Re: Repeats with bar-engraver removed

[Laura Conrad]

> "Kieren" == Kieren MacMillan  writes:

>> What I do is make the barlines transparent and with 0 width:
>> \override Staff.BarLine #'transparent = ##t
>> \override Staff.BarLine #'extra-spacing-width = #'(0 . 0)

Kieren> Why not

Kieren>   \omit BarLine

Kieren> ??

Kieren> Curious,

The short answer is because I didn't know about \omit.

The longer answer is that what I do now is a direct descendant of what I
figured out to do back in 1996 or so.  At that time, the options were
very different from what they are now.  And there was a lot less
support/documentation for how to write music without barlines.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 

The good Christian should beware of mathematicians, and all those who
make empty prophecies. The danger already exists that the
mathematicians have made a covenant with the devil to darken the
spirit and to confine man in the bonds of Hell.

St. Augustine, De Genesi ad Litteram, Book II, xviii, 37

Re: Repeats with bar-engraver removed

[Laura Conrad]

> "J" == J Stasko  writes:

J> I need to be able to engrave repeats, but I fear that the bar-engraver,
J> which I turned off for chant music, is responsible for engraving the
J> repeats: when I turn it back on, then the repeats appear, but since the
J> music is chant, it runs off the page.

It depends on how you turn off engraving the bars.  It looks like you
are doing something much more drastic than what I do.

What I do is make the barlines transparent and with 0 width:

\override Staff.BarLine #'transparent = ##t
\override Staff.BarLine #'extra-spacing-width = #'(0 . 0)

and then when I want one to appear, I override the transparency:

seerepeat = {\once \override Staff.BarLine #'transparent = ##f}

If there's a reason you really want to remove the bar line engraver
instead of just modifying what it does, you're going to need someone
else to explain how to put some of its actions back.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 

I value kindness to human beings first of all, and kindness to
animals. I don't respect the law; I have a total irreverence for
anything connected with society except that which makes the roads
safer, the beer stronger, the food cheaper, and old men and women
warmer in the winter, and happier in the summer.

Brendan Behan (1923 - 1964)

Re: Syntax for ligature brackets

[Laura Conrad]

>>>>> "Robin" == Robin Bannister  writes:

Robin> Laura Conrad wrote:

>> I'm not saying this is wrong, and I'm certainly not saying it
>> should be changed.  But it would help me remember when I haven't
>> transcribed a ligature for a few months if someone explained why
>> it was done this way.
>> 

Robin> It seems it's ok to think it's wrong and should be changed.


Robin> 
https://lists.gnu.org/archive/html/lilypond-user/2018-04/msg00813.html

I agree it should be changed if we can write a convert-ly rule for the
change.  I'm still mad about the lyrics change of 15 or 20 years ago
that didn't  have one, so I'd rather have a legend to explain the
history behind the design than a change that didn't convert old code.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
<http://www.laymusic.org/> <http://www.serpentpublications.org>

There was a story going around that a management consultant, standing
in front of a number of software project managers at a convention. He
asked the collected group "How many of you flew here?" and watched all
the hands go up. He then asked "How many of you would get back on that
plane if you found out your software teams wrote the operating
software?" and all the hands went down.

Michael Tiernan on disc...@blu.org

Syntax for ligature brackets

[Laura Conrad]

All the other features that join two or more notes start after the first
note, e.g. a slur is:
  a( b)
and a beam is:
 a[b]

But a ligature bracket is:

\[a b\]

I'm not saying this is wrong, and I'm certainly not saying it should be
changed.  But it would help me remember when I haven't transcribed a
ligature for a few months if someone explained why it was done  this
way.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 

Like most of those who study history, he [Napoleon] learned from the
mistakes of the past how to make new ones.

A. J. P. Taylor

Re: [Spam] Re: Status and future of abc2ly

[Laura Conrad]

> "Andrew" == Andrew Bernard  writes:

Andrew> I had such poor results with abc2ly just recently that I
Andrew> can't imagine there is any user base using it in earnest, or
Andrew> even at all, else there would be lots of complaints. Or
Andrew> perhaps I was doing something wrong. I feel that it does not
Andrew> deserve a place in the stable.

I do actually use it on occasion.  When I started transcribing music in
the 1990's, I used the ABC of that era.  Even after I was getting much
better results from lilypond, I was still typing ABC because it was what
I knew how to do.  At one point abc2ly was quite good at transcribing
the ABC I used to the lilypond of that era.  (Partly because I did some
maintenance on it.)

Unfortunately, someone did some more maintenance, presumably to get it
to translate their ABC, and now when I use abc2ly I have to do some
editing to the lilypond.  I don't do it very often, but it is part of a
script that turns an old transcription into my new lilypond format.  So
I'd be a little bit sorry if it went away completely, but I could
probably work around the problem and  maybe even recover the version of
abc2ly that worked with my transcriptions.

-- 
Laura   (mailto:lcon...@laymusic.org)

(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 

It may seem somewhat remarkable that Bernard of Clairvaux, who records
so many miracles of his friend St Malachi, never takes any notice of
his own, which, in their turn, however, are carefully related by his
companions and disciples. In the long series of ecclesiastical
history, does there exist a single instance of a saint asserting that
he himself possessed the gift of miracles?

Edward Gibbon,  The Decline and Fall of the Roman Empire

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Re: Photoscore

[Laura Conrad]

> "Jacques" == Jacques Menu Muzhic  writes:

Jacques> Oups, totally forgot I had tested it two years ago, my
Jacques> fault.

So use a different email to get another free trial.

-- 
Laura   (mailto:lcon...@laymusic.org)

(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 

I gave Cuellar more chances than my first wife.

Hall of Fame Orioles manager Earl Weaver, after he stuck with lefty
Mike Cuellar way too long, finally pulling him out of the rotation
only to have Cuellar complain about losing his spot.

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Re: Emacs lilypond-mode

[Laura Conrad]

> "David" == David Kastrup  writes:

David> What it does do is trying to track the current "tonality".
David> That's an interesting idea but requires an editing mode that
David> will _propagate_ corrections in order to work nicely.  Of
David> course, the same will be needed in order to have automatic
David> note length recognition cooperate nicely with manual
David> corrections, fixing later durations based on corrections on
David> earlier ones.

I'm not that interested in note length.  I'm not a good enough keyboard
player to be able to enter notes with very accurate lengths.  I use the
left hand to play the  MIDI keyboard and the right hand on the keypad to
do the lengths.  I'm pretty fast this way, and pretty accurate, except
for the silly accidentals midi-input-mode makes up.   The problem is
when entering long note values, which are common in early 16th century
music, I have to leave the keypad to type \breve and \longa.

>>> It works but has the major disadvantage that it doesn't play the MIDI
>>> notes as well as reading them.
>> 
>> The current version of lily-midi.el which I still need to fold into
>> the LilyPond repository does not do so either.

David> You probably mean not as much playing while entering (your
David> MIDI keyboard should do that) as you mean playing while
David> editing.

No, I mean playing while entering.  My USB MIDI keyboard doesn't have
any sounds -- it needs the computer to do the playing.  If I work hard
with Linux audio, I can get Jack and a synthesizer to play sounds when I
play, but midi-input-mode won't talk to Jack.

David> midi-kbd.el retains the full timing information.  So it is
David> prepared for more complex editing modes that make use of
David> them, the simplest of course being just replay of the current
David> region exactly as entered (what to do with manual
David> insertions/corrections?  No idea).  Again, this is not yet
David> done.  And I'm not quite sure how to best do it: one would
David> likely need to open a (raw?) MIDI output device for it as
David> well.

I'm not sure how useful emacs deciding what you want to hear would
be. Something like midi-play-region would be nice.


-- 
Laura   (mailto:lcon...@laymusic.org)

(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 

Mr. Barenboim recalled observing Mr. Boulez lead Schoenberg's "Pelleas
und Melisande" with the BBC Symphony in the early 1960s.

"I sat with the score during the rehearsal," he said. "At the
beginning there is quite a lot of chromaticism, and at a certain point
there was a chord out of tune and Pierre said, 'No, no, this is sharp,
this is flat.' I was amazed.

"As a pianist I had no idea how he heard all that. I mean, when I
thought my piano was out of tune, I just called the tuner. So I asked
Pierre how he did it. I was starting to conduct, and I wanted to know
if this was something I could learn.

"Pierre said: 'You have to have the courage to say what you hear and
think when you conduct. Either the player will correct you and say
it's not me out of tune, it's the second oboe, or you will be
right. But in any case you will learn. Don't put your ego above the
music. Do what you have to do for the sake of the music, and only in
that way will you make progress.' "

Quoted by Michael Kimmelman in the New York Times, January 10, 2010

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Re: Emacs lilypond-mode

[Laura Conrad]

>>>>> "Simon" == Simon Albrecht <simon.albre...@mail.de> writes:

    Simon> On 19.10.2015 18:01, Laura Conrad wrote:
>> The problem is
>> when entering long note values, which are common in early 16th century
>> music, I have to leave the keypad to type \breve and \longa

Simon> Except you’d enter it with shortened note values (say to 1/4)
Simon> and use e.g. the Frescobaldi Rhythm Tools to convert them
Simon> afterwards.

If I'm reading from a modern edition that has everything shortened,
yes.  

If I'm reading from facsimile or a modern edition with original note
values, I prefer to enter what's in front of me.


-- 
Laura   (mailto:lcon...@laymusic.org)
<https://plus.google.com/u/0/116029698292079786511>
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
<http://www.laymusic.org/> <http://www.serpentpublications.org>

Solitary Observation Brought Back From A Sojourn In Hell

At midnight tears
Run into your ears.

Louise Bogan


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Re: Emacs lilypond-mode

[Laura Conrad]

> "David" == David Kastrup  writes:

David> Huh.  I just committed midi-kbd.el to ELPA, the official
David> Emacs package archive.

That sounded like it would be something I wanted to try, so I listed the
packages available and went to install it.  But it said it depended on
emacs25.  So I installed emacs-snapshot (which is emacs 25.1) from an
unofficial ubuntu repository, and listed the packages available and it
doesn't have midi-kbd.

Is it my emacs installation being inadequate, or is the package not
configured right?

David> And I wanted to add the corresponding functionality to
David> LilyPond-mode next so that one can enter pitches and chords
David> into Emacs via MIDI.

I'm currently getting MIDI entry of lilypond into emacs via
midi-input-mode from .  It
works but has the major disadvantage that it doesn't play the MIDI notes
as well as reading them.  The minor disadvantage is that you have to
proofread carefully, because it's likely to decide that your F#'s are
Gb's, or worse, that your A's are G##'s.

-- 
Laura   (mailto:lcon...@laymusic.org)

(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 

With all these books, as with any on the subject, do not expect to
turn yourself into an expert via the printed word alone.  You can
commit to memory everything Lichine has to say about Gevrey-Chambertin
and still have no idea whether you would like the wine.

Kingsley Amis, _On Drink_


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Re: point-and-click from PDF viewer to lilypond editor

[Laura Conrad]

 Federico == Federico Bruni f...@inventati.org writes:

Federico Does anybody here use point-and-click from an external PDF viewer
Federico (either Evince or Xpdf) to the lilypond editor?

I've been using point-and-click between Xpdf and emacs for years.  I've
thought of switching to evince, especially when the xpdf in the ubuntu
repository was broken, but haven't seen enough benefit to be worth the
trouble.

The reason I install lilypond from the lilypond site instead of the
Ubuntu repository is that at one point the Ubuntu version had broken
point-and-click.  I believe I reported it, but never checked whether it
had been fixed.  So if someone's having trouble with it, it's probably
worth installing lilypond directly instead of via a package manager.


-- 
Laura   (mailto:lcon...@laymusic.org)
https://plus.google.com/u/0/116029698292079786511
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I have only one superstition. I touch all the bases when I hit a home
run.

Babe Ruth


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Re: converting an old finale file

[Laura Conrad]

 Stefan == Stefan Thomas kontrapunktste...@gmail.com writes:

Stefan I have 2 very old finale-filee of two of my pieces and I'm
Stefan searching for someone, who could convert it to musicxml.  Is
Stefan there someone around, who could do it for me?

Finale does give you a free trial.  I think all you need for another
free trial is a different email address.

So when I'm desperate for a finale conversion, I just get the free trial
and export the musicxml myself.  It turns out I can even do this on
Linux under wine.

-- 
Laura   (mailto:lcon...@laymusic.org)
https://plus.google.com/u/0/116029698292079786511
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

This song is Copyrighted in U.S., under Seal of Copyright #154085, for
a period of 28 years, and anybody caught singin' it without our
permission, will be mighty good friends of ourn, cause we don't give a
dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote
it, that's all we wanted to do.

Woody Guthrie

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Re: How to connect Midi keyboard to Lilypond?

[Laura Conrad]

 David == David Kastrup d...@gnu.org writes:

David It's been some time since I last tried, but the basic answer
David I arrived at for myself was don't bother.  The tools are
David not good enough right now to save time.

For me, MIDI input does save time.  I cheat and use the numeric keypad
to input durations, but I get the note names and octavations by playing
the notes on a MIDI keyboard. 

Just this week I did a piece from the alphanumeric keyboard, because the
scan I was transcribing from was bad enough that I needed a complicated
setup with a magnifying sheet propped over the paper, and so it wasn't
as easy to reach the MIDI keyboard as with my normal setup.  And I found
that the input time was about the same (adjusting for the extra reading
time with the bad scan), but the editing time (especially fixing
octavation errors) was much longer with the computer keyboard.  I'm sure
it's possible to practice and get better with entering the octaves where
necessary, but I also spent enough time practicing scales on the piano
that I'm not at all sure I'll ever be able to type them as fast as I can
play them.

I use http://utopia.knoware.nl/~hlub/uck/software, which I think has
been mentioned elsewhere in the thread.  

I agree that the tools could be improved a lot.  If anyone who knows
LINUX audio ever feels like developing something like midi-input that
will run under jack, so that I could hear the notes as I play them, I
would appreciate it.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

The family lived so frugally that his mother, Dora, made him shirts
out of scraps of fabric. Once she made herself a skirt out of the back
of the suit that her younger brother was buried in. She didn't want
the material to go to waste.

Michael Kimmelman, in the NY Times obituary of Robert Rauschenberg

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Re: Repeating stanza numbers

[Laura Conrad]

 Matthew == Matthew Collett m_coll...@ihug.co.nz writes:

Matthew shortVocalName'.  You may not like the position of the
Matthew numbers though (outside the left of the staff).
 
 I don't.  Is there a workaround?  

Matthew As I said in a message posted very shortly after the one
Matthew you quoted, it can be changed with an X-offset in the
Matthew layout; e.g.  \override InstrumentName #'X-offset = #3

This does indeed change it.  Unfortunately, it changes not only the
offset but the justification.  If I have stanza numbers like 1.,
216., I want the .s to be aligned, not the first figure.  This is
what shortVocalName does without the X-offset override, but with it, it
aligns the first digit.  Is there a workaround for this?

 I'm setting some stuff from the Ravenscroft psalter (first try
 http://serpentpublications.org/wordpress/?page_id=20id=777), and some
 of the psalms have *lots* of verses.

Matthew I didn't bother with shortVocalName when doing a lilypond
Matthew version of Farnaby's Ps 122 from that, but it is only three
Matthew stanzas :).
 
I don't bother with it for three stanzas, either, but when there are
more than 4 or 5 stanzas, it's really helpful.

To clarify, my \layout section looks like:

  \context { \Lyrics
 \override InstrumentName #'font-size = #0
 \override InstrumentName #'font-series = #'bold
%\override InstrumentName #'X-offset = #0
   }

If I comment out the X-offset, I get stanza numbers on the second system
that are in the wrong x position.  If I don't comment it out, they're
roughly in the right position (your suggested #3 value works well for
single-digit stanza numbers, but not for the two-digit ones), but with
the wrong alignment.

stz really did used to do the right thing.

You can see my current best effort (X-offset of #0) at
http://serpentpublications.org/music/ravenscroft/place/allparts.pdf.
As you see, the second system shortVocalName's do not align as well with
the lyrics as the first system stanza's.

If someone who understands this better than I do agrees with me that
this is a bug, I'll be happy to write up a real bug report, especially
if you tell me what feature of lilypond to report the bug against.  I've
put a lot of effort into writing up bugs recently (both here and on
emacs24) that got categorized as not a bug when the real category is
too hard to fix.  I assume there's a reason why stz went away, and
maybe it's because what stanza does with stanza numbers is really hard
to do on the second system.  Although I don't see why it should be.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Meek young men grow up in libraries, believing it their duty to accept
the views which Cicero, which Locke, which Bacon, have given,
forgetful that Cicero, Locke and Bacon were only young men in
libraries when they wrote these books.

Ralph Waldo Emerson, address to Harvard's Phi Beta Kappa Society on
August 31, 1837


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Re: Repeating stanza numbers

[Laura Conrad]

 Matthew == Matthew Collett m_coll...@ihug.co.nz writes:

Matthew On 27/01/2012, at 6:27 am, Matie Holtzhausen wrote:
 \set Staff.vocalName
 \set Staff.shortVocalName
 
 similar to instrumentName
 
 Thanks, but I was hoping to use multiple verses in the same staff:

Matthew shortVocalName does allow multiple verses: in the lyrics,
Matthew wherever you say '\set stanza' also say '\set
Matthew shortVocalName'.  You may not like the position of the
Matthew numbers though (outside the left of the staff).

I don't.  Is there a workaround?  Someone had posted one that worked on
2.8 or so, but not any longer.

There did used to be an stz that worked exactly the way one would
want this to work. (I.e. no having to set bold font to have the stz
numbers look like the stanza numbers, and in the same relation to the
text as the stanza numbers.) I don't know why it went away.  I'd be
really surprised if the capability for putting a number at the beginning
of a new line of lyrics had gone *completely* away.

I'm setting some stuff from the Ravenscroft psalter (first try
http://serpentpublications.org/wordpress/?page_id=20id=777), and some
of the psalms have *lots* of verses.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

G.P. 7: Never despise a drink because it is easy to make and/or uses
commercial mixes.  Unquestioning devotion to authenticity is, in any
department of life, a mark of the naïve -- or worse.

Kingsley Amis, _On Drink_


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Re: evince handling textedit://

[Laura Conrad]

 Mark == Mark Knoop m...@opus11.net writes:

Mark Thanks for prompting me to update this. Gnome 3 no longer uses the
Mark gconf key, it's now actually a little easier. I've put the info and
Mark necessary files here:

Mark https://github.com/markk/textedit-ly

Mark Let me know if this works for you.

Not for me.  When I click the notehead, evince pops up a red box that says:

Unable to open external link
The specified location is not supported

I also can't do tail -f ~/textedit_url.log because the file doesn't
exist, either before or after I've opened the PDF file.

This is on an ubuntu 12.04 system running GNOME Document Viewer 3.4.0.
The PDF file was produced with lilypond 2.16.0.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I suppose it can be said I'm an absent-minded driver.  It's true that
I've driven through a number of red lights on occasion, but on the
other hand I've stopped at a lot of green ones but never gotten credit
for it.

Glenn Gould, quoted in A Romance on Three Legs by Katie Hafner


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Re: evince handling textedit://

[Laura Conrad]

 Stjepan == Stjepan Horvat zvanste...@gmail.com writes:

Stjepan you can make log file with touch ~/textedit_url.log .
Stjepan and your textedit-url.sh has to be in your $PATH..

It is.  I touched the log file, and it now exists, but is empty, even
after running evince and getting the red error box as before.


-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

It's no answer to say that I was well paid. Nobody can be adequately
paid for wasting his time.

Raymond Chandler, in a letter to Alfred Hitchcock dated December 6,
1950, complaining about what had happened to his script for Strangers
on a Train


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Re: evince handling textedit://

[Laura Conrad]

 Stjepan == Stjepan Horvat zvanste...@gmail.com writes:

Stjepan did you put the put the textedit-url.sh in your $PATH..
Stjepan sudo cp ./textedit-url.sh /usr/bin/
Stjepan sudo chmod +x /usr/bin/textedit-url.sh

$ ls -l ~/bin/textedit-url.sh
-rwxrwxr-x 1 lconrad lconrad 1385 Oct  9 10:40 /home/lconrad/bin/textedit-url.sh
$ which textedit-url.sh
/home/lconrad/bin/textedit-url.sh
$ 

Stjepan and put the textedit.desktop in
Stjepan ~/.local/share/applications/

I have now.

$ ls -l ~/.local/share/applications/textedit.desktop
-rw-rw-r-- 1 lconrad lconrad 129 Oct  9 11:51 
/home/lconrad/.local/share/applications/textedit.desktop
$

Stjepan and add the line x-scheme-handler/textedit=textedit.desktop; in

Stjepan gedit ~/.local/share/applications/mimeapps.list

Stjepan in section [Added Associations]..

tail ~/.local/share/applications/mimeapps.list
[Added Associations]
x-scheme-handler/file=exo-file-manager.desktop
x-scheme-handler/trash=exo-file-manager.desktop
x-scheme-handler/textedit=textedit.desktop
$


I'm doing this in two different user accounts, and the one I actually
want to use is still giving me the red box, but the other one now gives
me a message in the terminal:

/home/lconrad/bin/textedit-url.sh: 12: /home/lconrad/bin/textedit-url.sh: Bad 
substitution

and in textedit_url.log, I have:

tail -f ~/textedit_url.log
textedit:///home/newlily/music/ruffo/perfidioso/cantusnotes.ly:3:10:10

Which I assume is the kind of thing we want to see.  

I notice that the red box in the publishing user says Operation not
supported rather than The specified location is not supported.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

And now in this the twentieth century come these talking and playing
machines and offer again to reduce the expression of music to a
mathematical system of megaphones, wheels, cogs, disks, cylinders, and
all manner of revolving things which are as like real art as the
marble statue of Eve is like her beautiful living breathing daughters.

Under such conditions, the tide of amateurism cannot but recede until
there will be left only the mechanical device and the professional
executant. Singing will no longer be a fine accomplishment; vocal
exercises so important a factor in the curriculum of physical culture
will be out of vogue. Then what of the national throat? Will it not
weaken? What of the national chest? Will it not shrink?

John Philip Souza, The Menace of Mechanical Music, in Appleton's
Magazine, 1906

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xpdf won't show lily's PDF file

[Laura Conrad]

My system in currently in dependency hell, so I'm sure this isn't either
a lilypond problem or an xpdf problem, but an  ubuntu package manager
problem.  (If anyone tells you ubuntu has 32-bit executables installing
seamlessly on a 64-bit system, they haven't tested it much.)

But if someone knows off the top of their heads why evince and gv can
read the lilypond output with no problem, but xpdf comes up and then
gives pages and pages of errors like:

re 3930.24 340.711 2.48828 161.008
S
q
cm 10 0 0 10 0 0
BT
Tf /R14 19.9253
  font: tag=R14 name='LKBZYR+Emmentaler-20' 19.9253
Tm 1 0 0 1 393.473 50.1719
Tj ()
ET
Q
re 3871.16 0 2.49219 57.4805
f
re 3871.16 -2.99219 2.48828 60.4727
S
Q

and then segfaults, it might help me fix the dependency problem.

Don't ask me to check acroread, because I think that's what triggered the
dependency hell.  I did finally manage to remove it this morning, so the
hell is somewhat cooler than it was last night.

And if anyone has point-and-click working (with emacs) with any other
pdf reader besides xpdf, that would be useful, too.

Thanks,

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Mr. Barenboim recalled observing Mr. Boulez lead Schoenberg's Pelleas
und Melisande with the BBC Symphony in the early 1960s.

I sat with the score during the rehearsal, he said. At the
beginning there is quite a lot of chromaticism, and at a certain point
there was a chord out of tune and Pierre said, 'No, no, this is sharp,
this is flat.' I was amazed.

As a pianist I had no idea how he heard all that. I mean, when I
thought my piano was out of tune, I just called the tuner. So I asked
Pierre how he did it. I was starting to conduct, and I wanted to know
if this was something I could learn.

Pierre said: 'You have to have the courage to say what you hear and
think when you conduct. Either the player will correct you and say
it's not me out of tune, it's the second oboe, or you will be
right. But in any case you will learn. Don't put your ego above the
music. Do what you have to do for the sake of the music, and only in
that way will you make progress.' 

Quoted by Michael Kimmelman in the New York Times, January 10, 2010

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Re: xpdf won't show lily's PDF file

[Laura Conrad]

 David == David Kastrup d...@gnu.org writes:

David Laura Conrad lcon...@laymusic.org writes:
 My system in currently in dependency hell, so I'm sure this isn't either
 a lilypond problem or an xpdf problem, but an  ubuntu package manager
 problem.  (If anyone tells you ubuntu has 32-bit executables installing
 seamlessly on a 64-bit system, they haven't tested it much.)
 
 But if someone knows off the top of their heads why evince and gv can
 read the lilypond output with no problem, but xpdf comes up and then
 gives pages and pages of errors like:
 
 ...
 and then segfaults, it might help me fix the dependency problem.

David That's not a dependency problem, and it is not a LilyPond problem.  
xpdf
David will segfault on any PDF file.  Install an older dpkg package (I have
David 3.02-21 I think, the Ubuntu one has a slightly different number) and
David mark it as holded.  Don't ask me why Ubuntu considers providing a
David segfaulting binary a good idea.

Thanks.  I had to also install and hold older versions of libpoppler13
and libjpeg62, but I do have a working xpdf now.  


-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I gave Cuellar more chances than my first wife.

Hall of Fame Orioles manager Earl Weaver, after he stuck with lefty
Mike Cuellar way too long, finally pulling him out of the rotation
only to have Cuellar complain about losing his spot.

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How to print a timesig.C22 character in the context of a grob

[Laura Conrad]

I have managed to modify the compound time snippet to print a
neomensural time signature like C3.

Now I want one with the 2/2 C style instead of the 4/4 style.

My code (don't laugh too hard, I just fiddled until it worked) looks
like:

settime = {
#(define ((compound-time one two num) grob)
   (grob-interpret-markup grob
  (markup  #:override '(baseline-skip . 0) 
   #:number
  (#:line ((#:vcenter C)
  (#:vcenter 3))

  \override Staff.TimeSignature #'stencil = #(compound-time C 3 1)
  \time 3/2

}

It surprised me that C actually produces something like the time
signature C, although it isn't typographically much like the time
signature 3, and I don't think it's actually the timesig.44 glyph.

So how do I get the timesig.22 glyph in there instead of the C?

I've really tried a lot of stuff with \markup and \musicglyph, and it
doesn't seem to work in this context, although if I put plain strings in
there, they print instead of the C.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

All the horrors of the reign of terror were based only on solicitude
for public tranquillity.

Leo Tolstoy, _War and Peace_


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Re: lilypondfile

[Laura Conrad]

 pabuhr == pabuhr  pab...@fastmail.fm writes:

pabuhr I tried manually converting the ps to eps: ps2pdf generates
pabuhr a file that is unusable (go figure), and convert generates
pabuhr a low quality image (maybe one of the many parameters can
pabuhr fix this).

convert -density' sometimes helps with this.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I value kindness to human beings first of all, and kindness to
animals. I don't respect the law; I have a total irreverence for
anything connected with society except that which makes the roads
safer, the beer stronger, the food cheaper, and old men and women
warmer in the winter, and happier in the summer.

Brendan Behan (1923 - 1964)


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Re: Sibelius and LilyPond parallels

[Laura Conrad]

 David == David Kastrup d...@gnu.org writes:

David I found it interesting that its text input form does not even
David enter this story.  I find that quite often this is what makes
David a major difference to people (meaning that it is an important
David factor for either choosing, tolerating or rejecting
David LilyPond).

There's a Sibelius user who's contributed a lot to my current project
(unfortunately, via midi2ly) and I reported a transcription error by
emailing the lilypond code for both his and my transcriptions to him.
His response was:

Xavier I didn't know lilypond is encoded this way.

Xavier It reminds me of note processor, the music notation
Xavier software that I used on DOS operated computers.

Xavier I actually found it less tiresome to use and faster than
Xavier sibelius.

He's subsequently said that for his next project he'll try lilypond.

So there is a population that likes text input that we aren't reaching.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

After much pondering, I think I understand a basic reason why a glass
of something reviving is so welcome in the early evening.  Partly, of
course, it's just that, to revive, to relax, but it's also a
convenient way of becoming a slightly different person from your
daytime self, less methodical, less calculating -- however you put it,
somebody different, and the prospect of that has helped to make the
day tolerable.  And, conversely, it's not having that prospect that
makes the day look grim to the poor old ex-boozer, more than missing
the alcohol as such.  Changing for dinner used to be another way of
switching roles.  Coming home from work has a touch of the same
effect.

Writers haven't got that advantage -- when they finish work they're at
home already.  So perhaps they need that glass of gin extra badly.
Any excuse is better than none.

Kingsley Amis, _Every Day Drinking_


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Re: Import - convert

[Laura Conrad]

 Jakub == Jakub Pavlík jkb.pav...@gmail.com writes:

Jakub Oh, blind me. Using etf2ly you can import from Finale
Jakub directly...

You used to be able to.  Have you done it with a recent lilypond
version?  

I think the method that's encouraged for people with recent finale and
recent lilypond is to export MusicXML from Finale and use musicxml2ly to
get to lilypond.

If you have both ancient Finale and ancient lilypond, etf2ly will work,
sort of, if you aren't very demanding about lyrics.

If you have ancient Finale and recent lilypond, I think you might be
stuck with midi2ly.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Every gun that is made, every warship launched, every rocket fired,
signifies in the final sense a theft from those who hunger and are
not fed, those who are cold and not clothed.

Dwight Eisenhower, Quoted by Bob Herbert in the New York Times, December 1, 2009

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Re: Ambitus after incipit

[Laura Conrad]

 Bockett == Bockett Hunter bockett1.hun...@gmail.com writes:

Bockett What I would like is to have the voice range displayed 
Bockett after the incipit and before the modern clef, in the modern
Bockett clef, Nothing I've tried works; I would appreciate help.

I kept having problems like that, and whenever I found anything like a
solution to them, the solution wouldn't port well to the next lilypond
version.

So what I do now is make the incipit a separate score, which I print
above the piece, and then print the voice with the ambit in the normal
way.

I don't think this is the ideal solution, but on the other hand, people
who haven't played much early music often get confused by having the
incipit on the staff with the music they're supposed to play, so it
solves that problem too.

The most recent example of what this ends up looking like is
http://serpentpublications.org/wordpress/?page_id=20id=736,
Dormend'un giorno.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

All animals are strictly dry:
They sinless live and swiftly die;
But sinful, ginful, rum-soaked men
Survive for three score years and ten.
And some of them, a very few,
Stay pickled till they're 92.

ANON, quoted in Arnold Silcock's _Verse and Worse_


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Re: How is Lily counting measures

[Laura Conrad]

 David == David Kastrup d...@gnu.org writes:

 From the manual:

David Upbeats
David ...

David Partial or pick-up measures, such as an anacrusis or upbeat, are
David entered using the `\partial' command, with the syntax

David \partial DURATION

David where `DURATION' is the rhythmic length of the remaining 
interval of
David the current measure before the start of the next.

David I repeat: the length of the _remaining_ interval of the current
David measure.  So you need \partial 2 here.

Yes, I've read that section regularly for the last 15 years or so, and
obviously never understood it. I've occasionally managed to get an
anacrusis entered correctly, but since I don't usually use barlines, I
haven't always been able to tell whether Lily understood what I was
saying or not.

I always thought that if I ever did figure out what it meant, I should
help rewrite it.

How about:

\partial DURATION

where 'DURATION' describes the length of the partial measure.  For
example:

\time 4/4
\partial 4
g4 | c c c2 |

I think including an example in a case like this is always a good idea.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

The family lived so frugally that his mother, Dora, made him shirts
out of scraps of fabric. Once she made herself a skirt out of the back
of the suit that her younger brother was buried in. She didn't want
the material to go to waste.

Michael Kimmelman, in the NY Times obituary of Robert Rauschenberg

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How is Lily counting measures

[Laura Conrad]

I believe that the attached file contains one partial and three full
measures, with measures ending on the barchecks.

Lily seems to disagree.  She says:

lilypond test.ly
GNU LilyPond 2.15.23
Processing `test.ly'
Parsing...
Interpreting music... 
test.ly:11:13: warning: barcheck failed at: -1/2
  r2 
 | R1. | R1. |  r2 r2 g'
test.ly:11:15: warning: barcheck failed at: 1
  r2 | 
   R1. | R1. |  r2 r2 g'

It's probably my not understanding something about how \partial is
supposed to work, but I'd appreciate an explanation, especially since
the PDF file generated from this lilypond is difficult to read, in that
the r2 after the second R1. is squished into the measure with the
R1. and is difficult to see.



test.ly
Description: Binary data

Thanks,
-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

If you find you are serving the same thing too often to the same
people, then invite someone else instead. It is much easier to change
your friends than your recipes.

Peg Bracken

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brackets for coloration

[Laura Conrad]

When I transcribe facsimiles that use colored notes (they look like a
whole note or a breve, but they're filled in), I've been transcribing my
guess at how the notes translate into modern notation, and footnoting
the fact that they're colored.

A friend recently pointed out that there's a convention in some modern
editions that you use a bracket begin and end before and after the
colored notes, but don't extend the bracket over the notes.

So it looks similar to an ligature bracket, but doesn't have the line
between the begin and the end.

I just did a little bit of searching the lilypond documentation, and
didn't see an obvious example of how to do this.  Can someone provide
one?

Thanks,
-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I’m at the very peak of my decline.

Leonard Bernstein

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Re: brackets for coloration

[Laura Conrad]

 harm == harm6  thomasmorle...@googlemail.com writes:

harm Laura Conrad wrote:
 
 So it looks similar to an ligature bracket, but doesn't have the line
 between the begin and the end.

harm do you mean something like this?

Maybe something like that.  That particular something doesn't print any
bracket-like object at all for me, with lilypond 2.15.8 on ubuntu 10.10.
It does print error messages:

GNU LilyPond 2.15.8
Processing `testbracket.ly'
Parsing...
Interpreting music... 
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
programming error: invalid UTF-8 string
continuing, cross fingers

(process:21001): Pango-WARNING **: Invalid UTF-8 string passed to 
pango_layout_set_text()
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+, file 
/home/newlily/lilypond/usr/share/lilypond/current/fonts/otf/CenturySchL-Ital.otf
continuing, cross fingers
programming error: invalid UTF-8 string
continuing, cross fingers

(process:21001): Pango-WARNING **: Invalid UTF-8 string passed to 
pango_layout_set_text()
programming error: FT_Get_Glyph_Name () error: invalid argument
continuing, cross fingers
programming error: Glyph has no name, but font supports glyph naming.
Skipping glyph U+, file 
/home/newlily/lilypond/usr/share/lilypond/current/fonts/otf/CenturySchL-Ital.otf
continuing, cross fingers
Layout output to `testbracket.ps'...
Converting to `./testbracket.pdf'...
success: Compilation successfully completed

So if it prints little bracket beginning and endings for you, maybe your
fonts are different from mine?
 
-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

What a natural history of religion would show is that the human
experience of the divine has deep roots in psychoactive plants and
fungi.  (Karl Marx may have gotten it backward when he called religion
the opiate of the people.)

Michael Pollan, _The Botany of Desire_

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Re: brackets for coloration

[Laura Conrad]

 Laura == Laura Conrad lcon...@laymusic.org writes:
 
 So it looks similar to an ligature bracket, but doesn't have the line
 between the begin and the end.

harm do you mean something like this?

Laura Maybe something like that.  That particular something doesn't
Laura print any bracket-like object at all for me, with lilypond
Laura 2.15.8 on ubuntu 10.10.  It does print error messages:

Sorry, forgot to tell emacs to encode the file utf-8.  (Don't ask me why
that isn't the default.) It does indeed print very nice bracket marks.

Thanks.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

The dipsomaniac and the abstainer are not only both mistaken, but they
both make the same mistake: They both regard wine as a drug and not as
a drink.

G. K. Chesterton


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Help understanding print problem

[Laura Conrad]

My guess is that this is not a lilypond bug, but there might be someone
here who could shed light on how to report it, or better ways to work
around it.

I have a PDF file
http://serpentpublications.org/music/dewilde/amours/allparts.pdf,
produced by lilypond-book with parts and score for a piece.  It looks as
I expect in xpdf.  For playing with my group, I need lots of copies of
the parts, but only one of the score, so I printed out the parts with
the options to xpdf which caused pages 1-6 to print out single-sided
several times.  Then I tried to print pages 7-9 (the score) double
sided, and then single sided, and both times got pages with (some of
the) staff lines and stems and brackets and text, but no note heads.

When I print the whole file single sided, the score prints as expected.

When it's not printing correctly, I get lots of error messages in the
console window from which I invoked xpdf.  Here are some of them:

Error (1114123): Illegal character 12 in hex string
Error (1114124): Illegal character 82 in hex string
Error (1114125): Illegal character 82 in hex string
Error (1114075): Illegal character '}'
Error (1114126): Illegal character ''
Error: font resource is not a dictionary
Error: font resource is not a dictionary
Error: ExtGState 'R7' is unknown
Error: Unknown font tag 'R8'
Error (812121): No font in show
Error: Unknown font tag 'R8'

This is lily 2.14.1, on ubuntu 10.10, with xpdf version 3.02, printing
on a Brother HL-5250DN printer.  I would be happy to report this bad
behavior if I had any idea which of the many programs involved in
turning my lilypond code into black marks on paper was responsible.
Does anyone have a better educated guess than I do for how to narrow the
field of possible suspects?

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

This song is Copyrighted in U.S., under Seal of Copyright #154085, for
a period of 28 years, and anybody caught singin' it without our
permission, will be mighty good friends of ourn, cause we don't give a
dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote
it, that's all we wanted to do.

Woody Guthrie

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More alternate ending problems

[Laura Conrad]

I'm working on trying to make alternate endings readable in unbarred
parts.  There's probably a bug report I should file, because they are
quite often ambiguous.  I'm attaching the file I'm working on -- before
I file the report I'll create a simpler test file, but you can see what
I mean.



altus-part-expanded.ly
Description: Binary data

My problem is with the volta bracket over the first alternative in the C
section:

inline: altus-c.jpg
The alternative begins at the B dotted whole note, but the bracket can
be read by the casual observer as also including the C quarter note.

For some other problems like this, I've been using the 

\once \override Staff.NoteHead #'X-extent = #'(-2 . 2) 

trick, which works if you have a note without a stem that's on the
staff, but for a note with a stem on a ledger line is really hideous.
(The ledger line gets extended, *and* the stem doesn't attach to the
head.)

So I'm trying the other suggestion I got the last time I asked a
question like this
http://lists.gnu.org/archive/html/lilypond-user/2011-03/msg00616.html: 

  \override Staff.BarLine #'extra-spacing-width = #'(-8 . 8)

This works fine if there is in fact a barline where I want the bracket
to end (in fact, there isn't a problem because the volta bracket ends at
the bar line without tweaking), but in conjunction with '\bar empty',
it seems to do nothing at all.

So my question is really two parts:

   Is there a good workaround for the problem with the volta brackets
   being the wrong length?

   Failing that, is there a tweak I can use to enlarge the space left for an
   empty bar?  (This would actually be useful for something else I'm
   doing.)


-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I’m suspicious of that notion of adventure. It belongs to earlier
centuries, and somehow fizzled away with, let’s say, the exploration
of the North and South Poles, which was only a media ego trip,
unhealthy and unwise, on the part of some individuals. The Polar
explorations were a huge mistake of the human race, an indication that
the twentieth century was a mistake in its entirety. They are one of
the indicators.

Werner Herzog, interview in the Paris Review, May 2, 2011
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Re: More alternate ending problems

[Laura Conrad]

 Laura == Laura Conrad lcon...@laymusic.org writes:

LauraFailing that, is there a tweak I can use to enlarge the
Lauraspace left for an empty bar?  (This would actually be
Laurauseful for something else I'm doing.)

Got it.  

Instead of an empty barline, what I want is a transparent barline.  So
for the problem I wrote this post about, the answer is:

  \once \override Staff.BarLine #'transparent = ##t
  \once \override Staff.BarLine #'extra-spacing-width = #'(-2 . 2)
  \bar |

I'll get to the bug report about the volta bracket being misplaced when
it doesn't start on a bar, but this is a reasonable workaround for
putting in a bar when you want lily to think there's a line that takes
up space, but you don't want the musician to see a barline.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Just as there are no atheists in foxholes, there are no intellectuals
on stage.

Ian Bostridge, quoted in The Boston Globe, April 3, 2009

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Re: Polymetric music and page breaks

[Laura Conrad]

 Andrea == Andrea La Rose andrea.lar...@gmail.com writes:

Andrea Thanks for responding. Do keep in mind that this is only an
Andrea excerpt of a 40 minute piece. I excerpted enough so that the
Andrea problem would be apparent. So I realize that everything in
Andrea the excerpt is unequal and therefore confusing.  There is
Andrea about 10-minutes-worth of this kind of polymetry, so nothing
Andrea is breaking in the way Lilypond would like it to; the bar
Andrea lines do not line up for ages. My question is: Is there a
Andrea work-around?

I haven't looked at your piece, but what I do with the Renaissance music
where there's no good place for Lily to break the score is:

  \context{
\Voice
\remove Forbid_line_break_engraver  
  }

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
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Good teachers get fired; great teachers, killed -- Socrates, Christ,
Giordano Bruno.

Alan Powers  amazon.com author page

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How to put a horizontal space with no time value?

[Laura Conrad]

I have been reading the fine manual, and see lots of things I could try.
It's likely some of them would work, but it's also likely someone has
already tried even more things than I see right now, and come to some
conclusions about what works best.

I'm transcribing some 16th century diminutions (Dalla Casa, Bassano...)
where there are lots and lots of 16th and even 32nd notes.  The
facsimiles do not beam the notes together, but they do group them with
some extra space after, say, a group of 4 16th notes.

I'm printing the divisions in score with the original tune, so I don't
want to just put in s notes, because that will change the alignment with
the tune.

I would guess what I will end up with is something like a \es command
that does an override of some kind of padding for the next note.

Has anyone got a solution to this problem that they like?  Or one that
they hate but use anyway because after trying everything it's the least
of all evils?

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Strong hope is a much greater stimulant of life than any realized joy
could be.

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Re: barAlways, slurs (melisma)

[Laura Conrad]

 Germain == Germain G Ivanoff-Trinadtzaty ggit@gmail.com writes:


Germain Besides this, placing automatic invisible bars in all
Germain *relevant* places (for automatic line breaks, in different
Germain layouts) is typically a kind of computer task ! By the way,
Germain what was barAlways meant for ?  

I assume so that you could have line breaks anywhere instead of only at
the end of a measure.  I've always used it in conjunction with a
default bar type of empty or .

I more often do that by removing the Forbid_line_break_engraver.  I do
wish that were a bit more intelligent -- even when I don't mind line
breaking in the middle of a bar (I usually typeset Renaissance music
where the composers weren't thinking in measures), I don't usually want
it between a dotted note and the next note.  I've been working around
this lack of feature by inserting \noBreak when lily puts a break in an
inconvenient place.  

One of my current projects is a set of ricercadas on a bassline in
breves, where breaking only at breves wouldn't produce very good output,
but there are lots of places where it's inconvenient to break the melody
line, so those melody lines have a *lot* of \noBreak's in them.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I have only one superstition. I touch all the bases when I hit a home
run.

Babe Ruth


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Re: Lilypond with Cubase/DAW for Musical

[Laura Conrad]

 Phil == Phil Holmes m...@philholmes.net writes:

Phil I do something similar using
Phil Noteworthy. (http://www.noteworthysoftware.com/) I notate
Phil using Noteworthy, export using its text format and then use a
Phil self-written program to convert to LilyPond.  The single piece
Phil of advice I would give is to try to edit the LilyPond files as
Phil little as possible - I almost never touch them directly - I
Phil put all my annotations in Noteworthy, using hidden text as a
Phil code to transfer to LilyPond.  That way, I have only a single
Phil source of data.

Phil I'm rather guessing this will be impossible with Cubase, but I
Phil think the principle is a good one.


I used to use ABC http://abcnotation.com/ that way.  I'm finding that
the %%LY strings I put into my files 10 years ago are useless or
harmful now.  So I wish I'd just declared the lilypond canonical, and
dropped the ABC after conversion.

At some point, it turned out to be easier to use a MIDI keyboard to
input lilypond directly than to go through ABC, so now I rarely use ABC
except with my old stuff or when one of my ABC using friends transcribes
something.

That being said, the fact that someone modified abc2ly to break the way
*my* ABC uses clefs (ABC isn't standardized, so there are several
dialects) is a real nuisance.  This kind of change should be discussed
somewhere.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

A traveling horn virtuoso, Barry Tuckwell, was once asked about the
problem of how to practice while traveling and living in hotels. He
replied that he just turned up the TV and practiced because no one
minded the TV being loud!

quoted by RC Walsh on recor...@yahoogroups.com


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Re: Self-Publishing

[Laura Conrad]

 Pete == PMA  peterarmstr...@aya.yale.edu writes:

Pete The upshot -- well, so far -- is that *if* I buy the printer,
Pete it will be a refurbished HP LaserJet 5000.  Am sniffing out
Pete reputable vendors.

I would recommend against this.  I did that, after the kind of
exploration you did, and if you can pick it up on the third floor in
Cambridge, MA, USA, you can have it free.  I don't think the duplexer
ever worked more than a month at a time, and currently the fuser is
broken as well.  You can buy a duplexing laser printer for less than the
cost of a service call for the HP.

I've had to abandon the large-format idea, but my Brother HL5250DN works
better and more consistently than the HP5000 ever did.

Pete Simply -- I want my scores (PDF) available and known to be so by
Pete folks whose taste might incline them to be interested.  (Reckon
Pete it's the known to be so part that'll cost me)

Pete I would love to hear your favorite thoughts on this topic.

I'm currently using Lulu for printing my stuff for other people
http://stores.lulu.com/laymusic, and I have my own site
http://www.SerpentPublications.org for free distribution.  If I were
starting from scratch now, I might use WIMA, but uploading as much stuff
as I have at the moment would be a major task, and I like that I can
just say make upload when I fix something.

I'll be happy to answer any questions you have about why I ended up with
the decisions I did.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I have finally taught Dean that he can do anything he wants, become
mayor of Denver, marry a millionairess, or become the greatest poet
since Rimbaud. But he keeps rushing out to see the midget auto
races. I go with him.

Jack Kerouac, _On the Road_


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Old English font for titles

[Laura Conrad]

Back in the olden days, lilypond-book only set the music, and left the
titling to the publishing program.  I produced a book of Drinking Songs
in LaTeX, with the titles in hge, an Old English font derived from the
Hershey font.

I now want to do an updated version of this book.  I would like the
titles to still be in some old-english-like font.  I'm not asking here
as a criticism of the documentation, but because I have a deadline
tomorrow.

I need to figure out:

1.  How to tell lilypond how to use a particular font for titles.  It
would be preferable to have a variable that I could set for all my
files, so that saying:

 title = He that would an alehouse keep

 would produce a title in Old English, rather than having to say for
 every piece:

 title = \markup{[some font specification]{He that would an
 alehouse keep}}

 But I'll take what I can get.

2. How to install an Old English like font onto my ubuntu 10.10 system
   that I can use the above trick on.  It looks like finding one should
   be easier than turning the hge.mf file I have into something that
   current lilypond could make use of, but so far I haven't figured out
   how to do either one.  Can anyone help?

Thanks,
-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

The dipsomaniac and the abstainer are not only both mistaken, but they
both make the same mistake: They both regard wine as a drug and not as
a drink.

G. K. Chesterton


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Re: Old English font for titles

[Laura Conrad]

 Henning == Henning Hraban Ramm hra...@fiee.net writes:

Henning Am 2011-04-09 um 17:32 schrieb Laura Conrad:
 1.  How to tell lilypond how to use a particular font for titles.

Henning \header{
Henning  title = \markup{\override #'(font-name . Old English) Your 
Title}

Thanks.  

 It 
 would be preferable to have a variable that I could set for all my
 files, so that saying:

Henning For my setup I redefined the whole titling, see bookTitleMarkup in 
the
Henning paper block:
Henning 
http://git.fiee.net/?p=lilystuff.git;a=blob_plain;f=global.ly;hb=HEAD

I might end up deciphering this, but probably not this afternoon.

Does lilypond-book use the paper block?  I know it doesn't for lots of
stuff, like page size, which of course you want the publishing program
to control.

 2. How to install an Old English like font onto my ubuntu 10.10 system
 that I can use the above trick on.  It looks like finding one should
 be easier than turning the hge.mf file I have into something that
 current lilypond could make use of, but so far I haven't figured out
 how to do either one.  Can anyone help?

Henning Pango (LilyPond’s font library) should find every font that is
Henning installed normally in your system, so I guess your questions are:

Henning - Where do I find a suitable font?
-- e.g. at dafont.com or any other of these free font sites. Or buy
Henning one at myfonts.com or any other vendor.

Thanks.  dafont.com has several that look promising.  

Henning - How do I install a font on Ubuntu?
-- copy it into /usr/share/fonts/truetype (or similar) or ~/.fonts
-- it should also work to doubleclick that file and click install
-- see e.g. http://ubuntuforums.org/showthread.php?t=275202

Henning You can also keep the font in the same directory as your
Henning lilypond score.

Henning - How do I refresh Pango’s font database?
-- run fc-cache

Henning HTH

I'm sure it does.  But right now there's still a problem.  When I
put the title markup into my file, and run lilypond on it, lilypond is
fine, but then  when it tries to convert the .ps file to .pdf,
ghostscript says:

`(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 
-dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite 
-sOutputFile=./five.pdf -c.setpdfwrite -ffive.ps)' failed (256)

When I try to look at the .ps file in ghostview, it just sits there with
its wheel spinning and doesn't show me anything.

This is true not only with the fonts I just downloaded, but with all the
other non-default fonts I've tried, such as Georgia and Century
Schoolbook.

This is on lilypond 2.13.58.  On 2.12.3, it seems to work fine.  I guess
I should report this to bugs.

-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I gave Cuellar more chances than my first wife.

Hall of Fame Orioles manager Earl Weaver, after he stuck with lefty
Mike Cuellar way too long, finally pulling him out of the rotation
only to have Cuellar complain about losing his spot.

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Re: Old English font for titles

[Laura Conrad]

 Laura == Laura Conrad lcon...@laymusic.org writes:

Laura This is on lilypond 2.13.58.  On 2.12.3, it seems to work
Laura fine.  I guess I should report this to bugs.

I take it back.  2.12.13 has different bugs.  It works fine with
Georgia, but doesn't seem to see the fonts I installed, although
programs like OpenOffice and gnome-font-viewer see them fine.


-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I had to breathe more frequently (but take smaller breaths), but also
to use all the air I had in reserve, and not mistake the lack of
oxygen for the need to breathe.

Eric Haas (on learning Baroque flute after playing oboe)

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Re: Old English font for titles

[Laura Conrad]

 Phil == Phil Holmes m...@philholmes.net writes:
Laura ghostscript says:

Laura `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28
Laura -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4
Laura -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite
Laura -sOutputFile=./five.pdf -c.setpdfwrite -ffive.ps)' failed
Laura (256)

Laura When I try to look at the .ps file in ghostview, it just sits
Laura there with its wheel spinning and doesn't show me anything.

Laura This is true not only with the fonts I just downloaded, but
Laura with all the other non-default fonts I've tried, such as
Laura Georgia and Century Schoolbook.


Phil =

Phil There have been reports of this error before, seemingly
Phil related to fonts. However, we've never properly sorted this
Phil out.  This is no help to you now, but if you do have some time
Phil later to help debug this, it would be great.

I finally got a trivial test file.  It's a dumb error in my markup.  If
you balance the open parenthesis in the composer name with a close
parenthesis, you don't get the problem, but if you use the close curly
bracket, as in the attached file, you do. 



titlefont.ly
Description: Binary data



-- 
Laura   (mailto:lcon...@laymusic.org, twitter: @serpentplayer)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

When I die and there's a memorial service, I want you to go to the
piano and play _The Man I Love_ in my key. If I don't come out on that
stage, then you'll know I'm gone.

Kitty Carlisle Hart, (Quoted at her memorial service, where they did
in fact play _The Man I Love._)
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Re: volta bracket too short

[Laura Conrad]

 Nick == Nick Payne nick.pa...@internode.on.net writes:

Nick On 22/03/11 03:51, Laura Conrad wrote:
 I'm trying to write a piece with an alternative ending labeled Final.
 
 This bracket is over a whole note for all parts.  For two of the five
 parts, the spacing on the last line of the part is tight enough that
 there isn't room under the volta bracket for the whole word Final.
 
 Does anyone have a good suggestion for what to tweak to fix this?
 
 Thanks,

Nick You could use

Nick \override Staff.NoteHead #'X-extent = #'(L . R)

Nick for the whole notes where you want the additional spacing around the
Nick note, but this doesn't work if the note is on a ledger line, as it
Nick also extends the ledger line. Alternatively

Nick \override Staff.BarLine #'extra-spacing-width = #'(L . R)

Nick can achieve the same effect.

Thanks, this works quite well.


-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Copyright law has abandoned its reason for being: to encourage
learning and the creation of new works. Instead, its principal
functions now are to preserve existing failed business models, to
suppress new business models and technologies, and to obtain, if
possible, enormous windfall profits from activity that not only causes
no harm, but which is beneficial to copyright owners.

William Patry, in his farewell post on The Patry Copyright Blog.


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volta bracket too short

[Laura Conrad]

I'm trying to write a piece with an alternative ending labeled Final.  

This bracket is over a whole note for all parts.  For two of the five
parts, the spacing on the last line of the part is tight enough that
there isn't room under the volta bracket for the whole word Final.

Does anyone have a good suggestion for what to tweak to fix this?

Thanks,
-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

All the horrors of the reign of terror were based only on solicitude
for public tranquillity.

Leo Tolstoy, _War and Peace_


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Re: volta bracket too short

[Laura Conrad]

 Phil == Phil Holmes m...@philholmes.net writes:
 
 I'm trying to write a piece with an alternative ending labeled
 Final.  
 
 This bracket is over a whole note for all parts.  For two of the five
 parts, the spacing on the last line of the part is tight enough that
 there isn't room under the volta bracket for the whole word Final.
 
 Does anyone have a good suggestion for what to tweak to fix this?
 
 Thanks,
 -- 
 Laura   (mailto:lcon...@laymusic.org)

Phil Could you post an image showing the problem please?


It's looking like this might be yet another lilypond-book artifact.
None of the lilypond files I've tried just compiling myself have the
problem, but if you put them into lilypond-book, it's common.  Look at
both Quintus and Bassus in
http://serpentpublications.org/music/holborne/55/allparts.pdf.


-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Strong hope is a much greater stimulant of life than any realized joy
could be.

Nietzsche


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Re: How to tell lilypond some barlines have width

[Laura Conrad]

 Neil == Neil Puttock n.putt...@gmail.com writes:

Neil On 8 March 2011 18:05, Laura Conrad lcon...@laymusic.org wrote:
 Does anyone know a way to tell lily that an empty barline shouldn't
 have space, but there should still be some space around the barlines
 that are being printed?

Neil If you're running 2.13, change

Neil defaultBarType = #empty

Neil to

Neil defaultBarType = #

Neil The latter takes up no space.

Thanks.  That does solve that problem.

Unfortunately, it creates a new one.  In some cases, such as the
attached small example, when I use this BarType I get a lot of errors:

programming error: Loose column does not have right side to attach to.

I was hoping these loose columns were like the insane springs, which I
get all the time and they never seem to produce bad output.  But when I
use my test file in a lilypond-book file, it ends up indented instead of
within the margins I want.

Here are my test files:



loosecolumn.ly
Description: Binary data


noloosecolumn.ly
Description: Binary data


loosecolumn.lytex
Description: Binary data

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

In keeping with longstanding family tradition, they had not spoken to
each other in many years.

Margalit Fox, describing the two daughters of Wolfgang Wagner in his
obituary in the New York Times, March 23, 2010
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Re: How to tell lilypond some barlines have width

[Laura Conrad]

 Neil == Neil Puttock n.putt...@gmail.com writes:

Neil On 9 March 2011 16:02, Laura Conrad lcon...@laymusic.org wrote:
 Unfortunately, it creates a new one.  In some cases, such as the
 attached small example, when I use this BarType I get a lot of errors:
 
 programming error: Loose column does not have right side to attach to.
 
 I was hoping these loose columns were like the insane springs,
 which I get all the time and they never seem to produce bad
 output.  But when I use my test file in a lilypond-book file, it
 ends up indented instead of within the margins I want.

Neil Some of the paper columns are in weird places: following each
Neil line break, at least one column has lost its place within the
Neil system and is stranded in the left margin.  This makes each
Neil system wider than it should be.

This is greek to me.  It looks to me like the systems are the right
width -- they just have space on the left.  And why should telling Lily
that the barlines take no space cause her to lose track of the
columns, whatever those are?

Neil If you can put up with manual beams, creating barlines
Neil following every note will restore the correct indentation:

Neil barAlways = ##t

Unfortunately, that allows line breaks at awkward places.  I don't do
beaming, since 17th century printers didn't, and anyway there aren't
that many eighth and sixteenth notes.  

However, a lot of 21st century musicians believe (unlike the 16th
through at least 18th century printers) that lines should only be broken
at barlines even if you aren't printing the barlines.  I think they're
wrong in general -- it proves to me that they're still thinking in
measures even though the point of barless editions is to stop the
performers from thinking in measures because the composers weren't.

But even for me, breaking a line between a dotted half and a quarter is
a problem.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I suppose it can be said I'm an absent-minded driver.  It's true that
I've driven through a number of red lights on occasion, but on the
other hand I've stopped at a lot of green ones but never gotten credit
for it.

Glenn Gould, quoted in A Romance on Three Legs by Katie Hafner


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How to tell lilypond some barlines have width

[Laura Conrad]

I'm attempting to print out my Holborne parts
http://serpentpublications.org/wordpress/?page_id=22id=61 with
something more like 17th century spacing and less like 19th century
spacing.

A recipe for this that I got a year or so ago
http://osdir.com/ml/lilypond-user-gnu/2009-05/msg00256.html included
the magic word:

  \override BarLine #'extra-spacing-width = #'(+inf.0 . -inf.0)

This works very well for telling Lily not to put extra space between the
notes that are separated by an empty barline, which is something I want.

However, it seems to be telling Lily that even double thick repeat signs
with dots before and after take up no space, and this is causing a lot
of collisions when the spacing is tight, especially when the notes have
dots on them.

I've been playing with the other BarLine parameters, like kern and
thickthickness without much success.  

Does anyone know a way to tell lily that an empty barline shouldn't
have space, but there should still be some space around the barlines
that are being printed?

Thanks,
-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Jesus, I'm Thirsty.  (Danku)

'Who's getting the beer?'
Judas stepped up to the bar.
He'd had a windfall!

Danny Reynolds


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Re: Converting .nwc files to .ly

[Laura Conrad]

 Michael == Michael Dykes thedoctor81...@gmail.com writes:

Michael How do I take a nwc (under wine) file  convert it to a ly
Michael file?

I know there's an nwc2abc program somewhere that might be some use.  I
personally just re-transcribe NWC files.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

We had a young pitcher on that club named Jimmy St. Vrain.  He was a
left-handed pitcher and a right-handed batter.  But an absolutely
terrible hitter -- never even got a loud foul off anybody.

...he came back after striking out the second time, Frank Sele, our
manager, said, Jimmy, you're a left-handed pitcher, why don't you
turn around and bat from the left side, too?

Actually, Frank was half kidding, but Jimmy took him seriously.  So
the next time he went up he batted left-handed.  Turned around and
stood on the opposite side of  the plate from where he was used to,
you know.  And darned if he didn't actually hit the ball.  He tapped a
slow roller down to Honus Wagner at shortstop and took  off as fast as
he could go...but instead of running to first base, he headed for
*third*! 

Oh, my God! What bedlam! Everybody yelling and screaming at poor Jimmy
as he raced to third base, head down, spikes flying, determined to get
there ahead of the throw.  Later on, Honus told us that as a matter of
fact he almost *did* throw the ball to third.

I'm standing there with the ball in my hand, Honus said, looking at
this guy running from home to third, and for an instant there I swear
I didn't know *where* to throw the damn ball.  And when I finally did
throw to first, I wasn't at all sure it was the right thing to do!

Davy Jones, quoted in The Glory of their Times by Lawrence S. Ritter


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Baroque Articulation mark

[Laura Conrad]

I'm transcribing a flute sonata from an eighteenth centuray facsimile,
and there's a decoration that I don't know either what it means (so that
I could translate it into an equivalent modern articulation mark), or
how to produce something that looks like that in lilypond.  I'm
attaching a scan.  Any help would be appreciated.

The source is the Performers' Facsimiles edition of Dix Sonates by
Godfrey Finger.

attachment: decoration.jpg
-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

This song is Copyrighted in U.S., under Seal of Copyright #154085, for
a period of 28 years, and anybody caught singin' it without our
permission, will be mighty good friends of ourn, cause we don't give a
dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote
it, that's all we wanted to do.

Woody Guthrie
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Re: Baroque Articulation mark

[Laura Conrad]

 Laura == Laura Conrad lcon...@laymusic.org writes:

Laura I'm transcribing a flute sonata from an eighteenth centuray
Laura facsimile, and there's a decoration that I don't know either
Laura what it means (so that I could translate it into an
Laura equivalent modern articulation mark), or how to produce
Laura something that looks like that in lilypond.

I should have said it's two short, slanted parallel lines above the note.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

forsan et haec olim meminisse iuvabit.  Vergil

This will make a good story to tell the grandchildren, if we live that
long.  Conrad Translation.



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Re: Baroque Articulation mark

[Laura Conrad]

 Phil == Phil Holmes m...@philholmes.net writes:
 
 I'm transcribing a flute sonata from an eighteenth centuray facsimile,
 and there's a decoration that I don't know either what it means (so that
 I could translate it into an equivalent modern articulation mark), or
 how to produce something that looks like that in lilypond.  I'm
 attaching a scan.  Any help would be appreciated.
 
 The source is the Performers' Facsimiles edition of Dix Sonates by
 Godfrey Finger.

Phil A caesura?


That does look right, except for being between the two notes instead of
above the half note.  

My problem with that being what it *means* is not only that it's above
the note, but that there isn't one in the bass line, which you would
expect to need since the Basso and the Fluto aren't in score. (Which is
why I'm transcribing it.)  And as a bass line player, I wouldn't pause
at that point. (See
http://clavichord.cantabileband.org/~newlily/music/finger/10sonatas/II/adagio-I.pdf
for the transcription of the whole movement.)  So I suspect some kind of
note shortener or accenter is a better modern translation.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

The opposite of funny isn't serious; the opposite of both funny
and serious is sordid.

R. A. Lafferty


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Re: Mixing notation and lyric entry

[Laura Conrad]

 Michael == Michael Ellis michael.f.el...@gmail.com writes:

Michael Any suggestions for how to write the \withLyrics function?
Michael Or is there an existing clean solution I haven't found yet?

I always used to wish for that, and then I figured out how to use
point-and-click and I don't need it any more.

Before I figured that out, I solved the problem by using ABC and abc2ly,
which does let (require that) you enter the lyrics right under the notes:

  AB   C
w:Play the game

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

At dawn, the magpie sings, and by day the black cockatoo wing their
way across a sunny sky.  The koala, possum, dingo and carpet snake are
silent on the land below.  A mist covers the mountains.  We and our
land are crying for you.

Eve Fesl, Matriarch of the Gubbi Gubbi tribe, eulogizing Steve Irwin


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Re: musescore

[Laura Conrad]

 Ed == Ed Ardzinski ed_ardzin...@hotmail.com writes:
 
Ed Does anyone have an opinion if it's a good manuscript program?
Ed Not that I am interested in stopping my use of Lilypond...

I've been using it to import capella files (from the web -- it's the
Holborne dances on the Werner Icking site) and export lilypond, and the
lilypond it exports is pretty good.  (I think the deficiencies I have to
hand-code around are in the capella import.)

I've also tested entering notes via a MIDI keyboard, and that sort of
works, but not well enough to tempt me away from emacs.  I wouldn't even
think of entering notes in a GUI program by hand.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Unless you are educated in metaphor, you are not safe to be let loose
in the world.

Robert Frost, in Education by Poetry

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Re: Emacs lily mode

[Laura Conrad]

 Tim == Tim McNamara tim...@bitstream.net writes:

Tim Nicolas Sceaux wrote:
 Having a useful lilypond mode in Emacs would be really great.

Tim Using the existing lilypond-mode for all my .ly file editing already
Tim and it's pretty useful to me-

Me, too.

Tim but of course there is always room for improvement.  What are
Tim you thinking that you'd like to see?

The existing misfeature that bothers me the most is that if you have
emacs debugging set the way I normally do, some of the way I normally
type lillypond lands me in a debug window. 

For instance, for my work, I usually have the default bar type set to
empty, and then when I want the bar at the end of the piece, or
between sections in the middle, I'll
type something like:

\bar |.

but somewhere in that, I end up in the debug window and have to move
back to my lilypond typing window.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

It is important not to separate mathematics from life. You can explain
fractions even to heavy drinkers. If you ask them, ‘Which is larger,
2/3 or 3/5?’ it is likely they will not know. But if you ask, ‘Which
is better, two bottles of vodka for three people, or three bottles of
vodka for five people?’ they will answer you immediately. They will
say two for three, of course.

Israel Gelfand, in a 2003 interview with the New York Times

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Re: Emacs lily mode

[Laura Conrad]

 Nicolas == Nicolas Sceaux nicolas.sce...@free.fr writes:

Nicolas Le 15 juil. 2010 à 16:06, Tim McNamara a écrit :

 What are you thinking that you'd like to see?

Nicolas - quick note entry, with instant audio feedback.

I second this.  I'm using my USB MIDI keyboard to enter notes, which
reduces octavation errors by an order of magnitude, at the cost of an
occasional spelling error. but I can't get the audio feedback, which I'd
really like, but not enough to give up emacs and use one of the GUI
programs that export lilypond.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

G.P. 7: Never despise a drink because it is easy to make and/or uses
commercial mixes.  Unquestioning devotion to authenticity is, in any
department of life, a mark of the naïve -- or worse.

Kingsley Amis, _On Drink_


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Re: LilyPond to Finale :-(

[Laura Conrad]

 Patrick == Patrick Schmidt p.l.schm...@gmx.de writes:

Patrick 1) If you manage to open the .ly-file with MuseScore you can 
export to
Patrick MusicXML and then import the .xml-file with Finale.

MuseScore is a good program, but if that doesn't work, there are several
other GUI programs (rosegarden?, noteedit, denemo) that take lilypond
input and output various formats.  I would count on doing a fair amount
of editing, but it might be more reliable, and take a *little* less time
than just entering the notes again.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

When I die and there's a memorial service, I want you to go to the
piano and play _The Man I Love_ in my key. If I don't come out on that
stage, then you'll know I'm gone.

Kitty Carlisle Hart, (Quoted at her memorial service, where they did
in fact play _The Man I Love._)

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Re: master file in emacs lilypond mode

[Laura Conrad]

 moboyle79 == moboyle79  moboyl...@hotmail.com writes:

moboyle79 At the bottom of the file being edited, put

moboyle79 %%% Local Variables: 
moboyle79 %%% LilyPond-master-file: SomeMasterFileName.ly
moboyle79 %%% End: 

Thanks, this works, and is exactly what I wanted to know.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

America, where you're free to say anything you want, and you'd better
not say what you're not supposed to!

Tommy Smothers, quoted by Cory Doctorow on the Boing Boing blog


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flag on mensural custos

[Laura Conrad]

I was explaining to someone what a custos was and what it looked like,
and I realized that I have no idea why the flag on the mensural custos I
use goes up sometimes and down other times.  

Reading the documentation
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-internals-big-page#custos_002dinterface,
it looks like it's determined by the position on the staff.

Now that I look at them, all the facsimiles I'm using at the moment
(Petrucci, Phalese, and Holborne) only have the upward flag, so what's
the authority for using the downward flag at all?  Has anyone figured
out the code for setting neutral-position so that there aren't any?
(Yes, I could get it on the third or fourth try, but if someone's
already got a snippet...)

For those of you who haven't flipped immediately to the documentation,
it says:

 neutral-position (number)

Position (in half staff spaces) where to flip the direction of
custos stem. 

I'd have to set up a test case with custodes on each line and space and
then guess what the default number and direction for this number was and
determine by trial and error what the number I wanted was.  If the
internals documentation would document the defaults for all numbers, it
would save people like me who only try to tweak such things once or
twice a year a lot of time.

And I should report this as a bug, but it looks like lilypond-book
2.12.3 is clipping the flag (which extends past the staff lines).  This
is a regression since 2.10.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Mom got to be quite a rabid fan, though...Everything I did was
sensational as far as she was concerned.  Now my father, as far as
*he* was concerned I never got a hit.  If I got a single, my mother
would scream, Willie's hit a triple.  And Pop would say, Ach, the
guy should have caught it.

Willie Kamm, quoted in The Glory of their Times by Lawrence S. Ritter



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Re: Lilypond and Wordpress

[Laura Conrad]

 Jonathan == Jonathan Wilkes jancs...@yahoo.com writes:

Jonathan  Does anyone have some experience using
Jonathan lilypond-book together with wordpress?  I'd like to make
Jonathan a blog entry in html, then run lilypond-book on it and
Jonathan upload it to the webserver as a blog entry.  But I'm
Jonathan having to change all the image links to fit the
Jonathan wordpress directory structure.  

Why is that? My wordpress blog has lots of links to images outside of
the wordpress directory structure.

Jonathan Does anyone have some tips on the best way to do blog
Jonathan entries with lilypond snippets?  

I haven't been doing a lot of it, and when I do it's generally to
things I've already published outside of the wordpress blog.  But
getting the lilypond into a .png isn't a problem.  I have a tool I
wrote to put an image into the wordpress media library, so I just say
addmedia.py filename and it tells me the link to use to reference
it.  

I also do all my blog writing in html (using emacs psgml mode), and
use the raw html plugin to have wordpress render them.

I posted addmedia.py to my blog at
http://serpentpublications.org/laymusic/?p=1353.


-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

The opposite of a correct statement is a false statement. But the
opposite of a profound truth may well be another profound truth.

Niels Bohr



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Re: Lilypond and Wordpress

[Laura Conrad]

 Jonathan == Jonathan Wilkes jancs...@yahoo.com writes:

Jonathan The problem I'm having is that when I run lilypond-book,
Jonathan it makes a relative link for images, and it seems like
Jonathan on the web server I need to give a full url for images;
Jonathan currently I can't get them to display with the relative
Jonathan links.

Wordpress assumes that a relative link is to the main wordpress
directory.  lilypond-book is probably assuming that a relative link is
to the directory the html is in.  Wordpress can't exactly do that,
since it has the html in a database.  

I haven't used lilypond-book with html much, but maybe you can either
tell it where the base of the links is and put the images there, or do
some script munging of the links so that they'll go where wordpress
wants to put them.  If you use the wordpress media, there's a
date-related directory structure, so all the images you add today will
be in the same directory.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I know not with what weapons World War III will be fought, but I know
that World War IV will be fought with sticks and stones.

Einstein



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Re: Ancient tablatures

[Laura Conrad]

 Marc == Marc Hohl m...@hohlart.de writes:

 I've made some efforts to transcribe the tablature, but what I want
 ideally is to transcribe what's there, in an input form that doesnt'
 require me to translate the tablature into notes, and then use that
 transcription plus the tuning of the strings to produce both a
 tablature that looks like the one in the facsimile and standard
 notation that a modern keyboard player could deal with.
 

Marc That's an interesting point - I think Dana Emery posted to
Marc the users list that writing tablature as normal notation and
Marc letting lilypond do the translation into tablature is at
Marc least not always the best way.

As a transcriber, I would *always* prefer a transcription method that
doesn't depend on me doing complicated calculations from my input.  In
the case of tablature, lots of the real users have never used it in a
way that went through note names in their heads, and then there are
transcribers like me who've never used tablature to play from at all.

Of course, if you're transcribing from standard notation, and just
want the tablature as output, you have a different problem.

If you've ever known a guitar player who has trouble playing a G when
asked, you can imagine that a lute player might well be playing a
tablature of a 4-part polyphonic piece without really knowing all the
note names.

So an input method that says play the fourth fret on the fourth
string is definitely better than one that says play A, even if
you're also saying the fourth string is tuned to F.

Marc Hm, then let's try to nail it down: how would you like to input
Marc tablature? 

I think people should look at abctab2ps, which I mentioned the other
day, but when I was actually entering that, I found it a little
cumbersome.  And of course, it's based on ABC syntax, and we'd want
something based on lilypond syntax.

The feature that was cumbersome was that you had to treat every
column in the tablature as an ABC chord.  It seems to me that the
natural input method for tablature would be something like:

here's a new column

Here's the length of this column (actually the time between
the start of this column and the next one, as strings that
aren't refretted by the next column can be left to vibrate).
This would be optional, as it wouldn't be necessary to repeat
it if the length were the same as the previous column.

Here are the strings that are fretted in this column. I think
the abctab2ps for that is quite compact and straightforward.
A string that's skipped is notated with a comma; one that has
a letter uses that letter; if there are unfretted strings
below the last fretted one, you don't have to specify them. 

So here's some abctab2ps:

   [,db,,d2][,d1][,b][,ab,,d2][,db,,d1][a]

Note that in ABC, there's a default note length, so the chords
without a length are the default length (in this case, 4), not the
length of the previous note.  And in ABC the [] surround a chord.

I found writing all those square brackets to indicate new columns a
pain, but of course the right editor macro could have fixed that.  And
of course, if we were doing it as part of lilypond, we'd want to use
lilypond-like chord and length indications.  

And of course instead of just asking someone who's transcribed a few
French Tablature pieces in abctab2ps, you should also ask people
who've used the other tablature generating programs (Fronimo,
Finale...), and people who've used Italian and German tablatures.

Marc or we can use some converters which translate the lute
Marc tablature into lilypond syntax, which again translates this
Marc into a nicely formatted tablature.

I'd find that somewhat baroque, which might be suitable.  I did think
for a while about writing a python program that would produce ABC (and
then lilypond) from abctab2ps.

I wrote most of this yesterday, before the discussion between Carl and
Mark had continued.  I agree that it's more important to get the
output right than to have an input mode *right now*.  Maybe the
tab2abc and abc2ly route does make sense, if lilypond gets to where it
can produce something like the original.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I've been singing. I've been taking a part in White sand and grey
sand.  I don't know anything about it. Never mind. I'll take any part
in anything. It's all the same, if you're loud enough.

Charles Dickens, _Little Dorrit_


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Re: Ancient tablatures

[Laura Conrad]

 Marc == Marc Hohl m...@hohlart.de writes:

Marc I am not at all familiar with these old tablatures, but they
Marc look just amazing, so simply for typographic and aesthetical
Marc reasons, these should be made possible with lilypond.

Actually, there are good musical reasons, too.  In the 16th and maybe
most of the 17th, and in some places longer than that, the
dominant instrument which could play many notes at a time was the
lute, or various other plucked string instruments which could read the
same tablature.

So this means that lots of the kinds of music which would later be
published with keyboard accompaniment, which lilypond transcribes very
well, was published with lute tablature.

So my edition of all the part songs of John Dowland
http://serpentpublications.org/wordpress/?page_id=22id=4 (which
many people think of as lute songs, but most of them are really
accompanied madrigals) is really incomplete, because I've
only transcribed the vocal lines, and in general not the lute
tablature.

For a lot of them, the lute tablature is very little different from
just a transcription of the vocal lines, but in others there's a lot
of decoration.  

I've made some efforts to transcribe the tablature, but what I want
ideally is to transcribe what's there, in an input form that doesnt'
require me to translate the tablature into notes, and then use that
transcription plus the tuning of the strings to produce both a
tablature that looks like the one in the facsimile and standard
notation that a modern keyboard player could deal with.

Lute players should note that I'm aware that tablature has different
information from notation: specifically that the beginning time of the
note is specified, but not the length of the note.  However, I believe
that good keyboard players are just as capable as lute players of
making the decision about where to end the note; they just aren't as
capable as players of 6-course fretted instruments of playing
tablature for 6-course fretted instruments.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

Copyright law has abandoned its reason for being: to encourage
learning and the creation of new works. Instead, its principal
functions now are to preserve existing failed business models, to
suppress new business models and technologies, and to obtain, if
possible, enormous windfall profits from activity that not only causes
no harm, but which is beneficial to copyright owners.

William Patry, in his farewell post on The Patry Copyright Blog.



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Re: Ancient tablatures

[Laura Conrad]

 Trevor == Trevor Daniels t.dani...@treda.co.uk writes:

Trevor Fronimo uses its own custom fonts for this style.
Trevor They are licensed with the phrase:

Trevor The fonts coming with Fronimo are given for
Trevor free, but  their  use  is restricted to non
Trevor commercial purposes for unregistered users.

Trevor So they would not be available for use in LP
Trevor under our current license, which permits
Trevor commercial use.

Someone should look at the fonts in abctab2ps,
http://www.lautengesellschaft.de/cdmm/, which I would expect to be
licensed under a free license, and to include most of what lilypond
would need.


-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I figure what I can't play in tune, I can always smother in
agréments!

Roland Hutchinson, on rec.music.early



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Re: another route from MIDI to lilypond (from NtEd developer)

[Laura Conrad]

 Joerg == Joerg Anders j...@informatik.tu-chemnitz.de writes:

  The version I saved hadn't
  spelled the flats right, either, but I think I might have fixed that
  later.
 
Joerg Could you please tell us what is misspelled ? Is it really
Joerg the bes instead Bb ?
 
 No, it's ais instead of bes.
 

Joerg 1.8.1 says bes .

Not when I run it.

Joerg And even if the MIDI file doesn't contain a Bb major key
Joerg signature. As soon as you change the key signature to Bb as
Joerg described at:

Joerg   
http://vsr.informatik.tu-chemnitz.de/staff/jan/nted/doc/ch01s07.html#staff_props

Joerg NtEd moves the ais from 2nd gap to 3rd note line and changes the #
Joerg against b. And the LilyPond exporter calls this bes.

Yes, but then I have to do that for each of the 5 staves.  And the
next MIDI file I look at has a key signature with no flats or sharps
(actually a D dorian, so there are lots of A#'s which should be Bb's).
So the workaround I've found is to change it to F major with the
adjust notes box checked, and then uncheck the adjust notes box
and change it back to C major. But doing this for each of the five
staves is starting to be more trouble than doing it in emacs.  After
all, what we really want is for midi2ly to do the right thing so
that we don't have to run a GUI for this purpose.

Joerg Perhaps I'll introduce an English button which places an
Joerg 'include english.ly' and uses the English note names.

That may be a good idea for some users, but I don't actually ever use
English note names.  Compared to all the other things I had to learn
to use lilypond, es and is were pretty easy.


-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

After much pondering, I think I understand a basic reason why a glass
of something reviving is so welcome in the early evening.  Partly, of
course, it's just that, to revive, to relax, but it's also a
convenient way of becoming a slightly different person from your
daytime self, less methodical, less calculating -- however you put it,
somebody different, and the prospect of that has helped to make the
day tolerable.  And, conversely, it's not having that prospect that
makes the day look grim to the poor old ex-boozer, more than missing
the alcohol as such.  Changing for dinner used to be another way of
switching roles.  Coming home from work has a touch of the same
effect.

Writers haven't got that advantage -- when they finish work they're at
home already.  So perhaps they need that glass of gin extra badly.
Any excuse is better than none.

Kingsley Amis, _Every Day Drinking_



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Re: another route from MIDI to lilypond (from NtEd developer)

[Laura Conrad]

 Martin == Martin Tarenskeen m.tarensk...@zonnet.nl writes:

 NtEd has such a --key=... option implicitely! 

 I can't see any problem here.

Martin Yes, NtEd does a pretty good job. 

I didn't find that with my sample -- it was the only one of the
programs that didn't split the voices out correctly.  There should be
5 separate voices, and nted created only 3. The version I saved hadn't
spelled the flats right, either, but I think I might have fixed that
later.

Martin It's just that I'm a commandline fan and want to try to
Martin debug and improve midi2ly anyway.

I agree.  It would be nice to be able to run all 65 Holborne _Pavans,
Galliards, Almains and other short Aeirs,_ in one fell
swoop. http://icking-music-archive.org/ByComposer/Holborne.php

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

You can't lead if no one will follow.  People throw up their hands,
then sit on them.  They just want to get on with their lives.  The
leaders keep saying, We need strong leadership, then they sneak off
to peek at their poll ratings.

Margaret Attwood



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Re: another route from MIDI to lilypond (from NtEd developer)

[Laura Conrad]

 Joerg == Joerg Anders j...@informatik.tu-chemnitz.de writes:

Joerg On Tue, 29 Sep 2009, Laura Conrad wrote:
 I didn't find that with my sample -- it was the only one of the
 programs that didn't split the voices out correctly.  There should be
 5 separate voices, and nted created only 3.

 From where do you know there are 5 voices? Or do you mean
 staves ?

I mean it's a five part piece. I need to print the parts either on
separate pages or separate staves.  Even someone who was doing a piano
reduction wouldn't want the lilypond to notate them as chords, the way
nted does.

Joerg Which version of nted we are speaking about ?

1.4.17 as packaged on Ubuntu 9.4.

 The version I saved hadn't
 spelled the flats right, either, but I think I might have fixed that
 later.

Joerg Could you please tell us what is misspelled ? Is it really
Joerg the bes instead Bb ?

No, it's ais instead of bes.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

From a pound of iron worth a few pennies can be made many thousand
watch-springs, which are worth hundreds of thousands. Put to good use
the pound that God has given you.

Robert Schumann, Preface to 'Album für die Jugend'


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Re: finale-lilypond?

[Laura Conrad]

 Frédéric == Frédéric Bron frederic.b...@m4x.org writes:

Frédéric A friend of mine is used to Finale. I try to convert him
Frédéric to lilypond.  What is the best way to convert a score
Frédéric from Finale to Lilypond?  Regards,

What *ought* to be the best way is to have Finale save the file as a
MusicXML file, and then use musicxml2ly to convert it.  

I don't have any experience with doing this -- the Finale users I know
refuse to find options in the Finale menus.  If you want to try it
out, there do seem to be some MusicXML files on the Werner Icking
Archive that probably come from
Finale. 
http://www.google.com/search?btnG=Google+Searchbrut_query=musicxmlq=musicxml+site%3Aicking-music-archive.org+-filetype%3Apdf+-Events-revisions.php+-Events-revisions.html+-Events-revisions_src.html+-Events.php+-Events.html+-Events_src.html+-Events-all.html+-Events-all_src.html+-Statements.html+-include_all.log

My experience of reporting bugs in MusicXML is that they do get
addressed.

There is a program called etf2ly, which converts the Finale etf file
to a lilypond file.  It isn't completely useless.  I have vague
memories that it leaves a lot of work for the user in the case of
music I've used it for.  For instance, it might extract lyrics, but
not associate them with the correct line of music, or maybe only
extract one set of lyrics even for a polyphonic piece with different
lyrics for each voice.  

In any case, it's no longer being maintained, and I think I saw a
proposal to remove it from the lilypond distribution.  I'm not sure
whether current versions of Finale export ETF.  There certainly are
old versions of Finale which export ETF and not MusicXML.

There have been other threads about the problems with using midi2ly as
an exchange format for music notation.  I don't recommend it if you
can use an input format (such as MusicXML) that actually has the
information lilypond wants.  There are still people with some interest
in fixing midi2ly, but there are also some bugs that have been there a
long time.  I spent a good bit of yesterday trying all the routes I
could find for getting from MIDI to lilypond for the MIDI file
http://icking-music-archive.org/scores/holborne/pavanes1599/01_bona_speranza.mid,
and found the Rosegarden converter was the best at not spelling the
notes wrong.  It was a piece in G minor (actually written as G
dorian), so you would expect most of the accidentals to be Bb's, Eb's,
and F#'s.  midi2ly insisted on spelling them ais, dis, and fis, in
spite of my telling it the key signature I wanted.  Rosegarden got
them right.

I hope this helps.  I also hope someone else knows more than I do and
enlightens both of us, particularly about actually using musicxml2ly
for this purpose.  

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

There is no such thing as bad publicity except your own obituary.

Brendan Behan (1923 - 1964)



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Re: another route from MIDI to lilypond

[Laura Conrad]

 lasconic == lasconic  lasco...@gmail.com writes:

lasconic Out of curiosity, which software packages did you try?

midi2ly, midi2abc, noteflight, nted.  These all had spelling errors.

I just tried rosegarden, which exports lilypond directly.  It looks
pretty good, and may be tweakable to be even better if I figure out
either how to get it to speak English or how to understand all the
German options.

lasconic Did you try MuseScore http://www.musescore.org?

It does seem to spell better than some of the others (rosegarden wins
on that score so far), but unlike the others, it gets some length(s?)
wrong so that not all the parts are the same length.  As someone
pointed out in a comment on my blog entry, fixing spelling errors is
actually fairly easy compared to finding data entry errors, which is
why to do this exercise at all.  (The person who created the MIDI file
did a good job of proofreading his data entry.)

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

There is a law that no formal fromework of an organisation, or a
society, can affect.  Or not for long.  It is that those who do the
work are the real rulers of it, no matter how they are described.

Doris Lessing, The Sirian Experiments



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another route from MIDI to lilypond

[Laura Conrad]

I was frustrated only this week by the problems of getting a MIDI file
into lilypond via midi2ly, so when I got a newsletter from Noteflight
http://www.noteflight.com/ saying that they now have MIDI import, I
did a quick test.  

It turns out to be fairly simple to import the MIDI file into
noteflight, export a MusicXML file from noteflight, and import the
MusicXML into lilypond via musicxml2ly.

The result has different problems from the one produced by the midi2ly
route, but they may be easier for some people to deal with.

I have blogged about this in more detail at
http://www.serpentpublications.org/laymusic/?p=1531. 

The noteflight score that comes out of the MIDI import step is at
http://www.noteflight.com/scores/view/355f8b7e0db88c42ae07d87a1be593c5bb3d7bd6.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

I believe in hell because the theological virtue of faith makes me
believe in hell, but the theological virtue of charity makes me
exercise the theological virtue of hope that no one is there!

Teilhard de Chardin, quoted by Cokie Roberts in _Being Catholic Now_
by Kerry Kennedy


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Re: another route from MIDI to lilypond

[Laura Conrad]

 Villum == Villum Sejersen v...@privat.tdcadsl.dk writes:

Villum Both of you ought to take a look at Jöerg Anders' NtED,
Villum which to my experience has good import/export
Villum facilities. Both the application and the source code (C++)
Villum look very impressive to me.

A quick test on the same MIDI file as earlier shows that it spells Bb
wrong, and doesn't correct it if I edit the key signature.  I know
that's not the only thing wrong with MIDI import routines, but it
seems like a pretty simple thing to get right, and so far most of the
ones I've tried this week get it wrong.  Including midi2ly, which
allegedly does have an option for telling it how to spell Bb, but as
far as I know that feature has never worked.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

When I die and there's a memorial service, I want you to go to the
piano and play _The Man I Love_ in my key. If I don't come out on that
stage, then you'll know I'm gone.

Kitty Carlisle Hart, (Quoted at her memorial service, where they did
in fact play _The Man I Love._)


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Re: some problems with mensural music

[Laura Conrad]

 Denis == Denis Roegel denis.roe...@loria.fr writes:

Denis   2) the ligrature \[g1( f)\] comes out with a slur, but I
Denis  would like to avoid the slur; however, if I remove
Denis  (...), the synchronization of the lyrics is screwed up
Denis  ; how can I put one syllable on \[g1( f)\] without
Denis  having the slur appear? In my 16th century example
Denis  which I try to mimic, there are no slurs;

Try:

\override Slur #'transparent = ##t

Denis   3) I would like a key like mensural-f, but on the third
Denis  line, not on the second line from the top; is this
Denis  possible?

Yes, but it's clumsier than one would wish.  Here's how I do it:

\version 2.12.0
\addInstrumentDefinition #mensuralf3
  #`( (clefGlyph . clefs.mensural.f) 
 (middleCPosition . 4)
 (clefPosition . 0))
 \instrumentSwitch mensuralf3

I've set a lot of sixteenth century music, and have the lilypond
sources up at http://www.serpentpublications.org, if you want to
look at them for other tricks.

-- 
Laura   (mailto:lcon...@laymusic.org)
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
http://www.laymusic.org/ http://www.serpentpublications.org

The good life, as I conceive it, is a happy life. I do not mean that
if you are good you will be happy - I mean that if you are happy you
will be good.

Bertrand Russell



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Re: Petrucci-like spacing?

[Laura Conrad]

 Carl == Carl D Sorensen c_soren...@byu.edu writes:

Carl Does this seem at all promising?
 
 Yes, but there's still the problem of extra space at the barline.  I
 tried Michael's solutions and doing nothing at all and there's still
 extra space after the 4th whole note.

Carl How about this?

Carl \relative c'' {
Carl   \key f \major
Carl \cadenzaOn
Carl g1*1/4 bes1*1/4 a1*1/4 g1*1/4 g1.*1/6 c4 bes4 c1*1/4
Carl }

Carl I think that gets rid of the extra space.

Yes, it does.  

As I remember it there are some disadvantages to telling Lily to not
think about bars, even if you don't want them printed, but I think you
can deal with them.  So if someone were to write a petrucci spacing
algorithm, I'd probably use it for some of the things I do with those
giant note values.

Thanks.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

Strong hope is a much greater stimulant of life than any realized joy
could be.

Nietzsche



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Re: Petrucci-like spacing?

[Laura Conrad]

 Laura == Laura Conrad lcon...@laymusic.org writes:

Carl How about this?

Carl \relative c'' {
Carl \key f \major
Carl \cadenzaOn
Carl g1*1/4 bes1*1/4 a1*1/4 g1*1/4 g1.*1/6 c4 bes4 c1*1/4
Carl }

Carl I think that gets rid of the extra space.

Laura Yes, it does.  

Laura As I remember it there are some disadvantages to telling Lily
Laura to not think about bars, even if you don't want them printed,
Laura but I think you can deal with them.

Now that I've done the whole tenor part, it comes back to me why nobody
uses \cadenzaOn as a way to get unbarred music.  It doesn't by default
do any linebreaking.  So you can put in \set Score.barAlways = ##t,
but when I did that in this particular piece, it broke a dotted rhythm.
They actually did print that way in the sixteenth century, but nobody I
know in the twentyfirst century wants to read something printed that
way.  So you're only going to do this in situations where you don't mind
doing the line breaking manually.

I posted the result of this on my blog as Lilypond vs. Petrucci, round
3. http://laymusic.org/wordpress/?p=1079.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

The good Christian should beware of mathematicians, and all those who
make empty prophecies. The danger already exists that the
mathematicians have made a covenant with the devil to darken the
spirit and to confine man in the bonds of Hell.

St. Augustine, De Genesi ad Litteram, Book II, xviii, 37


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Preview?

[Laura Conrad]

Back in the olden days (lilypond 2.0 or so) there used to be a command
line option --preview which would produce a .png file of the first line
of the piece.

It seems to have been removed, and I'd like to have something like that
for the new website.  

I could probably write a script that would do a version without the
headers and print one line per page and trim the first page.  But is
this the right approach, and if so has someone already done anything
like this?  If not, how would you do it?

The new website is starting to be ready for *friendly* eyes at
http://www.serpentpublications.org/wordpress.  I still don't have the
music images I asked about a couple of weeks ago; I'm hoping to get back
to that problem tomorrow or Monday.  

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

With all these books, as with any on the subject, do not expect to
turn yourself into an expert via the printed word alone.  You can
commit to memory everything Lichine has to say about Gevrey-Chambertin
and still have no idea whether you would like the wine.

Kingsley Amis, _On Drink_



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Re: Preview?

[Laura Conrad]

 Francisco == Francisco Vila paconet@gmail.com writes:

Francisco does not

Francisco   lilypond -dpreview file.ly

Francisco work for you?

Thanks.  

Francisco it is listed in

Francisco 
http://lilypond.org/doc/v2.12/Documentation/user/lilypond-program/Command-line-options-for-lilypond#Command-line-options-for-lilypond

I missed that.  I googled and looked at lilypond --help, but didn't go
so far as to actually read the manual.  Sorry about that.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

Copyright law has abandoned its reason for being: to encourage
learning and the creation of new works. Instead, its principal
functions now are to preserve existing failed business models, to
suppress new business models and technologies, and to obtain, if
possible, enormous windfall profits from activity that not only causes
no harm, but which is beneficial to copyright owners.

William Patry, in his farewell post on The Patry Copyright Blog.



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Re: Petrucci-like spacing?

[Laura Conrad]

 Michael == Michael Lauer mrlau...@yahoo.com writes:

Michael Laura Conrad lconrad at laymusic.org writes:
 
 But when I transcribe Petrucci from the facsimile, the spacing lilypond
 does always looks clunky, especially in the parts with large
 note-values.
 

 
 I believe Petrucci's spacing is just equal spacing for every note, no
 matter what its value.  
 
 Does anyone have any tricks for making lily's output look a little more
 like that?

Michael I was able to get closer to what I think you want by:

Thanks, that looks a lot better.

Michael So the layout block looks like this:

Michael \layout {
Michael\context{
Michael  \Staff
Michael \consists Custos_engraver
Michael \override Custos #'style = #'mensural

Michael \override BarLine #'extra-spacing-width = #'(+inf.0 . 
-inf.0)
Michael  }

Michael  \context {
Michael   \Score
Michael   defaultBarType = 
Michael   \override SpacingSpanner
Michael #'base-shortest-duration = 
#(ly:make-moment 1 1)
Michael   \override SpacingSpanner
Michael #'shortest-duration-space = #1
Michael }
Michael \context {
Michael \Voice 
Michael \consists Ambitus_engraver
Michael \override NoteHead #'extra-spacing-width  = #'(-.4 . 
.4)
Michael \override Rest #'extra-spacing-width  = #'(-.4 . .4)
Michael \override NoteHead #'extra-spacing-height  = #'(-inf.0 
. +inf.0)
Michael \override Rest #'extra-spacing-height  = #'(-inf.0 . 
+inf.0)
Michael }
Michael }


Michael Hope that's useful--

I think so.  There's a lot of stuff where modern transcribers typically
halve or even quarter the note values, and I'd prefer not to but it's
problematic with the normal lilypond  spacing. (One reason it probably
became common is that the same is true of other printing based on 19th
century engraving practices.)

Whether it makes my website as beautiful as I'm hoping remains to be
seen, but I'll let you know.

You can see the spacing with Michael's layout on my blog entry for
today: http://laymusic.org/wordpress/?p=974

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

Anyone can do any amount of work provided it isn't the work he is
supposed to be doing at the moment.

Robert Benchley


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Petrucci-like spacing?

[Laura Conrad]

In general, I love the way lilypond output looks when compared with
other computer-generated sheetmusic.

I'm aware that the ideal espoused by the developers is the 19th century
hand-engraved sheet music.

I usually like the look of my lilypond output as compared with the late
sixteenth and early seventeenth century printers I usually transcribe.

I always like the look of lilypond output as compared with anyone's
hand-written music.

But when I transcribe Petrucci from the facsimile, the spacing lilypond
does always looks clunky, especially in the parts with large
note-values.

I've recently figured out that the large note-values look better if you
put:

   \context{
\Score
 \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 
1)
}

in the \layout block.

I believe Petrucci's spacing is just equal spacing for every note, no
matter what its value.  

Does anyone have any tricks for making lily's output look a little more
like that?

I'm trying to redesign my website, and one idea I have is to have a
graphic in the header with a facsimile on one side and lily's output on
the other.   So it's important that people not look at the lilypond
output and say, Wow, that's ugly compared to the facsimile.  Of course
one way to do that would be to use an ugly facsimile (of which there are
many), but it would be more fun to use a beautiful facsimile and also
have beautiful lilypond.

If you want to look at the Petrucci, one example is at
http://clavichord.cantabileband.org/~newlily/music/josquin/adieu/adieu-p1.png.
The lilypond output I have at the moment for that is
http://clavichord.cantabileband.org/~newlily/music/josquin/adieu/cantus.png
and 
http://clavichord.cantabileband.org/~newlily/music/josquin/adieu/tenor-nowords.png

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   


I've been singing. I've been taking a part in White sand and grey
sand.  I don't know anything about it. Never mind. I'll take any part
in anything. It's all the same, if you're loud enough.

Charles Dickens, _Little Dorrit_


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Re: Aligning a D.S. al Fine at the end of a piece.

[Laura Conrad]

 Tim == Tim Rowe digi...@gmail.com writes:

Tim 2009/5/13 Kieren MacMillan kieren_macmil...@sympatico.ca:
 So TextScript has a default #'font-size value of 0, the score's normal
 size. So it *should* [warning: untested] work to just set the 
RehearsalMark
 #'font-size = #0.

Tim Thanks for digging all of that out. It doesn't work, though, assuming
Tim I'm doing it right.
Tim   \mark \markup{ \italic \fontsize #-0 {D.S. al Fine}}
Tim seems to leave the size unchanged.

This is saying, reduce the fontsize by 0, so I would expect it to be
unchanged.  If you look at what Kieran said, you should have said:

\mark \markup{ \italic \fontsize #0 {D.S. al Fine}}

(note the absence of the - before the 0).

Tim   \mark \markup{ \italic \fontsize #-2 {D.S. al Fine}}
Tim seems to get closer.

Yes, this is saying to reduce the fontsize by 2, which is what you want.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

Unless you are educated in metaphor, you are not safe to be let loose
in the world.

Robert Frost, in Education by Poetry


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Re: Why do Lilyond Engravers have inhibitions to store their score in Mutopia?

[Laura Conrad]

 Hajo == Hajo Dezelski dl1...@googlemail.com writes:

Hajo So my questions:

Hajo  - Why do Lilyond Engravers have inhibitions to store their
Hajo  score in Mutopia?

I average at least one piece a week, and I sometimes get behind just the
overhead to put my work up on my own site, let alone submit it to
somewhere else.

If I were to submit to an external site, the Werner Icking archive seems
like a better choice than mutopia, because people who want music by a
given composer or in a given style are used to looking there.

Hajo  - Are there any hidden fences which I am not able to see?

I don't know what fences you see.  Just having to organize it for
submission is one fence.  Having to do it again if you make a correction
or improvement is another one.

Hajo  - Are the copyright-restrictions the reason for keeping
Hajo  scores hidden?

Not for me; I mostly transcribe music from the 16th and early 17th
centuries, so copyright isn't an issue.

Hajo  - Is Mutopia not worth contributing?

For my purposes, probably not.   If I figure out some particularly
clever use of lilypond, I would believe I should contribute it to the
LSR, but for a particular piece of music, I think it makes more sense to
either have it on my own website or to contribute it to a more central
place where people are looking for music.

In other words, I don't expect people to look for a madrigal typeset in
lilypond; I expect them to look for a three-part madrigal, or a madrigal
by Thomas Weelkes, and mutopia doesn't particularly have a reputation in
the madrigal-performing community as a place to go (unlike Werner
Icking or CPDL).

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

I have finally taught Dean that he can do anything he wants, become
mayor of Denver, marry a millionairess, or become the greatest poet
since Rimbaud. But he keeps rushing out to see the midget auto
races. I go with him.

Jack Kerouac, _On the Road_



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Re: Feat. request: autobehaviour of \unfoldRepeats

[Laura Conrad]

 Kees == Kees van den Doel kvand...@shaw.ca writes:

Kees I would also prefer \unfoldRepeats to be the default. I
Kees frequently use the midi as practice material for the
Kees musicians.  It's also good to have the repeats in the midi
Kees for listening checks to make sure you have all the repeats
Kees correct, or that they sound as you had imagined.

I don't have a problem with the default changing, as long as there's
an easy way to get back the current behavior, preferably from the
command line so that hundreds of files don't have to be edited.

But for me, the currrent behavior (for \repeat volta) is the correct
one.  If I'm typesetting music, it saves a *lot* of proofreading time if
what the MIDI plays is what's on the paper, and not what the performer
is going to play.

When I was using ABC for note entry, this is the major feature that
convinced me to do the proofreading on the lily output and not on the
abcMIDI/abctab2ps output, which does the equivalent of \repeat unfold.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

forsan et haec olim meminisse iuvabit.  Vergil

This will make a good story to tell the grandchildren, if we live that
long.  Conrad Translation.




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Re: LilyPond, Finale and Sibelius

[Laura Conrad]

 Andrew == Andrew Hawryluk ahawry...@gmail.com writes:

Andrew The full report is at
Andrew http://www.musicbyandrew.ca/finale-lilypond-4.html, but here's my
Andrew conclusion:
Andrew At least for me, MIDI entry is much faster than typing the pitches
Andrew and durations myself. 

I prefer MIDI entry to typing the pitches and durations, too, but I'm
not sure it's any faster.  In my case, it's a bit less error prone,
particularly for the wrong octave kind of error in relative mode.

In my case, I use the emacs midi-input-mode for entering with the
MIDI keyboard.

And I think when there are lots of articulations or chords, it
probably gets faster to type than to use the MIDI keyboard.

I've never used either Finale or Sibelius, but I think my typing speed
in lily is about the same as in ABC.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

A computer is like a violin. You can imagine a novice trying first a
phonograph and then a violin. The latter, he says, sounds
terrible. That is the argument we have heard from our humanists and
most of our computer scientists. Computer programs are good, they say,
for particular purposes, but they aren't flexible. Neither is a
violin, or a typewriter, until you learn how to use it.

Marvin Minsky, ``Why Programming Is a Good Medium for Expressing
Poorly-Understood and Sloppily-Formulated Ideas''



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test files for musicxml

[Laura Conrad]

There's a site called http://www.wikifonia.org that has a lot of
lead sheets in both PDF and musicxml.  The one I looked at first
http://www.wikifonia.org/node/847  (Edith Piaf's _La vie en rose_)
might show up some problems with the musicxml2ly import of both chords
and lyrics.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

Gov'r. Thomas was so pleas'd with the construction of this stove, as
described in it, that he offered to give me a patent for the sole
vending of them for a term of years; but I declin'd it from a
principle which has ever weighed with me on such occasions, viz.,
That, as we enjoy great advantages from the inventions of others, we
should be glad of an opportunity to serve others by any invention of
ours; and this we should do freely and generously.

Benjamin Franklin, Autobiography, Chapter 10



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Re: my articles and astroturfng LWN

[Laura Conrad]

 Mats == Mats Bengtsson mats.bengts...@ee.kth.se writes:

Mats I think we can agree that both LilyPond and Sibelius are
Mats among the better options when it comes to typesetting
Mats quality, right?

Sibelius is certainly not one of the better options for establishing
communication with free software.  

They usually have a booth at the Boston Early Music Festival, so one
time I decided to discuss both LINUX and ABC import.  The guy turned
purple and assured me that there was no business reason for doing
either of those things, because all those people want is to get
software for free without paying for it.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

From a pound of iron worth a few pennies can be made many thousand
watch-springs, which are worth hundreds of thousands. Put to good use
the pound that God has given you.

Robert Schumann, Preface to 'Album für die Jugend'


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Re: Review of Valentin's Opera

[Laura Conrad]

 Reinhold == Reinhold Kainhofer reinh...@kainhofer.com writes:

Reinhold The musicians really liked the good look of the score.

Reinhold The only problems appear when trying to create
Reinhold good-looking full scores for the conductor (part
Reinhold combining is unusable and vertical stretching and page
Reinhold layout is also quit bad). But the orchestra material
Reinhold with only one-staff systems can really be done in a
Reinhold quality superior to most commercial scores.

I agree.  I mostly use lilypond for Renaissance polyphony, where the
original performers didn't have access to scores, and I feel strongly
that modern performers can play better from parts, so that they have
to learn how their part fits with the others by ear instead of by
eye.  

But having access to the score does help modern performers analyze,
and that analysis can certainly speed up rehearsals and maybe even
improve the performance.  And I do produce a score in the
process of getting the parts typeset and proofread.   And of course,
anyone who installs [the right version of] lilypond can print the
score as well as the parts.

For quite a while, I wasn't putting the score PDF's up on my site
http://www.laymusic.org at all, but now I've decided that the scores
Lily makes are so bad that nobody would be tempted to perform from
them if they had access to a nice part with good spacing and *a lot*
fewer page turns.  So I have recently modified my scripts so that the
score appears at the end of the parts.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

The dipsomaniac and the abstainer are not only both mistaken, but they
both make the same mistake: They both regard wine as a drug and not as
a drink.

G. K. Chesterton



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Re: Review of Valentin's Opera

[Laura Conrad]

 Kieren == Kieren MacMillan kieren_macmil...@sympatico.ca writes:

Kieren Then again, I *never* use \partcombine, and I manually
Kieren tweak vertical spacing a fair bit, so that might be where
Kieren you are running into problems with your scores.

I've always assumed that with some manual tweaking the scores would be
a lot better.  I don't do it because I'd rather they *weren't* used for
performance.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

There is a law that no formal fromework of an organisation, or a
society, can affect.  Or not for long.  It is that those who do the
work are the real rulers of it, no matter how they are described.

Doris Lessing, The Sirian Experiments



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Re: Using midi2ly

[Laura Conrad]

 Graham == Graham Percival gra...@percival-music.ca writes:

Graham Frankly, I think we should just remove every *2ly convert
Graham apart from musicXML2ly.  Nobody wants to work on them, so
Graham they just get gradually more and more broken over time.

I might support that if we were setting the example by having an
ly2musicXML, but we aren't.  Until then, I think we should keep
anything that's usable, even if the patches don't always arrive in
time so that people don't have to also run convert-ly.

I do occasionally use midi2ly, but I can't claim that it really saves
me much if any time, so I wouldn't be terribly upset if it
disappeared.  But abc2ly definitely saves time and trouble if you have
ABC, and it does sort of get maintained, although mostly on a this
works because so-and-so needed it basis.  So if that went away before
there was an abc2musicXML that was at least as goood as musicXML2ly, it
would be a loss.

There's a lot more ABC out there on the web than there is MusicXML.
And probably more MIDI than there is ABC.  And probably still more etf
than there is musicXML, even though Finale users, unlike a lot of
other transcribers, do have the musicXML option.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

I suppose it can be said I'm an absent-minded driver.  It's true that
I've driven through a number of red lights on occasion, but on the
other hand I've stopped at a lot of green ones but never gotten credit
for it.

Glenn Gould, quoted in A Romance on Three Legs by Katie Hafner



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Re: Sibelius conversion - sib2ly

[Laura Conrad]

 Johan == Johan Vromans jvrom...@squirrel.nl writes:

Johan Yes, it would be very nice to have one good export format
Johan and a good importer. But Sibelius does not produce MusicXML
Johan without the help of an expensive plugin.

As far as I can see, all notation products (including lilypond) are
more interested in getting music into them than in letting users get
it out.  

I was involved in CAD/CAM when they were starting to talk about
neutral file formats for transfer between different products, and it
was hard for those companies to devote resources to something that
would let their users migrate their data to a competitor, too.  Of
course, it's to everone's advantage for everyone else to do it.

I'm sure I've heard that Finale exports musicXML, but my Finale-using
friend can't figure out how.  And I don't seem to run into any XML on
the Werner Icking or CPDL sites.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

...in Calormen, story-telling (whether the stories are true or made
up) is a thing you're taught, just as English boys and girls are
taught essay-writing. The difference is that people want to hear the
stories, whereas I never heard of anyone who wanted to read the
essays.

C. S. Lewis, _The Horse and His Boy_



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Re: Sibelius conversion - sib2ly

[Laura Conrad]

 Matthew == Domain Admin m...@mjs-svc.com writes:

Matthew If anyone's interested, I've started work on a Sibelius
Matthew plug-in to export Lilypond data.

Since it's a Sibelius plugin, that means those of us who mostly use
Linux are out of luck.  

I do run into Sibelius files I'd like to convert from time to time,
but they're on the web at places like CPDL and the Werner Icking
site.  So I couldn't ask the generous people who put them up to
install a test piece of software and convert them for me.  

Isn't it possible to write a standalone program that could be run by
the person who wants the lilypond, and not by the person who wrote the
sibelius?

Would you like me to send you some test data?

Matthew As of yet, all it can get from the score is some metadata
Matthew such as title and composer, and each staff, containing
Matthew all pitches, durations, key signatures, and time
Matthew signatures.  Unfortunately, this excludes lines,
Matthew barlines, tuplets, text, lyrics, and all that jazz. 

I mostly take the barlines out anyway, and tuplets aren't at all
common in the music I do.  But lyrics would be nice.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   
 
If the world could write by itself, it would write like Tolstoy.

Isaac Babel



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Re: \remove has removed clefs-

[Laura Conrad]

 Jay == Jay Hamilton jay...@linuxquestions.net writes:

Jay version 2.10.25
Jay included in \context { \Staff
Jay  \remove Bar_engraver
Jay  \remove Time_signature_engraver
Jay  \override Stem #'transparent = ##t


Jay this has the effect of removing all the clefs from everywhere
Jay except the very first system of the piece.  How can I stop
Jay this?  I think I understand that if there are no bar lines
Jay there is no new system but this seems odd.

Is there a reason why you're removing the bar engraver rather than
just setting the default bar type to empty?  If you remove it, you
won't be able to do repeats or nice end bars, either.

What I do for music without bars (but in my case, with a time
signature) is:

\set Score.defaultBarType = empty


-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

There is no such thing as bad publicity except your own obituary.

Brendan Behan (1923 - 1964)



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Re: \remove has removed clefs-

[Laura Conrad]

 Jay == Jay Hamilton jay...@linuxquestions.net writes:

Jay If you have the time could you point me to the section in the
Jay docs where this additional bit is explained?  I'll try it out
Jay later this afternoon.

I started doing this long before the docs had anything like their
current shape, so it isn't the docs I learned it from.  You can use
almost any of the lilypond source files on
http://www.laymusic.org/bycomposer.html to see how I use it.

But the section about barlines
http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Bars#Bars
is one place to start.  I notice it recommends something different
from what I do:

\set Timing.defaultBarType = 

Which may well be better for some reason I don't understand.  

 What I do for music without bars (but in my case, with a time
 signature) is:
 
 \set Score.defaultBarType = empty

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

Inquisitor: What did you do in the Great War?
James Joyce: I wrote Ulysses.

Tom Stoppard, _Travesties_



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Re: Repeat in the middle of a measure

[Laura Conrad]

 Tim == Tim Slattery slatter...@bls.gov writes:

Tim Mats Bengtsson mats.bengts...@ee.kth.se wrote:
 I guess you have several voices or even several staves involved in your 
 piece. Note that the \repeat volta command should be inserted
 in all voices of music and also have to appear at exactly the same
 place in all the voices. If you don't manage to figure out what the 
 problem is, please send a complete (but small) example.

Tim There are four voice parts, the \repeat volta 2 is in each one at the
Tim same place. I cannot figure out where the extra begin-repeat comes
Tim from.

I have this problem quite frequently with the way I transcribe things,
and my solution is to insert the following in my scores:

\layout {
   \context{
  \Staff
\consists Timing_translator 
\consists Default_bar_line_engraver
\consists Repeat_acknowledge_engraver
}
\context{
  \Score
 \remove Timing_translator 
 \remove Default_bar_line_engraver
 \remove Repeat_acknowledge_engraver
}
}


This removes the bar line and repeat engraving from the score context
to the staff context, so that I can see which staff has the wrong
barlines.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

The opposite of funny isn't serious; the opposite of both funny
and serious is sordid.

R. A. Lafferty



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Re: Missing petrucci-f clef (and other missing clefs)

[Laura Conrad]

 Stefan == Stefan Waler ste...@waler.at writes:

Stefan lilypond provides one petrucci style f clef (called
Stefan petrucci-f).

Stefan Unfortunately, this is not really sufficient: similar to
Stefan the C clefs, f clefs can be placed on various staff lines.

Here's the way I get the mensural F clef on the third line:

\addInstrumentDefinition #mensuralf3
  #`( (clefGlyph . clefs.mensural.f) 
 (middleCPosition . 4)
 (clefPosition . 0))
originalclef={  \instrumentSwitch mensuralf3}

Then \originalclef gives you what you'd expect for mensural-f3.
Attached is a complete file.



bassus-incipit.ly
Description: Binary data

I assume the same kind of thing can be done for the Petrucci F clef.

I agree that it should be easier.  

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

The good life, as I conceive it, is a happy life. I do not mean that
if you are good you will be happy - I mean that if you are happy you
will be good.

Bertrand Russell

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Re: midi keyboard input

[Laura Conrad]

 lasconic == lasconic  lasco...@gmail.com writes:

lasconic Laura Conrad wrote:
 
 The most obvious thing wrong with the note entry is that each measure
 has a comment % measure 1.  If it had the actual measure number it
 would be useful.
 Actually it's easier than that -- I just said apt-get install
 mscore. 
 

lasconic It looks like you find a bug.

I reported it, and they claim it's fixed in later releases.

lasconic Regarding apt-get, you will have the last stable version
lasconic 0.9.3 I think.  

I seem to have 9.2.  I don't know why; someone commenting on my bug
report has 9.3 on Ubuntu 8.10.  In any case, they say they're fixing
lots of stuff about lilypond export, so if I end up going this way,
I'll get a later release.


-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

The family lived so frugally that his mother, Dora, made him shirts
out of scraps of fabric. Once she made herself a skirt out of the back
of the suit that her younger brother was buried in. She didn’t want
the material to go to waste.

Michael Kimmelman, in the NY Times obituary of Robert Rauschenberg


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Re: midi keyboard input

[Laura Conrad]

 Nicolas == Nicolas Sceaux nicolas.sce...@free.fr writes:

Nicolas Le 1 janv. 09 à 23:02, Laura Conrad a écrit :
 It looks like there are rumor-based solutions that might be closer to
 what I need.  I was hoping someone would say, I'm entering notes into
 emacs via keyboard, and here are the programs I use and the order in
 which I start them.  But maybe nobody is entering notes into emacs
 via a MIDI keyboard.

Nicolas I used to do that: entering notes with my left hand on
Nicolas the midi keyboard, and setting durations (and possibly
Nicolas articulation) with my right hand, in an emacs buffer.

Nicolas I was using the combination lyqi+rumor, on linux. I don't
Nicolas know if it still working,
Nicolas though. http://nicolas.sceaux.free.fr/lilypond/
lyqi.html 

I tried it when I first had the keyboard, and don't remember what my
problems were.  When I have a new toy, I just try things until
something works. 

I tried it again a few days ago, and wasn't able to compile rumor for
my current system.  

Nicolas But that won't solve your audio feedback problem. (My
Nicolas keyboard was playing the notes, so I didn't care about
Nicolas that.)

It isn't that hearing the notes is really that important, but I
thought it was something I should be able to do.  

I'm now thinking about whether my toy MIDI drum kit would do it, but the
problem is that the computer doesn't have a sound card.  Of course
there are old sound cards from former computers lying around, but I
really thought the USB stuff plus jack would do this.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

Meek young men grow up in libraries, believing it their duty to accept
the views which Cicero, which Locke, which Bacon, have given,
forgetful that Cicero, Locke and Bacon were only young men in
libraries when they wrote these books.

Ralph Waldo Emerson, address to Harvard's Phi Beta Kappa Society on
August 31, 1837



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Re: midi keyboard input

[Laura Conrad]

 M == M Watts zwy648...@gmail.com writes:

M Unfortunately, the link to Hans Lub's site (author of midi-input mode)
M from linux-sound.org is dead
M http://utopia.knoware.nl/~hlub/uck/software/

I can send you the code I'm using if you like, which I downloaded when
I originally got the keyboard.

 I know there are several other ways to use a MIDI keyboard for
 lilypond input; I have tried some of the others, and this was the
 first one I managed to get working.  If nobody knows the answer to
 this specific question, but does have some other way to use a MIDI
 keyboard to both see lilypond and hear audio output, I'd be glad to
 hear about specifics.
 
M There's always rosegarden, the all-singing, all-dancing midi
M sequencer, which includes lilypond output, both as .ly and .pdf -- it
M should be in Ubuntu repositories.

I was afraid that was going to be the answer.  I do have it installed,
and sort of working, but I'm finding it very clumsy; certainly much
harder to use for this purpose than entering the notes into an emacs
buffer.  For one thing, I can simultaneously type in markup that
Rosegarden probably doesn't know how to do, like specifying some
accidentals as ficta.

I played with it a little recently and was able to record some midi
events and get a PDF of what lilypond and rosegarden jointly
interpreted them to mean, but was unable to find where rosegarden put
the .ly file.  But because of the previous paragraph, this is unlikely
to be the right answer to this question, although I'm sure there are
questions to which it's a very good answer.

It looks like there are rumor-based solutions that might be closer to
what I need.  I was hoping someone would say, I'm entering notes into
emacs via keyboard, and here are the programs I use and the order in
which I start them.  But maybe nobody is entering notes into emacs
via a MIDI keyboard.

M Rosegarden's lilypond output is usually better than the hamfisted
M method of recording a midi file with a non-lilypond aware app, and
M processing the file with midi2ly.

I use midi2ly sometimes when someone else has transcribed something
and won't give me any other usable input, but I certainly wouldn't
do my own transcriptions that way.  

M Hydrogen (drum machine) also includes lilypond output.

The music I transcribe doesn't usually come with drum parts.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

forsan et haec olim meminisse iuvabit.  Vergil

This will make a good story to tell the grandchildren, if we live that
long.  Conrad Translation.




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Re: midi keyboard input

[Laura Conrad]

 lasconic == lasconic  lasco...@gmail.com writes:

lasconic Another way is to use MuseScore :
lasconic http://www.musescore.org Lilypond output is quite beta
lasconic for the moment, but to get the pitches it should be ok I
lasconic guess.

That's actually easier than I expected.  Thanks for pointing it out --
it's certainly easier to deal with than any of the connecting jack to
external synthesizers I've played with.  And to get .ly output you
just say save as and tell it you want lilypond and where to put it.
Very civilized for a GUI.

The most obvious thing wrong with the note entry is that each measure
has a comment % measure 1.  If it had the actual measure number it
would be useful.

lasconic MIDI input is working on windows and linux.
lasconic You can even use a prerelease for ubuntu :
lasconic http://prereleases.musescore.org/linux/

Actually it's easier than that -- I just said apt-get install
mscore. 

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

I had to breathe more frequently (but take smaller breaths), but also
to use all the air I had in reserve, and not mistake the lack of
oxygen for the need to breathe.

Eric Haas (on learning Baroque flute after playing oboe)


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Re: ANN: MIDI input plugin for jEdit

[Laura Conrad]

 Grammostola == Grammostola Rosea rosea.grammost...@gmail.com writes:

Grammostola So, do you use a midi keyboard for score editing with
Grammostola Lilypond? What is a cheap midi keyboard which works
Grammostola well on Linux?

I have an M-Audio Keystation 49B.  It's a USB keyboard, meaning that
there isn't a synthesizer included; you have to use one in your
computer.  I forget how much it cost 2 years ago or so, but I'm sure
it was under $100.  It's also very lightweight, although of course if
you're thinking about using it for a gig you have to add the weight of
the computer or other sythesizer device.  If you can live with fewer
than 4 octaves, there are even cheaper models.

Saying that anything to do with sound works well on Linux is a bit of
an exaggeration, but it's recognized out-of-the-box on Ubuntu as a MIDI
input device.

You can read about my current set of problems on the post I made
yesterday titled midi keyboard input.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

All animals are strictly dry:
They sinless live and swiftly die;
But sinful, ginful, run-soaked men
Survive for three score years and ten.
And some of them, a very few,
Stay pickled till they're 92.

ANON, quoted in Arnold Silcock's _Verse and Worse_



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midi keyboard input

[Laura Conrad]

(This is in Ubuntu 8.10 linux.)

I can use midi-input-mode in emacs to enter lilypond notes with my
left hand, and the durations on the numeric keypad with my right hand.

I can set up qsynth with jackd so that I get audio for the notes I
play on the MIDI keyboard.

But if I have the notes set up to sound, they don't get into the emacs
buffer, and vice versa.

I have done some playing with qjackctl and midi-thru and such, and
have not stumbled on a solution that would allow me to both see the
lilypond in the emacs buffer and hear the notes I play.

Can anyone give me a hint?

I know there are several other ways to use a MIDI keyboard for
lilypond input; I have tried some of the others, and this was the
first one I managed to get working.  If nobody knows the answer to
this specific question, but does have some other way to use a MIDI
keyboard to both see lilypond and hear audio output, I'd be glad to
hear about specifics.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

I had to breathe more frequently (but take smaller breaths), but also
to use all the air I had in reserve, and not mistake the lack of
oxygen for the need to breathe.

Eric Haas (on learning Baroque flute after playing oboe)


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Re: [ANN] Frescobaldi 0.7 released, a new LilyPond music editor

[Laura Conrad]

 Ralph == Ralph Palmer palmer.r.vio...@gmail.com writes:


Ralph Does anyone have a recommendation or advice or reason(s)
Ralph for going with

Ralph 1) Ubuntu with Gnome; 2) Ubuntu and installing KDE; or 3)
Ralph Kubuntu with KDE?

I think you should decide whether you want to use KDE or Gnome on your
own.  If possible just play with them both for a while.

Remember that which environment you use doesn't really have much to do
with what applications you can run, as it's fairly easy to install
Gnome Applications on KDE and vice versa.  

I personally use Gnome on my laptop, which is mostly used for web
browsing, and use a desktop (wmaker) that's lighter than either of
them on my desktop.

If you do decide to run KDE on Ubuntu and don't expect to install
gnome applications, you'll probably save some disk space by installing
kubuntu in the first place rather than installing the Ubuntu desktop
with gnome and then putting KDE on.  What I do for the desktop is
install Xubuntu, so that I then end up installing only the parts of
KDE and Gnome that I need for the apps I run.  Which probably ends up
being most of them.

-- 
Laura   (mailto:lcon...@laymusic.org http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

I have only one superstition. I touch all the bases when I hit a home
run.

Babe Ruth



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Re: musicxml2ly

[Laura Conrad]

 Martin == Martin Tarenskeen [EMAIL PROTECTED] writes:

Martin If we would have a good Lilypond-MusicXML conversion tool (or an 
Martin additional file export option inside Lilypond) we could convert the 
Martin complete Mutopia collection to MusicXML. That would sure make a 
nice 
Martin MusicXML test suite, and under a free licence ! 

It would be a very good test suite of the subset of MusicXML that ly2xml
used.  Which is of course important to members of this list, but might
well never be a comprehensive test.

-- 
Laura   (mailto:[EMAIL PROTECTED] http://www.laymusic.org/ )
(617) 661-8097  233 Broadway, Cambridge, MA 02139   

All animals are strictly dry:
They sinless live and swiftly die;
But sinful, ginful, run-soaked men
Survive for three score years and ten.
And some of them, a very few,
Stay pickled till they're 92.

ANON, quoted in Arnold Silcock's _Verse and Worse_



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