Re: GDP: rearrangement (third attempt)
In email setting under your account Composition & Addressing - do you have it set to Compose message in HTML format and then if you have preferred to recieve message format as plaintext in the addressbook. if they are different thunderbird will try to convert if you don't have the list in you address book then it shouldn't be a problem. Graham Percival wrote: Well, don't I feel like a complete newbie. :/Does anybody know how to make Thunderbird treat text like pure bloody text, and not change the displayed text when it sends an email out? thanks in advance. :( I added the sectioning here: http://lilypondwiki.tuxfamily.org/index.php?title=Doc Please don't edit that page. This is just because I'm apparently unable to use my mail client. :( - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrangement (third attempt)
Very first I comment on the stuff I wrote below: When I wrote it I didn't really notice / think about the fact the the first five sections are left out. Probably some of my comments are not totally valid. Well, I will think some more, and post another message about the overall structure of the manual. First a general comment. I think it should be possible to read the manual from start to finish, understanding the stuff that you encounter. If understanding section B requires you to have read section A, this means that section A should come before section B in the manual. I think the old layout accomplished this relatively well. And the new definitely does not. * 6 Basic musical notation o 6.1 Pitches + 6.1.1 Normal pitches + 6.1.2 Accidentals + 6.1.3 Cautionary accidentals + 6.1.4 Micro tones + 6.1.5 Note names in other languages + 6.1.6 Relative octaves + 6.1.7 Octave check + 6.1.8 Rests + 6.1.9 Skips Yep. o 6.2 Affecting multiple pitches + 6.2.1 Clef + 6.2.2 Key signature Hmm, neither clefs nor key signatures affect pitches. They only affect how they are displayed. + 6.2.3 Transpose Well, yeah, transpose affects multiple pitches that is true. + 6.2.4 Instrument transpositions No, This subsection is very advanced (try reading it!) - I think it is way too early in the manual. I am not even sure, that I understand it properly. + 6.2.5 Ottava brackets No, again they do not affect pitches. They just affect how they are displayed. Summa summarum I only accepted the "Transpose" subsection in this section - and hence really do not think that this section has any purpose. And in all cases, it is way too early. The user has not even learned what the "4" in "c4" means. o 6.3 Rhythms + 6.3.1 Durations + 6.3.2 Augmentation dots + 6.3.3 Tuplets + 6.3.4 Scaling durations Yep. + 6.3.5 Automatic note splitting This does not work before the "Bars" section. I see no problem in simply moving this to there. + 6.3.6 Aligning to cadenzas I don't think that the user would be able to understand a single word of this subsection at this time. Scheme functions. Staves, Grand staves. And it has really nothing to do with rhythms. o 6.4 Meter + 6.4.1 Time signature + 6.4.2 Partial measures + 6.4.3 Unmetered music + 6.4.4 Polymetric notation (alternating) + 6.4.5 Polymetric notation (simultaneous) + 6.4.6 Time administration I like the "meter" title, though I think it is a bit early. Does it make sence to have "simultainous polymetric notation" before "polyphony"? I think not. Also the "Time administration" subsection is very advanced. The meter section is easy to handle because you can read and understand the rest of the manual without ever reading this section. - You just won't be able to use anything but 4/4 meter if you don't read it. Therefore we could postpone it to a much later place. + 6.4.7 Proportional notation (introduction) No, this is too layout specific for this section. It has nothing to do with the musical content, only with how it is displayed. + 6.4.8 Automatic beams + 6.4.9 Manual beams + 6.4.10 Feathered beams I don't think that beams belong in this section - they belong together with phrasing slurs. I liked the old "Connecting notes" section. o 6.5 Bars + 6.5.1 Bar check + 6.5.2 Barnumber check + 6.5.3 Multi measure rests + 6.5.4 Bar lines + 6.5.5 Bar numbers + 6.5.6 Rehearsal marks Fine. Makes a lot of sense to put everything about bars together. o 6.6 Polyphony + 6.6.1 Chords Yep. + 6.6.2 Stems Currently, this subsection has nothing to do with polyphony. Furthermore it is layout specific, and should therefore be postponed. + 6.6.3 Basic polyphony + 6.6.4 Explicitly instantiating voices ok. + 6.6.5 Collision resolution No, this should be postponed to some "tweaking" section. A "Polyphony" section should not contain layout-specific subsections. + 6.6.6 Clusters + 6.6.7 Automatic part combining + 6.6.8 Writing music in parallel Yep. * 7 Decorating musical notation The way I always thought of the distinction between "basic" and "advanced" notation is that the basic notation contained the parts that lilypond understands the musical meaning of whereas the advanced notation was the parts that lilypond do
Re: GDP: rearrange manual
On 09.09.2007 (16:32), Graham Percival wrote:
> Well, don't I feel like a complete newbie. :/Does anybody know how to
> make Thunderbird treat text like pure bloody text, and not change the
> displayed text when it sends an email out? thanks in advance. :(
One of the reasons why I prefer mutt over any other mail handler...
perfect example of the difference between "user-friendliness" and
*user-friendliness*.
Anyway, I second the suggestions that ...
On 09.09.2007 (18:06), Trevor Bača made:
>
> Specifically:
>
> - promote section 8.1 "Text" to the status of a free-standing chapter
Definitely. It also belongs together with ...
> ~ subsection 8.4.8 "Selecting notation font size";
... which is relevant, in my experience at least, when you want to
change the size of the whole score and have also made changes to the
pango font tree -- much more so than for changing the size of
individual notes in "contemporary notation" (then again, I don't write
contemporary scores).
So perhaps a unified section on "Fonts and sizes"?
I would also say -- although this may exceed the limits of what kind
of suggestions were allowed -- that one thing that is missing is a
comprehensive survey of the syntax of Lilypond. Now, it's all there,
I'm sure, but there is a huge gap between the "First Steps" section,
giving the beginner just enough information at the time to avoid
overflow, and the "Interfaces for Programmers" section, which is
intimidating, not only because it's complex, but also because of the
language: one is likely to think: "Hey, I'm not a programmer, I hardly
know what 'interface' means -- this section is not for me", which is
wrong, because that chapter contains information that anyone is likely
to need some day if one writes things more advanced than single melody
lines.
In the gap between these two extremes -- which means the rest of the
manual -- I'm sure everything one needs to know can be found, but I'd
welcome a separate section "Lilypond syntax", which would briefly but
exactly list and explain the syntax, from the file structure (which
also belongs here) down to typographical requirements (escapes, space
around { } , naming conventions for various types of objects
(Music expressions, GROBs and Contexts with CamelCase, Music classes, music
properties, Grob interfaces, and backend properties use scheme-type,
Engravers: Caps_and_underscores, and Context properties use
lowercaseAndCamelCase).
This would be very helpful, I think.
Eyolf
--
Aliquid melius quam pessimum optimum non est.
___
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Re: GDP: rearrange manual
Trevor Bac(a skrev: As a first pass, I took a look at chapter 8 "Advanced notation", because I've never been very comfortable with the distinction between "basic", "advanced" and "contemporary" notation in the current structure. It seems like your comments are meant to the online 2.11 documentation, and not to the list that Gragam posted in the first message of this thread. Lots of the things you wrote are sort of already there. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrangement (third attempt)
Graham Percival skrev: Well, don't I feel like a complete newbie. :/Does anybody know how to make Thunderbird treat text like pure bloody text, and not change the displayed text when it sends an email out? thanks in advance. :( I don't know what you did wrong. I just copypasted the below from your wiki-page (using thunderbird, yes): * 6 Basic musical notation o 6.1 Pitches + 6.1.1 Normal pitches + 6.1.2 Accidentals + 6.1.3 Cautionary accidentals + 6.1.4 Micro tones + 6.1.5 Note names in other languages + 6.1.6 Relative octaves + 6.1.7 Octave check + 6.1.8 Rests + 6.1.9 Skips o 6.2 Affecting multiple pitches + 6.2.1 Clef + 6.2.2 Key signature + 6.2.3 Transpose + 6.2.4 Instrument transpositions + 6.2.5 Ottava brackets o 6.3 Rhythms + 6.3.1 Durations + 6.3.2 Augmentation dots + 6.3.3 Tuplets + 6.3.4 Scaling durations + 6.3.5 Automatic note splitting + 6.3.6 Aligning to cadenzas o 6.4 Meter + 6.4.1 Time signature + 6.4.2 Partial measures + 6.4.3 Unmetered music + 6.4.4 Polymetric notation (alternating) + 6.4.5 Polymetric notation (simultaneous) + 6.4.6 Time administration + 6.4.7 Proportional notation (introduction) + 6.4.8 Automatic beams + 6.4.9 Manual beams + 6.4.10 Feathered beams o 6.5 Bars + 6.5.1 Bar check + 6.5.2 Barnumber check + 6.5.3 Multi measure rests + 6.5.4 Bar lines + 6.5.5 Bar numbers + 6.5.6 Rehearsal marks o 6.6 Polyphony + 6.6.1 Chords + 6.6.2 Stems + 6.6.3 Basic polyphony + 6.6.4 Explicitly instantiating voices + 6.6.5 Collision resolution + 6.6.6 Clusters + 6.6.7 Automatic part combining + 6.6.8 Writing music in parallel * 7 Decorating musical notation o 7.1 Connecting notes + 7.1.1 Ties + 7.1.2 Slurs + 7.1.3 Phrasing slurs + 7.1.4 Laissez vibrer ties + 7.1.5 Grace notes + 7.1.6 Analysis brackets o 7.2 Expressive marks + 7.2.1 Articulations + 7.2.2 Dynamics (absolute) + 7.2.3 Dynamics (crescendi) + 7.2.4 Breath marks + 7.2.5 Trills + 7.2.6 Glissando + 7.2.7 Arpeggio + 7.2.8 Falls and doits o 7.3 Staff notation + 7.3.1 System start delimiters + 7.3.2 Staff symbol + 7.3.3 Hiding staves + 7.3.4 Metronome marks + 7.3.5 Instrument names + 7.3.6 Quoting other voices + 7.3.7 Formatting cue notes o 7.4 Repeats + 7.4.1 Repeat types + 7.4.2 Repeat syntax + 7.4.3 Repeats and MIDI + 7.4.4 Manual repeat commands + 7.4.5 Tremolo repeats + 7.4.6 Tremolo subdivisions + 7.4.7 Measure repeats o 7.5 Educational use + 7.5.1 Balloon help + 7.5.2 Fingering instructions + 7.5.3 Blank music sheet + 7.5.4 Grid lines + 7.5.5 Shape note heads + 7.5.6 Easy Notation note heads o 7.6 Special use + 7.6.1 Special noteheads + 7.6.2 Improvisation + 7.6.3 Selecting notation font size + 7.6.4 Hidden notes + 7.6.5 Coloring objects + 7.6.6 Parentheses * 8 Instrument-specific notation o 8.1 Piano music + 8.1.1 Pedals + 8.1.2 Automatic staff changes + 8.1.3 Manual staff switches + 8.1.4 Staff switch lines + 8.1.5 Cross staff stems o 8.2 Chord names + 8.2.1 Introducing chord names + 8.2.2 Chords mode + 8.2.3 Printing chord names + 8.2.4 Figured bass o 8.3 Rhythmic music + 8.3.1 Showing melody rhythms + 8.3.2 Entering percussion + 8.3.3 Percussion staves + 8.3.4 Ghost notes o 8.4 Guitar + 8.4.1 String number indications + 8.4.2 Tablatures basic + 8.4.3 Non-guitar tablatures + 8.4.4 Banjo tablatures + 8.4.5 Fret diagrams + 8.4.6 Right hand fingerings
GDP: rearrangement (third attempt)
Well, don't I feel like a complete newbie. :/Does anybody know how to make Thunderbird treat text like pure bloody text, and not change the displayed text when it sends an email out? thanks in advance. :( I added the sectioning here: http://lilypondwiki.tuxfamily.org/index.php?title=Doc Please don't edit that page. This is just because I'm apparently unable to use my mail client. :( - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
I'm having a problem with this file
the bass voice isn't showing below that tenor in the bottom staff
It is rather displaying after the end of the song - but the midi is
playing it at the correct time.
It was ok, last night when I was editing it - but I lost the \aikenheads
after the first rests.
when I was trying to fix that I must have changed something before i
quit and went to bed
when I got back to it this afternoon this is how it displays.
I did a search there are only 2 \new Staff= in the file.
I took the \partcombine out and then the \aikenheads started working
thru the whole song again.
\version "2.11.32"
%\include "english.ly"
% template for song with no repeating - several verses and a common chorus
\header {
title="It's a Long, Long Road"
poet="get from source"
composer="get from source"
tagline="Copyright Larry Ensz 2006"
}
\paper {
%#(set-paper-size "letter")
%line-width = 189\mm
%line-width = #(- line-width (* mm 3.00))
%between-system-space = 6\mm
%force-assignment = #""
%between-system-padding = #6
ragged-bottom=##f
ragged-last-bottom=##f
}
mBreak = { }
leftbrace = \markup { \override #'(font-encoding . fetaBraces) \lookup #"brace260" }
rightbrace = \markup { \rotate #180 \leftbrace }
dropLyrics =
{
\override LyricText #'extra-offset = #'(0 . -5)
\override LyricHyphen #'extra-offset = #'(0 . -5)
\override LyricExtender #'extra-offset = #'(0 . -5)
}
raiseLyrics =
{
\revert LyricText #'extra-offset
\revert LyricHyphen #'extra-offset
\revert LyricExtender #'extra-offset
}
skipFour = \repeat unfold 4 { \skip 8 }
global = {
\key aes \major
%\tempo 4=180
\partial 4
\autoBeamOff
\aikenHeads
}
PartsOne = {
\key aes \major
\relative c' {
\voiceOne
ees4
aes2. aes4
f des f aes
ees1
b'4\rest ees, f g
aes2. aes4
bes2 ees2
ees1
\mBreak
b4\rest ees4 d d
ees1
b4\rest ees, f g
g2. \bar "||" g8^"Chorus" g8
g4 bes bes aes
bes4. aes8
\mBreak
f4. f8
ees4 aes c aes
bes2( bes8) bes8 c des
ees4 ees4 ees4 des8 c8
des8 des4
\mBreak
des8 des4 des
c8 c4 c8 c4 bes8 aes
bes4 f f f
ees2 g2
aes1
}
}
PartsTwo = {
\key aes \major
\relative c' {
\voiceTwo
ees4
aes2. aes4
f des f aes
ees1
b'4\rest ees, d d
bes2. bes4
ees2 g2
g1
b4\rest
\mBreak
g aes aes
g1
b4\rest ees, d d
bes2. bes8 bes
bes4 ees ees ees
des4. des8
\mBreak
des4. des8
c4 c ees ees
ees2( ees8) ees8 ees f
aes4 aes aes ees8 ges
f8 f4
\mBreak
f8 f4 f4
ees8 ees4 ees8 ees4 ees8 ees
des4 des des b
c2 des
c1
}
}
PartsThree = {
\relative c {
\voiceOne
ees4
aes2. aes4
f4 des f aes
ees1
b1\rest
ees2. aes4
g2 bes
bes1
d,4\rest
bes'4 bes bes
bes1
d,4\rest aes'4 aes ees
ees2. ees8 ees
ees4 aes aes g
f2
aes4. aes8
aes4 aes aes aes
g2( g8) g8 aes aes
c4 c c bes8 aes8
aes8 aes4
aes8 aes4 aes4
aes8 aes4 aes8 aes4 g8 aes8
f4 aes aes aes
aes2 ees2
ees1
\break
}
}
PartsFour = {
\relative c {
\voiceTwo
ees4
aes2. aes4
f4 des f aes
ees1
b1\rest
aes2. f'4
ees2 ees2
ees1
d4\rest
ees4 bes bes
ees1
d4\rest c bes ees
aes,2. aes8 aes8
aes4 aes aes
c
des2
des4. des8
aes4 aes aes c
ees2( ees8) ees8 ees ees
aes4 aes aes aes8 aes8
des,8 des4
des8 des4 des4
aes8 aes4 aes8 aes4 aes8 des8
des4 des des des
ees2 ees
ees1
}
}
\score {
<<
\new Staff = top
{ <<
\override Staff.TimeSignature #'style = #'()
\set Staff.midiInstrument="recorder"
\global
\clef treble
%\new Devnull="nowhere" \PartsOne
\new Voice = "soprano" {
\global
\PartsOne
}
\new Voice = "alto" {
\global
\PartsTwo
}
\new Lyrics \lyricsto "soprano" { \set stanza = "1. "
I walked one morn -- ing by the sea, and all the waves reached out to me
I took thier fears, Then let them be.
}
%\new Lyrics \lyricsto "nowhere" { \set stanza = "1. "
%I walked one morn -- ing by the sea, and all the waves reached out to me
%I took thier fears, Then let them be.
%}
\new Lyrics \lyricsto "alto" { \set stanza = "2. "
I walked one morn -- ing at the dawn, When bits of night still ling -- ered on.
I sought my star, But it was gone.
It's a long, long road to free -- _ dom
A wind -- ing steep and high,
but when you walk in love with the wind on
your wings and cov -- er the earth with the
songs you sing the miles fly by
}
\new Lyrics \lyricsto "soprano" { \set stanza = "3. "
I walked one morn -- ing with a friend. And prayed the day would nev -- er end.
But years have flown, so why pre -- tend..
}
\new Lyrics \lyricsto "soprano" { \set stanza = "4. "
I walked one morn -- ing with my king.
And all my wint -- ers turned to spring, my heart was filled with songs to sing
}
>> }
\new Staff = bottom
{
\clef bass
\override Staff.TimeSignature #'style = #'()
\set Staff.midiInstrument="recorder"
\global
\PartsThree
\PartsFour
}
>>
}
\layout{
indent = 0.0\pt
\context {
\ChordNames
\
rearranged manual (second attempt)
Sorry! The indentation got messed up in my previous email. Here's the proposed new chapters/sections. * 6 Basic musical notation o 6.1 Pitches + 6.1.1 Normal pitches + 6.1.2 Accidentals + 6.1.3 Cautionary accidentals + 6.1.4 Micro tones + 6.1.5 Note names in other languages + 6.1.6 Relative octaves + 6.1.7 Octave check + 6.1.8 Rests + 6.1.9 Skips o 6.2 Affecting multiple pitches + 6.2.1 Clef + 6.2.2 Key signature + 6.2.3 Transpose + 6.2.4 Instrument transpositions + 6.2.5 Ottava brackets o 6.3 Rhythms + 6.3.1 Durations + 6.3.2 Augmentation dots + 6.3.3 Tuplets + 6.3.4 Scaling durations + 6.3.5 Automatic note splitting + 6.3.6 Aligning to cadenzas o 6.4 Meter + 6.4.1 Time signature + 6.4.2 Partial measures + 6.4.3 Unmetered music + 6.4.4 Polymetric notation (alternating) + 6.4.5 Polymetric notation (simultaneous) + 6.4.6 Time administration + 6.4.7 Proportional notation (introduction) + 6.4.8 Automatic beams + 6.4.9 Manual beams + 6.4.10 Feathered beams o 6.5 Bars + 6.5.1 Bar check + 6.5.2 Barnumber check + 6.5.3 Multi measure rests + 6.5.4 Bar lines + 6.5.5 Bar numbers + 6.5.6 Rehearsal marks o 6.6 Polyphony + 6.6.1 Chords + 6.6.2 Stems + 6.6.3 Basic polyphony + 6.6.4 Explicitly instantiating voices + 6.6.5 Collision resolution + 6.6.6 Clusters + 6.6.7 Automatic part combining + 6.6.8 Writing music in parallel * 7 Decorating musical notation o 7.1 Connecting notes + 7.1.1 Ties + 7.1.2 Slurs + 7.1.3 Phrasing slurs + 7.1.4 Laissez vibrer ties + 7.1.5 Grace notes + 7.1.6 Analysis brackets o 7.2 Expressive marks + 7.2.1 Articulations + 7.2.2 Dynamics (absolute) + 7.2.3 Dynamics (crescendi) + 7.2.4 Breath marks + 7.2.5 Trills + 7.2.6 Glissando + 7.2.7 Arpeggio + 7.2.8 Falls and doits o 7.3 Staff notation + 7.3.1 System start delimiters + 7.3.2 Staff symbol + 7.3.3 Hiding staves + 7.3.4 Metronome marks + 7.3.5 Instrument names + 7.3.6 Quoting other voices + 7.3.7 Formatting cue notes o 7.4 Repeats + 7.4.1 Repeat types + 7.4.2 Repeat syntax + 7.4.3 Repeats and MIDI + 7.4.4 Manual repeat commands + 7.4.5 Tremolo repeats + 7.4.6 Tremolo subdivisions + 7.4.7 Measure repeats o 7.5 Educational use + 7.5.1 Balloon help + 7.5.2 Fingering instructions + 7.5.3 Blank music sheet + 7.5.4 Grid lines + 7.5.5 Shape note heads + 7.5.6 Easy Notation note heads o 7.6 Special use + 7.6.1 Special noteheads + 7.6.2 Improvisation + 7.6.3 Selecting notation font size + 7.6.4 Hidden notes + 7.6.5 Coloring objects + 7.6.6 Parentheses * 8 Instrument-specific notation o 8.1 Piano music + 8.1.1 Pedals + 8.1.2 Automatic staff changes + 8.1.3 Manual staff switches + 8.1.4 Staff switch lines + 8.1.5 Cross staff stems o 8.2 Chord names + 8.2.1 Introducing chord names + 8.2.2 Chords mode + 8.2.3 Printing chord names + 8.2.4 Figured bass o 8.3 Rhythmic music + 8.3.1 Showing melody rhythms + 8.3.2 Entering percussion + 8.3.3 Percussion staves + 8.3.4 Ghost notes o 8.4 Guitar + 8.4.1 String number indications + 8.4.2 Tablatures basic + 8.4.3 Non-guitar tablatures + 8.4.4 Banjo tablatures + 8.4.5 Fret diagrams + 8.4.6 Right hand fingerings + 8.4.7 Other guitar issues o 8.5 Bagpipe + 8.5.1 Bagpipe definitions + 8.5.2 Bagpipe example o 8.6 Bowed strings + 8.6.1 Artificial
Re: GDP: rearrange manual
On 9/9/07, Graham Percival <[EMAIL PROTECTED]> wrote: > Mats Bengtsson wrote: > > Just one general comment for the moment: I'd rather propose longer than > > shorter subsections. I think that there already is too much fragmentation > > at some places for the moment, which means that you never get the chance > > to see the full picture as a reader. > Interesting suggestion; I was obviously thinking opposite to this -- for > example, consider splitting Dynamics into (absolute) and (crescendi). > > My motivation is that some people clearly hadn't read the whole doc > subsection, and that having shorter subsections would make people more > likely to read the whole thing. > > Any other comments about this? I'm not convinced either way, but this > is something we should definitely decide before getting into more > details about a rearrangement. I can't see a strong argument towards either smaller subsections or larger subsections. Maybe this means that size of the subsections is probably just fine in most cases and that arguments for combining (or splitting) subsections can be handled on a case-by-cases basis as the rest of the chunking takes place? As a first pass, I took a look at chapter 8 "Advanced notation", because I've never been very comfortable with the distinction between "basic", "advanced" and "contemporary" notation in the current structure. So the first suggestions here give a way to remove 8 "Advanced notation" completely (keeping the content of course!) by redistributing the content to possibly smarter places; I've left 6 "Basic notation" alone for the moment (though I think a similar pattern of promoting many of the sections of chapter 6 to the status of free-standing chapters will probably make very good sense as we move to a true notation manual): Specifically: - promote section 8.1 "Text" to the status of a free-standing chapter - combine sections 8.2 "Preparing parts" and 8.3 "Orchestral music" and promote the combined content to the status of a free-standing chapter, perhaps called "Scores and parts" or "Working in full score" - remove section 8.4 "Contemporary music" altogether because the contents of "Contemporary music" fit perfectly in the following other parts of the manual: ~ subsections 8.4.1 "Polymetric notation" and 8.4.2 "Time administration" can both go live with the other subsections on rhythm under section 6.2 "Rhythms" ~ subsection 8.4.3 "Proportional notation" can be removed completely in favor of subsection 11.6.5 "Proportional notation" ~ subsections 8.4.4 "Clusters" and 8.4.5 "Special noteheads" can become the very last subsections of section 6.1 "Pitches" ~ subsection 8.4.6 "Feathered beams" belongs with other rhythmic devices under section 6.2 "Rhythms" ~ subsection 8.4.7 "Improvisation" doesn't belong in the manual, imo; seems like a good candidate for LSR ~ subsection 8.4.8 "Selecting notation font size"; how did this ever wind up here? I don't understand the intent of this section; it talks only about notehead font size (not about font sizes in general), so if we keep it (which seems unnecessary, actually) then it should go to section 6.1 "Pitches" (I make the preceding recommendation on contemporary notation based on the fact that we've come a *TREMENDOUSLY* far way with contemporary notation in the last major releases and I think that the most professional way to reflect this fact is to un-ghetto-ize the contemporary stuff and just include it -- elegantly and cleanly -- in the other major sections of the manual.) Lastly, to complete the removal / redistribution of chapter 8 ... - promote section 8.5 "Educational use" to the status of a free-standing chapter (just like "Text" and "Scores and parts", above), perhaps near the very end of the table of contents More suggestions like this or no? -- Trevor Bača [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Citat Graham Percival <[EMAIL PROTECTED]>: > > Just one general comment for the moment: I'd rather propose longer than > > shorter subsections. I think that there already is too much fragmentation > > at some places for the moment, which means that you never get the chance > > to see the full picture as a reader. Well, in its current state I find the "each subsection has its own page" version of the manual unusable, and therefore always uses the one big page manual. I suggest that we gives each section its own page containing section and all subsections. Ofcourse each section should still contain a table of links, but the links should stay on the same page (just as the one big page documentation does now). Given that all subsections for the same section live on the same webpage I agree with graham that further splitting would be a good idea. -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Mats Bengtsson wrote: Just one general comment for the moment: I'd rather propose longer than shorter subsections. I think that there already is too much fragmentation at some places for the moment, which means that you never get the chance to see the full picture as a reader. Interesting suggestion; I was obviously thinking opposite to this -- for example, consider splitting Dynamics into (absolute) and (crescendi). My motivation is that some people clearly hadn't read the whole doc subsection, and that having shorter subsections would make people more likely to read the whole thing. Any other comments about this? I'm not convinced either way, but this is something we should definitely decide before getting into more details about a rearrangement. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Just one general comment for the moment: I'd rather propose longer than shorter subsections. I think that there already is too much fragmentation at some places for the moment, which means that you never get the chance to see the full picture as a reader. We shouldn't expect a user to keep reading several consecutive subsections, especially not in a reference manual, where you expect to get an answer to your question by just looking at a single subsection (=web page in the on-line manual). /Mats Quoting Graham Percival <[EMAIL PROTECTED]>: Rune Zedeler wrote: Graham Percival skrev: LIMITED DISCUSSION To keep discussion focused and as un-confused as possible, this is a discussion *only* about the arrangement of subsections. Other parts of GDP will be discussed later. This means: - propose new/changed chapter/sections - propose renamings of chapter/sections - *do not* discuss new subsections or renamings of subsections. That will come later. Sorry I do not understand what you mean. How can we discuss "arrangement of subsections" without discussing new subsections or renaming of subsections? Like this: "6.1.8 rests and 6.1.9 should not be part of 6.1 pitches, because they're not real notes. Move them to 6.3 rhythms instead" or "9.3 Vocal music is too large. Split it up into: 9.3 Adding lyrics 9.3.1 Setting simple songs 9.3.2 Entering lyrics. ... and 9.4 Multiple stanzas and aligning lyrics 9.4.1 foo 9.4.2 bar ... Also, 9.3.8 Ambitus should be moved into chapter 7" In other words, treat the subsections as atoms (indivisible parts) and form them into new structures. The reasons: - I don't want new proposed subsections right now, since writing new docs takes a lot more work than rearranging docs. We'll tackle this step in about a week, once I know how much help we have - I don't want renamed subsections yet, so that it's easy for everybody to compare the new arrangement with the current one. When we start renaming subsections, it gets much more complicated. Btw: Chapters are the ones with one number, sections are the ones with two numbers and subsections are the ones with tre numbers, right? Yes, sorry. I should have explained that. Cheers, - Graham ___ lilypond-devel mailing list [EMAIL PROTECTED] http://lists.gnu.org/mailman/listinfo/lilypond-devel ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Rune Zedeler wrote: Sorry I do not understand what you mean. How can we discuss "arrangement of subsections" without discussing new subsections or renaming of subsections? Another addendum: I know from experience that these discussions about documentation quickly lose focus and people come up with all sorts of fancy ideas that we can't hope to implement. I'm trying to avoid that by keeping the discussion focused on each item as we come to it. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Rune Zedeler wrote: Graham Percival skrev: LIMITED DISCUSSION To keep discussion focused and as un-confused as possible, this is a discussion *only* about the arrangement of subsections. Other parts of GDP will be discussed later. This means: - propose new/changed chapter/sections - propose renamings of chapter/sections - *do not* discuss new subsections or renamings of subsections. That will come later. Sorry I do not understand what you mean. How can we discuss "arrangement of subsections" without discussing new subsections or renaming of subsections? Like this: "6.1.8 rests and 6.1.9 should not be part of 6.1 pitches, because they're not real notes. Move them to 6.3 rhythms instead" or "9.3 Vocal music is too large. Split it up into: 9.3 Adding lyrics 9.3.1 Setting simple songs 9.3.2 Entering lyrics. ... and 9.4 Multiple stanzas and aligning lyrics 9.4.1 foo 9.4.2 bar ... Also, 9.3.8 Ambitus should be moved into chapter 7" In other words, treat the subsections as atoms (indivisible parts) and form them into new structures. The reasons: - I don't want new proposed subsections right now, since writing new docs takes a lot more work than rearranging docs. We'll tackle this step in about a week, once I know how much help we have - I don't want renamed subsections yet, so that it's easy for everybody to compare the new arrangement with the current one. When we start renaming subsections, it gets much more complicated. Btw: Chapters are the ones with one number, sections are the ones with two numbers and subsections are the ones with tre numbers, right? Yes, sorry. I should have explained that. Cheers, - Graham ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: GDP: rearrange manual
Graham Percival skrev: LIMITED DISCUSSION To keep discussion focused and as un-confused as possible, this is a discussion *only* about the arrangement of subsections. Other parts of GDP will be discussed later. This means: - propose new/changed chapter/sections - propose renamings of chapter/sections - *do not* discuss new subsections or renamings of subsections. That will come later. Sorry I do not understand what you mean. How can we discuss "arrangement of subsections" without discussing new subsections or renaming of subsections? Btw: Chapters are the ones with one number, sections are the ones with two numbers and subsections are the ones with tre numbers, right? -Rune ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alter music part by a full octave
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Sonntag, 9. September 2007 schrieb Ole Schmidt:
> be aware:
>
> "If you want to use both \transpose and \relative, you must put
> \transpose outside of
> \relative, since \relative will have no effect on music that appears
> inside a \transpose."
BUT: If you use \relative, there is an even easier way to transpose one octave
down:
instead of \relative c { d e f g } and using \clef "bass", you can simply use
\relative c, { d e f g} (i.e. make everything relative to a note that you
manually transpose one octave down). Or course, you'll have to use
\clef "bass_8" then (but that's what you should use anyway, right?)
Cheers,
Reinhold
- --
- --
Reinhold Kainhofer, Vienna University of Technology, Austria
email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
* Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
* K Desktop Environment, http://www.kde.org, KOrganizer maintainer
* Chorvereinigung "Jung-Wien", http://www.jung-wien.at/
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___
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RE: rearrange manual
I feel the vocal music bits are a little buried in the Text section. Perhaps if this section were renamed "Text and Lyrics" it would improve matters. Trevor > -Original Message- > From: [EMAIL PROTECTED] > [mailto:lilypond-user-bounces+t.daniels=treda.co.u > [EMAIL PROTECTED] Behalf Of > Graham Percival > Sent: 09 September 2007 12:58 > To: lilypond-user Mailinglist; lily-devel > Subject: GDP: rearrange manual > > > Despite me being fairly happy with out table of > contents, I think we > could still improve the arrangement of > subsections. Here's my proposal. > > LIMITED DISCUSSION > To keep discussion focused and as un-confused as > possible, this is a > discussion *only* about the arrangement of > subsections. Other parts of > GDP will be discussed later. > > This means: > - propose new/changed chapter/sections > - propose renamings of chapter/sections > - *do not* discuss new subsections or renamings > of subsections. That > will come later. > > GENERAL IDEAS > - the manual will be split even more into > Learning Manual / Notation > Reference. This is the notation reference, so > we assume that users > have read the LM. They know about music > expressions, \override, etc. > The LM will be increased to accomodate for > this, but that's a separate > discussion. > > > * 6 Basic musical notation > o 6.1 Pitches > + 6.1.1 Normal pitches > + 6.1.2 Accidentals > + 6.1.3 Cautionary accidentals > + 6.1.4 Micro tones > + 6.1.5 Note names in other languages > + 6.1.6 Relative octaves > + 6.1.7 Octave check > + 6.1.8 Rests > + 6.1.9 Skips > o 6.2 Affecting multiple pitches > + 6.2.1 Clef > + 6.2.2 Key signature > + 6.2.3 Transpose > + 6.2.4 Instrument transpositions > + 6.2.5 Ottava brackets > o 6.3 Rhythms > + 6.3.1 Durations > + 6.3.2 Augmentation dots > + 6.3.3 Tuplets > + 6.3.4 Scaling durations > + 6.3.5 Automatic note splitting > + 6.3.6 Aligning to cadenzas > o 6.4 Meter > + 6.4.1 Time signature > + 6.4.2 Partial measures > + 6.4.3 Unmetered music > + 6.4.4 Polymetric notation (alternating) > + 6.4.5 Polymetric notation (simultaneous) > + 6.4.6 Time administration > + 6.4.7 Proportional notation > (introduction) > + 6.4.8 Automatic beams > + 6.4.9 Manual beams > + 6.4.10 Feathered beams > o 6.5 Bars > + 6.5.1 Bar check > + 6.5.2 Barnumber check > + 6.5.3 Multi measure rests > + 6.5.4 Bar lines > + 6.5.5 Bar numbers > + 6.5.6 Rehearsal marks > o 6.6 Polyphony > + 6.6.1 Chords > + 6.6.2 Stems > + 6.6.3 Basic polyphony > + 6.6.4 Explicitly instantiating voices > + 6.6.5 Collision resolution > + 6.6.6 Clusters > + 6.6.7 Automatic part combining > + 6.6.8 Writing music in parallel > * 7 Decorating musical notation > o 7.1 Connecting notes > + 7.1.1 Ties > + 7.1.2 Slurs > + 7.1.3 Phrasing slurs > + 7.1.4 Laissez vibrer ties > + 7.1.5 Grace notes > + 7.1.6 Analysis brackets > o 7.2 Expressive marks > + 7.2.1 Articulations > + 7.2.2 Dynamics (absolute) > + 7.2.3 Dynamics (crescendi) > + 7.2.4 Breath marks > + 7.2.5 Trills > + 7.2.6 Glissando > + 7.2.7 Arpeggio > + 7.2.8 Falls and doits > o 7.3 Staff notation > + 7.3.1 System start delimiters > + 7.3.2 Staff symbol > + 7.3.3 Hiding staves > + 7.3.4 Metronome marks > + 7.3.5 Instrument names > + 7.3.6 Quoting other voices > + 7.3.7 Formatting cue notes > o 7.4 Repeats > + 7.4.1 Repeat types > + 7.4.2 Repeat syntax > + 7.4.3 Repeats and MIDI > + 7.4.4 Manual repeat commands > + 7.4.5 Tremolo repeats > + 7.4.6 Tremolo subdivisions > + 7.4.7 Measure repeats > o 7.5 Educational use > + 7.5.1 Balloon help > + 7.5.2 Fingering instructions > + 7.5.3 Blank music sheet > + 7.5.4 Grid lines > + 7.5.5 Shape note heads >
Re: LilyPond Grand Documentation Project (GDP)
I'm happy to do nit-picky proofing--spelling, grammar, punctuation, etc. At the moment, my LilyPond skill are a little rusty because I've been busy about other things, so I don't think I'm up to doing rewrites. Geoff ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: another harp question
I've answered that question already- why does it (two days later) arise again in the list? ole Am 07.09.2007 um 18:03 schrieb Christopher A. LaFond: Hi All, Another question about harp notation. The usual way to indicate that a harp string is to be plucked as a harmonic is to add a small, empty circle above or below that note. It would be similar to a staccatto mark, but a bit bigger, and not all black. I see that this type of circle is possible with the Hair Pins, but can it be added all by itself? -- ° Chris° ° ><°> Christopher A. LaFond [EMAIL PROTECTED] http://www.lafond.us ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
another harp question
Hi All, Another question about harp notation. The usual way to indicate that a harp string is to be plucked as a harmonic is to add a small, empty circle above or below that note. It would be similar to a staccatto mark, but a bit bigger, and not all black. I see that this type of circle is possible with the Hair Pins, but can it be added all by itself? -- ° Chris° ° ><°> Christopher A. LaFond [EMAIL PROTECTED] http://www.lafond.us ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alter music part by a full octave
be aware: "If you want to use both \transpose and \relative, you must put \transpose outside of \relative, since \relative will have no effect on music that appears inside a \transpose." ole Am 09.09.2007 um 17:27 schrieb Ed Ardzinski: Thanks Ole! I knew there was an easy way to do this. A good example of how to take a negative (accidentally hosing a file) and turn into a positive (learn a new useful trick)! From: [EMAIL PROTECTED] Subject: Re: Alter music part by a full octave Date: Sun, 9 Sep 2007 16:16:38 +0200 To: [EMAIL PROTECTED]; lilypond-user@gnu.org http://lilypond.org/doc/v2.10/Documentation/user/lilypond/ Transpose#Transpose hope that helps ole Am 09.09.2007 um 15:49 schrieb Ed Ardzinski: I accidentally over wrote one of my pieces the other day, but fortunately had the drum part in a separate file and a previous version that was only missing a few small details. I had a PDF of the file I killed, so it was easy enough to get the version I lost back. Except one small point. Being primarily a bass player the written part is an octave up from what is really heard. As I often put my parts into a MIDI representation I apparently manually lowered the bass part in this piece by an octave. Actually, this has been a little bit of a drag for all my pieces - I suspect there is a way to do this with a little bit of code. If someone could point me to the part of the documentation that describes how to do this I'd be grateful. BTW, I'm still using v2.6.5 Thanks! More photos; more messages; more whatever – Get MORE with Windows Live™ Hotmail®. NOW with 5GB storage. Get more! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user Kick back and relax with hot games and cool activities at the Messenger Café. Play now! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Alter music part by a full octave
Thanks Ole! I knew there was an easy way to do this. A good example of how to take a negative (accidentally hosing a file) and turn into a positive (learn a new useful trick)! From: [EMAIL PROTECTED]: Re: Alter music part by a full octaveDate: Sun, 9 Sep 2007 16:16:38 +0200To: [EMAIL PROTECTED]; lilypond-user@gnu.org http://lilypond.org/doc/v2.10/Documentation/user/lilypond/Transpose#Transpose hope that helps ole Am 09.09.2007 um 15:49 schrieb Ed Ardzinski: I accidentally over wrote one of my pieces the other day, but fortunately had the drum part in a separate file and a previous version that was only missing a few small details. I had a PDF of the file I killed, so it was easy enough to get the version I lost back. Except one small point. Being primarily a bass player the written part is an octave up from what is really heard. As I often put my parts into a MIDI representation I apparently manually lowered the bass part in this piece by an octave. Actually, this has been a little bit of a drag for all my pieces - I suspect there is a way to do this with a little bit of code. If someone could point me to the part of the documentation that describes how to do this I'd be grateful. BTW, I'm still using v2.6.5 Thanks! More photos; more messages; more whatever – Get MORE with Windows Live™ Hotmail®. NOW with 5GB storage. Get more! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user _ Kick back and relax with hot games and cool activities at the Messenger Café. http://www.cafemessenger.com?ocid=TXT_TAGLM_SeptWLtagline___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Alter music part by a full octave
http://lilypond.org/doc/v2.10/Documentation/user/lilypond/ Transpose#Transpose hope that helps ole Am 09.09.2007 um 15:49 schrieb Ed Ardzinski: I accidentally over wrote one of my pieces the other day, but fortunately had the drum part in a separate file and a previous version that was only missing a few small details. I had a PDF of the file I killed, so it was easy enough to get the version I lost back. Except one small point. Being primarily a bass player the written part is an octave up from what is really heard. As I often put my parts into a MIDI representation I apparently manually lowered the bass part in this piece by an octave. Actually, this has been a little bit of a drag for all my pieces - I suspect there is a way to do this with a little bit of code. If someone could point me to the part of the documentation that describes how to do this I'd be grateful. BTW, I'm still using v2.6.5 Thanks! More photos; more messages; more whatever – Get MORE with Windows Live™ Hotmail®. NOW with 5GB storage. Get more! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Alter music part by a full octave
I accidentally over wrote one of my pieces the other day, but fortunately had the drum part in a separate file and a previous version that was only missing a few small details. I had a PDF of the file I killed, so it was easy enough to get the version I lost back. Except one small point. Being primarily a bass player the written part is an octave up from what is really heard. As I often put my parts into a MIDI representation I apparently manually lowered the bass part in this piece by an octave. Actually, this has been a little bit of a drag for all my pieces - I suspect there is a way to do this with a little bit of code. If someone could point me to the part of the documentation that describes how to do this I'd be grateful. BTW, I'm still using v2.6.5 Thanks! _ More photos; more messages; more whatever – Get MORE with Windows Live™ Hotmail®. NOW with 5GB storage. http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_5G_0907___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sunday school music
Hi Valentin (et al.): Do you want to add it to the LSR? (with braces, maybe) The example I submitted was too off-the-cuff for LSR... and, as you point out, doesn't include the brace(s). I'll work out the very best overall solution -- with a Scheme function for the lyric skips, etc. -- and submit to LSR. Cheers, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond Grand Documentation Project (GDP)
Graham Percival wrote: > Given this list, I'm only interested in doing hard items. If you're > interested in doing anything from this list, please reply. Yes! I can do 2 hours a week in the TRIVIAL-MEDIUM range. Let me know what to do. -- Mark Knoop ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
GDP: rearrange manual
Despite me being fairly happy with out table of contents, I think we could still improve the arrangement of subsections. Here's my proposal. LIMITED DISCUSSION To keep discussion focused and as un-confused as possible, this is a discussion *only* about the arrangement of subsections. Other parts of GDP will be discussed later. This means: - propose new/changed chapter/sections - propose renamings of chapter/sections - *do not* discuss new subsections or renamings of subsections. That will come later. GENERAL IDEAS - the manual will be split even more into Learning Manual / Notation Reference. This is the notation reference, so we assume that users have read the LM. They know about music expressions, \override, etc. The LM will be increased to accomodate for this, but that's a separate discussion. * 6 Basic musical notation o 6.1 Pitches + 6.1.1 Normal pitches + 6.1.2 Accidentals + 6.1.3 Cautionary accidentals + 6.1.4 Micro tones + 6.1.5 Note names in other languages + 6.1.6 Relative octaves + 6.1.7 Octave check + 6.1.8 Rests + 6.1.9 Skips o 6.2 Affecting multiple pitches + 6.2.1 Clef + 6.2.2 Key signature + 6.2.3 Transpose + 6.2.4 Instrument transpositions + 6.2.5 Ottava brackets o 6.3 Rhythms + 6.3.1 Durations + 6.3.2 Augmentation dots + 6.3.3 Tuplets + 6.3.4 Scaling durations + 6.3.5 Automatic note splitting + 6.3.6 Aligning to cadenzas o 6.4 Meter + 6.4.1 Time signature + 6.4.2 Partial measures + 6.4.3 Unmetered music + 6.4.4 Polymetric notation (alternating) + 6.4.5 Polymetric notation (simultaneous) + 6.4.6 Time administration + 6.4.7 Proportional notation (introduction) + 6.4.8 Automatic beams + 6.4.9 Manual beams + 6.4.10 Feathered beams o 6.5 Bars + 6.5.1 Bar check + 6.5.2 Barnumber check + 6.5.3 Multi measure rests + 6.5.4 Bar lines + 6.5.5 Bar numbers + 6.5.6 Rehearsal marks o 6.6 Polyphony + 6.6.1 Chords + 6.6.2 Stems + 6.6.3 Basic polyphony + 6.6.4 Explicitly instantiating voices + 6.6.5 Collision resolution + 6.6.6 Clusters + 6.6.7 Automatic part combining + 6.6.8 Writing music in parallel * 7 Decorating musical notation o 7.1 Connecting notes + 7.1.1 Ties + 7.1.2 Slurs + 7.1.3 Phrasing slurs + 7.1.4 Laissez vibrer ties + 7.1.5 Grace notes + 7.1.6 Analysis brackets o 7.2 Expressive marks + 7.2.1 Articulations + 7.2.2 Dynamics (absolute) + 7.2.3 Dynamics (crescendi) + 7.2.4 Breath marks + 7.2.5 Trills + 7.2.6 Glissando + 7.2.7 Arpeggio + 7.2.8 Falls and doits o 7.3 Staff notation + 7.3.1 System start delimiters + 7.3.2 Staff symbol + 7.3.3 Hiding staves + 7.3.4 Metronome marks + 7.3.5 Instrument names + 7.3.6 Quoting other voices + 7.3.7 Formatting cue notes o 7.4 Repeats + 7.4.1 Repeat types + 7.4.2 Repeat syntax + 7.4.3 Repeats and MIDI + 7.4.4 Manual repeat commands + 7.4.5 Tremolo repeats + 7.4.6 Tremolo subdivisions + 7.4.7 Measure repeats o 7.5 Educational use + 7.5.1 Balloon help + 7.5.2 Fingering instructions + 7.5.3 Blank music sheet + 7.5.4 Grid lines + 7.5.5 Shape note heads + 7.5.6 Easy Notation note heads o 7.6 Special use + 7.6.1 Special noteheads + 7.6.2 Improvisation + 7.6.3 Selecting notation font size + 7.6.4 Hidden notes + 7.6.5 Coloring objects + 7.6.6 Parentheses * 8 Instrument-specific notation o 8.1 Piano music + 8.1.1 Pedals + 8.1.2 Automatic staff changes + 8.1.3 Manual staff switches + 8.1.4 Staff switch lines + 8.1.5 Cross staff stems o 8.2 Chord names + 8.2.1 Introducing chord names + 8.2.2 Chords mode + 8.2.3 Printing chord names
LilyPond Grand Documentation Project (GDP)
I am proud to introduce the LilyPond Grand Documentation Project!
It's been said that we have some of the best-organized docs of any
open-source project. I'm happy to accept this praise -- and I think
it's true -- but this only applies to the *organization*. When I look
at our table of contents, I'm (mostly) happy with it.
When I look at a specific section of the docs, I'm not so happy.
About 75% of the "* Notation" sections have not been touched in the past
three years. A lot of things are out of date -- with LSR avilable, we
need to add tons of links to it. We could use more @seealso. We should
move lengthy explanations into the Learning Manual. Review @refbugs
warnings, add more @rgloss, improve consistency etc. I could go on and
on. But there's no point listing all the problems, unless something
will actually be done.
I'd like to have a dedicated, limited-term project to work on the docs
-- say, the next 4-6 months. But I'm not going to do any more boring,
trivial changes. What do I mean by "boring, trivial"? I mean a task
that I can explain to my mother in 5 minutes. My mother knows nothing
about lilypond and little about computers. But if I tell her "in this
text file, make sure that @seealso occurs before @refbugs in each
section", she'll be able to make those changes.
So if we're going to fix any of those problems, it needs to come from
user volunteers. I feel justified in saying this: I estimate that I've
spent about 500 hours doing such changes. I've spent enough time doing
trivial text editing.
I'm looking for volunteers to help with the Grand Documentation Project.
This may be of particular interest to translators: it might be a good
idea to improve the English documentation before translating more of
them. I've discussed this with John a lot, and he can add more details
about how this affects you.
The scope of GDP really depends on how many people volunteer. If it's
just me and John, we'll rearrange the subsections and leave it at that.
I have a list of stuff I'm hoping to have done; I broke them down by
difficulty and listed the estimated times.
TRIVIAL (do these while in a university lecture, listening to music,
etc)
- standardize order of @seealso, @refbugs, @commonprop. Add @lsrdir{}.
Standardize # signs.
- probably more
Total: 30 hours, easily split into small chunks (ie different people).
EASY (some knowledge of English required, but can still do while watching
Battle Star Galactica or listening to music)
- avoid future tense / general consistency.
- do the current docs make sense?
Total: 20 hours, easily split into chunks.
MEDIUM (ability to write lilypond examples, discuss on mailist. Do
these while watching old anime you've seen before)
- improve lilypond examples in the manual. Possibly with some kind of
musical / melodic sense. Move nice LSR examples into the manual.
make new lilypond examples for @commonprop.
- add links from manual to the glossary
- add more translations to the glossary, possibly examples as well
- remove non-verbatim examples from the docs
- add special non-verbatim inspirational "headword" examples.
- new docs for some items
Total: 40 hours, can be in chunks
HARD
- rearrange sections.
- rewrite current docs if necessary.
- oversee work in trivial, easy, and medium.
- new docs for some items
Total: 40 hours, could be split into two or three chunks
Given this list, I'm only interested in doing hard items. If you're
interested in doing anything from this list, please reply. The amount
of work depends on user interest -- and I mean "the willingness of users
to help", not "yeah, that sounds like a great idea! I'll take a look
when it's finished".
My current plans require at least six users willing to spend at least
two hours a week on this. If there's more people helping, we can do
more. If there's less, we'll do less.
Cheers,
- Graham Percival, LilyPond Documentation Editor
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Re: sunday school music
2007/9/9, Kieren MacMillan <[EMAIL PROTECTED]>: > Glad it helps. > By the way... here's an improved version, which properly handles > common words with hyphens and extenders. Do you want to add it to the LSR? (with braces, maybe) Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: sunday school music
Hi Tim,
Thanks for that - It looks very nice and not so hard to incorporate
as some examples.
Glad it helps.
By the way... here's an improved version, which properly handles
common words with hyphens and extenders.
Best regards,
Kieren.
___
%%% BEGIN SNIPPET %%%
\version "2.11.32"
\include "english.ly"
leftbrace = \markup { \override #'(font-encoding . fetaBraces)
\lookup #"brace240" }
rightbrace = \markup { \rotate #180 \leftbrace }
dropLyrics =
{
\override LyricText #'extra-offset = #'(0 . -5)
\override LyricHyphen #'extra-offset = #'(0 . -5)
\override LyricExtender #'extra-offset = #'(0 . -5)
}
raiseLyrics =
{
\revert LyricText #'extra-offset
\revert LyricHyphen #'extra-offset
\revert LyricExtender #'extra-offset
}
skipFour = \repeat unfold 4 { \skip 8 }
lyricsA = \lyricmode { The first verse has \dropLyrics the com -- mon
__ words \raiseLyrics used in all four. }
lyricsB = \lyricmode { In stan -- za two, \skipFour al -- so ap --
pear. }
lyricsC = \lyricmode { By the third verse, \skipFour are get -- ting
dull. }
lyricsD = \lyricmode { Last stan -- za, and \skipFour get used once
more. }
melody = \relative c' { c4 d e f g f e8( ef) d4 c e d c }
\score
{
<<
\new Voice = m \melody
\new Lyrics \lyricsto m \lyricsA
\new Lyrics \lyricsto m \lyricsB
\new Lyrics \lyricsto m \lyricsC
\new Lyrics \lyricsto m \lyricsD
>>
}
%%% END SNIPPET %%%
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Guitar tabs and fret diagram
Hello,
writing a piece for guitar I include tabs. At some difficult I want
additionally write a fret diagram to show, how to set the fingers. Maybe
most guitar players think that's overkill, but the player should see as fast
as possible how to set the left hand fingers.
When I add fret diagrams to the melody. It will be display above the score
as well as above the tabs. That is overkill. How can I achieve my goal?
Is there a way to "filter out" the fret diagrams? If I watn to generate a
PDF without the, can I define a function or set any variable to suppress
them?
Best regards,
Helge
\version "2.11.32"
halfnote = {\once \override NoteHead #'duration-log = #1 }
melody = \relative c
{
\key d \major
\time 4/4
\halfnote d8 ^\markup \fret-diagram #"6-x;5-x;4-o;3-2;2-3;1-2;"
a' d fis
\halfnote a,, ^\markup \fret-diagram #"6-o;5-o;4-2;3-2;2-2;1-o;"
e' a cis |
}
\score {
<<
\context Staff = Guit
<<
\clef "G_8"
\new Voice \melody
>>
\context TabStaff = Tab
{
\override TabStaff.Stem #'transparent = ##t
\override TabStaff.Beam #'transparent = ##t
<<
\new TabVoice \melody
>>
}
>>
}
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