On Saturday 06 March 2004 15:41, David Bobroff wrote: > I'm trying to understand percussion. I found the example in the > manual for defining your own drum list, but I'm not sure it tells me > everything I need to know. For example, I need to accomodate five > temple blocks and four congas. In the manuscript the temple blocks > are always on the staff lines, and the congas are always in the > spaces. > > I tried using this example from the manual as a template: > > #(define mydrums '( > (bassdrum default #f -1) > (snare default #f 0) > (hihat cross #f 1) > (pedalhihat xcircle "stopped" 2) > (lowtom diamond #f 3) > )) > > As long as I was just altering values in the right column I was fine. > When I tried to put in new names that would be useful to me I ran > into trouble. It seems these things are predefined (in > drumpitch-init.ly?). Since I need four congas and five temple blocks, > how do I go about this?
Mats gave me a way to solve a closely related problem, to put instruments in voices instead of on staves. He will probably have an up-to-date version up soon. We have the same root cause that midi has staves where it should have voices. It was decided long ago to keep midistaff==lilypondstaff so that many more parts could be accommodated, but there is the hidden gotcha that you have to eliminate all unisons from every midi staff. Since each percussion instrument is a pitch rather than a voice, if you have copies of the same instrument in the midi staff you have unisons. I submit, again, that it would be better to put midi staves in voice rather than staff context so midistaff==lilypondvoice. To get more voices for those who are setting symphonies, one could subdivide voices into subvoices or midikeys (because unisons are not an issue for a keyboard instrument) or some name better than those, and have lilypond give an error message when a unison within a voice occurs. That approach would eliminate the problem by providing a very easy workaround for the limitations of midi and making it possible to document and detect the problems better. Now midi players detect errors, but you have to hear them to locate them. The unisons tend to drop out or almost drop out. It can be difficult to find them, especially because this problem is not documented. In a complex score, correction requires that you create a separate midi version with the problem notes on separate staves. Your problem is much worse because your instruments only have one note, which can cause a *lot* of unisons, but I think the solution would be much the same. daveA -- It's not that hard to understand the lesson of Viet Nam. Never never never never defend one tyrant against another, because The worst thing that can happen is you might win. The *Gulf* war was worse than Nam. D. Raleigh Arnold dra@ (http://www.) openguitar.com [EMAIL PROTECTED] _______________________________________________ Lilypond-user mailing list [EMAIL PROTECTED] http://mail.gnu.org/mailman/listinfo/lilypond-user
