Re: partcombine and instrumentSwitch

2012-09-13 Thread Keith OHara 
Jan-Peter Voigt  gmx.de> writes:

> I am using partcombine in a piece, wich makes use of instrumentSwitch. 
> Now this leads to a stack of 4 times "piccolo" in this example.

> Is this a bug or am I missing something?
> Is it maybe related to this issue 2253?

It is different from issue 2253 because, even with multiple separate voices
and no use of \partcombine, we would not want multiple individual "piccolo"
indications.  This came up before at 
http://lists.gnu.org/archive/html/lilypond-user/2011-11/msg00180.html

You can use 

\layout {
  \context {\Voice \remove "Instrument_switch_engraver" }
  \context {\Staff \consists "Instrument_switch_engraver" }
}

And I will post a suggestion on the bug-tracker to make this the default,
unless anyone here knows a reason to have instrument-change information set 
individually for each voice.


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Re: slashSeparator-question

2012-09-13 Thread Dr. med. Kai Lautenschläger 
Thanks Phil and eluze,

with your information I found my way around. One of the tricks was, that I 
didn't recognize, that the separator symbol is constructed from the beam-glyph. 
Thanks a lot! I had been fiddling around with that for a long time. Would a 
user handle for positioning the separator and a collision avoidance for it be a 
feature worthwhile including in a future version of Lilypond?

Best regards,

Kai

Am 14.9.2012 um 04:50 schrieb eluze:

> 
> Phil Holmes-2 wrote
>> 
>> - Original Message - 
>> From: ""Dr. med. Kai Lautenschläger"" 
>> To: "lilypond-user User" 
>> Sent: Thursday, September 13, 2012 3:33 PM
>> Subject: slashSeparator-question
>> 
>> 
>> Hi Everyone,
>> 
>> in my scores I usually use the command: system-separator-markup = 
>> \slashSeparator
>> within the /paper-block. Sometimes at the same time I want very narrow 
>> distances between staves (system-system-spacing). After searching the 
>> manuals I couldn't find an answer to two questions concerning this symbol.
>> I 
>> read there, that I can use any /markup-block for system-separator-markup 
>> but:
>> 
>> 1. Sometimes the slashSeparator comes very close to the bar-numbering of
>> the 
>> first staff. Is it possible to pad the slashSeparator in any way. For that
>> I 
>> would - as I understand it - have to know the context in which the symbol
>> is 
>> set.
>> 
>> 2. I can not change the size (I would like for it to be larger) of the 
>> symbol. If I am not mistaken I would need a possibility to directly name
>> the 
>> glyph. But I can't find a hint, where the gylph comes form (what font,
>> maybe 
>> a glyph-name). Can anyone point me to that information?
>> 
>> Maybe I searched for the wrong keywords or didn't understand the manual.
>> Any 
>> tip is very welcome!…
>> 
>> =
>> 
>> A search of the source code gives:
>> 
>> slashSeparator = \markup {
>>  \center-align
>>  \vcenter \combine
>>  \beam #2.0 #0.5 #0.48
>>  \raise #0.7 \beam #2.0 #0.5 #0.48
>> }
>> 
>> So - as the name implies, system-separator-markup simply uses markup as
>> its 
>> argument, so you could put any valid markup there, I believe.  However, I 
>> don't think there is any collision avoidance done with the separator and
>> the 
>> staves.
>> 
>> 
> 
> maybe playing with the numbers below could achieve it:
> 
> \paper {
>  mySlashSeparator = \markup {
>  \left-align
>  \raise #-2
>  \combine
>  \beam #4.0 #.2 #0.24
>  \raise #0.7
>  \beam #4.0 #.2 #0.24
>}
>  }
>  system-separator-markup = \mySlashSeparator
>   system-system-spacing = #'(
>   (basic-distance . 12)
>   (minimum-distance . 5)
>   (padding . 0)
>   (stretchability . 99)
>  )
> }
> \header {
> }
> \score {
>  \new Voice {
>\repeat unfold 16 {
>  c'''4 c' c' c' |
>  c'4 c' c' c' |
>  c4 c' c' c' | \break
>}
>  }
> }
> 
> maybe you also want to shift the sparator horizontally: simply use \hspace
> #2 above or look for a more elaborated way in the German LilyPond forum:
> http://www.lilypondforum.de/index.php?topic=750.0
> 
> as  Phil mentioned there seems to be no collision avoidance.
> 
> Eluze

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Re: slashSeparator-question

2012-09-13 Thread eluze 

Phil Holmes-2 wrote
> 
> - Original Message - 
> From: ""Dr. med. Kai Lautenschläger"" 
> To: "lilypond-user User" 
> Sent: Thursday, September 13, 2012 3:33 PM
> Subject: slashSeparator-question
> 
> 
> Hi Everyone,
> 
> in my scores I usually use the command: system-separator-markup = 
> \slashSeparator
> within the /paper-block. Sometimes at the same time I want very narrow 
> distances between staves (system-system-spacing). After searching the 
> manuals I couldn't find an answer to two questions concerning this symbol.
> I 
> read there, that I can use any /markup-block for system-separator-markup 
> but:
> 
> 1. Sometimes the slashSeparator comes very close to the bar-numbering of
> the 
> first staff. Is it possible to pad the slashSeparator in any way. For that
> I 
> would - as I understand it - have to know the context in which the symbol
> is 
> set.
> 
> 2. I can not change the size (I would like for it to be larger) of the 
> symbol. If I am not mistaken I would need a possibility to directly name
> the 
> glyph. But I can't find a hint, where the gylph comes form (what font,
> maybe 
> a glyph-name). Can anyone point me to that information?
> 
> Maybe I searched for the wrong keywords or didn't understand the manual.
> Any 
> tip is very welcome!…
> 
> =
> 
> A search of the source code gives:
> 
> slashSeparator = \markup {
>   \center-align
>   \vcenter \combine
>   \beam #2.0 #0.5 #0.48
>   \raise #0.7 \beam #2.0 #0.5 #0.48
> }
> 
> So - as the name implies, system-separator-markup simply uses markup as
> its 
> argument, so you could put any valid markup there, I believe.  However, I 
> don't think there is any collision avoidance done with the separator and
> the 
> staves.
> 
> 

maybe playing with the numbers below could achieve it:

\paper {
  mySlashSeparator = \markup {
  \left-align
  \raise #-2
  \combine
  \beam #4.0 #.2 #0.24
  \raise #0.7
  \beam #4.0 #.2 #0.24
}
  }
  system-separator-markup = \mySlashSeparator
system-system-spacing = #'(
(basic-distance . 12)
(minimum-distance . 5)
(padding . 0)
(stretchability . 99)
  )
}
\header {
}
\score {
  \new Voice {
\repeat unfold 16 {
  c'''4 c' c' c' |
  c'4 c' c' c' |
  c4 c' c' c' | \break
}
  }
}

maybe you also want to shift the sparator horizontally: simply use \hspace
#2 above or look for a more elaborated way in the German LilyPond forum:
http://www.lilypondforum.de/index.php?topic=750.0

as  Phil mentioned there seems to be no collision avoidance.

Eluze



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Re: Mixing drummode and notes

2012-09-13 Thread Paul Scott 
On Thu, Sep 13, 2012 at 11:50:01PM +0200, Thomas Morley wrote:
> 2012/9/13 Paul Scott :
> > Oops!  The code would help.
> >
> > On Thu, Sep 13, 2012 at 01:58:35PM -0700, Paul Scott wrote:
> >> Is it possible for drummode and notes to occupy the same staff
> >> in a score?  Like a single percussion line where the player moves
> >> between mallet instruments and various drums, etc.
> >>
> >> Here is an example of what I have accomplished so far.  I don't seem to
> >> be able to really invoke drummode since the sn and bd notes are not on
> >> the default lines.

Thank you!!

Paul


> \version "2.16.0"
> 
> \new Staff \with { \accepts "DrumVoice" }
>   \relative c' {
> R1*4
> \clef treble % 68
> r8 ^"XYLOPHONE" ^\markup\italic{md. hrd. mallets} a[ a a] a[ a a a] % 69
> c8 [ c8 r8 a8 ] a8 [ a8 a8 a8 ] | %70
> c8 [ c8 ] r4 r2 | % 71
> r8 a8 [ a8 a8 ] a8 [ a8 a8 a8] % 72
> c8 [ c8 r8 a8 ] a8 [ a8 a8 a8] % 73
> c8 [ c8 ] c4 r8 a8 [ d8 d8] % 74
> a8 [ c8 r8 a8 ] d8 [ d8 a8 c8] % 75
> c8[ a8 e'8 e8] a,8[ c8 c8 a8] % 76
> R1*2^\markup{ \italic {to s.d.} }
> R1*2
> 
> \new DrumVoice
> \drummode {
> \clef "percussion"
> sn8 sn sn r bd bd bd r
> ss hh
> }
> \new Voice \relative c' { \clef treble c d e f g a }
>   }
> 
> See:
> http://lists.gnu.org/archive/html/lilypond-user/2012-08/msg00695.html
> ff
> 
> 
> HTH,
>   Harm
> 


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Re: partcombine and instrumentSwitch

2012-09-13 Thread Thomas Morley 
2012/9/13 Jan-Peter Voigt :
> Hello list,
>
> I am using partcombine in a piece, wich makes use of instrumentSwitch. Now
> this leads to a stack of 4 times "piccolo" in this example.
[...]
> Is this a bug or am I missing something?
> Is it maybe related to this issue 2253?

I'm quite sure it' a bug.

As a workaround I'd delete (instrumentCueName . "Piccolo") from
\addInstrumentDefinition and put it in manually:

\version "2.16.0"

\addInstrumentDefinition #"piccolo"
  #`((instrumentName . "Piccolo")
 (shortInstrumentName . "Pc.")
 ;(instrumentCueName . "Piccolo")
 (midiInstrument . "piccolo"))

\new Staff
<<
\partcombine {
c''1 d'' e''
\instrumentSwitch "piccolo"
\set instrumentCueName = #"piccolo"
c'' c''
} {
e''1 e'' d'' a'' g''
}
>>


Best,
  Harm

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Re: Mixing drummode and notes

2012-09-13 Thread Thomas Morley 
2012/9/13 Paul Scott :
> Oops!  The code would help.
>
> On Thu, Sep 13, 2012 at 01:58:35PM -0700, Paul Scott wrote:
>> Is it possible for drummode and notes to occupy the same staff
>> in a score?  Like a single percussion line where the player moves
>> between mallet instruments and various drums, etc.
>>
>> Here is an example of what I have accomplished so far.  I don't seem to
>> be able to really invoke drummode since the sn and bd notes are not on
>> the default lines.
>>
>> TIA for any help,
>>
>> Paul Scott
>
> ___
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> lilypond-user@gnu.org
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>

\version "2.16.0"

\new Staff \with { \accepts "DrumVoice" }
  \relative c' {
R1*4
\clef treble % 68
r8 ^"XYLOPHONE" ^\markup\italic{md. hrd. mallets} a[ a a] a[ a a a] % 69
c8 [ c8 r8 a8 ] a8 [ a8 a8 a8 ] | %70
c8 [ c8 ] r4 r2 | % 71
r8 a8 [ a8 a8 ] a8 [ a8 a8 a8] % 72
c8 [ c8 r8 a8 ] a8 [ a8 a8 a8] % 73
c8 [ c8 ] c4 r8 a8 [ d8 d8] % 74
a8 [ c8 r8 a8 ] d8 [ d8 a8 c8] % 75
c8[ a8 e'8 e8] a,8[ c8 c8 a8] % 76
R1*2^\markup{ \italic {to s.d.} }
R1*2

\new DrumVoice
\drummode {
\clef "percussion"
sn8 sn sn r bd bd bd r
ss hh
}
\new Voice \relative c' { \clef treble c d e f g a }
  }

See:
http://lists.gnu.org/archive/html/lilypond-user/2012-08/msg00695.html
ff


HTH,
  Harm

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Re: piano pedals

2012-09-13 Thread Nick Payne 
On 14/09/12 04:17, james wrote:
> I still haven't figured this out, so I'm putting out another request. Is 
> possible to get piano pedals that have the word "Ped". and broken-line 
> spanner, and the asterisk at the end?
You could just use a text spanner:

\version "2.16.0"

pedal = #(define-music-function (parser location adjEnd shorten)
(number? pair?)
#{
\once \override TextSpanner #'bound-details #'left #'text =
\markup\concat { \musicglyph #"pedal.Ped" " " }
\once \override TextSpanner #'font-shape = #'upright
\once \override TextSpanner #'direction = #DOWN
\once \override TextSpanner #'dash-period = #1.5
\once \override TextSpanner #'dash-fraction = #0.3
\once \override TextSpanner #'thickness = #0.8
\once \override TextSpanner #'bound-details #'right #'text =
\markup\concat { " " \musicglyph #"pedal.*" }
\once \override TextSpanner #'bound-details #'left
#'stencil-align-dir-y = #CENTER
\once \override TextSpanner #'bound-details #'right
#'stencil-align-dir-y = #CENTER
\once \override TextSpanner #'bound-details #'left #'padding = #(car
shorten)
\once \override TextSpanner #'bound-details #'right #'padding =
#(cdr shorten)
\once \override TextSpanner #'bound-details #'right-broken #'padding
= #adjEnd
\once \override TextSpanner #'bound-details #'left-broken #'text = ##f
\once \override TextSpanner #'bound-details #'right-broken #'text = ##f
#})

\relative c' {
  c4 \pedal #0.5 #'(-1 . 1) c\startTextSpan c c
  c c c c\stopTextSpan
}


Nick
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Re: Mixing drummode and notes

2012-09-13 Thread Paul Scott 
Oops!  The code would help.

On Thu, Sep 13, 2012 at 01:58:35PM -0700, Paul Scott wrote:
> Is it possible for drummode and notes to occupy the same staff 
> in a score?  Like a single percussion line where the player moves 
> between mallet instruments and various drums, etc. 
> 
> Here is an example of what I have accomplished so far.  I don't seem to 
> be able to really invoke drummode since the sn and bd notes are not on 
> the default lines.
> 
> TIA for any help,
> 
> Paul Scott
mltNotes = \relative c'' {
  R1*4  
  \clef treble % 68
  r8 ^"XYLOPHONE" ^\markup\italic{md. hrd. mallets} a[ a a] a[ a a a] % 69
  c8 [ c8 r8 a8 ] a8 [ a8 a8 a8 ] | %70
  c8 [ c8 ] r4 r2 | % 71
  r8 a8 [ a8 a8 ] a8 [ a8 a8 a8] % 72
  c8 [ c8 r8 a8 ] a8 [ a8 a8 a8] % 73
  c8 [ c8 ] c4 r8 a8 [ d8 d8] % 74
  a8 [ c8 r8 a8 ] d8 [ d8 a8 c8] % 75
  c8[ a8 e'8 e8] a,8[ c8 c8 a8] % 76 
  R1*2^\markup{ \italic {to s.d.} }  
  R1*2 
  \clef "percussion" % 88
  <>^"SNARE DRUM"
  \drummode { sn8 sn sn r bd bd bd r }  
}
 
\score{
  \new Staff \mltNotes 
}
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Re: piano pedals

2012-09-13 Thread David Nalesnik 
I'm attaching the function as a file, since my comment lines appear to
be broken.

-David


customized-pedal-question.ly
Description: Binary data
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Mixing drummode and notes

2012-09-13 Thread Paul Scott 
Is it possible for drummode and notes to occupy the same staff 
in a score?  Like a single percussion line where the player moves 
between mallet instruments and various drums, etc. 

Here is an example of what I have accomplished so far.  I don't seem to 
be able to really invoke drummode since the sn and bd notes are not on 
the default lines.

TIA for any help,

Paul Scott




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Re: piano pedals

2012-09-13 Thread David Nalesnik 
Hi James,

On Thu, Sep 13, 2012 at 1:17 PM, james  wrote:
> I still haven't figured this out, so I'm putting out another request. Is 
> possible to get piano pedals that have the word "Ped". and broken-line 
> spanner, and the asterisk at the end?
>

I didn't find any easy way to do this, so I ended up having to
manipulate the "mixed" pedal bracket style (text plus extender
bracket) and adding the asterisk at the end.

You can control the parameters of the dashed line by fiddling with the
numbers in the line beginning

(dashed
  (ly:make-stencil

(I tried to make it look somewhat like your attached image.)

There will be a problem here when the pedalling is broken across a
line.  (The asterisk will be duplicated.)  This is fixable, but I'd
like to know first that there isn't some simple solution to your
problem before I make this even more arcane :)

Hope you find this helpful--
-David

%
\version "2.16.0"

% include the following function in your file
#(define custom-stencil
  (lambda (grob)
(let* ((stil (ly:piano-pedal-bracket::print grob))
   (stil-ext-X (ly:stencil-extent stil X))
   (stil-ext-Y (ly:stencil-extent stil Y))
   (dx (interval-length stil-ext-X))
   (dx-adjusted (coord-translate stil-ext-X (cons 0 (- (car
stil-ext-X)
   (dy (interval-length stil-ext-Y))
   (stil-ext-Y (ly:stencil-extent stil Y))
   (dashed
 (ly:make-stencil
   `(dashed-line 0.1 0.5 3 ,dx ,dy 0) ; thickness on off dx dy phase
   dx-adjusted stil-ext-Y))
   (dashed (ly:stencil-translate-axis dashed (car stil-ext-X) X))
   (asterisk (grob-interpret-markup grob (markup #:musicglyph
"pedal.*")))
   (asterisk (ly:stencil-aligned-to asterisk Y CENTER)))

  (ly:stencil-combine-at-edge dashed X RIGHT asterisk 1

\new Staff {
  \relative c {
\override Staff.PianoPedalBracket #'edge-height = #'(0.0 . 0.0)
% the following controls the position of the pedal-off symbol
\override Staff.PianoPedalBracket #'shorten-pair = #'(0 . 1)
% this is how to call the dashed-line function
\override Staff.PianoPedalBracket #'stencil = #custom-stencil
% the following line is necessary since we need a bracket stencil
to work with
\set Staff.pedalSustainStyle = #'mixed
\clef bass
\sustainOn q q q
q q q q\sustainOff
q q q q\sustainOn
q q q q
q q q q
q q q q\sustainOff
  }
}

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piano pedals

2012-09-13 Thread james 
I still haven't figured this out, so I'm putting out another request. Is 
possible to get piano pedals that have the word "Ped". and broken-line spanner, 
and the asterisk at the end?
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Re: slashSeparator-question

2012-09-13 Thread Phil Holmes 
- Original Message - 
From: ""Dr. med. Kai Lautenschläger"" 

To: "lilypond-user User" 
Sent: Thursday, September 13, 2012 3:33 PM
Subject: slashSeparator-question


Hi Everyone,

in my scores I usually use the command: system-separator-markup = 
\slashSeparator
within the /paper-block. Sometimes at the same time I want very narrow 
distances between staves (system-system-spacing). After searching the 
manuals I couldn't find an answer to two questions concerning this symbol. I 
read there, that I can use any /markup-block for system-separator-markup 
but:


1. Sometimes the slashSeparator comes very close to the bar-numbering of the 
first staff. Is it possible to pad the slashSeparator in any way. For that I 
would - as I understand it - have to know the context in which the symbol is 
set.


2. I can not change the size (I would like for it to be larger) of the 
symbol. If I am not mistaken I would need a possibility to directly name the 
glyph. But I can't find a hint, where the gylph comes form (what font, maybe 
a glyph-name). Can anyone point me to that information?


Maybe I searched for the wrong keywords or didn't understand the manual. Any 
tip is very welcome!…


=

A search of the source code gives:

slashSeparator = \markup {
 \center-align
 \vcenter \combine
 \beam #2.0 #0.5 #0.48
 \raise #0.7 \beam #2.0 #0.5 #0.48
}

So - as the name implies, system-separator-markup simply uses markup as its 
argument, so you could put any valid markup there, I believe.  However, I 
don't think there is any collision avoidance done with the separator and the 
staves.


--
Phil Holmes 



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slashSeparator-question

2012-09-13 Thread Dr. med. Kai Lautenschläger 
Hi Everyone,

in my scores I usually use the command: system-separator-markup =  
\slashSeparator
within the /paper-block. Sometimes at the same time I want very narrow 
distances between staves (system-system-spacing). After searching the manuals I 
couldn't find an answer to two questions concerning this symbol. I read there, 
that I can use any /markup-block for system-separator-markup but:

1. Sometimes the slashSeparator comes very close to the bar-numbering of the 
first staff. Is it possible to pad the slashSeparator in any way. For that I 
would - as I understand it - have to know the context in which the symbol is 
set.

2. I can not change the size (I would like for it to be larger) of the symbol. 
If I am not mistaken I would need a possibility to directly name the glyph. But 
I can't find a hint, where the gylph comes form (what font, maybe a 
glyph-name). Can anyone point me to that information?

Maybe I searched for the wrong keywords or didn't understand the manual. Any 
tip is very welcome!…

This sample is showing the problem a little drastically

\version "2.17.2"

\header { 
}

\score {
\new Voice { 
\repeat unfold 16 { 
c'4 c' c' c' |
 }  
}
}

\paper {
system-separator-markup = \slashSeparator
system-system-spacing =
#'((basic-distance . 7.5)
   (minimum-distance . 0)
   (padding . 0.5))
}


Best regards

Kai
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Re: User-interface (was Re: mac lion)

2012-09-13 Thread Wim van Dommelen 


...  ...

On 13 Sep 2012, at 09:58 , David Kastrup wrote:

   For Mac OS X: Work is being done to create a more complete  
installer.
You probably already saw that; I just include it to get other  
commentors

up to date.
Yep, I decided not to spend very much time to get it working, but wait  
for this!



Emacs would also be reasonably easy to install (you install Emacs and
then the lilypond-mode), but for one thing, people tend to shy away  
from

Emacs, for another LilyPond-mode, while supporting point&click, is not
as elaborate an Emacs mode as AUCTeX is for LaTeX.
As an old-time vi adept (and still!) I think an easy 'just typing'  
editor is perfect for

LilyPond. Emacs would do also.


ap = #appoggiatura

Sure, you got me there, it was just a small example...


MS does not support music in any form.  And Scorio has MusicXML export
if I remember correctly.
True, MS doesn't support it, but listen to the fear of "regular"  
users, everything
is linked to MShit. The fact that MS doesn't support music in any form  
is faced

with: Yeah, but is a standard Windows program.


Now we just need OCR software to shave off 2 hours of typing and add
half an hour of proofreading.

Hmm, OK, nice project. Would also compete with a version Sibelius has
(PhotoScore Ultimate 7). Would complement our 'suite'.


I am also not convinced that using my Midi-augmented accordion in the
process could not speed up the typing significantly _if_ I had
appropriate programs tailored for speed note entry.
Actually I was a Notator/Creator user back in the 80's and 90's (I  
even had a
separate Atari computer for that purpose) and with the quantization  
interface
you could do that. Just play it on a keyboard with MIDI, keep a fixed  
steady-state
speed and 95-98% was immediately correctly entered. It probably wasn't  
good

enough. Wonder what experiences are with the Sibelius AudioScore module.


David Kastrup

Keep up the good work!


Regards,
Wim.


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partcombine and instrumentSwitch

2012-09-13 Thread Jan-Peter Voigt 

Hello list,

I am using partcombine in a piece, wich makes use of instrumentSwitch. 
Now this leads to a stack of 4 times "piccolo" in this example.

--snip--

\addInstrumentDefinition #"piccolo"

#`((instrumentName . "Piccolo")

(shortInstrumentName . "Pc.")

(instrumentCueName . "Piccolo")

(midiInstrument . "piccolo"))

\partcombine {

c''1 \instrumentSwitch "piccolo" c''

} {

e''1 e''

}

--snip--

Is this a bug or am I missing something?
Is it maybe related to this issue 2253?
http://code.google.com/p/lilypond/issues/detail?id=2253&q=partcombine&colspec=ID%20Type%20Status%20Stars%20Owner%20Patch%20Needs%20Summary

Cheers, Jan-Peter
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Re: Hairpin crescendo/decrescendo

2012-09-13 Thread Nick Payne 
On 13/09/12 17:51, Daniel E. Moctezuma wrote:
> I would suggest putting dynamics separately to have better control on
> where they start without messing with the actual notes.
> Here is what I understand you are trying to achieve:
>
> ---
>
> \version "2.16.0"
>
>
> notes = \relative c' {
>
>   \mergeDifferentlyDottedOn
>
>   \mergeDifferentlyHeadedOn
>
>   \time 6/8
>
>   <<
>
>   {
>
> e8 g b e b g' |
>
> e, g b e b g' |
>
> e, g b e b g' |
>
>   }
>
>   \\
>
>   { e,2. | e | e | }
>
>   >>
>
> }
>
>
> dynamics = {
>
>   \repeat unfold 3{ s4\< s8\! s4\> s8\! | }
>
> }
>
>
> \score {
>
>   \new StaffGroup <<
>
> \new Staff \notes
>
> \new Dynamics \dynamics
>
>   >>
>
> }
>

Thanks. That seems to be the way to go.

Nick

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Re: template.zip (lilypond-user@gnu.org)

2012-09-13 Thread eluze 
sorry, I was experimenting with /google drive/ and the post went off before I
realized!

it should have been an answer to 
http://lilypond.1069038.n5.nabble.com/utility-to-create-files-for-a-score-or-book-td54997.html
this 

it's a kind of prototype of a template generator and it works only under
Windows

Eluze



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/template-zip-lilypond-user-gnu-org-tp132874p132877.html
Sent from the User mailing list archive at Nabble.com.

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template.zip (lilypond-user@gnu.org)

2012-09-13 Thread Eluze Weehaeli (Google Drive) 

I've shared an item with you:

template.zip
https://docs.google.com/open?id=0B8upKzFlsy7GSE90U1BEZ1dBWG8&invite=CO-SubYI

It's not an attachment -- it's stored online at Google Docs. To open this  
document, just click the link above.


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Re: User-interface (was Re: mac lion)

2012-09-13 Thread David Kastrup 
Wim van Dommelen  writes:

> Commends on the user-interface:
>
> Some time ago I tried to get Frescobaldi running, but didn't
> succeed. Too much dependencies and version conflicts and requests for
> some versions which are explicitly requested but don't exist
> anymore. However, it works on my Ubuntu-machine from the box and I
> would love to run it on the Mac also.

The Download page states

For Mac OS X: Work is being done to create a more complete installer. 

You probably already saw that; I just include it to get other commentors
up to date.

> My recommendation: On my Mac I do use TeXShop. It is only one small
> file to integrate these two. Each Lilypond-file can be set separatedly
> or with a standard Unix first-line (actually two lines:
> %!TEX TS-program = Lilypond
> %!TEX encoding = UTF-8 Unicode
> ) which TeXShop recognizes and acts upon. These are in my standard
> files from which I start. Syntax is highlighted, lines are numbered
> for error-reporting, etc.

Emacs would also be reasonably easy to install (you install Emacs and
then the lilypond-mode), but for one thing, people tend to shy away from
Emacs, for another LilyPond-mode, while supporting point&click, is not
as elaborate an Emacs mode as AUCTeX is for LaTeX.

> P.S.: When I show the results to fellow musicians really everybody
> likes it. But nobody wants to type text, most of them shun away from
> typing a command like "\appoggiatura" (two p's, two g's!). They don't
> know what they are missing.

ap = #appoggiatura

> That "command-line fear" as I call it will still be the biggest hurdle
> in wider acceptance. I have referred some people for example to Scorio
> recently, to try. But people are so afraid it will not be supported by
> MShit

MS does not support music in any form.  And Scorio has MusicXML export
if I remember correctly.

> that they condemm themselves to MShit completly in the first
> place. (Sorry, this remark just barfed up :-)

> P.P.S.: Small anecdote (and then I'll stop, promised): I was on a
> Barok music week last year and halfway the week something turned out
> to be wrong in the scores: wrong piece selected, not the right level
> for the attendees. We found out after three days and the instructor
> was lossed and wanted to cancel our ensemble (9 persons, no pro's
> except the instructor). In and after a discussion he showed me some
> IMSLP score (in a standard C transposition) he would like to
> do. Downloaded and printed locally, some of the instruments were
> transposing (the clarinet family) so he was really stuck. Reading and
> transposing live was not an option for the participants. I borrow his
> printed score (8 pages, 4 instruments, 2 to transpose), borrowed a
> laptop for two hours from somebody else, used Notepad to type my music
> notes, saved it on my USB stick. After dinner and some other things I
> drove home (30 minutes), started my Mac, took a standard file for all
> the headings, changed title and composer. Imported the notes from my
> USB stick, corrected two typos and 10 minutes later just before
> midnight my printer woke up. Next day we rehearsed and played
> it. That's flexibility I like.

Now we just need OCR software to shave off 2 hours of typing and add
half an hour of proofreading.

I am also not convinced that using my Midi-augmented accordion in the
process could not speed up the typing significantly _if_ I had
appropriate programs tailored for speed note entry.

-- 
David Kastrup


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Re: "m. d." or "m. s." in piano notation

2012-09-13 Thread Daniel E. Moctezuma 
You can find very useful information about changing staffs at:
http://lilypond.org/doc/v2.16/Documentation/notation/common-notation-for-keyboards.html

-- 
Daniel E. Moctezuma
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Re: Hairpin crescendo/decrescendo

2012-09-13 Thread Daniel E. Moctezuma 
I would suggest putting dynamics separately to have better control on where
they start without messing with the actual notes.
Here is what I understand you are trying to achieve:

---

\version "2.16.0"


notes = \relative c' {

  \mergeDifferentlyDottedOn

  \mergeDifferentlyHeadedOn

  \time 6/8

  <<

  {

e8 g b e b g' |

e, g b e b g' |

e, g b e b g' |

  }

  \\

  { e,2. | e | e | }

  >>

}


dynamics = {

  \repeat unfold 3{ s4\< s8\! s4\> s8\! | }

}


\score {

  \new StaffGroup <<

\new Staff \notes

\new Dynamics \dynamics

  >>

}

-- 
Daniel E. Moctezuma
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User-interface (was Re: mac lion)

2012-09-13 Thread Wim van Dommelen 

Commends on the user-interface:

Some time ago I tried to get Frescobaldi running, but didn't succeed.  
Too much dependencies and version conflicts and requests for some  
versions which are explicitly requested but don't exist anymore.  
However, it works on my Ubuntu-machine from the box and I would love  
to run it on the Mac also.


My recommendation: On my Mac I do use TeXShop. It is only one small  
file to integrate these two. Each Lilypond-file can be set separatedly  
or with a standard Unix first-line (actually two lines:

%!TEX TS-program = Lilypond
%!TEX encoding = UTF-8 Unicode
) which TeXShop recognizes and acts upon. These are in my standard  
files from which I start. Syntax is highlighted, lines are numbered  
for error-reporting, etc.


TeXShop also recognizes each and every version of LilyPond coming out.  
I just take the new compiled binary, drop in in my Utilities folder of  
Applications and bing new version is active. I can even run as many  
different older versions in parallel as I want, so if anything is  
wrong or not as I like it to be, I easily rename the files and TeXShop  
does it.


To be honest: I've never taken the trouble (just my laziness) to  
change the point-and-click interface so it would work with TeXShop. I  
really should look into that some time. Final compile (needs one file  
on the command-line! documented properly!) is just excluding that  
feature with the -dno-point-and-click.


My explicit thanks to everyone who takes part in the development, be  
it the real coders, analysts, documentation writers, facilitators.  
LilyPond is a true great program. My personal goal is to avoid any  
"tweaks" for regular work (barok, brassband, small ensembles, etc.),  
let LilyPond do it all and I then just enjoy the result. 99% works  
perfect in that way. I sometimes see elaborate discussions on how to  
accomplish some thing, but let's not forget the default rather  
intelligent engine-power of LilyPond behind it.


Many regards,
Wim.

P.S.: When I show the results to fellow musicians really everybody  
likes it. But nobody wants to type text, most of them shun away from  
typing a command like "\appoggiatura" (two p's, two g's!). They don't  
know what they are missing. That "command-line fear" as I call it will  
still be the biggest hurdle in wider acceptance. I have referred some  
people for example to Scorio recently, to try. But people are so  
afraid it will not be supported by MShit that they condemm themselves  
to MShit completly in the first place. (Sorry, this remark just barfed  
up :-)


P.P.S.: Small anecdote (and then I'll stop, promised): I was on a  
Barok music week last year and halfway the week something turned out  
to be wrong in the scores: wrong piece selected, not the right level  
for the attendees. We found out after three days and the instructor  
was lossed and wanted to cancel our ensemble (9 persons, no pro's  
except the instructor). In and after a discussion he showed me some  
IMSLP score (in a standard C transposition) he would like to do.  
Downloaded and printed locally, some of the instruments were  
transposing (the clarinet family) so he was really stuck. Reading and  
transposing live was not an option for the participants. I borrow his  
printed score (8 pages, 4 instruments, 2 to transpose), borrowed a  
laptop for two hours from somebody else, used Notepad to type my music  
notes, saved it on my USB stick. After dinner and some other things I  
drove home (30 minutes), started my Mac, took a standard file for all  
the headings, changed title and composer. Imported the notes from my  
USB stick, corrected two typos and 10 minutes later just before  
midnight my printer woke up. Next day we rehearsed and played it.  
That's flexibility I like.



On 13 Sep 2012, at 01:09 , macula wrote:


...  .


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Re: "m. d." or "m. s." in piano notation

2012-09-13 Thread Urs Liska 

Am 13.09.2012 08:59, schrieb Gerardo Blanco:

Hello,
I'm kinda new to Lilypond. Tried finding how to write music only in 
the top staff of a pianoStaff and then mark "m. s." (left hand) on the 
lower notes and couldn't

How do you do that?

Thanks!
--
Gerardo Blanco




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These are two things:
a) you have to name your staves (e.g. "up" and "down"), then you can do
\change Staff = "up" to switch your music to the other staff.
b) for the "m.s." you could just use markup (see 
http://www.lilypond.org/doc/v2.16/Documentation/notation/text), e.g.

e4_\markup "m.s."

HTH
Urs
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Hairpin crescendo/decrescendo

2012-09-13 Thread Nick Payne 
I'm trying to reproduce a score that has quite a number of bars with a
crescendo in the first half of the bar and decrescendo in the second
half, and the hairpin is symmetrical left and right. In my example
below, the hairpins in the first bar start and finish at the correct
locations, but in the actual score I have to tweak the vertical position
of the decrescendo hairpin in each bar to get them to align
horizontally, in the second bar the hairpins don't match the original
score as they are of different lengths. Overriding Hairpin
#'bound-padding as in the third bar gets me close, but not exactly. Does
anyone have a suggestion on a better way to do it?

\version "2.16.0"

\relative c' {
  \mergeDifferentlyDottedOn
  \mergeDifferentlyHeadedOn
  \time 6/8
  <<
{
  e8\< g b\! e\> b g'\! e,\< g b\> e b g'\! e,\< g
  \once\override Hairpin #'bound-padding = #6 b\> e b g'\!
}
\\
{ e,2. e e }
  >>
}

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"m. d." or "m. s." in piano notation

2012-09-13 Thread Gerardo Blanco 
Hello,
I'm kinda new to Lilypond. Tried finding how to write music only in the top
staff of a pianoStaff and then mark "m. s." (left hand) on the lower notes
and couldn't
How do you do that?

Thanks!
--
Gerardo Blanco
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