Hi Aaron,
> If you permit me to be honest: I would not have the foggiest idea either. (:
LOL
> The Internals Reference does list which engravers produce which grobs, and
> there is always the source code itself. The problem though is knowing what
> you are looking for. This is especially tr
On 2020-01-25 11:15 am, Kieren MacMillan wrote:
Hi again!
Tried taking your advice, and building the custom context from
scratch. The problem, of course, is that I don’t know all the
engravers and what they do (a.k.a. why they’re needed)… and the
documentation doesn’t exactly make everything cry
Hi again!
Tried taking your advice, and building the custom context from scratch. The
problem, of course, is that I don’t know all the engravers and what they do
(a.k.a. why they’re needed)… and the documentation doesn’t exactly make
everything crystal clear in that regard.
So far, I have:
%%
Hi Aaron,
> A "\\" seems to tame the console output with no other changes to the input:
> %%%
> \new RowReductionStaff { \new Voice << \test \\ \testier >> }
> %%%
> But that might just be sweeping things under the proverbial rug.
Yes… and it changes the output (e.g., note how the noteheads aren
On 2020-01-25 9:38 am, Kieren MacMillan wrote:
%%%
\new RowReductionStaff { \new Voice << \test \testier >> }
%%%
I’m hoping eventually to understand how to manipulate each element
well enough to (e.g.) eliminate tied notes, have it "duration
independent" (in the sense of not throwing "incom
Hi Aaron,
> I must confess I have no idea what row-reduction means in a musical context.
In this case, I’m trying to take all the pitch events (i.e., a note played at a
given moment) and represent them [without octave information] on a 6-line staff
where the bottom line is the 0th element of th
On 2020-01-25 8:45 am, Kieren MacMillan wrote:
Very helpful! Here’s an example of what I’m currently playing around
with:
Neat, although I must confess I have no idea what row-reduction means in
a musical context. Does it have any connection to the linear algebraic
term? Regardless, it soun
Hi Aaron,
Thanks for the quick and helpful response!
> Yes. The list-splicing forms of # and $ are #@ and $@, respectively.
Ah!
> In this case, we are using $@ to take the list of bare pitches and have the
> parser handle them the same as if the user had simply entered them.
Nice to know how
On 2020-01-25 8:23 am, Aaron Hill wrote:
On 2020-01-25 7:48 am, Kieren MacMillan wrote:
Also: I notice that rests and skips are ignored:
This is intuitive/understandable to me (given the functions we’re
using); and I’m glad they’re just ignored [rather than causing
errors]. But how can I turn e
On 2020-01-25 7:48 am, Kieren MacMillan wrote:
Perhaps the simplest option is to avoid ly:music and instead use
splicing to let the parser do the heavy lifting:
I assume you mean the "$@", which is the only thing in this code I
don’t understand?
Yes. The list-splicing forms of # and $ are #@
Hi Aaron,
> Perhaps the simplest option is to avoid ly:music and instead use splicing to
> let the parser do the heavy lifting:
I assume you mean the "$@", which is the only thing in this code I don’t
understand?
> Note that I refactored your nested maps into a single one.
Will the performanc
On 2020-01-25 7:29 am, Aaron Hill wrote:
Perhaps the simplest option is to avoid ly:music and instead use
splicing to let the parser do the heavy lifting:
Avoid ly:make-music that is.
-- Aaron Hill
On 2020-01-25 6:42 am, Kieren MacMillan wrote:
Having previously used
#(display
(map (lambda (n) (ly:make-pitch 0 n 0))
(map (lambda (l) (list-ref rowrefs l))
(map (lambda (m) (modulo m 12))
(map ly:pitch-semitones (music-pitches test))
I know that the scheme function is
Hi all,
I’m continuing my Scheme learning journey. I can already feel the momentum
building, so that’s a good thing!
Despite it perhaps not being the optimal thing to build while learning Scheme,
I’m continuing to work with this dodecaphonic manipulation work from my
Salzburg presentation. Rig
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