date:20081229



Am 29.12.2008 um 06:26 schrieb Werner LEMBERG:


However, there are situations where you don't have access to the
mailing list, and then you have to find it in the docs.  Can you
suggest where improvements shall be added so that your specific
problem is covered?


Well then I'd have to say that the easiest, and easiest to find
thing would be an example in the section on slurs on using the
avoid-slur property for Scripts and TextScrips, something akin to
the script-priority example next to articulation.


Sounds sensible.  Can you cook up a small example which demonstrates
the effect you've sought?  We can easily add it to the documentation
then.

No problem:
\version 2.11.65
%%Text markups need to have the outside-staff-priority set to false  
in order to be printed inside slurs.

\relative c'' {
   \override TextScript #'avoid-slur = #'inside
   \override TextScript #'outside-staff-priority = ##f
   c2*1/2( s4^\markup { \natural } d4.) c8
}

I would add it to LSR myself, but that has never worked for. I leave  
it someone more skilled than I.




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Re: Diatonic/modal transposition function (John Mandereau)

2008-12-29 Thread Stefan Thomas

Dear John,
many thanks for Your fantastic macro! There is only one thing, I don't
understand. I tried to transpose to a minor. Why does it, in the below
quoted example, start with d? The first note should be a, I assume.

pattern = \relative c' { c2~ c8 d16 e f g a b c4 g e c }
 \new Staff {
  \pattern
  \diatonicTranspose a \minor #1 \pattern
}


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Thank you for LP 2.12 :-)

2008-12-29 Thread Dmytro O. Redchuk

Thank you a lot.

I (being not a programmer) will never stop wondering how people
can make excellent software and share it to everybody.

Thank you.

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Re: Diatonic/modal transposition function (John Mandereau)

2008-12-29 Thread Stefan Thomas

Dear John,
I understood now. You have a note 0 in c major and in a minor, which
is a c. In my opinion it would be better to understand for a musician,
if You could use the intervall-names. I suggest something like:
diatonicfourthup= #(define-music-function (parser location x) (ly:music?)
#{
  $x \diatonicTranspose c \major #3 { $x }
#})
But, what can be done, if the key is not c?
2008/12/29 Stefan Thomas kontrapunktste...@googlemail.com:
 Dear John,
 many thanks for Your fantastic macro! There is only one thing, I don't
 understand. I tried to transpose to a minor. Why does it, in the below
 quoted example, start with d? The first note should be a, I assume.

 pattern = \relative c' { c2~ c8 d16 e f g a b c4 g e c }
  \new Staff {
  \pattern
  \diatonicTranspose a \minor #1 \pattern
 }



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Re: avoid slur help



James E. Bailey wrote Monday, December 29, 2008 8:23 AM


Am 29.12.2008 um 06:26 schrieb Werner LEMBERG:


However, there are situations where you don't have access to the
mailing list, and then you have to find it in the docs.  Can you
suggest where improvements shall be added so that your specific
problem is covered?


Well then I'd have to say that the easiest, and easiest to find
thing would be an example in the section on slurs on using the
avoid-slur property for Scripts and TextScrips, something akin to
the script-priority example next to articulation.


Sounds sensible.  Can you cook up a small example which demonstrates
the effect you've sought?  We can easily add it to the documentation
then.

No problem:
\version 2.11.65
%%Text markups need to have the outside-staff-priority set to false  
in order to be printed inside slurs.

\relative c'' {
   \override TextScript #'avoid-slur = #'inside
   \override TextScript #'outside-staff-priority = ##f
   c2*1/2( s4^\markup { \natural } d4.) c8
}

I would add it to LSR myself, but that has never worked for. I leave  
it someone more skilled than I.


OK - have this in hand.  Thanks.

Trevor



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4

2008-12-29 Thread sdfgsdhdshd


For displaying the G standard chord with a fourth, i wrote the following
code:

\new ChordNames { \chordmode { g:4 } }

the result is
G 4/sus4/add3

1) 4 is probably for adding the fourth = OK
2)
sus suspends the 3th
4 adds the 4th
add3 adds again the 3th (or un-suspends the 3th)
So the 3th is suspended then unsuspended. Strange?

Moreover, this structure 4/sus4/add3 looks like adding 2 times the 4th, by a
simple method then by a more complex one?


I tried then g:5.4
The result is G sus4/add3
The 4th is added only one time, but by the complex method, hard to read.


Is there a way to get in the pdf only the simple 4?

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Re: 4



Am 29.12.2008 um 11:58 schrieb sdfgsdhdshd:


Is there a way to get in the pdf only the simple 4?


I don't understand how it works, but I got this from Mark Polesky (I  
think) and it worked for me.

\version 2.11.64

myChordDefinitions = {
c e g b des'-\markup \super{–9}
c e f-\markup \super{4}
c e-\markup \super{3}
}

myChordExceptions = #(append
   (sequential-music-to-chord-exceptions myChordDefinitions #t)
   ignatzekExceptions)

myChordInit = {
\set chordRootNamer = #(chord-name-german-markup #t)

   \set chordPrefixSpacer = #0.4

   \set majorSevenSymbol = \markup{j\super{7}}
   \set chordNameExceptions = #myChordExceptions
}



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MetronomeMark alignment

2008-12-29 Thread Zoltan Selyem



Hi all,


I like the new textual description feature of metronome marks.

Is there a way to position (align) metronome marks the way it is
possible with rehearsal marks? As far as I can see, MetronomeMark
doesn't have a self-alignment-X property, nor a break-align-symbols
property. I would like to have these...

This old post should explain why I need this function:
http://lists.gnu.org/archive/html/lilypond-user/2007-04/msg00167.html


Thank you,

Zoltán
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Re: 4

2008-12-29 Thread sdfgsdhdshd




James E. Bailey-3 wrote:
 
 Am 29.12.2008 um 11:58 schrieb sdfgsdhdshd:
 Is there a way to get in the pdf only the simple 4?
 
 I don't understand how it works, but I got this from Mark Polesky (I  
 think) and it worked for me.
 \version 2.11.64
 
 myChordDefinitions = {
  c e g b des'-\markup \super{–9}
  c e f-\markup \super{4}
  c e-\markup \super{3}
 }
 
 myChordExceptions = #(append
 (sequential-music-to-chord-exceptions myChordDefinitions #t)
 ignatzekExceptions)
 
 myChordInit = {
  \set chordRootNamer = #(chord-name-german-markup #t)
 
 \set chordPrefixSpacer = #0.4
 
 \set majorSevenSymbol = \markup{j\super{7}}
 \set chordNameExceptions = #myChordExceptions
 }
 

This is OK, but graphically. I'm not sure this will help for the full score.

The syntax g:4 is very logic. I don't understand why it adds two times the
4th, plus suspends then unsuspends the 3th. Looks like a bug to me.
The G 4 display is correct, just the /sus4/add3 is unnecessary, to say
the least.

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Re: Diatonic/modal transposition function (John Mandereau)

2008-12-29 Thread Tao Cumplido

As far as I understand it it works independent from a key signature so it 
doesn't matter if the key is in C or not.
The function says taht you transpose a pattern in a given key for X steps, so 
in your example you transpose a pattern in a-minor one step up, and from C one 
step is D.


Now to you John.
Thanks for this awesome function(s). :)
I'll be sure using them a lot.

But I have some questions also.

Would it be possible to make \diatonicTranspose recognize the key automatically?
It would save a lot of typing.
e.g.:

motive = { c'8 d'8 }

\new Staff
{
   \key c \major
   \motive
   \diatonicTranspose #1 \motive
   \diatonicTranspose #2 \motive
}


Maybe the same for modeTranspose, that I only have to specify the mode I 
transpose into.
This would be especially useful for minor keys because a motive is often 
transposed into minor melodic/harmonic.

I guess the best solution would be to have both options available, e.g. just to 
specify the key if necessary and automatic recognition of the current key if no 
key is specified.

Another thing I was thinking about is maybe using interval numbers instead of 
steps for the integer, so that #2 tranposes a second up and #-4 a fourth down 
etc.
I think that's also what Stefan meant.

Well, that's just my thoughts.
It's definitely an awesome function and it makes constructing a piece with 
motives possible.

Regards,
Tao

 Original-Nachricht 
 Datum: Mon, 29 Dec 2008 10:16:29 +0100
 Von: Stefan Thomas kontrapunktste...@googlemail.com
 An: lilypond-user lilypond-user@gnu.org, john.mander...@gmail.com
 Betreff: Re: Diatonic/modal transposition function (John Mandereau)

 Dear John,
 I understood now. You have a note 0 in c major and in a minor, which
 is a c. In my opinion it would be better to understand for a musician,
 if You could use the intervall-names. I suggest something like:
 diatonicfourthup= #(define-music-function (parser location x) (ly:music?)
 #{
   $x \diatonicTranspose c \major #3 { $x }
 #})
 But, what can be done, if the key is not c?
 2008/12/29 Stefan Thomas kontrapunktste...@googlemail.com:
  Dear John,
  many thanks for Your fantastic macro! There is only one thing, I don't
  understand. I tried to transpose to a minor. Why does it, in the below
  quoted example, start with d? The first note should be a, I assume.
 
  pattern = \relative c' { c2~ c8 d16 e f g a b c4 g e c }
   \new Staff {
   \pattern
   \diatonicTranspose a \minor #1 \pattern
  }
 
 
 
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Re: MetronomeMark alignment

2008-12-29 Thread Dmytro O. Redchuk

2008/12/29 Zoltan Selyem s...@elte.hu:
 Is there a way to position (align) metronome marks the way it is
 possible with rehearsal marks? As far as I can see, MetronomeMark
 doesn't have a self-alignment-X property, nor a break-align-symbols
 property. I would like to have these...
You can put (and align) \mark \markup { \smaller Allegro }, let's say.
Can this help?

Zoltán

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Contributing with Windows Was: Re: Issue 714 in lilypond: let the .ly file specify the output filename



Ian Hulin wrote Sunday, December 28, 2008 6:02 PM


P.S. is there any way I could contribute to Lily if I only have a Windows 
only

system, or do you have to run Linux to be a grown-up Lily developer?


There certainly is!  The only thing you can't do (at least not
so far) under Windows is to compile LilyPond, so developing
the parts written in c++ is not possible.

Working with Scheme, editing the docs, and contributing
snippets to the LSR are all possible, and there is much to
do in all these areas.

Trevor (also Windows only)




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Re: MetronomeMark alignment

2008-12-29 Thread Simon Bailey


hi zoltan,

On Dec 29, 2008, at 12:17 PM, Zoltan Selyem wrote:

I like the new textual description feature of metronome marks.

Is there a way to position (align) metronome marks the way it is
possible with rehearsal marks? As far as I can see, MetronomeMark
doesn't have a self-alignment-X property, nor a break-align-symbols
property. I would like to have these...

This old post should explain why I need this function:
http://lists.gnu.org/archive/html/lilypond-user/2007-04/msg00167.html



i ran into something similar last month, and got the following answer  
from graham:



See:
http://code.google.com/p/lilypond/issues/detail?id=684

Cheers,
- Graham


my solution which works for me is to manually shift the metronome-mark:

\override Score.MetronomeMark #'extra-offset = #'(-4 . 0)

this moves it more or less to align to the key-signature – you may  
have to jiggle the x value to get it exactly where you want it.


regards,
sb
--
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Oompa Loompa of Science
+43 699 190 631 25



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Re: MetronomeMark alignment

2008-12-29 Thread Dmytro O. Redchuk

2008/12/29 Simon Bailey bina...@gmail.com:
 i ran into something similar last month, and got the following answer from
 graham:

 See:
 http://code.google.com/p/lilypond/issues/detail?id=684

 Cheers,
 - Graham
 my solution which works for me is to manually shift the metronome-mark:

 \override Score.MetronomeMark #'extra-offset = #'(-4 . 0)

This works for me (with versions 2.11.42, 2.11.65 and now 2.12.0):

tempoMark =
#(define-music-function (parser location tempomark anchor offset)
(string? list? number?)
  #{
\once \override Score.RehearsalMark #'self-alignment-X = #-1
\once \override Score.KeySignature #'break-align-anchor-alignment = #CENTER
\once \override Score.TimeSignature #'break-align-anchor-alignment = #LEFT
\once \override Score.RehearsalMark #'break-align-symbols = #$anchor
\once \override Score.RehearsalMark #'Y-offset = #$offset
\mark \markup { \bold \smaller \smaller $tempomark }
  #})


\relative c'' {
  \key bes \minor
  \time 2/2
  \tempoMark #Allegro #'(key-signature) #0
  c des ees c
  bes aes c bes
  \key bes \minor
  \time 2/2
  \tempoMark #Moderato #'(time-signature) #0
  c des ees c
  bes aes c bes
}



 regards,
 sb
 --
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 Oompa Loompa of Science
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Re: 4



Am 29.12.2008 um 12:23 schrieb sdfgsdhdshd:





James E. Bailey-3 wrote:


Am 29.12.2008 um 11:58 schrieb sdfgsdhdshd:

Is there a way to get in the pdf only the simple 4?


I don't understand how it works, but I got this from Mark Polesky (I
think) and it worked for me.
\version 2.11.64

myChordDefinitions = {
 c e g b des'-\markup \super{–9}
 c e f-\markup \super{4}
 c e-\markup \super{3}
}

myChordExceptions = #(append
(sequential-music-to-chord-exceptions myChordDefinitions #t)
ignatzekExceptions)

myChordInit = {
 \set chordRootNamer = #(chord-name-german-markup #t)

\set chordPrefixSpacer = #0.4

\set majorSevenSymbol = \markup{j\super{7}}
\set chordNameExceptions = #myChordExceptions
}



This is OK, but graphically. I'm not sure this will help for the  
full score.

Why not? What would you change for it to be helpful for the full score?
{
   
  \chords { \myChordInit g1:4 }
  { g'1 }
   
}



The syntax g:4 is very logic. I don't understand why it adds two  
times the

4th, plus suspends then unsuspends the 3th. Looks like a bug to me.
The G 4 display is correct, just the /sus4/add3 is unnecessary,  
to say

the least.
Okay, it may be a bug, that I can't say. It may be intentional. But  
the easy solution, or at least the one I got when I posed the  
question was to simply redefine what g:4 produces. So, we redefine g: 
4 to produce the output that we expect.


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Re: avoid slur help

2008/12/29 Trevor Daniels t.dani...@treda.co.uk:

 OK - have this in hand.  Thanks.

Trevor, I'm working on some additions to 'bound-details in
changing-defaults.itely at the moment.  When I've finished, I'll add
some info to the section which discusses 'outside-staff-priority.

As for the general issue with accidentals combined with scripts, I
think we need a way of supplementing the standard scripts with markup;
this would facilitate the creation of script equivalents to the markup
commands for accidentals, so they could be used for stacking with
articulations like turns and mordents, e.g.

\relative c' {
  \key d \minor
  cis\natural\turn
}

This would also be a simple way of implementing Reinhold's snappizz as
a proper articulation, or the accordion symbols (which have poor
positioning as markup).

I'll post a proof of concept patch later to demonstrate.

Regards,
Neil


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about custom percussion staves?

2008-12-29 Thread coralline algae

In the Notation manual 2.5 custom percussion staves, I have used
the example shown.  But havent been able to find out what the third
column is supposed to do.   ie.   #f  or #t  doesn't seem to do much?
Although the pedalhihat line seems to code for the + above.

I would like to know where to look in the documentation that
explains that column.


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Re: [LilyKDE] Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

2008-12-29 Thread Grammostola Rosea


Grammostola Rosea wrote:

Wilbert Berendsen wrote:

Op zondag 28 december 2008, schreef Grammostola Rosea:
 

What am I missing? :(



Please look at the versions of the packages (e.g. using aptitude).
python-sip4 and python-sip4-dev: 4,7,7
python-qt4 and python-qt4-dev: 4.4.3
libqt4-core/gui etc. 4.4.3
python-kde4 and -dev: 4:4.1.3

I think your sip is too old :-)

Note that all the -dev packages are only needed to build/install 
Frescobaldi, not to run it.


best regards,
Wilbert Berendsen

  

Mmh I think the python-qt4-dev is to old..

But when I want to install a newer version..:

# aptitude install -t experimental python-qt4 pyqt4-dev-tools
Reading package lists... 
Done Building 
dependency 
tree  Reading 
state information... 
Done Reading extended 
state information
Initializing package states... 
Done   Reading task 
descriptions... Done 
The following partially installed packages will be 
configured: pyqt4-dev-tools 
python-qt4  0 
packages upgraded, 0 newly installed, 0 to remove and 682 not 
upgraded. Need to get 0B of archives. After unpacking 0B will 
be used.  Writing extended state information... 
DoneSetting up python-qt4 
(4.4.4-3) ...   pycentral: 
pycentral pkginstall: not overwriting local files  
pycentral pkginstall: not overwriting local 
files dpkg: error processing 
python-qt4 (--configure):  subprocess 
post-installation script returned error exit status 1

dpkg: dependency problems prevent configuration of pyqt4-dev-tools:
pyqt4-dev-tools depends on python-qt4; however:
 Package python-qt4 is not configured yet.
dpkg: error processing pyqt4-dev-tools (--configure):
dependency problems - leaving unconfigured
Errors were encountered while processing:
python-qt4
pyqt4-dev-tools
E: Sub-process /usr/bin/dpkg returned an error code (1)
A package failed to install.  Trying to recover:
Setting up python-qt4 (4.4.4-3) ...
pycentral: pycentral pkginstall: not overwriting local files
pycentral pkginstall: not overwriting local files
dpkg: error processing python-qt4 (--configure):
subprocess post-installation script returned error exit status 1
dpkg: dependency problems prevent configuration of pyqt4-dev-tools:
pyqt4-dev-tools depends on python-qt4; however:
 Package python-qt4 is not configured yet.
dpkg: error processing pyqt4-dev-tools (--configure):
dependency problems - leaving unconfigured
Errors were encountered while processing:
python-qt4
pyqt4-dev-tools
Reading package lists... Done
Building dependency tree
Reading state information... Done
Reading extended state information
Initializing package states... Done
Reading task descriptions... Done



Solved: upgraded python-qt4

thanks


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Re: Lylipond and space-time notation

2008-12-29 Thread Neil Thornock

I'm no expert, but you should start with the docs on proportional notation:

http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Proportional-notation#Proportional-notation

Read the entire Horizontal Spacing chapter. Better yet, read all the docs!

neil

On Sat, Dec 27, 2008 at 10:22 AM, Han-Wen Nienhuys hanw...@gmail.comwrote:

-- Forwarded message --
From: João Pais jmmmp...@googlemail.com
Date: Fri, Dec 26, 2008 at 8:35 PM
Subject: Lylipond and space-time notation
To: han...@xs4all.nl

Hello,

I wanted to ask about Lylipond's ability to work with space-time
notation. That is, with notation that is distributed in the layout
according to a fixed horizontal grid representing time.
For example, here are some pages of Benedict Mason's Ensemble piece, for 3
metrically independent ensembles. The grid above in the page has a fixed
format throughout the score, so that each page has 10'' of music in it,
independently of it's coordination with the current metrical strucutre
(which is different in each of the 3 ensembles, and sometimes also divided
among each ensemble - pages 4 to 7).

[Note: the score I present is just an example. I am enquiring only about
the horizontal notation principle, and not of the possibility of joining
several music types with different metrics. Although information about
that would also be interesting to consider.]

This file was made in Sibelius, where all several laborious techniques of
faking and layouting were necessary to produce this score. In the end
result, it makes sense to say that the layout was 'imposed' on the score,
and not the other way.
What I concretely wanted to know is: is it possible (or in the future,
planned to) to make the 'real time duration' of the music to decide on the
horizontal layout of the score? For example, in traditional notation the
same piece is notated with the same layout if the tempo is 4th = 120 or
4th = 40. Would it be possible to make the score layout itself differently
just by changing the tempo - and with it the duration?

In case the answer is positive, did you also consider cases when the page
divisions don't match with the metrical division? What happens to bar
lines in the end of a system, how are empty spaces in the beginning of the
next filled up? And how is that reflected (or not) in the part extraction?

Best regards,

João Pais

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Re: Diatonic/modal transposition function

2008-12-29 Thread Hans Aberg


On 29 Dec 2008, at 00:56, John Mandereau wrote:


I finally managed to write, debug, clean up and document diatonic
transposition functions.  Here is the full code with some examples
below.  There are two end-user functions, the generic modeTranspose  
and

a shortcut diatonicTranspose.


Is this synced with the work by Graham Breed, who has worked on  
microtonal extensions? - See the developers list.


  Hans




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Re: about custom percussion staves?

Hi Coralline,

2008/12/29 coralline algae corall...@gmail.com:
 In the Notation manual 2.5 custom percussion staves, I have used
 the example shown.  But havent been able to find out what the third
 column is supposed to do.   ie.   #f  or #t  doesn't seem to do much?
 Although the pedalhihat line seems to code for the + above.

 I would like to know where to look in the documentation that
 explains that column.

It's only listed in the Internals Reference at the moment
(http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals/Tunable-context-properties#Tunable-context-properties),
since the Percussion chapter is still a work in progress.

The third column specifies a script to add to the notehead, which
would be one of the options listed here:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/List-of-articulations#List-of-articulations.
 If no script is required, #f should be used; though #t has the same
effect as #f, its use in the examples is likely to confuse users. :)

Regards,
Neil


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Re: 4




On 12/29/08 6:04 AM, James E. Bailey derhindem...@googlemail.com wrote:

 
 
 Am 29.12.2008 um 12:23 schrieb sdfgsdhdshd:
 
 
 
 
 James E. Bailey-3 wrote:
 
 Am 29.12.2008 um 11:58 schrieb sdfgsdhdshd:
 Is there a way to get in the pdf only the simple 4?
 
 
 The syntax g:4 is very logic. I don't understand why it adds two
 times the
 4th, plus suspends then unsuspends the 3th. Looks like a bug to me.
 The G 4 display is correct, just the /sus4/add3 is unnecessary,
 to say
 the least.
 Okay, it may be a bug, that I can't say. It may be intentional. But
 the easy solution, or at least the one I got when I posed the
 question was to simply redefine what g:4 produces. So, we redefine g:
 4 to produce the output that we expect.
 

The chord namer (responsible for converting chords from pitches to chord
names) is certainly not perfect.  Nobody is currently actively developing
it.  The workaround is easy enough (add an exception) that the priority of
fixing the namer is not very high on the development list.

The chord namer is written in scheme, so it can be worked on even without
the ability to compile lilypond, so this task is available for anybody who
is interested.

Please file a bug report to lilypond-bug; we ought to try to collect all the
cases where the chord namer fails to work properly.

BTW, James, do you want german note names for your chords (h instead of bes,
IIRC)?  Your init file includes a line that sets german note names.  You may
want to eliminate that line.

Thanks,

Carl



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Re: Diatonic/modal transposition function

Le lundi 29 décembre 2008 à 15:44 +0100, Hans Aberg a écrit :
 Is this synced with the work by Graham Breed, who has worked on  
 microtonal extensions? - See the developers list.

I assume you refer to Mictrotonal support thread, which is kind-of a
follow-up of Diatonic notation system (traffic on -devel is so high
these days).

This work is not synced at all with Graham's work, but it tries not to
naively assume any temperament; in current state it only works with
7-notes scales, but the arithmetics on alteration works with any kind
alteration, semi-tones or microtonal alterations.

BTW I'm sure it is feasible to extend these transposition functions to
scales with other lengths assuming equal semi-tones temperament (E12)
(e.g. for Messiaen's modes), but I'm not knowledgeable enough about
scales and modes definitions you discussed with Graham on -devel to tell
how the functions I wrote should be extended to support these scales.

Best,
John



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Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

2008-12-29 Thread Ralph Palmer

Hi, all -

I'm just about to take the plunge into Linux. I have an older Dell Latitude
that I want to use. I was planning to use Ubuntu, with the default Gnome
desktop. Frescobaldi looks interesting, especially after my lack of
happiness with some other packages (esp. LilyPondTool). Does anyone have a
recommendation or advice or reason(s) for going with 1) Ubuntu with Gnome;
2) Ubuntu and installing KDE; or 3) Kubuntu with KDE?

Thanks for your patience and help,

Ralph

On Sun, Dec 28, 2008 at 1:51 AM, Wilbert Berendsen lily...@xs4all.nlwrote:

 Hi all,

 I just released Frescobaldi, a brand new LilyPond music score editor for
 KDE4.
 It aims to be powerful, yet lightweight and easy to use, and it currently
 has
 most features of LilyKDE (the KDE3 Kate plugin):

 * Enter LilyPond scores, build and preview them with a mouseclick
 * Point-and-click support: click on notes or error messages to jump to the
   correct position
 * A powerful Score Wizard to quickly setup a musical score
 * Editing tools to:
  - manipulate the rhythm
  - hyphenate lyrics
  - quickly enter or add articulations and other symbols to existing music
  - run the document through convert-ly to update it to a newer LilyPond
 version
 * A powerful Rumor plugin, using the Rumor program to quickly enter music
 by
   playing it on a MIDI keyboard or even your computer keyboard

 You can download Frescobaldi 0.7 from
 http://lilykde.googlecode.com/files/frescobaldi-0.7.tar.gz

 To use Frescobaldi you need also the latest lilypond-kde4 package, that
 provides icons for the lilypond file type and a KDE service that enables
 point
 and click in LilyPond-generated PDFs. Available at
 http://lilykde.googlecode.com/files/lilypond-kde4-0.2.tar.gz

 Please try it out and help finding bugs :-)
 many thanks and best regards,
 Wilbert Berendsen

 --
 Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/



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-- 
Ralph Palmer
Montague City, MA
USA
palmer.r.vio...@gmail.com
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Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

2008-12-29 Thread Bertalan Fodor

Dont say lilypond tool made you particularly unhappy :) it is not so bad just 
has a much richer feature set so it is harder to maintain.

  Original message  
From: Ralph Palmer palmer.r.vio...@gmail.com
Sent: 29 Dec 2008 07:21 -08:00
To: Wilbert Berendsen lily...@xs4all.nl
Cc:  lily...@googlegroups.com,  lilypond-user@gnu.org
Subject: Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

Hi, all -

I'm just about to take the plunge into Linux. I have an older Dell Latitude
that I want to use. I was planning to use Ubuntu, with the default Gnome
desktop. Frescobaldi looks interesting, especially after my lack of
happiness with some other packages (esp. LilyPondTool). Does anyone have a
recommendation or advice or reason(s) for going with 1) Ubuntu with Gnome;
2) Ubuntu and installing KDE; or 3) Kubuntu with KDE?

Thanks for your patience and help,

Ralph

On Sun, Dec 28, 2008 at 1:51 AM, Wilbert Berendsen lily...@xs4all.nlwrote:

 Hi all,

 I just released Frescobaldi, a brand new LilyPond music score editor for
 KDE4.
 It aims to be powerful, yet lightweight and easy to use, and it currently
 has
 most features of LilyKDE (the KDE3 Kate plugin):

 * Enter LilyPond scores, build and preview them with a mouseclick
 * Point-and-click support: click on notes or error messages to jump to the
   correct position
 * A powerful Score Wizard to quickly setup a musical score
 * Editing tools to:
  - manipulate the rhythm
  - hyphenate lyrics
  - quickly enter or add articulations and other symbols to existing music
  - run the document through convert-ly to update it to a newer LilyPond
 version
 * A powerful Rumor plugin, using the Rumor program to quickly enter music
 by
   playing it on a MIDI keyboard or even your computer keyboard

 You can download Frescobaldi 0.7 from
 http://lilykde.googlecode.com/files/frescobaldi-0.7.tar.gz

 To use Frescobaldi you need also the latest lilypond-kde4 package, that
 provides icons for the lilypond file type and a KDE service that enables
 point
 and click in LilyPond-generated PDFs. Available at
 http://lilykde.googlecode.com/files/lilypond-kde4-0.2.tar.gz

 Please try it out and help finding bugs :-)
 many thanks and best regards,
 Wilbert Berendsen

 --
 Frescobaldi, LilyPond editor for KDE: http://www.frescobaldi.org/

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-- 
Ralph Palmer
Montague City, MA
USA
palmer.r.vio...@gmail.com

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Re: GPF with 2.12

Hi Stefan,

2008/12/28 Stefan Waler ste...@waler.at:
 Hi,

 the attached example produces a GPF in lilypond 2.12.

 Once again there seems to be something wrong with Bar_engraver in the lyrics
 context.

May I ask why you've \consist-ed the Separating_line_group_engraver in
the StaffGroup context?  While LilyPond shouldn't crash like this, I
think you're better off adding it to the Lyrics context.

A little digging reveals this error to be a side effect of Joe's
spacing engine changes between 2.11.27 and .28.  There were so many
changes between these versions, it's difficult to pinpoint what's to
blame.

Regards,
Neil


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Re: 4



Am 29.12.2008 um 16:11 schrieb Carl D. Sorensen:

BTW, James, do you want german note names for your chords (h  
instead of bes,
IIRC)?  Your init file includes a line that sets german note  
names.  You may

want to eliminate that line.


Yes, and like the other german speaking people, I lament the lack of  
a german minor option for chords. Also, the only person I engrave for  
who uses chords uses B-flat (like the americans) and H. I had to  
fiddle to get it to work, and I think I had to create another  
exception to make it.



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Re: 4




On 12/29/08 8:48 AM, James E. Bailey derhindem...@googlemail.com wrote:

 
 
 Am 29.12.2008 um 16:11 schrieb Carl D. Sorensen:
 
 BTW, James, do you want german note names for your chords (h
 instead of bes,
 IIRC)?  Your init file includes a line that sets german note
 names.  You may
 want to eliminate that line.
 
 Yes, and like the other german speaking people, I lament the lack of
 a german minor option for chords. Also, the only person I engrave for
 who uses chords uses B-flat (like the americans) and H. I had to
 fiddle to get it to work, and I think I had to create another
 exception to make it.

I know that this has been tossed around on one of the lists.

I'd recommend that you file an enhancement request on bug-lilypond so that
it's captured in the issues collection.

Thanks,

Carl



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Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

2008-12-29 Thread Laura Conrad

 Ralph == Ralph Palmer palmer.r.vio...@gmail.com writes:


Ralph Does anyone have a recommendation or advice or reason(s)
Ralph for going with

Ralph 1) Ubuntu with Gnome; 2) Ubuntu and installing KDE; or 3)
Ralph Kubuntu with KDE?

I think you should decide whether you want to use KDE or Gnome on your
own.  If possible just play with them both for a while.

Remember that which environment you use doesn't really have much to do
with what applications you can run, as it's fairly easy to install
Gnome Applications on KDE and vice versa.  

I personally use Gnome on my laptop, which is mostly used for web
browsing, and use a desktop (wmaker) that's lighter than either of
them on my desktop.

If you do decide to run KDE on Ubuntu and don't expect to install
gnome applications, you'll probably save some disk space by installing
kubuntu in the first place rather than installing the Ubuntu desktop
with gnome and then putting KDE on.  What I do for the desktop is
install Xubuntu, so that I then end up installing only the parts of
KDE and Gnome that I need for the apps I run.  Which probably ends up
being most of them.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

I have only one superstition. I touch all the bases when I hit a home
run.

Babe Ruth



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Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

2008-12-29 Thread Valentin Villenave

2008/12/29 Ralph Palmer palmer.r.vio...@gmail.com:
 I'm just about to take the plunge into Linux. I have an older Dell Latitude
 that I want to use. I was planning to use Ubuntu, with the default Gnome
 desktop. Frescobaldi looks interesting, especially after my lack of
 happiness with some other packages (esp. LilyPondTool). Does anyone have a
 recommendation or advice or reason(s) for going with 1) Ubuntu with Gnome;
 2) Ubuntu and installing KDE; or 3) Kubuntu with KDE?

I'd recommend XFCE for older hardware, but I tend to find Xubuntu
deceiving, so I'd probably install the plain Ubuntu and just install
XFCE using the package manager (XFCE and GNOME share many libraries,
so switching is easy enough).

As for LPT, I don't know whether it's the Java virtual machine or the
way jEdit is designed, but its main flaw is that it keeps eating a
huge amount of RAM.
I have 4 GB on a 64-bits machine, and no matter what value I specify
for the JAVA_MAX_SIZE, I still have to constantly close it and
relaunch it when working with large .ly files (1000 to 5000 lines of
code ). Even when I allow jEdit to take up to 3 GB, it does take them
very quickly, but after 20 minutes or so it becomes extremely slow
(whenever I type one note, I have to wait a dozen seconds to see it
displayed on the screen).
I have disabled the SideKick parse on keystroke option, and it does
help a bit, but it's still very heavy. Garbage collector, anyone? :-)

Cheers,
Valentin


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Re: GPF with 2.12

2008-12-29 Thread Stefan Waler


Neil Puttock wrote:


May I ask why you've \consist-ed the Separating_line_group_engraver in
the StaffGroup context?  While LilyPond shouldn't crash like this, I
think you're better off adding it to the Lyrics context.



What I did is copying more or less the content of the incipit snippet 
(which has always been regarded as best practice since some - me 
included - have elaborated and documented this approach about one year ago).
Here is what I found there, if there is room for improvement please let 
us know:



\layout {
\context {
  \Score
  %% no bar lines in staves
  \override BarLine #'transparent = ##t
}
%% the next three instructions keep the lyrics between the bar lines
\context {
  \Lyrics
  \consists Bar_engraver
  \override BarLine #'transparent = ##t
}
\context {
  \StaffGroup
  \consists Separating_line_group_engraver
}
\context {
  \Voice
  %% no slurs
  \override Slur #'transparent = ##t
  %% Comment in the below \remove command to allow line
  %% breaking also at those bar lines where a note overlaps
  %% into the next measure.  The command is commented out in this
  %% short example score, but especially for large scores, you
  %% will typically yield better line breaking and thus improve
  %% overall spacing if you comment in the following command.
  %%\remove Forbid_line_break_engraver
}
indent = 6\cm
incipit-width = 4\cm
  }


Stefan



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beams in a two quarter bar

2008-12-29 Thread Stefan Thomas

Dear lilypond-users,
I have the following, I guess very simple problem, that I can't solve.
How can I get the beams in the below quoted example automatically?
Thanks for Your help
Stefan


\new Staff \relative { \time 2/4
c8 [ d e f ] g2 %this works, but it isn't automatic
 #(override-auto-beam-setting '(end * * 2 4) 4 8 'Score) %this
unfortunately doesn't help
c,8 d e f g2 }


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Re: GPF with 2.12

2008/12/29 Stefan Waler ste...@waler.at:

 What I did is copying more or less the content of the incipit snippet (which
 has always been regarded as best practice since some - me included - have
 elaborated and documented this approach about one year ago).
 Here is what I found there, if there is room for improvement please let us
 know:

Following the course of the discussion from last year, I see that it
was recommended to move the engraver due to a bug which had been
reported in March 2007; this caused a strange effect with repeat
barlines when using Lyrics within a StaffGroup.  Since this bug has
been fixed, I think it's advisable to follow the guidelines in the
docs, i.e. move the Separating_line_group_engraver to the Lyrics
context if necessary.

I haven't really studied what's going on in the engraver, but judging
how it's used within the default contexts, I think it's a good idea to
restrict its use to bottom-level or staff-level contexts.

 \layout {
\context {
  \Score
  %% no bar lines in staves
  \override BarLine #'transparent = ##t
}
%% the next three instructions keep the lyrics between the bar lines
\context {
  \Lyrics
  \consists Bar_engraver
  \override BarLine #'transparent = ##t

This line is redundant (as is the similar override in \global), since
the Score override above covers this (though I can see why it was
originally included, since in 2.10.33 there seems to be a bug whereby
the Score override doesn't descend to the Lyrics context.

I'll make these suggested changes to the snippets shortly.

Regards,
Neil


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instrumentSwitch/addInstrumentDefinition?

2008-12-29 Thread Kieren MacMillan


Hello all,

You may recall the problem(s) we were discussing earlier this year:
http://lists.gnu.org/archive/html/lilypond-user/2008-06/ 
msg00512.html


In the docs, I found the \instrumentSwitch feature:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/ 
Writing-parts#Instrument-names


Looks promising… but no documentation!?  =\

Anyone know what's going on in there?
I'd like to see if it solves the problem referenced above — if so,  
I'm happy to write up documentation for the benefit of others.


Thanks,
Kieren.

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Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

2008-12-29 Thread Bertalan Fodor

Send me a file like that. I'll check where the memory leak is.


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Re: Diatonic/modal transposition function (John Mandereau)

Le lundi 29 décembre 2008 à 10:16 +0100, Stefan Thomas a écrit :
 Dear John,
 I understood now. You have a note 0 in c major and in a minor, which
 is a c.

The most meaningful I think is that c major and a minor define the same
major scale in LilyPond, only the tonic (c or a, respectively) differ.


  In my opinion it would be better to understand for a musician,
 if You could use the intervall-names.

You're right, and it could simply be done by defining

secondUp = #1
thirdUp = #2
...
seventhUp = #7

secondDown = #1
...
seventhDown = #-7

and using these variables with a backslash in \diatonicTranspose and
\modeTranspose.

However, your remarks also made me think about simplifying the syntax
for saving the typist the effort of computing the degree delta himself.
With the revised snippet below, the functions now take a start pitch and
a final pitch instead of a degree delta; that is, think about the syntax
of these functions of being the same as (chromatic) \transpose, except
you insert additional arguments to specify one (for \diatonicTranspose
or two (for \modeTranspose) modes.  See at the end of the code below for
examples; is this syntax more user-friendly?

#(define (true-quotient n d)
  Return the true quotient in integer division of n by d, i.e.
return the integer q so that there is a unique integer r that
satisfies  n = qd + r  and  0 = r  |d|
  (if (= n 0)
   (quotient n d)
   (- (quotient n d) 1)))

#(define (ly-pitch-modal-pitch ly-pitch scale tonic-c-diff)
  Convert ly-pitch to a list (octave degree depresentation) which represents
the modal pitch in scale, with tonic-c-diff as the pitch diff from tonic to
middle C.  scale should be a notename-alteration alist of length 7 which
represents the alteration of each note with C as first pitch of the scale.
  (let* ((normalized-pitch (ly:pitch-transpose ly-pitch tonic-c-diff))
 (notename (ly:pitch-notename normalized-pitch)))
   (list
(ly:pitch-octave normalized-pitch) ;; octave
notename ;; degree
;; alteration
(- (ly:pitch-alteration normalized-pitch) (ly:assoc-get notename scale 
0)

#(define (degree-transpose modal-pitch modal-pitch-delta scale-length)
Transpose modal-pitch (octave degree alteration) by modal-pitch-delta assuming
scale-length.
  (let* ((octave (car modal-pitch))
 (degree (cadr modal-pitch))
 (alteration (caddr modal-pitch))
 (octave-delta (car modal-pitch-delta))
 (degree-delta (cadr modal-pitch-delta))
 (alteration-delta (caddr modal-pitch-delta))
 (relative-new-degree (+ degree degree-delta)))
   (list
(+
 octave
 octave-delta
 (true-quotient relative-new-degree scale-length))
(modulo relative-new-degree scale-length)
(+ alteration alteration-delta

#(define (modal-pitch-ly-pitch modal-pitch scale c-tonic-diff)
  Convert modal-pitch -- a list (octave degree alteration) -- to a
standard pitch using scale and pitch diff from middle C to tonic.
scale should be a notename-alteration alist of length 7 which represents
the alteration of each note with C as first pitch of the scale.
  (let* ((octave (car modal-pitch))
 (degree (min 6 (cadr modal-pitch)))
 (alteration (caddr modal-pitch))
 (abs-alteration (+ alteration (ly:assoc-get degree scale 0
   (ly:pitch-transpose
(ly:make-pitch octave degree abs-alteration)
c-tonic-diff)))

#(define (lookup-music-property event type)
  Return the first music property of the given type found in event,
or #f is no such property is found.  event should be music or a list
of music.
  (if (null? event)
   #f
   (if (list? event)
(or
 (lookup-music-property (car event) type)
 (lookup-music-property (cdr event) type))
(let ((p (ly:music-property event 'pitch)))
 (if (not (null? p))
  p
  (let* ((e (ly:music-property event 'element))
 (es (ly:music-property event 'elements))
 (p2 (if (null? e)
  '()
  (lookup-music-property e type
   (if (not (null? p2))
p2
(lookup-music-property es type

#(define (mode-transpose
  pitch-note1 pitch-note2 tonic-note1 scale1 tonic-note2 scale2 music)
  (let* ((tonic-diff1 (ly:pitch-diff
   (ly:make-pitch 0 0 0)
   (lookup-music-property tonic-note1 'pitch)))
 (tonic-diff2 (ly:pitch-diff
   (lookup-music-property tonic-note2 'pitch)
   (ly:make-pitch 0 0 0)))
 (modal-pitch-delta (map
 -
 (ly-pitch-modal-pitch
  (lookup-music-property pitch-note2 'pitch)
  scale2
  (ly:pitch-negate tonic-diff2))
 (ly-pitch-modal-pitch
  (lookup-music-property pitch-note1 'pitch)
  scale1

Re: Compiling on Mac OS X - succes!

2008-12-29 Thread Arjan Bos



On 28 dec 2008, at 22:03, Kim Shrier wrote:


The problem you are seeing:

Assertion failed: (pt-read_pos == pt-read_end), function  
scm_fill_input, file ports.c, line 978.


has to do with a bug in the scheme code that was fixed yesterday  
afternoon.

If you update your source from the git repository, it should work now.

Also, a better way to handle the problem with configure finding the  
wrong

FlexLexer.h file is to add the line:

  FLEXLEXER_FILE = /opt/local/include/FlexLexer.h

to local.make.  This way when you run the configure script, you will  
not
need to edit config.make anymore as the value in local.make will  
override

it.

One other problem you will run into is that the Century Schoolbook  
fonts
will not be found and you need to give configure some help.  When I  
run

configure, I use the following parameter:

  ./configure --with-ncsb-dir=/opt/local/share/ghostscript/fonts

I have successfully built lilypond on 10.5 intel.  To summarize the  
steps:


1.  Get the latest sources from the git repository.
2.  Edit local.make to set the FLEXLEXER_FILE variable.
3.  Make sure that /opt/local/bin is in $PATH before /usr/bin
4.  make distclean
5.  ./configure --with-ncsb-dir=/opt/local/share/ghostscript/fonts
6.  make all
7.  sudo make install

Kim


Kim,

I tried all that, but unfortunately, I got the following reply from  
`make all':

flex -Cfe -p -p -oout/lexer.cc lexer.ll
lexer.ll:595: multiple EOF rules for start condition longcomment
lexer.ll:621: warning, rule cannot be matched
lexer.ll:624: warning, rule cannot be matched
lexer.ll:693: warning, -s option given but default rule can be matched
rm -f ./out/lexer.dep; DEPENDENCIES_OUTPUT=./out/lexer.dep ./out/ 
lexer.o g++ -c -Woverloaded-virtual  -I/System/Library/Frameworks/ 
Python.framework/Versions/2.5/include/python2.5 -I/System/Library/ 
Frameworks/Python.framework/Versions/2.5/include/python2.5 -fno-strict- 
aliasing -Wno-long-double -no-cpp-precomp -mno-fused-madd -fno-common - 
dynamic -DNDEBUG -g -Os -Wall -Wstrict-prototypes -DMACOSX -I/usr/ 
include/ffi -DENABLE_DTRACE  -DHAVE_CONFIG_H  -DNDEBUG -I./include -I./ 
out -I../flower/include -I../flower/./out -I../flower/include  -O2 - 
finline-functions -g -pipe -I/opt/local/include -I/opt/local/include - 
D_THREAD_SAFE  -I/opt/local/include/freetype2 -I/opt/local/include   - 
I/opt/local/include/pango-1.0 -I/opt/local/include/freetype2 -I/opt/ 
local/include -I/opt/local/include/glib-2.0 -I/opt/local/lib/glib-2.0/ 
include   -Wno-pmf-conversions  -W -Wall -Wconversion -o out/lexer.o  
out/lexer.cc
cc1plus: warning: command line option -Wstrict-prototypes is valid  
for C/ObjC but not for C++
./out/FlexLexer.h:130: error: expected unqualified-id before numeric  
constant

make[1]: *** [out/lexer.o] Error 1

So, I removed line 130 in /opt/local/include/FlexLexer.h:
//  virtual int yywrap();

Then I did a
make clean  make all
And everything works!

So Kim,
Thanks a lot for making the Lilypond Mac OS X 10.5 place a lot brighter.

Arjan

Oh, and by the way:
zfRp:/usr/local/src/lilypond/lilypond ajb$ which flex
/opt/local/bin/flex




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Harmonic question

2008-12-29 Thread Johan Vromans

Hi,

I'm trying the TAB \harmonic feature of 2.12.

Am I right that to get a harmonic, you always need a chord?

E.g. This works: 

e''\harmonic

but this doesn't:

e''\harmonic

Modified from the docs:

\relative c' {
  \new TabStaff {
\new TabVoice {
  c g'\harmonic d\2\glissando e\2 e\harmonic
}
  }
}

-- Johan


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Re: Harmonic question



Yes.  The warning under Harmonics in 2.3.1 in the Notation Reference says:

Note: Harmonics must be defined inside a chord construct even if there is 
only a single note.


Trevor

- Original Message - 
From: Johan Vromans jvrom...@squirrel.nl

To: lilypond-user@gnu.org
Sent: Monday, December 29, 2008 9:28 PM
Subject: Harmonic question



Hi,

I'm trying the TAB \harmonic feature of 2.12.

Am I right that to get a harmonic, you always need a chord?

E.g. This works:

   e''\harmonic

but this doesn't:

   e''\harmonic

Modified from the docs:

   \relative c' {
 \new TabStaff {
   \new TabVoice {
 c g'\harmonic d\2\glissando e\2 e\harmonic
   }
 }
   }

-- Johan


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Re: beams in a two quarter bar

Hi Stefan,

2008/12/29 Stefan Thomas kontrapunktste...@googlemail.com:
 Dear lilypond-users,
 I have the following, I guess very simple problem, that I can't solve.
 How can I get the beams in the below quoted example automatically?

I'm afraid this is more complicated than it used to be, since you need
to do two things:

- revert the default auto-beam setting (as described here:
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Beams#Setting-automatic-beam-behavior),
using revert-auto-beam-setting.

#(revert-auto-beam-setting '(end * * 2 4) 1 4)

- override the default beatLength so it's no longer one crotchet;
instead make it the length of the bar:

\set beatLength = #(ly:make-moment 1 2)

Carl, it seems that the auto-beam setting default here is redundant,
since it matches the default beatLength.  Should we remove the default
in this case?

Regards,
Neil


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Re: Harmonic question

Le lundi 29 décembre 2008 à 22:53 +, Trevor Daniels a écrit :
 Yes.  The warning under Harmonics in 2.3.1 in the Notation Reference says:
 
 Note: Harmonics must be defined inside a chord construct even if there is 
 only a single note.

Should we add copy this warning into Common notation for fretted
strings or add there a See also reference to 2.3.1?

I know about the no duplicate information rule but I feel like a See
also might not be enough.

John



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Re: Harmonic question



John Mandereau wrote Monday, December 29, 2008 11:01 PM



Le lundi 29 décembre 2008 à 22:53 +, Trevor Daniels a écrit :
Yes.  The warning under Harmonics in 2.3.1 in the Notation Reference 
says:


Note: Harmonics must be defined inside a chord construct even if there 
is

only a single note.


Should we add copy this warning into Common notation for fretted
strings or add there a See also reference to 2.3.1?


Good point.  I'll add a pointer for harmonics to the References for fretted
strings section


I know about the no duplicate information rule but I feel like a See
also might not be enough.


I think a clear annotated reference for harmonics will be adequate.


John


Trevor



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Re: Harmonic question

2008-12-29 Thread Reinhold Kainhofer

-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1

Am Montag, 29. Dezember 2008 22:28:13 schrieb Johan Vromans:
 Hi,

 I'm trying the TAB \harmonic feature of 2.12.

 Am I right that to get a harmonic, you always need a chord?

 E.g. This works:

 e''\harmonic

 but this doesn't:

 e''\harmonic

Yes, you are correct.

However, I also realized that even \displayLilyMusic messes this up. In 
particular, 

\version 2.11.65
\displayLilyMusic \relative c'' { a\harmonic a\harmonic }

will print out:

{ a'-\harmonic  a'-\harmonic }

Which is apparently wrong.

I'm CC'ing the bug list, since I think this should deserve a bug report in our 
tracker ;-)

Cheers,
Reinhold

- -- 
- --
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
 * Financial  Actuarial Math., Vienna Univ. of Technology, Austria
 * http://www.fam.tuwien.ac.at/, DVR: 0005886
 * LilyPond, Music typesetting, http://www.lilypond.org
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xPxdIei8B2LvLWzPJpS/Edo=
=nq1r
-END PGP SIGNATURE-


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Re: avoid slur help



Neil Puttock wrote  Monday, December 29, 2008 1:25 PM



2008/12/29 Trevor Daniels t.dani...@treda.co.uk:


OK - have this in hand.  Thanks.


Trevor, I'm working on some additions to 'bound-details in
changing-defaults.itely at the moment.  When I've finished, I'll add
some info to the section which discusses 'outside-staff-priority.


OK, but is there such a section in the NR?  Did you have somewhere
in mind? There is quite an extended discussion in LM 4.4.3 which 
currently doesn't mention slurs.  Perhaps it should.  A new section

in NR 5.4 called Vertical positioning or similar might be useful.


As for the general issue with accidentals combined with scripts, I
think we need a way of supplementing the standard scripts with markup;
this would facilitate the creation of script equivalents to the markup
commands for accidentals, so they could be used for stacking with
articulations like turns and mordents, e.g.

\relative c' {
 \key d \minor
 cis\natural\turn
}


Sounds good.

As you know, in the meantime I added a snippet to show a delayed turn.
Thanks for the improvement, BTW :)


This would also be a simple way of implementing Reinhold's snappizz as
a proper articulation, or the accordion symbols (which have poor
positioning as markup).

I'll post a proof of concept patch later to demonstrate.


OK


Regards,
Neil




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Re: beams in a two quarter bar



Neil Puttock wrote Monday, December 29, 2008 10:56 PM


Carl, it seems that the auto-beam setting default here is redundant,
since it matches the default beatLength.  Should we remove the default
in this case?


There are quite a few changes we should make to the auto-beam
settings following Carl's changes to beatGrouping.  I made a
start on them, but got overtaken by other things.  I'll try to get back
to it later this week.

Trevor



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Re: beams in a two quarter bar




On 12/29/08 3:56 PM, Neil Puttock n.putt...@gmail.com wrote:

 Hi Stefan,
 
 2008/12/29 Stefan Thomas kontrapunktste...@googlemail.com:
 Dear lilypond-users,
 I have the following, I guess very simple problem, that I can't solve.
 How can I get the beams in the below quoted example automatically?
 
 I'm afraid this is more complicated than it used to be, since you need
 to do two things:
 
 - revert the default auto-beam setting (as described here:
 http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Beams#Setting-automa
 tic-beam-behavior),
 using revert-auto-beam-setting.
 
 #(revert-auto-beam-setting '(end * * 2 4) 1 4)
 
 - override the default beatLength so it's no longer one crotchet;
 instead make it the length of the bar:
 
 \set beatLength = #(ly:make-moment 1 2)
 
 Carl, it seems that the auto-beam setting default here is redundant,
 since it matches the default beatLength.  Should we remove the default
 in this case?
 

My preference would be to eliminate auto-beam settings wherever possible.
Certainly in this case, where it matches beatLength, I don't think we should
have it.

However, I would have said to adjust beatGrouping, rather than beatLength,
in order to achieve one beam per measure.

\set beatGrouping = #'(2)

Carl



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Re: Diatonic/modal transposition function (John Mandereau)

Le lundi 29 décembre 2008 à 12:33 +0100, Tao Cumplido a écrit :
 As far as I understand it it works independent from a key signature so
 it doesn't matter if the key is in C or not.

 The function says taht you transpose a pattern in a given key for X
 steps, so in your example you transpose a pattern in a-minor one step
 up, and from C one step is D.

Correct.


 Would it be possible to make \diatonicTranspose recognize the key 
 automatically?

Yes, if you know how to retrieve a context property -- I've started
looking at this, this is less trivial than setting context properties
with \set.  It would not be named \diatonicTranspose, though, as this
function must keep a general enough purpose; would \keyDiatonicTranspose
be a sensible name?


 It would save a lot of typing.
 e.g.:
 
 motive = { c'8 d'8 }
 
 \new Staff
 {
\key c \major
\motive
\diatonicTranspose #1 \motive
\diatonicTranspose #2 \motive
 }


 Maybe the same for modeTranspose, that I only have to specify the mode
 I transpose into.
 This would be especially useful for minor keys because a motive is
 often transposed into minor melodic/harmonic.

Certainly.  The problem is, it's not possible to retrieve the current
key signature as a context property at parsing stage, because contexts
(and thus context properties) are built in the next stage music
interpretation.  A dirty solution is defining a custom \key command
(e.g. defining \myKey that calls \key and stores the tonic and scale in
global variables), then reusing global variables in a
\keyDiaonicTranspose command; the downside of this is, it would be too
dirty for inclusion in LilyPond.  A clean solution is delaying
evaluation of the diatonic applyContext; here's a sample based on
functions I sent in
http://lists.gnu.org/archive/html/lilypond-user/2008-12/msg00849.html


%%% Begin snippet %%%

#(define (lookup-context-property c symbol)
  (if (ly:context? c)
   (let ((v (ly:context-property c symbol)))
(if (and v (not (null? v)))
 v
 (lookup-context-property (ly:context-parent c) symbol)))
   #f))


keyDiatonicTranspose =
#(define-music-function
  (parser location pitch-note1 pitch-note2 music)
  (ly:music? ly:music? ly:music?)
  Transpose music diatonicly by from pitch-note1 to pitch-note2
in scale on tonic-note.
  (make-music 'ApplyContext
   'origin location
   'procedure (
 lambda (c)
 (let ((k (lookup-context-property c 'keySignature)))
  (ly:interpret-music-expression
   (make-music
'ContextSpeccedMusic
'property-operations
'()
'context-id
(ly:context-id c)
'context-type
(ly:context-name c)
'element
(mode-transpose
 pitch-note1 pitch-note2 #{ c #} k #{ c #} k music))
   (ly:context-find c 'Global))

minorPattern = {
  c'2 ~  c'8 d'16 ees' f' g' aes' bes' c''4 g' ees' c' 
}

{
  \key c \minor
  \repeat unfold 2 c'1
  \keyDiatonicTranspose c d \minorPattern
}

%%% End snippet %%%

Note the strange spacing I get in the attached PNG; it even segfaults if
I add c'1 after \keyDiatonicTranspose c d \minorPattern.  I'll reduce
try to reduce the problem down and submit a bug report.


 I guess the best solution would be to have both options available,
 e.g. just to specify the key if necessary and automatic recognition of
 the current key if no key is specified.

It is hardly possible to have optional arguments in music functions,
because AFAIK the parser grabs next input tokens according to the music
function prototype.  Having music functions with variable argument count
would make the parser horribly complex and would create ambiguous cases.



 Another thing I was thinking about is maybe using interval numbers
 instead of steps for the integer, so that #2 tranposes a second up and
 #-4 a fourth down etc.

This would make the arithmetic more complicated (as it already does to
people that learn western music theory :-P), a better solution is to use
interval names as I suggested to Stefan, or even better replace this
integer argument start pitch and final pitch as I proposed.


 It's definitely an awesome function and it makes constructing a piece
 with motives possible.

Yeah, as my flatmate says this function is relevant to composition and
not pure music typesetting, but by design LilyPond already offers input
facilities with this kind of side-effect (or at least it has this
power).

Best,
John
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Re: beams in a two quarter bar




On 12/29/08 3:56 PM, Neil Puttock n.putt...@gmail.com wrote:

 Hi Stefan,
 
 2008/12/29 Stefan Thomas kontrapunktste...@googlemail.com:
 Dear lilypond-users,
 I have the following, I guess very simple problem, that I can't solve.
 How can I get the beams in the below quoted example automatically?
 
 I'm afraid this is more complicated than it used to be, since you need
 to do two things:
 
 - revert the default auto-beam setting (as described here:
 http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Beams#Setting-automa
 tic-beam-behavior),
 using revert-auto-beam-setting.
 
 #(revert-auto-beam-setting '(end * * 2 4) 1 4)
 
 

This reversion is necessary in all cases, and I think we should get rid of
it so it's not necessary, since the default beatLength will produce this
beaming.

Once you have reverted the undesired auto-beam setting, you have three ways
to set the desired auto-beam setting:

1) use #(override-auto-beam-setting '(end * * 2 4) 2 4)

2) use \set beatGrouping = #'(2)
 
or
3) adjust the beatLength.

 override the default beatLength so it's no longer one crotchet;
 instead make it the length of the bar:
 
 \set beatLength = #(ly:make-moment 1 2)
 


My preference is to use beatGrouping, because it's the most intuitive to me.

Here's a snippet that shows all three methods in use.

\version 2.12

\score {
  \relative c' {
\time 2/4
c'8 d e f
#(revert-auto-beam-setting '(end * * 2 4) 1 4)
#(override-auto-beam-setting '(end * * 2 4) 2 4)
c8 d e f
#(revert-auto-beam-setting '(end * * 2 4) 2 4)
\set beatLength  = #(ly:make-moment 1 2)
c8 d e f 
\set beatLength  = #(ly:make-moment 1 4)
\set beatGrouping = #'(2)
c8 d e f
  } 
} 


Thanks,

Carl



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Re: beams in a two quarter bar

2008-12-29 Thread Reinhold Kainhofer

-BEGIN PGP SIGNED MESSAGE-
Hash: SHA1

Am Dienstag, 30. Dezember 2008 01:27:05 schrieb Carl D. Sorensen:
 On 12/29/08 3:56 PM, Neil Puttock n.putt...@gmail.com wrote:
  #(revert-auto-beam-setting '(end * * 2 4) 1 4)

 This reversion is necessary in all cases, and I think we should get rid of
 it so it's not necessary, since the default beatLength will produce this
 beaming.

 Once you have reverted the undesired auto-beam setting, you have three ways
 to set the desired auto-beam setting:


 1) use #(override-auto-beam-setting '(end * * 2 4) 2 4)

Hmm, I would have never guessed that I need to add a rule to end the beaming 
at the end of the measure (since lilypond will automatically break the beam 
there anyway)...
What's the reason for this?

Cheers,
Reinhold

- -- 
- --
Reinhold Kainhofer, reinh...@kainhofer.com, http://reinhold.kainhofer.com/
 * Financial  Actuarial Math., Vienna Univ. of Technology, Austria
 * http://www.fam.tuwien.ac.at/, DVR: 0005886
 * LilyPond, Music typesetting, http://www.lilypond.org
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problem with hidden notes

2008-12-29 Thread kristof


hi list,

i hope you can help me again with a little problem i have..

context:
i'm trying to do some complex notation for a piece in contemporary 
idiom, and as the \laissezVibrer didn't want to behave like i wanted, 
i tried to simulate one more suitable to my needs,  so that i can let 
it depart only from only the highest and lowest notes of a chord (the 
normal behaviour with chords seems to be to let it either come from 
every note or from none?) , and so that i can control the length and 
tilt the slur a bit up or down.


the strategy i tried for now, is by using phrasing slurs with hidden 
endnotes, with doubleSlurs set to true..
(maybe this is not the best approach and some one can give me some 
hints for a better way to do this?)


anyway, below is the way i'm trying to do it (and the result in attachement)
it may seem a bit awkward as a music example, but that's because i 
stripped out a lot of things that weren't relevant to show my problem


so, the actual problem i have now:
after hiding the noteheads and stem of my hidden chord (the last one 
on the staff), there still remains a dashed vertical line..


can anyone tell me why it is there and how i can get rid of it?

thanks a lot!

Kristof


---leftoverlinetest.ly


{
\time 2/16
\override Staff.TimeSignature #'break-visibility = ##(#f #f 
#f)  %break-visibility property requires a vector of three booleans. 
These control respectively whether bar lines are printed at the end 
of a line, in the middle of lines, and at the beginning of lines

\override DynamicLineSpanner #'staff-padding = #4
\cadenzaOn


\relative c'
{
\voiceOne \stemUp
\set doubleSlurs = ##t
\override Stem #'transparent = ##t   %hide stem
a~ beh fih'~16(
\revert Stem #'transparent %restore stem in 
original state

}

\time 4/32

\relative c'
{
\override Stem #'transparent = ##t   %hide stem
c!32 cih
\override NoteHead #'stencil = 
#ly:text-interface::print  %hide notehead

\override NoteHead #'text = #(markup #:musicglyph )
d, fih'16)
\revert Stem #'transparent %restore stem in 
original state

\revert NoteHead #'stencil %restore notehead
\revert NoteHead #'text
}

}

--
i...@kristoflauwers.domainepublic.net

http://kristoflauwers.domainepublic.net
--


leftoverlinestest.pdf
Description: Adobe PDF document
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Re: beams in a two quarter bar