>
>> On 11/1/2019 6:00 AM, Pierre Perol-Schneider wrote:
>>
>> Simplified:
>>
>> \version "2.19.83"
>>
>> #(define-markup-command (ric-mkp layout props note)(ly:music?)
>>   (interpret-markup layout props
>>#{
>>  \markup {
>> \override #'(baseline-skip . 1.5)
>> \left-column
>> {
>>   \line { \hspace #2 \teeny\bold "ric." }
>>   \score {
>> \fixed b' {
>>   \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
>>   \cadenzaOn #note r1
>> }
>> \layout {
>>   \context {
>> \Score
>> proportionalNotationDuration = #(ly:make-moment 1/7)
>>   }
>>   \context {
>> \Staff
>> \omit Clef
>> \omit TimeSignature
>> \omit Stem
>> \omit Flag
>> \omit Beam
>> \omit Rest
>> \override Rest.X-extent = #'(0 . .5)
>> \override StaffSymbol.line-positions = #'(0)
>> \override StaffSymbol.stencil = ##f
>> \override NoteHead.stencil = #(lambda (grob)
>>   (grob-interpret-markup grob #{ \markup\musicglyph
>> #"dots.dot" #}))
>>   }
>> }
>>   }
>> }
>>   } #}))
>>
>> ric = ^\markup \ric-mkp \etc
>>
>> % Test:
>> {
>>   d''4 \ric ##{ b16( 16 8 16 16 8 16 16 16) #}
>>   s2.
>>   d''4 \ric ##{ b16( 16 16 16 16 16 16 16) #}
>>   s2.
>>   d''4 \ric ##{ b8( 8 8 8 8 8 4 16 16 16) #}
>>   s1..
>>   d''4 \ric ##{ b128( 128) #} % <= bad output...
>>   s2.
>>   d''4 \ric ##{ b4( 4 16) #}
>> }
>>
>> Cheers,
>> Pierre
>>
>> Hi Pierre,
>>
>> Thank you so much for working on this code. Could you explain a bit of
>> your last simplified snippet? I don't understand how the values and
>> parameters work and how you arrive at them, sorry!
>>
>>
>>
>>
>> Le ven. 1 nov. 2019 à 00:54, Pierre Perol-Schneider <
>> pierre.schneider.pa...@gmail.com> a écrit :
>>
>>> Some tests:
>>>
>>> #(define-markup-command (ric layout props note)(ly:music?)
>>>   (interpret-markup layout props
>>>#{
>>>  \markup {
>>> \override #'(baseline-skip . 1.5)
>>> \left-column {
>>>   \line { \hspace #2 \teeny\bold "ric." }
>>>   \score {
>>> \fixed b' {
>>>   \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
>>>   \cadenzaOn
>>>   #note
>>>   r1
>>> }
>>> \layout {
>>>   \context {
>>> \Score
>>> proportionalNotationDuration = #(ly:make-moment 1/7)
>>>   }
>>>   \context {
>>> \Staff
>>> \omit Clef
>>> \omit TimeSignature
>>> \omit Stem
>>> \omit Flag
>>> \omit Beam
>>> \omit 

define-markup-command with variable number of arguments

[Karsten Reincke]

Dear friends;

does anyone has / know about an example of a define-markup-command 
implementation
using a variable number of arguments / parameters?

Unfortunately, in my system (Linux Ubuntu 19.10 with Lilypond 2.18...) the 
normal
GUILE / scheme syntax (define (x y . args) ) (doanythingwith args) ) seems to
executable.

The tutorial LilyPond Extending mentions that there exist such an opportunity
(page 19.), but does not contain any example.

Any help is appreciated.

many thanks Karsten
 
-- 
  Karsten Reincke/\/\   (+49|0) 170 / 927 78 57
 Im Braungeröll 31   >oo<  mailto:k.rein...@fodina.de
60431 Frankfurt a.M.  \/http://www.fodina.de/kr/

Re: octavating slurs

[Simon Albrecht]

On 01.11.19 13:57, David Kastrup wrote:

Usually there are either separate voices (in which case you want
separate stems) or not (like in a piano extract done with the voice
combiner).  This kind of an optional bass octave at deliberation of the
singer is sort of a weird middle case.



Not in terms of music typography. In those terms it’s exactly the same 
as with e.g. two wind instruments sharing a staff in a score: they don’t 
get double slurs either.


Best, Simon

Re: Ricochet bowing articulations

[Pierre Perol-Schneider]

You're welcome Ben.
Simply enter values of "b" (which should remain the same) from full to 16th
note. Minimum is 3 values, so 3 dots. Either e.g. b16( b b) or b16( 16 16)
is ok.
Higher values (32, 64, 128) won't show thinner spaces.
If only two values are entered, (e.. b16( 16)) the output does not show
what is expected.
Cheers,
Pierre

Le ven. 1 nov. 2019 à 13:20, Ben  a écrit :

>
> On 11/1/2019 6:00 AM, Pierre Perol-Schneider wrote:
>
> Simplified:
>
> \version "2.19.83"
>
> #(define-markup-command (ric-mkp layout props note)(ly:music?)
>   (interpret-markup layout props
>#{
>  \markup {
> \override #'(baseline-skip . 1.5)
> \left-column
> {
>   \line { \hspace #2 \teeny\bold "ric." }
>   \score {
> \fixed b' {
>   \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
>   \cadenzaOn #note r1
> }
> \layout {
>   \context {
> \Score
> proportionalNotationDuration = #(ly:make-moment 1/7)
>   }
>   \context {
> \Staff
> \omit Clef
> \omit TimeSignature
> \omit Stem
> \omit Flag
> \omit Beam
> \omit Rest
> \override Rest.X-extent = #'(0 . .5)
> \override StaffSymbol.line-positions = #'(0)
> \override StaffSymbol.stencil = ##f
> \override NoteHead.stencil = #(lambda (grob)
>   (grob-interpret-markup grob #{ \markup\musicglyph
> #"dots.dot" #}))
>   }
> }
>   }
> }
>   } #}))
>
> ric = ^\markup \ric-mkp \etc
>
> % Test:
> {
>   d''4 \ric ##{ b16( 16 8 16 16 8 16 16 16) #}
>   s2.
>   d''4 \ric ##{ b16( 16 16 16 16 16 16 16) #}
>   s2.
>   d''4 \ric ##{ b8( 8 8 8 8 8 4 16 16 16) #}
>   s1..
>   d''4 \ric ##{ b128( 128) #} % <= bad output...
>   s2.
>   d''4 \ric ##{ b4( 4 16) #}
> }
>
> Cheers,
> Pierre
>
> Hi Pierre,
>
> Thank you so much for working on this code. Could you explain a bit of
> your last simplified snippet? I don't understand how the values and
> parameters work and how you arrive at them, sorry!
>
>
>
>
> Le ven. 1 nov. 2019 à 00:54, Pierre Perol-Schneider <
> pierre.schneider.pa...@gmail.com> a écrit :
>
>> Some tests:
>>
>> #(define-markup-command (ric layout props note)(ly:music?)
>>   (interpret-markup layout props
>>#{
>>  \markup {
>> \override #'(baseline-skip . 1.5)
>> \left-column {
>>   \line { \hspace #2 \teeny\bold "ric." }
>>   \score {
>> \fixed b' {
>>   \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
>>   \cadenzaOn
>>   #note
>>   r1
>> }
>> \layout {
>>   \context {
>> \Score
>> proportionalNotationDuration = #(ly:make-moment 1/7)
>>   }
>>   \context {
>> \Staff
>> \omit Clef
>> \omit TimeSignature
>> \omit Stem
>> \omit Flag
>> \omit Beam
>> \omit Rest
>> \override Rest.X-extent = #'(0 . .5)
>> \override StaffSymbol.line-positions = #'(0)
>> \override StaffSymbol.stencil = ##f
>> \override NoteHead.stencil = #(lambda (grob)
>>   (grob-interpret-markup grob #{ \markup\musicglyph
>> #"dots.dot" #}))
>>   }
>> }
>>   }
>> }
>>   } #}))
>>
>> % Tests:
>> {
>>   d''4 ^\markup \ric ##{ b16( 16 8 16 16 8 16 16 16) #} s2.
>>   d''4 ^\markup \ric ##{ b16( 16 16 16 16 16 16 16) #} s2.
>>   d''4 ^\markup \ric ##{ b8( 8 8 8 8 8 8 8 8 8 16) #} s1 s
>>   d''4 ^\markup \ric ##{ b4( 4 16) #}
>> }
>>
>> Le ven. 1 nov. 2019 à 00:44, Pierre Perol-Schneider <
>> pierre.schneider.pa...@gmail.com> a écrit :
>>
>>> " \override Slur.positions = #'(0 . -3)" should be removed, not needed.
>>>
>>> Le ven. 1 nov. 2019 à 00:38, Pierre Perol-Schneider <
>>> pierre.schneider.pa...@gmail.com> a écrit :
>>>
 This should work:
 #(define-markup-command (ric layout props note)(ly:music?)
   (interpret-markup layout props
#{
  \markup {
 \override #'(baseline-skip . 1)
 \left-column {
   \line { \hspace #2 \teeny\bold "ric." }
   \score {
 \fixed b' {
   \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
   #note
   r1
 }
 \layout {
   \context {
 \Score
 proportionalNotationDuration = #(ly:make-moment 1/10)
   }
   \context {
 \Staff
 \omit Clef
 

Re: octavating slurs

[David Kastrup]

Simon Albrecht  writes:

> On 01.11.19 00:10, David Olson wrote:
>> This is for sight-singing fun; I'll hand out a song sheet, we'll
>> spend 2 or 3 minutes on this, once through, then sing something
>> else.
>>
>> So, for the basses who take the profound option, it would be nice if
>> there was a slur symbol right where their eyes are focused
>>
>> If it can't be done, we'll live with it...
>
>
> It can be done, as David K. wrote. However, I want to say that there
> are good reasons why this isn’t normally done and this is a case where
> LilyPond’s default behaviour shouldn’t be overridden unless one has
> good reasons to break the rule in a special instance. “I like it
> better that way” and “That’s what I’m used to” are (almost) never good
> reasons.

Usually there are either separate voices (in which case you want
separate stems) or not (like in a piano extract done with the voice
combiner).  This kind of an optional bass octave at deliberation of the
singer is sort of a weird middle case.

-- 
David Kastrup

Re: octavating slurs

[Simon Albrecht]

On 01.11.19 00:10, David Olson wrote:
This is for sight-singing fun; I'll hand out a song sheet, we'll spend 
2 or 3 minutes on this, once through, then sing something else.


So, for the basses who take the profound option, it would be nice if 
there was a slur symbol right where their eyes are focused


If it can't be done, we'll live with it...



It can be done, as David K. wrote. However, I want to say that there are 
good reasons why this isn’t normally done and this is a case where 
LilyPond’s default behaviour shouldn’t be overridden unless one has good 
reasons to break the rule in a special instance. “I like it better that 
way” and “That’s what I’m used to” are (almost) never good reasons.


Also, doing everything to accommodate inexperienced sight-readers can 
often lead to bad conclusions.


Best, Simon

Re: how to implement the snippet in the attachment

[Simon Albrecht]

On 31.10.19 15:32, DJF wrote:

\relative c'' {
\key f \major
<<{bes2 ~ 8  4} \\
{r4  ~ \hideNotes 8 \unHideNotes s8 s4 } >>
}



Code formatting matters. The above may be legible to LilyPond, and maybe 
you’re used to that style, but if you’re sharing code, please stick to 
the standards evident from the source code and documentation. 
Frescobaldi’s auto-format is very good as well. Here’s the same with 
good formatting:


\relative c'' {
  \key f \major
  <<
    { bes2~ 8  4 }
    \\
    { r4 ~ \hideNotes 8 \unHideNotes s8 s4 }
  >>
}

If you have questions about any of the changes I made, I’m happy to 
explain them. All are made with good reason and help understanding how 
the code works.


Best, Simon

Re: LilyPond, LilyPond snippets and the GPL

[Henning Hraban Ramm]

> Am 2019-11-01 um 12:16 schrieb J Martin Rushton 
> :
> 
> On 01/11/2019 10:45, Henning Hraban Ramm wrote:
>> BTW there is _no_ copyright on the design of sheet music, even if some music 
>> publishers claim it.
> 
> This depends upon the country.  In the UK: "The typographical
> arrangement of a published edition lasts for 25 years from first
> publication".  See Copyright Notice Number: 6/2016 at
> https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/554033/Copyright_Notice_Printed_Music.pdf

Ah, ok, then this is subject to the “sweat of the brow” concept.

My statement is only valid for Germany.



Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
https://www.fiee.net

Re: Ricochet bowing articulations

[Ben]

On 11/1/2019 6:00 AM, Pierre Perol-Schneider wrote:

Simplified:

\version "2.19.83"

#(define-markup-command (ric-mkp layout props note)(ly:music?)
  (interpret-markup layout props
   #{
     \markup {
        \override #'(baseline-skip . 1.5)
        \left-column
        {
          \line { \hspace #2 \teeny\bold "ric." }
          \score {
            \fixed b' {
              \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
              \cadenzaOn #note r1
            }
            \layout {
              \context {
                \Score
                proportionalNotationDuration = #(ly:make-moment 1/7)
              }
              \context {
                \Staff
                \omit Clef
                \omit TimeSignature
                \omit Stem
                \omit Flag
                \omit Beam
                \omit Rest
                \override Rest.X-extent = #'(0 . .5)
                \override StaffSymbol.line-positions = #'(0)
                \override StaffSymbol.stencil = ##f
                \override NoteHead.stencil = #(lambda (grob)
                  (grob-interpret-markup grob #{ \markup\musicglyph 
#"dots.dot" #}))

              }
            }
          }
        }
      } #}))

ric = ^\markup \ric-mkp \etc

% Test:
{
  d''4 \ric ##{ b16( 16 8 16 16 8 16 16 16) #}
  s2.
  d''4 \ric ##{ b16( 16 16 16 16 16 16 16) #}
  s2.
  d''4 \ric ##{ b8( 8 8 8 8 8 4 16 16 16) #}
  s1..
  d''4 \ric ##{ b128( 128) #} % <= bad output...
  s2.
  d''4 \ric ##{ b4( 4 16) #}
}

Cheers,
Pierre


Hi Pierre,

Thank you so much for working on this code. Could you explain a bit of 
your last simplified snippet? I don't understand how the values and 
parameters work and how you arrive at them, sorry!





Le ven. 1 nov. 2019 à 00:54, Pierre Perol-Schneider 
> a écrit :


Some tests:

#(define-markup-command (ric layout props note)(ly:music?)
  (interpret-markup layout props
   #{
     \markup {
        \override #'(baseline-skip . 1.5)
        \left-column {
          \line { \hspace #2 \teeny\bold "ric." }
          \score {
            \fixed b' {
              \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 .
-.5))) Slur
              \cadenzaOn
              #note
              r1
            }
            \layout {
              \context {
                \Score
                proportionalNotationDuration = #(ly:make-moment 1/7)
              }
              \context {
                \Staff
                \omit Clef
                \omit TimeSignature
                \omit Stem
                \omit Flag
                \omit Beam
                \omit Rest
                \override Rest.X-extent = #'(0 . .5)
                \override StaffSymbol.line-positions = #'(0)
                \override StaffSymbol.stencil = ##f
                \override NoteHead.stencil = #(lambda (grob)
                  (grob-interpret-markup grob #{
\markup\musicglyph #"dots.dot" #}))
              }
            }
          }
        }
      } #}))

% Tests:
{
  d''4 ^\markup \ric ##{ b16( 16 8 16 16 8 16 16 16) #} s2.
  d''4 ^\markup \ric ##{ b16( 16 16 16 16 16 16 16) #} s2.
  d''4 ^\markup \ric ##{ b8( 8 8 8 8 8 8 8 8 8 16) #} s1 s
  d''4 ^\markup \ric ##{ b4( 4 16) #}
}

Le ven. 1 nov. 2019 à 00:44, Pierre Perol-Schneider
mailto:pierre.schneider.pa...@gmail.com>> a écrit :

" \override Slur.positions = #'(0 . -3)" should be removed,
not needed.

Le ven. 1 nov. 2019 à 00:38, Pierre Perol-Schneider
mailto:pierre.schneider.pa...@gmail.com>> a écrit :

This should work:
#(define-markup-command (ric layout props note)(ly:music?)
  (interpret-markup layout props
   #{
     \markup {
        \override #'(baseline-skip . 1)
        \left-column {
          \line { \hspace #2 \teeny\bold "ric." }
          \score {
            \fixed b' {
              \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1
. -.5))) Slur
              #note
              r1
            }
            \layout {
              \context {
                \Score
                proportionalNotationDuration =
#(ly:make-moment 1/10)
              }
              \context {
                \Staff
                \omit Clef
                \omit TimeSignature
                \omit Stem
                \omit Flag
                \omit Beam
                \omit BarLine
                \omit Rest
                

Re: LilyPond, LilyPond snippets and the GPL

[J Martin Rushton]

On 01/11/2019 10:45, Henning Hraban Ramm wrote:
> 

> 
> BTW there is _no_ copyright on the design of sheet music, even if some music 
> publishers claim it.
> 

This depends upon the country.  In the UK: "The typographical
arrangement of a published edition lasts for 25 years from first
publication".  See Copyright Notice Number: 6/2016 at
https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/554033/Copyright_Notice_Printed_Music.pdf

As the notice explains: "For example, the copyright in music by Ludwig
van Beethoven is no longer protected by copyright, but editions of his
work published in the last 25 years will have their typographical
arrangement protected by the publisher, and modern editions, adaptations
or arrangements of his work may still be protected by copyright for life
of the adapter or arranger plus 70 years".

Since most UK law is set by Brussels you need to carefully check the
position in any EU country, it's likely to be the same.

> 

> 
> Greetlings, Hraban
> ---
> fiëé visuëlle
> Henning Hraban Ramm
> https://www.fiee.net

-- 
J Martin Rushton MBCS



signature.asc
Description: OpenPGP digital signature

Re: LilyPond, LilyPond snippets and the GPL

[Henning Hraban Ramm]

> Am 2019-10-31 um 03:15 schrieb Carl Sorensen :
> 
> In the US, a typeface is not copyrightable.  But a computer program that 
> makes a font or its glyphs is copyrightable.  

The "program code" of fonts is juristically not regarded a program, because it 
is usually auto-generated by a design tool.
And the design of a font is not copyrightable in some legislations (e.g. 
Germany), because it’s regarded craftmanship and not art, because letters have 
to adhere to traditions to be readable. In other legislations (e.g. UK) the 
craftmanship of the design *is* copyrightable (see “sweat of the brow”).

If the design of the letters would be regarded art, a license would be 
necessary for every single use of a letter!
The copyright and licensing of fonts is a really complicated matter that I 
won’t cover here; you can look it up in Wikipedia. There is an international 
treaty about the copyright on fonts, but since it was not ratified by enough 
countries it’s not effective.

BTW there is _no_ copyright on the design of sheet music, even if some music 
publishers claim it.


LilyPond-generated PostScript code I see equivalent to the generation of fonts. 
But it might be juristically critical that code snippets get included in that 
PostScript code.

While publishing of LilyPond source files –and apparently also 
LilyPond-generated PostScript– touches the copyright of the musical content as 
well as the copyright of the code (included in LilyPond’s distribution or from 
other sources), publishing of PDF and MIDI files regards only the copyright of 
the contents, since there is no LP code left in them.


Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
https://www.fiee.net

Re: Ricochet bowing articulations

[Pierre Perol-Schneider]

Simplified:

\version "2.19.83"

#(define-markup-command (ric-mkp layout props note)(ly:music?)
  (interpret-markup layout props
   #{
 \markup {
\override #'(baseline-skip . 1.5)
\left-column
{
  \line { \hspace #2 \teeny\bold "ric." }
  \score {
\fixed b' {
  \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
  \cadenzaOn #note r1
}
\layout {
  \context {
\Score
proportionalNotationDuration = #(ly:make-moment 1/7)
  }
  \context {
\Staff
\omit Clef
\omit TimeSignature
\omit Stem
\omit Flag
\omit Beam
\omit Rest
\override Rest.X-extent = #'(0 . .5)
\override StaffSymbol.line-positions = #'(0)
\override StaffSymbol.stencil = ##f
\override NoteHead.stencil = #(lambda (grob)
  (grob-interpret-markup grob #{ \markup\musicglyph
#"dots.dot" #}))
  }
}
  }
}
  } #}))

ric = ^\markup \ric-mkp \etc

% Test:
{
  d''4 \ric ##{ b16( 16 8 16 16 8 16 16 16) #}
  s2.
  d''4 \ric ##{ b16( 16 16 16 16 16 16 16) #}
  s2.
  d''4 \ric ##{ b8( 8 8 8 8 8 4 16 16 16) #}
  s1..
  d''4 \ric ##{ b128( 128) #} % <= bad output...
  s2.
  d''4 \ric ##{ b4( 4 16) #}
}

Cheers,
Pierre

Le ven. 1 nov. 2019 à 00:54, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> a écrit :

> Some tests:
>
> #(define-markup-command (ric layout props note)(ly:music?)
>   (interpret-markup layout props
>#{
>  \markup {
> \override #'(baseline-skip . 1.5)
> \left-column {
>   \line { \hspace #2 \teeny\bold "ric." }
>   \score {
> \fixed b' {
>   \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
>   \cadenzaOn
>   #note
>   r1
> }
> \layout {
>   \context {
> \Score
> proportionalNotationDuration = #(ly:make-moment 1/7)
>   }
>   \context {
> \Staff
> \omit Clef
> \omit TimeSignature
> \omit Stem
> \omit Flag
> \omit Beam
> \omit Rest
> \override Rest.X-extent = #'(0 . .5)
> \override StaffSymbol.line-positions = #'(0)
> \override StaffSymbol.stencil = ##f
> \override NoteHead.stencil = #(lambda (grob)
>   (grob-interpret-markup grob #{ \markup\musicglyph
> #"dots.dot" #}))
>   }
> }
>   }
> }
>   } #}))
>
> % Tests:
> {
>   d''4 ^\markup \ric ##{ b16( 16 8 16 16 8 16 16 16) #} s2.
>   d''4 ^\markup \ric ##{ b16( 16 16 16 16 16 16 16) #} s2.
>   d''4 ^\markup \ric ##{ b8( 8 8 8 8 8 8 8 8 8 16) #} s1 s
>   d''4 ^\markup \ric ##{ b4( 4 16) #}
> }
>
> Le ven. 1 nov. 2019 à 00:44, Pierre Perol-Schneider <
> pierre.schneider.pa...@gmail.com> a écrit :
>
>> " \override Slur.positions = #'(0 . -3)" should be removed, not needed.
>>
>> Le ven. 1 nov. 2019 à 00:38, Pierre Perol-Schneider <
>> pierre.schneider.pa...@gmail.com> a écrit :
>>
>>> This should work:
>>> #(define-markup-command (ric layout props note)(ly:music?)
>>>   (interpret-markup layout props
>>>#{
>>>  \markup {
>>> \override #'(baseline-skip . 1)
>>> \left-column {
>>>   \line { \hspace #2 \teeny\bold "ric." }
>>>   \score {
>>> \fixed b' {
>>>   \shape #'(((-1 . -.5) (0 . -.5) (0 . -.5) (1 . -.5))) Slur
>>>   #note
>>>   r1
>>> }
>>> \layout {
>>>   \context {
>>> \Score
>>> proportionalNotationDuration = #(ly:make-moment 1/10)
>>>   }
>>>   \context {
>>> \Staff
>>> \omit Clef
>>> \omit TimeSignature
>>> \omit Stem
>>> \omit Flag
>>> \omit Beam
>>> \omit BarLine
>>> \omit Rest
>>> \override Rest.X-extent = #'(0 . .5)
>>> \override StaffSymbol.line-positions = #'(0)
>>> \override StaffSymbol.stencil = ##f
>>> \override Slur.positions = #'(0 . -3)
>>> \override NoteHead.stencil = #(lambda (grob)
>>>   (grob-interpret-markup grob #{ \markup\musicglyph
>>> #"dots.dot" #}))
>>>   }
>>> }
>>>   }
>>> }
>>>   } #}))
>>>
>>> % Test:
>>> { d'' ^\markup \ric ##{ b16( 16 8 16 16 8 16 16 16) #} }
>>>
>>> Le jeu. 31 oct. 2019 à 23:58, Pierre Perol-Schneider <
>>> pierre.schneider.pa...@gmail.com> a écrit :
>>>
 PS. You 

Fedora 31, Python3, Frescobaldi

[Martin Tarenskeen]

Just upgraded to Fedora 31. 
Maybe this is not the right place to report this, but I'm seeing this in 
my terminal when updating my packages:



 Problem 1: package frescobaldi-3.0.0-10.fc31.noarch requires 
python3-sip, but none of the providers can be installed
  - package sip-4.19.19-1.fc31.x86_64 obsoletes python3-sip < 
4.19.19-1.fc31 provided by python3-sip-4.19.18-6.fc31.x86_64
  - cannot install the best update candidate for package 
python2-sip-4.19.18-6.fc31.x86_64
  - cannot install the best update candidate for package 
frescobaldi-3.0.0-10.fc31.noarch
 Problem 2: problem with installed package 
frescobaldi-3.0.0-10.fc31.noarch
  - package frescobaldi-3.0.0-10.fc31.noarch requires python3-sip, but 
none of the providers can be installed
  - package sip-4.19.19-1.fc31.x86_64 obsoletes python3-sip < 
4.19.19-1.fc31 provided by python3-sip-4.19.18-6.fc31.x86_64
  - cannot install the best update candidate for package 
python3-sip-4.19.18-6.fc31.x86_64


--

MT