Re: Should \partial accept music instead of duration?
On Thu, Mar 24, 2022 at 3:18 PM Valentin Petzel wrote:
> Hello Carl,
>
> I don’t think recreating \partial is the best thing to do. After all we
> can
> simply do
>
> pickupNotes =
> #(define-music-function (mus) (ly:music?)
>(let* ((mom (ly:music-length mus))
> (dur (make-duration-of-length mom)))
> #{
>\partial #dur
>#mus
> #}))
>
> Cheers,
> Valentin
>
Yes, way better! Thanks!
This can be a snippet in the docs, as far as I'm concerned.
Carl
>
>
Re: Should \partial accept music instead of duration?
Hello Carl,
I don’t think recreating \partial is the best thing to do. After all we can
simply do
pickupNotes =
#(define-music-function (mus) (ly:music?)
(let* ((mom (ly:music-length mus))
(dur (make-duration-of-length mom)))
#{
\partial #dur
#mus
#}))
Cheers,
Valentin
Am Donnerstag, 24. März 2022, 20:57:23 CET schrieb Carl Sorensen:
> On Thu, Mar 24, 2022 at 12:48 PM Valentin Petzel wrote:
> > Another idea: We could have a command like partialDuring or partialWith.
>
> Here's what I wrote, renaming Aaron's function:
>
> pickupNotes =
> #(define-music-function (mus) (ly:music?)
>(_i "Make a partial measure.")
>(let* ((mom (ly:music-length mus))
> (dur (make-duration-of-length mom)))
> (make-music 'SequentialMusic
>'elements
>(list (context-spec-music
>(make-music 'PartialSet
>'origin (*location*)
>'duration dur)
>'Timing)
> mus
>
>
> \relative
> {
> \time 4/4
> \pickupNotes {c'8 d} |
> e4 f g a
> }
>
> I think it's nicely descriptive and doesn't need to use convert-ly.
>
> Carl
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Re: Should \partial accept music instead of duration?
On Thu, Mar 24, 2022 at 12:48 PM Valentin Petzel wrote:
> Another idea: We could have a command like partialDuring or partialWith.
>
Here's what I wrote, renaming Aaron's function:
pickupNotes =
#(define-music-function (mus) (ly:music?)
(_i "Make a partial measure.")
(let* ((mom (ly:music-length mus))
(dur (make-duration-of-length mom)))
(make-music 'SequentialMusic
'elements
(list (context-spec-music
(make-music 'PartialSet
'origin (*location*)
'duration dur)
'Timing)
mus
\relative
{
\time 4/4
\pickupNotes {c'8 d} |
e4 f g a
}
I think it's nicely descriptive and doesn't need to use convert-ly.
Carl
Re: Should \partial accept music instead of duration?
Another idea: We could have a command like partialDuring or partialWith. Cheers, Valentin Am Montag, 21. März 2022, 02:53:14 CET schrieb Flaming Hakama by Elaine: > > -- Forwarded message -- > > From: "Tim's Bitstream" > > To: Werner LEMBERG > > Cc: lilyp...@hillvisions.com, dan@lyric.works, thomasmorle...@gmail.com, > > lilypond-de...@gnu.org, lilypond-user@gnu.org > > Bcc: > > Date: Sun, 20 Mar 2022 12:01:25 -0500 > > Subject: Re: Should \partial accept music instead of duration? > > > > > On Mar 20, 2022, at 2:24 AM, Werner LEMBERG wrote: > > > > > > What about providing a new command `\upbeat` and moving `\partial` > > > into oblivion? Compare this to `\tuplet` vs. `\times`. > > > > Perhaps this is an American jazzism, but we would refer to those as > > \pickup notes. > > I'm not swayed by this proposal > > \partial to me seems like \time > the info being conveyed is how long the "measure" is > and so it should not require a music expression > > If you are using global with spacers, this would not be too big a deal, > but for more casual usage with structure and notes interspersed, > it forces you to specify a distinct musical expression > just for the part of the phrase that happens to be before the bar, > which seems like an awkward pattern to enforce on note entry. > > > In terms of US English usage > > "partial" means "less than whole" and is pretty clear and neutral, > and thus I think a good name for this usage. > > "partial" may also refer to a specific overtone of a note, > (as in "E3 is the 4th partial of C1") > but I don't think there is any confusion with this usage. > > > "upbeat" is used a few different ways > which makes it not such a good candidate. > > It can mean the beat before the down beat, > so in 4/4 beat 4, or in 2/4 beat 2. > > But "upbeat" can also refer to subdivisions, like counting "1 and 2 and 3 > and 4 and" > the numbers are "beats" or "on the beat" or sometimes "downbeats", > whereas the "and"s are the upbeats. > > It is further confusing in compound time as you might, > in line with 2/4, consider the second dotted quarter in 6/8 as the upbeat. > > But, if there are syncopations happening, > you might consider the first subdivision after the downbeat as the upbeat, > so in 6/8, subdivisions 2 and 5 would be the upbeats. > > Likewise, in a 3/4 waltz you might consider beat 2 as the upbeat, > whereas in other 3/4 contexts you might consider beat 3 as the upbeat, > in line with how we count 4/4. > > > "anacrusis" is a term all musicians learn, but no one ever uses, > unless you are an academic. > > It generally refers to the same thing as "pickup". > > For a lilypond term it might be fine since it is basically descriptive, > but probably less guessable than "pickup". > > > "pickup" generally refers to notes leading into a barline. > Whether it is singular or plural depends on the context. > > If it is a single note, it is a pickup. > Multiple notes may be either pickup as referring to the entire phrase, > or pickups referring to each of the notes. > > "Let's take it from letter B, with pickups" > > > There is also a practice--and I'm sure there are a great many opinions > on the wisdom of this practice, but nonetheless it exists-- > that if a pickup starts on an offbeat, > the partial measure may include the preceding rest that occurs on the beat. > > In which case, the partial measure length is not the same as the length of > the "pickup", > which is understood musically only as the notes played. > > So, use of "pickup"/"anacrusis" to describe the length of the measure > would not always semantically be accurate. > > > So, I suggest we keep \partial as is > > If the motivation is just to eliminate having to type a single duration, > which typically is used at most once per piece, > I'm really not seeing the urgency of the problem it is solving. > > It seems like something that should more appropriately be syntactic sugar, > and not change the core features, which seem appropriate to me. > > > > Elaine Alt > 415 . 341 .4954 "*Confusion is > highly underrated*" > ela...@flaminghakama.com > Producer ~ Composer ~ Instrumentalist ~ Educator > -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= > -=-=-=-=-=-=-=-=-=- signature.asc Description: This is a digitally signed message part.
Re: Grace note position and time signature changes
Le 24/03/2022 à 13:13, Leo Correia de Verdier a écrit : This is our beloved issue 34 again: https://sourceforge.net/p/testlilyissues/issues/34/ Note that the issue tracker has moved. The new URL is https://gitlab.com/lilypond/lilypond/-/issues/34 Jean
Re: Grace note position and time signature changes
> On Mar 24, 2022, at 8:13 AM, Leo Correia de Verdier > wrote: > > \time 4/4 s1 s1 s1 > \time 2/4 \grace s16*3 s2 > \time 4/4 s1 > \time 2/4\grace s16*3 s2 Works as advertised, thanks
Re: Grace note position and time signature changes
Hi David!
This is our beloved issue 34 again:
https://sourceforge.net/p/testlilyissues/issues/34/
You need to place grace spacers in relevant sequential variables matching the
gracenotes to get them to the right place, as in this fixed code.
%%%
\version "2.22.2"
\include "english.ly"
tt = {
\time 4/4 s1 s1 s1
\time 2/4 \grace s16*3 s2
\time 4/4 s1
\time 2/4\grace s16*3 s2
}
\score {
<<
\new Staff {
\relative c' {
<< \tt { R1 R1 a1 ~ a4 r4 R1 R2 } >>
}
}
\new Staff {
\relative c' {
<< \tt { R1
\grace { d16 d d } d1
R1
\grace { d16 d d } d2
R1
\grace { d16 d d } d2 }
>>
}
}
>>
}
%%
HTH
/Leo
> 24 mars 2022 kl. 12:10 skrev David Santamauro :
>
> Hi,
>
> The following snippet produces some strange results:
>
> \version "2.22.2"
>
> \include "english.ly"
>
> tt = {
> \time 4/4 s1 s1 s1
> \time 2/4 s2
> \time 4/4 s1
> \time 2/4 s2
> }
>
> \score {
> <<
> \new Staff {
> \relative c' {
> << \tt { R1 R1 a1 ~ a4 r4 R1 R2 } >>
> }
> }
> \new Staff {
> \relative c' {
> << \tt { R1
> \grace { d16 d d } d1
> R1
> \grace { d16 d d } d2
> R1
> \grace { d16 d d } d2 }
> >>
> }
> }
> >>
> }
>
> I don’t understand the differing behavior in mm 3-4 and mm 5-6. Is there a
> way to force the grace notes past (to the right of) the time signature?
>
> Thanks
>
>
>
>
>
>
Grace note position and time signature changes
Hi,
The following snippet produces some strange results:
\version "2.22.2"
\include "english.ly"
tt = {
\time 4/4 s1 s1 s1
\time 2/4 s2
\time 4/4 s1
\time 2/4 s2
}
\score {
<<
\new Staff {
\relative c' {
<< \tt { R1 R1 a1 ~ a4 r4 R1 R2 } >>
}
}
\new Staff {
\relative c' {
<< \tt { R1
\grace { d16 d d } d1
R1
\grace { d16 d d } d2
R1
\grace { d16 d d } d2 }
>>
}
}
>>
}
I don’t understand the differing behavior in mm 3-4 and mm 5-6. Is there a way
to force the grace notes past (to the right of) the time signature?
Thanks
Re: tremolos
On Thu, 24 Mar 2022 at 11:05, Molly Preston
wrote:
> Is there any way of changing the angle of tremolo markings?
>
> \version "2.22.1"
>
> \repeat tremolo 16 { 32 e'' 32 }
>
> I am wondering if there is a way to get the tremolo marking to be angled
> instead of straight?
>
> -Molly
>
It looks like the beams are looking for stems to attach on to, but without
the stems they stay flat. This seems to work:
\version "2.22.1"
{
% This brings the left side up 0.5 staff spaces
\once \override Beam.positions = #'(0.5 . 0.0)
\repeat tremolo 16 { 32 e'' 32 }
}
Vaughan
