Re: doc work
Graham Percival wrote Friday, August 15, 2008 11:36 PM
On Fri, 15 Aug 2008 22:16:13 +0100
"Neil Puttock" <[EMAIL PROTECTED]> wrote:
2008/8/15 Graham Percival <[EMAIL PROTECTED]>:
> \midi { \tempo 4 = 60 }
>
Unfortunately, you can't put \tempo inside a \midi block any more.
Oh yeah, I remember now. I complained at the time; IIRC the
answer was "go ahead and make a patch if you want".
This seems like the kind of thing that you (and maybe 4 other
people) might be able to fix in 1-2 hours. If so, I think this
would be worth it.
I think the previous discussion about this was between 1 and 2
years ago, if you want to look at that (and confirm that Han-Wen's
attitude was "do it yourself" instead of "no, absolutely not". :)
The change took place on 22 Aug 2006, commit
c059097b5bb093110a1d502ea9e74634931379d2
There was a discussion on -dev starting around
26 Aug 2006. The explanation seems to be that
"\tempo has to go, because it is a strange exception
to the general syntax" -hw.
Trevor
Cheers,
- Graham
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Re: Still confused about context vs. new
2008/8/13 Carl Sorensen <[EMAIL PROTECTED]>: > I have found a place where \new is needed. ... > everything works as it should. Apparently, in the first usage, the unnamed > Staff context had been implicitly created and was unsuccessfully reused. > > Given this result, it appears to me that \new is safer than \context for > unnamed context, so I believe it should be the preferred behavior. This is most interesting, both the investigation of how LP really works and the pedagogical point of view. But, instead of doing reverse engineering all the time, shouldn't the core developers simply explain how did they coded \context and \new, when are they needed, what do they differ in, etc? Sometimes I think we treat LP as if it was a natural phenomenon and we were scientists from the 19th century trying to explain it. It is a piece of software, someone did it. I know it is very complex, but only for us, not for them, I assume. I am sorry if this sounds harsh. LP is great. -- Francisco Vila. Badajoz (Spain) http://www.paconet.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Graham Percival wrote I would prefer that early users placed a \tempo 4 = 60 in their score block, which is easier to understand, works in MIDI, and permits dotted notes to be used Early users would think in terms of dotted notes and write \tempo 4. = 60 But no, no. You had to write \tempo 4 .= 60 which - is not easy to understand - is easy to forget - has an easily overseen dot (because the 4 is obviously not dotted) Something easy would have to let you say "4." like for dotted notes. Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Robin Bannister wrote Saturday, August 16, 2008 10:11 AM Subject: Re: doc work Graham Percival wrote (Actually it was me) I would prefer that early users placed a \tempo 4 = 60 in their score block, which is easier to understand, works in MIDI, and permits dotted notes to be used Early users would think in terms of dotted notes and write \tempo 4. = 60 But no, no. You had to write \tempo 4 .= 60 ? I don't understand. \tempo 4.=60 works fine in the \score block. Robin Trevor ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Trevor Daniels wrote ? I don't understand. \tempo 4.=60 works fine in the \score block. Sorry. For "early" read "prehistoric", I suppose. Because [1] worked, I never needed to do anything differently. And convert-ly.py (2.10.33) now removes \tempo from my files. [1] http://lists.gnu.org/archive/html/bug-lilypond/2006-01/msg00028.html Cheers, Robin ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Still confused about context vs. new
On 8/16/08 2:41 AM, "Francisco Vila" <[EMAIL PROTECTED]> wrote: > > But, instead of doing reverse engineering all the time, shouldn't the > core developers simply explain how did they coded \context and \new, > when are they needed, what do they differ in, etc? I believe that the docs started with the developers writing such things. However, we have a finite amount of core developer time available. I'm not capable (without spending a lot of time searching through the code) of fixing things in the C++ engine. I *am* capable of writing LilyPond code, and sometimes making mistakes, then figuring out how to fix the mistake, and writing docs to help other avoid the same mistake. Although it's a bit of a pain to sort of "reverse-engineer" the program, I think it's better to preserve the core developer time for doing things only they can do. > > Sometimes I think we treat LP as if it was a natural phenomenon and we > were scientists from the 19th century trying to explain it. It is a > piece of software, someone did it. I know it is very complex, but only > for us, not for them, I assume. I'm sure that it is somewhat complex for them, as well. Otherwise, there would be no remaining bugs on the list. > > I am sorry if this sounds harsh. LP is great. IMO, you've spent enough time working on things for LP to express some concerns about how things work. And expressing concerns is one way to initiate change. Thanks for sharing! Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
combine chords, lyrics and melody - resending now that I've subscribed...
Is there any way to simply combine chords, lyrics, and melody sections into a
single LP "variable?" I am trying to create pop leadsheets and my score
sections look like this one:
%--
\score { <<
\new ChordNames { \transpose g g { \set chordChanges = ##t
\override ChordName #'font-series =#'bold
\override ChordName #'font-size = #1
\chorusharmonies
\verseharmonies
\chorusharmonies \postchorusharmonies
\bridgeharmonies
\chorusharmonies
\postchorusharmonies
}}
\new Voice = "melody" \relative c' { \transpose g g {
\clef treble \key g \major \time 4/4
\chorusmelody
\new Voice = "verse" \repeat volta 2
{\versemelody \chorusmelody
\postchorusmelody}
\bridgemelody
\repeat volta 3 {\mark \markup {\smaller \italic \bold
{Chorus (3X)}}
\chorusmelody}
\postchorusmelody \bar "|."
}}
\new Lyrics = "mainlyrics" \lyricsto melody {
\chorustext
%verseonetext/versetwotext chorustext postchorustext
\bridgetext
\chorustext
\postchorustext}
\context Lyrics = "mainlyrics" \lyricsto verse {
\verseonetext \chorustext \postchorustext}
\new Lyrics = "repeatlyrics" \lyricsto verse {
\versetwotext}
>>
%---
The form is simple, but it is repeated three times for harmony, melody, and
lyrics. It would be nice to be able to say chorus=<<\chorusharmonies
\chorusmelody \chorustext >> and then just refer to \chorus in the score
block. Is this possible?
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Re: combine chords, lyrics and melody - resending now that I've subscribed...
Unless I'm misunderstanding your question I think you probably can do
what you're talking about. You may need to experiment a bit to get it
to behave the way you want.
-David
ayryq wrote:
Is there any way to simply combine chords, lyrics, and melody sections into a
single LP "variable?" I am trying to create pop leadsheets and my score
sections look like this one:
%--
\score { <<
\new ChordNames { \transpose g g { \set chordChanges = ##t
\override ChordName #'font-series =#'bold
\override ChordName #'font-size = #1
\chorusharmonies
\verseharmonies
\chorusharmonies \postchorusharmonies
\bridgeharmonies
\chorusharmonies
\postchorusharmonies
}}
\new Voice = "melody" \relative c' { \transpose g g {
\clef treble \key g \major \time 4/4
\chorusmelody
\new Voice = "verse" \repeat volta 2
{\versemelody \chorusmelody
\postchorusmelody}
\bridgemelody
\repeat volta 3 {\mark \markup {\smaller \italic \bold
{Chorus (3X)}}
\chorusmelody}
\postchorusmelody \bar "|."
}}
\new Lyrics = "mainlyrics" \lyricsto melody {
\chorustext
%verseonetext/versetwotext chorustext postchorustext
\bridgetext
\chorustext
\postchorustext}
\context Lyrics = "mainlyrics" \lyricsto verse {
\verseonetext \chorustext \postchorustext}
\new Lyrics = "repeatlyrics" \lyricsto verse {
\versetwotext}
>>
%---
The form is simple, but it is repeated three times for harmony, melody, and
lyrics. It would be nice to be able to say chorus=<<\chorusharmonies
\chorusmelody \chorustext >> and then just refer to \chorus in the score
block. Is this possible?
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Re: Still confused about context vs. new
On Tue, Aug 12, 2008 at 8:45 PM, Carl Sorensen <[EMAIL PROTECTED]> wrote:
>> \context implicitly instantiates a new context if the
>> one named doesn't yet exist, so \new is redundant, *except* where you
>> want multiple distinct contexts with the same name, or you're using
>> unnamed contexts (which, internally, is the same thing)
>>
>
> I have found a place where \new is needed.
>
> If you would like to make a StaffGroup consisting of a TabStaff (on the top)
> and a Staff on the bottom, you would normally do:
>
> \context StaffGroup <<
> \context TabStaff {
> \mymusic
> }
> \context Staff {
> \mymusic
> }
>>>
>
There is a \alias mechanism to make sure that you can set things at
Staff level in a TabStaff,
eg. \set Staff.timeSignatureFraction = #'(4 . 5) will work.
This however means that
\context TabStaff { .. } \context Staff { .. }
will just create a tabstaff, as the 2nd \context will find the aliased
TabStaff and be satisfied.
For alias definitions, see ly/engraver-init.ly
I second Francisco's sentiment; for all questions on how things work,
you can ultimately look at the source code or ask the authors.
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
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Using one identifier or another
Hi,
In a template file I want to check if a particular identifier has been
defined, and act accordingly.
For example:
\score {
\allMusic
\layout {
}
}
\score {
\unfoldRepeats \allMusic
\midi {
}
}
In the MIDI block, I would like to use identifier allMusicForMIDI if
that has been defined, otherwise use the allMusic as indicated above.
Is there an easy (and documented) way to accomplish this?
-- Johan
Chord is alive! http://chordii.sourceforge.net
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Re: doc work
Hi Graham, If I'm not mistaken, putting them in \book results in foo.pdf(main score) foo-0.pdf (1st violin) foo-1.pdf (2nd violin) foo-2.pdf (viola) foo-3.pdf (cello) Yes... although there is (or should be) a request in the system for the ability to change the output name of a \book. Is that really preferable to separate files, where you can give the .ly files (and therefore the .pdfs) sensible names? For a template, that's supposed to get a newbie up and running as quickly as possible? Yes, IMO. That said, perhaps the template should just show a string quartet score; people wanting to create separate parts can read the appropriate section of the LM. Well, there's no reason (IMO) why the template can't already have that in it — if they want to tweak the way the parts look or print, then they can go LM-ing. No. If people want "real music" as templates, there's 1000 scores in Mutopia. The last time I checked Mutopia, I was shocked by the (low) quality of the coding. =( I personally would never suggest that anyone use any Mutopia file I've seen as an example/template. I don't want tutorial-newbies trying to figure out what parts of a real piece to delete in order to get a basic template. Um... the notes only, just like now? Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Hi Walter, I just looked at that template and noticed that the first example on the page A.3.1 gives a template for a score where everything is in one file. But it outputs a score only, no parts — I'm talking about having a single-file input with multiple-file output. just about any Lilypond score (even quite large ones) can be done in a single file, but as the project becomes larger, breaking the project up into several files makes it easier to see what is going on. Agreed... but I don't think these templates are the right place to provide that kind of information/tutorial. would it not be useful to illustrate this more advanced way of organizing larger projects in some other part of one of the manuals? Absolutely. I write this without having searched the Docs to see if this has already been done. There is such a section, though it should probably be reviewed as a result of recent doc changes, if it hasn't been already. Thanks for your thoughts! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Hi Patrick, I agree. Well, we appear to be in the minority... ;-) Thanks for your input! Kieren. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Please forget LM MG NR IR SL AU
2008/8/11 Bertalan Fodor (LilyPondTool) <[EMAIL PROTECTED]>: > My point is that lilypond-user reading users won't get used to it. Many of > them are newcomers and beginners. They don't usually follow the > conversations on the list. > > Perhaps it's because of my software developer experience, but I am strongly > and seriously against abbreviations and acronyms in any case. Reading and > interpreting abbreviated text needs much more overhead than what you gain > during write time. Not to mention better text editors where you can define > abbreviations thus eliminating write time overhead. After having read the whole thread, I second your suggestion to drop all acronyms for our manuals names. If we doc writers and developers can figure out almost instantly what these acronyms mean when talking on -devel list, then we ne don't need them in the documentation index either; moreover, on my Linux box with Firefox 3 this page looks good with a 800 pixels screen width only if we remove those acronyms, so I will remove them unless there is any serious objection. If we ever need to remember the meaning of one acronym, a quick glance at the titles in the documentation index is enough. Cheers, John ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: it's all up to you users (was: Please forget LM MG NR IR SL AU)
2008/8/13 Graham Percival <[EMAIL PROTECTED]>: >It's a waste because, 7 days from now, there will be precisely > half a dozen people who are updating the documentation. There's > at least 50 people who can answer simple questions here. To be > efficient, those six people should spend their time updating the > docs -- better docs help everybody in the future, whereas writing > a detailed and polite email only helps one or two people right > now. Why not doing both? I find it normal that doc writers answer non-trivial questions and by the way digest the answers into our docs. This should be a part of the normal docs workflow: sollicitating users for proofreading rewritten docs is certainly a good thing, but on the opposite direction, interesting questions and comments from users can raise issues doc writers wouldn't have thought of by themselves. >(no, nobody will read the messages in the archives. That's > pure wishful thinking) Nobody... except doc writers, developers, advanced users, and I'm quite sure this will not change, because it's difficult to search the archives when you don't know the right keywords to use. > And who really cares how busy the programmers and doc > writers are? I mean, that's the whole point of open source, > right? The users get free software, documentation, and email > support. > Exactly, but users don't get all the features and support they want for free. Some features nobody wants to add for free, or dedicated user support might be sponsored. > As I said, I've tried polite recruitment. Take a look at the email > archives; probably about six, twelve, and eighteen months ago. It > seems to have worked for doc writers, but it hasn't worked for finding > (and keeping) -user support people. > On the French list, we never had to recruit people to provide support, users who recently discovered LilyPond help each other, developers and advanced users reply only if necessary (I expect somebody is going to shoot me for all unreplied messages there :-p). It seems this works on this list too, except that you feel concerned that developers and advanced users reply to so-called simple questions: IMHO it's up to everyone to judge how (s)he wants to spend its time. FWIW I'm too busy to read all emails on this list, but I follow a rule to try to be efficient: when I read an email on this list (or bug-lilypond) and nobody else has sent an appropriate reply, I reply in one of the following cases: a) I can write the reply in 2 minutes because I know the topic well, b) if I can fix a bug or improve the docs myself, I investigate and also take time to write a well-written reply. Everyone certainly has his (maybe implicit) own rules to decide how to spend time on the lists. > I know that at least two people are going to be offended by this email, > but I don't care -- if it results in just ONE person "taking ownership" > of being a polite -user email responder and making an honest effort at > replying to everything they can -- just **ONE** person who isn't already > part of GDP -- then I'll accept any amount of hard feelings the rest of > you throw my way. > The only feeling I'd like to finally throw your way is: have a rest and some vacation after your thesis conference! You certainly deserve and need it. I can't imagine how you could manage a huge emails load for so long time. Best, John ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: combine chords, lyrics and melody - resending now that I've subscribed...
ayryq wrote:
I believe you can, I was going to clip your stuff, build it on my
machine, and build an example for you, but this example won't actually
build on my machine. Just as a hint, in the work I did for O Magnum
Mysterium, I combined several thing like this:
sopranoTotal = \simultaneous {
\new Staff = "soprano" {
\set Staff.instrumentName = "Soprano"
\set Staff.midiInstrument = "violin"
\clef "violin"
\new Voice="soprano"<<
\global
\sopranoMelody
>>
}
\context Lyrics = soprano \lyricsto soprano \sopranoLyrics
}
Is there any way to simply combine chords, lyrics, and melody sections into a
single LP "variable?" I am trying to create pop leadsheets and my score
sections look like this one:
%--
\score { <<
\new ChordNames { \transpose g g { \set chordChanges = ##t
\override ChordName #'font-series =#'bold
\override ChordName #'font-size = #1
\chorusharmonies
\verseharmonies
\chorusharmonies \postchorusharmonies
\bridgeharmonies
\chorusharmonies
\postchorusharmonies
}}
\new Voice = "melody" \relative c' { \transpose g g {
\clef treble \key g \major \time 4/4
\chorusmelody
\new Voice = "verse" \repeat volta 2
{\versemelody \chorusmelody
\postchorusmelody}
\bridgemelody
\repeat volta 3 {\mark \markup {\smaller \italic \bold
{Chorus (3X)}}
\chorusmelody}
\postchorusmelody \bar "|."
}}
\new Lyrics = "mainlyrics" \lyricsto melody {
\chorustext
%verseonetext/versetwotext chorustext postchorustext
\bridgetext
\chorustext
\postchorustext}
\context Lyrics = "mainlyrics" \lyricsto verse {
\verseonetext \chorustext \postchorustext}
\new Lyrics = "repeatlyrics" \lyricsto verse {
\versetwotext}
>>
%---
The form is simple, but it is repeated three times for harmony, melody, and
lyrics. It would be nice to be able to say chorus=<<\chorusharmonies
\chorusmelody \chorustext >> and then just refer to \chorus in the score
block. Is this possible?
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Re: Ties & Tuplet Full Length
Peter, thanks for your help, but where do I have to put the \override
NoteColumn #'X-offset command in an Piano(Staff) score to be active in
the hole score (for all line breaks...)?
ole
Am 13.08.2008 um 17:11 schrieb Peter Johnson:
These are two different questions.
Ole Schmidt wrote:
I'am trying to type a score with many tied (huge) chords. The
result is
not really satisfying in combination with line breaks (see measure
3 to 4
from the attatched jpg).
The chord is too near the start of the line for all the ties to
show. You
can adjust its position. Suggestion below: look in Internals
Reference
3.1.68 or this discussion group for more info.
Ole Schmidt wrote:
In combination with using tupletFullLength ##t, a little "3" is
appearing
after the linebreak
and the tuplet bracked is not closed (see measure 1 to 2). Are there
better ways to code something like this or any workarounds?
Get rid of the tupletFullLengthNote setting, which takes the tuplet
span
right to the end of the second, tied, chord. (I don't know if this is
intended behaviour; it looks a bit odd to me.) By the way,
tupletFullLength
belongs in the Voice context, which in turn is in the Staff
context. It
doesn't matter in this case, but it might if for example you needed to
reorganise things.
%
\version "2.11.54"
\relative c' {
\times 2/3 { 2 1~ } \break
1 \break
1~ \break
\once \override NoteColumn #'X-offset = #1.25
1
}
\layout {
ragged-right = ##t
indent = 0\cm
\context {
\Voice
tupletFullLength = ##t
}
}
%
HTH.
Peter
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Re: combine chords, lyrics and melody - resending now that I've subscribed...
Patrick Horgan gmail.com> writes:
>
> ayryq wrote:
>
> I believe you can, I was going to clip your stuff, build it on my
> machine, and build an example for you, but this example won't actually
> build on my machine. Just as a hint, in the work I did for O Magnum
> Mysterium, I combined several thing like this:
>
> > The form is simple, but it is repeated three times for harmony, melody, and
> > lyrics. It would be nice to be able to say chorus=<<\chorusharmonies
> > \chorusmelody \chorustext >> and then just refer to \chorus in the score
> > block. Is this possible?
> >
>
I've not been able to get it to work exactly the way you asked for it, but
here's my attempt to simplify the score.
Instead of making a set of simultaneous music expressions that are then
glued together sequentially (which causes problems in keeping staffs and
voices alive), I've made a set of sequential music expressions that are
then glued together simultaneously.
\version "2.11.55"
\include "predefined-guitar-fretboards.ly"
% define the Verse elements
verseChords = \chordmode {c1 d}
verseMelody = \context Voice {
\relative c' {
c4 d e f
g4 a b c
}
}
verseLyrics = \lyricmode {
One two three four
Five six seven eight
}
% define the Chorus elements
chorusChords = \chordmode {g1 c}
chorusMelody = \context Voice {
\relative c' {
c'4 b a g
f e d c
}
}
chorusLyrics = \lyricmode {
A B C D
E F G H
}
%define the total song elements
totalChords = { \verseChords \chorusChords}
totalMelody = { \verseMelody \chorusMelody }
totalLyrics = { \verseLyrics \chorusLyrics }
% put the music together
<<
\new ChordNames { \totalChords }
\new FretBoards { \totalChords }
\new Voice { \totalMelody }
\addlyrics { \totalLyrics }
>>
Hope this helps,
Carl
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Re: Memory Requirements
I think 256MB is enough for LilyPond and 256MB is enough for Tomcat (if you use that for the webapp part). However I don't really know LilyPond's memory needs but that can be fine-tuned with Guile GC settings (you can find the environment variable for this in the manual). Bert > --- Original Message --- > From: "Myron Marston" <[EMAIL PROTECTED]> > To: lilypond-user@gnu.org > Sent: 08/08/15/, 23:50:11 > Subject: Memory Requirements > > Hello, > > I'm working on a web application that uses lilypond to generate sheet > music. I've signed up for VPS plan with a hosting company, providing me > with 512 MB of memory. I need to figure out how much to allocate for my > java app. How much memory does Lilypond require? Is there a way to limit > the amount of memory lilypond can use? > > Thanks, > Myron > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Memory Requirements
I just finished a major cleanup of the GUILE GC module. Hopefully this will tame lily's requirements a bit. On Sat, Aug 16, 2008 at 3:56 PM, Bertalan Fodor <[EMAIL PROTECTED]> wrote: > I think 256MB is enough for LilyPond and 256MB is enough for Tomcat (if you > use that for the webapp part). However I don't really know LilyPond's memory > needs but that can be fine-tuned with Guile GC settings (you can find the > environment variable for this in the manual). > -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
Kieren MacMillan wrote: The last time I checked Mutopia, I was shocked by the (low) quality of the coding. =( I personally would never suggest that anyone use any Mutopia file I've seen as an example/template. How about the O Magnum Mysterium that I just re-did and contributed back to Mutopia? I don't want tutorial-newbies trying to figure out what parts of a real piece to delete in order to get a basic template. Um... the notes only, just like now? Kieren. I would like real songs, they don't all have to be complicated, but complicated enough to demonstrate whatever the template is trying to do. Patrick ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Second review of NR 2.7 Chords
Hi Carl,
You've done a great job with this.
There are a few details which I'd like to mention:
- chords-headword.ly:
Further to Andrew's comments about the G flat (it should be an F
sharp), the chord names seem to be a bit off. For example, in the
second bar, the first chord has a 'C' above it; it's actually a first
inversion G chord.
- Chord mode overview:
The snippets have inconsistent spacing, e.g. < g b d > and \chordmode
{ c2 f}. Each line should have a duration.
- Extended and altered chords:
Typo: "To alter a step that is automatically included as part of the
basic >chode< structure, add it as an altered step."
Style nit: "\chords { ... } is a shortcut notation for \new ChordNames
{\chordmode { ... }}." - needs spaces around \chordmode { }.
- Printing chord names:
`See also' is missing some IR links, e.g., ChordName, Chord_name_engraver.
- Customizing chord names:
Typo: "This property contains the markup object used to follow the
output of chordRootNamer to >dentify< a major 7 chord."
Style nit: "By setting chordNameSeparator, >you< can use any desired
markup for a separator."
Typo: "The second item is a >markups< that will follow the
chordRootNamer output to create the chord name."
Style nit: "By setting chordPrefixSpacer, >you< can fix a spacer
between the root and 'm'."
In selected snippets, chord-name-exceptions.ly and
chord-name-major7.ly aren't displayed properly (no title, lacking
%begin verbatim so the texidoc and version are visible) since there
are snippets with these names present in input/regression; they take
precedence over the LSR versions.
In `Known issues and warnings', the snippet is missing a space after \chordmode.
- Introduction to figured bass:
The introductory snippet would look better if the second bar were complete.
Style nit: "\figures{ ... } is a shortcut notation for \new
FiguredBass {\figuremode { ... }}." - spaces around \figuremode { }.
At the bottom of the page, baseline-skip is given as an example of
markup properties which can be used to alter bass figures. This only
works if you stick \markup \column in each figure construct, so it's
not really a viable usage. The proper method would be to override
BassFigureAlignment #'padding; perhaps we could add a snippet
demonstrating this?
- Entering figured bass:
"Augmented and diminished steps can be indicated." - missing colon.
"A backward slash through a figure (typically used for raised sixth
steps) can be created." - missing colon. Unlike the others, the
demonstration snippet has the figures on separate lines.
"Any text markup can be inserted as a figure:" - snippet style nits:
< \markup{ \tiny \number 6 \super (1)} 5 > -> <\markup {
\tiny \number 6 \super (1) } 5>
"Continuation lines can be used to indicate repeated figures:" - both
snippets are missing durations.
The "End of continuation line" modifier snippet is a bit cramped (its
line-width is 1.5 cm).
- Displaying figured bass
"When added in a Staff context, figured bass can be displayed above or
below the staff." - @code{Staff}
`Known issues and warnings': \repeat unfold { } lacking spaces around
notes; { fis g g, e' } -> { fis4 g g, e' }.
I think that's everything. :)
Regards,
Neil
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Re: Second review of NR 2.7 Chords
Neil, Thanks for your very careful review. I will fix each of these issues. But I do have a bit of discussion on the headword below. I especially appreciate your careful review of style. I find that after a certain number of iterations on my work, I become blind to style issues and spelling errors. Thanks! Carl On 8/16/08 3:17 PM, "Neil Puttock" <[EMAIL PROTECTED]> wrote: > Hi Carl, > > You've done a great job with this. > > There are a few details which I'd like to mention: > > - chords-headword.ly: > > Further to Andrew's comments about the G flat (it should be an F > sharp), the chord names seem to be a bit off. For example, in the > second bar, the first chord has a 'C' above it; it's actually a first > inversion G chord. I really hesitate to say anything here, because I'm a real novice at music. However, I think that the chord is a first inversion Gm chord, rather than a first inversion G chord, due to the key signature (feel free to correct me if I'm wrong). In guitar accompaniments for music, it's not uncommon for chords that have very short durations to be left out, and replaced with the chord that it will resolve to. I'm not claiming that this guitar accompaniment wouldn't be better if it had a Gm chord on the first beat of the second and fourth measures. I'm not a qualified arranger. I think that this arrangement of the accompaniment was simplified to eliminate the Gm chord. I can certainly put it in if it will make the arrangement better. Do you think I should add the Gm for the first beat, then the C for the second? Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Second review of NR 2.7 Chords
2008/8/16 Carl D. Sorensen <[EMAIL PROTECTED]>: > I really hesitate to say anything here, because I'm a real novice at music. > However, I think that the chord is a first inversion Gm chord, rather than a > first inversion G chord, due to the key signature (feel free to correct me > if I'm wrong). Sorry, that's slightly careless of me; I meant G minor. I'm more used to using roman numerals for chords, so I was thinking of the second bar as a classic II - V - I cadence. > In guitar accompaniments for music, it's not uncommon for chords that have > very short durations to be left out, and replaced with the chord that it > will resolve to. Fair enough. I'm not really that familar with guitar accompaniments; since I tend to approach it from a classical perspective, my experience of using chords is related more to harmonic analysis. > Do you think I should add the Gm for the first beat, then the C for the > second? I think it's OK to leave it as it is, since you've explained the rationale behind having simple chords as an accompaniment. Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Proposed syntax change: renaming of \center-align markup command
Thanks for the feedback, everybody. To recap, the favoured option is as follows: horizontal alignment (single): \left-align, \center-align, \right-align vertical alignment (stacked): \left-column, \center-column, \right-column As for \hcenter and \column, should I leave these as duplicates of \center-align and \left-column (which would help minimize user complaints), or remove them? Cheers, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Proposed syntax change: renaming of \center-align markup command
Am 17.08.2008 um 00:39 schrieb Neil Puttock:
Thanks for the feedback, everybody.
To recap, the favoured option is as follows:
horizontal alignment (single): \left-align, \center-align, \right-
align
vertical alignment (stacked): \left-column, \center-column, \right-
column
As for \hcenter and \column, should I leave these as duplicates of
\center-align and \left-column (which would help minimize user
complaints), or remove them?
Cheers,
Neil
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I think the names for the commands are great, but I'm still confused.
\hcenter and \column and duplicates of \center-align and \left-column
(currently \center-align and \left-align)? Umm, really?
\version "2.11.54"
\paper {
#(define dump-extents #t)
line-width = 160\mm - 2.0 * 0.4\in
indent = 0\mm
force-assignment = #""
line-width = #(- line-width (* mm 3.00))
}
\markup {
\left-align {
one
two
three
}
}
\markup {
\column {
one
two
three
}
}
\markup {
\hcenter {
one
two
three
}
}
\markup {
\center-align {
one
two
three
}
}
Maybe I'm doing it wrong, but I get different results. Or is the goal
here to change them so that they are duplicates.
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Re: Proposed syntax change: renaming of \center-align markup command
2008/8/16 James E. Bailey <[EMAIL PROTECTED]>: > I think the names for the commands are great, but I'm still confused. > > \hcenter and \column and duplicates of \center-align and \left-column > (currently \center-align and \left-align)? Umm, really? Hmm, perhaps that was badly worded. :) To clarify, the current situation is as follows: Commands for horizontal alignment: \left-align, \hcenter, \right-align Commands for vertical stacking: \column, \center-align I'm suggesting the following changes: - change the current behaviour of \center-align to match \hcenter; keep \hcenter for backwards compatibility, or remove it - rename \column -> \left-column, or keep \column for backwards compatibility *and* create a duplicate called \left-column - create a command for a right-aligned column: \right-column Clear as mud? ;) Regards, Neil ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: doc work
On Aug 16, 2008, at 3:22 PM, Patrick Horgan wrote: Kieren MacMillan wrote: The last time I checked Mutopia, I was shocked by the (low) quality of the coding. =( I personally would never suggest that anyone use any Mutopia file I've seen as an example/template. How about the O Magnum Mysterium that I just re-did and contributed back to Mutopia? I don't want tutorial-newbies trying to figure out what parts of a real piece to delete in order to get a basic template. Um... the notes only, just like now? Kieren. I would like real songs, they don't all have to be complicated, but complicated enough to demonstrate whatever the template is trying to do. Patrick As a decidedly non-professional user of Lilypond and appreciative contributer to Mutopia, my perspective somewhat different. Since my first real effort with Lilypond (v2.0.1), Mutopia has often provided me with the answer to a problem I had been unable to solve despite reading the documentation and searching user lists. This is probably more an indictment of my reading skills than of the documentation. I would certainly not hold up my meager contributions as examples of quality coding; however, I never understood Mutopia to have a such a requirement. I, and presumably all other contributers to Mutopia, am guilty at worst of wanting to share music which I found interesting. Lilypond, as it has evolved, made that possible. That said, the current work on documentation is wonderful and exciting. And yes, I can see value in providing complete examples. They can help those of us who are less technically gifted to find answers, just as I was helped in the early years of Mutopia and early versions of Lilypond. Regards, Stan ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Proposed syntax change: renaming of \center-align markup command
Am 17.08.2008 um 01:27 schrieb Neil Puttock: - change the current behaviour of \center-align to match \hcenter; keep \hcenter for backwards compatibility, or remove it What if I want a vertically centered column of arguments? Then, rather than just using \center-align, I have to use \column and \hcenter. I think keeping its behavior the same, but renaming it to center-column make the most sense. And I think keeping \hcenter makes sense, it's still a unique function, and it may be useful. - rename \column -> \left-column, or keep \column for backwards compatibility *and* create a duplicate called \left-column Sounds good. - create a command for a right-aligned column: \right-column clear as pepsi. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
