Re: Fauré requiem

[karl]

Andrew Bernard:
> I am no Fauré expert, but according to IMSLP the composition history is:
> 
> * 1877 (Libera me, 1st version for baritone and organ)
> * 1887/88 (Introït, Sanctus, Pie Jesu, Agnus Dei, In paradisum: Fauré’s 1st 
> version perf. 16 January 1888)
> * 1889 (Offertoire)
> * 1892/93 (Libera me, 2nd version for baritone, choir, orchestra and organ)
> * 1893 (revisions and extra instrumentation: Fauré’s 2nd version perf. 
> January 1893)
> * 1900 (published version, re-orchestrated by Jean Roger-Ducasse)
> 
> This suggests the first edition is 1900, and that there is no published 1893 
> edition.

Something doesn't have to be published to be a first version, as 
written above:

1877/1887 1st ver
1893  2nd ver
1900  published version

I think the 1893 one is called the "church" version,
and 1900 the "orchestra" version.

> Are you looking for the manuscript, a published edition, or a ready
> made lilypond engraving to work with?

I already have an lilypond engraving, but for a later version I
believe, so anything.

I'm mostly interesed in the vocal and organ part.

Regards,
/Karl Hammar

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Fauré requiem

[karl]

 Hello list,
I'm trying to make Fauré's requiem, 1893 version:

 http://turkos.aspodata.se/git/musik/GabrielFaur%C3%A9/Op48_Requiem/

but I haven't any source for that version, only found the 1900
version. Anyone got a link or something ?

The score is as is, but if anyone have tips on how to make it look
better, please advice me.

Regards,
/Karl Hammar

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Re: Fauré requiem

[Andrew Bernard]

Hi Karl,

I am no Fauré expert, but according to IMSLP the composition history is:

* 1877 (Libera me, 1st version for baritone and organ)
* 1887/88 (Introït, Sanctus, Pie Jesu, Agnus Dei, In paradisum: Fauré’s 1st 
version perf. 16 January 1888)
* 1889 (Offertoire)
* 1892/93 (Libera me, 2nd version for baritone, choir, orchestra and organ)
* 1893 (revisions and extra instrumentation: Fauré’s 2nd version perf. January 
1893)
* 1900 (published version, re-orchestrated by Jean Roger-Ducasse)

This suggests the first edition is 1900, and that there is no published 1893 
edition.


Are you looking for the manuscript, a published edition, or a ready made 
lilypond engraving to work with?

Andrew




On 9/09/2015 20:51, "lilypond-user-bounces+andrew.bernard=gmail@gnu.org on 
behalf of k...@aspodata.se" 
 wrote:

> Hello list,
>I'm trying to make Fauré's requiem, 1893 version:


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Re: Fauré requiem

[Simon Albrecht]

Am 09.09.2015 um 12:51 schrieb k...@aspodata.se:

  Hello list,
I'm trying to make Fauré's requiem, 1893 version:

  http://turkos.aspodata.se/git/musik/GabrielFaur%C3%A9/Op48_Requiem/

but I haven't any source for that version, only found the 1900
version. Anyone got a link or something ?


As Andrew already wrote, the 1893 version (which represents Fauré’s 
original instrumentation for smaller ensemble; the 1900 instrumentation 
is not by Fauré) has been unpublished at the time. I know of an edition 
at Oxford University Press, although I can’t confirm how reliable the 
text is.
You might have a look at Carus, they normally try to make Urtext 
editions. Some are very good (in textual matters), some are very dangerous.

Ask BNF for microfiche or scans :-)


The score is as is, but if anyone have tips on how to make it look
better, please advise me.


Can’t do so without PDF :-)
One nitpick: requiem.tex, ll. 207 & 210 have ‘imspl’ in lieu of ‘imslp’

Yours, Simon

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Re: Hidding Staff Lines at the start of a line

[Simon Albrecht]

Hi Zoran,

Am 09.09.2015 um 12:14 schrieb zzk:

Hi ponders,

I was wondering if it is possible to hide staff lines between the very start
of the line and the point where the notation starts. In other words, no
lines over the clef, key signature and time signature. Hopefully the
attached image demonstrates what I mean.


I only ever remember seeing that as a result of wrong code input.
The clef and key signature don’t make any sense without staff lines. So 
why would you want that, if I may ask?


Yours, Simon

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Re: Debugging shapeII

[David Kastrup]

Simon Albrecht  writes:

> Hello,
>
> I’m sorry I have to come again with a question concerning shapeII, and
> with a not very tiny example.
> Please have a look at the attachment:
> – The slur _before_ the revert (be it through \revert or synonymously
> through \tweak) is oddly displaced.
> – Using \shapeII (I think only the override-like form is affected)
> thoroughly confuses staff-staff-spacing, shifting the lower staff into
> the system below.
>
> I don’t quite know where to search…

I suspect the same problem that has been plaguing \offset until

commit 610d3aa70a430b620b7175fbe264a9f21eba4482
Author: David Kastrup 
Date:   Wed Jul 22 13:58:18 2015 +0200

Issue 4516: Make \offset handle unpure/pure containers

I suspect that the \shape command in LilyPond as well as \shapeII
outside of LilyPond would require use of the technique employed in that
commit.

-- 
David Kastrup

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Re: Fauré requiem

[Pierre Perol-Schneider]

and here (1888):
-
http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42261426=0=0=catalogue#
-
http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42261451=0=0=catalogue#
-
http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42261462=0=0=catalogue#

Cheers,
Pierre


2015-09-09 14:42 GMT+02:00 Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com>:

> Hi Karl,
>
> Just in case, a manuscript is available at the BnF (
> http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42362237=0=0=catalogue#
> )
> Copies can be orderd there for few euros.
> I don't know about the Ms. date though.
>
> Cheers,
> Pierre
>
> 2015-09-09 14:24 GMT+02:00 Simon Albrecht :
>
>> Am 09.09.2015 um 12:51 schrieb k...@aspodata.se:
>>
>>>   Hello list,
>>> I'm trying to make Fauré's requiem, 1893 version:
>>>
>>>   http://turkos.aspodata.se/git/musik/GabrielFaur%C3%A9/Op48_Requiem/
>>>
>>> but I haven't any source for that version, only found the 1900
>>> version. Anyone got a link or something ?
>>>
>>
>> As Andrew already wrote, the 1893 version (which represents Fauré’s
>> original instrumentation for smaller ensemble; the 1900 instrumentation is
>> not by Fauré) has been unpublished at the time. I know of an edition at
>> Oxford University Press, although I can’t confirm how reliable the text is.
>> You might have a look at Carus, they normally try to make Urtext
>> editions. Some are very good (in textual matters), some are very dangerous.
>> Ask BNF for microfiche or scans :-)
>>
>>>
>>> The score is as is, but if anyone have tips on how to make it look
>>> better, please advise me.
>>>
>>
>> Can’t do so without PDF :-)
>> One nitpick: requiem.tex, ll. 207 & 210 have ‘imspl’ in lieu of ‘imslp’
>>
>> Yours, Simon
>>
>>
>> ___
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>> lilypond-user@gnu.org
>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
>
>
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Re: midi channel

[Simon Albrecht]

Hello Ralf,

funnily enough, someone (or is roblemming an alias of yours?) posted 
exactly the same question three quarter hours later. Yours was 
unfortunately delayed somewhere in the mailing engine. See 
 :-)


HTH, Simon

Am 08.09.2015 um 21:39 schrieb r...@jazzcon.de:

Hello!

Is there any way to assign
explicit midi channels to voices (or staffs)?

Like this:

\new Staff \with { \midichannel = 1}

Thanks!

Ralf


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Re: Fauré requiem

[Pierre Perol-Schneider]

Hi Karl,

Just in case, a manuscript is available at the BnF (
http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42362237=0=0=catalogue#
)
Copies can be orderd there for few euros.
I don't know about the Ms. date though.

Cheers,
Pierre

2015-09-09 14:24 GMT+02:00 Simon Albrecht :

> Am 09.09.2015 um 12:51 schrieb k...@aspodata.se:
>
>>   Hello list,
>> I'm trying to make Fauré's requiem, 1893 version:
>>
>>   http://turkos.aspodata.se/git/musik/GabrielFaur%C3%A9/Op48_Requiem/
>>
>> but I haven't any source for that version, only found the 1900
>> version. Anyone got a link or something ?
>>
>
> As Andrew already wrote, the 1893 version (which represents Fauré’s
> original instrumentation for smaller ensemble; the 1900 instrumentation is
> not by Fauré) has been unpublished at the time. I know of an edition at
> Oxford University Press, although I can’t confirm how reliable the text is.
> You might have a look at Carus, they normally try to make Urtext editions.
> Some are very good (in textual matters), some are very dangerous.
> Ask BNF for microfiche or scans :-)
>
>>
>> The score is as is, but if anyone have tips on how to make it look
>> better, please advise me.
>>
>
> Can’t do so without PDF :-)
> One nitpick: requiem.tex, ll. 207 & 210 have ‘imspl’ in lieu of ‘imslp’
>
> Yours, Simon
>
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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midi channel

[r...@jazzcon.de]

Hello!

Is there any way to assign
explicit midi channels to voices (or staffs)?

Like this:

\new Staff \with { \midichannel = 1}

Thanks!

Ralf


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Re: Debugging shapeII

[David Kastrup]

David Kastrup  writes:

> Simon Albrecht  writes:
>
>> Hello,
>>
>> I’m sorry I have to come again with a question concerning shapeII, and
>> with a not very tiny example.
>> Please have a look at the attachment:
>> – The slur _before_ the revert (be it through \revert or synonymously
>> through \tweak) is oddly displaced.
>> – Using \shapeII (I think only the override-like form is affected)
>> thoroughly confuses staff-staff-spacing, shifting the lower staff into
>> the system below.
>>
>> I don’t quite know where to search…
>
> I suspect the same problem that has been plaguing \offset until
>
> commit 610d3aa70a430b620b7175fbe264a9f21eba4482
> Author: David Kastrup 
> Date:   Wed Jul 22 13:58:18 2015 +0200
>
> Issue 4516: Make \offset handle unpure/pure containers
>
> I suspect that the \shape command in LilyPond as well as \shapeII
> outside of LilyPond would require use of the technique employed in that
> commit.

Maybe one should refactor that code so that all of the trickery is
encapsuled into one generic function, and the particular manipulation to
do is passed as one argument to that function.  That way, one could
reuse all of the trickery for other manipulations.

-- 
David Kastrup

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Re: Debugging shapeII

[David Kastrup]

David Kastrup  writes:

> David Kastrup  writes:
>
>> Simon Albrecht  writes:
>>
>>> Hello,
>>>
>>> I’m sorry I have to come again with a question concerning shapeII, and
>>> with a not very tiny example.
>>> Please have a look at the attachment:
>>> – The slur _before_ the revert (be it through \revert or synonymously
>>> through \tweak) is oddly displaced.
>>> – Using \shapeII (I think only the override-like form is affected)
>>> thoroughly confuses staff-staff-spacing, shifting the lower staff into
>>> the system below.
>>>
>>> I don’t quite know where to search…
>>
>> I suspect the same problem that has been plaguing \offset until
>>
>> commit 610d3aa70a430b620b7175fbe264a9f21eba4482
>> Author: David Kastrup 
>> Date:   Wed Jul 22 13:58:18 2015 +0200
>>
>> Issue 4516: Make \offset handle unpure/pure containers
>>
>> I suspect that the \shape command in LilyPond as well as \shapeII
>> outside of LilyPond would require use of the technique employed in that
>> commit.
>
> Maybe one should refactor that code so that all of the trickery is
> encapsuled into one generic function, and the particular manipulation to
> do is passed as one argument to that function.  That way, one could
> reuse all of the trickery for other manipulations.

I'm currently doing that and will likely use it in \shape if it's
obvious how to do that.

-- 
David Kastrup

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Re: Hidding Staff Lines at the start of a line

[zzk]

simon.albrecht wrote
> Hi Zoran,
> 
> Am 09.09.2015 um 12:14 schrieb zzk:
>> Hi ponders,
>>
>> I was wondering if it is possible to hide staff lines between the very
>> start
>> of the line and the point where the notation starts. In other words, no
>> lines over the clef, key signature and time signature. Hopefully the
>> attached image demonstrates what I mean.
> 
> I only ever remember seeing that as a result of wrong code input.
> The clef and key signature don’t make any sense without staff lines. So 
> why would you want that, if I may ask?
> 
> Yours, Simon
> 
> ___
> lilypond-user mailing list

> lilypond-user@

> https://lists.gnu.org/mailman/listinfo/lilypond-user

Hi Simon, 

I have been looking for a 'time line' solution for a while, and although I
have found two on the forum that I really like (one by Harm and one by David
Nalesnik) I would prefer something like the attached image. For that reason
I was thinking of using a drum staff with one line (and omitted clef and
time signature), so that a 'time line' starts and ends in parallel with the
music parts.

I hope my explanation makes sense.

Zoran  



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Re: Hidding Staff Lines at the start of a line

[zzk]

Hi Kieren


Kieren MacMillan wrote
> Not sure why you’d want to…  but “With Lilypond, all things are possible.” 
> =)

That is why I love Lilypond :)


Kieren MacMillan wrote
> Here’s one solution:
> 
> \layout { indent = 1\in ragged-right = ##t }
> 
> \relative c' {
>   \omit Staff.SystemStartBar
>   \override Staff.TimeSignature.extra-offset = #'(-4 . 0)
>   \override Staff.TimeSignature.X-extent = #empty-interval
>   \override Staff.Clef.extra-offset = #'(-8 . 0)
>   \override Staff.Clef.X-extent = #empty-interval
>   c''4
> }
> 
> Hope this helps!
> Kieren.

Thanks a lot for the code. That should give me an excellent starting point
for what I am aiming to achieve.

Best regards,
Zoran






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Re: Hidding Staff Lines at the start of a line

[Kieren MacMillan]

Hi Zoran,

> I have been looking for a 'time line' solution for a while, and although I
> have found two on the forum that I really like (one by Harm and one by David
> Nalesnik) I would prefer something like the attached image. For that reason
> I was thinking of using a drum staff with one line (and omitted clef and
> time signature), so that a 'time line' starts and ends in parallel with the
> music parts.

Then why not simply have the music “as is” and adjust the beginning of the 
first measure (or spanner) in the TimeLine context instead?
I think that would be a lot simpler, especially as the number of other 
simultaneous contexts increases.

Hope that helps!
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Hidding Staff Lines at the start of a line

[zzk]

Hi ponders,

I was wondering if it is possible to hide staff lines between the very start
of the line and the point where the notation starts. In other words, no
lines over the clef, key signature and time signature. Hopefully the
attached image demonstrates what I mean.  

I am sure I saw a solution somewhere, but just could not manage to find it.
Any help would be much appreciated.

Zoran


 



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Re: Hidding Staff Lines at the start of a line

[Kieren MacMillan]

Hi Zoran,

> I was wondering if it is possible to hide staff lines between the very start
> of the line and the point where the notation starts. In other words, no
> lines over the clef, key signature and time signature.

Not sure why you’d want to…  but “With Lilypond, all things are possible.”  =)

Here’s one solution:

\layout { indent = 1\in ragged-right = ##t }

\relative c' {
  \omit Staff.SystemStartBar
  \override Staff.TimeSignature.extra-offset = #'(-4 . 0)
  \override Staff.TimeSignature.X-extent = #empty-interval
  \override Staff.Clef.extra-offset = #'(-8 . 0)
  \override Staff.Clef.X-extent = #empty-interval
  c''4
}

Hope this helps!
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Re: Fauré requiem

[karl]

Simon Albrecht:
> Am 09.09.2015 um 12:51 schrieb k...@aspodata.se:
> >   Hello list,
> > I'm trying to make Fauré's requiem, 1893 version:
> >
> >   http://turkos.aspodata.se/git/musik/GabrielFaur%C3%A9/Op48_Requiem/
> >
> > but I haven't any source for that version, only found the 1900
> > version. Anyone got a link or something ?
> 
> As Andrew already wrote, the 1893 version (which represents Fauré’s 
> original instrumentation for smaller ensemble; the 1900 instrumentation 
> is not by Fauré) has been unpublished at the time. I know of an edition 
> at Oxford University Press, although I can’t confirm how reliable the 
> text is.
> You might have a look at Carus, they normally try to make Urtext 
> editions. Some are very good (in textual matters), some are very dangerous.
> Ask BNF for microfiche or scans :-)

Ok, I'll see what I can find.

> > The score is as is, but if anyone have tips on how to make it look
> > better, please advise me.
> 
> Can’t do so without PDF :-)

Sorry, it's here:

 http://turkos.aspodata.se/choir/osthammar/faur%C3%A9/requiem.pdf

> One nitpick: requiem.tex, ll. 207 & 210 have ‘imspl’ in lieu of ‘imslp’

Ahh, thoose acronyms.

Regards,
/Karl Hammar

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Re: Re: Fauré requiem

[karl]

Pierre:
> and here (1888):
> -
> http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42261426=0=0=catalogue#
> -
> http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42261451=0=0=catalogue#
> -
> http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42261462=0=0=catalogue#
> 
> Cheers,
> Pierre
> 
> 
> 2015-09-09 14:42 GMT+02:00 Pierre Perol-Schneider <
> pierre.schneider.pa...@gmail.com>:
> 
> > Hi Karl,
> >
> > Just in case, a manuscript is available at the BnF (
> > http://catalogue.bnf.fr/servlet/biblio?idNoeud=1=42362237=0=0=catalogue#
> > )
> > Copies can be orderd there for few euros.
> > I don't know about the Ms. date though.

Unfortunately I don't understand french that much and my browser seem 
to have problem with thosse pages, but thanks anyhow.

I'll ask the music lib. in Stockholm instead.

Regards,
/Karl Hammar

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Hälsningar,
/Karl Hammar

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John Crook (Was re: Voice split across staves?)

[Joel C. Salomon]

On 09/08/2015 05:35 PM, Simon Albrecht wrote:
> Am 08.09.2015 um 22:47 schrieb Joel C. Salomon:
>> I’m trying to re-create John Crook’s original score to Peter Pan (yes,
>> it’s in the public domain)
> 
> Just a sidenote: I tried to find this John Crook or any detail about his
> life on the web and he seems to be famously obscure – there’s no
> information at all! except that he wrote this Peter Pan music, which was
> published in 1905 . Astounding! Do you
> know anything more?

He was apparently somewhat known in his own lifetime; there’s a short
biography at .
WorldCat ()
references a good number of his works in libraries, but I’ve hardly come
across any recordings of any of this. (There is a CD available, “100
Years of Peter Pan” whose first few tracks include Crook’s music. But
that’s not much.)

The version you pointed to is quite a bit longer than the one on Google
Books, and includes several more songs & lyrics. Thank you for that; I’d
seen reference to this longer version and thought I’d need to find it in
dead-tree form in some library. (I’ve also come across mention of an
80-page instrumental score, but I don’t know if that was ever published.)

It’s beautiful music, and ought not to be forgotten.

—Joel Salomon

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Re: Hidding Staff Lines at the start of a line

[zzk]

Hi Kieren, 


Kieren MacMillan wrote
> Then why not simply have the music “as is” and adjust the beginning of the
> first measure (or spanner) in the TimeLine context instead?
> I think that would be a lot simpler, especially as the number of other
> simultaneous contexts increases.

As I am relatively new to Lilypond, I am not sure how to approach your
suggestion. I am guessing that I would need to create a new context and than
adjust the beginning of the line for it. Does that sound right? 

Thanks
Zoran



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Suppress one of two staves

[Helge Kruse]

Hello,

 

I have a harp score where there are a lot of lines that require only the upper staff. How can I suppress the lower staff in lines where it is empty. The following example illustrates this:

 



\version "2.18"

\new PianoStaff <<
  \new Staff \relative c' {
    \repeat unfold 5 { c4 e g c }
    \repeat unfold 12 { c2 a }
    \repeat unfold 20 { R1 }
    \repeat unfold 10 { c2 a }
    \repeat unfold 8 { c,4 e g c }
  }
  \new Staff \relative c {
    \clef bass
    \repeat unfold 5 { c4 e g c }
    \repeat unfold 42 s1
    \repeat unfold 8 { c,4 e g c }
  }
>>

\layout {
  \context {
%    \Staff \RemoveEmptyStaves
  }
}

 


 

Measure 18-48 should have no lower staff. RemoveEmptyStaves unfortunately doesn't work since the rests shall be printed in at least one staff.

 

Regards

Helge


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Re: Fauré requiem

[Simon Albrecht]

Am 09.09.2015 um 16:55 schrieb k...@aspodata.se:



The score is as is, but if anyone have tips on how to make it look
better, please advise me.

Can’t do so without PDF :-)

Sorry, it's here:

  http://turkos.aspodata.se/choir/osthammar/faur%C3%A9/requiem.pdf


Some remarks:
– In choral music by convention the dynamics, sometimes also 
articulations, phrasing slurs  are placed above the staff, at least 
if a lyrics line follows below. This often allows to save vertical space 
and more importantly it brings the lyrics closer to the associated 
staff. So: \dynamicUp
– A similarly standard convention: don’t beam notes outside melismata. 
That means: \autoBeamOff, manual beams with melismata. This convention 
has only been put aside in the 20th century for music with great 
rhythmic complexity, where beaming is necessary for legibility.
– Why not use \RemoveEmptyStaves, at best along with fitting line breaks 
e.g. Agnus Dei, before m.32 and 45?
– You might be interested in 
: 
placing the ambitus after clef and key signature (see also issue 4396). 
It leaves less of an unsightly gap and it makes more sense.


HTH, Simon

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Re: Help with Auto-beaming rules

[Richard Shann]

Thanks for clarifying the need for manual beaming in certain cases. I've
added commands to switch beaming rules in Denemo, and this has lead me
on to coding up a command to search for the rhythmic pattern of the
selection. This means that those passages that need manually beaming can
be easily found by selecting the one you have and pressing a search key.
I mention this here in case Frescobaldi doesn't have this feature yet -
it should be fairly easy to code...

Richard


On Tue, 2015-09-08 at 13:58 +0200, Simon Albrecht wrote:
> Hello Richard,
> 
> Am 08.09.2015 um 13:43 schrieb Richard Shann:
> > The attached bit of 18th century typesetting shows an 8.[ 32 32] beamed
> > group and a series of  32[ 32 32  32] beamed groups in a 2/4 time
> > signature. This is quite typical of the period and is IMHO more legible
> > than if the 1/32 notes were beamed in larger groups.
> 
> Of course.
> 
> > Can this be done by auto-beaming rules in LilyPond?
> > My attempt follows - I have created two bars beamed manually and
> > followed with two bars which I hope to auto-beam by feeding the first
> > two bars to  \beamExceptions.
> > 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8><
> >
> > \version "2.19.5"
> > MvmntIVoiceI = {
> >   e''8.[ fis''32 g''] e''8.[ fis''32 g'']
> >   c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 
> > e' f']
> >   c'32 d' e' f' c' d' e' f' c' d' e' f' c' d' e' f'
> >   e''8.( fis''32 g'') e''8.( fis''32 g'')
> >
> > }
> > \layout {
> >  \overrideTimeSignatureSettings 2/4 1/4 #'(1 1) \beamExceptions { 8.[ 
> > 32 32] 8.[ 32 32] |
> 
> OK, the problem is that the NR doesn’t describe the limitations set for 
> using \beamExceptions. One exception can always only use one duration, 
> not different ones. This is because internally \beamExceptions creates a 
> Scheme nested list of the type used in scm/time-signature-settings.scm, 
> where each ‘exception rule’ is of the form ((1/32 . (4 4 4 4))). And 
> there’s no way of translating { 8.[ 32 32] 8.[ 32 32] } into such a rule.
> 
> >
> > Be that as it may, I would like to be sure that this beaming cannot be
> > done with a single \overrideTimeSignatureSettings at the outermost
> > context, that is, that individual passages will need to be marked to
> > achieve the desired beaming.
> 
> Yes, this will require manual beaming.
> 
> Yours, Simon



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Alda "a music programming language for musicians" inspired by LilyPond

[Paul Morris]

I thought this might be of interest.  Alda is a LilyPond-inspired programming 
language for musicians to use to produce music, i.e. audio (midi, etc.).  I 
wonder why he didn’t just use LilyPond syntax, or at least follow it more 
closely? 

http://daveyarwood.github.io/alda/2015/09/05/alda-a-manifesto-and-gentle-introduction/
 


https://github.com/alda-lang/alda 

From the comments on that blog post:

"Are you familiar with LilyPond? It seems as though you've reinvented the wheel 
here."

"LilyPond is actually a major influence on Alda. The key difference between 
LilyPond and Alda is that LilyPond is a tool for generating typeset music, 
whereas Alda generates audible music. I'm aware that you can export MIDI from 
LilyPond scores, and at the moment Alda can only generate MIDI music, so for 
now, there probably aren't a lot of things that you can do with Alda that you 
can't already do by writing a LilyPond score and exporting it to MIDI, but in 
the future, Alda will support other kinds of music besides MIDI, e.g. sampled 
sounds, waveform synthesis.”

also:

"It would be great if Alda could output sheet music PDF’s"

"we do have plans to integrate LilyPond (http://lilypond.org 
), so that Alda can generate LilyPond scores from Alda 
scores."

-Paul

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Re: Suppress one of two staves

[David Kastrup]

"Helge Kruse"  writes:

> Hello,
> I have a harp score where there are a lot of lines that require only the 
> upper staff.
> How can I suppress the lower staff in lines where it is empty. The following 
> example
> illustrates this:
> \version "2.18"
> \new PianoStaff <<
> \new Staff \relative c' {
> \repeat unfold 5 { c4 e g c }
> \repeat unfold 12 { c2 a }
> \repeat unfold 20 { R1 }
> \repeat unfold 10 { c2 a }
> \repeat unfold 8 { c,4 e g c }
> }
> \new Staff \relative c {
> \clef bass
> \repeat unfold 5 { c4 e g c }
> \repeat unfold 42 s1
> \repeat unfold 8 { c,4 e g c }
> }
>>>
> \layout {
> \context {
> % \Staff \RemoveEmptyStaves
> }
> }
> Measure 18-48 should have no lower staff. RemoveEmptyStaves unfortunately
> doesn't work since the rests shall be printed in at least one staff.

\RemoveEmptyStaves does not work primarily because \PianoStaff has the
Keep_alive_together_engraver.  You should remove that one (or not use
\PianoStaff) and then invoke only the second Staff as

\new Staff \with { \RemoveEmptyStaves } { ... }

If you don't want to retain the upper Staff with rests only when the
lower Staff has notes, things are a bit more tricky.  Basically, you'll
arrange to have your whole PianoStaff removed on demand, give it a
remove-layer of #0 but put _another_ copy of the first Staff (better
though a rest-only variant of it) in parallel with the PianoStaff,
giving it a remove-layer of #1.  That way it will only survive into the
final score when both staves in the PianoStaff will die.

-- 
David Kastrup

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