Re: Headword for unfretted-strings
2008/10/7 Kieren MacMillan [EMAIL PROTECTED]: Ravel and Debussy are both PD, as are the early Webern that were published in the U.S. before the 1920s. All of these are unfortunately still held hostages by the French publishers :-( But six bars of Ravel won't hurt. Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Amendment to the documentation 2.10.33
Please note that the solutions provided in the referenced email could
also have been obtained using
\score { {
\set Score.skipBars = ##t
\new Staff = bla
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt}
}
}
(The interpretation of this alternative solution is that the setting
is done before the Staff begins, instead of being done at the same
time. The result is exactly the same, though).
You could also use
\layout{
\context{
\Score
skipBars = ##t
}
}
\score { {
\new Staff = bla
\new voice =blu {\voiceOne \Sopran}
\new voice =blu {\voiceTwo \Alt}
}
where the setting is done by redefining the way all scores are typeset,
once for the whole file.
Note that the setting you tried to do is just one example out of hundreds
or thousands of possible property settings to do in LilyPond. Therefore,
it isn't possible to explain all details of how to do property settings
at every single place in the manual. Rather, the intention is to
describe
it well at one place, namely the Learning Manual (included in the
documentation
for version 2.11). I hope you have read it.
/Mats
Quoting David Hatherly [EMAIL PROTECTED]:
Section 3.4 of the lilypond manual describes how to produce a
multi-part score,
and it also talks about condensing multibar rests.
It would be useful if it was made clear here that the and commands are
needed in this context - see the message in the user archives at
http://lists.gnu.org/archive/html/lilypond-user/2008-02/msg00275.html.
It took me quite a while to find this solution.
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Re: Headword for unfretted-strings
Jonathan Kulp wrote Tuesday, October 07, 2008 5:04 AM Ok I've put together six bars of the Ravel quartet. File is attached so you can see it looks like it'll be appropriate. It would be nice to have a couple of fingerings and bowing indications, but this passage didn't have any. There are some pizz. and arco and up-bow on the next system but it would get long if I kept going. Should I go ahead and include the next few bars? This still needs some tweaking to make it look like the original (tighten staff spacing, get rid of the time signature) but otherwise I like how it looks. Wow! That was quick! I make a request last thing at night, go to bed, and there it is before breakfast! It looks great! Unfortunately it would get too long if you added any more bars. I've added the correct midi instruments (strings sound poor, but a piano sounded worse on this piece!) I've also removed the time signature as you suggested, but I've done nothing about the staff spacing. Any suggestions for this? I'll add it to the docs so we can see how it looks. I'm not sure about the copyright position though :( Valentin's happy, but maybe others will not be. We already have Ravel's sonatine (1905) in Keyboards, so maybe these few bars are OK too. Many thanks again. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Jonathan
Here's your score with my slight mods. Thanks again
for doing this so promptly. It should appear in the
2.11 docs tomorrow.
Trevor
- Original Message -
From: Jonathan Kulp [EMAIL PROTECTED]
To: Trevor Daniels [EMAIL PROTECTED]
Cc: Kieren MacMillan [EMAIL PROTECTED]; Lilypond-User List
lilypond-user@gnu.org
Sent: Tuesday, October 07, 2008 12:03 PM
Subject: Re: Headword for unfretted-strings
Oh man, I really don't know about the copyright. If it was published in
1905, then it's in p.d. in the U.S. If I'm not mistaken, the pdf I
downloaded from the International Music Library Score Project was made
from a Dover score, and I think those are always made from public domain
stuff. If there's any hesitation to include it, then I could do a
fragment of something older. Even if we can't use the Ravel, it was a fun
diversion from the big orchestral score I've been trudging through and I
learned a number of things I hadn't known how to do before :).
I don't really know how to deal with the staff spacing and was just going
to look at the docs for guidance when I had some more time.
Glad you're pleased with it, Trevor. Could you email me the code with the
time sig removed? I've never figured out how to do this except by making
it transparent, which looks ugly b/c there's a blank space. I want to see
how you did it.
Jon
Trevor Daniels wrote:
Jonathan Kulp wrote Tuesday, October 07, 2008 5:04 AM
Ok I've put together six bars of the Ravel quartet. File is attached so
you can see it looks like it'll be appropriate. It would be nice to
have a couple of fingerings and bowing indications, but this passage
didn't have any. There are some pizz. and arco and up-bow on the next
system but it would get long if I kept going. Should I go ahead and
include the next few bars?
This still needs some tweaking to make it look like the original
(tighten staff spacing, get rid of the time signature) but otherwise I
like how it looks.
Wow! That was quick! I make a request last thing
at night, go to bed, and there it is before breakfast!
It looks great! Unfortunately it would get too long
if you added any more bars. I've added the correct midi
instruments (strings sound poor, but a piano sounded
worse on this piece!) I've also removed the time
signature as you suggested, but I've done nothing
about the staff spacing. Any suggestions for this?
I'll add it to the docs so we can see how it looks.
I'm not sure about the copyright position though :(
Valentin's happy, but maybe others will not be. We
already have Ravel's sonatine (1905) in Keyboards,
so maybe these few bars are OK too.
Many thanks again.
Trevor
--
Jonathan Kulp
http://www.jonathankulp.com
%**
% Inspirational header for Unfretted Strings section %
% of Lilypond Documentation. This passage is taken %
% from Ravel's String Quartet. %
% %
%\version 2.11.61
#(set-global-staff-size 15)
\paper{
ragged-end=##t
line-width=17\cm
indent=0\cm
}
\layout {
\context { \Score
\remove Bar_number_engraver
\override PaperColumn #'keep-inside-line = ##t
\override NonMusicalPaperColumn #'keep-inside-line = ##t
}
}
%*** MACROS **%
#(define (octave-up m t)
(let* ((octave (1- t))
(new-note (ly:music-deep-copy m))
(new-pitch (ly:make-pitch
octave
(ly:pitch-notename (ly:music-property m 'pitch))
(ly:pitch-alteration (ly:music-property m 'pitch)
(set! (ly:music-property new-note 'pitch) new-pitch)
new-note))
#(define (octavize-chord elements t)
(cond ((null? elements) elements)
((eq? (ly:music-property (car elements) 'name) 'NoteEvent)
(cons (car elements)
(cons (octave-up (car elements) t)
(octavize-chord (cdr elements) t
(else (cons (car elements) (octavize-chord (cdr elements ) t)
#(define (octavize music t)
(if (eq? (ly:music-property music 'name) 'EventChord)
(ly:music-set-property! music 'elements (octavize-chord
(ly:music-property music 'elements) t)))
music)
octaves = #(define-music-function (parser location arg mus) (integer? ly:music?)
(music-map (lambda (x) (octavize x arg)) mus))
%\relative c' { d e \octaves #-1 { \times 2/3 {f g c }}} % this is an example of the macro in practice
%*
% This is a sweet macro by Mark Polesky to make the 4th-string
% indication look like it did in the original score
%
#(define-markup-command (No layout props n) (string?)
(define (format-char c)
(let ((s (string c)))
(if (number? (string-number s))
(markup #:hspace 0.125 #:number s #:hspace 0.125)
(markup #:hspace 0 #:fontsize 2 s
(define (format-string s i)
(let ((n
Re: Amendment to the documentation 2.10.33
David The documentation has been almost completely rewritten for the next release, and can be seen as part of the 2.11 development branch now. The Learning Manual in particular is new, and is almost equally applicable to 2.10. It was designed to be read in the order the sections appear so as to introduce topics like the one you mention as clearly as possible. Please look at it, and let us know if anything there is unclear, as we shall be making no more changes to the 2.10 documentation, but we do appreciate comments on the 2.11 documentation. Thanks Trevor - Original Message - From: David Hatherly [EMAIL PROTECTED] To: lilypond-user@gnu.org Sent: Tuesday, October 07, 2008 12:32 AM Subject: Amendment to the documentation 2.10.33 Section 3.4 of the lilypond manual describes how to produce a multi-part score, and it also talks about condensing multibar rests. It would be useful if it was made clear here that the and commands are needed in this context - see the message in the user archives at http://lists.gnu.org/archive/html/lilypond-user/2008-02/msg00275.html. It took me quite a while to find this solution. ___ 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: Headword for unfretted-strings
Hi Valentin, All of these are unfortunately still held hostages by the French publishers :-( Those damn French… they always take their own sweet time! ;-) But six bars of Ravel won't hurt. Agreed. Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Headword for unfretted-strings
You can remove the time signature like so:
\score {
.
.
.
\layout {
.
.
\context {
\Staff
\remove Time_signature_engraver
}
}
}
Nick Payne
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Jonathan Kulp
Sent: Tuesday, 7 October 2008 22:04
To: Trevor Daniels
Cc: Lilypond-User List
Subject: Re: Headword for unfretted-strings
Could you email me the code with
the time sig removed? I've never figured out how to do this except by
making it transparent, which looks ugly b/c there's a blank space. I
want to see how you did it.
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Re: Headword for unfretted-strings
So, do I need to do a different headword, or can this small excerpt be considered fair use? (Or does the concept of fair use apply in French copyright law?) Jon Reinhold Kainhofer wrote: It's true that in most of the European countries (and many other countries around the world) Ravel's works become public domain on January 1, 2008. However, as far as I know (but then, IANAL) France is a little exception in that it does NOT count the years of the 2nd World War towards these 70 years for authors, who served in the war, so Ravel is apparently still protected in France (see also the English Wikipedia article http://en.wikipedia.org/wiki/French_copyright_law), but not in hardly any other country. However, we want to distribute lilypond also in France, so we have to abide by their copyright laws, too. Cheers, Reinhold -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: repeats and ties
The problem of a tie, which connects the last note in a volta with its first
note, seems to be without solution still (?)
Any hints?
(The repeatTie-command doesn't help.)
example:
{
\relative c'
{
\partial 8*5
d8 f d f g~
\repeat volta 2
{
g4 r4 es'2 | d4 r8 d, f d f g~
}
\alternative
{
{
g4 r4 c8 b4 a8~ | a4 r8 d, f d f g~ % here is the problem!
}
{
g8\repeatTie c8 b4 a8 as~ as4 | g es8 d~ d2
\bar |.
}
}
}
}
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Re: Headword for unfretted-strings
Find a different headword. You don't want to screw around with fair use. Is fair use under US law? Is it fair dealing under Canadian law? IIRC the last time we looked at this, my not-a-lawyer reading of the Canadian copyright law was that, since we weren't quoting a small exerpt *for the purpose of discussing that music*, it wasn't allowed. Of course, there was a new copyright law being proposed for Canada; it's been put off for the election, but I'm sure that it'll come back a few months from now. Would this quotation fit under that law's notion of fair dealing? Dunno. And I haven't even *begun* to investigate what each European country's notion of using a small piece of copywritten material count as. Look guys: the 20th century is dead. Just assume that anything cultural from 1900 onwards is locked up, and you won't get into trouble and won't waste time on this garbage. I mean, how much brainpower has gone into this thread? We have professors, composers, programmers, musicians... reading emails, reading web-pages, writing emails... time to cut your losses. If you don't like baroque/classical/romantic music, then compose your own stuff. Hey, that's why I started composition in the first place -- I wanted to record a Britten solo cello suite and make it freely available on the 'net, but discovered that it was completely forbidden. Not-cheers, - Graham On Tue, 07 Oct 2008 08:31:51 -0500 Jonathan Kulp [EMAIL PROTECTED] wrote: So, do I need to do a different headword, or can this small excerpt be considered fair use? (Or does the concept of fair use apply in French copyright law?) Jon Reinhold Kainhofer wrote: It's true that in most of the European countries (and many other countries around the world) Ravel's works become public domain on January 1, 2008. However, as far as I know (but then, IANAL) France is a little exception in that it does NOT count the years of the 2nd World War towards these 70 years for authors, who served in the war, so Ravel is apparently still protected in France (see also the English Wikipedia article http://en.wikipedia.org/wiki/French_copyright_law), but not in hardly any other country. However, we want to distribute lilypond also in France, so we have to abide by their copyright laws, too. Cheers, Reinhold -- Jonathan Kulp http://www.jonathankulp.com ___ 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: [documentation] search engine
James E. Bailey wrote: You know, you can use the one big page option, and use yourbrowser to search the documentation. ok, so no need for a search engine? Alternativeley, you can search the documentation with the google search engine. Scroogle or ixquick is what you supposed to say? ;) Am Oct 7, 2008 um 5:48 AM schrieb Grammostola Rosea: Hi, Wouldn't it be a good idea to have an embedded search engine on the website? It would searching for a specific term a bit more easy... (ps. please not Google... there are not very privacy friendly... maybe this are good options? http://eu.ixquick.com/eng/link_instructions.html or http://lucene.apache.org/nutch/about.html ?) Regards, ___ 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
dynamics and midi
Hi,
I made some score for my mama for practicing vocals How do I get
those dynamics in the midi output?
staffSoprano = \new Staff {
\time 4/4
\set Staff.instrumentName=Soprano
\set Staff.midiInstrument=choir aahs
\key d \major
\clef treble
\relative c' {
\context Voice = melodySop {
\dynamicUp
% Type notes here
\autoBeamOff
g''1 | fis2 r2 | g4.\ff g8 g4 g4 | g2. g4 | e4.\p e8 fis2 |
cis4. cis8 d4 fis | fis1 | e2 r4 a,4\f | fis'2. fis4 | e2. e8 e | g2 g4
g | fis2. fis8 fis |
g2. g4 | fis8. a16 a8 a fis4 d | a2 r4 e'8\p e | e2. e4 |
}
\bar |.
}
}
\score {
\staffSoprano
\midi {
}
\layout {
}
}
\paper {
}
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Re: repeats and ties
Sorry - I just found out a (the?) solution:
{
\relative c'
{
\partial 8*5
d8 f d f g~
\repeat volta 2
{
g4 r4 es'2 | d4 r8 d, f d f g~
}
\alternative
{
{
g4 r4 c8 b4 a8~ | a4 r8 d, f d f g\laissezVibrer % here was the problem!
}
{
g8\repeatTie c8 b4 a8 as~ as4 | g es8 d~ d2
\bar |.
}
}
}
}
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Re: Amendment to the documentation 2.10.33
On 10/6/08 5:32 PM, David Hatherly [EMAIL PROTECTED] wrote: Section 3.4 of the lilypond manual describes how to produce a multi-part score, and it also talks about condensing multibar rests. It would be useful if it was made clear here that the and commands are needed in this context - see the message in the user archives at http://lists.gnu.org/archive/html/lilypond-user/2008-02/msg00275.html. It took me quite a while to find this solution. Thank you for your concern, David. The 2.10 documentation is woefully out of date. LilyPond 2.12 will be released very shortly, and the documentation has been dramatically rewritten. I recommend that you get the current development version of LilyPond (it is very stable, probably more so than 2.10) and refer to its documentation. Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
\mark, chords and notes collide
Hi
In the following example the \mark collides with chords and notes.
\chords { c1 c }
\new PianoStaff
\new Staff = upper {
\relative c'' {
c16 \mark \markup \bold Test g a b r2.
\mark \markup \bold LongTest c16 g a b r2.
}
\addlyrics { la la la la la la la la }
}
\new Staff = lower {
\relative c'' {
c4 r2.
c4 r2.
}
}
I'd like to have the first note, the chord and the \mark left-aligned
with \mark in the middle and vertical space between them reasonable.
How can I get that?
BTW: Does anyone know the latex-package layouts (as introduced in the
latex companion)? It renders the layout of a page with all properties
(margins etc) displayed by lines and text. Something similar would be
awful for lilypond. I always feel like groping in the dark with all
those properties and spacing etc.
Thanks, Sebastian.
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Re: Headword for unfretted-strings
New headword will be coming soon. Probably a late Beethoven quartet. We don't need copyright headaches. Jon Graham Percival wrote: Find a different headword. You don't want to screw around with fair use. Is fair use under US law? Is it fair dealing under Canadian law? IIRC the last time we looked at this, my not-a-lawyer reading of the Canadian copyright law was that, since we weren't quoting a small exerpt *for the purpose of discussing that music*, it wasn't allowed. Of course, there was a new copyright law being proposed for Canada; it's been put off for the election, but I'm sure that it'll come back a few months from now. Would this quotation fit under that law's notion of fair dealing? Dunno. And I haven't even *begun* to investigate what each European country's notion of using a small piece of copywritten material count as. Look guys: the 20th century is dead. Just assume that anything cultural from 1900 onwards is locked up, and you won't get into trouble and won't waste time on this garbage. I mean, how much brainpower has gone into this thread? We have professors, composers, programmers, musicians... reading emails, reading web-pages, writing emails... time to cut your losses. If you don't like baroque/classical/romantic music, then compose your own stuff. Hey, that's why I started composition in the first place -- I wanted to record a Britten solo cello suite and make it freely available on the 'net, but discovered that it was completely forbidden. Not-cheers, - Graham On Tue, 07 Oct 2008 08:31:51 -0500 Jonathan Kulp [EMAIL PROTECTED] wrote: So, do I need to do a different headword, or can this small excerpt be considered fair use? (Or does the concept of fair use apply in French copyright law?) Jon Reinhold Kainhofer wrote: It's true that in most of the European countries (and many other countries around the world) Ravel's works become public domain on January 1, 2008. However, as far as I know (but then, IANAL) France is a little exception in that it does NOT count the years of the 2nd World War towards these 70 years for authors, who served in the war, so Ravel is apparently still protected in France (see also the English Wikipedia article http://en.wikipedia.org/wiki/French_copyright_law), but not in hardly any other country. However, we want to distribute lilypond also in France, so we have to abide by their copyright laws, too. Cheers, Reinhold -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
Sebastian Menge wrote: [...] For the long lines: I heard this stuff - 40 to 80 characters, best between 50 and 60, serifs (although not on the screen, depending on whom you ask), microtypographically fitted hyphens and dots at the Just looked up a research article on this. I dont understand it really, but it seems to be not that easy. http://www.surl.org/usabilitynews/72/LineLength.asp Hm. They mention similar ideas as we did in their discussion part. But, sadly, I think this is the only thing you can take serious in this study... Twenty (!) students? And they want to get representative results? All experienced screen readers? Well, this might fit the LilyPond user community, but I'm not absolutely sure about it. Paging, but /no scrolling/ allowed? WTF? I use scrolling all the time... At second thought, sometimes I even seem not to jump to the next line by my eye but by scrolling a line. I prefer to either read near the very top or the very bottom of the screen. May be this habit comes from large line lengths on web pages where the designers didn't think about ergonomy... But it's something I subsume under print vs. screen design differences. In school, I learned reading using a ruler to fix concentration on one line. This is a reasoned method and works really well. Now, you don't want to tinker around with a ruler reading the news during breakfast, but a web browser offers a very similar feature for free - scrolling near the margins of the view. By the way, the line length of their article (fixed to 620px @ 11pt) matches about 110 characters. In contrast, a line of the current version of the LilyPond manual is about 140 characters at a width of 73% x 1280px = 934px, here. It's not that much more, and it's clearly the better readable of the two: I don't have sight problems, but I zoomed into the research article, and I can read the LilyPond site without problems. (All font sizes etc. the Firefox default on Mac.) Cheers Alexander ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
[documentation] search engine
Hi, Wouldn't it be a good idea to have an embedded search engine on the website? It would searching for a specific term a bit more easy... (ps. please not Google... there are not very privacy friendly... maybe this are good options? http://eu.ixquick.com/eng/link_instructions.html or http://lucene.apache.org/nutch/about.html ?) Regards, ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
2008/10/7 Jonathan Kulp [EMAIL PROTECTED]: Oh man, I really don't know about the copyright. If it was published in 1905, then it's in p.d. in the U.S. In Europe (European Economic Area) the term of copyright ends when the author has been dead for more than 70 years. Ravel died in December 28, 1937 so almost 71 years has passed since his death. Based on that Ravel's music should be PD. If Valentin has more accurate information, feel free to correct me. -Risto ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
2008/10/7 Nick Payne [EMAIL PROTECTED]: You can remove the time signature like so: Or: \override Score.TimeSignature #'stencil = ##f t. Risto -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jonathan Kulp Sent: Tuesday, 7 October 2008 22:04 To: Trevor Daniels Cc: Lilypond-User List Subject: Re: Headword for unfretted-strings Could you email me the code with the time sig removed? I've never figured out how to do this except by making it transparent, which looks ugly b/c there's a blank space. I want to see how you did it. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Oh man, I really don't know about the copyright. If it was published in 1905, then it's in p.d. in the U.S. If I'm not mistaken, the pdf I downloaded from the International Music Library Score Project was made from a Dover score, and I think those are always made from public domain stuff. If there's any hesitation to include it, then I could do a fragment of something older. Even if we can't use the Ravel, it was a fun diversion from the big orchestral score I've been trudging through and I learned a number of things I hadn't known how to do before :). I don't really know how to deal with the staff spacing and was just going to look at the docs for guidance when I had some more time. Glad you're pleased with it, Trevor. Could you email me the code with the time sig removed? I've never figured out how to do this except by making it transparent, which looks ugly b/c there's a blank space. I want to see how you did it. Jon Trevor Daniels wrote: Jonathan Kulp wrote Tuesday, October 07, 2008 5:04 AM Ok I've put together six bars of the Ravel quartet. File is attached so you can see it looks like it'll be appropriate. It would be nice to have a couple of fingerings and bowing indications, but this passage didn't have any. There are some pizz. and arco and up-bow on the next system but it would get long if I kept going. Should I go ahead and include the next few bars? This still needs some tweaking to make it look like the original (tighten staff spacing, get rid of the time signature) but otherwise I like how it looks. Wow! That was quick! I make a request last thing at night, go to bed, and there it is before breakfast! It looks great! Unfortunately it would get too long if you added any more bars. I've added the correct midi instruments (strings sound poor, but a piano sounded worse on this piece!) I've also removed the time signature as you suggested, but I've done nothing about the staff spacing. Any suggestions for this? I'll add it to the docs so we can see how it looks. I'm not sure about the copyright position though :( Valentin's happy, but maybe others will not be. We already have Ravel's sonatine (1905) in Keyboards, so maybe these few bars are OK too. Many thanks again. Trevor -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Thanks, Trevor. I hadn't even listened to the MIDI before. I'm sure the strings sound much better. I'll have to check the tempo of this passage and set it appropriately, though, b/c I don't think it's correct right now. And I see now how easy it is to remove the time signature. :) Jonathan Trevor Daniels wrote: Jonathan Here's your score with my slight mods. Thanks again for doing this so promptly. It should appear in the 2.11 docs tomorrow. Trevor -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Graham, waste time on this garbage I find is baffling — and, frankly, more than a little sad — that you think discussing copyright issues is a waste of time for professors, composers, programmers, musicians... But that's your issue, I guess. Not-so-cheers also, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: passing a Context to a scheme function (format-metronome-markup)
You can't do this; the format-metronome-markup is run during
interpreting, from Metronome_mark_engraver, which will pass the
context object by doing context()-self_scm() in C++.
I suggest you refactor the code a bit, so your call and
format-metronome-markup use the same code.
On Mon, Oct 6, 2008 at 7:10 PM, Graham Percival [EMAIL PROTECTED] wrote:
I'm experimenting with calling (format-metronome-markup) directly,
but I'm having difficulty with the context argument.
// main code:
(define-public (format-metronome-markup text dur count context)
...
My code:
\header{
piece = #(format-metronome-markup Allegro 4 120 'Global)
}
\relative c' { c }
Error message:
foo.ly:3:11: error: GUILE signaled an error for the expression
beginning here
piece = #
(format-metronome-markup Allegro 4 120 'Global)
Wrong type argument in position 1 (expecting Context): Global
I've tried #f, '(), 'void, 'Score, and a few other things I can't
remember. The only time that context occurs in the function is
(let* ((hide_note (eq? #t (ly:context-property context
'tempoHideNote))) which doesn't concern me -- I want this to always
resolve to false. How do I give the function a Context?
--
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Re: Headword for unfretted-strings
Ravel died in 1937. In almost all countries, copyright lasts 70 years past the death of the author (I think Canada still has the 50-year rule, as one of the very few exceptions; and exceptions never extend the period of protection). Since Jan 1, 2008, Ravel's works are free of copyright. U.S. has had a regulation that was based on the date of publication (50 years after publication the work would enter p.d.). That regulation holds only for a limited time window of publication date. It still applies e.g. to some Stravinsky works that can be found at Kalmus etc (and some Ravel works until 2008-01-01), but not for vaguely recent work. Rutger Jonathan Kulp wrote: Oh man, I really don't know about the copyright. If it was published in 1905, then it's in p.d. in the U.S. If I'm not mistaken, the pdf I downloaded from the International Music Library Score Project was made from a Dover score, and I think those are always made from public domain stuff. If there's any hesitation to include it, then I could do a fragment of something older. Even if we can't use the Ravel, it was a fun diversion from the big orchestral score I've been trudging through and I learned a number of things I hadn't known how to do before :). I don't really know how to deal with the staff spacing and was just going to look at the docs for guidance when I had some more time. Glad you're pleased with it, Trevor. Could you email me the code with the time sig removed? I've never figured out how to do this except by making it transparent, which looks ugly b/c there's a blank space. I want to see how you did it. Jon Trevor Daniels wrote: Jonathan Kulp wrote Tuesday, October 07, 2008 5:04 AM Ok I've put together six bars of the Ravel quartet. File is attached so you can see it looks like it'll be appropriate. It would be nice to have a couple of fingerings and bowing indications, but this passage didn't have any. There are some pizz. and arco and up-bow on the next system but it would get long if I kept going. Should I go ahead and include the next few bars? This still needs some tweaking to make it look like the original (tighten staff spacing, get rid of the time signature) but otherwise I like how it looks. Wow! That was quick! I make a request last thing at night, go to bed, and there it is before breakfast! It looks great! Unfortunately it would get too long if you added any more bars. I've added the correct midi instruments (strings sound poor, but a piano sounded worse on this piece!) I've also removed the time signature as you suggested, but I've done nothing about the staff spacing. Any suggestions for this? I'll add it to the docs so we can see how it looks. I'm not sure about the copyright position though :( Valentin's happy, but maybe others will not be. We already have Ravel's sonatine (1905) in Keyboards, so maybe these few bars are OK too. Many thanks again. Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
On Tue, 7 Oct 2008 10:43:28 -0400 Kieren MacMillan [EMAIL PROTECTED] wrote: Graham, waste time on this garbage I find is baffling ___ and, frankly, more than a little sad ___ that you think discussing copyright issues is a waste of time for professors, composers, programmers, musicians... But that's your issue, I guess. Copyright was introduced to promote the progress of sciences and the arts. Do you think that including a 4-bar exerpt of a Ravel string quartet reduces Ravel's art? Or that he might composer less music if we included the exerpt? I don't think that anybody seriously thinks that we would be *morally* wrong to include four bars of anybody's music in order to demonstrate typographical features of lilypond. However, we would clearly be *legally* wrong to do so. In this case, I would argue that copyright law is *determental* to the arts. In fact, I think we'd be a lot better off if copyright law was scrapped entirely. It's impossible to control the spread of media -- to quote somebody, making digital bits un-copyable is like making water not wet. We should just bite the bullet and scrap copyright. Artists and scientists can be paid in other ways -- an academic researcher could get promotions and tenure based on published papers (hey, that's what we have already!), and artists could be funded by comissions (some are already, and that was the historical model). Leaving aside those large-scale political discussions, focus on the lilypond documentation. Is it worth wading through copyright law in order to determine if we can use four bars of Ravel instead of four bars of Beethoven? Yes, 20th century music involves more complicated engraving, so it's better for showing off advanced lilypond features... but really, a nice Beethoven or Dvorak string quartet will achieve *almost* as most inspiration, and with *far* less headache. The stated goal of finding an inspiration headword for strings are *not* being met by discussing French copyright law, so this 20+email thread is garbage[1]. Cheers, - Graham [1] I have to admit that I found the don't count WWII years towards copyright for soldiers law fascinating, and in another context I'd be happy to continue discussing it. Again, the garbage comment was in the context of lilypond doc improvements. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
On Tue, Oct 7, 2008 at 4:20 AM, Valentin Villenave [EMAIL PROTECTED] wrote: 2008/10/7 Kieren MacMillan [EMAIL PROTECTED]: Ravel and Debussy are both PD, as are the early Webern that were published in the U.S. before the 1920s. All of these are unfortunately still held hostages by the French publishers :-( Is Ravel? He died in 1937, that would make his music PD as of 2008. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
On Tue, Oct 7, 2008 at 1:04 PM, Graham Percival [EMAIL PROTECTED] wrote: On Tue, 7 Oct 2008 10:43:28 -0400 Kieren MacMillan [EMAIL PROTECTED] wrote: Graham, waste time on this garbage I find is baffling ___ and, frankly, more than a little sad ___ that you think discussing copyright issues is a waste of time for professors, composers, programmers, musicians... Now that I've had a bit more time to think about it, I agree it's sad -- very sad that copyright law is considered vital for those groups. Frankly, I think most of these don't follow the letter of the law, and I am not sure if there would be much of a practical problem if we quoted a few bars of Ravel. AFAICS the worst that could happen is that they would force us to take out that part of the manual. The problem with copyright law is that it is so complicated that realistically noone is able to follow the letter of the law, and everyone is forced to figure for himself what the spirit of the law is. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: passing a Context to a scheme function (format-metronome-markup)
-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1
Am Dienstag, 7. Oktober 2008 schrieb Reinhold Kainhofer:
Am Dienstag, 7. Oktober 2008 schrieb Han-Wen Nienhuys:
You can't do this; the format-metronome-markup is run during
interpreting, from Metronome_mark_engraver, which will pass the
context object by doing context()-self_scm() in C++.
Actually, as Graham noticed, there is only one spot where the context is
used, namely to obtain the tempoHideNote property, which Graham doesn't
need anyway.
A quick hack would be to simply pass some random context to the function
and hope that things work out. For example, one can pass the default paper
block (nothing special about that block, but it was the first thing that
came to my mind, since we already had something similar with extracting the
papersize names):
A much cleaner way would be to change the format-metronome-markup function to
make the context argument optional. If it is not given, simply default to #f
for hide-note:
(define-public (format-metronome-markup text dur count . context)
(let* ((ctx (and (pair? context) (car context)))
(hide-note (and ctx (eq? #t (ly:context-property
ctx 'tempoHideNote
(note-mark (if (and (not hide-note) (ly:duration? dur))
...
I don't know how useful this might be in general, but since it's such an easy
feature (and I don't think it breaks anything), I prepared a patch:
http://codereview.appspot.com/7055
What do you think?
One can then simply call
\version 2.11.62
\header{
piece = #(format-metronome-markup Allegro (ly:make-duration 2) 120)
}
\relative c' { c }
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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Re: Headword for unfretted-strings
Thanks again, Jonathan - that seems the best approach. I'll replace it straight after breakfast tomorrow, which means people can see the Ravel headword for just one day! Make the most of it! I hate to say this, but the Keyboards headword is also by Ravel ... The most interesting comment in this thread was why don't we (ie the composers among us - which definitely excludes me) write our own inspirational head-words? The features of the associated section could be fully demonstrated and the composer would get some publicity in the credit for his/her contribution to LilyPond. I might take this a little further. A composer friend of mine (who is unfortunately wedded to Sibelius) has agreed I could use a snippet from one of his works for the vocal headword. Or would you like to contribute a few bars from your opera, Valentin? Trevor - Original Message - From: Jonathan Kulp [EMAIL PROTECTED] To: Graham Percival [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Sent: Tuesday, October 07, 2008 4:34 PM Subject: Re: Headword for unfretted-strings Graham's right. Too much time on copyright. I've selected a very nice passage from Beethoven's Op. 127 and will begin setting it later today. With any luck I'll send it out by the late owl and it'll be waiting with Trevor's breakfast tomorrow ;-) Jon Graham Percival wrote: complicated engraving, so it's better for showing off advanced lilypond features... but really, a nice Beethoven or Dvorak string quartet will achieve *almost* as most inspiration, and with *far* less headache. The stated goal of finding an inspiration headword for strings are *not* being met by discussing French copyright law, so this 20+email thread is garbage[1]. Cheers, - Graham [1] I have to admit that I found the don't count WWII years towards copyright for soldiers law fascinating, and in another context I'd be happy to continue discussing it. Again, the garbage comment was in the context of lilypond doc improvements. -- Jonathan Kulp http://www.jonathankulp.com ___ 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: Headword for unfretted-strings
I thought about using something from one of my own works when doing the fretted-strings headword, but all of my coolest stuff is published and I don't own the copyright anymore. I do have some unpublished guitar music, but it wouldn't have displayed as many features of Lilypond as the Mertz example that I ended up using. As for keyboards, I'd be happy to share a solo piano work of mine or even something for four-hands, as I still have copyright on these things. Not sure if they'd be inspiring enough or not. The solo piece Tarantella is already engraved in Lilypond and the source code can be downloaded here if you want to see it: http://www.jonathankulp.com/Tarantella.html If I had anything for bowed strings I'd definitely use it, but I don't. I'm about to start on the Beethoven excerpt... Jon Trevor Daniels wrote: Thanks again, Jonathan - that seems the best approach. I'll replace it straight after breakfast tomorrow, which means people can see the Ravel headword for just one day! Make the most of it! I hate to say this, but the Keyboards headword is also by Ravel ... The most interesting comment in this thread was why don't we (ie the composers among us - which definitely excludes me) write our own inspirational head-words? The features of the associated section could be fully demonstrated and the composer would get some publicity in the credit for his/her contribution to LilyPond. I might take this a little further. A composer friend of mine (who is unfortunately wedded to Sibelius) has agreed I could use a snippet from one of his works for the vocal headword. Or would you like to contribute a few bars from your opera, Valentin? Trevor - Original Message - From: Jonathan Kulp [EMAIL PROTECTED] To: Graham Percival [EMAIL PROTECTED] Cc: lilypond-user@gnu.org Sent: Tuesday, October 07, 2008 4:34 PM Subject: Re: Headword for unfretted-strings Graham's right. Too much time on copyright. I've selected a very nice passage from Beethoven's Op. 127 and will begin setting it later today. With any luck I'll send it out by the late owl and it'll be waiting with Trevor's breakfast tomorrow ;-) Jon Graham Percival wrote: complicated engraving, so it's better for showing off advanced lilypond features... but really, a nice Beethoven or Dvorak string quartet will achieve *almost* as most inspiration, and with *far* less headache. The stated goal of finding an inspiration headword for strings are *not* being met by discussing French copyright law, so this 20+email thread is garbage[1]. Cheers, - Graham [1] I have to admit that I found the don't count WWII years towards copyright for soldiers law fascinating, and in another context I'd be happy to continue discussing it. Again, the garbage comment was in the context of lilypond doc improvements. -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: [documentation] search engine
2008/10/7 Grammostola Rosea [EMAIL PROTECTED]: Wouldn't it be a good idea to have an embedded search engine on the website? It would searching for a specific term a bit more easy... As it happens, I have hired a web-dev to work on it (well, my little brother actually, but he's still charging me as if we were unrelated :-) We might (might) see something about it within a few weeks. Cheers, Valentin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Augmentation and Diminution
Is there a way to tell Lilypond to automatically increase or decrease the note values by a certain ratio? I have a number of transcriptions done at a fixed ratio but in the modern edition some will need their note values doubled. I'm hoping this is as simple as adding some directive at the top of the file. Thanks for your time and help. Aaron ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
That's a nice-looking piece and would certainly show off more of
Lilypond's capabilities than the Beethoven passage I'm working on. If
y'all would rather use David's piece that'd be fine with me. I've
finished 2 bars of the Beethoven (there would only be 2 more) so I could
bail out now or keep going. Either way is fine with me. I'll attach
what I've done of the Beethoven so you can compare.
Jon
David Séverin wrote:
I have a violin solo piece I wrote last summer [european, I am living in Brasil
now]
and has been played twice in concert in France last year.
I am trying to type set with lilypond and if you think it's a valuable exemple
for the doc, I am very please to offer what ever 'meseaures' you would need,
should
it be the all piece [I plan to put it on internet under common right or so ...]
I have attached the yet to be completed version I have:
- 'times', rests and bars are still shown here for debuging purposes,
but
in the final version they will be hidden
If you think it's good enough and fit the doc objective, please let me know,
I'll
forward the .ly file [and hurry the type setting of the last 2 pages]
Actually I was planning to finalize it and ask for lily experts [willing to] to
do
some code review to help me produce better results with higher code quality.
Cheers,
David
--
Jonathan Kulp
http://www.jonathankulp.com
%**
% Inspirational header for Unfretted Strings section %
% of Lilypond Documentation. This passage is taken %
% from Beethoven's String Quartet in E-flat major,%
% Op. 127, 2nd movement, measures 47-5?. %
% %
%\version 2.11.61
#(set-global-staff-size 15)
\paper{
ragged-end=##t
line-width=17\cm
indent=0\cm
}
\layout {
\context { \Score
\remove Bar_number_engraver
\override PaperColumn #'keep-inside-line = ##t
\override NonMusicalPaperColumn #'keep-inside-line = ##t
}
}
%*** MACROS **%
piucresc = \markup { \italic { \fontsize #+2.0 più cresc. }}
pococresc = \markup { \italic { \fontsize #+2.0 poco cresc. }}
vlnOne = \relative c' {
\key aes \major
\time 4/4
\set Staff.midiInstrument = violin
g16 g'8_\pococresc g32( aes bes16-.) bes8 bes32( c % 47
\stemUp
des16-.) es,-. es'-. es32( f % 47
\stemNeutral
g16-.) bes8( c32 des |% 47
es8-.) r r aes,16( es32 des c16) es8( f32 ges % 48
ges16-.)_\piucresc ges ~ ges32( aes bes c)| % 48
}
vlnTwo = \relative c'' {
\key aes \major
\time 4/4
\set Staff.midiInstrument = violin
es16_\pococresc es,8 es32( f g16-.) g8 g32( aes % 47
bes16-.) g'8 g32( aes bes16-.) g8( aes32 bes | % 47
c8-.) aes16([ es32 des] c8-.) aes' ~ % 48
aes16 c8( des32 es) es16-._\piucresc es, ~ es32( f ges ges-.) | % 48
}
vlnTwoDyn = {
}
vla = \relative c' {
\key aes \major
\time 4/4
\clef alto
\set Staff.midiInstrument = viola
bes es16_\pococresc g bes g des' es, des' es, % 47
es des'8 r r des''16( c32 bes | % 47
%\override Beam #'auto-knee-gap = #6
\stemDown
aes16) \stemUp c,,8 c32( es aes16-.) % 48
\stemNeutral
c8[ c32( des] es8-.) % 48
aes16([ f32 des)] c16(_\piucresc aes32 c,) es'16( c32 aes) | % 48
}
vlaDyn = {
}
vc = \relative c {
\key aes \major
\time 4/4
\clef bass
\set Staff.midiInstrument = cello
es16_\pococresc des' es, des' es, des' es, des' % 47
es,16 r es'16( des32 bes es,16-.) r r8 | % 47
r16 aes8 aes32( bes c16-.) es8[ es32( f] % 48
ges8-.) r16 aes,16 ~ % 48
aes32(_\piucresc es c aes) aes16( ges32 es) | % 48
}
vcDyn = {
}
Score Block %%
\score {
% creates new grand staff
\new StaffGroup = strings
\context Staff = violinOne \vlnOne
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
\context Staff = violinTwo
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\context Voice = violin 2 { \vlnTwo }
\context Voice = violin 2 dynamics { \vlnTwoDyn }
\new Staff = viola
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\context Voice = viola { \vla }
\context Voice = viola dynamics { \vlaDyn }
\new Staff = cello
\override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)
\context Voice = cello { \vc }
\context Voice = cello dynamics { \vcDyn }
% end of strings staffgroup
% end of grand staff
\layout {
\context { \Staff
% \override VerticalAxisGroup #'minimum-Y-extent = #'(-4 . 4)
}
\context {
\Score
\override TimeSignature #'stencil = ##f
\override BarNumber #'padding = #3
\override RehearsalMark #'padding = #2
skipBars = ##t
} % context \Score \overrides end
} % layout end
Re: Piano staff, single staff polyphony and lyrics
ma, 2008-10-06 kello 23:19 -0500, Jonathan Kulp kirjoitti:
I know you can make the slurs attach to the stem side if you use
phrasing slurs and use either ^ or _ to tell it which direction to go:
\relative c' { fis2^\( ~ fis4 g c,\) }
Is that what you mean?
Hope that helps!
Thanks Jon, but that isn't exactly what I mean. The problem isn't about
the arch of the slur being up or down (Lilypond seems to handle that
great), but where the slur is placed - too bad that I don't have a
scanner available at the moment. What Lilypond does at the moment is to
start the slur near the note head (and naturally end it near the other).
What I'd like to see is to have the slur start from the other end of the
stem - the end where there's no note. I hope this clarifies what I'm
trying to achieve. It would be nice if there was an option to do this
with one command for the whole score (and perhaps make an exception,
where needed).
Thanks again!
Ari
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Re: Piano staff, single staff polyphony and lyrics
Hi Ari, What I'd like to see is to have the slur start from the other end of the stem - the end where there's no note. There used to be a functions that allowed you to set the slur to begin at the stem — it was deprecated/eliminated several versions ago. Now, you must use \override Slur #'positions and manually set the points… HTH, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
Hmm. I thought the code I put there gave what you're describing. See
image attached. The slur is on the stem side, nowhere near the
notehead. Is this not what you meant? I'm using version 2.11.61 if
that makes a difference.
Here's the code used for attached image, only slightly different from
before but with no visible difference in output on my end:
\version 2.11.61
\relative c' { fis2^( ~ fis4 g c,) }
Jon
Ari Torhamo wrote:
ma, 2008-10-06 kello 23:19 -0500, Jonathan Kulp kirjoitti:
Thanks Jon, but that isn't exactly what I mean. The problem isn't about
the arch of the slur being up or down (Lilypond seems to handle that
great), but where the slur is placed - too bad that I don't have a
scanner available at the moment. What Lilypond does at the moment is to
start the slur near the note head (and naturally end it near the other).
What I'd like to see is to have the slur start from the other end of the
stem - the end where there's no note. I hope this clarifies what I'm
trying to achieve. It would be nice if there was an option to do this
with one command for the whole score (and perhaps make an exception,
where needed).
Thanks again!
Ari
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Re: WANTED: Design for documentation (Photoshop power users!)
On Mon, Oct 6, 2008 at 3:39 PM, Robin Bannister [EMAIL PROTECTED] wrote: Reinhold Kainhofer wrote: This is always a good argument (similar things should look similar), however, I think in our case we can afford to use a nicer color in the sidebar, since it is already spacially separated from the contents (by having its own column on the left). I would turn this argument around. Since the side bar is already recognisable as separate, colour need not be used to show that it is separate. (See [1]) This means we are free to use colour to show something else. This is an opportunity. What would the reason for wasting it be? In the case where the vertical scrollbar is visible for the TOC pane, using a white background would be fine. But for a page like [1], the TOC pane would no longer appear to be a pane, and I would argue for using color to indicate its separation (as it currently is). [1] http://kainhofer.com/~lilypond/Documentation/user/lilypond-internals/index.html So the TOC panel is (e.g.) pale yellow all over. Navigation bars too. The pale yellow/light brown would make the navbars almost invisible on TFT screens, so I think the current state is much better. I wasn't *recommending* pale yellow. I was trying to be neutral with respect to hue and therefore quoted - Patrick's colour - as an example. On kainhofer.com it is pale yellow too. So what/where is the current state? The current state is on kainhofer.com. *I* like the pale yellow (beige) personally, but I am open to suggestions. I agree with yours and Reinhold's idea to remove underlining and visited link colors in the TOC pane. Should the same apply to the main doc pane? Thanks, Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
On Mon, Oct 6, 2008 at 4:58 PM, Alexander Kobel [EMAIL PROTECTED] wrote:
Sebastian Menge wrote:
Am Fri, 26 Sep 2008 17:47:56 +0200
schrieb Alexander Kobel [EMAIL PROTECTED]:
However, one suggestion: Have you talked about the size of the
navigation sidebar? On my 13 MacBook (1280x800), there is /plenty/ of
space wasted [...] but I guess I'd prefer a little narrower setting in
favour of the main text. Just my two pence...
Be aware that long lines are hard to read. (That's the reason why
newspapers are typeset in multiple columns.) When it comes to screen
resolution and web design, this is a real issue. One option (and my
preferred) is to fix the width of the html and center the whole thing.
Wasted space and screen resolutions are not good points, because they
are very subjective and likely to change.
Yes and no, or better no and yes. If you want to go for a nice look,
your fixed-width-solution would be my favorite, too. Actually, if you
happen to have a real screen (some 24 width 1920x1200 at the campus
here) and want to keep a reasonable typography, that's your only chance.
I like these layouts too, but I expect many more IE hacks would be
needed given the current layout...
So, here's another suggestion:
I just looked at the manual at different sizes, and I agree that we
should not decrease the size of the navigation bar too far - it makes
things too worse for smaller screens.
But, couldn't we try a minimum-width in absolute values, say 240px (or
about 16em, to respect user font size settings), and a more narrow
default width in percent (say 20%)?
Hmm. I didn't consider the {min,max}-width rules. I think using a
max-width for the TOC pane would be more appropriate though.
Another idea. Alternative stylesheets. Cool thing.
Perhaps we can also offer a safe-and-sound version, and have this
ugly-but-efficient narrow-TOC solution as a large screen optimized
version?
Good idea. I'll start experimenting with this.
Thanks,
Patrick
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Re: Piano staff, single staff polyphony and lyrics
ti, 2008-10-07 kello 14:46 -0500, Jonathan Kulp kirjoitti:
Hmm. I thought the code I put there gave what you're describing. See
image attached. The slur is on the stem side, nowhere near the
notehead. Is this not what you meant? I'm using version 2.11.61 if
that makes a difference.
Here's the code used for attached image, only slightly different from
before but with no visible difference in output on my end:
\version 2.11.61
\relative c' { fis2^( ~ fis4 g c,) }
Now I found out what's happening. You method works otherwise, but for
some reason not when used for two adjacent notes. The first slur in my
score happens to be between two adjacent notes :-) Any workaround?
Kind thanks
Ari
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Re: Piano staff, single staff polyphony and lyrics
ti, 2008-10-07 kello 15:42 -0400, Kieren MacMillan kirjoitti: Hi Ari, What I'd like to see is to have the slur start from the other end of the stem - the end where there's no note. There used to be a functions that allowed you to set the slur to begin at the stem — it was deprecated/eliminated several versions ago. Now, you must use \override Slur #'positions and manually set the points… Thanks Kieren, I'll try this if the more simple method suggested by Jon doesn't work in every case (which seems possible at the moment). Perhaps your suggestion is simple enough too - the word manually just scares me a little... Ari ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
On Mon, Oct 6, 2008 at 2:44 PM, Robin Bannister [EMAIL PROTECTED] wrote: Kurt Kroon wrote: the CSS quasi-frames already provide the affordance of a fixed navigation frame, so it isn't necessary to make their backgrounds matchy-matchy. I don't understand which background areas you are referring to. By navigation bars I was referring to the horizontal stripes where you can click to go up or along. These are embedded in the main pane; they move with it when you scroll. IMO, the navigation bars should have a different background color than the TOC background color. This is just personal taste. From a usability perspective, I think the matchy-matchy case might be *slightly* better, but I think the current use of a headline in the TOC pane looks nice, and highlights the important Back to Documentation Index link. However, I believe this color should be lighter than the current grey, but not so light as to render it indistinguishable from the pure white background used for the main docs, as Reinhold pointed out. I am currently searching for a better color. Thanks, Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
ti, 2008-10-07 kello 14:46 -0500, Jonathan Kulp kirjoitti: I forgot to add, that my Lilypond version is 2.10.33. Ari ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Jonathan There is no need to do any more of the Beethoven quartet. The two bars you have done already would be quite sufficient and would have been ideal, but as you say, David's offering does display rather more of Lily's capabilities. Can we put this on ice while we check out David's offer? I'm very grateful for all your help on this. David Many thanks for your offering. It is customary for the displayed extract to show just the music in the LilyPond documentation, with the title and acknowledgement placed in LilyPond comments - which can be seen by clicking on the music of course. Also we would probably not need the entire extract you sent, maybe just the first section, up to rehearsal mark 2. Would you be happy with that? If so, please send me the Lily code, with comments giving the title, your name, date of composition, and a statement saying you are happy to place the extract in the public domain. Trevor - Original Message - From: Jonathan Kulp [EMAIL PROTECTED] To: David Séverin [EMAIL PROTECTED] Cc: Trevor Daniels [EMAIL PROTECTED]; Graham Percival [EMAIL PROTECTED]; lilypond-user@gnu.org Sent: Tuesday, October 07, 2008 7:58 PM Subject: Re: Headword for unfretted-strings That's a nice-looking piece and would certainly show off more of Lilypond's capabilities than the Beethoven passage I'm working on. If y'all would rather use David's piece that'd be fine with me. I've finished 2 bars of the Beethoven (there would only be 2 more) so I could bail out now or keep going. Either way is fine with me. I'll attach what I've done of the Beethoven so you can compare. Jon David Séverin wrote: I have a violin solo piece I wrote last summer [european, I am living in Brasil now] and has been played twice in concert in France last year. I am trying to type set with lilypond and if you think it's a valuable exemple for the doc, I am very please to offer what ever 'meseaures' you would need, should it be the all piece [I plan to put it on internet under common right or so ...] I have attached the yet to be completed version I have: - 'times', rests and bars are still shown here for debuging purposes, but in the final version they will be hidden If you think it's good enough and fit the doc objective, please let me know, I'll forward the .ly file [and hurry the type setting of the last 2 pages] Actually I was planning to finalize it and ask for lily experts [willing to] to do some code review to help me produce better results with higher code quality. Cheers, David -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
postscript output with psbook and psnup
Do you know why the postscript files produced by lilypond (2.10.33, cygwin) are not compatible with psbook and psnup? To prepare the printing on A3 paper, I used to do the following with lilypond 2.6.0: psbook score.ps | psnup -2 score.2.ps With the output of 2.10.33, the output of psbook cannot be viewed with gv: the file has a size comparable to the original but gv shows a blank page only. F. Bron ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Certainly this is fine with me. David's piece looks really cool and could serve as an example for much more than just bowed-string techniques. It'll be better to use his example. Best, Jonathan Trevor Daniels wrote: Jonathan There is no need to do any more of the Beethoven quartet. The two bars you have done already would be quite sufficient and would have been ideal, but as you say, David's offering does display rather more of Lily's capabilities. Can we put this on ice while we check out David's offer? I'm very grateful for all your help on this. David Many thanks for your offering. It is customary for the displayed extract to show just the music in the LilyPond documentation, with the title and acknowledgement placed in LilyPond comments - which can be seen by clicking on the music of course. Also we would probably not need the entire extract you sent, maybe just the first section, up to rehearsal mark 2. Would you be happy with that? If so, please send me the Lily code, with comments giving the title, your name, date of composition, and a statement saying you are happy to place the extract in the public domain. Trevor -- Jonathan Kulp http://www.jonathankulp.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
Ah. I see the problem now. I guess Kieren's suggestion is probably the
way to go. It might be possible to store the override in a variable
instead of having to do it repeatedly in the code. I've never used this
override, though, so I don't know. Good luck!
Jon
Ari Torhamo wrote:
ti, 2008-10-07 kello 14:46 -0500, Jonathan Kulp kirjoitti:
Hmm. I thought the code I put there gave what you're describing. See
image attached. The slur is on the stem side, nowhere near the
notehead. Is this not what you meant? I'm using version 2.11.61 if
that makes a difference.
Here's the code used for attached image, only slightly different from
before but with no visible difference in output on my end:
\version 2.11.61
\relative c' { fis2^( ~ fis4 g c,) }
Now I found out what's happening. You method works otherwise, but for
some reason not when used for two adjacent notes. The first slur in my
score happens to be between two adjacent notes :-) Any workaround?
Kind thanks
Ari
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Re: postscript output with psbook and psnup
On Tue, Oct 07, 2008 at 11:38:36PM +0200, =?ISO-8859-1?Q?Fr=E9d=E9ric_Bron_ wrote: Do you know why the postscript files produced by lilypond (2.10.33, cygwin) are not compatible with psbook and psnup? To prepare the printing on A3 paper, I used to do the following with lilypond 2.6.0: psbook score.ps | psnup -2 score.2.ps With the output of 2.10.33, the output of psbook cannot be viewed with gv: the file has a size comparable to the original but gv shows a blank page only. Have you tested with 2.11.61? The 2.10.x line is longer maintained, and 2.12 will be released very soon. Regards, Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Augmentation and Diminution
Dear Aaron,
maybee this could help You:
http://lsr.dsi.unimi.it/LSR/Item?id=390
You can make somerhing like:
melody =\relative { c d e f g }
\rhythmA{ \melody }
\rhythmB{ \melody }
2008/10/7 Aaron Dalton [EMAIL PROTECTED]
Is there a way to tell Lilypond to automatically increase or decrease
the note values by a certain ratio? I have a number of transcriptions
done at a fixed ratio but in the modern edition some will need their
note values doubled. I'm hoping this is as simple as adding some
directive at the top of the file.
Thanks for your time and help.
Aaron
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Re: postscript output with psbook and psnup
On Tue, Oct 07, 2008 at 02:51:45PM -0700, Patrick McCarty wrote: On Tue, Oct 07, 2008 at 11:38:36PM +0200, Frédéric Bron wrote: Do you know why the postscript files produced by lilypond (2.10.33, cygwin) are not compatible with psbook and psnup? To prepare the printing on A3 paper, I used to do the following with lilypond 2.6.0: psbook score.ps | psnup -2 score.2.ps With the output of 2.10.33, the output of psbook cannot be viewed with gv: the file has a size comparable to the original but gv shows a blank page only. Have you tested with 2.11.61? The 2.10.x line is longer maintained, and 2.12 will be released very soon. Sorry, I meant the 2.10.x line is *no* longer maintained. -Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
Here's a quick test of Kieren's suggestion, showing first the overridden
slur and then one without the override. Not too hard to do as long as
there aren't too many. This is a good trick to know. Thanks Kieren :)
\version 2.11.61
\relative c' {
\once \override Slur #'positions = #'(2 . 2.5)
fis4^( gis) g^( c,) d8^( d e c)
}
Jon
Kieren MacMillan wrote:
Hi Ari,
What I'd like to see is to have the slur start from the other end of the
stem - the end where there's no note.
There used to be a functions that allowed you to set the slur to begin
at the stem — it was deprecated/eliminated several versions ago.
Now, you must use \override Slur #'positions and manually set the points…
HTH,
Kieren.
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Re: WANTED: Design for documentation (Photoshop power users!)
Patrick == Patrick McCarty [EMAIL PROTECTED] writes: also offer a safe-and-sound version, and have this ugly-but-efficient narrow-TOC solution as a large screen optimized version? Patrick Good idea. I'll start experimenting with this. Please make sure it still works on narrow screens (like my PDA), and on text-only browsers. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: postscript output with psbook and psnup
On Tue, Oct 07, 2008 at 11:38:36PM +0200, Frédéric Bron wrote: Do you know why the postscript files produced by lilypond (2.10.33, cygwin) are not compatible with psbook and psnup? To prepare the printing on A3 paper, I used to do the following with lilypond 2.6.0: psbook score.ps | psnup -2 score.2.ps With the output of 2.10.33, the output of psbook cannot be viewed with gv: the file has a size comparable to the original but gv shows a blank page only. I decided to test this, and I can reproduce with 2.11.61. Attached is the output after invoking `gs score.2.ps' on a sample score (running GNU/Linux x86) Regards, Patrick GPL Ghostscript 8.63 (2008-08-01) Copyright (C) 2008 Artifex Software, Inc. All rights reserved. This software comes with NO WARRANTY: see the file PUBLIC for details. Error: /rangecheck in --get-- Operand stack: names --nostringval-- 1 2618 --nostringval-- 9 Execution stack: %interp_exit .runexec2 --nostringval-- --nostringval-- --nostringval-- 2 %stopped_push --nostringval-- --nostringval-- --nostringval-- false 1 %stopped_push 1905 1 3 %oparray_pop 1904 1 3 %oparray_pop 1888 1 3 %oparray_pop 1771 1 3 %oparray_pop --nostringval-- %errorexec_pop .runexec2 --nostringval-- --nostringval-- --nostringval-- 2 %stopped_push --nostringval-- --nostringval-- --nostringval-- --nostringval-- --nostringval-- --nostringval-- Dictionary stack: --dict:1145/1684(ro)(G)-- --dict:0/20(G)-- --dict:82/200(L)-- --dict:54/60(ro)(G)-- --dict:12/30(L)-- Current allocation mode is local Last OS error: 2 Current file position is 4346 GPL Ghostscript 8.63: Unrecoverable error, exit code 1 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: postscript output with psbook and psnup
On Tue, Oct 07, 2008 at 11:38:36PM +0200, Frédéric Bron wrote: Do you know why the postscript files produced by lilypond (2.10.33, cygwin) are not compatible with psbook and psnup? I don't know. I'm using 2.10.33 on Debian/sid, and I've just tested running one of my lilypond scores through psbook, psnup, and psbook | psnup, and I couldn't get any of them to not be viewable with gv. Perhaps it is a Cygwin problem? Or perhaps it only happens with certain scores? -- It must be accepted as a principle that the rifle, effective as it is, cannot replace the effect produced by the speed of the horse, the magnetism of the charge, and the terror of cold steel. -- British Cavalry training manual, 1907 ::: http://surreal.istic.org/ signature.asc Description: Digital signature ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
Patrick McCarty wrote:
I just looked at the manual at different sizes, and I agree that we
should not decrease the size of the navigation bar too far - it makes
things too worse for smaller screens.
But, couldn't we try a minimum-width in absolute values, say 240px (or
about 16em, to respect user font size settings), and a more narrow
default width in percent (say 20%)?
Hmm. I didn't consider the {min,max}-width rules. I think using a
max-width for the TOC pane would be more appropriate though.
Yup, true.
Besides, I'm not completely sure if this idea can be easily added, since
you use the absolute positioning and do not really apply a width, but
set the margins s.t. the width constraints follow; correct?
I don't know whether there's a killer reason for this approach; if so,
we might have trouble adjusting the position of the main content pane.
Another idea. Alternative stylesheets. Cool thing.
Perhaps we can also offer a safe-and-sound version, and have this
ugly-but-efficient narrow-TOC solution as a large screen optimized
version?
Good idea. I'll start experimenting with this.
By the way, does anybody know whether it's possible to set an
alternative stylesheet as default in your favorite browser [1]? This of
course should be applied for the whole document subtree below a certain
directory (e.g. http://kainhofer.com/~lilypond/Documentation/user/...).
Otherwise this might be wasted time, because nobody will click through
the menu every time he visits a new link...
At least, even for the Firefoxers out there, we should place a hint
somewhere (on the doc main page?) that style switching is possible (and
perhaps give a short explanation how to use it in popular browsers - the
Lynx people will know it, anyway...).
Cheers,
Alexander
[1] I.e., other than Firefox, for which there are some tools to do so,
e.g. http://olab.free.fr/OLab/sscp/
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Re: WANTED: Design for documentation (Photoshop power users!)
On Tue, Oct 7, 2008 at 4:06 PM, Alexander Kobel [EMAIL PROTECTED] wrote:
Patrick McCarty wrote:
Hmm. I didn't consider the {min,max}-width rules. I think using a
max-width for the TOC pane would be more appropriate though.
Yup, true.
Besides, I'm not completely sure if this idea can be easily added, since
you use the absolute positioning and do not really apply a width, but
set the margins s.t. the width constraints follow; correct?
I don't know whether there's a killer reason for this approach; if so,
we might have trouble adjusting the position of the main content pane.
I was having trouble implementing a solution that works in IE too.
This one does, reasonable well. It would be preferable not to add a
wrapper div, since this will require changing the init file. If you
know of a solution using floats or a similar method, run it by me so I
can test it out.
By the way, does anybody know whether it's possible to set an
alternative stylesheet as default in your favorite browser [1]? This of
course should be applied for the whole document subtree below a certain
directory (e.g. http://kainhofer.com/~lilypond/Documentation/user/...).
Otherwise this might be wasted time, because nobody will click through
the menu every time he visits a new link...
At least, even for the Firefoxers out there, we should place a hint
somewhere (on the doc main page?) that style switching is possible (and
perhaps give a short explanation how to use it in popular browsers - the
Lynx people will know it, anyway...).
A List Apart explains how to implement this with cookies, but we would
rather not use JavaScript:
http://alistapart.com/stories/alternate/
I'm sure there is a way to do this with server-side scripting, but I
do not have the knowledge to implement this. Maybe someone else on
the list would be interested in tackling this.
Thanks,
Patrick
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Re: WANTED: Design for documentation (Photoshop power users!)
[EMAIL PROTECTED] wrote: Patrick == Patrick McCarty [EMAIL PROTECTED] writes: also offer a safe-and-sound version, and have this ugly-but-efficient narrow-TOC solution as a large screen optimized version? Patrick Good idea. I'll start experimenting with this. Please make sure it still works on narrow screens (like my PDA), and on text-only browsers. That's exactly what I meant. I reconsidered my wish for a narrower TOC, and concluded it might be better to have this as an /alternative/, not default, for large screens. Text-only browsers won't be affected too much, I guess, although I'm not perfectly sure about it - they might ignore the CSS anyway. Correct??? For a PDA, it may still be a little bit different - I suppose you don't want to have a TOC pane to the left at all, but prefer a TOC at the bottom? Okay, so two other ideas. @ PDA-Users: For a PDA, it might be useful to have the TOC full-width at the bottom, and have a (small) link to scroll there every now and then. Or to not show it at all. What would you prefer? And: are your browsers able to handle alternative style sheets, or do we have to look for other means (does media=handheld reliably work)? @ our blind users: I assume LilyPond is one the few engraving system regularly used by some blind people, so we should not ignore this. Do you have special suggestions and wishes? Would it be wise to sort the content for screen readers in other order, for example? Wo-hoo. This gets more interesting than I first thought... ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
Patrick McCarty wrote: Besides, I'm not completely sure if this idea can be easily added, since you use the absolute positioning and do not really apply a width, but set the margins s.t. the width constraints follow; correct? I was having trouble implementing a solution that works in IE too. This one does, reasonable well. It would be preferable not to add a wrapper div, since this will require changing the init file. If you know of a solution using floats or a similar method, run it by me so I can test it out. Hm. It's been a while since I fiddled around with CSS, so I have nothing particular in mind, but I'll see what I can do. I have an exam tomorrow, but I'll look at it on Thursday. By the way, does anybody know whether it's possible to set an alternative stylesheet as default in your favorite browser [1]? [...] A List Apart explains how to implement this with cookies, but we would rather not use JavaScript: http://alistapart.com/stories/alternate/ I'm sure there is a way to do this with server-side scripting, but I do not have the knowledge to implement this. Maybe someone else on the list would be interested in tackling this. AFAIK it's not that hard to remember this choice server-sided (but yeah, you need cookies for that, or try some /really/ dirty tricks), and it should actually be fairly easy to do so for single sessions - but: I suppose this is even harder to tweak into the init file. And it's something which costs resources. And each script is a potential security risk. ... And we may end up like the LSR in August or so. If there's a method as simple as this Firefox plugin for other browsers, too, I'd definitely vote for a client-side solution. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
Here's a quick test of Kieren's suggestion, showing first the overridden
slur and then one without the override. Not too hard to do as long as
there aren't too many.
This slur setting would be the norm. If it's too much work, I'll have to
give up Lilypond. I'm not actually even studying it for myself, but to
teach someone else to use it. He is much less computer savy than I am,
so even without this complication teaching (and using) would be a
challenge. I got this other person to change from Windows to GNU/Linux a
couple of years ago, and I whish I wouldn't have to put Windows back to
his machine (or tell him to use proprietary software - if avoidable).
This is a good trick to know. Thanks Kieren :)
\version 2.11.61
\relative c' {
\once \override Slur #'positions = #'(2 . 2.5)
fis4^( gis) g^( c,) d8^( d e c)
}
To make sure that I don't misunderstand, does #'(2 . 2.5) mean that
the hight of the start and end points of the slur should be set manually
(in some units) for every slur?
Ari
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Re: WANTED: Design for documentation (Photoshop power users!)
A List Apart explains how to implement this with cookies, but we would rather not use JavaScript: And yes, I'm against JavaScript, too. This doesn't count as a real client-side solution from my point of view. Simplest solution, server-sided, efficient and secure, but clearly not nice: Keep a version of the docs for each style in a different subdirectory, and switch accordingly. ;-) Goodnight, Alexander ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
Ari Torhamo wrote:
ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti:
Here's a quick test of Kieren's suggestion, showing first the overridden
slur and then one without the override. Not too hard to do as long as
there aren't too many.
This slur setting would be the norm. If it's too much work, I'll have to
give up Lilypond. I'm not actually even studying it for myself, but to
teach someone else to use it. He is much less computer savy than I am,
so even without this complication teaching (and using) would be a
challenge. I got this other person to change from Windows to GNU/Linux a
couple of years ago, and I whish I wouldn't have to put Windows back to
his machine (or tell him to use proprietary software - if avoidable).
I understand. It is possible to run Finale on Linux under Wine,
though, so if he really can't manage Lilypond but does o.k. with Linux
in general, then perhaps he could just run the occasional proprietary
piece of software under Wine. I've gotten the Finale demo to run nearly
perfectly under Wine, with playback and everything. I don't have an
installation disc, though, so I can't install a full copy. The only
problems I have are that the piano braces and ties look funny. Still,
you can view and play back files, and if you have the full version, you
can save and share files with others. I like to have the demo installed
in case my students send me Finale files, but that's really the only use
I have for Finale now that I've gotten comfy with Lilypond :)
This is a good trick to know. Thanks Kieren :)
\version 2.11.61
\relative c' {
\once \override Slur #'positions = #'(2 . 2.5)
fis4^( gis) g^( c,) d8^( d e c)
}
To make sure that I don't misunderstand, does #'(2 . 2.5) mean that
the hight of the start and end points of the slur should be set manually
(in some units) for every slur?
Ari
Afraid so. The 2 is for the left side, and the 2.5 is for the right
side. Unfortunately it won't work very well if you try to use a single
setting for all the ties. You'll have to set them individually for each
one.
Jon
--
Jonathan Kulp
http://www.jonathankulp.com
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Re: Piano staff, single staff polyphony and lyrics
ke, 2008-10-08 kello 02:34 +0300, Ari Torhamo kirjoitti: ti, 2008-10-07 kello 17:02 -0500, Jonathan Kulp kirjoitti: Here's a quick test of Kieren's suggestion, showing first the overridden slur and then one without the override. Not too hard to do as long as there aren't too many. This slur setting would be the norm. If it's too much work, I'll have to give up Lilypond. I just took another look at the score that I'm trying to lilypond, and it may be that the slurs beginning at the stem wouldn't be needed too often after all. The copy I have is so bad that it's often hard to tell where the slurs end, but I'll check tomorrow and hopefully this was a false alarm. Ari ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
-BEGIN PGP SIGNED MESSAGE- Hash: SHA1 Am Mittwoch, 8. Oktober 2008 schrieb Alexander Kobel: [EMAIL PROTECTED] wrote: Patrick == Patrick McCarty [EMAIL PROTECTED] writes: also offer a safe-and-sound version, and have this ugly-but-efficient narrow-TOC solution as a large screen optimized version? Patrick Good idea. I'll start experimenting with this. Please make sure it still works on narrow screens (like my PDA), and on text-only browsers. That's exactly what I meant. I reconsidered my wish for a narrower TOC, and concluded it might be better to have this as an /alternative/, not default, for large screens. Text-only browsers won't be affected too much, I guess, although I'm not perfectly sure about it - they might ignore the CSS anyway. Correct??? yes, at least lynx and w3m ignore all CSS and show the TOC at the bottom of each page instead of inside a sidebar on the left. That's one reason why I tried so hard to put the TOC after the contents in the .html file (although that proved too hard for myself to implement correctly in IE...). For a PDA, it may still be a little bit different - I suppose you don't want to have a TOC pane to the left at all, but prefer a TOC at the bottom? Yes, we can easily add another alternative CSS, which does not make use of the tricky box positioniong to get the TOC to the left. @ our blind users: I assume LilyPond is one the few engraving system regularly used by some blind people, so we should not ignore this. Do you have special suggestions and wishes? Would it be wise to sort the content for screen readers in other order, for example? That's another reason why I tried to put the TOC after the contents in the html page. Of course, since I'm not blind and have absolutely no experience with screen readers, I don't know if that's already sufficient. Hehe, yeah, I remember the mail about being doomed and following someone having good ideas ;-) 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/ -BEGIN PGP SIGNATURE- Version: GnuPG v1.4.6 (GNU/Linux) iD8DBQFI6/iOTqjEwhXvPN0RAt/dAKCNvvcFAtkQXJ8MvJ0X06SgKbWvCACgk62s fAWHaHp4LBtHUfcO3qwc6zA= =57wA -END PGP SIGNATURE- ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
ti, 2008-10-07 kello 18:55 -0500, Jonathan Kulp kirjoitti: I understand. It is possible to run Finale on Linux under Wine, though, so if he really can't manage Lilypond but does o.k. with Linux in general, then perhaps he could just run the occasional proprietary piece of software under Wine. I've gotten the Finale demo to run nearly perfectly under Wine, with playback and everything. I don't have an installation disc, though, so I can't install a full copy. The only problems I have are that the piano braces and ties look funny. Still, you can view and play back files, and if you have the full version, you can save and share files with others. I like to have the demo installed in case my students send me Finale files, but that's really the only use I have for Finale now that I've gotten comfy with Lilypond :) Finale should work without a clitch under Wine, so that I would dare to recommend it in this case. The person in question uses Ubuntu now, which is so easy to use that he never has any problems with it. Wine is another thing, because there probably would be porblems every now and then and he wouldn't be able to solve them - even if they were minor in our eyes. I have tried to run a few programs myself under Wine, but the experience has always been discouraging (might be different this time of course). The outcome under Wine should be flawless too, because this person grew up among music books of late 19th and early 20th century, many of which are beautifully engraved. He wouldn't accept funny looking braces and ties :-) I showed him some examples from the Lilypond web site, and he said looks good. He in fact used to use Finale long time ago, but he says he had to tweak the output too much. Sibelius might be an alternative (some people seem to run it under Wine too). I hope I'm not sounding too negative, when you do your best to help me :-) Ari ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: WANTED: Design for documentation (Photoshop power users!)
On Mon, Oct 6, 2008 at 2:54 PM, Reinhold Kainhofer [EMAIL PROTECTED] wrote: I thought about the different pros and cons of the colors, but I think the pros far outweight the cons. The pros are in particular: - -) You see which sections you have already visited, so you can either go to an already read section to re-read something or to a new section to avoid reading something twice The cons are: - -) Looks cluttered and makes the TOC harder to scan quickly - -) distracts from the main contents So, I'm all for setting underlining to off by default in the TOC sidebar (underlining while hovering is another story) and removing the visited colors there, too. I agree with your reasons here. But is it possible to underline links while hovering and still honor user preferences (as in your case)? Firefox's setting to not underline links only works when the `text-decoration' rule is not specified. I'm not sure what the best solution (or compromise) is. Thanks, Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
ma, 2008-10-06 kello 23:51 -0700, James E. Bailey kirjoitti:
I'm guessing you're talking about D.2.3, Piano Centered Lyrics. What
have you tried? If you take away everything but the \new statements,
and just look at the \score block, what you'll see is
\new Staff
\new Lyrics
\new Staff
Here's the closest I have got:
..
\version 2.11.61
\paper { indent=0\cm }
\header { title = Bla }
sopraano = \relative c'' {
\key g \major
\cadenzaOn
g4( a b) b a2 gis
\bar |
a4 b c b a gis a1
\bar | \break
b2 a a a4( gis) a b c2( b) a2. b4\rest
\bar | \break
}
altto = \relative c' {
%\once \override Slur #'positions = #'(-1.5 . -2.5)
d2( g4) g e2 e
e4 g g g e e e1
e2 e e e e4 g g1 e2.
}
tenori = \relative c' {
\clef bass
\key g \major
b4( c d) d c2 b
c4 d e d c b c1
d2 c c c4( b) c d e2( d) c2.
}
basso = \relative c' {
g2. g4 a2 e
a4 g c, g' a e a a,1
gis gis,2 a a, a a, a a,4( e) a g c,2( g') a2. d,4\rest
}
sanat = \lyricmode {
Bla- bla- bla
}
\score {
\new PianoStaff
\new Staff
{ \sopraano } \\
{ \altto }
\new Lyrics { \sanat }
\new Staff
{ \tenori } \\
{ \basso }
}
...
This gets the lyrics between the systems, not between the staves, where
they should go. I have probably tried every other possible position for
\new Lyrics { \sanat }
I have also tried to add \lyricsto in different places on the string
above (docs suggest to use it), but then the file won't even render. Can
you see what I'm doing wrong?
I wouldn't want to abandon this basic score structure, unless it can't
be used with this kind of lyrics setting, because I put a lot of effort
into learning it. I took a look at the example file you linked in your
reply, and it does what I want to achieve - many thanks. The problem is
that I don't understand the structure used there, and I can't find it
properly explained in the documentation either. I need to understand
what I'm doing, not only because it makes things much easier for myself,
but because I should be able to teach these things to another person
soon. I can'ẗ do that, if I don't understand what I'm doing.
Thanks very much for your help :-)
Ari
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Re: passing a Context to a scheme function (format-metronome-markup)
On Tue, Oct 7, 2008 at 2:12 PM, Reinhold Kainhofer [EMAIL PROTECTED] wrote: (define-public (format-metronome-markup text dur count . context) (let* ((ctx (and (pair? context) (car context))) (hide-note (and ctx (eq? #t (ly:context-property ctx 'tempoHideNote (note-mark (if (and (not hide-note) (ly:duration? dur)) ... I don't know how useful this might be in general, but since it's such an easy feature (and I don't think it breaks anything), I prepared a patch: I prefer if you made the function take a boolean instead, and use another function (calling the one using the bool) to plug in to the engraver. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Headword for unfretted-strings
Le Tue, 7 Oct 2008 22:32:09 +0100, Trevor Daniels [EMAIL PROTECTED] a écrit : Jonathan There is no need to do any more of the Beethoven quartet. The two bars you have done already would be quite sufficient and would have been ideal, but as you say, David's offering does display rather more of Lily's capabilities. Can we put this on ice while we check out David's offer? I'm very grateful for all your help on this. David Many thanks for your offering. It is customary for the displayed extract to show just the music in the LilyPond documentation, with the title and acknowledgement placed in LilyPond comments - which can be seen by clicking on the music of course. Also we would probably not need the entire extract you sent, maybe just the first section, up to rehearsal mark 2. Would you be happy with that? If so, please send me the Lily code, with comments giving the title, your name, date of composition, and a statement saying you are happy to place the extract in the public domain. Trevor Well thanks for the nice comments! I agree with all the requirements, otherwise I would not have offered :-) The only thing is that I would like it to be presented as the 'hand written' version [without times/rests/bars [or thin dash bars to help the interpret, I was not sure yet but the hand written doesn't have any]]. I'll work on a small single sample file and will send it to you tomorrow [there are a lot of small files right now ...] Cheers, David ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Piano staff, single staff polyphony and lyrics
To make sure that I don't misunderstand, does #'(2 . 2.5) mean that the hight of the start and end points of the slur should be set manually (in some units) for every slur? Afraid so. Han-Wen? Any chance to improve the slur algorithm to fix this? Werner ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Flag grouping
Hi! I'm new to lilypond and I have my first doubt about the using it.
The tutorial has been very helpful and I've been able to do most of my first
project without problems.
What I am unable to do so far is change the grouping of flags.
in 6/8 time for example, is there a way to change the grouping of 8th notes
from two groups of three to three groups of two? how about one big group of
six?
The piece I am trying to typeset at the moment starts with a 5 note scale
pattern as an anacrusis on the soprano line:
\relative c'' {
\time 6/8
\partial 8*5
\key e \minor
\stemUp
b8 c d e fis |
}
The original score has that pickup as a big group of five 8th notes, and at
often times has full bars as one big group of six.
By default, lilypond sorts the notes into two groups, one of two 8th notes
and one of three 8th notes. Please teach me how to change that.
Thank you very much for your time!
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