Re: LilyPondTool question

[Gilles THIBAULT]

Then, maybe after running LP, suddenly it disappears and I can't 
figure
out how to recover it.  Perhaps it's something simple, but I haven't 
figured it out.  If somebody knows what I'm missing, I'd be grateful 
for your tips.  Thanks.


Perhaops you can verify that in
 "Plugins" > "plugins options...""
 " lilypondTool" item then "general" tab
 the "Enable BufferTabs by default" is checked

Gilles 




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longer hshortairpins for the whole score

[Stefan Thomas]

Dear lilypond-users,
I found out (with the help of the manual), that with the following tweak I
can get longer hairpins.
\version "2.11.49"
\relative { \override Voice.Hairpin #'minimum-length = #10 \time 3/4 e 4
\p\< e \ff e  }
But how can I change it for the whole score? Is it possible to write it in
the layout-block?
Thanks for helping,
Stefan
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Re: longer hshortairpins for the whole score

[Kieren MacMillan]

Hi Stefan,

I found out (with the help of the manual), that with the following  
tweak I can get longer hairpins.

\version "2.11.49"
\relative { \override Voice.Hairpin #'minimum-length = #10  
\time 3/4 e 4 \p\< e \ff e  }

But how can I change it for the whole score?
Is it possible to write it in the layout-block?


HTH!
Kieren.



\version "2.11.57"
\paper { ragged-right = ##t }

\markup { "Overriding at the Voice level is 'local':" }
\score
{
<<
\relative {
\time 3/4
e4 \p\< e\ff e
\override Voice.Hairpin #'minimum-length = #10
e4 \p\< e\ff e
}
\relative {
R4*3*2
e4 \p\< e\ff e
e4 \p\< e\ff e
}
>>
}

\markup { "Overriding at the Score level affects all Hairpins:" }
\score
{
<<
\relative {
\time 3/4
e4 \p\< e\ff e
\override Score.Hairpin #'minimum-length = #10
e4 \p\< e\ff e
}
\relative {
R4*3*2
e4 \p\< e\ff e
e4 \p\< e\ff e
}
>>
}


\markup { "This can also be done in the \layout block:" }
\score
{
<<
\relative {
\time 3/4
e4 \p\< e\ff e
e4 \p\< e\ff e
}
\relative {
R4*3*2
e4 \p\< e\ff e
e4 \p\< e\ff e
}
>>

	\layout { \context { \Score \override Hairpin #'minimum-length =  
#10 } }

}





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Re: notation TAB matching

[Grammostola Rosea]

James E. Bailey wrote:


Am 03.09.2008 um 12:01 schrieb Grammostola Rosea:


Grammostola Rosea wrote:

Robin Bannister wrote:

Grammostola Rosea wrote:

Question 2) still remains



There will be other problems like this in the bars to come, each 
needing a special effort to overcome, usually in an unsatisfactory 
way. This is because you are trying to put overlapping durations 
into a single voice.

Try starting again, but this time using several voices.
A clear example of doing this for guitar was quoted [1] here 
recently. See, for example, how the bass line keeps sounding while 
other notes are being plucked.
And it shows that you needn't stop at bass/middle/top; you even can 
put other things (like dynamics) into separate voices.

The things for overlapping durations, e.g.
- tieWaitForNote
- the polyphonic construct << ... \\ ... >>
- laisserVibrer
are still available of course. But if you have sufficient voices 
you will rarely need them.
There are occasionally new problems to do with coordination between 
the several voices but these are a lot easier to solve.
[1] 
http://lists.gnu.org/archive/html/lilypond-user/2008-08/msg01197.html



Thanks a lot! I'll dive into the multiple voices stuff...

I made an quick start with it, check the last entry of Signe: 
http://draft.wikilily.org/wiki/index.php/Signe



I think I've to read more about it, but I don't understand why the 
notation and tablature doesn't match right in  the last entry of 
Signe here: http://draft.wikilily.org/wiki/index.php/Signe


I don't know what your goal with \tag #'restnotes or \tag #'bassnotes, 
but if you remove those (and the references to them) you should get 
the output you're looking for.



Ok, I'm learning and get more happy with the results :)

Below this message there's my code. I've three questions about it.

1) Is is possible to have tablature without durations of the notes 
displayed in the tablature part? I also want to display  notes with a 
slur in the notation as one entry in the tablature (no slur, no entry 
for the second note (in the notation connected with a slur).


2) Where should I put /midi {} in the score to get a midi file?

3) Any suggestion to improve things or to learn me something are welcome ;)

Thanks in advance,



\version "2.11.53"

\header {
title = "Signe"
%arranger = "Eric Clapton"
instrument = "Words and Music by Eric Clapton"
}

\paper{
%#(set-paper-size "letter")
%#(define bottom-margin (* 2 cm))
}

chordNames = \chordmode {
\time 4/4
 \partial 8
 r8
 a4. e2:/a a2
   r8 e2:/a
 a4. e2:/a a2
 r8 e2:/a
 a4. e2:/a a2
 r8 e2:/a a4. e2:/a 
 a1

 a2 r8 b4.:/a e2:/gis
 fis 2 b1:m7
 e1 a1


}

uI = {
 \voiceOne
 \partial 8
 r8 | 4. 8 ~  <\parenthesize b e'>4 8  
~ 4. 2 |
 4 <\parenthesize cis' e'>8  ~  <\parenthesize b 
e'>4 8


 ~ 8 4. 2 | 4 <\parenthesize cis' e'>8 
 ~  <\parenthesize b e'>4 8

 ~  < cis' e'>4. 2 |

 4 <\parenthesize cis' e'>8 8 ~  <\parenthesize b 
e'>4 <\parenthesize e a cis'>8-> r4^ "N.C." r8  e8 gis8 a b 
<\parenthesize e a cis'> ~ <\parenthesize e a cis'> 4 r8 
<\parenthesize fis b dis'>8 e'4  8
 ~  4 r8 \set TabStaff.minimumFret = #0 \acciaccatura { 
a8 } ais8 cis'4 <\parenthesize fis a d'>8 ~ <\parenthesize fis a d'> fis'>4 r8
 8 ~ 4 <\parenthesize e gis b> 8 ~ <\parenthesize e gis 
b> 4 r8 d'\glissando ( cis') b <\parenthesize e a cis'> r2 cis' a'>2\arpeggio


  


}
dI = {
 \voiceTwo
 \partial 8
 a,8 ~ a,4  a,4 ~ a,4. a,8~a,4. a,8~a,4 \parenthesize e,8\parenthesize 
e,8  a,4. a,8 ~ a,4. a,8 ~

 a,4. a,8 ~ a,2 a,4. a,8 ~ a,4. a,8 ~ a,4. a,8 ~ a,2
 a,4. a,8 ~ a,4. a,8 r2 r4 r8  a,8 ~ a,4. a,8 ~ a,4. -\markup {T on 6 
--|} \set TabStaff.minimumFret = #4 gis,8\6 ~ gis,4.\6 \set 
TabStaff.minimumFret = #0 fis,8 ~ fis,4. b,8 ~

 b,4. b,8 ~ b,4. e,8 ~ e,4. e,8 ~ e,4. a,8 r2 a,2_\mf

}
Notation = \simultaneous { %% Combine both parts for notation
\time 4/4
\clef "G_8"
\key a \major
\override Score.MetronomeMark #'padding = #6.0 \tempo 4=176
\override StringNumber #'self-alignment-Y = #-1
\override Score.StringNumber #'padding = #3.5
\set fingeringOrientations = #'(up left down)
<< \context Voice=VoiceA \uI >>
<< \context Voice=VoiceB %\keepWithTag #'bassnotes
 \dI >>
}

Tablature = \simultaneous { %% Combine both parts for Tablature
\time 4/4
\override TabStaff.Stem #'transparent = ##t %% Makes stems transparent
\override TabStaff.Beam #'transparent = ##t %% Makes beams transparent
<< \context TabVoice=TabVoiceA \uI >>
<< \context TabVoice=TabVoiceB %\keepWithTag #'restnotes
 \dI >>
}


\score {
  
<<


\new ChordNames { \chordNames }

 \context StaffGroup {

\simultaneous {
<< \context Staff=FullNotation \Notation >>

<< \context TabStaff=FullTab \Tablature >>

}
  }

>>
}










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Re: notation TAB matching

[James E. Bailey]

Am 06.09.2008 um 14:46 schrieb Grammostola Rosea:


Ok, I'm learning and get more happy with the results :)

Below this message there's my code. I've three questions about it.

1) Is is possible to have tablature without durations of the notes  
displayed in the tablature part?
I'm guessing you mean the dots? It would probably be easiest to remove  
them. You'll want to look at

http://kainhofer.com/~lilypond/Documentation/user/lilypond/Controlling-visibility-of-objects.html#Controlling-visibility-of-objects
and probably
http://kainhofer.com/~lilypond/Documentation/user/lilypond-internals/Dots_005fengraver.html#Dots_005fengraver

I also want to display  notes with a slur in the notation as one  
entry in the tablature (no slur, no entry for the second note (in  
the notation connected with a slur).
If you want to have different note values, then you need to enter them  
as different parts. So something that's a4.~ a4 in the actual notes is  
represented as a4. s4 in the tablature? Here is where \tag would be  
useful.

http://kainhofer.com/~lilypond/Documentation/user/lilypond/Different-editions-from-one-source.html#Using-tags




2) Where should I put /midi {} in the score to get a midi file?

http://kainhofer.com/~lilypond/Documentation/user/lilypond/Creating-MIDI-files.html#Creating-MIDI-files


3) Any suggestion to improve things or to learn me something are  
welcome ;)
Remove anything that you don't need. You have two \keepWithTag  
statements, but no \tag.



Thanks in advance,


Hope that helps.

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Re: LilyPondTool question

[Valentin Villenave]

2008/9/6 Gilles THIBAULT <[EMAIL PROTECTED]>:
>
>> Then, maybe after running LP, suddenly it disappears and I can't figure
>> out how to recover it.  Perhaps it's something simple, but I haven't
>> figured it out.  If somebody knows what I'm missing, I'd be grateful for
>> your tips.  Thanks.
>
> Perhaops you can verify that in
>  "Plugins" > "plugins options...""
>  " lilypondTool" item then "general" tab
>  the "Enable BufferTabs by default" is checked

Nope, BufferTabs is a different extension :-)

Don: by default, the LilyToolBar appears (or should appear) whenever
you have a .ly file loaded and opened in the active viewport. Check if
"enable _LilyTool_ bar is checked in the options, like Gilles said; if
it still disappears, check if you haven't accidentally hit the "hide
toolbar" button :-)

Cheers,
Valentin


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Re: notation TAB matching

[Grammostola Rosea]

James E. Bailey wrote:
I'm guessing you mean the dots? It would probably be easiest to remove 
them. You'll want to look at 
http://kainhofer.com/~lilypond/Documentation/user/lilypond/Controlling-visibility-of-objects.html#Controlling-visibility-of-objects 


and probably
h 

I also want to display  notes with a slur in the notation as one 
entry in the tablature (no slur, no entry for the second note (in the 
notation connected with a slur).
If you want to have different note values, then you need to enter them 
as different parts. So something that's a4.~ a4 in the actual notes is 
represented as a4. s4 in the tablature? Here is where \tag would be 
useful.
http://kainhofer.com/~lilypond/Documentation/user/lilypond/Different-editions-from-one-source.html#Using-tags 




Hope that helps.


Thanks. I guess those links are in development? I can't reach every page...



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different tempi

[Werner LEMBERG]

How can I achieve the effect shown in the attached image?  The problem
is not to `emulate' a different tempo with \scaleDurations, but to set
up the staff grouping, and, directly connected with it, the bar line
groupings.


Werner
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Re: longer hshortairpins for the whole score

[Stefan Thomas]

Dear Kieren,
thanks for Your very nice snippet.
 \override Score.Hairpin #'minimum-length = #10
works very well, but
   \layout { \context { \Score \override Hairpin #'minimum-length = #10
} }
does not work in my score.
Maybee it has to do with the cirumstance, that I use "\new Score" at the
begunning.
What is the differance between \score and \new Score

2008/9/6 Kieren MacMillan <[EMAIL PROTECTED]>

> Hi Stefan,
>
>  I found out (with the help of the manual), that with the following tweak I
>> can get longer hairpins.
>> \version "2.11.49"
>> \relative { \override Voice.Hairpin #'minimum-length = #10 \time 3/4 e
>> 4 \p\< e \ff e  }
>> But how can I change it for the whole score?
>> Is it possible to write it in the layout-block?
>>
>
> HTH!
> Kieren.
>
> 
>
> \version "2.11.57"
> \paper { ragged-right = ##t }
>
> \markup { "Overriding at the Voice level is 'local':" }
> \score
> {
><<
>\relative {
>\time 3/4
>e4 \p\< e\ff e
>\override Voice.Hairpin #'minimum-length = #10
>e4 \p\< e\ff e
>}
>\relative {
>R4*3*2
>e4 \p\< e\ff e
>e4 \p\< e\ff e
>}
>>>
> }
>
> \markup { "Overriding at the Score level affects all Hairpins:" }
> \score
> {
><<
>\relative {
>\time 3/4
>e4 \p\< e\ff e
>\override Score.Hairpin #'minimum-length = #10
>e4 \p\< e\ff e
>}
>\relative {
>R4*3*2
>e4 \p\< e\ff e
>e4 \p\< e\ff e
>}
>>>
> }
>
>
> \markup { "This can also be done in the \layout block:" }
> \score
> {
><<
>\relative {
>\time 3/4
>e4 \p\< e\ff e
>e4 \p\< e\ff e
>}
>\relative {
>R4*3*2
>e4 \p\< e\ff e
>e4 \p\< e\ff e
>}
>>>
>
>\layout { \context { \Score \override Hairpin #'minimum-length = #10
> } }
> }
>
> 
>
>
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Re: LilyPondTool question

[Don Ravey]

Thanks, Gilles and Valentin!  I did find the Plugins > Plugin Options > 
LilyPond Tool > General > Enable LilyTool bar box and confirmed that it 
is checked.  And the Which lilypond to use? is set to Native, since I 
don't know anything about cygwin.  In the jEdit Toolbar, the Show 
Toolbar is checked, and buttons for other plugins are showing, such as 
java and python.  I haven't found the Hide Toolbar button, so that might 
be the culprit.  Where is it??


Don

Valentin Villenave wrote:

2008/9/6 Gilles THIBAULT <[EMAIL PROTECTED]>:
  

Then, maybe after running LP, suddenly it disappears and I can't figure
out how to recover it.  Perhaps it's something simple, but I haven't
figured it out.  If somebody knows what I'm missing, I'd be grateful for
your tips.  Thanks.
  

Perhaops you can verify that in
 "Plugins" > "plugins options...""
 " lilypondTool" item then "general" tab
 the "Enable BufferTabs by default" is checked



Nope, BufferTabs is a different extension :-)

Don: by default, the LilyToolBar appears (or should appear) whenever
you have a .ly file loaded and opened in the active viewport. Check if
"enable _LilyTool_ bar is checked in the options, like Gilles said; if
it still disappears, check if you haven't accidentally hit the "hide
toolbar" button :-)

Cheers,
Valentin


  



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SOLVED! LilyPondTool question

[Don Ravey]

 Oh, boy!  How dumb!  Valentin, I guess it was your comment about the 
default behavior being to display the toolbar when the file in the 
active workspace is an .ly file.  Since I'm a beginner, the first time I 
saved a file, I made the unwarranted assumption that the .ly extension 
would be added when I saved it, so my file lacked a file extension!  
Since I loaded it from the "recent files" menu, it just continued to not 
declare itself a lilypond file!  Problem solved.  Sorry for the bother.


Don


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Re: a script / tool for transposing a lilypond staff / source file by a given interval and output result as a new file

[Mats Bengtsson]

Quoting Daryna Baikadamova <[EMAIL PROTECTED]>:


Hi

I have received a symphony score, which parts are not typed in concert
pitch.  This creates a problem when I want to create midi files for the
score.  It also gives me some minor programming hassles when I want to
create parts with a different transposition for my ensemble (e.g. the
original score has clarinet in A, but my group only has clarinet in Bb.


I hope you have read 
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Transpose#Transpose

and
http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Instrument-transpositions#Instrument-transpositions
which explain how to handle all these issues without rewriting the 
source file to concert pitch. Note also that the hint provided in a 
previous answer, of using \displayLilyMusic will result in absolute

pitches, not \relative.

   /Mats


I would like to clean up the source file by converting source files of
transposing instruments back to their concert pitch and then use the
'\transpose' command in their driver files to create transposed score.

Are there any existing tools which converts source files in this way?

Thanks

Daryna







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Re: WANTED: Design for documentation (Photoshop power users!)

[Andrew Hawryluk]

Here's my initial design submission for the docs - it's just a gentle
modification of the CSS file:
- use "Century Schoolbook L" if available to match the LilyPond output
(Georgia is also a good option)
- links are only underlined when hovered upon
- the colors are taken from the Monet "Waterlilies" on the LilyPond homepage

I didn't change the color of the box at the bottom ("This page is for
LilyPond-2.11.58") because it was styled right in the HTML file.

Hope you get lots of good ideas from the list!

Andrew


On Mon, Aug 11, 2008 at 1:55 PM, Reinhold Kainhofer
<[EMAIL PROTECTED]> wrote:
> -BEGIN PGP SIGNED MESSAGE-
> Hash: SHA1
>
> Dear all,
> I suppose my last mail sounded too technical (thanks Valentin for pointing
> this out), so here I'm again with some clarifications:
>
> For the new Lilypond documentation we are looking for a good screen design
> (i.e. a mockup image of how the page should look like. You don't need to
> implement it!).
>
> The current, unpolished docs are e.g. at:
> http://kainhofer.com/~lilypond/texi2html-out/Documentation/user/lilypond/index.html
>
> It works fine (should also work with IE now), but doesn't look very good yet.
>
>
> All we need from you is a mockup image of how the pages should look like. I
> will do the actual implementation in HTML / CSS etc., so you don't need to
> know anything technical, all you need to do is to create a good design (in
> whatever format you like best: You can send images, html pages, etc.).
>
>
> Since after the release, we'll probably also tackle the general lilypond
> homepage, it would be a plus if the design could also be re-used (with some
> adaptions, of course) for the lilypond.org homepage.
>
>
> Cheers,
> Reinhold
>
> PS: The complete documentation index to all different parts of our
> documentation is at http://kainhofer.com/~lilypond/texi2html-out/
> Please notice that this page does not use the documentation style, but
> rather the homepage style and thus won't be affected by any design changes
> to the docs yet.
>
>
> - --
> - --
> Reinhold Kainhofer, Vienna University of Technology, Austria
> email: [EMAIL PROTECTED], http://reinhold.kainhofer.com/
>  * Financial and Actuarial Mathematics, TU Wien, http://www.fam.tuwien.ac.at/
>  * K Desktop Environment, http://www.kde.org, KOrganizer maintainer
>  * Chorvereinigung "Jung-Wien", http://www.jung-wien.at/
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> =HyaP
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>
/***/
/*  PAGE-WIDE SETTINGS */
/**/

html {
  height:100%;
}

body {
  margin: 0;
  padding: 0;
  height: 100%;
  font-size: 100%;
  font-family: "Century Schoolbook L", Georgia, serif;
  margin-right: auto;
  margin-left: auto;
}

/***/
/*  HEADERS*/
/***/
h4 {
  color: #151959;
}

h3 {
color: #151959;
}

h2 {
  font-size: x-large;
  color: #151959;
}
.unnumberedsubsubsec, .subsubheading {
  font-size: large;
  color: #151959;
}

/***/
/*   LINKS */
/***/
a:link, a:visited, a:hover, a:active {color:#2E5479; text-decoration: none;}
a:hover {text-decoration: underline;}
a:active {color:#CCF;}

/***/
/*  BLOCK FORMATTING   */
/***/
blockquote {
  border: 1px solid #cc;
  padding: 3px;
  width: 40em;
}
.verbatim, .example {
  font-family: "Courier New",Courier,monospace;
}
hr {
  border:  none;
  height: 1px;
  color: #66;
  background-color: #66;
}
table.cartouche {
  border: 2px dotted #cc;
  margin-left: auto;
  margin-right: auto;
  width: 85%;
}
table.cartouche td {
  border: none;
}

/***/
/*MAIN CONTENT */
/***/

div#main {
  position: absolute;
  top: 0;
  right: 0;
  bottom: 0;
  left: 27%;
  padding: 0 1em;
  margin: 0;
  overflow: auto;
}

#languages {
  padding-bottom: 1em;
}

/***/
/*TOC SIDEBAR  */
/***/

d

Re: WANTED: Design for documentation (Photoshop power users!)

[fiëé visuëlle]

Am 2008-09-06 um 22:38 schrieb Andrew Hawryluk:


Here's my initial design submission for the docs - it's just a gentle
modification of the CSS file:
- use "Century Schoolbook L" if available to match the LilyPond output


You could also add "TeX Gyre Schola" (the same, as used by up-to-date  
TeX freaks).

See http://www.gust.org.pl/projects/e-foundry/tex-gyre


Greetlings from Lake Constance
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)




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Fingering: tweak has different behavior in 2.11.58

[Jonathan Kulp]

I compiled version 2.11.58 and when I ran a file I was working on I 
noticed that many of the tweaks I had done to position fingerings had 
different results in 2.11.58 than they did in 2.11.56.  Below is a 
minimal example.  The same code was used to produce each png image.  The 
one with the 4 fingering way up above was done in 2.11.58, and the one 
with it tucked in nicely under the beam was done in 2.11.56.  Any idea 
why the different behavior?  For the moment I've reverted to 2.11.56.


Jon

%  fingering orientations
sfor = \set fingeringOrientations = #'(right)

\relative c {
  \time 6/8
  \clef "treble_8"
  a8\( g'-\tweak #'extra-offset #'(-0.3 . -3.5)-3
  
  \sfor  c' \) |
}


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duration of \laissezVibrer

[Eluze]

hi
sometimes \laissezVibrer looks very short - how can i control the
duration/length of the tie?
thx for your help!

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Re: Fingering: tweak has different behavior in 2.11.58

[Neil Puttock]

Hi Jon,

2008/9/6 Jonathan Kulp <[EMAIL PROTECTED]>:
> I compiled version 2.11.58 and when I ran a file I was working on I noticed
> that many of the tweaks I had done to position fingerings had different
> results in 2.11.58 than they did in 2.11.56.  Below is a minimal example.
>  The same code was used to produce each png image.  The one with the 4
> fingering way up above was done in 2.11.58, and the one with it tucked in
> nicely under the beam was done in 2.11.56.  Any idea why the different
> behavior?  For the moment I've reverted to 2.11.56.

This is a result of my fix (#666) for the broken 'avoid-slur behaviour
when set to 'around (which is the case for Fingering).

If you have a look at the images below without tweaks, you can see
what's changed: originally, the `4' was avoiding the slur incorrectly
(outside), even though there's plenty of space for it to be placed
inside the slur. Since the correct behaviour places it inside, your
y-offset in \tweak is now too large.

Regards,
Neil
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Re: Fingering: tweak has different behavior in 2.11.58

[Jonathan Kulp]

Ok Neil, thanks for the explanation.  I can see that this is a long-term 
improvement so I'll go ahead and change my offset values to work with 
the new behavior.  Thanks,


Jonathan

Neil Puttock wrote:

Hi Jon,

2008/9/6 Jonathan Kulp <[EMAIL PROTECTED]>:

I compiled version 2.11.58 and when I ran a file I was working on I noticed
that many of the tweaks I had done to position fingerings had different
results in 2.11.58 than they did in 2.11.56.  Below is a minimal example.
 The same code was used to produce each png image.  The one with the 4
fingering way up above was done in 2.11.58, and the one with it tucked in
nicely under the beam was done in 2.11.56.  Any idea why the different
behavior?  For the moment I've reverted to 2.11.56.


This is a result of my fix (#666) for the broken 'avoid-slur behaviour
when set to 'around (which is the case for Fingering).

If you have a look at the images below without tweaks, you can see
what's changed: originally, the `4' was avoiding the slur incorrectly
(outside), even though there's plenty of space for it to be placed
inside the slur. Since the correct behaviour places it inside, your
y-offset in \tweak is now too large.

Regards,
Neil









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Re: JEdit JPedal Adobe

[Bertalan Fodor]

I was beating my head against a wall trying to get text spanners to 
display properly when I found out here that JPedal doesn't display 
them properly.
Hi, it seems I successfully fixed this bug of JPedal in the next release 
of LilyPondTool.


Bert


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Re: a script / tool for transposing a lilypond staff / source file by a given interval and output result as a new file

[Daryna Baikadamova]

Thanks for your help!  However I have three questions:

when we enter new scores, should we enter in concert pitch?

You suggested that it is not a good idea to use \displayLilyMusic because it
only outputs absolute pitches, not relative, thus making the resultant score
hard to maintain by humans.  However my situation is:
- the parts were not entered in concert pitch
- the parts are in pitches that are not common nowadays.  (e.g. in my score,
trumpet in D, horn in E and clarinet in A, which I am afraid not many
members in an (youth) orchestra will have.  Therefore I would also like to
produce current transpositions in parts such as trumpet in Bb, horn in F and
clarinet in Bb, or better, to produce pdf parts scores with different
transpositions from one lilypond file.  What is the best way?

Would it be better for me to just annotate the original score (clarinet in
A) by stating the transposition key of the instrument (\transposition), then
for each version of parts, I use \transpose x y to transpose to the desired
key in each case?

Or should I convert the score to concert pitch using \displayLilyMusic and
then use \transpose x y in each case?

Thanks!
Daryna

On Sun, Sep 7, 2008 at 6:58 AM, Mats Bengtsson <[EMAIL PROTECTED]>wrote:

> Quoting Daryna Baikadamova <[EMAIL PROTECTED]>:
>
>  Hi
>>
>> I have received a symphony score, which parts are not typed in concert
>> pitch.  This creates a problem when I want to create midi files for the
>> score.  It also gives me some minor programming hassles when I want to
>> create parts with a different transposition for my ensemble (e.g. the
>> original score has clarinet in A, but my group only has clarinet in Bb.
>>
>
> I hope you have read
> http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Transpose#Transpose
> and
>
> http://lilypond.org/doc/v2.11/Documentation/user/lilypond/Instrument-transpositions#Instrument-transpositions
> which explain how to handle all these issues without rewriting the source
> file to concert pitch. Note also that the hint provided in a previous
> answer, of using \displayLilyMusic will result in absolute
> pitches, not \relative.
>
>   /Mats
>
>
>> I would like to clean up the source file by converting source files of
>> transposing instruments back to their concert pitch and then use the
>> '\transpose' command in their driver files to create transposed score.
>>
>> Are there any existing tools which converts source files in this way?
>>
>> Thanks
>>
>> Daryna
>>
>>
>
>
>
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download

[kim]

Not sure which to download..do these work with 
Windows Vista?



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Re: a script / tool for transposing a lilypond staff / source file by a given interval and output result as a new file

[James E. Bailey]

Am 07.09.2008 um 06:10 schrieb Daryna Baikadamova:

when we enter new scores, should we enter in concert pitch?
I think you should enter the score in whatever pitch is easiest. If  
your source score is transposed, then it's probably going to be easier  
to type it into a computer exactly as shown, transposed. If your  
source score is concert pitch, then it's going to be easier to type it  
into a computer in concert pitch. otherwise, you run the possibility  
of introducing errors into a score that will not easily be found.


You suggested that it is not a good idea to use \displayLilyMusic  
because it only outputs absolute pitches, not relative, thus making  
the resultant score hard to maintain by humans.  However my  
situation is:

- the parts were not entered in concert pitch
- the parts are in pitches that are not common nowadays.  (e.g. in  
my score, trumpet in D, horn in E and clarinet in A, which I am  
afraid not many members in an (youth) orchestra will have.   
Therefore I would also like to produce current transpositions in  
parts such as trumpet in Bb, horn in F and clarinet in Bb, or  
better, to produce pdf parts scores with different transpositions  
from one lilypond file.  What is the best way?

\transpose a b

Would it be better for me to just annotate the original score  
(clarinet in A) by stating the transposition key of the instrument  
(\transposition), then for each version of parts, I use \transpose x  
y to transpose to the desired key in each case?


Or should I convert the score to concert pitch using  
\displayLilyMusic and then use \transpose x y in each case?
The easiest solution would probably just be to \transpose each part to  
what a modern orchestra uses, that's not uncommon to see a Clarinet in  
A part that's written in Bb for the sake of a modern orchestra where  
players may not have an A clarinet.



Just my thoughts.


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Re: download

[Trevor Daniels]

Kim

All the Windows downloads of stable and development versions work with 
Vista, although I have experienced a possible problem with Vista SP1.  The 
latest development version and associated documentation is recommended.


Trevor

- Original Message - 
From: "kim" <[EMAIL PROTECTED]>

To: 
Sent: Sunday, September 07, 2008 7:22 AM
Subject: download



Not sure which to download..do these work with
Windows Vista?



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