date:20080217

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Am Sonntag, 17. Februar 2008 schrieb Han-Wen Nienhuys:
 2008/2/9, Reinhold Kainhofer [EMAIL PROTECTED]:
  The set data type is new in Python 2.3, and is needed in musicxml2ly to
  prevent duplicate definitions (i.e. I store all needed additional
  definitions

 are you sure it's 2.3 ? 

at least that's what the python docs say:
http://docs.python.org/lib/module-sets.html

Can't try it out, though.

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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TimeSignature as fraction: gap between numerator and denominator

2008-02-17 Thread Werner


Hello, 

I used 4/4 instead of C via
\override Staff.TimeSignature #'style = #'()
but the cyphers were huge.
So I added
\override Staff.TimeSignature #'font-size = #-2
But while the cyphers now are smaller, the numerator-4 stands still very close
on the top of the denominator-4 without any gap, both together in the (vertical)
middle of the stave.
I would prefer both ciphers (vertically) centered in the upper and lower half of
the stave respectively (means the numerator between the third and fifth line of
the stave, the denominator between the first and third line) by default.

Is there any solution?

Greetings

Werner



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Re: Image Attachments

2008-02-17 Thread Valentin Villenave

2008/2/16, Philip [EMAIL PROTECTED]:
 Is it possible to mail a message to this list that has image attachments?
 I have two questions I need images to be understood.

Hi Philip,

yes, it is possible but only for very small images (32KB would be a
maximum). Otherwise, the best solution is often to post your images
wherever you can (your personal webpage, or any file-hosting free
service such as imageshack.us), and then simply include in your mail a
link to the image.

Cheers,
Valentin


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Re: GDP: What term do you use?

2008-02-17 Thread Valentin Villenave

2008/2/17, David Fedoruk [EMAIL PROTECTED]:

 Octave transposition seems a confusing, since transposition in music
 usually implies that the passage is to be played in a different key.
 Octave displacement does not change the key.

Yes, I'd prefer to avoid transposition as well.

In French, we say octaviation (notice the additional i, it got me
confused more than once).

Cheers,
Valentin


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Re: Image Attachments

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Am Sonntag, 17. Februar 2008 schrieb Valentin Villenave:
 yes, it is possible but only for very small images (32KB would be a
 maximum). 

The limit seems to be 64kB for the whole mail...

 Otherwise, the best solution is often to post your images 
 wherever you can (your personal webpage, or any file-hosting free
 service such as imageshack.us), and then simply include in your mail a
 link to the image.

Which has the drawback that the image won't be in the archives and sooner or 
later it will be removed from imageshack or your homepage, leaving the 
archived message with a dangling link and thus without any image... I had 
this a few times already, when I looked at some mailing list archive and 
found messages with phrases like Yes, that's possible, I uploaded an example 
to... or The problem can be seen with the example at Too bad that the 
files had already been removed, so that was useless...

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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is \applyOutput buggy wrt context, or am I being dumb?


still battling...

from the example at http://lsr.dsi.unimi.it/LSR/Item?id=236

i do understand the scheme function here
but i don't seem able to make both chords print as emc2 - only the  
first is changed



\version 2.11.38

#(define (mc-squared grob org cur)
  (let*
   (
 (ifs (ly:grob-interfaces grob))
 (sp (ly:grob-property grob 'staff-position))
   )
   (if (memq 'note-head-interface ifs)
(begin
 (ly:grob-set-property! grob 'stencil ly:text-interface::print)
 (ly:grob-set-property! grob 'font-family 'roman)
 (ly:grob-set-property! grob 'text
  (make-raise-markup -0.5
   (case sp
((-5) (make-simple-markup m))
((-3) (make-simple-markup c ))
((-2) (make-smaller-markup (make-bold-markup 2)))
(else (make-simple-markup bla))
  
  )))

notes = \relative c' {
d f g b8
d f g b8
}


\score {
\new Staff {\applyOutput #'Score #mc-squared \notes}
}


similarly, the 'blanker' example at NR 7.5.2 works if modified to:

\version 2.11.38

#(define (blanker grob x y)
(if  (eq? (ly:grob-property grob 'staff-position) 0)
 (ly:grob-set-property! grob 'duration-log 1)))

notes = {
b' c'' b' c''
  }

\new Score {
\new Staff {\applyOutput #'Score #blanker \notes}
}


but it also only changes the duration-log of the first b-natural

any ideas?

tia

D


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Re: How to do a Barré in guitar music?


just a tweak...

\version 2.11.39

Guitar = \context Staff \relative c' 
  \time 6/8
  \override Staff.NoteCollision #'merge-differently-dotted = ##t
  \override Staff.NoteCollision #'merge-differently-headed = ##t

  \context Voice=uno {
\stemUp

\override Fingering #'padding = #2.0
c'8 [gis! a b c d-4]
}
\new Voice=dos {
\stemDown
a,2._\mf
  }
\new Voice=barre { %% This is a voice only for the barre
  \override NoteHead #'transparent = ##t % Dont want to show  
noteheads or stems, only bracket

  \override Stem #'transparent = ##t
  \once \override Accidental #'transparent = ##t %X
  \arpeggioBracket % This sets the arpeggio toa bracket which is  
what you want

  d' gis,2\arpeggio s4
}



\score {
  \Guitar
}



On 17 Feb 2008, at 18:00, Daniel Tonda wrote:


For the barre in the music this is how I normally do it:

Create a different voice context for the bar and use the  
arpeggioBracket.applied to a chord, here's the code that would  
display the image you attached.


%
\version 2.11.39

Guitar = \context Staff \relative c' 
  \time 6/8
  \override Staff.NoteCollision #'merge-differently-dotted = ##t
  \override Staff.NoteCollision #'merge-differently-headed = ##t

  \context Voice=uno {
\stemUp

\override Fingering #'padding = #2.0
c'8 [gis a b c d-4]
}
\new Voice=dos {
\stemDown
a,2._\mf
  }
\new Voice=barre { %% This is a voice only for the barre
  \override NoteHead #'transparent = ##t % Dont want to show  
noteheads or stems, only bracket

  \override Stem #'transparent = ##t
  \arpeggioBracket % This sets the arpeggio toa bracket which is  
what you want

  d' gis,2\arpeggio s4
}



\score {
  \Guitar
}
%

2008/2/17, Arjan Bos [EMAIL PROTECTED]:
Dear list,

First of all, does anyone of you know the English word for the Dutch
word Barré? I could not find it in the Music Glossary.
Second of all, does anyone of you how to draw it in lilypond? I've
attached an example of what I'm looking for. I'm looking for a way to
draw the vertical bracket that appears before the first note.




Regards,

A.J.
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Re: GDP: What term do you use? (redux)

When I went to music school (in México) the notes up to 128th went like
this:

whole = redonda
1/2 = blanca
1/4 = negra
1/8 = corchea
1/16   = semicorchea
1/32   = fusa
1/64   = semifusa
1/128 = garrapatea (i always thought this was hilarious because it sounds
like garrapata which is an insect, I believe a tick, so short as to be non
trascendental)

The teachers didn't bother with any more since they claimed it was not in
use.


2008/2/17, Alard de Boer [EMAIL PROTECTED]:

 On Feb 16, 2008 11:25 PM, Kurt Kroon [EMAIL PROTECTED] wrote:
  Oh, yeah ... I was also wondering:
 
  What the Dutch, Danish, Finnish and Swedish words for 128th- and
 256th-notes
  and -rests?

 In Dutch: 128e noot, 256e noot, 128e rust, 256e rust. In the unlikely case
 someone would prefer to write out the numbers:

 honderdachtentwintigste noot
 tweehonderdzesenvijftigste noot
 honderdachtentwintigste rust
 tweehonderdzesenvijftigste rust

 --
 Groeten,
 Alard.

 Ceterum censeo MS Word esse delendam.


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Re: How to do a Barré in guitar music?

You're absolutely right, I forgot about the accidentals, but they should
also be transparent.
:)

2008/2/17, Damian leGassick [EMAIL PROTECTED]:

 just a tweak...

 \version 2.11.39

 Guitar = \context Staff \relative c' 
   \time 6/8
   \override Staff.NoteCollision #'merge-differently-dotted = ##t
   \override Staff.NoteCollision #'merge-differently-headed = ##t

   \context Voice=uno {
 \stemUp

 \override Fingering #'padding = #2.0
 c'8 [gis! a b c d-4]
 }
 \new Voice=dos {
 \stemDown
 a,2._\mf
   }
 \new Voice=barre { %% This is a voice only for the barre
   \override NoteHead #'transparent = ##t % Dont want to show noteheads
 or stems, only bracket
   \override Stem #'transparent = ##t
   \once \override Accidental #'transparent = ##t %X
   \arpeggioBracket % This sets the arpeggio toa bracket which is what
 you want
   d' gis,2\arpeggio s4
 }

 

 \score {
   \Guitar
 }



 On 17 Feb 2008, at 18:00, Daniel Tonda wrote:

 For the barre in the music this is how I normally do it:

 Create a different voice context for the bar and use the
 arpeggioBracket.applied to a chord, here's the code that would display the
 image you attached.

 %
 \version 2.11.39

 Guitar = \context Staff \relative c' 
   \time 6/8
   \override Staff.NoteCollision #'merge-differently-dotted = ##t
   \override Staff.NoteCollision #'merge-differently-headed = ##t

   \context Voice=uno {
 \stemUp

 \override Fingering #'padding = #2.0
 c'8 [gis a b c d-4]
 }
 \new Voice=dos {
 \stemDown
 a,2._\mf
   }
 \new Voice=barre { %% This is a voice only for the barre
   \override NoteHead #'transparent = ##t % Dont want to show noteheads
 or stems, only bracket
   \override Stem #'transparent = ##t
   \arpeggioBracket % This sets the arpeggio toa bracket which is what
 you want
   d' gis,2\arpeggio s4
 }

 

 \score {
   \Guitar
 }
 %

 2008/2/17, Arjan Bos [EMAIL PROTECTED]:
 
  Dear list,
 
  First of all, does anyone of you know the English word for the Dutch
  word Barré? I could not find it in the Music Glossary.
  Second of all, does anyone of you how to draw it in lilypond? I've
  attached an example of what I'm looking for. I'm looking for a way to
  draw the vertical bracket that appears before the first note.
 
 
 
 
  Regards,
 
  A.J.
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 --
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Re: How to do a Barré in guitar music?

For the barre in the music this is how I normally do it:

Create a different voice context for the bar and use the
arpeggioBracket.applied to a chord, here's the code that would display the
image you attached.

%
\version 2.11.39

Guitar = \context Staff \relative c' 
  \time 6/8
  \override Staff.NoteCollision #'merge-differently-dotted = ##t
  \override Staff.NoteCollision #'merge-differently-headed = ##t

  \context Voice=uno {
\stemUp

\override Fingering #'padding = #2.0
c'8 [gis a b c d-4]
}
\new Voice=dos {
\stemDown
a,2._\mf
  }
\new Voice=barre { %% This is a voice only for the barre
  \override NoteHead #'transparent = ##t % Dont want to show noteheads
or stems, only bracket
  \override Stem #'transparent = ##t
  \arpeggioBracket % This sets the arpeggio toa bracket which is what
you want
  d' gis,2\arpeggio s4
}



\score {
  \Guitar
}
%

2008/2/17, Arjan Bos [EMAIL PROTECTED]:

 Dear list,

 First of all, does anyone of you know the English word for the Dutch
 word Barré? I could not find it in the Music Glossary.
 Second of all, does anyone of you how to draw it in lilypond? I've
 attached an example of what I'm looking for. I'm looking for a way to
 draw the vertical bracket that appears before the first note.




 Regards,

 A.J.
 ___
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 lilypond-user@gnu.org
 http://lists.gnu.org/mailman/listinfo/lilypond-user





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Re: Doing \score { ...... } and \context Staff .... in scheme?

2008-02-17 Thread Han-Wen Nienhuys

2008/2/13, Reinhold Kainhofer [EMAIL PROTECTED]:
 Hi all,

 In the large vocal and orchestral piece that I'm currently typesetting, I have
 lots of score and staff definitions, which look exactly the same, except for
 the variable names. Thus it would make tremendous sense to not hard-code
 them, but generate them on the fly by some scheme function. Unfortunately,
 all my attempts so far have failed...


 In particular, what is the scheme equivalent, producing the same as the
 following lilypond code?

 IChorObIScore = \score {
\IChorObIStaff 
   \header { piece = \IChorPieceName }
 }

 I simply want a scheme function generate-intrument-score piece instr, which
 I would then call as
 \generate-instrument-score #IChor #ObI

 Tha scheme function would then use
(string-symbol (string-concat piece instr #Staff))
 to generate \IChorObIStaff and (eval (string-symbol)) to insert the
 definition of \IChorObIStaff. So, basically, all I need is how to generate
 the \score { ... } in scheme.


You have to use the scheme bindings. There is a ly:make-score
function. 2.11.40 adds a ly:score-add-output-def function that will
allow you define a piece of music

 generate-score = #(define-music-function (parser location piece instr)
 (string string)
   #{
 \score {

IIRC #{ can only contains music expressions.

#(eval (string-symbol (string-append piece instr #Staff))) 

Inside scheme the # before a string is not necessary.

-- 
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Re: How to do a Barré in guitar music?

2008/2/17, Daniel Tonda [EMAIL PROTECTED]:

 You're absolutely right, I forgot about the accidentals, but they should
 also be transparent.
 :)


Even better, remove the accidental and the barre will be a bit closer to
the  notes.

2008/2/17, Damian leGassick [EMAIL PROTECTED]:
 
  just a tweak...
 
  \version 2.11.39
 
  Guitar = \context Staff \relative c' 
\time 6/8
\override Staff.NoteCollision #'merge-differently-dotted = ##t
\override Staff.NoteCollision #'merge-differently-headed = ##t
 
\context Voice=uno {
  \stemUp
 
  \override Fingering #'padding = #2.0
  c'8 [gis! a b c d-4]
  }
  \new Voice=dos {
  \stemDown
  a,2._\mf
}
  \new Voice=barre { %% This is a voice only for the barre
\override NoteHead #'transparent = ##t % Dont want to show
  noteheads or stems, only bracket
\override Stem #'transparent = ##t
\once \override Accidental #'transparent = ##t %X
\arpeggioBracket % This sets the arpeggio toa bracket which is
  what you want
%d' gis,2\arpeggio s4
 

   d' g,2\arpeggio s4 % There, that's just right

}
 
  
 
  \score {
\Guitar
  }
 
 
 
  On 17 Feb 2008, at 18:00, Daniel Tonda wrote:
 
  For the barre in the music this is how I normally do it:
 
  Create a different voice context for the bar and use the
  arpeggioBracket.applied to a chord, here's the code that would display
  the image you attached.
 
  %
  \version 2.11.39
 
  Guitar = \context Staff \relative c' 
\time 6/8
\override Staff.NoteCollision #'merge-differently-dotted = ##t
\override Staff.NoteCollision #'merge-differently-headed = ##t
 
\context Voice=uno {
  \stemUp
 
  \override Fingering #'padding = #2.0
  c'8 [gis a b c d-4]
  }
  \new Voice=dos {
  \stemDown
  a,2._\mf
}
  \new Voice=barre { %% This is a voice only for the barre
\override NoteHead #'transparent = ##t % Dont want to show
  noteheads or stems, only bracket
\override Stem #'transparent = ##t
\arpeggioBracket % This sets the arpeggio toa bracket which is
  what you want
d' gis,2\arpeggio s4
  }
 
  
 
  \score {
\Guitar
  }
  %
 
  2008/2/17, Arjan Bos [EMAIL PROTECTED]:
  
   Dear list,
  
   First of all, does anyone of you know the English word for the Dutch
   word Barré? I could not find it in the Music Glossary.
   Second of all, does anyone of you how to draw it in lilypond? I've
   attached an example of what I'm looking for. I'm looking for a way to
   draw the vertical bracket that appears before the first note.
  
  
  
  
   Regards,
  
   A.J.
   ___
   lilypond-user mailing list
   lilypond-user@gnu.org
   http://lists.gnu.org/mailman/listinfo/lilypond-user
  
  
  
 
 
  --
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  http://lists.gnu.org/mailman/listinfo/lilypond-user
 
 
 
  ___
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 --
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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Francisco Vila

2008/2/17, Daniel Tonda [EMAIL PROTECTED]:
 When I went to music school (in México) the notes up to 128th went like
 this:

 whole = redonda
 1/2 = blanca
 1/4 = negra
 1/8 = corchea
 1/16   = semicorchea
 1/32   = fusa
 1/64   = semifusa
  1/128 = garrapatea (i always thought this was hilarious because it sounds
 like garrapata which is an insect, I believe a tick, so short as to be non
 trascendental)

Right. Please add:
1/256 = semigarrapatea

-- 
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http://www.paconet.org


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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Kurt Kroon

 ...
 
 What the Dutch, Danish, Finnish and Swedish words for 128th- and 256th-notes
 and -rests?

I was able to get the note names for English (both flavors), French,
Spanish, Italian and German elsewhere.  That's why I only asked for the
names in Dutch, Danish, Finnish and Swedish only.

 
 In English, this would depend on which side of the Atlantic you live
 in. Here in North America the standard terminology would be 128th
 note/rest or 256th note or rest. I'm not sure what the British call
 it. It will be something like semi-demi-hemi-quaver I believe..
 someone will correct me if I'm wrong (quite possible!)

If you follow the pattern, a 128th-note would be a semihemidemisemiquaver
(though I have heard it called a quasihemidemisemiquaver) and a 256-note
would be a demisemihemidemisemiquaver.

But thanks for answering anyway.  (Alard already answered for Dutch, so
maybe I need to make a more pointed request to the known Danish, Finnish,
and Swedish speakers on the list).

Thanks!
Kurt




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Re: shift accidental in chord


hi werner

the output from

\version 2.11.38

{bes'! b'!}

is what i want except for the flat needs to be moved to the left

i was hoping for something like:

\once \override Accidental #'extra-offset = #'(-2.0 . 0) -- but  
referencing the note within the chord


i can fake it by making an extra voice, hiding the stems, shifting the  
accidental, etc


(it's a pain, but the 'two-stave' or 'forked stem' or 'using ais  
instead of bes' solutions aren't appropriate here)


is there no way to do this with \tweak?

thanks

d

On 17 Feb 2008, at 19:45, Werner wrote:


Damian leGassick damianlegassick at mac.com writes:

how do i shift the flat so that it doesn't overwrite the natural  
here:


{bes'! b'!}


Could you provide a link to an example how that can be done (just  
take pencil

and paper, make a drawing, scan it and put it to the web)?
(I cannot imagine any solution than except for splitting the notes  
of the
chord (rather cluster?) into two staves or do you think a  
horizontal forked

stem?)



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Marks under the staff

2008-02-17 Thread Francisco Vila

Hello,

is there a proper way to place a given \mark such as segue coro,
DS.al fine etc under the staff, and right-aligned to the final
barline?

\score{} \markup {} does not work very well for this. I'd like to
place a true \mark in that position.

Thank you!

-- 
Francisco Vila. Badajoz (Spain)
http://www.paconet.org


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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Risto Vääräniemi

Dear Kurt,

On 17/02/2008, Kurt Kroon wrote:
 Oh, yeah ... I was also wondering:

 What the ... Finnish words for 128th note
128-osanuotti (1/128-osanuotti)
(yksi)sadaskahdeskymmeneskahdeksasosanuotti

Breakup:
sadas = 100th,
kahdeskymmenes = 20th (2th (deliberate), 10th),
kahdeksas = 8th,
osa = part
nuotti = note

 and 256th-notes
256-osanuotti (1/256-osanuotti)
(yksi)kahdessadasviideskymmeneskuudesosanuotti

Breakup:
kahdessadas = 200th (2th (deliberate), 100th),
viideskymmenes = 50th (5th, 10th),
kuudes = 6th, etc

You're welcome. :-)

-Risto


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Re: Marks under the staff

2008-02-17 Thread Francisco Vila

2008/2/17, Graham Percival [EMAIL PROTECTED]:
 On Sun, 17 Feb 2008 21:08:53 +0100
 Francisco Vila [EMAIL PROTECTED] wrote:

  is there a proper way to place a given \mark such as segue coro,
  DS.al fine etc under the staff, and right-aligned to the final
  barline?

 Doesn't it work if you just \override the direction property?

The problem is to have them UNDER the staff system. Sorry if it is too
naive but I'm stuck with this.

-- 
Francisco Vila. Badajoz (Spain)
http://www.paconet.org


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Re: Marks under the staff

2008-02-17 Thread Graham Percival

On Sun, 17 Feb 2008 21:08:53 +0100
Francisco Vila [EMAIL PROTECTED] wrote:

 is there a proper way to place a given \mark such as segue coro,
 DS.al fine etc under the staff, and right-aligned to the final
 barline?

Doesn't it work if you just \override the direction property?

Cheers,
- Graham


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Re: shift accidental in chord

2008-02-17 Thread Werner

Damian leGassick damianlegassick at mac.com writes:

 how do i shift the flat so that it doesn't overwrite the natural here:
 
 {bes'! b'!}

Could you provide a link to an example how that can be done (just take pencil
and paper, make a drawing, scan it and put it to the web)?
(I cannot imagine any solution than except for splitting the notes of the
chord (rather cluster?) into two staves or do you think a horizontal forked
stem?)



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Re: shift accidental in chord

2008-02-17 Thread Lasse Rempe





hi all

how do i shift the flat so that it doesn't overwrite the natural here:

\version 2.11.38

{bes'! b'!}

cheers

d
This seems to be a known limitation of lilypond. You can see whether the 
solution provided by Mats to a similar question of mine a while ago:


http://www.opensubscriber.com/message/lilypond-user@gnu.org/5346239.html

might be of use in your situation.

Good luck,
Lasse




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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Risto Vääräniemi

Oh yes. Forgot the rests.

On 17/02/2008, Risto Vääräniemi  wrote:
 On 17/02/2008, Kurt Kroon wrote:
  Oh, yeah ... I was also wondering:
 
  What the ... Finnish words for 128th note

The rest names are formed like this.
128th rest:
1/128-osatauko (128-osatauko).

256th rest:
1/256-osatauko (256-osatauko)

For the really long textual versions, substitute nuotti (note) for tauko (rest).

More stuff:
Quarter notes and rests seem to be named as neljännesosanuotti and
neljännesosatauko in the glossary. They are understandable but more
common words are neljäsosanuotti and neljäsosatauko.

More or less the same goes for 32th notes and rests. I don't think the
names in the glossary are really used. I think it would be more proper
to use kolmaskymmeneskahdesosanuotti (32-osanuotti, 1/32-osanuotti)
for the 32th note and kolmaskymmeneskahdesosatauko (32-osatauko,
1/32-osatauko) for the 32th rest.

For the 64th note and rest the names are OK. For written text you can
also use 64-osanuotti or 1/64-osanuotti for notes and 64-osatauko or
1/64-osatauko for rests.

-Risto


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Bracket Around a Single Staff

2008-02-17 Thread Philip


How can I surround a single staff with a square bracket?

Also, is it possible to type-set the old bass clef? Here is a link to an 
image of the old bass clef on Wikipedia:


http://upload.wikimedia.org/wikipedia/commons/8/87/Oldbassclef.svg


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Lyric Text position

I don't find the way to position lyrics above a staff instead of below it,
is there a way to do this?

-- 
Daniel Tonda C.
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10.5?

2008-02-17 Thread James E. Bailey

Just to be clear, lilypond does not work, command-line, PPC, or  
anything with apple's latest update? I've been using it in 10.5.1 with  
TextMate and TeXShop just fine, but now I get absolutely nothing.  
Should I bother trying to build it myself to see if I can it working?



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Re: 10.5?


works fine here with 10.5.2 - but command-line only

i installed ppc version under 10.5.1 which works fine on intel (10.4  
intel version does not work under 10.5.x)- then software updated to  
10.5.2 and lilypond still works ok with textmate and texshop


d


On 17 Feb 2008, at 22:03, James E. Bailey wrote:

Just to be clear, lilypond does not work, command-line, PPC, or  
anything with apple's latest update? I've been using it in 10.5.1  
with TextMate and TeXShop just fine, but now I get absolutely  
nothing. Should I bother trying to build it myself to see if I can  
it working?



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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Simon Dahlbacka

FWIW, it seems that Finnish is the only? language that includes the
note/rest part.
(
http://kainhofer.com/~lilypond/Documentation/user/music-glossary/Duration-names-notes-and-rests.html#Duration-names-notes-and-rests
)

And the swedish name for 128th would be
hundratjugoåttondel
and 256th
tvåhundrafemtiosjättedel

/Simon

2008/2/18, Kurt Kroon [EMAIL PROTECTED]:

On 2/17/08 1:09 PM, Risto Vääräniemi [EMAIL PROTECTED] wrote:

...
More stuff:
Quarter notes and rests seem to be named as neljännesosanuotti and
neljännesosatauko in the glossary. They are understandable but more
common words are neljäsosanuotti and neljäsosatauko.

Common as in:
* Any Finnish person would understand immediately? or
* Any Finnish _musician_ would understand immediately?

I'm aiming for the second case -- a musically correct name, but if the
Finn on the street can puzzle it out as a special use of ordinal numbers
(which is how it looks to me, but that's only a guess because I don't
speak
Finnish), so much the better.

More or less the same goes for 32th notes and rests. I don't think the
names in the glossary are really used. I think it would be more proper
to use kolmaskymmeneskahdesosanuotti (32-osanuotti, 1/32-osanuotti)
for the 32th note and kolmaskymmeneskahdesosatauko (32-osatauko,
1/32-osatauko) for the 32th rest. ...

Odd ... they're in the table under Duration names notes and rests, but
not
under the individual entry in the Glossary.

It looks like I have more cleanup to do.

Thanks!
Kurt

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Re: Bracket Around a Single Staff

-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1

Am Sonntag, 17. Februar 2008 schrieb Philip:
 I tried the line suggested on that page, but I got an error message:

 error: syntax error, unexpected '[', expecting LYRICS_STRING or STRING
 or STRING_IDENTIFIER: \override [staffcontext].SystemStartBracket
 #'collapse-height = #1

 Is this related to where I inserted the line? This is what I used:

 \relative d {
% \override statement
% music
 }

Please have a look at the code of the snippet (click on the image, maybe 
that's too hidden in the LSR???), not only the description.
Basically, you need a StaffGroup and put the override in there...

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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=mg4o
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Re: Bracket Around a Single Staff

2008-02-17 Thread Philip


Reinhold Kainhofer wrote:



Please have a look at the code of the snippet (click on the image, maybe 
that's too hidden in the LSR???), not only the description.

Basically, you need a StaffGroup and put the override in there...

Cheers,
Reinhold


  
That worked! Now, how to type-set the old bass clef. Is that possible? I 
doubt it.



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Re: Doing \score { ...... } and \context Staff .... in scheme?

Am Sonntag, 17. Februar 2008 schrieb Han-Wen Nienhuys:
 2008/2/13, Reinhold Kainhofer [EMAIL PROTECTED]:
  In particular, what is the scheme equivalent, producing the same as the
  following lilypond code?
 
  IChorObIScore = \score {
 \IChorObIStaff 
\header { piece = \IChorPieceName }
  }

 You have to use the scheme bindings. There is a ly:make-score
 function. 

Thanks for the hint... Works so far (see attached example).

However, how can I define a function so that instead of scheme, i.e.
 \score { #(createscore test) }
i can simply do:
 % This does NOT work (syntax error)
 \score { \createscore #test}
or even better:
 \createscore #test

Now that this works more or less, how can I set 'header:piece only for this 
score? I tried ly:prob-set-property! and ly:context-set-property!, but 
neither works. Which type of object is a score?


Also, how can I create a staff in scheme? A staff is no music expression, is 
it?


 2.11.40 adds a ly:score-add-output-def function that will 
 allow you define a piece of music

What exactly does that do? There's no description, and the only use is in the 
incipit example inside a lambda function used as a stencil definition. That's 
wa above my head with regards to lilypond internals.


  generate-score = #(define-music-function (parser location piece instr)
  (string string)
#{
  \score {

 IIRC #{ can only contains music expressions.

Yes, using define-music-function was also not the correct approach...

 #(eval (string-symbol (string-append piece instr #Staff))) 

 Inside scheme the # before a string is not necessary.

Oops, thanks! 

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/
\version 2.11.39

\header { title = Scores generated by Scheme piece = Scheme scores }
testmusic = {\clef bass { d4 }}
teststaff = \new Staff  \testmusic 
testPieceName = Lilypond test score

othermusic = {\clef tenor { c e g2 }}
otherstaff = \new Staff  \othermusic 
otherPieceName = Lilypond other score

anothermusic = {\clef treble { c8[ g] }}
anotherstaff = \new Staff  \anothermusic 
anotherPieceName = another score


% This is classical lilypond style, one variable per score (awkward 
% if you have hundreds of combinations, which all look the same, 
% except for the variable names, which follow a certain pattern):

% definitions in some included file, needs to be done over and over again...
lytestscore = \score { \teststaff \header { piece = \testPieceName } }
lyotherscore = \score { \otherstaff \header { piece = \otherPieceName } }
% actual inclusion in each instrument's file:
\score { \lytestscore }
\score { \lyotherscore }



% Now, how do I do that in scheme

% This works, but it seems I'm unable to put the whole scheme expression
% into a separate function, so that it can be called with \createscore args
% instead of the scheme #(createscore arg):
#(define (createscore name) 
  (ly:export
(ly:make-score 
  (primitive-eval (string-symbol (string-append name staff)))
)
  )
)
\score { #(createscore test) }
\score { #(createscore other) }

% This does NOT work (error message: syntax error, unexpected SCM_IDENTIFIER)
\score { \createscore #test}
% Neither does this (simply no effect whatsoever...
#(createscore another)

% But now my real problem: How do I set the 'header:piece property 
% only for that score? I.e. extend it to produce the equivelant of:
%
% testscore = \score {
%   \teststaff
%   \header { piece = \testPieceName }
% }

#(define (createscoreI name) 
  (let (
( thisscr (ly:make-score 
(primitive-eval (string-symbol (string-append name staff)))
  ) ))
; All of these attempts fail (prob-set-property needs a prob..., context-set-propert does not work, either)
;(ly:prob-set-property! thisscr 'header:piece test piece)
;(ly:prob-set-property! (ly:export thisscr) 'header:piece test piece)
;(ly:context-set-property! thisscr 'header:piece test piece)
(ly:export thisscr)
  )
)
\score { #(createscoreI test) }
\score { #(createscoreI other) }


lisp_scoreI.pdf
Description: Adobe PDF document
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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Simon Dahlbacka

2008/2/18, Reinhold Kainhofer [EMAIL PROTECTED]:

 Am Sonntag, 17. Februar 2008 schrieb Simon Dahlbacka:
  FWIW, it seems that Finnish is the only? language that includes the
  note/rest part.


Ahm, no, in German we also say ...

actually, what I meant (but failed to explicitly spell out) was that on that
particular page I linked to: German, Danish, Swedish, Dutch doesn't include
the note/rest part but Finnish does. Not counting the languages that use own
words, (not sure in which group I should put French though)

/Simon
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Re: Showing instrument name and correct clef with cue notes

2008-02-17 Thread Simon Bailey

hi reinhold,

On Feb 17, 2008 12:42 AM, Reinhold Kainhofer [EMAIL PROTECTED] wrote:
 Okay, this works in most cases, but when there is a line break immediately
 before the cue notes, the clef for the cue notes is already shown on the
 previous line and also as the clef for the whole staff (of course, since
 that's what we are setting as a workaround...). This is confusing at best,
 since e.g. the staff for Vc/B would suddently show a treble clef.

i just quickly scanned through my collection of orchestral trombone
parts from the past 5 years. there seem to be two approaches to
formatting clefs of cue notes over line breaks:

1.) the clef of the cued instrument is used exclusively at the
beginning of the lines (i have an example where the clef change is
_on_ the line break, the change is shown as in your example).
2.) both clefs are shown, the original one before the key signature,
the cued on after the key signature. (here, i have an example where
the change is at a line break, the cued clef is shown on the new line
only, in another part however, it is shown at both the end of the line
and after the original clef in the new line).

approach 1 seems to be the far more common, and this is how lilypond
displays it; in my view, it's also the musically correct approach, as
the music shown at the beginning of that staff _is_ in the clef
displayed.

i personally do not find the changed clef at the beginning of the line
confusing, as before i start playing again, my clef changes back. cue
notes are informational, and as long as the cue notes are visually
different and the clef change is reversed before my part starts again,
there's no problem. then again, i'm a trombonist and used to jumping
clefs. :)

regards,
sb

-- 
Do not meddle in the affairs of trombonists, for they are subtle and
quick to play fortissimo.


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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Kurt Kroon

On 2/17/08 2:44 PM, Reinhold Kainhofer [EMAIL PROTECTED] wrote:
 Ahm, no, in German we also say
 ganze Note (whole)
 halbe Note (half)
 Viertelnote (quarter)
 Achtelnote (eighth)
 Sechzehntelnote or 16tel-Note (sixteenth)
 Zweiunddreißigstelnote or 32tel-Note (32th)
 Vierundsechzigstelnote or 64tel-Note (64th)
 128tel-Note (Hunderachtundzwanzistelnote is grammatically correct, but I
 doubt that any sane person would write it out like this...)

I never said that I was (completely) sane.  Also, should that be
Hundertachtundzwanzigstelnote (with a t after Hunder- and g after -zwanzi-)?

 256tel-Note
Unsanely: Zweihundertsechsundfünfzigstelnote (?)

It looks like I rather more editing to do than I originally thought.

Oh, well.

Thanks!
Kurt




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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Kurt Kroon

On 2/17/08 3:01 PM, Simon Dahlbacka [EMAIL PROTECTED] wrote:

 2008/2/18, Reinhold Kainhofer [EMAIL PROTECTED]:
 Am Sonntag, 17. Februar 2008 schrieb Simon Dahlbacka:
  FWIW, it seems that Finnish is the only? language that includes the
  note/rest part.
 
 Ahm, no, in German we also say ...
 
 actually, what I meant (but failed to explicitly spell out) was that on that
 particular page I linked to: German, Danish, Swedish, Dutch doesn't include
 the note/rest part but Finnish does. Not counting the languages that use own
 words, (not sure in which group I should put French though)
  
 /Simon
 
Since I¹ve gotten so much great feedback, I¹m going to change that page so
it includes the note and rest names for all the listed languages, not just
Finnish and French.

Yay ... more work ...
Kurt
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Re: GDP: What term do you use? (redux)

-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1

Am Montag, 18. Februar 2008 schrieben Sie:
 I never said that I was (completely) sane.  Also, should that be
 Hundertachtundzwanzigstelnote (with a t after Hunder- and g after
 -zwanzi-)?

Yes! Now you see why no sane person would write that out in full...

  256tel-Note

 Unsanely: Zweihundertsechsundfünfzigstelnote (?)

Yes.

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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Re: GDP: What term do you use? (redux)

2008-02-17 Thread Risto Vääräniemi

Hi Kurt,

On 17/02/2008, Kurt Kroon wrote:
 So, does the preferred hyphenation follow this parsing?  If so, I'll have to
 change the entries for 32osanuotti and 64osanuotti, from

 * kolmaskymme-neskahdesosa-nuotti
 * kuudeskymme-nesneljäsosa-nuotti

 to something like this

 * kolmas-kymmenes-kahdesosa-nuotti
 * kuudes-kymmenes-neljäsosa-nuotti

 ... I think ... please correct me if I'm mistaken.

Are they used for soft hyphenation? The lower ones are much better for
that purpose.

  They are understandable but more
  common words are neljäsosanuotti and neljäsosatauko.

 Common as in:
 * Any Finnish person would understand immediately? or
 * Any Finnish _musician_ would understand immediately?

I'd say both. :-) I've not seen the neljännesosanuotti / -tauko
versions outside LP documentation. Even Google returns only a handful
of results and they are mostly from LP docs.

OTNeljännesosa is sort of redundant. Neljännes already means
neljäsosa (a quarter), so neljännesosanuotti would probably mean a
quarter part note./OT

 Odd ... they're in the table under Duration names notes and rests, but not
 under the individual entry in the Glossary.

Ah. So it seems. I would use the ones in the table.

Another thing... There's a English - Finnish musical terminology
dictionary online at:
http://www2.siba.fi/kielimateriaalit/index.php?id=61la=fi
The UI is in Finnish but it should be pretty easy to use.

Hopefully this stuff was helpful.

-Risto


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Re: Showing instrument name and correct clef with cue notes