Re: repeat percent footnote
Need again some help about footnote and repeat. Have a look to this example:
\version "2.19.60"
{
\repeat percent 2 {c'8 d' e' f' \footnote #'(1 . 5) "This is a note on
percent" RepeatSlash }
\repeat percent 2 {c'4 d' e' f' \footnote #'(1 . 5) "This also"
PercentRepeat}
}
It works only for the first footnote. Where is my mistake?
Thank you, g.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Permission for music
Hi, I am a piano student, and I have a piano test coming up. I know the song "Comptine d'un autre été - L'aprés-midi by Yann Tiersen. I printed the sheet music off your website, and was wondering if I have permission to use the music for my coming up piano test? Thank you! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: repeat percent footnote
2017-05-24 9:01 GMT+02:00 Gianmaria Lari :
> Need again some help about footnote and repeat. Have a look to this example:
>
> \version "2.19.60"
> {
> \repeat percent 2 {c'8 d' e' f' \footnote #'(1 . 5) "This is a note on
> percent" RepeatSlash }
> \repeat percent 2 {c'4 d' e' f' \footnote #'(1 . 5) "This also"
> PercentRepeat}
> }
>
> It works only for the first footnote. Where is my mistake?
> Thank you, g.
Not exactly sure why it not works, though "Known issues and warnings"
of NR 3.2.4 Creating footnotes reads:
"Footnotes cannot be attached to MultiMeasureRests or automatic beams
or lyrics."
PercentRepeat is supported by the multi-measure-rest-interface, it's
stencil is the procedure 'ly:multi-measure-rest::percent'
So my guess is that PercentRepeat is regarded by LilyPond as a special
MultiMeasureRest, with the same limitations.
Sorry, to be of not more help,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Can an augmentation dot be parenthesized?
Dear all, I'm transcribing a few handwritten late 17th century fragments of music. There are a few problematic spots. (Perhaps the composer or writer was in a hurry, the whole thing is difficult to read anyway and it contains some symbols I've never seen before. see screensho.t) For two consecutive bars the time seems to have changed, from 6/2 to 5/2, which, as far as I know, was never done in that period. There is, in fact no time signature at all but 11 of the 13 bars in the fragment are clearly in 6/2 (or perhaps 3/1) and 2 bars contain notes and rests in both staves that add up to 5/2 That leaves me with the choice: either to ignore it, or correct it. In the latter case I would have to add an augmentation dot to a few notes and rests. Can anybody tell what the standard procedure is in cases like this one: - ignore, i.e. tweaking things so that it looks exactly like the manuscript , or - correct it. In the latter case the corrections or corrected symbols must probably be marked somehow. I can place (?) above the corrected note or rest, which is not very specific. I would tather like to parenthesize these added augmenation dots but I've not found a way to do that. Is it at all possible? And if yes, how? Thanks in advance for any advice. Best regards, Robert Blackstone ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
Which website would that be? AFAIK this here is a mailing list, there is no website with music sheets. Greetings Manuela 2017-05-24 2:40 GMT+02:00 Sarah Fosdick : > Hi, I am a piano student, and I have a piano test coming up. I know the > song "Comptine d'un autre été - L'aprés-midi by Yann Tiersen. I printed the > sheet music off your website, and was wondering if I have permission to use > the music for my coming up piano test? > Thank you! > > ___ > 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: Can an augmentation dot be parenthesized?
Hi Robert,
You can use this definition:
ficta = { \once \override AccidentalSuggestion #'parenthesized = ##t \once \set
suggestAccidentals = ##t }
And use it this way just before the note with an ? : cis4 \ficta cis?
Have a nice day,
Rémy
> Message du 24/05/17 10:59
> De : "Robert Blackstone"
> A : lilypond-user@gnu.org
> Copie à :
> Objet : Can an augmentation dot be parenthesized?
>
>Dear all,
I'm transcribing a few handwritten late 17th century fragments of music.
>
There are a few problematic spots. (Perhaps the composer or writer was in a
hurry, the whole thing is difficult to read anyway and it contains some symbols
I've never seen before. see screensho.t)
>
For two consecutive bars the time seems to have changed, from 6/2 to 5/2,
which, as far as I know, was never done in that period. There is, in fact no
time signature at all but 11 of the 13 bars in the fragment are clearly in 6/2
(or perhaps 3/1) and 2 bars contain notes and rests in both staves that add up
to 5/2
>
That leaves me with the choice: either to ignore it, or correct it. In the
latter case I would have to add an augmentation dot to a few notes and rests.
>
Can anybody tell what the standard procedure is in cases like this one:
- ignore, i.e. tweaking things so that it looks exactly like the manuscript , or
- correct it. In the latter case the corrections or corrected symbols must
probably be marked somehow. I can place (?) above the corrected note or rest,
which is not very specific.
>
I would tather like to parenthesize these added augmenation dots but I've not
found a way to do that.
>
Is it at all possible? And if yes, how?
>
Thanks in advance for any advice.
>
Best regards,
>
Robert Blackstone
>
>
___
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: Permission for music
May be she was talking about the IMSLP website ? The best, Rémy > Message du 24/05/17 11:10 > De : "Manuela Gößnitzer" > A : "Sarah Fosdick" > Copie à : "lilypond-user Mailinglist" > Objet : Re: Permission for music > > Which website would that be? AFAIK this here is a mailing list, there is no website with music sheets. > > Greetings > Manuela > > 2017-05-24 2:40 GMT+02:00 Sarah Fosdick : > Hi, I am a piano student, and I have a piano test coming up. I know the song "Comptine d'un autre été - L'aprés-midi by Yann Tiersen. I printed the sheet music off your website, and was wondering if I have permission to use the music for my coming up piano test? Thank you! > ___ > 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 ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
Hi List, doing a quick google search for the title and "sheet music" returns this link on the first page: http://www.kevinhabits.com/wp-content/uploads/2014/08/Amelie-theme-Yann-Tiersen.pdf which was engraved with Lilypond (as noted in the sheet music). I'm guessing this is the sheet music to which the OP is referring. Sarah, if that is the case, I'm afraid neither Lilypond, nor likely anybody on this list, is in a position to grant permission to perform the score in question, as it's not from us (that website just used Lilypond to do the engraving). Furthermore, I'm pretty sure that piece (as the movie is barely a decade old, I think) is still under copyright, so it's entirely possible the website itself doesn't have permission to distribute it, either. That said, as a piano test is not technically a public performance, it's entirely possible that this falls under "fair use for educational purposes", and that no permission is required. But copyright law is very complicated, and different by country (and even by specific circumstance). You'll have to use your own best judgment here. Maybe ask your teacher? Lastly, I hope you like the score! This list is for people who use the software that prints beautiful-looking sheet music, and we're all very proud of the results it produces. If you ever want to start writing your *own* music, the people here are incredibly helpful and friendly, and will gladly (and generously) donate their time to help you. Feel free to drop by and ask questions any time. Good luck on your piano test! On Wed, May 24, 2017 at 11:09 AM, Manuela Gößnitzer < pressephotogra...@gmail.com> wrote: > Which website would that be? AFAIK this here is a mailing list, there is > no website with music sheets. > > Greetings > Manuela > > 2017-05-24 2:40 GMT+02:00 Sarah Fosdick : > >> Hi, I am a piano student, and I have a piano test coming up. I know the >> song "Comptine d'un autre été - L'aprés-midi by Yann Tiersen. I printed the >> sheet music off your website, and was wondering if I have permission to use >> the music for my coming up piano test? >> Thank you! >> >> ___ >> 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 > > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: repeat percent footnote
I can live without it :) It was more a curiosity than a necessity.
Thank you anyway!
g.
On 24 May 2017 at 10:57, Thomas Morley wrote:
> 2017-05-24 9:01 GMT+02:00 Gianmaria Lari :
> > Need again some help about footnote and repeat. Have a look to this
> example:
> >
> > \version "2.19.60"
> > {
> > \repeat percent 2 {c'8 d' e' f' \footnote #'(1 . 5) "This is a note on
> > percent" RepeatSlash }
> > \repeat percent 2 {c'4 d' e' f' \footnote #'(1 . 5) "This also"
> > PercentRepeat}
> > }
> >
> > It works only for the first footnote. Where is my mistake?
> > Thank you, g.
>
> Not exactly sure why it not works, though "Known issues and warnings"
> of NR 3.2.4 Creating footnotes reads:
> "Footnotes cannot be attached to MultiMeasureRests or automatic beams
> or lyrics."
> PercentRepeat is supported by the multi-measure-rest-interface, it's
> stencil is the procedure 'ly:multi-measure-rest::percent'
>
> So my guess is that PercentRepeat is regarded by LilyPond as a special
> MultiMeasureRest, with the same limitations.
>
> Sorry, to be of not more help,
> Harm
>
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
IMSLP hosts only free scores, the composer must have been deceased for more than 70 years. Last time I checked YT was still alive ;-) actually he is much younger than I am. I have done engraving of Amelie theme myself for private purposes, I think the sheet I produced is nicer than Kevin's. Greetings Manuela 2017-05-24 11:33 GMT+02:00 N. Andrew Walsh : > Hi List, > > doing a quick google search for the title and "sheet music" returns this > link on the first page: > > http://www.kevinhabits.com/wp-content/uploads/2014/08/ > Amelie-theme-Yann-Tiersen.pdf > > which was engraved with Lilypond (as noted in the sheet music). I'm > guessing this is the sheet music to which the OP is referring. > > Sarah, if that is the case, I'm afraid neither Lilypond, nor likely > anybody on this list, is in a position to grant permission to perform the > score in question, as it's not from us (that website just used Lilypond to > do the engraving). Furthermore, I'm pretty sure that piece (as the movie is > barely a decade old, I think) is still under copyright, so it's entirely > possible the website itself doesn't have permission to distribute it, > either. > > That said, as a piano test is not technically a public performance, it's > entirely possible that this falls under "fair use for educational > purposes", and that no permission is required. But copyright law is very > complicated, and different by country (and even by specific circumstance). > > You'll have to use your own best judgment here. Maybe ask your teacher? > > Lastly, I hope you like the score! This list is for people who use the > software that prints beautiful-looking sheet music, and we're all very > proud of the results it produces. If you ever want to start writing your > *own* music, the people here are incredibly helpful and friendly, and will > gladly (and generously) donate their time to help you. Feel free to drop by > and ask questions any time. > > Good luck on your piano test! > > On Wed, May 24, 2017 at 11:09 AM, Manuela Gößnitzer < > pressephotogra...@gmail.com> wrote: > >> Which website would that be? AFAIK this here is a mailing list, there is >> no website with music sheets. >> >> Greetings >> Manuela >> >> 2017-05-24 2:40 GMT+02:00 Sarah Fosdick : >> >>> Hi, I am a piano student, and I have a piano test coming up. I know the >>> song "Comptine d'un autre été - L'aprés-midi by Yann Tiersen. I printed the >>> sheet music off your website, and was wondering if I have permission to use >>> the music for my coming up piano test? >>> Thank you! >>> >>> ___ >>> 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 >> >> > ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
On Wed, 24 May 2017, Manuela Gößnitzer wrote: > Which website would that be? AFAIK this here is a mailing list, there is no > website with music sheets. This is one reason that putting advertising for the LilyPond Web site in every PDF document by default may not be such a great idea. It makes LilyPond appear to have a meaningful connection with the content. -- Matthew Skala msk...@ansuz.sooke.bc.ca People before principles. http://ansuz.sooke.bc.ca/___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: changing alignment of augmentation dots across multiple voices in the same staff
On Tue, May 23, 2017 at 2:51 PM, Kieren MacMillan wrote: > Hi David, > >> I would say so. However, the situation is more complicated: > > #ugh #IsntItAlways > >> [Simon:] maybe a context property to turn off alignment of dotted rests >> would be useful? > > That sounds like it might work! > I agree with the idea of a context property, but it would switch between the current default (alignment by Staff always) and a new default which respects Gould's recommendations, which apply to more than rests. An alignment by voice would also be used if the dotted quarter rest in Kieren's image were replaced by a dotted note or notes. Additionally, by Gould's recommendation, the dots should align in cases where the voices have single notes (as in my counterexample above). -David ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Frecobaldi 3.0 install
Hi, Knute, Thank you. I will send to frecobaldi as suggested. Ming Sent from my iPhone > On May 23, 2017, at 1:46 PM, Knute Snortum wrote: > > You may have gotten no responses because this is off-topic for this list. > Have you tried the Frescobaldi mailing list? > > http://frescobaldi.org/links > > > --- > Knute Snortum > (via Gmail) > >> On Mon, May 15, 2017 at 2:30 PM, MING TSANG wrote: >> Dear lily users >> >> I install window 10 Pro to replace my window 10 Home for my laptop. >> >> I installed lilypond 2.18.2 and lilypond 2.19.60 and frecobaldi 2.20.0 All >> are well and no problem. >> >> Then I install frecobaldi 3.0.0 and when I run frecobaldi 3.0.0 and I get >> the following error. >> When I am with window 10 Home, there is no problen of installing >> frecobaldi.3.0.0 >> >> What is missing for frecobaldi 3.0.0? >> Ming >> >> >> >> >> >> >> >> >> >> ___ >> 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
different margins for headers/footers than systems/score
Hello all,
In the snippet below, I’m trying to have a “fancy header”, where the inside
edge (barline) of the score is aligned with the inside edge of the header, but
the outside edge (barline) of the score is aligned to a line in the header
*outside of which the page number appears*. I’ve tried horizontal-shift, but
that’s trial-and-error-y, and anyway appears not to observe two-sided mode.
Any thoughts on how I can accomplish what I want here?
Thanks,
Kieren.
%%% SNIPPET BEGINS
\version "2.19.61"
\layout {
\context {
\Score
\omit BarNumber
}
}
\paper {
paper-width = 8.5\in
paper-height = 11\in
two-sided = ##t
inner-margin = 0.75\in
outer-margin = 0.75\in
indent = 0.5\in
short-indent = 0\in
oddHeaderMarkup = \markup \bold
\fill-line {
Inside
Centre
\line {
Fancy Outside \hspace #1
\raise #2 \draw-line #'(0 . -3)
\hcenter-in #3 1
}
}
evenHeaderMarkup = \markup \bold
\fill-line {
\line {
\hcenter-in #3 1
\raise #2 \draw-line #'(0 . -3)
\hspace #1 Fancy Outside
}
Centre
Inside
}
tagline = ##f
}
\repeat unfold 20 { c''1 \break }
%%% SNIPPET ENDS
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
On Wed, May 24, 2017 at 02:35:57PM +0200, Manuela Gößnitzer wrote: > IMSLP hosts only free scores, the composer must have been deceased for more > than 70 years. It's not that simple at all. IMSLP has music that is copyrighted and relies on the downloader to not break copyright laws. For example, I can download the score for the R. Vaughan Williams tuba concerto. He died 59 years ago and the concerto was written 63 years ago. I can legally use that score for performance in Mexico and China but not in Britain. Paul ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: changing alignment of augmentation dots across multiple voices in the same staff
On 5/24/17 7:49 AM, "David Nalesnik" wrote: >On Tue, May 23, 2017 at 2:51 PM, Kieren MacMillan > wrote: >> Hi David, >> >>> I would say so. However, the situation is more complicated: >> >> #ugh #IsntItAlways >> >>> [Simon:] maybe a context property to turn off alignment of dotted >>>rests would be useful? >> >> That sounds like it might work! >> > > I agree with the idea of a context property, but it would switch >between the current default (alignment by Staff always) and a new >default which respects Gould's recommendations, which apply to more >than rests. An alignment by voice would also be used if the dotted >quarter rest in Kieren's image were replaced by a dotted note or >notes. Additionally, by Gould's recommendation, the dots should align >in cases where the voices have single notes (as in my counterexample >above). This would not be a simple change. The engraver creates a dot column; the dot column has only a y location for each dot. The x location is handled by the collision resolution system. Furthermore, the current approach (put the engraver in either the Voice or Staff context) can't be switched at a given moment in time, IIUC. Perhaps we move the dot column engraver to the Voice context, and then have a Staff context property something like AlignAllDotColumns. I don't know such a property would be implemented, but it seems to have the appropriate flexibility to allow us to set the behavior at any time. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can an augmentation dot be parenthesized?
Hi Robert,
> I would tather like to parenthesize these added augmenation dots but I've
> not found a way to do that.
>
I don't know how to parenthesize them, but here is a solution yielding
brackets around them:
\version "2.19.44"
#(define (special-bracketify original-stencil len thick protusion padding)
(let* (
(left-bracket (ly:bracket Y (cons (- len) len) thick (-
protusion)))
(right-bracket (ly:bracket Y (cons (- len) len) thick protusion)))
(set! original-stencil
(ly:stencil-combine-at-edge original-stencil X RIGHT right-bracket (-
-0.73 padding)))
(set! original-stencil
(ly:stencil-combine-at-edge original-stencil X RIGHT left-bracket padding))
original-stencil))
bracketDot = \once \override Dots.stencil = #(lambda (grob)
(special-bracketify (ly:dots::print grob) 0.4 0.1 0.2 0))
% first number (0.4): bracket length
% second number (0.1): thickness
% third number (0.2): protrusion
% fourth number (0.1): space between dot and brackets
{
c''4.
r8
\bracketDot
a'4.
r8
}
Question to the experts: If I unterstand my own code correctly :-), the
right-hand edge of the dot stencil (used by stencil-combine-at-edge) is the
right-most part of the dot itself, while the left-hand edge seems to be the
right-most part of the note the dot is attached to.
For this reason I took (for the left bracket) the *right* hand edge of the
dot and added offsets with trial-and-error, which should be fine since I
assume the dot will have the same size wherever it occurs. But nevertheless
there must be a more conceptual way?
Best
Lukas
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can an augmentation dot be parenthesized?
2017-05-24 10:58 GMT+02:00 Robert Blackstone :
>
> Dear all,
> I'm transcribing a few handwritten late 17th century fragments of music.
>
> There are a few problematic spots. (Perhaps the composer or writer was in a
> hurry, the whole thing is difficult to read anyway and it contains some
> symbols I've never seen before. see screensho.t)
>
> For two consecutive bars the time seems to have changed, from 6/2 to 5/2,
> which, as far as I know, was never done in that period. There is, in fact no
> time signature at all but 11 of the 13 bars in the fragment are clearly in
> 6/2 (or perhaps 3/1) and 2 bars contain notes and rests in both staves that
> add up to 5/2
>
> That leaves me with the choice: either to ignore it, or correct it. In the
> latter case I would have to add an augmentation dot to a few notes and rests.
>
> Can anybody tell what the standard procedure is in cases like this one:
> - ignore, i.e. tweaking things so that it looks exactly like the manuscript ,
> or
> - correct it. In the latter case the corrections or corrected symbols must
> probably be marked somehow. I can place (?) above the corrected note or rest,
> which is not very specific.
>
> I would tather like to parenthesize these added augmenation dots but I've not
> found a way to do that.
>
> Is it at all possible? And if yes, how?
>
> Thanks in advance for any advice.
>
> Best regards,
>
> Robert Blackstone
>
>
Hi,
here my approach:
\version "2.19.60"
#(define (parenthesize-dot parentheses-item)
(let* ((dot (ly:grob-object (ly:grob-parent parentheses-item Y) 'dot)))
(if (not (null? dot))
(begin
(set! (ly:grob-object parentheses-item 'elements) '())
;; -0.2 found by try and error
(ly:grob-set-property! parentheses-item 'padding -0.2)
(ly:pointer-group-interface::add-grob parentheses-item 'elements dot)
(ly:stencil-translate-axis
(parentheses-item::print parentheses-item)
0.2 ;; 0.2 found by try and error
X))
(parentheses-item::print parentheses-item
%% a possible tweak, not demonstrated in the example, thus commented
% parenthesizeDot =
% \tweak ParenthesesItem.stencil #(lambda (grob) (parenthesize-dot
grob))
% \parenthesize
% \etc
parenthesizeDots =
\temporary
\override ParenthesesItem.stencil = #(lambda (grob) (parenthesize-dot grob))
defaultParentheses =
\revert ParenthesesItem.stencil
{
\time 3/4
\parenthesizeDots
\parenthesize d'2.
<\parenthesize d' f'>2.
< d' \parenthesize f'>2.
\parenthesize r2.
\parenthesize 2.
%% no effect here, because \parenthesize is missing, although the
%% ParenthesesItem.stencil-override is present
2.
%% back to default
\defaultParentheses
\parenthesize 2.
}
HTH,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can an augmentation dot be parenthesized?
Hi,
On Wed, May 24, 2017 at 12:47 PM, Lukas-Fabian Moser wrote:
> Hi Robert,
>
>>
>> I would tather like to parenthesize these added augmenation dots but I've
>> not found a way to do that.
>
>
> I don't know how to parenthesize them, but here is a solution yielding
> brackets around them:
You can use the function parenthesize-stencil to do this.
>
> \version "2.19.44"
>
> #(define (special-bracketify original-stencil len thick protusion padding)
> (let* (
> (left-bracket (ly:bracket Y (cons (- len) len) thick (-
> protusion)))
> (right-bracket (ly:bracket Y (cons (- len) len) thick protusion)))
> (set! original-stencil
> (ly:stencil-combine-at-edge original-stencil X RIGHT right-bracket (- -0.73
> padding)))
> (set! original-stencil
> (ly:stencil-combine-at-edge original-stencil X RIGHT left-bracket padding))
> original-stencil))
>
> bracketDot = \once \override Dots.stencil = #(lambda (grob)
> (special-bracketify (ly:dots::print grob) 0.4 0.1 0.2 0))
> % first number (0.4): bracket length
> % second number (0.1): thickness
> % third number (0.2): protrusion
> % fourth number (0.1): space between dot and brackets
>
>
> {
> c''4.
> r8
> \bracketDot
> a'4.
> r8
> }
>
>
> Question to the experts: If I unterstand my own code correctly :-), the
> right-hand edge of the dot stencil (used by stencil-combine-at-edge) is the
> right-most part of the dot itself, while the left-hand edge seems to be the
> right-most part of the note the dot is attached to.
> For this reason I took (for the left bracket) the *right* hand edge of the
> dot and added offsets with trial-and-error, which should be fine since I
> assume the dot will have the same size wherever it occurs. But nevertheless
> there must be a more conceptual way?
The dots are created by a character in the font which consists of the
actual dot and whitespace to the left. (This means that the space
between dots can't be adjusted. I wonder if it would be better to
trim the character and add a property, like 'dot-separation.)
You can go your route, adding the brackets individually with an
offset, or you could make your own dots, gleaning information from the
dots.dot glyph. That's what I do below. (You can get either
parentheses or brackets.)
%
\version "2.19.44"
#(define (parenthesized-dots grob)
(let ((mol empty-stencil)
(c (ly:grob-property grob 'dot-count)))
(if (number? c)
(let* ((d (ly:font-get-glyph (ly:grob-default-font grob) "dots.dot"))
(thick (ly:output-def-lookup (ly:grob-layout grob)
'line-thickness))
(Y-ext (ly:stencil-extent d Y))
(replacement-dot (make-circle-stencil
(/ (- (interval-length Y-ext) thick) 2)
thick
#t))
(dw (interval-length (ly:stencil-extent d X)))
(mol-lst (make-list c replacement-dot))
(mol (reduce
(lambda (elem prev) (ly:stencil-combine-at-edge
prev X RIGHT elem dw))
point-stencil
mol-lst))
; to make brackets instead
; stencil, axis, thick, protrusion, padding
;(mol (bracketify-stencil mol Y thick 0.2 0))
; stencil, half-thickness, width, angularity, padding
(mol (parenthesize-stencil mol (/ thick 2) 0.2 0 0))
(mol (ly:stencil-translate-axis mol (+ dw thick) X)))
mol
parenthesizeDots = \override Dots.stencil = #parenthesized-dots
{
\parenthesizeDots
c''4 r
c''4. r8
c''4.. r16
c''4... r32
c''4 r64
c''4. r128
}
%%%
Hope this helps,
David
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can an augmentation dot be parenthesized?
Am 24.05.2017 um 10:58 schrieb Robert Blackstone: For two consecutive bars the time seems to have changed, from 6/2 to 5/2, which, as far as I know, was never done in that period. This makes me think of John Dowland, who used bar lines in his songs, but quite irregularly (depending on the ‘phrasing’), so there are ‘bars’ of 5/2 and similar (IIRC). There is, in fact no time signature at all but 11 of the 13 bars in the fragment are clearly in 6/2 (or perhaps 3/1) and 2 bars contain notes and rests in both staves that add up to 5/2 That leaves me with the choice: either to ignore it, or correct it. There is no ‘standard’ way to proceed – you have to decide which makes more sense musically and from the context. Or you could ask someone who is well acquainted with that particular kind of repertoire. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
Am 24.05.2017 um 15:41 schrieb msk...@ansuz.sooke.bc.ca: On Wed, 24 May 2017, Manuela Gößnitzer wrote: Which website would that be? AFAIK this here is a mailing list, there is no website with music sheets. This is one reason that putting advertising for the LilyPond Web site in every PDF document by default may not be such a great idea. It makes LilyPond appear to have a meaningful connection with the content. Only if you overlook that the tagline specifically says the music was _engraved_ with LilyPond, which does not tell anything about any connection between LilyPond and the _content_. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Can an augmentation dot be parenthesized?
Hi David,
2017-05-24 22:40 GMT+02:00 David Nalesnik :
> Hi,
>
> On Wed, May 24, 2017 at 12:47 PM, Lukas-Fabian Moser wrote:
>> Hi Robert,
>>
>>>
>>> I would tather like to parenthesize these added augmenation dots but I've
>>> not found a way to do that.
>>
>>
>> I don't know how to parenthesize them, but here is a solution yielding
>> brackets around them:
>
> You can use the function parenthesize-stencil to do this.
>>
>> \version "2.19.44"
>>
>> #(define (special-bracketify original-stencil len thick protusion padding)
>> (let* (
>> (left-bracket (ly:bracket Y (cons (- len) len) thick (-
>> protusion)))
>> (right-bracket (ly:bracket Y (cons (- len) len) thick protusion)))
>> (set! original-stencil
>> (ly:stencil-combine-at-edge original-stencil X RIGHT right-bracket (- -0.73
>> padding)))
>> (set! original-stencil
>> (ly:stencil-combine-at-edge original-stencil X RIGHT left-bracket padding))
>> original-stencil))
>>
>> bracketDot = \once \override Dots.stencil = #(lambda (grob)
>> (special-bracketify (ly:dots::print grob) 0.4 0.1 0.2 0))
>> % first number (0.4): bracket length
>> % second number (0.1): thickness
>> % third number (0.2): protrusion
>> % fourth number (0.1): space between dot and brackets
>>
>>
>> {
>> c''4.
>> r8
>> \bracketDot
>> a'4.
>> r8
>> }
>>
>>
>> Question to the experts: If I unterstand my own code correctly :-), the
>> right-hand edge of the dot stencil (used by stencil-combine-at-edge) is the
>> right-most part of the dot itself, while the left-hand edge seems to be the
>> right-most part of the note the dot is attached to.
>> For this reason I took (for the left bracket) the *right* hand edge of the
>> dot and added offsets with trial-and-error, which should be fine since I
>> assume the dot will have the same size wherever it occurs. But nevertheless
>> there must be a more conceptual way?
>
> The dots are created by a character in the font which consists of the
> actual dot and whitespace to the left. (This means that the space
> between dots can't be adjusted.
To illustrate:
{
\once \override Dots.stencil =
#(lambda (grob) (box-stencil (ly:dots::print grob) 0 0))
4.
}
> I wonder if it would be better to
> trim the character and add a property, like 'dot-separation.)
I tend to agree, though, more for DotColumn than Dots, I assume.
And DotColumn is a beasty thing ...
> You can go your route, adding the brackets individually with an
> offset, or you could make your own dots, gleaning information from the
> dots.dot glyph. That's what I do below. (You can get either
> parentheses or brackets.)
>
> %
> \version "2.19.44"
>
> #(define (parenthesized-dots grob)
>(let ((mol empty-stencil)
> (c (ly:grob-property grob 'dot-count)))
> (if (number? c)
> (let* ((d (ly:font-get-glyph (ly:grob-default-font grob) "dots.dot"))
> (thick (ly:output-def-lookup (ly:grob-layout grob)
> 'line-thickness))
> (Y-ext (ly:stencil-extent d Y))
> (replacement-dot (make-circle-stencil
> (/ (- (interval-length Y-ext) thick) 2)
> thick
> #t))
> (dw (interval-length (ly:stencil-extent d X)))
> (mol-lst (make-list c replacement-dot))
> (mol (reduce
> (lambda (elem prev) (ly:stencil-combine-at-edge
> prev X RIGHT elem dw))
> point-stencil
> mol-lst))
> ; to make brackets instead
> ; stencil, axis, thick, protrusion, padding
> ;(mol (bracketify-stencil mol Y thick 0.2 0))
> ; stencil, half-thickness, width, angularity, padding
> (mol (parenthesize-stencil mol (/ thick 2) 0.2 0 0))
> (mol (ly:stencil-translate-axis mol (+ dw thick) X)))
>mol
>
> parenthesizeDots = \override Dots.stencil = #parenthesized-dots
>
> {
> \parenthesizeDots
> c''4 r
> c''4. r8
> c''4.. r16
> c''4... r32
> c''4 r64
> c''4. r128
> }
Well done. Though I can't see a way how to parenthesize only one dot in
4.
So I prefer my coding at
http://lists.gnu.org/archive/html/lilypond-user/2017-05/msg00371.html
Otoh, with your coding and only a little additional code it is be
possible to parenthesize only the last dot in
c''4..
but not with mine.
#(define (parenthesized-dots grob)
(let ((mol empty-stencil)
(c (ly:grob-property grob 'dot-count)))
(if (number? c)
(let* ((d (ly:font-get-glyph (ly:grob-default-font grob) "dots.dot"))
(thick (ly:output-def-lookup (ly:grob-layout grob)
'line-thickness))
(Y-ext (ly:stencil-extent d Y))
(replacement-dot (make-circle-stencil
(/ (- (interval-length Y-ext) thick) 2)
th
Chords in LilyPond
Hi LilyPond users, I’m participating in the Google Summer of Code working on improving LilyPond’s internal representation of chords. The goal here is to create a data structure that will represent a chord’s semantics beyond just a list of notes in the chord. The current representation contains almost no information other than a list of notes, and we want to change this to include other semantic information, i.e. the root, quality, extensions. The current representation causes the chord naming process to infer the correct name from only the notes in the chord, which can create some problems—it would be much better to maintain the information provided by the user in chord mode about the semantics of the chord through to the naming process. Here is a rough list of semantic information I believe should be included in the data structure: root note quality (major, minor, augmented, diminished) extension (7, 9, 11, 13, etc.) added notes (6, 9, etc.) suspensions (sus4, sus2, etc.) alterations (flat-5, sharp-9, etc.) omitted notes added bass note inversions Some things that should be thought about: Is the 7 an extension? Or included in the quality the chord? Or maybe something else? How do we deal with semantics that may overlap between these categories? For example: is a sharp-5 an alteration or just an augmented chord? What else do we want to include? This list certainly isn’t exhaustive. We probably want to support more complete chord structures, one example being polytonal/stacked chords (like Cmaj / Bbmaj). One issue is that these complex structures have a higher degree of ambiguity and can often be names in multiple different ways. This is something that should be addressed. I would love to hear any ideas from the user community about this. And beyond the specific issues I’m talking about here, what aspects of LilyPond’s support for chords do you believe should be improved or changed? I hope many of you are excited about this conversation. I am certainly excited to start working on it! Best, Charles Winston ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
On Wed, 24 May 2017, Simon Albrecht wrote: > > This is one reason that putting advertising for the LilyPond Web site in > > every PDF document by default may not be such a great idea. It makes > > LilyPond appear to have a meaningful connection with the content. > > Only if you overlook that the tagline specifically says the music was > _engraved_ with LilyPond, which does not tell anything about any connection > between LilyPond and the _content_. But people do overlook that, as this thread demonstrates. -- Matthew Skala msk...@ansuz.sooke.bc.ca People before principles. http://ansuz.sooke.bc.ca/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
On 5/24/2017 5:19 PM, msk...@ansuz.sooke.bc.ca wrote: > On Wed, 24 May 2017, Simon Albrecht wrote: >> Only if you overlook that the tagline specifically says the music was >> _engraved_ with LilyPond, which does not tell anything about any connection >> between LilyPond and the _content_. >> >> But people do overlook that, as this thread demonstrates. I can understand the oversight. There are lots of less-common terms that can appear in copyright notices down near the tagline, like "administered," "assigned," and so on. Before reading the LilyPond essay, the term "engraved" had no meaning to me in the context of music. Maybe it's another obscure copyright term? If I print a LilyPond tagline, I use "Made with..." instead of "Engraved..." because my audiences likely haven't heard of "engraving" music either. -- Karlin High Missouri, USA ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
Hello Charles, > I’m participating in the Google Summer of Code working on improving > LilyPond’s internal representation of chords. As someone who uses chord names extensively, I’m thrilled that you’re tackling this! > The goal here is to create a data structure that will represent a chord’s > semantics beyond just a list of notes in the chord. Excellent goal! > it would be much better to maintain the information provided by the user in > chord mode about the semantics of the chord through to the naming process. Agreed. > Here is a rough list of semantic information I believe should be included in > the data structure: > root note > quality (major, minor, augmented, diminished) > extension (7, 9, 11, 13, etc.) > added notes (6, 9, etc.) > suspensions (sus4, sus2, etc.) > alterations (flat-5, sharp-9, etc.) > omitted notes > added bass note > inversions Yes. > Some things that should be thought about: > Is the 7 an extension? Or included in the quality the chord? Or maybe > something else? Since we’re starting from the ground up, can we not assume triadic harmony for the input (even if the output makes it look like we do)? For example, is not really, to my ears, a triadic chord with extensions and suspensions, but rather a quartic “triad”. Maybe there’s a way to handle this kind of thing (and others) elegantly? > How do we deal with semantics that may overlap between these categories? For > example: is a sharp-5 an alteration or just an augmented chord? A difficult question. Obviously, it would be great to allow the user — at the input, throughput, and output stages — to decide how to handle the information. > polytonal/stacked chords (like Cmaj / Bbmaj) Yes, please! > I would love to hear any ideas from the user community about this. And beyond > the specific issues I’m talking about here, what aspects of LilyPond’s > support for chords do you believe should be improved or changed? Here’s one off the top of my head: I would love to be able to easily input/output something like C/B/Bb I’d add more now, but I’ve got to go to see some new opera. =) > I hope many of you are excited about this conversation. I sure am! Please feel free to contact me on- or off-list with any questions. Best, Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
Am 25.05.2017 um 00:17 schrieb Charles Winston: added bass note inversions I’m under the impression that in chord notation those are actually the same – I don’t think that there is a conceptual difference between C/E and C/D in chord notation. But it may be that instead of this pragmatic way to understand chord notation some have a more theoretical/analytical use of them? I think unless you intend to make the code usable for other kinds of analysis (like functional analysis, or analysis with scale degrees – which don’t yet have a dedicated input mode in LilyPond) there is no need for a distinction between those two. Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
Am 25.05.2017 um 00:17 schrieb Charles Winston: How do we deal with semantics that may overlap between these categories? For example: is a sharp-5 an alteration or just an augmented chord? Off the top of my head: Both should be possible input methods, but internally represented the same. How about having (amongst others) the following distinct properties (just a sketch): alteration of 3 (major, minor, none) alteration of 5 (diminished, pure, augmented, none) extension (default 5, or 7, 9, 11, …) alterations (list of optional values, like 7+, 9-) Best, Simon ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
On Wed 24 May 2017 at 22:30:46 (+), Karlin High wrote: > On 5/24/2017 5:19 PM, msk...@ansuz.sooke.bc.ca wrote: > > On Wed, 24 May 2017, Simon Albrecht wrote: > >> Only if you overlook that the tagline specifically says the music was > >> _engraved_ with LilyPond, which does not tell anything about any connection > >> between LilyPond and the _content_. > >> > >> But people do overlook that, as this thread demonstrates. > > I can understand the oversight. There are lots of less-common terms that > can appear in copyright notices down near the tagline, like > "administered," "assigned," and so on. Before reading the LilyPond > essay, the term "engraved" had no meaning to me in the context of music. > Maybe it's another obscure copyright term? If I print a LilyPond > tagline, I use "Made with..." instead of "Engraved..." because my > audiences likely haven't heard of "engraving" music either. > -- > Karlin High > Missouri, USA Perhaps this is because educators are pandering to their ignorance, thus decreasing the likelihood they'll ever encounter the term. I'm glad that LilyPond's authors know precisely what it does so well. Cheers, David. ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
2017-05-25 0:17 GMT+02:00 Charles Winston :
> Hi LilyPond users,
>
> I’m participating in the Google Summer of Code working on improving
> LilyPond’s internal representation of chords. The goal here is to create a
> data structure that will represent a chord’s semantics beyond just a list of
> notes in the chord. The current representation contains almost no information
> other than a list of notes, and we want to change this to include other
> semantic information, i.e. the root, quality, extensions. The current
> representation causes the chord naming process to infer the correct name from
> only the notes in the chord, which can create some problems—it would be much
> better to maintain the information provided by the user in chord mode about
> the semantics of the chord through to the naming process. Here is a rough
> list of semantic information I believe should be included in the data
> structure:
>
> root note
> quality (major, minor, augmented, diminished)
> extension (7, 9, 11, 13, etc.)
> added notes (6, 9, etc.)
> suspensions (sus4, sus2, etc.)
> alterations (flat-5, sharp-9, etc.)
> omitted notes
> added bass note
> inversions
Hi Charles,
I've not yet fully understood what "internal representation of chords" means.
Consider the following example, where I display the arguments which
our current ChordName-printing-function (ignatzek-chord-names) has to
work with:
\layout {
\context {
\Score
chordNameFunction =
#(lambda (chord-pitches additional-bass inversion-bass context)
(newline)
(format #t "chord-pitches:\n~y" chord-pitches)
(format #t "additional-bass: ~y" additional-bass)
(format #t "inversion-bass: ~y" inversion-bass)
(format #t "context: ~a" context)
(newline)
(ignatzek-chord-names
chord-pitches additional-bass inversion-bass context))
}
}
mus =
\chordmode {
c:9/e %% inversion
c:9/+e %% added bass
c:9/d %% inversion
c:9/+d %% added bass
}
<<
\new ChordNames \mus
\new Staff \mus
>>
As an example I c/p the output for the last chord:
chord-pitches:
(#
#
#
#
#)
additional-bass: #
inversion-bass: ()
context: #
So we already identify inversion/additional bass. And in
ignatzek-chord-names the first pitch of "chord-pitches" is taken as
root. Other procedures there try to distribute the remaining pitches
to what is currently called "prefixes", "main-name", "alterations",
"add-steps". "suffixes"
Am I correct assuming you want to have something at the lines of:
((root .
(quality . )
(extension . )
(added-notes . )
(suspensions . )
(alterations . )
(omitted-notes . )
(additional-bass . )
(inversion-bass . ))
internally (i.e. C++) preprocessed from the pitches a user entered
while typing p.e. c:9/d to be delivered to the chordNameFunction?
Cheers,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
2017-05-25 0:54 GMT+02:00 Simon Albrecht :
> Am 25.05.2017 um 00:17 schrieb Charles Winston:
>>
>> added bass note
>> inversions
>
>
> I’m under the impression that in chord notation those are actually the same
> – I don’t think that there is a conceptual difference between C/E and C/D in
> chord notation. But it may be that instead of this pragmatic way to
> understand chord notation some have a more theoretical/analytical use of
> them?
> I think unless you intend to make the code usable for other kinds of
> analysis (like functional analysis, or analysis with scale degrees – which
> don’t yet have a dedicated input mode in LilyPond) there is no need for a
> distinction between those two.
>
> Best, Simon
I disagree.
Currently
\chordmode { c/e c/+e }
prints the same: C/E
But in a Staff-context the pitches are different, (and likely in midi,
although I did not verify).
I wouldn't want to miss this, so the chordNameFunction has to deal
with those different bass-pitches.
Cheers,
Harm
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
2017-05-25 0:17 GMT+02:00 Charles Winston : > I would love to hear any ideas from the user community about this. And beyond > the specific issues I’m talking about here, what aspects of LilyPond’s > support for chords do you believe should be improved or changed? I think the greatest problem is the current difficulty to change the chord-name-printing slightly (in details) or general. Once I tried to get Brandt-Roemer namings. The criteria which pitches are regarded to set extensions, etc are different enough from Ignatzek that it would have resulted in a complete rewrite of the chord-naming-procedure. Nothing what we could expect from an average user. But even for slight changes one would need to rewrite the procedure in many cases. Ofcourse with a lot of copy'n paste but it is always pretty tedious. Would be great to offer the user an easy way to do so. Though, as I mentioned above Brandt-Roemer have a different opinion, what is an extension, etc compared to Ignatzek. So it might be very tricky to get the "internal chord representation" correct, (If I understood it correctly, at all ...) to offer the posibility for the user to switch between different chord-layouts as he may like. Cheers, Harm ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
On Wed, 24 May 2017, Charles Winston wrote: > I’m participating in the Google Summer of Code working on improving > LilyPond’s internal representation of chords. The goal here is to create a > data structure that will represent a chord’s semantics beyond just a list of > notes in the chord. The current representation contains almost no information > other than a list of notes, and we want to change this to include other > semantic information, i.e. the root, quality, extensions. The current > representation causes the chord naming process to infer the correct name from > only the notes in the chord, which can create some problems—it would be much > better to maintain the information provided by the user in chord mode about > the semantics of the chord through to the naming process. Here is a rough > list of semantic information I believe should be included in the data > structure: Correctly printing chord names - and specifically "Why doesn't the output match what I typed?" - is a huge problem for users, and is a recurring thread on this list, so I certainly think improvements there would be a good thing. What I think is most needed is a chord-naming mode that *just prints what the user typed*, formatted with the fonts, spacing, and so on that we expect for chord names - not translating it to an "internal representation" of notes plus extra data as LilyPond "music" at all. But I was shouted down last time I proposed that, I think by people who thought I had claimed it would solve all possible obscure problems for imaginable hypothetical users. As I made clear, it would only solve the main problem of 99% of relevant users who actually exist, and that wasn't enough to satisfy the list. Failing a direct "print what I typed" mode, adding a lot of extra data to the internal representation while keeping the current framework is the hard way to get the input to match the output, but it'd be an improvement and we need an improvement. -- Matthew Skala msk...@ansuz.sooke.bc.ca People before principles. http://ansuz.sooke.bc.ca/___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
On Wed, 24 May 2017, David Wright wrote: > Perhaps this is because educators are pandering to their ignorance, > thus decreasing the likelihood they'll ever encounter the term. > I'm glad that LilyPond's authors know precisely what it does so well. Removing the advertisement is much easier than educating everyone who will ever look at a piece of sheet music about what the word "engrave" means. -- Matthew Skala msk...@ansuz.sooke.bc.ca People before principles. http://ansuz.sooke.bc.ca/ ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
> On May 24, 2017, at 9:40 PM, "msk...@ansuz.sooke.bc.ca" > wrote: > >> On Wed, 24 May 2017, Charles Winston wrote: >> I’m participating in the Google Summer of Code working on improving >> LilyPond’s internal representation of chords. The goal here is to create a >> data structure that will represent a chord’s semantics beyond just a list of >> notes in the chord. The current representation contains almost no >> information other than a list of notes, and we want to change this to >> include other semantic information, i.e. the root, quality, extensions. The >> current representation causes the chord naming process to infer the correct >> name from only the notes in the chord, which can create some problems—it >> would be much better to maintain the information provided by the user in >> chord mode about the semantics of the chord through to the naming process. >> Here is a rough list of semantic information I believe should be included in >> the data structure: > > Correctly printing chord names - and specifically "Why doesn't the output > match what I typed?" - is a huge problem for users, and is a recurring > thread on this list, so I certainly think improvements there would be a > good thing. > > What I think is most needed is a chord-naming mode that *just prints what > the user typed*, formatted with the fonts, spacing, and so on that we > expect for chord names - not translating it to an "internal > representation" of notes plus extra data as LilyPond "music" at all. But > I was shouted down last time I proposed that, I think by people who > thought I had claimed it would solve all possible obscure problems for > imaginable hypothetical users. As I made clear, it would only solve the > main problem of 99% of relevant users who actually exist, and that wasn't > enough to satisfy the list. > > Failing a direct "print what I typed" mode, adding a lot of extra data to > the internal representation while keeping the current framework is the > hard way to get the input to match the output, but it'd be an improvement > and we need an improvement. > > -- > Matthew Skala > msk...@ansuz.sooke.bc.ca People before principles. > http://ansuz.sooke.bc.ca/ > ___ > lilypond-user mailing list > lilypond-user@gnu.org > https://lists.gnu.org/mailman/listinfo/lilypond-user Yes, we certainly want the output to match the input. This project strives to achieve that. We still need some data structure that can represent that input from chord mode and be understood by the chord name engraver--this I call the internal representation. The question we should be asking is: how much should we base this data structure on the current mode of input? Maybe we should base it on the current abilities of chordmode completely, but I believe certain aspects of input can be improved as well, and we may want to use this project now to create an exhaustive list of characteristics of chords users that might not yet be supported by chord mode. Thanks, Charles ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Permission for music
On Wed 24 May 2017 at 20:42:36 (-0500), msk...@ansuz.sooke.bc.ca wrote:
> On Wed, 24 May 2017, David Wright wrote:
> > Perhaps this is because educators are pandering to their ignorance,
> > thus decreasing the likelihood they'll ever encounter the term.
> > I'm glad that LilyPond's authors know precisely what it does so well.
>
> Removing the advertisement is much easier than educating everyone who will
> ever look at a piece of sheet music about what the word "engrave" means.
You don't say!
\header { tagline = ##f }
Cheers,
David.
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: Permission for music
So we should burn the books because the ignorant refuse to learn? -Original Message- From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of msk...@ansuz.sooke.bc.ca Sent: Wednesday, May 24, 2017 6:43 PM To: lilypond-user@gnu.org Subject: Re: Permission for music On Wed, 24 May 2017, David Wright wrote: > Perhaps this is because educators are pandering to their ignorance, > thus decreasing the likelihood they'll ever encounter the term. > I'm glad that LilyPond's authors know precisely what it does so well. Removing the advertisement is much easier than educating everyone who will ever look at a piece of sheet music about what the word "engrave" means. -- Matthew Skala msk...@ansuz.sooke.bc.ca People before principles. http://ansuz.sooke.bc.ca/ ___ 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: Chords in LilyPond
Hi Harm, > Once I tried to get Brandt-Roemer namings. Have you seen my B-R stylesheet? It’s almost a complete representation. > The criteria which pitches are regarded to set extensions, etc are different > enough from Ignatzek > that it would have resulted in a complete rewrite of the > chord-naming-procedure. Yes, there are a few things that require serious hacking. =( Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
Hi Simon (et al.), >> added bass note >> inversions > I’m under the impression that in chord notation those are actually the same Definitely not! What if I want a C7 in second inversion over a Db? In pseudo-harmonic-analysis code, that would be C4/3 / Db In my compositions (especially musical theatre and concert drama), I use that kind of construction all the time — but I end up having to dumb down the chord names in my scores, because Lily doesn’t let me put exactly what I want. Cheers, Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
Hi Matthew (et al.), > What I think is most needed is a chord-naming mode that *just prints what > the user typed*, formatted with the fonts, spacing, and so on that we > expect for chord names - not translating it to an "internal > representation" of notes plus extra data as LilyPond "music" at all. I agree that there should be a “markup mode”, so that the user can type what they want — despite the fact that they’ll be shooting themselves in the foot regarding code reuse (e.g., transposition). > I was shouted down last time I proposed that, I think by people who > thought I had claimed it would solve all possible obscure problems for > imaginable hypothetical users. As I made clear, it would only solve the > main problem of 99% of relevant users who actually exist, and that wasn't > enough to satisfy the list. Um… wow… just… wow. Kieren. Kieren MacMillan, composer ‣ website: www.kierenmacmillan.info ‣ email: i...@kierenmacmillan.info ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
Hi Charles,
> we certainly want the output to match the input.
An important question is: is it a one-to-one relationship?
> how much should we base this data structure on the current mode of input?
Which mode of input?
\chordmode { c1:7 }
or
{ 1 }
??
> certain aspects of input can be improved as well
Definitely.
> we may want to use this project now to create an exhaustive list of
> characteristics of chords users that might not yet be supported by chord mode.
Definitely. Even if you don’t get around to implementation of some of them, to
have planned ahead for them is essential.
Thanks,
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
On May 25, 2017, at 12:09 AM, Kieren MacMillan
wrote:
>> how much should we base this data structure on the current mode of input?
>
> Which mode of input?
>
>\chordmode { c1:7 }
>
> or
>
>{ 1 }
I think \chordmode will be the most useful form of input, because that way we
know the user's intentions with the chords. It would be tough to infer the
semantics from just the note input, which is essentially what happens now with
the current naming process (which is what we are trying to fix)
Charles
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
Hi Charles,
>> Which mode of input?
>> \chordmode { c1:7 }
>> or
>> { 1 }
>
> I think \chordmode will be the most useful form of input, because that way we
> know the user's intentions with the chords. It would be tough to infer the
> semantics from just the note input, which is essentially what happens now
> with the current naming process (which is what we are trying to fix)
Except contains a huge amount of information that cannot
currently be input in \chordmode (as far as I know).
Ultimately, as long as we end up with an input system robust enough to convey
that amount of information, I don’t particularly care whether it’s in
\chordmode or whatever.
Thanks,
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
___
lilypond-user mailing list
lilypond-user@gnu.org
https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Chords in LilyPond
> On May 25, 2017, at 12:26 AM, Kieren MacMillan
> wrote:
>
> Hi Charles,
>
>>> Which mode of input?
>>> \chordmode { c1:7 }
>>> or
>>> { 1 }
>>
>> I think \chordmode will be the most useful form of input, because that way
>> we know the user's intentions with the chords. It would be tough to infer
>> the semantics from just the note input, which is essentially what happens
>> now with the current naming process (which is what we are trying to fix)
>
> Except contains a huge amount of information that cannot
> currently be input in \chordmode (as far as I know).
>
> Ultimately, as long as we end up with an input system robust enough to convey
> that amount of information, I don’t particularly care whether it’s in
> \chordmode or whatever.
True. I think ideally we need an input mode that is stronger than chordmode, or
we at least need to improve chordmode to be able to handle complex structures
like your example. I think the best thing to do is base many of the semantic
categories off of existing features supported by chordmode, as well as add
additional categories that are not yet supported by any input mode, the hope
being that a follow-up to this project can tackle the improvement of the input.
Charles
>
> Thanks,
> Kieren.
>
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
> ___
> 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: Chords in LilyPond
On Thu, 25 May 2017, Charles Winston wrote: > > On May 25, 2017, at 12:26 AM, Kieren MacMillan > > wrote: Except contains a > > huge amount of information that cannot currently be input in > > \chordmode (as far as I know). > > > > Ultimately, as long as we end up with an input system robust enough to > > convey that amount of information, I don’t particularly care whether > > it’s in \chordmode or whatever. > > True. I think ideally we need an input mode that is stronger than > chordmode, or we at least need to improve chordmode to be able to handle This is why I think the chord names -> music -> chord names flow is a problem. Real users do not think in terms of a translation from input to notes and then from notes to output; as seen in the recurring threads on this mailing list, most non-expert users don't even realize that "chord mode" and the "ChordNames context" are two different things that do not necessarily always go together. The natural way for typesetting of chord names to occur is by a direct mapping from input chord names to output chord names without going through the current "music" data struture consisting of notes, at all. -- Matthew Skala msk...@ansuz.sooke.bc.ca People before principles. http://ansuz.sooke.bc.ca/___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
