Re: Different versions of LilyPond

[Helge Kruse]

Am 14.07.2010 18:13, schrieb James Lowe:


That sounds awfully complicated (and one would question the legality of having 
multiple installs of the same version of XP on one machine but I haven't read 
MS's EULA)

Can't you just

1. install version 2.12.whatever
2. rename lilypond dir accordingly
3. install ve4rsion 2.13.whatever
4. rename lilypond dir accordingly

and just put back the old dir name for the version you want to use.


I don't know, why I should rename the directory when I want to use a 
different version. You can have lilypond.exe in your PATH, but that's 
not necessary, when you use any editor, than starts the compiler.


For example TeXworks (a LaTeX-editor) allows selecting the compiler very 
comfortable. I configured TeXworks with the different lilypond versions. 
Now it's two clicks to change the version. Additionally TeXworks allows 
a comment that selects the compiler. So I add

  %!TEX TS-program = Lilypond-2.12  or
  %!TEX TS-program = Lilypond
denpendent on the lilypond version the score was written for. So I don't 
have to rename any directory, what also would require administrative 
rights on my PC.


Probably this is an idea that could be used in the Lilypond-supported 
editors like LilypondTool.



Best regards,

Helge

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doubleSlurs-alike workaround

[Antanas Budriūnas]

Hello,

there is a tiny fragment from a polyphonic choir piece. By idea I need
\set doubleSlurs = ##t but seems it didn't allow slur placement
control.
So following documentation I wrote this way:

\new Staff = sa <<
  \new Voice = soprano \relative c'' { \voiceOne
<< { \once \override Slur
#'control-points = #'((1.6 . 2.2) (2.5 . 2.7) (5.5 . 2.5) (6.3 . 1.5))
  4( 8) } \\
{ \hideNotes \stemUp \slurUp \once \override Slur
#'control-points = #'((1.6 . 1.2) (2.5 . 1.7) (5.5 . 1.5) (6.3 . 0.5))
c4( b8) } >> \unHideNotes
}
  \new Voice = alto \relative c'' { \voiceTwo
 a4. }
>>

Badly slur control points are set relative to starting note and
therefore lilypond-book output is unpredictable.

Desired output attached.

Suggestions, comments are highly appreciated.


Antanas
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Re: fermata not shown at playing parts

[Trevor Daniels]

David Kastrup wrote Saturday, July 17, 2010 9:13 AM



"Trevor Daniels"  writes:
OK, I've added a para to Articulations and ornaments in 
Expressive

marks:

"Articulations can be attached to rests as well as notes but they
cannot be attached to multi-measure rests.  A special predefined
command, @code{\fermataMarkup}, is available for attaching a 
fermata

to a multi-measure rest (and only a multi-measure rest).  This
creates a @code{MultiMeasureRestText} object."

together with an example to show how these are used.


Wouldn't it make more sense if articulations were siphoned off a
multimeasure and tacked back on by the multimeasure engraver?


Maybe.  How do you see this being implemented?

On the other hand, I have a hard time imagining what this should 
be

equivalent to when expanded.  Fermata on the last bar?  If so, I'd
likely place the fermata after the multimeasure rest symbol.


Or separate out the last bar of the multi-measure rest and
place the fermata on that.

A multi-measure rest is coded with an R, which is also used to
indicate a full-measure rest.  Fermate on full-measure rests
are common.


What other articulations are to be expected on multimeasure rests?


None, apart from the repeat sign scripts maybe.  Markup on
multi-measure rests is common, of course, but these are
not articulations in the LilyPond sense.

Trevor



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Re: fermata not shown at playing parts

[Urs Liska]

Am 17.07.2010 17:05, schrieb James Lowe:

play brass in an orchestra...you get all sorts on multi measure rests (and 
there are s many rests!
Playing Celesta can be even more "fun". At my last orchestral concert my 
first notes happened to be 32 minutes after the beginning of the symphony...

not that I'm bitter)... particularly what we would call in lilypond world a 
text spanner (rit, dim etc) if that counts. But mainly markup text is always on 
multi measure rests in my scores.

Playing 52 bars rest Largo is tough going I can tell you!
   
My favourite is having 52 bars with changing meters but only one 
multi-measure rest. (This also happens, especially in hand-written parts).


Best
Urs





-Original Message-
From: lilypond-user-bounces+james.lowe=datacore@gnu.org on behalf of David 
Kastrup
Sent: Sat 7/17/2010 9:13
To: lilypond-user@gnu.org
Subject: Re: fermata not shown at playing parts

"Trevor Daniels"  writes:

   

Carl Sorensen wrote Saturday, July 17, 2010 6:10 AM

 

But in the Expressive Marks section there is no text outside of an
example
that describes using fermata as an articulation.  (There is an index
entry
for \fermata, however).
   

OK, I've added a para to Articulations and ornaments in Expressive
marks:

"Articulations can be attached to rests as well as notes but they
cannot be attached to multi-measure rests.  A special predefined
command, @code{\fermataMarkup}, is available for attaching a fermata
to a multi-measure rest (and only a multi-measure rest).  This
creates a @code{MultiMeasureRestText} object."

together with an example to show how these are used.
 

Wouldn't it make more sense if articulations were siphoned off a
multimeasure and tacked back on by the multimeasure engraver?

On the other hand, I have a hard time imagining what this should be
equivalent to when expanded.  Fermata on the last bar?  If so, I'd
likely place the fermata after the multimeasure rest symbol.

What other articulations are to be expected on multimeasure rests?

   



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RE: fermata not shown at playing parts

[James Lowe]

play brass in an orchestra...you get all sorts on multi measure rests (and 
there are s many rests! not that I'm bitter)... particularly what we 
would call in lilypond world a text spanner (rit, dim etc) if that counts. But 
mainly markup text is always on multi measure rests in my scores.

Playing 52 bars rest Largo is tough going I can tell you!





-Original Message-
From: lilypond-user-bounces+james.lowe=datacore@gnu.org on behalf of David 
Kastrup
Sent: Sat 7/17/2010 9:13
To: lilypond-user@gnu.org
Subject: Re: fermata not shown at playing parts
 
"Trevor Daniels"  writes:

> Carl Sorensen wrote Saturday, July 17, 2010 6:10 AM
>
>> But in the Expressive Marks section there is no text outside of an
>> example
>> that describes using fermata as an articulation.  (There is an index
>> entry
>> for \fermata, however).
>
> OK, I've added a para to Articulations and ornaments in Expressive
> marks:
>
> "Articulations can be attached to rests as well as notes but they
> cannot be attached to multi-measure rests.  A special predefined
> command, @code{\fermataMarkup}, is available for attaching a fermata
> to a multi-measure rest (and only a multi-measure rest).  This
> creates a @code{MultiMeasureRestText} object."
>
> together with an example to show how these are used.

Wouldn't it make more sense if articulations were siphoned off a
multimeasure and tacked back on by the multimeasure engraver?

On the other hand, I have a hard time imagining what this should be
equivalent to when expanded.  Fermata on the last bar?  If so, I'd
likely place the fermata after the multimeasure rest symbol.

What other articulations are to be expected on multimeasure rests?

-- 
David Kastrup


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RE: transposing instruments

[James Lowe]

Also you should probably consider any layout tweaks AFTER the transposition 
rather than the 'copying out stage'. I say that after spending ages getting 
that dynamic f or fermata 'just so' and then transpose it only to find now that 
that extra padding looks silly with the notes shifted. :)

Yes it seems obvious now!






-Original Message-
From: lilypond-user-bounces+james.lowe=datacore@gnu.org on behalf of David 
Rogers
Sent: Sat 7/17/2010 14:31
To: lilypond-user@gnu.org
Subject: Re: transposing instruments
 
* Wols Lists  [2010-07-17 10:41]:

>As I said, horses for courses, but I play the trombone, so original
>source may be Bf or C, and my output parts may be Bf or C. So I find it
>simpler just to transpose everything to C when copying the music in,
>then transpose it back to what I want when outputting it.


It depends which part of the process you would like to be error-prone, I
guess. I believe any mental transposition that may be required is
inherently the weak link in the process and should be eliminated.
Therefore I would suggest typing "as written" no matter what that may
be, and using the built-in transposing commands to accomplish any
changes that may be required. That way, it's less difficult to check the
typing for errors.

-- 
David

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Re: transposing instruments

[David Rogers]

* Wols Lists  [2010-07-17 10:41]:


As I said, horses for courses, but I play the trombone, so original
source may be Bf or C, and my output parts may be Bf or C. So I find it
simpler just to transpose everything to C when copying the music in,
then transpose it back to what I want when outputting it.



It depends which part of the process you would like to be error-prone, I
guess. I believe any mental transposition that may be required is
inherently the weak link in the process and should be eliminated.
Therefore I would suggest typing "as written" no matter what that may
be, and using the built-in transposing commands to accomplish any
changes that may be required. That way, it's less difficult to check the
typing for errors.

--
David

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Re: Please delete my membership

[David Kastrup]

Margret Popp  writes:

> Unfortunately I lost the link which would have enabled me to delete mys
> membership.
>
> Could you please do this for me?
>
> Thank you!

Ask your mail program to show you the full headers of a mail received
from the list.  They contain unsubscribe instructions, like

List-Unsubscribe: ,


List mails nowadays almost without exception contain unsubscribe
instructions in the headers and/or the footers of the mail.

-- 
David Kastrup


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Re: Please delete my membership

[Marc Weber]

Excerpts from Margret Popp's message of Sat Jul 17 11:59:34 +0200 2010:
> Unfortunately I lost the link which would have enabled me to delete mys 
> membership.
> 
> Could you please do this for me?
> 
> Thank you!

If this (found by google) doesn't help you post again.
http://old.nabble.com/How-to-unsubscribe---td20808239.html


Marc Weber

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Please delete my membership

[Margret Popp]

Unfortunately I lost the link which would have enabled me to delete mys 
membership.


Could you please do this for me?

Thank you!

Margret Popp

(Username Eliza or ElizaD... unfortunately, I lost all of my 
identification there.)

--

__
/Dr Margret Popp/
Anton-Bruckner-Str 1

*D-97074 Würzburg*

0049 (0)931/71464



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Re: transposing instruments

[Wols Lists]

On 17/07/10 05:02, James Lowe wrote:
> Jatziri,
>   

Hi James, Jatziri,
>  
> See:
>  
> http://lilypond.org/doc/v2.12/Documentation/user/lilypond-big-page#Transpose
>  
> I regularly am given music in 'A' or 'C' to write out and transpose for 
> B-flat for the small orchestra I am in (for example I play a lot of parts 
> written for Cornets in A or sometimes, depending on the melody and the 
> instrument that plays it I'll be asked to join the bassoons or play a French 
> Horn part - we are a very small orchestra and have an imaginative conductor!).
>  
> So this is what I do.
>  
> I typeout the music 'as is' on the score and then I create different 'score' 
> parts with the transpose function accordingly.
>  
> Example:
>  
> OriginalMusicInA = { a b c d e }
>   

Horses for courses, but I don't like that. imho it's error prone (I'll
explain why later :-) so I do

OriginalMusic = \transpose bf c { a b c d e }

So that OriginalMusic is in concert pitch.
>  
> Now I simply create score part thus
>  
> \score {
>\new Staff {
> \set Staff.instrumentName = #"Trumpet "
> \transpose bes a { \relative c'' \OriginalMusicInA }
>   }
> }
>   

In the score I then do eg

\transpose c ef { \OriginalMusic }

to convert the music to whatever key I need.
>  
> What I also while I am in the process of copying out the score, is use
>  
> \transpose c c { \relative c'' \originalmusic }
>  
> and then change the 'c c' value to whatever I need to tranpose to/from once I 
> am ready to print the music out. it simplifies the working-out process for me 
> until I have checked for any copying mistakes.
>  
> I hope this helps.
>  
> James
>  
>   
As I said, horses for courses, but I play the trombone, so original
source may be Bf or C, and my output parts may be Bf or C. So I find it
simpler just to transpose everything to C when copying the music in,
then transpose it back to what I want when outputting it.

You get the same problem with basses, with Ef, Bf, double Ef and double
Bf. It's not unusual to want to give a Bf part to an Ef player, or vice
versa.

Cheers,
Wol

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Re: fermata not shown at playing parts

[David Kastrup]

"Trevor Daniels"  writes:

> Carl Sorensen wrote Saturday, July 17, 2010 6:10 AM
>
>> But in the Expressive Marks section there is no text outside of an
>> example
>> that describes using fermata as an articulation.  (There is an index
>> entry
>> for \fermata, however).
>
> OK, I've added a para to Articulations and ornaments in Expressive
> marks:
>
> "Articulations can be attached to rests as well as notes but they
> cannot be attached to multi-measure rests.  A special predefined
> command, @code{\fermataMarkup}, is available for attaching a fermata
> to a multi-measure rest (and only a multi-measure rest).  This
> creates a @code{MultiMeasureRestText} object."
>
> together with an example to show how these are used.

Wouldn't it make more sense if articulations were siphoned off a
multimeasure and tacked back on by the multimeasure engraver?

On the other hand, I have a hard time imagining what this should be
equivalent to when expanded.  Fermata on the last bar?  If so, I'd
likely place the fermata after the multimeasure rest symbol.

What other articulations are to be expected on multimeasure rests?

-- 
David Kastrup


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Re: fermata not shown at playing parts

[Trevor Daniels]

Carl Sorensen wrote Saturday, July 17, 2010 6:10 AM

But in the Expressive Marks section there is no text outside of an 
example
that describes using fermata as an articulation.  (There is an 
index entry

for \fermata, however).


OK, I've added a para to Articulations and ornaments in Expressive 
marks:


"Articulations can be attached to rests as well as notes but they
cannot be attached to multi-measure rests.  A special predefined
command, @code{\fermataMarkup}, is available for attaching a fermata
to a multi-measure rest (and only a multi-measure rest).  This
creates a @code{MultiMeasureRestText} object."

together with an example to show how these are used.

JFDI Trevor



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Re: fermata not shown at playing parts

[Graham Percival]

On Fri, Jul 16, 2010 at 11:10:35PM -0600, Carl Sorensen wrote:
> 
> On 7/16/10 9:49 AM, "Graham Percival"  wrote:
> 
> > The docs already say to use \fermata !
> 
> But in the Expressive Marks section there is no text outside of an example
> that describes using fermata as an articulation.  (There is an index entry
> for \fermata, however).

http://code.google.com/p/lilypond/issues/detail?id=1189

Cheers,
- Graham

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