Re: visual structure vs musical structure

[Mike Solomon]

> On Apr 9, 2016, at 2:34 AM, Gianmaria Lari  wrote:
> 
> I have a music score like this:
> 
> a a a a
> b b b b
> c c c c
> r1
> a a a a
> b b b b
> c c c c
> 
> 
> 
> Then it would be nice to create a variable
> 
> fragment = 
> {
> a a a a
> b b b b
> c c c c
> }
> 
> and write the score in the following way:
> 
> \fragment
> r1
> \fragment
> 
> 
> 
> This is perfect but sometimes I need to format the score like this:
> 
> a a a a
> b b b b
> c c c c
> r1 
> a a a a
> b b b b \pagebreak
> c c c c
> 
> How I should structure the lilypond source code in this case where the visual 
> structure and the musical structure does not match? For the music structure I 
> would like to create the variable fragment, but for the visual structure this 
> does not work. What should I do?

Dear Gianmaria,

Have a look at 
http://lilypond.org/doc/v2.16/Documentation/notation/different-editions-from-one-source.en.html
 

 - it presents several ways of going about this, all of which are quite useful.

Cheers,
MS

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Re: visual structure vs musical structure

[David Wright]

On Sat 09 Apr 2016 at 02:34:22 (+0200), Gianmaria Lari wrote:

> How I should structure the lilypond source code in this case where the
> visual structure and the musical structure does not match? For the music
> structure I would like to create the variable fragment, but for the visual
> structure this does not work. What should I do?

eg

\version "2.18.2"

global = {
  \key c \major
  \time 4/4
  s1 s1 s1
  s1
  s1 s1 \break s1
  \bar "|."
}

fragment = \relative {
  a'4 a a a
  b b b b
  c c c c
}

part = {
  \fragment
  r1
  \fragment
}

\score {
  \new Staff <<
\new NullVoice { \clef treble \global }
\new Voice { \part }
  >>
  \layout { }
}

If multi-stave, put the Nullvoice in each Staff with the appropriate clef.

Cheers,
David.

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Re: visual structure vs musical structure

[Andrew Bernard]

Hi Gianmaria,

You can introduce a parallel voice to just hold the line breaks and page 
breaks. It will consist entirely of spacer rests followed by breaks at the 
appropriate locations. This is common practice.

Andrew



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Re: Music Notation/Interpretation question

[Andrew Bernard]

Sorry, rubbish. Not standard musical praxis. Think about it – you would often 
have to have all notes on the right or left. One never sees this.

The dispostiion of notes either side of the stem is for clarity of reading to 
avoid overlap. Pure and simple.

But  … there are contemporary composers who do use the notehead sign to signify 
some concepts, but this is not mainstream.

Andrew


On 9/04/2016, 06:38, "lilypond-user on behalf of Alberto Simões" 
 wrote:

Do any of you ever heard anything about that? Or did you read anything?
If so, can you share your knowledge on that?

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Re: error: can't allocate region

[Andrew Bernard]

Hi Matteo,

Sned me the complete file. I am also running 10.11.4 so I can run it for you.

Andrew

On 9/04/2016, 06:08, "matpen3@gmail"  wrote:


The problem occurs with Lilypond 2.18.2 and 2.19.39.

Platform osX 10.11.4 - 16 GB RAM


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visual structure vs musical structure

[Gianmaria Lari]

I have a music score like this:

a a a a
b b b b
c c c c
r1
a a a a
b b b b
c c c c




Then it would be nice to create a variable

fragment =
{
a a a a
b b b b
c c c c
}


and write the score in the following way:

\fragment
r1
\fragment




This is perfect but sometimes I need to format the score like this:

a a a a
b b b b
c c c c
r1
a a a a
b b b b \pagebreak
c c c c


How I should structure the lilypond source code in this case where the
visual structure and the musical structure does not match? For the music
structure I would like to create the variable fragment, but for the visual
structure this does not work. What should I do?
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Re: chordmode and markup

[Gianmaria Lari]

Gianmaria Lari  wrote:

> Thomas Morley  writes:
>>
>> > The situation is a little more problematic, though.
>> > \chordmode { c_\markup { test } }
>> > works, yes, but both of the following two return an error:
>> > \chordmode { c-\markup { test } }
>> > \chordmode { c^\markup { test } }
>>
>
> Is there any escamotage to make the last two working?
>


!!!  I'm sorry, Thomas Morley already sent the answer to my question a
couple of days ago:

\chordmode { c_\tweak #'direction #UP _\markup { test } }


Best regards, g.
P.S Thank you David for pointing out my inattention.
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Re: chordmode and markup

[Gianmaria Lari]

>
> Thomas Morley  writes:
>
> > The situation is a little more problematic, though.
> > \chordmode { c_\markup { test } }
> > works, yes, but both of the following two return an error:
> > \chordmode { c-\markup { test } }
> > \chordmode { c^\markup { test } }
>

Is there any escamotage to make the last two working?
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Re: lilypond-user Digest, Vol 161, Issue 39 / Music Notation/Interpretation question

[David Sumbler]

On Sat, 2016-04-09 at 00:13 +0200, Simon Albrecht wrote:
> Don’t forget to always edit the subject line :-)
> Replying to individual e-mails instead of digests would be even better, 
> since this will allow sorting by thread.
> 
> Best, Simon

My apologies.  Sometimes I remember.  But 'always' is more than I can
promise!

Yes, replying to individual e-mails is definitely preferable, but the
list is so busy that I find the digests far more manageable.  I do get
individual emails from other lists I belong to, which all have a more
modest amount of traffic.  Sorry.

David


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Re: lilyjazz fonts on Mac / Win

[Christoph Friedrich]

Hello Abraham and Stan

thanks for your replies. I cleared the font cache as it was proposed by Abraham 
(howto ), 
and i also made use of the options that are given in the font book.app (looking 
for duplicate fonts, removing non-standard system fonts etc)
It did not help yet. I also had a look to the Finale forum as it was proposed, 
and it seems there are really some major font problems in the current mac OS. 
Then I noticed that i have about 240 fonts in my font library (where do they 
all come from?) and there were another 200 moved automatically to the folder 
called „fonts_removed“ by the fontbook.app. So for sure i will have to check if 
i really need all these fonts (I already know don’t) and reduce their number. 

Stan pointed out that the lilyJAZZfonts in his system do have a slightly 
different name. As far as i remember, there was a suggestion here once to 
rename them from LilyJAZZ* ( version prior to lilypond 2.18.2, by Thorsten 
Hämmerle) to lilyjazz* (2.18.2 and later, by Abraham). I remember the older 
version was also installed in my computer once. So this might be a hint where 
the problem might come from.
If i gonna find a solution, i’ll post it here. Meanwhile i’ll switch to another 
computer..

Thanks again
Christoph


> Am 07.04.2016 um 13:19 schrieb Stanton Sanderson :
> 
> On my Mac with the same OS X (10.11.4) and version of Lilypond, Christoph’s 
> code produces the expected results.
> 
> One difference in installation is is that the .chord and .text font files are 
> installed in the Lilypond app, in the same font directories mentioned. Mine 
> are named LilyJAZZChord.otf and LilyJAZZText.otf, however. If I recall, that 
> was the way they were named when they were first introduced. 
> 
> Stan
> All the lilyjazz-11.otf, etc. files are also in that directory. 
>> On Apr 6, 2016, at 11:08 PM, Abraham Lee > > wrote:
>> 
>> Christoph,
>> 
>> I don't own a Mac, nor do I have access to one, so I'm not the most 
>> qualified to answer this question. What you've described is exactly how you 
>> should do it. However, I have noticed that users of Finale have had similar 
>> issues on a Mac, so I think it's not specific to LilyPond. The issues could 
>> be totally unrelated, but you never know. 
>> 
>> What they seem to do that alleviates the problem is clearing out the font 
>> cache (sorry, I'm not sure how to do that). Font Book may have some tools to 
>> help you out, too. I'd go to the Finale forum (forum.makemusic.com 
>> ) and look through the topics on the Macintosh 
>> user subforum. There have been plenty lately on this topic. 
>> 
>> Best,
>> Abraham
>> 
>> On Wednesday, April 6, 2016, Christoph Friedrich 
>> mailto:m...@christoph-friedrich.org>> wrote:
>> Hello
>> 
>> i am still trying to find out why the lilyjazz fonts do not work properly on 
>> my computer (mac os x) and i hope to get some advice here…
>> The fonts "lilyjazz-text" and "lilyjazz-chords“ were installed in the system 
>> font location, the ones named lilyjazz-11.otf etc were copied to 
>> 
>> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf
>> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/svg
>> 
>> It says everything ok, but on the mac text and chords appear in a standard 
>> system font.
>> 
>> I did the same on a windows system, and the result seems to be as expected. 
>> (please see examples below)
>> Could this be a bug?
>> 
>> Thanks for any advice.
>> Christoph
>> 
>> example code
>> -
>> \version "2.19.39"
>> \include "lilyjazz.ily"
>> 
>> \header{
>> title = "Test"
>> composer = "Mac OSX 10.11.4"
>> piece = "Latin"
>> }
>> 
>> melody = \new Staff {
>>   \set Staff.instrumentName = #"Piano"
>> \time 6/8
>> \tempo  8 = 120
>> \clef treble
>> \key ees \major
>> \relative  {
>>   c8 d e f g a b c d e f g d e f g a b
>>}
>> }
>> 
>> harmonies = \chordmode { \set majorSevenSymbol = \markup { maj7 }
>> ees1:7 fis:maj7
>>  }
>> 
>> \score{
>> <<
>> \new ChordNames {\set chordChanges = ##t \harmonies}
>> \melody
>> >>
>> }
>> 
>> 
>> 
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Re: Music Notation/Interpretation question

[Simon Albrecht]

On 08.04.2016 22:38, Alberto Simões wrote:

Hi

This is not exactly a Lilypond doubt...

but imagine a chord, in a left hand piano piece, with 

Lilypond will eventually put c and g at the left of the note stem, and 
d and a at the right (what it does exactly is not relevant for the 
question).


The question is:
 is the side of the note relevant when analyzing a music?

Basically, during my music formation, nobody ever told me anything 
about that. But last week, when asking a friend daughter to verify a 
transcription, she said that the notes at the right of the stem should 
be the ones relevant for the chord, and that the side of them is 
relevant...


Do any of you ever heard anything about that? Or did you read anything?
If so, can you share your knowledge on that? 


If you ask me, that’s nonsense. Maybe someone at some time invented such 
a system, but if that is so, then it’s a very rare corner case and not 
applicable to the vast majority of scores.
I also don’t think it’s useful (except to visualise some point made in a 
theoretical paper), since it will seriously impair legibility.


Yours, Simon

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Re: lilypond-user Digest, Vol 161, Issue 39

[Simon Albrecht]

Don’t forget to always edit the subject line :-)
Replying to individual e-mails instead of digests would be even better, 
since this will allow sorting by thread.


Best, Simon

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Re: lilypond-user Digest, Vol 161, Issue 39

[albie]

thank you
You concur with my interpretation

Alberto

Sent from my android device.

-Original Message-
From: David Sumbler 
To: lilypond-user@gnu.org
Cc: "Alberto Simões" 
Sent: Fri, 08 Apr 2016 22:17
Subject: Re: lilypond-user Digest, Vol 161, Issue 39

> > From: Alberto Simões 
> > Reply-to: al...@alfarrabio.di.uminho.pt
> > To: lilypond 
> > Subject: Music Notation/Interpretation question
> > Date: Fri, 8 Apr 2016 21:38:51 +0100
> > 
> > Hi
> > 
> > This is not exactly a Lilypond doubt...
> > 
> > but imagine a chord, in a left hand piano piece, with 
> > 
> > Lilypond will eventually put c and g at the left of the note stem, and d 
> > and a at the right (what it does exactly is not relevant for the question).
> > 
> > The question is:
> >   is the side of the note relevant when analyzing a music?
> > 
> > Basically, during my music formation, nobody ever told me anything about 
> > that. But last week, when asking a friend daughter to verify a 
> > transcription, she said that the notes at the right of the stem should 
> > be the ones relevant for the chord, and that the side of them is relevant...
> > 
> > Do any of you ever heard anything about that? Or did you read anything?
> > If so, can you share your knowledge on that?
> > 
> > Thank you
> > alberto

Which side of the stem the note appears on has no musical significance.
The convention is that the notes go to the right of the stem if the stem
points downwards, and to the left if the stem is an up-stem.

If two or more notes are only a second apart (e.g. f & g, g & a etc.)
then the convention is that the lower or lowest of these notes should go
to the left of the stem (no matter whether the stem goes up or down),
and after that the notes of the group go alternately right and left.

So if you have a tone cluster consisting of f, g, a, b, c, those five
notes go to the left, right, left, right and left respectively.

David

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Re: lilypond-user Digest, Vol 161, Issue 39

[David Sumbler]

> > From: Alberto Simões 
> > Reply-to: al...@alfarrabio.di.uminho.pt
> > To: lilypond 
> > Subject: Music Notation/Interpretation question
> > Date: Fri, 8 Apr 2016 21:38:51 +0100
> > 
> > Hi
> > 
> > This is not exactly a Lilypond doubt...
> > 
> > but imagine a chord, in a left hand piano piece, with 
> > 
> > Lilypond will eventually put c and g at the left of the note stem, and d 
> > and a at the right (what it does exactly is not relevant for the question).
> > 
> > The question is:
> >   is the side of the note relevant when analyzing a music?
> > 
> > Basically, during my music formation, nobody ever told me anything about 
> > that. But last week, when asking a friend daughter to verify a 
> > transcription, she said that the notes at the right of the stem should 
> > be the ones relevant for the chord, and that the side of them is relevant...
> > 
> > Do any of you ever heard anything about that? Or did you read anything?
> > If so, can you share your knowledge on that?
> > 
> > Thank you
> > alberto

Which side of the stem the note appears on has no musical significance.
The convention is that the notes go to the right of the stem if the stem
points downwards, and to the left if the stem is an up-stem.

If two or more notes are only a second apart (e.g. f & g, g & a etc.)
then the convention is that the lower or lowest of these notes should go
to the left of the stem (no matter whether the stem goes up or down),
and after that the notes of the group go alternately right and left.

So if you have a tone cluster consisting of f, g, a, b, c, those five
notes go to the left, right, left, right and left respectively.

David


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Music Notation/Interpretation question

[Alberto Simões]

Hi

This is not exactly a Lilypond doubt...

but imagine a chord, in a left hand piano piece, with 

Lilypond will eventually put c and g at the left of the note stem, and d 
and a at the right (what it does exactly is not relevant for the question).


The question is:
 is the side of the note relevant when analyzing a music?

Basically, during my music formation, nobody ever told me anything about 
that. But last week, when asking a friend daughter to verify a 
transcription, she said that the notes at the right of the stem should 
be the ones relevant for the chord, and that the side of them is relevant...


Do any of you ever heard anything about that? Or did you read anything?
If so, can you share your knowledge on that?

Thank you
alberto

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Re: error: can't allocate region

[Thomas Morley]

2016-04-08 22:08 GMT+02:00 matpen3@gmail :
> Sorry Andrew,
>
> you’re right…
>
> The problem occurs with Lilypond 2.18.2 and 2.19.39.
>
> Platform osX 10.11.4 - 16 GB RAM
>
> Thanks again
>
> matteo
>
>> Il giorno 08 apr 2016, alle ore 18:06, Andrew Bernard 
>>  ha scritto:
>>
>> Hi Matteo,
>>
>> As per normal with the list, it will help if you can say the version
>> of lilypond, the platform you are on, and the version of that
>> platform. Without that basic information nobody can help very much.
>>
>> Andrew
>
>> Hi all,
>>
>> I’m working on a very large score (about 1200 bar), and now I receive the 
>> following error that’s driving me crazy:
>>
>> Drawing systems...lilypond(7156,0xa2db5000) malloc: *** 
>> mach_vm_map(size=8388608) failed (error code=3)
>> *** error: can't allocate region
>> *** set a breakpoint in malloc_error_break to debug
>> terminate called after throwing an instance of 'std::bad_alloc'
>>  what():  std::bad_alloc
>>
>> I tried to isolate the problem and, from a certain bar (at the end) it’s 
>> enough to add a note to receive the error. Before this entry, it’s fine.
>> I understand that this error should be related to the memory management, but 
>> I’m not able to solve it…
>>
>> It happens only when I work on the whole score. Isolating a fragment doesn’t 
>> recall it.
>>
>> Any help very appreciated!!
>>
>> Cheers
>>
>> matteo
>>



Hi Matteo,

nobody can help without testing your code.

I'd like to offer you send your code to me off-list - if you like.

Cheers,
  Harm

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Re: error: can't allocate region

[matpen3@gmail]

Sorry Andrew,

you’re right…

The problem occurs with Lilypond 2.18.2 and 2.19.39.

Platform osX 10.11.4 - 16 GB RAM

Thanks again

matteo

> Il giorno 08 apr 2016, alle ore 18:06, Andrew Bernard 
>  ha scritto:
> 
> Hi Matteo,
> 
> As per normal with the list, it will help if you can say the version
> of lilypond, the platform you are on, and the version of that
> platform. Without that basic information nobody can help very much.
> 
> Andrew

> Hi all,
> 
> I’m working on a very large score (about 1200 bar), and now I receive the 
> following error that’s driving me crazy:
> 
> Drawing systems...lilypond(7156,0xa2db5000) malloc: *** 
> mach_vm_map(size=8388608) failed (error code=3)
> *** error: can't allocate region
> *** set a breakpoint in malloc_error_break to debug
> terminate called after throwing an instance of 'std::bad_alloc'
>  what():  std::bad_alloc
> 
> I tried to isolate the problem and, from a certain bar (at the end) it’s 
> enough to add a note to receive the error. Before this entry, it’s fine.
> I understand that this error should be related to the memory management, but 
> I’m not able to solve it…
> 
> It happens only when I work on the whole score. Isolating a fragment doesn’t 
> recall it.
> 
> Any help very appreciated!!
> 
> Cheers
> 
> matteo
> 

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Re: tie behavior

[bill wolf]

David,

Thank you for your kind and excellent suggestion!  I've been able to use your
suggestions all morning in a larger piano score.  Some applications are best not
universally applied, such as tieWaitForNote.  It provides some added ties in
unpredictable spots.  I added a modification to your original code:

\relative c'' {

  \new Staff \with { \consists "Tie_engraver" tieWaitForNote = ##t }
  <<
\new Voice \with { \remove "Tie_engraver" }
{ \voiceOne c8 e~ s4 g8 d'~ s4 }
\new Voice \with { \remove "Tie_engraver" }
{ \voiceTwo 4 8 e_~ 
  \override Staff.TieColumn.tie-configuration =
  #'((2.5 . -1) (6.0 . 1)) 4  }
  >>

}

This allowed me to tighten up the appearance of the tie between the two g's.

Thanks, again, David!
bill

> > My apologies, but that's terrible! Thanks for pointing that out, David. Let
> > me
> > try, again:
> >
> > \version "2.18.2"
> >
> > \relative c'' {
> >
> > \new Staff <<
> > \new Voice { \voiceOne c8 e~ \once \hideNotes \once \override 
> > NoteColumn.force-hshift
> > = #-1.2 e4 g8 d'~ \once \hideNotes d4 }
> > \new Voice { \voiceTwo c,4~ 8 \override TieColumn.tie-configuration =
> > #'((2.0 . -1) (5.0 . 1)) e~ 4~  }
> > >>
> >
> > }
> >
> > I sent a test to myself, which was pretty good. Hopefully, it's
> > legible on your end.
> 
> Better.
> 
> > I used two voices to control the directions of the beams while
> > building triads. One could say that i wrote out the finger pedalling.
> > The problem is that i've never been able to figure out is how to get a
> > tie to go between the same note in two different voices.
> 
> Well, not possible easily. What you can do is to move the Tie_engraver
> to Staff level, but then it will not get to see the per-Voice settings
> of \voiceOne/\voiceTwo so you might need to give explicit directions.
> 
> Something like
> 
> -- next part --
> A non-text attachment was scrubbed...
> Name: wolf.ly
> Type: text/x-lilypond
> Size: 308 bytes
> Desc: not available
> URL:
> <http://lists.gnu.org/archive/html/lilypond-user/attachments/20160408/329d5c93/attachment.bin>
> -- next part --
> 
> As you can see I use in-chord ties a bit, for avoiding duplicate ties
> (have no good idea where they come from) that appear in 2.18.2 but
> apparently not in current versions. Also to be able to specify
> individual tie directions with _ and ^ before the ties.
> 
> I am not saying that this approach will necessarily scale well to larger
> scores. Maybe we need some Tie_emergency_engraver at Staff level which
> will connect stray ties.
> 
> -- 
> David Kastrup

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Re: error: can't allocate region

[Andrew Bernard]

Hi Matteo,

As per normal with the list, it will help if you can say the version
of lilypond, the platform you are on, and the version of that
platform. Without that basic information nobody can help very much.

Andrew

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error: can't allocate region

[matpen3@gmail]

Hi all,

I’m working on a very large score (about 1200 bar), and now I receive the 
following error that’s driving me crazy:

Drawing systems...lilypond(7156,0xa2db5000) malloc: *** 
mach_vm_map(size=8388608) failed (error code=3)
*** error: can't allocate region
*** set a breakpoint in malloc_error_break to debug
terminate called after throwing an instance of 'std::bad_alloc'
  what():  std::bad_alloc

I tried to isolate the problem and, from a certain bar (at the end) it’s enough 
to add a note to receive the error. Before this entry, it’s fine.
I understand that this error should be related to the memory management, but 
I’m not able to solve it…

It happens only when I work on the whole score. Isolating a fragment doesn’t 
recall it.

Any help very appreciated!!

Cheers

matteo
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Re: Lilypond statistics

[Nathan Ho]

On 2016-04-07 21:51, Dave Higgins wrote:

Is there any way to generate statistics for a file?  Things like, let
say, a concordance or the number of a's b's or bes's, or repeated
markup's?  (I know I can do stuff like this with grep, but that's very
singular.)


Try event-listener.ly 
(http://lilypond.org/doc/v2.18/Documentation/notation/saving-music-events-to-a-file). 
It gives you a "database dump" of all the events in a file. You can 
either process this output with other programs, or use a custom fork of 
event-listener.ly that does the statistics for you.



Nathan

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Re: Lilypond Woodwind-Diagram for Bassoon missing half-hole option for first finger

[efontanezi]

I would like to contribute in this old issue, since this thread comes from
2013.
I have been writing a Basson Method Book in portuguese with Latex and
Lilypond, but the diagram offered by Lilypond is not correct. I´d like to
suggest the corrections as the image attached in this email.

Thanks a lot.

 



--
View this message in context: 
http://lilypond.1069038.n5.nabble.com/Lilypond-Woodwind-Diagram-for-Bassoon-missing-half-hole-option-for-first-finger-tp142777p189446.html
Sent from the User mailing list archive at Nabble.com.

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Re: AutoBeam Behaving Properly?

[Richard Shann]

On Fri, 2016-04-08 at 10:38 -0500, David Wright wrote:
> On Fri 08 Apr 2016 at 14:04:21 (+0100), Richard Shann wrote:
> > On Fri, 2016-04-08 at 07:40 -0500, David Wright wrote:
> > > On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
> > > [...]
> > > > style, but something like that with no church rests, numerical time
> > > 
> > > What are these?
> > http://lilypond.org/doc/v2.18/Documentation/notation/writing-rests#index-church-rest
> > >  Misericords?
> 
> Oh, OK. Isn't "church rest" just the literal translation of the
> German (in case anyone thought it might mean cherry picker or
> something), rather than a term people use?

I think so, unfortunately there doesn't seem to be a term in English or
American for these. So I was speaking LilyPondese, but I think it would
be important to include in a modern-style.ily file even if we lack a
term for them.

Richard



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Re: AutoBeam Behaving Properly?

[David Wright]

On Fri 08 Apr 2016 at 14:04:21 (+0100), Richard Shann wrote:
> On Fri, 2016-04-08 at 07:40 -0500, David Wright wrote:
> > On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
> > [...]
> > > style, but something like that with no church rests, numerical time
> > 
> > What are these?
> http://lilypond.org/doc/v2.18/Documentation/notation/writing-rests#index-church-rest
> >  Misericords?

Oh, OK. Isn't "church rest" just the literal translation of the
German (in case anyone thought it might mean cherry picker or
something), rather than a term people use?

Cheers,
David.

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Re: AutoBeam Behaving Properly?

[Richard Shann]

On Fri, 2016-04-08 at 07:40 -0500, David Wright wrote:
> On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
> [...]
> > style, but something like that with no church rests, numerical time
> 
> What are these?
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rests#index-church-rest
>  Misericords?
> 
> Cheers,
> David.



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Re: AutoBeam Behaving Properly?

[David Wright]

On Fri 08 Apr 2016 at 09:40:30 (+0100), Richard Shann wrote:
[...]
> style, but something like that with no church rests, numerical time

What are these? Misericords?

Cheers,
David.

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Re: tie behavior

[David Kastrup]

bill wolf  writes:

> My apologies, but that's terrible!  Thanks for pointing that out, David.  Let 
> me
> try, again:
>
> \version "2.18.2"
>
> \relative c'' {
>
>   \new Staff <<
> \new Voice { \voiceOne c8 e~ \once \hideNotes \once \override 
>NoteColumn.force-hshift
>= #-1.2 e4 g8 d'~ \once \hideNotes d4 }
> \new Voice { \voiceTwo c,4~ 8 \override 
> TieColumn.tie-configuration =
>#'((2.0 . -1) (5.0 . 1)) e~ 4~  }
>   >>
>
> }
>
> I sent a test to myself, which was pretty good.  Hopefully, it's
> legible on your end.

Better.

> I used two voices to control the directions of the beams while
> building triads.  One could say that i wrote out the finger pedalling.
> The problem is that i've never been able to figure out is how to get a
> tie to go between the same note in two different voices.

Well, not possible easily.  What you can do is to move the Tie_engraver
to Staff level, but then it will not get to see the per-Voice settings
of \voiceOne/\voiceTwo so you might need to give explicit directions.

Something like

\version "2.18.2"

\relative c'' {

  \new Staff \with { \consists "Tie_engraver" tieWaitForNote = ##t }
  <<
\new Voice \with { \remove "Tie_engraver" }
{ \voiceOne c8 e~ s4 g8 d'~ s4 }
\new Voice \with { \remove "Tie_engraver" }
{ \voiceTwo 4 8 e_~ 4  }
  >>

}

As you can see I use in-chord ties a bit, for avoiding duplicate ties
(have no good idea where they come from) that appear in 2.18.2 but
apparently not in current versions.  Also to be able to specify
individual tie directions with _ and ^ before the ties.

I am not saying that this approach will necessarily scale well to larger
scores.  Maybe we need some Tie_emergency_engraver at Staff level which
will connect stray ties.

-- 
David Kastrup
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Re: AutoBeam Behaving Properly?

[Simon Albrecht]

On 08.04.2016 02:42, Mark Stephen Mrotek wrote:

May I be so bold as to inquire, how does the beaming "clearly indicate"
nothing more than distribution of notes between hands?


1) It makes a lot of sense to play it that way
2) It was very common to indicate distribution of notes between hands 
through beaming and stem direction in this kind of fast runs, see e.g. 
the B flat major Prelude from WTC I.

3) I didn’t say it wouldn’t influence stressing and articulation.


I also present the final measure of the Gigue of the French Suite VI in
which all of the notes are ascribed to the right hand yet the structure is
three groups of four against two groups of three.


What kind of edition do you have? My Henle Urtext edition has them 
beamed six and six, just like in the other bars. And that’s perfectly 
compliant to baroque usage, to not indicate motifs or stress (other than 
general measure structure) via beaming.



To dismiss the possibility of a hemiola might deny some of Bach's
playfulness.


As I said: your first example definitely is not a hemiola.

Yours, Simon

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Re: Technical question

[Hans Åberg]

> On 8 Apr 2016, at 00:15, Simon Albrecht  wrote:
> 
>> So i was wondering if lilypond could work faster if the calculations are
>> calculated by the gpu in stead if the cpu? Because that is another sort of
>> processor?
> 
> My understanding is quite limited, but I believe this can’t give you much of 
> an advantage, since most of the calculations done in LilyPond are not 
> directly about graphics. If you compile a larger score, you’ll see that most 
> of the time goes by with ‘Interpreting music’, ‘Preprocessing graphical 
> objects’, and ‘Fitting music onto  pages’. Most of these are heuristic 
> algorithms trying to find the best layout, not actually drawing the score.

A language like OpenCL [1] allows the code to execute also on the GPU. Because 
of the strong development of graphics, there is a movement using the GPU for 
other computing tasks as well.

1. https://en.wikipedia.org/wiki/OpenCL



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Re: faster compilation (was: Technical question)

[Simon Albrecht]

On 08.04.2016 02:44, Flaming Hakama by Elaine wrote:
So, the approach is to segment your piece using \tag and then work on 
it one segment at a time.  (Of course, depending on what types of 
issues you are working on like page breaks or line breaks,  you may 
need to compile the preceding or following segment.)


Three ideas on that:
First, you’ll run into problems as soon as spanners cross segments.
Second, you can have it much easier by enveloping the entire music 
expression in the \score with \tag SegmentA.SegmentB.SegmentC, instead 
of doing it separately for each staff.
Third, you can make much use of LilyPond-only syntax, where you 
currently use Guile. So instead of

\tag #'SegmentAor\tag #'(SegmentA SegmentB)
you can just write
\tag Segment Aor\tag SegmentA.SegmentB

The very most recent development version even allows using a comma 
instead of a dot in list syntax.


Best, Simon

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Re: AutoBeam Behaving Properly?

[Richard Shann]

On Thu, 2016-04-07 at 19:09 -0600, Karen S. Billings wrote:
> From an engineering standpoint, I would expect the "default" settings
> of an application to adequately address the "majority" of cases,

which would lead to endless arguments about which these are, and worse,
inconsistency when the majority of cases for a particular feature are
sometimes in the jazz field and for other things in orchestral or vocal
or ...
Instead (IIUC) LilyPond adopted from the outset the rule that it would
use the conventions from a perceived "golden age" of music engraving
(late 19th c. German engravers). 
This cuts down arguments but does lead to people complaining when they
type 4/4 and get C and so on. I recall seeing an include file (?) called
modern-style.ly (or some such) which only contained a flatter slur
style, but something like that with no church rests, numerical time
signatures, no indent and all the other eyesores (:)) to be seen in
modern scores might lessen the time spent fielding this question.

Richard



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Re: Technical question

[Richard Shann]

On Thu, 2016-04-07 at 12:51 -0700, Philip Bergwerf wrote:
> Hello everyone,
> 
> in the past i have woked with blender which is a 3d open source modelling,
> animation program. And i noticed that when you have a fast video card, the
> pogram works much faster. How about lilypond? lilypond works very slow in
> grapic way. When my score becomes bigger i have to wait long to see my
> result and this slows me down in my working proces. 
> 
> So i was wondering if lilypond could work faster if the calculations are
> calculated by the gpu in stead if the cpu? Because that is another sort of
> processor?

As others have said, the answer is no, however you can arrange to
typeset only the immediate context in which you are working. 
Denemo lets you typeset a range of staffs and measures centered on the
cursor position while you edit. This generally succeeds because each
keystroke enters a complete bit of LilyPond syntax, it might be a
trickier strategy to implement with a text editor.

Richard



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Re: tie behavior

[bill wolf]

My apologies, but that's terrible!  Thanks for pointing that out, David.  Let me
try, again:

\version "2.18.2"

\relative c'' {

  \new Staff <<
\new Voice { \voiceOne c8 e~ \once \hideNotes \once \override 
   NoteColumn.force-hshift
   = #-1.2 e4 g8 d'~ \once \hideNotes d4 }
\new Voice { \voiceTwo c,4~ 8 \override TieColumn.tie-configuration =
   #'((2.0 . -1) (5.0 . 1)) e~ 4~  }
  >>

}

I sent a test to myself, which was pretty good.  Hopefully, it's legible on your
end.

I used two voices to control the directions of the beams while building triads.
 One could say that i wrote out the finger pedalling.  The problem is that i've
never been able to figure out is how to get a tie to go between the same note in
two different voices.  This is why, in voiceOne, i would tie a note over, hide
it, and then shift it until the tie looked like it belonged to the same note in
voiceTwo.

The other problem is to get notes tied between chords in a single voice
(voiceTwo, here) to go in different directions.  I managed to do that by
overriding the behavior of TieColumn.tie-configuration.

Well, the code i've written works around the first problem while solving the
second.  i'm wondering if there is a more elegant way of doing this.

Thank you, again!
bill


> Good Lilyponders,
>
> The code below achieves my goals. I'm wondering if it could be done more
> simply.
>
> \version "2.18.2"
>
> \relative c'' {
>
>
> \new Staff <<
>
> \new Voice { \voiceOne c8 e~ \once \hideNotes \once \override 
> NoteColumn.force-hshift = #-1.2 e4 g8 d'~ \once \hideNotes d4 }
> \new Voice { \voiceTwo c,4~ 8 \override TieColumn.tie-configuration =
> #'((2.0 . -1) (5.0 . 1)) e~ 4~  }
>
>>>
>
> }

That's not particularly readable because of HTML just wrapping text, and
you do not even include a text version. Please try to send plain text
mails rather than HTML: that's more appropriate for source code.

You also fail to mention what your goals are.

> The only more specific thing I can add is that I almost always prefers
> ties in the middle of triads to go up.

So what exactly is the problem and what exactly are your goals?

-- 
David Kastrup

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