RE: Das Glasperlenspiel coding question

[carsonmark]

Saul, David:

Musikalisches Würfelspiel

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Saul Tobin
Sent: Monday, October 21, 2024 6:40 PM
To: David Olson 
Cc: lilypond-user 
Subject: Re: Das Glasperlenspiel coding question

 

First of all, I just want to say I love almost everything about this, and 
especially I love the Hermann Hesse reference!

 

I am quite curious what you mean by saying you use Lilypond to write poetry. Do 
you mean that you use Guile Scheme to generate the text and use Lilypond to 
typeset it as top level markups, with no musical score?

 

I can see why Lilypond fits the spirit of your literary idea, as a text-based 
format for encoding music, and especially one based on LISP. It would 
definitely be cool to see Lilypond popularized a bit more in that way. That 
said, I can't help but wonder whether specifying the use of Lilypond is 
necessary for your literary purpose. If your reason for specifying the use of 
Lilypond is technical, I outline below some thoughts on its suitability to be 
the language of musical LLMs.

 

I am a bit skeptical that an LLM is actually what you want for your story. LLMs 
as they currently exist need to overcome some major technical hurdles before 
they will be able to compose sheet music competently, which I'll outline below. 
Maybe it can be assumed that for fictional purposes the practical challenges 
are solved, but even then, I wonder if there might be other types of algorithms 
that are a better fit both technically (more thoughts on that below) and in 
spirit. Admittedly my sense of the Glass Bead Game is quite clouded by memory, 
but I would have thought that to get at Hesse's idea, you would want a 
mechanism that is "conscious" of the relationships of ideas, which is pretty 
much the opposite of what an LLM does. For your literary purposes, do you even 
need to specify the type of AI algorithm?

 

Serialist systems are the sort of generating scheme for musical material that 
LLMs are the very worst at, but serialism also lends itself potentially to 
other sorts of AI techniques, such as genetic algorithms. I wonder also if the 
strength of the serialist constraints you place on the output of each 
successive token would in some way render the LLM equivalent to other, non-LLM 
based algorithmic methods; by crude analogy, if I asked an LLM to calculate for 
me the output of some very complicated numerical function, and then performed 
validation filtering out all the incorrect answers, the resulting output would 
be the same as if I had entered that function into a calculator.

 

I wouldn't claim to have a deep understanding of LLMs, but I have played around 
with them quite a bit in trying to get them to generate music in Lilypond 
format. My strong impression is that even a very powerful current-generation 
LLM trained on a large dataset of musical repertoire in a parsable format would 
not be well suited to generating new musical scores, except perhaps if they 
were limited to a single melodic voice. The reason is that while LLMs are 
capable at suggesting appropriate continuations to an existing text, which 
makes them a good tool for some types of creative writing, non-local 
relationships between semantic tokens are a critical aspect of musical scores 
to a degree that they are not in text. LLMs are by design not well equipped, 
for example, to validate that the rhythms in each part add up to the correct 
total durations, or to check harmonic and contrapuntal relationships. Lilypond 
actually makes this particularly hard because Lilypond input files are 
typically written "horizontally," whereas some other notation programs store 
data "vertically" across all instruments measure by measure or beat by beat.

 

In order to suggest a musical continuation of a polyphonic score, the LLM would 
first need to parse the Lilypond code sufficiently to understand what the 
semantic tokens are from a musical perspective across all the simultaneous 
parts, which is quite different than parsing the tokens within the code itself 
or even from parsing the notes and rhythms, since musical ideas can consist of 
complex interrelationships. That said, the same mechanisms that are already 
being developed to allow AIs to, for example, perform logical validation of 
software code or mathematical derivations, will also provide the needed 
baseline capability for composing music. However, music is likely to test AI 
logical reasoning capabilities to a greater extent than even most mathematical 
and engineering use cases, due to the fact that in a musical score, the 
relationship of every note to every single other note in a given passage must 
be considered. 

 

Even if the logical reasoning challenge were solved, that would only bring LLMs 
to the starting line of being able to coherently add a new polyphonic musical 
idea onto an existing sequence of polyphonic musica

RE: Inquiry About Commercial Use of Fonts Extracted from PDF for Book Publishing

[carsonmark]

You are welcome, Peter.

 

Mark

 

From: Peter X  
Sent: Sunday, October 20, 2024 3:50 PM
To: carsonm...@ca.rr.com
Cc: lilypond-user@gnu.org
Subject: Re: Inquiry About Commercial Use of Fonts Extracted from PDF for Book 
Publishing

 

Thank you, Mark,, for providing this method.

 

I also what to check with everyone here: does any user here ever encounter any 
issue with the font when publishing a e-book or book?

 

On Sun, Oct 20, 2024 at 10:15 AM mailto:carsonm...@ca.rr.com> > wrote:

Peter,

 

I googled “NimbusMonoPS” and was taken to the 1001 free fonts site. It is 
listed as “Free for Commercial Use.”
You could use the same process for the other.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
<mailto:ca.rr@gnu.org>  mailto:ca.rr@gnu.org> > On Behalf Of Peter X
Sent: Saturday, October 19, 2024 11:15 PM
To: lilypond-user@gnu.org <mailto:lilypond-user@gnu.org> 
Subject: Inquiry About Commercial Use of Fonts Extracted from PDF for Book 
Publishing

 

Subject: Inquiry About Commercial Use of Fonts Extracted from PDF for Book 
Publishing

 

Dear LilyPond Community,

 

I hope this message finds you well. I’m reaching out for some assistance 
regarding the commercial use of several fonts that were embedded in a PDF 
document. I am in the process of publishing a book, with plans to distribute it 
primarily in electronic (PDF) format through Amazon’s Kindle Direct Publishing 
(KDP) platform, with a potential print version as well.

 

To check the fonts embedded in my PDF, I used the command pdffonts to list the 
fonts in the document. Below is a snippet of the command’s output for your 
reference:

 

HMBAUW+Emmentaler-18 Type 1C   Custom   yes yes 
no   22285  0

GHSOVS+NimbusSans-Bold   Type 1C   WinAnsi  yes yes 
no   22286  0

ZVGKDS+C059-RomanType 1C   WinAnsi  yes yes 
no   22287  0

 

>From this, I extracted the unique values between the first + and the first - 
>from each line in the output. Specifically, I obtained the following unique 
>font names:

 

Bravura, C059, Emmentaler, CMR10, CMR6, CMR7, CMSY10, DejaVuSerif, 
NimbusMonoPS, NimbusSans, TexGyreCursor, TexGyreTermes, f-0-0

 

Could you kindly provide some guidance on whether these fonts are free for 
commercial use, given that I intend to sell the book on a platform like Amazon 
KDP? If any of these fonts require licensing for such use, please let me know 
what steps I should take.

 

Lastly, I encountered an unfamiliar font name in my extraction, which appears 
as f-0-0. I’m unsure what this font represents or how it ended up in my PDF. If 
anyone has insights into this, I’d appreciate your help.

 

Thank you for your time and support!

 

Best regards,

P

RE: Inquiry About Commercial Use of Fonts Extracted from PDF for Book Publishing

[carsonmark]

Peter,

 

I googled “NimbusMonoPS” and was taken to the 1001 free fonts site. It is 
listed as “Free for Commercial Use.”
You could use the same process for the other.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Peter X
Sent: Saturday, October 19, 2024 11:15 PM
To: lilypond-user@gnu.org
Subject: Inquiry About Commercial Use of Fonts Extracted from PDF for Book 
Publishing

 

Subject: Inquiry About Commercial Use of Fonts Extracted from PDF for Book 
Publishing

 

Dear LilyPond Community,

 

I hope this message finds you well. I’m reaching out for some assistance 
regarding the commercial use of several fonts that were embedded in a PDF 
document. I am in the process of publishing a book, with plans to distribute it 
primarily in electronic (PDF) format through Amazon’s Kindle Direct Publishing 
(KDP) platform, with a potential print version as well.

 

To check the fonts embedded in my PDF, I used the command pdffonts to list the 
fonts in the document. Below is a snippet of the command’s output for your 
reference:

 

HMBAUW+Emmentaler-18 Type 1C   Custom   yes yes 
no   22285  0

GHSOVS+NimbusSans-Bold   Type 1C   WinAnsi  yes yes 
no   22286  0

ZVGKDS+C059-RomanType 1C   WinAnsi  yes yes 
no   22287  0

 

>From this, I extracted the unique values between the first + and the first - 
>from each line in the output. Specifically, I obtained the following unique 
>font names:

 

Bravura, C059, Emmentaler, CMR10, CMR6, CMR7, CMSY10, DejaVuSerif, 
NimbusMonoPS, NimbusSans, TexGyreCursor, TexGyreTermes, f-0-0

 

Could you kindly provide some guidance on whether these fonts are free for 
commercial use, given that I intend to sell the book on a platform like Amazon 
KDP? If any of these fonts require licensing for such use, please let me know 
what steps I should take.

 

Lastly, I encountered an unfamiliar font name in my extraction, which appears 
as f-0-0. I’m unsure what this font represents or how it ended up in my PDF. If 
anyone has insights into this, I’d appreciate your help.

 

Thank you for your time and support!

 

Best regards,

P

RE: What ornament is this?

[carsonmark]

Knute,

 

The Frederick Chopin Institute edition has a prall. Yet this does not coincide 
with the fingering (343) in both instances.

My guess is that it is a Schneller. Barry Cooper in his edition of the 
Beethoven Op. 13 makes the case and refers to Newman (Beethoven on Beethoven) 
p. 213.

 

Mark

 

From: Knute Snortum  
Sent: Saturday, October 5, 2024 8:40 AM
To: carsonm...@ca.rr.com
Cc: lilypond-user@gnu.org
Subject: Re: What ornament is this?

 

On Sat, Oct 5, 2024 at 8:35 AM Knute Snortum mailto:ksnor...@gmail.com> > wrote:

 

On Sat, Oct 5, 2024 at 8:19 AM mailto:carsonm...@ca.rr.com> > wrote:

Knute,

 

Can you provide composer/piece?

 

Sure, it's Chopin's 2 Polonaises, opus 26, number 1, around measure 11 (the 
first one).

 

Maybe a prall?

 

--

Knute Snortum

 

 

RE: What ornament is this?

[carsonmark]

Knute,

 

Can you provide composer/piece?

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Knute Snortum
Sent: Saturday, October 5, 2024 7:56 AM
To: lilypond-user@gnu.org
Subject: What ornament is this?

 

Hi community,

 

Does anyone know what type of ornament is in the attached pictures?  A Google 
image search didn't bring up anything useful.  From the fingering in the first 
image it may be a modent, or a fast prall.  How would I engrave this in 
LilyPond?

 

Thanks as always.

 

--

Knute Snortum

 

RE: Beaming error

[carsonmark]

Richard,

Add a line (see the first one)
Change beat structure

{
  \set Timing.beamExceptions = #'()
  \set subdivideBeams = ##t
  \set baseMoment = #(ly:make-moment 1/8)
  \set beatStructure = 1,1,1,1,1,1,1,1

  \tuplet 3/2 { c'16 16 16 }
  \repeat unfold 4 c'32

  \repeat unfold 8 c'32

  \repeat unfold 4 c'32
  \tuplet 3/2 { c'16 16 16 }

  c'8 \repeat unfold 4 c'32
}

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
 On Behalf Of Richard
Davis
Sent: Monday, September 30, 2024 10:32 AM
To: Lilypond User 
Subject: Beaming error

Hello all!

I came across something quite strange today that I couldn't quite wrap my
head around. Why does this code:

\version "2.25.17"
\language "english"

{
  \set subdivideBeams = ##t
  \set baseMoment = #(ly:make-moment 1/8)
  \set beatStructure = 2,2,2,2

  \tuplet 3/2 { c'16 16 16 }
  \repeat unfold 4 c'32

  \repeat unfold 8 c'32

  \repeat unfold 4 c'32
  \tuplet 3/2 { c'16 16 16 }

  c'8 \repeat unfold 4 c'32
}

Beam things so strangely? As far as I can tell, according to this:

https://lilypond.org/doc/v2.23/Documentation/notation/beams#setting-automati
c-beam-behavior

The beams should be subdivided in groups of four thirty-second notes.
Instead, I get beams subdivided into groups of four and further into groups
of two. What am I doing wrong?

Best,
Richard

RE: Accent too close to note with acciaccatura and slur

[carsonmark]

Knute,

 

Is positioning the accent above the note permissible?

 

\fixed c' { \acciaccatura { f8 } e4^>^( f4) }

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Knute Snortum
Sent: Saturday, September 21, 2024 11:13 AM
To: lilypond-user@gnu.org
Subject: Accent too close to note with acciaccatura and slur

 

I have been running into... not quite a bug, but an "ugly" (bugly?) where the 
accent is engraved too close to a note with an acciaccatura and a slur.  Here's 
a MWE:

 

%%%

\version "2.25.18"

\fixed c' { \acciaccatura { f8 } e4->^( f4) }

%%%

 

At the moment I just adjust the accent's Y-offset, but is there a better way to 
deal with this?  Should I create a bug report for this?

 

--

Knute Snortum

 

RE: What am I doing wrong?

[carsonmark]

Walter,

 

Follow these:

 

https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-
windows

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
 On Behalf Of Walter
Conlon
Sent: Friday, September 20, 2024 5:23 PM
To: lilypond-user@gnu.org
Subject: What am I doing wrong?

 

I am a long time Lilypond User, and recently upgraded to the new 2.24.4
version.  It indicated that I had to also download Frescobaldi, which I did.
On Frescobaldi, it indicated that I had to make sure that Frescobaldi was
aware of the location of the lilypond.exe program, which I did by going on
Frescobaldi - Edit - Preferences - LilyPond Preferences and entered the
directory where lilypond.exe is located.  However, when I try to run it, it
tell me that it cannot start lilypond.exe.

 

Any suggestions?

 

Walter Conlon

600 Walnut Street

Muscatine, IA 52761-4245

(563) 676-6307

RE: changes in inclusion

[carsonmark]

Tom,

 

Bravo!!

 

Thank you for the solution.

 

Mark

 

From: Tom Brennan  
Sent: Friday, July 19, 2024 4:07 PM
To: carsonm...@ca.rr.com
Cc: LilyPond Users 
Subject: Re: changes in inclusion

 

I imagine this is happening because the first notes of the right hand in the 
third movement aren't assigned a duration value, and so they're taking on the 
last one they encountered (mvt 2, probably). I would check that the first notes 
are explicitly quarter note duration.

Kind regards
Tom

 

On Fri, Jul 19, 2024, 19:03 mailto:carsonm...@ca.rr.com> 
> wrote:

Hello,

 

In a four-movement piece each is a separate file and each compile correctly 
separately.

The four files are put into one with the \include command.

Something happens to only the third movement.

Beginning of third movement when compiled separately:



 

Beginning of third movement when compiled as an \included:

 



 

The rest of the movement is similarly altered.

 

I have done this on two computers to eliminate computer/software influence.

 

Please provide some direction.

 

Thank you.

 

Mark

 

RE: move fingering

[carsonmark]

William,

Thank you for reminding me of that command!

Mark

-Original Message-
From: William Rehwinkel  
Sent: Tuesday, July 9, 2024 5:58 PM
To: Mark Stephen Mrotek ; 'LilyPond Users' 

Subject: Re: move fingering

Dear Mark,

You can do

\set fingeringOrientations = #'(left)

and change "g16.^1" to "16.".

See here: 
https://lilypond.org/doc/v2.25/Documentation/notation/fingering-instructions

Thanks,
-William

On 7/9/24 19:25, Mark Stephen Mrotek wrote:
> Hello:
> 
> The following:
> 
> g4.
> 
>\once \override TextScript.script-priority = #-100
> 
>g16.^1^\turn^\markup { \small \sharp }\<
> 
>([a32^3\!] c16^5\> bes g^2 e\!) |
> 
> 
> puts the fingering (1) above the turn.
> 
> How do I relocate it next to the “g”?
> 
> Thank you.
> 
> Mark
> 

--
William Rehwinkel (any pronouns)
Juilliard School '26 - Oberlin Conservatory '24 will...@williamrehwinkel.net - 
https://williamrehwinkel.net PGP Public Key: 
https://ftp.williamrehwinkel.net/pubkey.txt

RE: beam subdivision problem

[carsonmark]

Werner,

My reading would be

\version "2.24.3"
\relative c'' {
  d4 r16 f d b g'4~ g16 a c a64 (g fis g) |
}

It corrects only one beaming "error", is more rhythmically consistent, and 
might be more in keeping with the context.

Mark 

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Werner LEMBERG
Sent: Tuesday, July 2, 2024 9:33 PM
To: sripedia_getp...@slmail.me
Cc: lilypond-user@gnu.org
Subject: Re: beam subdivision problem


Hello Jason,


> > ```
> > {
> >   \once \set subdivideBeams = ##t
> >   \once \set minimumBeamSubdivisionInterval = \musicLength 8
> >   f'16 f'32
> >   \set stemRightBeamCount = 2
> > f'
> >   \set stemLeftBeamCount = 2
> >f' f' f' f'
> > }
> > ```
> 
> Looks like this won't be possible without manually setting the beam 
> count.

OK, thanks.

> My beam subdivision algorithm tries to strictly respect metric values 
> as subdivision is intended to ease readers' track of the current 
> measure position. Adding features that loosen that strictness such as 
> one to support your desired output may allow composers to 
> unintentionally confuse readers, [...]

Well, this beam notation is not my invention but rather found in existing 
scores.  The specific subdivision was taken from Henle's Urtext version of 
Händel's violin sonata in g minor HWV 368, bar 2.

  https://www.henle.de/de/7-Sonaten-fuer-Violine-und-Generalbass/HN-191#

I guess the very reason for using this kind of subdivision is to make it 
resemble the first edition's incorrect beaming as much as possible (see 
attached image).

> Nevertheless, it may be simple enough to make a new context property 
> that defines ab offset for # of beamlets while still respecting the 
> value of `minimumBeamSubdivisionInterval`. So in your case, that new 
> context property would be 1 (must be a whole number).

Sounds very promising!  I'm waiting for your Merge Request :-)


Werner

RE: Vertically align objects of same class?

[carsonmark]

Fennel,

 

I am not converse in “hacking” so I suggest you attempt it.

 

Mark

 

From: Fennel  
Sent: Tuesday, June 25, 2024 10:31 AM
To: carsonm...@ca.rr.com
Cc: lilypond-user@gnu.org
Subject: RE: Vertically align objects of same class?

 

I wonder if this is hackable if I just duplicate the current staff context as a 
dynamic context and then remove all of the markup objects from the staff 
context…

~Fennel

​

On Tuesday, June 25th, 2024 at 12:52 PM, carsonm...@ca.rr.com 
<mailto:carsonm...@ca.rr.com>  mailto:carsonm...@ca.rr.com> > wrote:



Fennel,

 

Go to:
https://lilypond.org/doc/v2.24/Documentation/notation/expressive-marks-attached-to-notes#dynamics

And scroll down to “A dynamics context”.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
<mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org>  
mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org> > On Behalf Of 
Fennel
Sent: Tuesday, June 25, 2024 9:06 AM
To: Lilypond-User Mailing List mailto:lilypond-user@gnu.org> >
Subject: Vertically align objects of same class?

 

I have a bunch of objects of the same type that I’d like to all be aligned to 
the same Y-level on a per staff basis.

Here’s an example:

\version "2.24.3"
\relative c'' {
c_"I" c'_"II" c,,_"III" c'_"IV"\break
g_"A" g'_"B" g,,_"C" g'_"D"
}


I would like for all of the markup objects on each staff to align with the 
lowest default placement, so in this example in the first staff all text would 
vertically align with the “III” and in the second staff all test would 
vertically align with the “C”. I know that lyricMode would work well in this 
example, but I would also like to do the same thing with HorizontalBrackets and 
I’m mainly using this for string indications which do not appear on every note, 
making lyricmode somewhat of a pain to use in this scenario.

-Fennel

​

 

RE: Vertically align objects of same class?

[carsonmark]

Fennel,

 

Go to:
https://lilypond.org/doc/v2.24/Documentation/notation/expressive-marks-attached-to-notes#dynamics

And scroll down to “A dynamics context”.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Fennel
Sent: Tuesday, June 25, 2024 9:06 AM
To: Lilypond-User Mailing List 
Subject: Vertically align objects of same class?

 

I have a bunch of objects of the same type that I’d like to all be aligned to 
the same Y-level on a per staff basis.

Here’s an example:

\version "2.24.3"
\relative c'' {
c_"I" c'_"II" c,,_"III" c'_"IV"\break
g_"A" g'_"B" g,,_"C" g'_"D"
}


I would like for all of the markup objects on each staff to align with the 
lowest default placement, so in this example in the first staff all text would 
vertically align with the “III” and in the second staff all test would 
vertically align with the “C”. I know that lyricMode would work well in this 
example, but I would also like to do the same thing with HorizontalBrackets and 
I’m mainly using this for string indications which do not appear on every note, 
making lyricmode somewhat of a pain to use in this scenario.

-Fennel

​

RE: search term

[carsonmark]

Werner,

Not sure on how to quantify "really".
Thank you for the entry.

Mark

-Original Message-
From: Werner LEMBERG  
Sent: Monday, June 10, 2024 8:37 PM
To: carsonm...@ca.rr.com
Cc: lilypond-user@gnu.org
Subject: Re: search term


> Which term in the notation index would take me to instructions for
> 
> Cresc. - - -- --  ff 

Have you *really* tried to search in the index of the Notation Reference?
There is an entry for a keyword called `\cresc` (properly sorted as
'cresc').  If you follow that link, you will see an image for

  cresc. -   -   -  mf

I don't think this can be improved.


Werner

RE: search term

[carsonmark]

David,

Missed something that simple.
Thank you.

Mark

-Original Message-
From: David Wright  
Sent: Monday, June 10, 2024 8:23 PM
To: carsonm...@ca.rr.com
Cc: 'Lilypond-User Mailing List' 
Subject: Re: search term

On Mon 10 Jun 2024 at 19:14:06 (-0700), carsonm...@ca.rr.com wrote:
> 
> Which term in the notation index would take me to instructions for
> 
> Cresc. - - -- --  ff 

Cresc. Dynamics. Alternatively, one might guess that terms as common as
cresc and dim would be commands, and hence listed in the command index as
well. (Is there a catch?)

Cheers,
David.

search term

[carsonmark]

Hello,

 

Which term in the notation index would take me to instructions for

 

Cresc. - - -- --  ff 

 

Thank you.

 

Mark

RE: Vanishing nested tuplet

[carsonmark]

Gregory,

 

As I read it the inner 8/9 is equal to two beats of a 4/4 measure.

That is insufficient to complete an entire 4/5 measure.

 

Look at

 

\version "2.24.3"

 

\times 4/5 {

\times 8/9 {

c'16 c' c' c' c' c' c' c' c'  

} c'4 c' c'

}

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Gregory Evans
Sent: Wednesday, June 5, 2024 3:11 PM
To: Lilypond-User Mailing List 
Subject: Vanishing nested tuplet

 

Hello everyone,
I need help engraving a unique rhythm structure relevant to “irrational” meters 
(or perhaps non-dyadic meters or non-power-of-2-denominated meters). In many 
cases of such meters, it is assumed that the unique meter prolates the 
contained values as is sometimes done in a score which changes from a duple 
meter to a triple meter.

However in a score I am currently engraving changes from duple to triple meter 
do not change the basic speed of any note value (an 8th note is the same 
duration in 3/4 and 6/8) and thus the “irrational” meters also do not change 
the tempo. For instance a 1/6 meter would be the duration of one quarter note 
in an incomplete tuplet of 3:2.

In the score I am engraving, measures are generally subdivided into even 
pulses. In this case a 2/5 measure is divided into 9 16th notes. This could be 
notated as a formidable 45:32 tuplet or, as I would prefer a 5:4 tuplet with a 
9:8 tuplet inside and nothing else. However, lilypond seems to be erasing the 
inner tuplet. This is reproduced in the following mwe (I am still using 2.23.81 
which I know is quite old):

\times 4/5 {
\times 8/9 {
c'16
c'16
c'16
c'16
 
c'16
 
c'16
 
c'16
 
c'16
 
c'16
 
}
}

The spacing appears to be calculated correctly but the innermost tuplet bracket 
and number will not appear unless another note or tuplet is added as well. No 
change is caused by adding empty chords (<>) or by changing \times to \tuplet 
in any permutation.

I looked around but I cannot tell if this behavior is known (it is a rare 
scenario) and I cannot tell if this is a desired behavior. Perhaps it is.

thank you for any help,
gregory evans

-- 

gregory rowland evans, PhD

 <http://www.gregoryrowlandevans.com/> http://www.gregoryrowlandevans.com

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[carsonmark]

Hello,

 

What is the command to reset the beat number in a second volta?

 

Thank you.

 

Mark Stephen Mrotek

 

RE: \omit TupletBracket

[carsonmark]

Aaron,

Thank you for the instruction yet how does it apply to my notation?

Mark

-Original Message-
From: Aaron Hill  
Sent: Thursday, May 16, 2024 6:28 PM
To: carsonm...@ca.rr.com
Cc: 'Dimitri Sykias' ; 'Lilypond-User Mailing List'

Subject: Re: \omit TupletBracket

On 2024-05-16 5:57 pm, carsonm...@ca.rr.com wrote:
>   c16 [r c8]

It is important to understand that the syntax for beaming, like slurs,
requires the symbols to be post-fixed.

As such it is best to keep the symbols snug to the event they apply:

   c16[ r c8]

To a seasoned LilyPonder, this clearly indicates beaming beginning with the
16th note and ending with the 8th.


-- Aaron Hill

RE: \omit TupletBracket

[carsonmark]

Dimitri,

First three should be
  c16 [r c8]

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Dimitri Sykias
Sent: Thursday, May 16, 2024 4:07 PM
To: Lilypond-User Mailing List 
Subject: \omit TupletBracket

Although the output is fine when I use "\omit TupletBracket” I get a Warning of 
Unattached Beam Event.

\new RhythmicStaff \with { \consists Clef_engraver } { \time 3/4
  \omit Score.BarLine
  \clef percussion
  [c16 r c8] \tuplet 3/2 {c4 c c~} | \tuplet 3/2 {c8 c c~} c16 c c c r4 | c8 c4 
c8~ c16 c8 c16 | c2~c8  \omit TupletBracket \tuplet 3/2 {c16 c c} |\tuplet 5/4 
{c8 c c c c} r8 c | }

Thanks!

RE: Re[2]: Frescobaldi?

[carsonmark]

Steph,

Thank you.

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
 On Behalf Of Steph Phillips
Sent: Sunday, May 5, 2024 11:46 PM
To: Jean Abou Samra ; Graham King 
; N. Andrew Walsh 
Cc: Lilypond-User Mailing List 
Subject: Re[2]: Frescobaldi?

Hey all, I've been looking over the Frescobaldi codebase for the last few days, 
and it seems to be within the realm of something I could pick up maintenance 
for.

There would definitely be a learning curve, so hopefully it doesn't reach it's 
EOL too soon... But, I don't know, I feel pretty confident.

Not really sure what more info I can contribute to the public discourse at this 
point, but I welcome anyone else interested with the upkeep of Frescobaldi to 
get in touch with me so we can coordinate~

-- Original Message --
>From "Jean Abou Samra"  To "Graham King" 
>; "N. Andrew Walsh" 

Cc "Lilypond-User Mailing List"  Date 5/5/2024 1:37:35 
PM Subject Re: Frescobaldi?

>>  The technical stuff is way over my head, but this reads like the 
>> top-  level description of a GSOC project (in case the mentioned 
>> friend  doesn't take the bait)...
>
>
>
>GSoC projects are nice for doing focused work on some specific part of 
>the code base. For overhauling just about everything, I'd be a lot more 
>skeptical, especially since there will unavoidably be fallout to deal 
>with afterwards in terms of bugs, and that's less nice to do if the 
>person who did the port isn't available after the summer to do that 
>part of the work.

installation

[carsonmark]

Jean, Knute,

 

Looked closer and found Lilypond (without the exe yet listed as an
application in the \bin.

Working correctly.

 

Thanks again for taking the time to respond.

 

Mark

RE: installation

[carsonmark]

Jean,

 

In my \users\Mark\lilypond-2.24.4 there are six folders:

Bin, etc, lib, libexec, licences, share.

None contain \lilypond [with or without the .exe]

 

Should I be looking somewhere else?

 

Thank you for your kind attention.

 

Mark

 

From: Jean Abou Samra  
Sent: Friday, March 1, 2024 4:31 PM
To: carsonm...@ca.rr.com; 'lilypond-user' 
Subject: Re: installation

 

Le vendredi 01 mars 2024 à 16:21 -0800, carsonm...@ca.rr.com 
  a écrit :

Went to \users\Mark\lilypond 2.24.3\gs

 

The program you should add is ...\lilypond(.exe), not ...\gs.

installation

[carsonmark]

Hello:

What has been done:

2.24.3 downloaded

2.24.3 extracted \users\Mark

Opened Frescobaldi 3.30

Opened preferences

Removed previous version of Lilypond

Clicked Add

Clicked file opener

Went to \users\Mark\lilypond 2.24.3\gs

Highlighted "gs"

Clicked open

 





Notice the "9.56.1".
This seems to prevent Frescobaldi from opening the {c'1} test as indicated
in the manual.

 

My error?

 

Thank you.

 

Mark

 

RE: installation

[carsonmark]

Knute Snortum

 

Perhaps. Got installation complete with Karlin’s suggestion.
Thank you for your reply,

 

Mark

 

From: Knute Snortum  
Sent: Thursday, February 29, 2024 7:26 AM
To: carsonm...@ca.rr.com
Cc: lilypond-user 
Subject: Re: installation

 

It looks like your Preferences window is too small.  I would click and hold the 
lower right corner of the window and drag to the right and down to resize it.


 

--

Knute Snortum

 

 

 

On Thu, Feb 29, 2024 at 3:42 AM mailto:carsonm...@ca.rr.com> > wrote:

Hello,

 

I am installing Lilypond 2.24. It has been unzipped to my folder under \users.

Frescobaldi 3.30 has been installed and opened to connect to Lilypond.

Going to preferences this appears:

 



 

This is not what is shown on the installation page
https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows

 

How should I proceed?

 

Thank you for your kind attention.

 

Mark

RE: installation

[carsonmark]

Kalin High,

 

Exactly! Thank you.

Now why didn’t I realize that a small gray horizontal line was some type of 
scroll bar?

 

Mark

 

From: Karlin High  
Sent: Thursday, February 29, 2024 6:05 AM
To: carsonm...@ca.rr.com
Cc: lilypond-user 
Subject: Re: installation

 

 

On Thu, Feb 29, 2024 at 5:42 AM mailto:carsonm...@ca.rr.com> > wrote:

This is not what is shown on the installation page

https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows

 

How should I proceed?

 

Maybe the window size is hiding the "Edit" button described in the 
documentation page.

 

Try the scroll bar circled in red below:


 



-- 

Karlin High

Missouri, USA

installation

[carsonmark]

Hello,

 

I am installing Lilypond 2.24. It has been unzipped to my folder under
\users.

Frescobaldi 3.30 has been installed and opened to connect to Lilypond.

Going to preferences this appears:

 



 

This is not what is shown on the installation page
https://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-
windows

 

How should I proceed?

 

Thank you for your kind attention.

 

Mark

RE: Rousseau's boustrophedon notation

[carsonmark]

Aaron,

One in Arabic:
https://www.quora.com/Musical-notation-is-written-from-left-to-right-but-Ara
bic-is-written-from-right-to-left-How-is-it-possible-to-show-the-words-and-m
usic-for-songs-in-Arabic
One for mixed quintette:
https://www.sheetmusicdirect.com/en-US/se/ID_No/552679/Product.aspx

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
 On Behalf Of Aaron Hill
Sent: Friday, February 23, 2024 1:55 PM
To: lilypond-user 
Subject: Rousseau's boustrophedon notation

Just read a side note on Wikipedia about a supposed "boustrophedon" 
notation.  The citation does not link to the image in question, which is an
unfortunate oversight.  I was curious whether this approach applied only to
Rousseau's numeric notation or if it was intended to work with standard
notation.  I suspect his numeric notation is more vulnerable to misreading
as it would be harder to jump from the end of one line to the beginning of
the next.

It seems like LilyPond could theoretically support this by alternately
reflecting every other system, assuming the intention is to mirror image all
symbols in the right-to-left systems.

Does anyone have more details about this?


-- Aaron Hill