adding vertical space between systems

[Peter Berlau]

Hi,
I have a problem with lilypond 2.10.33 on Debian Gnu 4.0 and LateX
I like to add additional vertical space to my systems
and used therefore 
   \overrideProperty
   #"Score.NonMusicalPaperColumn"
   #'line-break-system-details
#'((next-padding . 10))
this works fine if I used it on lilypond files 
but I have a LateX File with external lilyput files I "compile" with 
lilypond-book
\large Rhythmuspatterns
\vspace{1cm}\newline
\lilypondfile[noindent]{durskalen2.ly}
after I have the final TeX file and run pdflatex foo.tex
all extra vertical space a lost :-(

my LateX  header is
\documentclass[a4paper]{article}
\usepackage[latin1]{inputenc}
\usepackage{palatino}
%
maybe I have to add more... or less?

Can You please help me,
thanks.

all the best,
   Peter
-- 
http://www.peterberlau.de


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Re: microtones for makkam music notation

[Adam Good]

Hi Dimitris,

You are welcome to get get in touch with me in regards to using  
Lilypond to notate Turkish makam music. I'm very busy with it these  
days notating Peşrevs and Saz Semaisis and some vocal repertoire  
though i hope to do more of that soon.


All key sigs for any makams are possible, especially with my handy- 
dandy include file. Technically I suppose Turkish makam theory and  
notation are supported while Arabic maqam notation is not. But all  
accidental characters for basic Arabic notion already existed in  
Lilypond even before Han-Wen went to work on the Turkish stuff.


Probably it's just handy for me to send you some examples and you  
take it from there but do keep in touch, it's nice to know that there  
are others out there that are interested!


also it's very nice you suggest it, you are welcome to contribute  
financially to the project. It's already paid for but I can put you  
in touch with the guy who fronted the most. He's a very good friend  
of mine and actually I'm living on his couch this week in Vienna.


I think you'll be very pleased with how Lilypond is working for this  
music.


Hope to hear from you,

Adam Good

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Lilypond on MacosX Leopard

[immanuel litzroth]

I tried to compile lilypond with the help of macports today and I don't 
have much good news.
1) The guile in macports didn't seem to compile for me due to some errors 
related to open64 and such. A downloaded guile had the same problem but I 
hacked my way around that and got guile to compile.
2) I added the required other packages from macports with only minor problems.
3) Lilypond compiled ok up to a point where it was trying to run sourceforge on 
a x.pfb in a TTF directory to create a ttf. At that point 
I did have the lilypond executable and could run it only to discover that the 
guile interpreter was trying to load .so files instead of dylibs.

Seems there is some work to be done, I'll log some bugs with the macports guys, 
but I don't have the time to look into this any deeper now. I'll try again if 
the supporting software is in better shape.
Greets
Immanuel

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Re: Measure runs off PDF file after 5 8th notes in 4/4 time

[Kieren MacMillan]

Hi John,


If anyone has seen anything like this


I have... and it's always a duration problem.
I'm surprised your bar checks haven't turned up anything.


I would be happy to know how to work around it.


Well, without the code, it's impossible for anyone on the list to  
diagnose, never mind fix.  ;-)


Best,
Kieren.


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Measure runs off PDF file after 5 8th notes in 4/4 time

[John J]

It isn't easy to search the archive for this bizarre
problem. Everything was 
working fine until the moment it stopped working. 
Before, everything lived up
to the hype and I was happy, after, I just keep trying
things without anything 
working.  The first line of this piece, lilypond
prints 5 measures.  The second
line has 14.5 measures and they are crammed with
notes. The last line has 6 measures
of notes followed by an empty measure in all three
parts and then pianoRH has continuing
staff lines.  I have measure checks in the piece and
all pass even at the final 
measure of 32 bars. I tried adding empty measures to
pianoLH and clarinet but that shortened
pianoRH by an empty measure.  I am using 2.11.33 now
after using 2.10.33 with no change.
I have specified the paper size with no change in the
output.  If anyone has seen anything
like this, I would be happy to know how to work around
it. FYI, the midi plays correctly and the PS version
is
identically messed up.  I am running Ubuntu linux and
both 704 and 710 work the same.

-- 
regards,
Jack

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Re: typeset lyrics

[Werner LEMBERG]

> >> I read "Divisi Lyrics" over and over but I'am afraid I don't   
> >> understand it.

Now that you know how it works it would be a great help for us if you
tell us what exactly have missed in the docs which prevented you from
understanding it.


Werner


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Re: Professional LilyPond users?

[Hugo Ribeiro]

I have interest to know your system. I've been using Lilypond-book for a 
while to create books with music examples. Maybe your system may ease my 
life...

Hugo

Dominic Neumann escreveu:

Additionally I wrote a system (with Perl+Catalyst ...) for managing
the creation of songbooks (with lilypond-book and LaTeX).


2007/11/1, fiëé visuëlle <[EMAIL PROTECTED]>:

Am 2007-11-01 um 06:53 schrieb Dominic Neumann:


I use LilyPond for commercial projects. I typeset songbooks and song
sheets primarily for church use.

Me similar: I'm typesetting an Unitarian church magazine that
features one song in every issue (LilyPond PDF placed in InDesign
document) and just publishing a songbooklet (LilyPond & ConTeXt).

(This I do mostly honorarily, but I'm a professional media designer
and normally use InDesign and for some special tasks TeX.)


Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)




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Re: typeset lyrics

[Ole Schmidt]

thank you very much for the example, now I see how to use it and it  
works fine


best

ole


Am 01.11.2007 um 22:56 schrieb Mats Bengtsson:




Ole Schmidt wrote:

I read "Divisi Lyrics" over and over but I'am afraid I don't   
understand it. There are two different voices at one point and on   
this point there are two different lyrics assigned. How can I use  
it  for my problem?


What I primarily had in mind was the second example in the section.
For example you could do something along the lines of.

\version "2.10.0"
song = \relative c'{c d e f | g f e ( d ) | c1 | s1*4 | g4 ( a ) b  
g | c1 }

interlude = \relative c'{ s1*3 | d1 | b | g | b | }
text = \lyricmode { Here's some ly -- rics for the first part.   
Here comes the rest }


\score{
<<
 \new Staff <<
   \new Voice = songvoice \song
   \new Voice = interludevoice \interlude
 >>
 \new Lyrics \lyricsto songvoice \text
>>
}

   /Mats




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Re: typeset lyrics

[Mats Bengtsson]

Ole Schmidt wrote:

I read "Divisi Lyrics" over and over but I'am afraid I don't  
understand it. There are two different voices at one point and on  
this point there are two different lyrics assigned. How can I use it  
for my problem?


What I primarily had in mind was the second example in the section.
For example you could do something along the lines of.

\version "2.10.0"
song = \relative c'{c d e f | g f e ( d ) | c1 | s1*4 | g4 ( a ) b g | c1 }
interlude = \relative c'{ s1*3 | d1 | b | g | b | }
text = \lyricmode { Here's some ly -- rics for the first part. 
 Here comes the rest }


\score{
<<
 \new Staff <<
   \new Voice = songvoice \song
   \new Voice = interludevoice \interlude
 >>
 \new Lyrics \lyricsto songvoice \text
>>
}

   /Mats


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Re: typeset lyrics

[Ole Schmidt]

I read "Divisi Lyrics" over and over but I'am afraid I don't  
understand it. There are two different voices at one point and on  
this point there are two different lyrics assigned. How can I use it  
for my problem?


ole


Am 01.11.2007 um 22:18 schrieb Mats Bengtsson:


One solution is described in section "Divisi Lyrics",
namely to use different Voice contexts for the different
parts of music. Notice that you have to keep the
original Voice context alive over the 6 measures
using s1*6.

  /Mats

Ole Schmidt wrote:

I have to typeset lyrics for the first time. I've studied the  
manual  and everything work until now. Now I have six bars without  
lyrics and  than lyrics again. So how can I achive lyric-free  
notes (bars) in  between?

Thank you for a hint

best,

ole


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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=




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Re: Professional LilyPond users?

[fiëé visuëlle]

Am 2007-11-01 um 21:57 schrieb Dominic Neumann:


Additionally I wrote a system (with Perl+Catalyst ...) for managing
the creation of songbooks (with lilypond-book and LaTeX).


Looking at your homepage I see that you're "much more professional"  
WRT music publishing than me. ;-)


I don't know what your system is able to do, but I find ConTeXt's  
LilyPond bridge more comfortable than lilypond-book:
I simply use ConTeXt's project structure: each song is one  
"component" file, each songbook is one "product" file, collected in a  
"project" and fed by one "environment" (LaTeX: style class) for all.  
A component can be used by several products (similar to LaTeX's  
\include).
The lilypond code is just embedded as a block in the text files, like  
e.g. MetaPost graphics. In LaTeX you'd call that an environment.
ConTeXt's "texexec" script calls TeX, LilyPond, GhostScript and what  
else is needed. It also tracks which LilyPond snippet has changed and  
must get re-rendered.
Hm, perhaps I should try a database backend for storing my songs...  
need one for my new website anyway... ;-)


Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)




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Re: typeset lyrics

[Mats Bengtsson]

One solution is described in section "Divisi Lyrics",
namely to use different Voice contexts for the different
parts of music. Notice that you have to keep the
original Voice context alive over the 6 measures
using s1*6.

  /Mats

Ole Schmidt wrote:

I have to typeset lyrics for the first time. I've studied the manual  
and everything work until now. Now I have six bars without lyrics and  
than lyrics again. So how can I achive lyric-free notes (bars) in  
between?

Thank you for a hint

best,

ole


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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=



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typeset lyrics

[Ole Schmidt]

I have to typeset lyrics for the first time. I've studied the manual  
and everything work until now. Now I have six bars without lyrics and  
than lyrics again. So how can I achive lyric-free notes (bars) in  
between?

Thank you for a hint

best,

ole


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Re: Professional LilyPond users?

[Dominic Neumann]

Additionally I wrote a system (with Perl+Catalyst ...) for managing
the creation of songbooks (with lilypond-book and LaTeX).


2007/11/1, fiëé visuëlle <[EMAIL PROTECTED]>:
> Am 2007-11-01 um 06:53 schrieb Dominic Neumann:
>
> > I use LilyPond for commercial projects. I typeset songbooks and song
> > sheets primarily for church use.
>
> Me similar: I'm typesetting an Unitarian church magazine that
> features one song in every issue (LilyPond PDF placed in InDesign
> document) and just publishing a songbooklet (LilyPond & ConTeXt).
>
> (This I do mostly honorarily, but I'm a professional media designer
> and normally use InDesign and for some special tasks TeX.)
>
>
> Greetlings from Lake Constance
> ---
> fiëé visuëlle
> Henning Hraban Ramm
> http://www.fiee.net
> http://angerweit.tikon.ch/lieder/
> https://www.cacert.org (I'm an assurer)
>
>
>
>
> ___
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>
>


-- 
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Lessingstraße 8
D-09130 Chemnitz
Telefon: (+49) 3 71 / 2 83 93 74
Fax: (+49) 3 71 / 2 83 93 76
E-Mail: [EMAIL PROTECTED]
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Re: Horizontal Lyric spacing in 2.11

[Joe Neeman]

On Fri, 2 Nov 2007 01:47:43 Monk Panteleimon wrote:
> > Am Mittwoch, 31. Oktober 2007 schrieb Till Rettig:
> > > I actually LIKE the 2.11 system!
>
> I have no problem with it insofar as it redistributes the systems over a
> different number of pages and solves some problems with the header. But
> it doesn't really take lyrics into account (yet).
>
> And Reinhold Kainhofer (observantly) says:
> > I just tried one of my choir scores (ChoirStaff with two stanzas written
> > between the two staves for SA and TB) with the current git version. The
> > lyrics are tied to the S voice, but in 2.10.x, the lyrics were still
> > centered between the two staves. Now in 2.11, the lyrics seem to be glued
> > to the SA staff (when using ragged-bottom=##f and
> > ragged-last-bottom=##f), so they are quite far away from the TB, which
> > make the scores absolutely unusable for choir use.
>
> Amen, brother. That's what I'm stressin.

OK, I will set VerticalAlignment #'max-stretch = 0 by default. This has the 
disadvantage that it will sometimes put lots of whitespace between systems, 
but that was the default in 2.10 anyway.


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Re: Professional LilyPond users?

[fiëé visuëlle]

Am 2007-11-01 um 06:53 schrieb Dominic Neumann:


I use LilyPond for commercial projects. I typeset songbooks and song
sheets primarily for church use.


Me similar: I'm typesetting an Unitarian church magazine that  
features one song in every issue (LilyPond PDF placed in InDesign  
document) and just publishing a songbooklet (LilyPond & ConTeXt).


(This I do mostly honorarily, but I'm a professional media designer  
and normally use InDesign and for some special tasks TeX.)



Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)




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Re: Horizontal Lyric spacing in 2.11

[Nicolas Sceaux]

Le 1 nov. 07 à 15:47, Monk Panteleimon a écrit :


And Reinhold Kainhofer (observantly) says:


I just tried one of my choir scores (ChoirStaff with two stanzas  
written
between the two staves for SA and TB) with the current git version.  
The
lyrics are tied to the S voice, but in 2.10.x, the lyrics were  
still centered
between the two staves. Now in 2.11, the lyrics seem to be glued to  
the SA
staff (when using ragged-bottom=##f and ragged-last-bottom=##f), so  
they are
quite far away from the TB, which make the scores absolutely  
unusable for

choir use.


Amen, brother. That's what I'm stressin.

Here it seems like there is more space between the staves of a  
system than

between two systems.


Yup. And since a ChoirStaff is for choirs, I repeat my question:
Would anyone *want* this to be the case for *any* type of of multi- 
voice

vocal music? Even if you have polyphony instead of chorale, would you
want a big white space while the basses wait for their entry?

I know it's possible to fix it with a tweak. I'm pointing out my
problems with it because I assume that making something funky and then
explaining a recondite tweak to fix it is not the ideal order of
things. Discussion of this kind of issue is what development  
versions are for,

correct? If I'm thinking poorly again, please let me know.


Let's be more factual. In the 19th century Peters edition of  
Mendelssohn's
Summernachtstraum that I possess, lyrics always stick to upper staff,  
even in
homorythmic choir staves. See 
for instance, where indeed lyrics are not placed in the middle of  
inter staff space.
So saying that the current behavior is "funky" is obviously not  
correct; actually
the current behavior seems to conform with 19th engraving practices  
AFAICS.


nicolas



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Re: Dynamics and arpeggios too close to bar lines

[Kieren MacMillan]

Hi Benedict,

Would you consider the 2.11 branch stable enough for general daily  
use?


I *only* use the development branch for *all* my engraving -- and I'm  
talking about production of scores for commissions I'm getting as a  
working composer! For example, this past summer, I composed the music  
for a full two-act/two-hour musical in only 7 weeks; I cranked out  
the scores (sometimes *as I was composing them*) using the then- 
current development branch/version of Lilypond.


For the record, the one "regression" (to stable branch) I've ever  
been forced to make was while I was writing my chamber opera last  
spring, and I ran into a bug with pedal indications.


Would I recommend this "business strategy" to the faint-of-heart?
Of course not!
[And I know for a fact the developers explicity recommend AGAINST it.]

But I imagine this answers your question about whether or not I think  
the development version is "stable enough for general daily use"...  ;-)



Really? What are these ways?


1. Stop using #'forced-distance (if it even still works?) --  
PianoStaff now works just like StaffGroup, with regard to vertical  
spacing.
2. Put dynamics in one of the "regular" Staff contexts (I tend to  
choose the upper/RH staff), and adjust the various #'minimum-vertical- 
extents and #'padding properties (of the Staff and its  
DynamicLineSpanner) to suit; likewise, put pedal markings in the  
lower Staff context and tweak placement.


plus, see my suspicion above about why the dynamics overlap the bar  
lines.


I *don't* think doing this (as opposed to having it in a Dynamics  
context) will necessarily fix that... but it sure couldn't hurt!  =)


Best regards,
Kieren.


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Re: Dynamics and arpeggios too close to bar lines

[Benedict Singer]

 On Thursday, November 01, 2007, at 08:07AM, "Kieren MacMillan" <[EMAIL 
PROTECTED]> wrote:
>Hi Benedict,
>
>> having to do with music elements too close to or overlapping with  
>> bar lines
>
>If you check the archives, you'll see that I had been complaining  
>about this for a long time -- I'm quite happy with the fix(es) in  
>2.11.31+, so I've stopped griping!  =)
>
>> This problem could be solved by moving to 2.11
>
>Correct.
>
>> I'd prefer to stay on the stable branch
>
>If I'm not mistaken (dev: anyone care to confirm?), a 2.12 release is  
>imminent.

I'm very happy with the look of the arpeggios on the 2.11 branch; my suspicion 
is that the problem with the dynamics is persisting because the dynamics part 
is not associated with the parts that are responsible for drawing the bar 
lines. Would you consider the 2.11 branch stable enough for general daily use?

>> This relates to dynamics in the Piano centered dynamics template
>
>I think this template has been (unofficially) deprecated: there are  
>better ways of accomplishing the same thing.

Really? What are these ways? I'm all for that, as I always thought it was 
strange that one needed such a complex set of tweaks to do piano music in what 
is the style for the vast majority of piano pieces; plus, see my suspicion 
above about why the dynamics overlap the bar lines.

>> Hairpins and dynamic marks tend to brush right up against
>> or even overlap (the mp mark is one of the worst) the bar lines.
>
>True, but unfortunately I don't know of an automated way to solve  
>that problem -- I simply manually tweak each "problem child".
>Maybe someone else out there has the "silver bullet" we're both  
>wanting to find??

After more investigation last night I found the manual method of tweaking each 
one; if no other solution is forthcoming, I'll go ahead and do this for each 
problem dynamic. Luckily it's a set of short pieces.

>
>Hope this helps!
>Kieren.

Thanks!
Ben


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Re: Horizontal Lyric spacing in 2.11

[Carl Sorensen]

Monk Panteleimon  holycrosskliros.org> writes:

>> between the two staves. Now in 2.11, the lyrics seem to be glued to the 
>> SA 
>> staff (when using ragged-bottom=##f and ragged-last-bottom=##f), so they 
>> are 
>> quite far away from the TB, which make the scores absolutely unusable for 
>> choir use.
> 
> Amen, brother. That's what I'm stressin.
> 
>> Here it seems like there is more space between the staves of a system 
>> than 
>> between two systems.
> 

I've seen the same behavior, and just went to ragged-bottom=##t and
ragged-last-bottom=##t.  When I did that, everything looked fine on my 
vocal score.

For me the problem is less the spacing of lyrics, and more the spacing of 
staves.

Carl Sorensen



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my dumb subject line

[Monk Panteleimon]

Speaking of poor thinking, I meant to say "Vertical* spacing in 2.11"
ga-hernk.
Fr.P




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Re: Dynamics and arpeggios too close to bar lines

[Kieren MacMillan]

Hi Benedict,

having to do with music elements too close to or overlapping with  
bar lines


If you check the archives, you'll see that I had been complaining  
about this for a long time -- I'm quite happy with the fix(es) in  
2.11.31+, so I've stopped griping!  =)



This problem could be solved by moving to 2.11


Correct.


I'd prefer to stay on the stable branch


If I'm not mistaken (dev: anyone care to confirm?), a 2.12 release is  
imminent.



This relates to dynamics in the Piano centered dynamics template


I think this template has been (unofficially) deprecated: there are  
better ways of accomplishing the same thing.



Hairpins and dynamic marks tend to brush right up against
or even overlap (the mp mark is one of the worst) the bar lines.


True, but unfortunately I don't know of an automated way to solve  
that problem -- I simply manually tweak each "problem child".
Maybe someone else out there has the "silver bullet" we're both  
wanting to find??


Alternatively, tweaks to the arpeggio objects or the dynamic  
objects would work instead


Don't forget the two powerful features

\once \override DynamicText #'extra-offset = #'(m . n)

and

\once \override DynamicText #'X-extent = #'(m . n)

where the grob name (in this case, DynamicText) can be replaced with  
almost anything (e.g., Arpeggio), and the parameters (m and n) are  
adjusted as required.


Hope this helps!
Kieren.


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Horizontal Lyric spacing in 2.11

[Monk Panteleimon]

 
> Am Mittwoch, 31. Oktober 2007 schrieb Till Rettig:
> > I actually LIKE the 2.11 system! 

I have no problem with it insofar as it redistributes the systems over a
different number of pages and solves some problems with the header. But
it doesn't really take lyrics into account (yet).

And Reinhold Kainhofer (observantly) says:
> 
> I just tried one of my choir scores (ChoirStaff with two stanzas written 
> between the two staves for SA and TB) with the current git version. The 
> lyrics are tied to the S voice, but in 2.10.x, the lyrics were still centered 
> between the two staves. Now in 2.11, the lyrics seem to be glued to the SA 
> staff (when using ragged-bottom=##f and ragged-last-bottom=##f), so they are 
> quite far away from the TB, which make the scores absolutely unusable for 
> choir use.

Amen, brother. That's what I'm stressin.
 
> Here it seems like there is more space between the staves of a system than 
> between two systems.

Yup. And since a ChoirStaff is for choirs, I repeat my question:
Would anyone *want* this to be the case for *any* type of of multi-voice 
vocal music? Even if you have polyphony instead of chorale, would you 
want a big white space while the basses wait for their entry?

I know it's possible to fix it with a tweak. I'm pointing out my
problems with it because I assume that making something funky and then
explaining a recondite tweak to fix it is not the ideal order of
things. Discussion of this kind of issue is what development versions are for,
correct? If I'm thinking poorly again, please let me know.


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Re: Vertical spacing

[Joe Neeman]

On Thu, 1 Nov 2007 18:13:40 sdfgsdhdshd wrote:
> The attached file is the beginning of a vocal.
> lilypond 2.11.34, win XP
>
> Compare the spaces between systems on page 1 and page 2 of the pdf!!
> I expect all systems to be on page 1, because there is enough space for
> them.
>
> What is wrong in this code?

There is a \pageBreak command on line 36 of the file.


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Re: 3/4 Time SIgnature

[Mats Bengtsson]

See the section on "Setting automatic beam behavior" in the manual.
In your example, you can do
\relative c' {
  \time 3/4
  c8 d e f e d
  #(override-auto-beam-setting '(end 1 8 3 4) 1 4)
  #(override-auto-beam-setting '(end 1 8 3 4) 2 4)
  c8 d e f e d
  c[ d] e[ f] e[ d]
}

   /Mats

Hugo Leonardo Ribeiro wrote:
Is there a way for Lilypond, in 3/4 meter, to join automatically the 
beams each pair of eights? Because in this meter, if the measure there 
is only eights, Lilypond join all the beams together, and to split 
them I have to do it manualy. In a small music I can do it, but in a 
big score it is a hard work...


\relative c' {
   \time 3/4
   c8 d e f e d
   c[ d] e[ f] e[ d]
}

Thanks

Hugo


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--
=
Mats Bengtsson
Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44  STOCKHOLM
Sweden
Phone: (+46) 8 790 8463 
   Fax:   (+46) 8 790 7260
Email: [EMAIL PROTECTED]
WWW: http://www.s3.kth.se/~mabe
=



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3/4 Time SIgnature

[Hugo Leonardo Ribeiro]

Is there a way for Lilypond, in 3/4 meter, to join automatically the beams
each pair of eights? Because in this meter, if the measure there is only
eights, Lilypond join all the beams together, and to split them I have to do
it manualy. In a small music I can do it, but in a big score it is a hard
work...

\relative c' {
   \time 3/4
   c8 d e f e d
   c[ d] e[ f] e[ d]
}

Thanks

Hugo
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microtones for makkam music notation

[D. Venizeleas]

Hello,

I have seen an older discussion between Adam Good and Han-Wen 
(http://lists.gnu.org/archive/html/lilypond-user/2005-10/msg00028.html) about 
implementing microtone support more completely. 
The latest lilypond documentation (2.11.33) doesn't tell about significant 
steps on this issue.
As playing turkish makkam music, to me it would be preferable to be able to 
notate in the way most turkish musicians use the microtone notation - I can't 
attach a scanned image (due to message size restrictions).  

There seems not to be any consensus about the notation of microtones in 
general. I suppose e. g. that Arabic microtones are noted slightly 
differently than turkish ones (the arabic tone system is different).

Could it be a viable implementation to give the user the ability to select the 
accidental, the pitch and the corresponding glyph he wants to use for a 
specific case of microtone notation?

E. g. 
cesF cesB cesS cesK 
cisF cisB cisS cisK 

for the turkish system (describing the 1, 4, 5, or 8 kommata  intervals; 2-3 
kommata is not used, 9 is already available in standard notation-it's the 
double sharp resp. double-flat.)

Also a notation of the microtone accidentals at the beginning of a score would 
be useful; of course it can't be in the way of "D major", because I think 
there is no harmonic concept in turkish music, but rather a scale based one.

Hopefully I did not bore anyone, but I need this feature and in no 
other notation system microtones are considered at all. I would also 
contribute monetarily, to support the work, if it is appropriate. 

Regards 

Dimitris
PS: I'm not a programmer
 



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