Re: tranpose relative to the last pitch
David Kastrup d...@gnu.org writes:
Tom van der Hoeven t...@vanderhoeven.biz writes:
Suppose I have
music = \relative c'{c b a g f e e f g a b c}
my instrument is limited so it cannot play the pitch f end below
I have to raise f e e f by a terts of an octave
Is there a function shift or can it be made such that
music = \relative c'{c b a g \terts{f e e f} g a b c}
is equivalent to
\relative c'{c b a g a g g a g a b c}
if you use :
terts = #(define-music-function (parser location ploep) (ly:music?)
#{ \transpose c e \relative c' $ploep #})
the c' after \relative should actualy be the last-pitch (in the example g)
Help will be appreciated
The current development version has a new definition of makerelative
allowing for
terts = #(define-music-function (parser location ploep) (ly:music?)
(make-relative (ploep) ploep
#{ \transpose c e $ploep #}))
Actually, looking at the pitches you ask for, you'll rather need
\modalTranspose here.
--
David Kastrup
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Re: tranpose relative to the last pitch
Thank you David,
I see you point. With \modalTranspose you can automatically change the
notes that are within the range of the scale.
But I change the notes based on visual inspection. In fact I colour all
notes f and lower in red, so that it catch the eye immediately.
If I change a few successive notes I rather place no extra octave
changing marks on the first pitch. ( the first f after \terts{ )
It is clear that the pitches after \terts{..} might need extra octave
changing marks because they relate to the pith just before \terts{..} .
So within \terts I want to know the absolute value of the g before
\terts{...}
Tom
David Kastrup schreef op 13-12-2013 4:36:
David Kastrup d...@gnu.org writes:
Tom van der Hoeven t...@vanderhoeven.biz writes:
Suppose I have
music = \relative c'{c b a g f e e f g a b c}
my instrument is limited so it cannot play the pitch f end below
I have to raise f e e f by a terts of an octave
Is there a function shift or can it be made such that
music = \relative c'{c b a g \terts{f e e f} g a b c}
is equivalent to
\relative c'{c b a g a g g a g a b c}
if you use :
terts = #(define-music-function (parser location ploep) (ly:music?)
#{ \transpose c e \relative c' $ploep #})
the c' after \relative should actualy be the last-pitch (in the example g)
Help will be appreciated
The current development version has a new definition of makerelative
allowing for
terts = #(define-music-function (parser location ploep) (ly:music?)
(make-relative (ploep) ploep
#{ \transpose c e $ploep #}))
Actually, looking at the pitches you ask for, you'll rather need
\modalTranspose here.
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Re: tranpose relative to the last pitch
Tom van der Hoeven t...@vanderhoeven.biz writes:
David Kastrup schreef:
David Kastrup d...@gnu.org writes:
Tom van der Hoeven t...@vanderhoeven.biz writes:
Suppose I have
music = \relative c'{c b a g f e e f g a b c}
my instrument is limited so it cannot play the pitch f end below
I have to raise f e e f by a terts of an octave
Is there a function shift or can it be made such that
music = \relative c'{c b a g \terts{f e e f} g a b c}
is equivalent to
\relative c'{c b a g a g g a g a b c}
if you use :
terts = #(define-music-function (parser location ploep) (ly:music?)
#{ \transpose c e \relative c' $ploep #})
the c' after \relative should actualy be the last-pitch (in the example g)
Help will be appreciated
The current development version has a new definition of makerelative
allowing for
terts = #(define-music-function (parser location ploep) (ly:music?)
(make-relative (ploep) ploep
#{ \transpose c e $ploep #}))
Actually, looking at the pitches you ask for, you'll rather need
\modalTranspose here.
Thank you David,
I see you point. With \modalTranspose you can automatically change the
notes that are within the range of the scale.
I don't see that we are talking about the same thing. Your example was
supposed to transform f to a (a major third up) but e to g (a minor
third up). It seems like you want to stay in your mode. \transpose
does not do that.
But I change the notes based on visual inspection. In fact I colour
all notes f and lower in red, so that it catch the eye immediately.
I have no idea how that is supposed to be related to your original
request.
If I change a few successive notes I rather place no extra octave
changing marks on the first pitch. ( the first f after \terts{ )
It is clear that the pitches after \terts{..} might need extra octave
changing marks because they relate to the pith just before \terts{..}
Have you tried the code I proposed? Inserting \terts { and then some }
afterwards will then not change the octave relations at all.
So within \terts I want to know the absolute value of the g before
\terts{...}
Again, I have no idea what you want to say here.
--
David Kastrup
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Re: tranpose relative to the last pitch
David,
I hope I am not boring you!
My wife is playing in a orchestra the alt-violin part on the violin.
In order to accommodate that the sheet music has to be rewritten with
the violin key, and pitches lower than g have to be changed.
I first bring the original with the alto key in the lilypond format
using relative mode.
I change the key and the notes under g, taking into account the notes
of the first and second violin. Eventually I change some notes around.
Most of the changes are an octave, a fifth or a third.
I started with different versions in different directories.
Now I change to one version with variables, functions and tags.
-- The ultimate goal is to place {} around the pitches involved and
place the appropriate function before it.
-- The function I described does that except that occasionally octave
changing marks at the first pith of the argument of the function and
after the function are needed. I can live with it, but I am striving to
avoid that.
I hope this clarifies my last mail.
I have not yet tried your suggestion with make-relative
Thanks for your time.
Tom
David Kastrup schreef op 13-12-2013 11:57:
Tom van der Hoeven t...@vanderhoeven.biz writes:
David Kastrup schreef:
David Kastrup d...@gnu.org writes:
Tom van der Hoeven t...@vanderhoeven.biz writes:
Suppose I have
music = \relative c'{c b a g f e e f g a b c}
my instrument is limited so it cannot play the pitch f end below
I have to raise f e e f by a terts of an octave
Is there a function shift or can it be made such that
music = \relative c'{c b a g \terts{f e e f} g a b c}
is equivalent to
\relative c'{c b a g a g g a g a b c}
if you use :
terts = #(define-music-function (parser location ploep) (ly:music?)
#{ \transpose c e \relative c' $ploep #})
the c' after \relative should actualy be the last-pitch (in the example g)
Help will be appreciated
The current development version has a new definition of makerelative
allowing for
terts = #(define-music-function (parser location ploep) (ly:music?)
(make-relative (ploep) ploep
#{ \transpose c e $ploep #}))
Actually, looking at the pitches you ask for, you'll rather need
\modalTranspose here.
Thank you David,
I see you point. With \modalTranspose you can automatically change the
notes that are within the range of the scale.
I don't see that we are talking about the same thing. Your example was
supposed to transform f to a (a major third up) but e to g (a minor
third up). It seems like you want to stay in your mode. \transpose
does not do that.
But I change the notes based on visual inspection. In fact I colour
all notes f and lower in red, so that it catch the eye immediately.
I have no idea how that is supposed to be related to your original
request.
If I change a few successive notes I rather place no extra octave
changing marks on the first pitch. ( the first f after \terts{ )
It is clear that the pitches after \terts{..} might need extra octave
changing marks because they relate to the pith just before \terts{..}
Have you tried the code I proposed? Inserting \terts { and then some }
afterwards will then not change the octave relations at all.
So within \terts I want to know the absolute value of the g before
\terts{...}
Again, I have no idea what you want to say here.
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Custom note names / octavize pitch
Hi all, I'm looking for a way to octavize a note with the least input possible. I know there are music functions in the LSR that do this but they aren't very useful to me because in the music I need this for the octaves usually aren't successive and it wouldn't really save input if I had to write the function for single pitches, even if the function name were reduced to a single letter. So I was wondering if this maybe could be achieved with custom note names, maybe a capital letter for an additional octave. After a look at define-note-names.scm I fear it's not but I thought I ask if a note name accepts anything else than ly:make-pitch before I try to experiment on my own. For illustration I imagine the following snippet (relative) *4 d fis8 * r d fis r | r8 c d r r c d r g g' | to become this B4 d fis8 B r d fis r A | r8 c d r A r c d r G | or even better B4 d fis8 B r q r A | r8 c d r A r q r G | -- View this message in context: http://lilypond.1069038.n5.nabble.com/Custom-note-names-octavize-pitch-tp155705.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom note names / octavize pitch
Hmm... nabble appearantly auto-converts this to html so here are the snippets again: TaoCG wrote For illustration I imagine the following snippet (relative) lt;b b'4 d fis 8 lt;b b' r d fis r | r8 c d r r c d r g g' | to become this B4 d fis 8 B r d fis r A | r8 c d r A r c d r G | or even better B4 d fis 8 B r q r A | r8 c d r A r q r G | -- View this message in context: http://lilypond.1069038.n5.nabble.com/Custom-note-names-octavize-pitch-tp155705p155706.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: tranpose relative to the last pitch
Tom van der Hoeven t...@vanderhoeven.biz writes:
David,
I hope I am not boring you!
I was rather hoping you'd clarify the points I remarked upon than on
being entertained.
My wife is playing in a orchestra the alt-violin part on the violin.
In order to accommodate that the sheet music has to be rewritten with
the violin key, and pitches lower than g have to be changed.
I first bring the original with the alto key in the lilypond format
using relative mode.
I change the key and the notes under g, taking into account the notes
of the first and second violin. Eventually I change some notes around.
Most of the changes are an octave, a fifth or a third.
I started with different versions in different directories.
Now I change to one version with variables, functions and tags.
-- The ultimate goal is to place {} around the pitches involved and
place the appropriate function before it.
Which is what my proposal was about. But unless you are aiming for a
rather strange effect, \transpose will not do the trick.
-- The function I described does that except that occasionally octave
changing marks at the first pith of the argument of the function and
after the function are needed. I can live with it, but I am striving
to avoid that.
I hope this clarifies my last mail.
Not all that much. That's one good example why it is a bad idea to just
write some reply _above_ an edited full quote of what you are replying
to. It makes it hard for the reader to focus on what this is supposed
to be about, and obviously it also makes it hard for the writer. You
have not addressed any of the salient points.
Please try in future to _intersperse_ your answers with the material you
are replying to, and remove _everything_ that is not of relevance.
I have not yet tried your suggestion with make-relative
Pity. It's available in 2.17.97. And if you had looked closely at what
you have been replying to, for example by answering in-place, you might
have seen the following:
Have you tried the code I proposed? Inserting \terts { and then some }
afterwards will then not change the octave relations at all.
[...]
Thank you David,
I see you point. With \modalTranspose you can automatically change the
notes that are within the range of the scale.
I don't see that we are talking about the same thing. Your example was
supposed to transform f to a (a major third up) but e to g (a minor
third up). It seems like you want to stay in your mode. \transpose
does not do that.
But I change the notes based on visual inspection. In fact I colour
all notes f and lower in red, so that it catch the eye immediately.
I have no idea how that is supposed to be related to your original
request.
If I change a few successive notes I rather place no extra octave
changing marks on the first pitch. ( the first f after \terts{ )
It is clear that the pitches after \terts{..} might need extra octave
changing marks because they relate to the pith just before \terts{..}
Have you tried the code I proposed? Inserting \terts { and then some }
afterwards will then not change the octave relations at all.
So within \terts I want to know the absolute value of the g before
\terts{...}
Again, I have no idea what you want to say here.
--
David Kastrup
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Re: Custom note names / octavize pitch
TaoCG tao_lilypondu...@gmx.net writes: Hi all, I'm looking for a way to octavize a note with the least input possible. I know there are music functions in the LSR that do this but they aren't very useful to me because in the music I need this for the octaves usually aren't successive and it wouldn't really save input if I had to write the function for single pitches, even if the function name were reduced to a single letter. So I was wondering if this maybe could be achieved with custom note names, maybe a capital letter for an additional octave. After a look at define-note-names.scm I fear it's not but I thought I ask if a note name accepts anything else than ly:make-pitch before I try to experiment on my own. It doesn't. Note that a note name means something different in chord mode than it does in note mode and consequently there are different tokens produced in different modes from note names. Assigning arbitrary (and consequently mode-independent) meanings to note names is not immediately compatible with the way in which this is done currently. While it looks not all too difficult to change that, it's not currently supported. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom note names / octavize pitch
TaoCG tao_lilypondu...@gmx.net writes: Hi all, I'm looking for a way to octavize a note with the least input possible. I know there are music functions in the LSR that do this but they aren't very useful to me because in the music I need this for the octaves usually aren't successive and it wouldn't really save input if I had to write the function for single pitches, even if the function name were reduced to a single letter. So I was wondering if this maybe could be achieved with custom note names, maybe a capital letter for an additional octave. After a look at define-note-names.scm I fear it's not but I thought I ask if a note name accepts anything else than ly:make-pitch before I try to experiment on my own. For illustration I imagine the following snippet (relative) *4 d fis8 * r d fis r | r8 c d r r c d r g g' | to become this B4 d fis8 B r d fis r A | r8 c d r A r c d r G | or even better B4 d fis8 B r q r A | r8 c d r A r q r G | Uh, you might want to improve your illustration: it is utterly incomprehensible what you want to be your input and your output. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom note names / octavize pitch
Hi, this file could be interesting for you: http://git.savannah.gnu.org/gitweb/?p=lilypond.git;a=blob_plain;f=ly/bagpipe.ly;hb=HEAD or if you check it out: ly/bagpipe.ly Here it is documented. The docs don't tell too explicitly, but here a G is a g in a different octave: http://www.lilypond.org/doc/v2.17/Documentation/notation/bagpipes HTH Joram Am 13.12.2013 13:05, schrieb TaoCG: Hi all, I'm looking for a way to octavize a note with the least input possible. I know there are music functions in the LSR that do this but they aren't very useful to me because in the music I need this for the octaves usually aren't successive and it wouldn't really save input if I had to write the function for single pitches, even if the function name were reduced to a single letter. So I was wondering if this maybe could be achieved with custom note names, maybe a capital letter for an additional octave. After a look at define-note-names.scm I fear it's not but I thought I ask if a note name accepts anything else than ly:make-pitch before I try to experiment on my own. For illustration I imagine the following snippet (relative) *4 d fis8 * r d fis r | r8 c d r r c d r g g' | to become this B4 d fis8 B r d fis r A | r8 c d r A r c d r G | or even better B4 d fis8 B r q r A | r8 c d r A r q r G | -- View this message in context: http://lilypond.1069038.n5.nabble.com/Custom-note-names-octavize-pitch-tp155705.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom note names / octavize pitch
David Kastrup wrote TaoCG lt; tao_lilyponduser@ gt; writes: Hi all, I'm looking for a way to octavize a note with the least input possible. I know there are music functions in the LSR that do this but they aren't very useful to me because in the music I need this for the octaves usually aren't successive and it wouldn't really save input if I had to write the function for single pitches, even if the function name were reduced to a single letter. So I was wondering if this maybe could be achieved with custom note names, maybe a capital letter for an additional octave. After a look at define-note-names.scm I fear it's not but I thought I ask if a note name accepts anything else than ly:make-pitch before I try to experiment on my own. For illustration I imagine the following snippet (relative) *4 d fis 8 * r d fis r | r8 c d r r c d r g g' | to become this B4 d fis 8 B r d fis r A | r8 c d r A r c d r G | or even better B4 d fis 8 B r q r A | r8 c d r A r q r G | Uh, you might want to improve your illustration: it is utterly incomprehensible what you want to be your input and your output. -- David Kastrup ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user Yes, I noticed and tried (see my second post). Apparently nabble auto-converted the note 'b' in a chord-construct into a html bold tag. @Noeck Thanks for the links. It gave me an idea to experiment with. -- View this message in context: http://lilypond.1069038.n5.nabble.com/Custom-note-names-octavize-pitch-tp155705p155711.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
lilypond for ios
Hi all, Just wondering if there is an app for ios that can write and print lilypond files? I'm looking for a ios app that will do this, so I can print music while away from home. Thanks, Steph Mitchell Piano Studio Phone: 0450354342 Web: www.mitchellpianostudio.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom note names / octavize pitch
TaoCG tao_lilypondu...@gmx.net writes: Uh, you might want to improve your illustration: it is utterly incomprehensible what you want to be your input and your output. Yes, I noticed and tried (see my second post). Apparently nabble auto-converted the note 'b' in a chord-construct into a html bold tag. Sorry, but I don't find the following very illustrative either: TaoCG wrote For illustration I imagine the following snippet (relative) lt;b b'4 d fis 8 lt;b b' r d fis r | r8 c d r r c d r g g' | to become this B4 d fis 8 B r d fis r A | r8 c d r A r c d r G | or even better B4 d fis 8 B r q r A | r8 c d r A r q r G | Again, it is totally unclear what you want to be your input and your output. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond for ios
Stephanie wrote Hi all, Just wondering if there is an app for ios that can write and print lilypond files? I'm looking for a ios app that will do this, so I can print music while away from home. Thanks, Steph Mitchell Piano Studio Phone: 0450354342 Web: www.mitchellpianostudio.com ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user Hi Steph, You can use any text editor/app on iOS or Android to edit your LilyPond files. That's one of the perks of using this software! :) - composer | sound designer LilyPond Tutorials (for beginners) -- http://bit.ly/bcl-lilypond -- View this message in context: http://lilypond.1069038.n5.nabble.com/lilypond-for-ios-tp155713p155715.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond for ios
Am 13.12.2013 14:14, schrieb Stephanie Mitchell: Hi all, Just wondering if there is an app for ios that can write and print lilypond files? I'm looking for a ios app that will do this, so I can print music while away from home. Thanks, Steph At least currently that's not possible IISC. One problem is that compiling scores has high demands on processing power, so it may never appear on ios or android. What's theoretically possible (but I don't know of an implementation yet is having a server application where you could send your .ly files to, that produces a PDF (or SVG) and sends that back to your device. That's not a tip what you could do now but a more general idea what would be possible. HTH Urs Mitchell Piano Studio Phone: 0450354342 Web: www.mitchellpianostudio.com ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond for ios
On Fri, Dec 13, 2013 at 8:46 AM, Urs Liska u...@openlilylib.org wrote: Am 13.12.2013 14:14, schrieb Stephanie Mitchell: Hi all, Just wondering if there is an app for ios that can write and print lilypond files? I'm looking for a ios app that will do this, so I can print music while away from home. Thanks, Steph At least currently that's not possible IISC. One problem is that compiling scores has high demands on processing power, so it may never appear on ios or android. What's theoretically possible (but I don't know of an implementation yet is having a server application where you could send your .ly files to, that produces a PDF (or SVG) and sends that back to your device. That's not a tip what you could do now but a more general idea what would be possible. The closest I can think of to what Urs described would be something like LilyBin (http://lilybin.com/), which allows you to connect to a Dropbox account and load/edit ly source files and compile them, then download either a PDF or MIDI. I don't know what the usability on iOS is, and I would probably not recommend it for the iPhone. I would suggest using a plain text editor that can work with Dropbox, then compiling in LilyBin. The caveat that I've seen is that if your ly file throws any errors, you will only see that there *is* an error, and not what that error is. I've had it throw an error (and not display any output) when it has used the default 2.16 compiler and I had a 2.17 \version statement, so it is a bit sensitive there. Carl P. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond for ios
Urs Liska wrote What's theoretically possible (but I don't know of an implementation yet is having a server application where you could send your .ly files to, that produces a PDF (or SVG) and sends that back to your device. Maybe try LilyBin? http://www.lilybin.com/ So write and edit your lilypond file in a text editor on your device (so you have a copy saved locally), then copy and paste the text into the LilyBin site. It would then render your file and let you download a PDF. Unfortunately it looks like the LilyBin site doesn't play nicely with smaller screens, which may thwart this whole scheme. Two other web front ends to keep an eye on: http://www.tunefl.com (only does fragments, not full pages) http://lilypond.org/schikkers (still experimental, in development) -Paul -- View this message in context: http://lilypond.1069038.n5.nabble.com/lilypond-for-ios-tp155713p155722.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom note names / octavize pitch
David Kastrup wrote TaoCG lt; tao_lilyponduser@ gt; writes: Uh, you might want to improve your illustration: it is utterly incomprehensible what you want to be your input and your output. Yes, I noticed and tried (see my second post). Apparently nabble auto-converted the note 'b' in a chord-construct into a html bold tag. Sorry, but I don't find the following very illustrative either: TaoCG wrote For illustration I imagine the following snippet (relative) lt;b b'4 d fis 8 lt;b b' r d fis r | r8 c d r r c d r g g' | to become this B4 d fis 8 B r d fis r A | r8 c d r A r c d r G | or even better B4 d fis 8 B r q r A | r8 c d r A r q r G | Again, it is totally unclear what you want to be your input and your output. -- David Kastrup ___ lilypond-user mailing list lilypond-user@ https://lists.gnu.org/mailman/listinfo/lilypond-user If my message reached you like this then indeed it is. On my side, via the nabble web interface, it looks fine though. I'll just post a screenshot and try to make it clearer. 2013-12-13_154458.png http://lilypond.1069038.n5.nabble.com/file/n155723/2013-12-13_154458.png -- View this message in context: http://lilypond.1069038.n5.nabble.com/Custom-note-names-octavize-pitch-tp155705p155723.html Sent from the User mailing list archive at Nabble.com. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Custom note names / octavize pitch
TaoCG tao_lilypondu...@gmx.net writes: David Kastrup wrote Again, it is totally unclear what you want to be your input and your output. If my message reached you like this then indeed it is. On my side, via the nabble web interface, it looks fine though. Web interfaces are somewhat treacherous. Gmane.org seems to be more reliable. I'll just post a screenshot and try to make it clearer. 2013-12-13_154458.png http://lilypond.1069038.n5.nabble.com/file/n155723/2013-12-13_154458.png Well, an afterthought: you could probably define uppercase letters to be a quartertone (or less) sharp, and then postprocess your music, turning all of those back to normal pitch and adding the top octave. If you do the unsharpening/octavation in the toplevel-music-functions hook, it will actually happen at a time when all \relative music has already been turned into absolute music, so that would not interfere. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Violin tab for fiddle tunes
R.D. Latimer rdlati...@gmail.com writes: I've put together a sample fiddle tune with music notation, sample fiddle tab (using finger number), guitar tab (using fret number), and guitar capo 2 tab (using fret number based on capo). Let me know if anyone would like me to post. I really have to get into the habit of answering mails sooner... The main question that's important to answer here is: what should the manual have looked like to make you see right away how to do this? We have a few templates in the manual, but it's likely not obvious to people how to solve this particular or a similar task without further help. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 133, Issue 102
Message: 2 Date: Thu, 12 Dec 2013 14:45:41 -0800 From: Jim Long lilyp...@umpquanet.com To: lilypond-user@gnu.org Subject: Re: lilypond-user Digest, Vol 133, Issue 102 Message-ID: 20131212224541.ga11...@ns.umpquanet.com Content-Type: text/plain; charset=us-ascii On Thu, Dec 12, 2013 at 07:24:51AM +0100, David Kastrup wrote: Kieren MacMillan kieren_macmil...@sympatico.ca writes: I was brainstorming an orchestration teaching tool, where one could find the distribution of notes in an instrument across an entire score, to show students where [good] composers tend to have their instruments play. How hard would that be to implement as a function? Probably easiest done as an engraver as then you have the timing information (absolute and bar number) available. Perhaps I misunderstand Kieren and/or David, but I took Kieren's idea to be a sort of 'spectral' analysis, whereas David's reply seems to imply a 'temporal' analysis. At least, I understand Kieren to be wondering what is the distribution of pitches assigned to a given instrument throughout this score? or less technically, what portion of each instrument's range does this score utilize? This is somewhat like a weighted ambitus as shown perhaps by a bell curve which shows not only the highest and lowest pitches, but also includes the weighting of which pitches are used more frequently than others. David's comment makes me wonder, what group of instruments are likely to be playing [at all; and how loudly] during any given moment of the score, and how does the instrumentation (possibly including the relative density [note count, dynamics]) change through the timeline of the score? This makes my mind's eye envision a line graph with dynamics as a dependent variable of time, and differently colored (or dotted/dashed) lines showing the relative amplitude (dynamics) of each instrument or group of instruments (strings/brass/woodwinds/percussion, kazoo/washtub/spoons, whatever). Not that I'm putting this on anyone's to-do list! I just wanted to compliment both brainstormers for posing some interesting questions. Jim, Have you seen the 'musanim' music animations on YouTube? Here is an example: http://www.youtube.com/watch?v=pSCXB-zwiJg (Beethoven Pastoral Symphony, first mvmt.) The creator of the videos, and the software used to make the videos, makes the software (MAM) available (for Windows only?): http://www.musanim.com/all/ - it uses a MIDI file as input They are a moving graphical representation of the score with different colors representing different instruments, and some of them represent dynamics as well, and pitch represented by vertical position. If you could somehow print the entire thing out, it would accomplish the temporal analysis part. This is not intended to be a solution to your problem, but it is related and interesting. Tim Reeves___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond for ios
On Fri, 13 Dec 2013, Paul Morris wrote: Maybe try LilyBin? http://www.lilybin.com/ Two other web front ends to keep an eye on: http://www.tunefl.com (only does fragments, not full pages) http://lilypond.org/schikkers (still experimental, in development) I would like to add OMET to this list of web front ends: http://cloud.blackstockweb.ca/ -- MT ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Violin tab for fiddle tunes
THanks David for your reply, you're right, it was difficult to find in the manual...just figured it was the 'open source' thing, Having templates is a great resource, Randy On Fri, Dec 13, 2013 at 10:39 AM, David Kastrup d...@gnu.org wrote: R.D. Latimer rdlati...@gmail.com writes: I've put together a sample fiddle tune with music notation, sample fiddle tab (using finger number), guitar tab (using fret number), and guitar capo 2 tab (using fret number based on capo). Let me know if anyone would like me to post. I really have to get into the habit of answering mails sooner... The main question that's important to answer here is: what should the manual have looked like to make you see right away how to do this? We have a few templates in the manual, but it's likely not obvious to people how to solve this particular or a similar task without further help. -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Dutch LilyPond Forum
Just in case anyone here is interested: the Dutch LilyPond forum www.lilypondforum.nl is hacked. For a long time already. Maybe someone can put an end to its misery? -- Johan ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond-user Digest, Vol 133, Issue 102
Hi all, I took Kieren’s idea to be a sort of 'spectral’ analysis At least, I understand Kieren to be wondering what is the distribution of pitches assigned to a given instrument throughout this score? or less technically, what portion of each instrument's range does this score utilize? This is somewhat like a weighted ambitus as shown perhaps by a bell curve which shows not only the highest and lowest pitches, but also includes the weighting of which pitches are used more frequently than others. Precisely! I imagine the best visualization would be an ambitus the thickness of which represents the proportion of that pitch versus the total number of pitches (or duration?) of the whole piece. Have you seen the 'musanim' music animations on YouTube? They are fascinating! Put those together with my brainstorm (and a few others), and you have a real 21st Century musicological tool. Best, Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Slurs
To test out the new slurs I typeset this monstrosity: http://leadingtone.tumblr.com/post/69867321191/adventures-in-engraving-vaughan-williams-the The code isn't pretty, but lilypond will do it just fine. In fact, between dashed slurs and moving the hairpin above the staff, it's actually more readable than the example. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
