Re: show-break-places, a fantasy

[Werner LEMBERG]

>   Here's another serious problem (only with blind).  Sighted people
>   can check whether the page turn is disturbing the flowing music
>   and troubling the players, but for me, I have to ask an assistant
>   for help, since Lilypond can't export Musicxml, or Musescore can't
>   open Lilypond file.  Furthermore, if I'm asking an orchestra to
>   play from a middle position other than rehearsal mark, they will
>   search for bar numbers, because I can't tell them which page and
>   which system to begin.  Then I'm thinking of an option for
>   accessibility, thus writing out number of the bar at the beginning
>   of every line as a line, then giving a new line for a new page.
>   For example:
>
> #(ly:set-option show-break-places)
> Then in log file:
> drawing systems:
> (because I think the result only comes after generating graphics)
> [1][5][10][16][19][24]
> [28][34][41][45][50][60]
> ...

This sounds sensible and not too hard to implement.  Please resend
your email to bug-lilypond so that it gets added to the bug database.


Werner

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Re: seeking more Bug Squad members

[Kieren MacMillan]

Dobroho ranku Dmytre,

> Actually 24 (oct 30 or hex 18 or bin 100100) is *much* rounder.

An excellent point! I stand corrected.  =)
Kieren.

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Re: Acciaccatura with glissando

[phil.burfitt]

- Original Message - 
From: "-Eluze" 

To: 
Sent: Wednesday, June 16, 2010 11:14 PM
Subject: Re: Acciaccatura with glissando



Hi Eluze,

I would have thought grace notes with glissando instead of slur would 
have

been an available user option, as they are quite common in guitar music.



the slur really makes sense and cannot simply be replaced by a straight 
line

- think of a grace/acciaccatura/appoggiatura with more than one note!


I didn't mean as a replacement to a slur, but rather as an additional style 
of grace/acciaccatura/appoggiatura with glissando instead of slur.



you should also have a look at (older) editions of pieces trying to show a
glissando from a grace to a normal note head… ( and not only that) -
sometimes you think there is a staccato dot somewhere, other times you 
think

there is a spot on the paper and further on


My own thoughts, having played with this most of yesterday, are that a 
glissando placed between a grace and main note is either hardly visible, or, 
in order to make the glissando visible and clear, the grace and main note 
need to be positioned too far apart. Of course this is all very subjective.


In the end I preferred to move the glissando below the notes - which solved 
the above points. I've include the the first four bars of Le Fandango Varié 
by Dionisio Aguado and a png clip below to put things in context (hope this 
mailing list accepts image clips).


\version "2.13.17"

\relative c {

 \clef "treble_8"
 \key f \major
 \time 3/4

 \slurDown
 \partial 4*1 \acciaccatura { d16[ e] } f8.[ d16]
 a4 r4 \acciaccatura { d16[ e] } f8.[ d16]
 a'4 r4
 \once \override Slur #'transparent = ##t
 \once \override Glissando #'bound-details = #'((right (padding . 0)) (left 
(padding . 0)))

 \once \override Glissando #'extra-offset = #'(0 . -1)
 \acciaccatura a8\glissando d8.[ cis16]
 a4 a16[( bes) g( a)] f[( g) d( f)]
}



Regards
Phil.

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Re: Acciaccatura with glissando

[-Eluze]

phil.burfitt wrote:
> 
> \relative c {
> 
>   \clef "treble_8"
>   \key f \major
>   \time 3/4
> 
>   \slurDown
>   \partial 4*1 \acciaccatura { d16[ e] } f8.[ d16]
>   a4 r4 \acciaccatura { d16[ e] } f8.[ d16]
>   a'4 r4
>   \once \override Slur #'transparent = ##t
>   \once \override Glissando #'bound-details = #'((right (padding . 0))
> (left 
> (padding . 0)))
>   \once \override Glissando #'extra-offset = #'(0 . -1)
>   \acciaccatura a8\glissando d8.[ cis16]
>   a4 a16[( bes) g( a)] f[( g) d( f)]
> }
> 
> 
this follows the edition of Böhme and lgtm - except for the penultimate note
which should be e…!

cheers!
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Re: Acciaccatura with glissando

[phil.burfitt]

- Original Message - 
From: "-Eluze" 

To: 
Sent: Thursday, June 17, 2010 12:29 PM
Subject: Re: Acciaccatura with glissando





phil.burfitt wrote:


\relative c {

  \clef "treble_8"
 \key f \major
  \time 3/4

 \slurDown
 \partial 4*1 \acciaccatura { d16[ e] } f8.[ d16]
  a4 r4 \acciaccatura { d16[ e] } f8.[ d16]
  a'4 r4
  \once \override Slur #'transparent = ##t
  \once \override Glissando #'bound-details = #'((right (padding . 0))
(left (padding . 0)))
 \once \override Glissando #'extra-offset = #'(0 . -1)
 \acciaccatura a8\glissando d8.[ cis16]
  a4 a16[( bes) g( a)] f[( g) d( f)]
}


this follows the edition of Böhme and lgtm - except for the penultimate 
note

which should be e…!



cheers!



Ooops - Yes!

Thanks.
Phil.


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Aligning the end of a text spanner with a tempo indication

[Richard Sabey]

Please, how do I set up a text spanner so that its end-text is in the correct 
place, if there also happens to be a tempo indication there? In the example 
below, I intend the "a tempo" to come at the start of bar 3, but it is late. It 
seems that the left-hand edge of "a tempo" is vertically aligned with the 
centre of the tempo indication.

(I checked NR, the Internals and the issues-list but found nothing relating to 
this problem.)

Dynamic text spanners made using e.g. \dimTextDim and \> work fine, so the bug 
might be that I've used \override wrongly here.

 begin example
\version "2.13.17"

tempi =
{
\override TextSpanner #'(bound-details left text) = "rit."
\override TextSpanner #'(bound-details right text) = "a tempo"
s1\startTextSpan s% 1-2
\tempo "Un poco meno mosso" 4=100
s\stopTextSpan s% 3-4
}

music = \repeat unfold 32 f'8

\new Staff { << \tempi \music >> }
 end example

Richard

  
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Please help with automatic accidentals!

[Dmytro O. Redchuk]

Hi!

Please help --- "can't understand" (tm) "what's wrong" (tm) :-)

Looking at that snippet below i would say that too few notes have natural sign
cancelling preceeding sharp (only one). I would expect other voices have
cancellations too.

Documentation[1] says:

% ---8<-
piano

"This rule reflects twentieth-century practice for piano notation. Its
behavior is very similar to modern style, but here accidentals also get
canceled across the staves in the same GrandStaff or PianoStaff, hence all the
cancellations of the final notes."
% ---8<-

So, what's wrong in that snippet below?

Another, side question, documentation says also:

"This [piano] accidental style applies to the current GrandStaff or PianoStaff
by default."

What does this mean? That i need not to say #(set-accidental-style 'piano) for
PianoStaff? Or it can be said for one Staff only to be applied to whole
PianoStaff?

I can not guess answer to the latter question since i'm lost at all!-) I feel
automatic accidentals do work (they do work for that example at the site![2]),
but i can not get them working for some reason!

Please, help :-)

Thank you!

% ---8<-
\version "2.13.24"

musicAA = \relative c'' {
  cis1
  c1
}

musicAB = \relative c' {
  c1
  c1
}

musicB = \relative c'' {
  c1
  c1
}

\score {
  \new PianoStaff {
<<
  \new Staff <<
#(set-accidental-style 'piano 'Score)
\new Voice { \voiceOne \musicAA }
\new Voice { \voiceTwo \musicAB }
  >>
  \new Staff {
\new Voice { \musicB }
  }
>>
  }
}
% ---8<-


 1. 
http://lilypond.org/doc/v2.13/Documentation/notation/displaying-pitches#automatic-accidentals
 2. http://lilypond.org/doc/v2.13/Documentation/61/lily-f283ad91.ly

-- 
  Dmytro O. Redchuk

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Suggestions: New definitions for greater midi control

[Alex Stone]

Hello all.

As part of a steep learning curve with lilypond, i've discovered that midi
playback doesn't always do what it says on the tin. I'm aware of the
difference in midi instrument names=patch numbers often foisted on us by
developers eager to define their own patch maps, but even with GM maps, i
often get a different result to the one i expect. (Flute score being played
by trombones,etc...)

Suggestion 1.

3 new \commands.

\bankMSB 
\bankLSB 
\patch 

These commands are inserted along with an integer in the score for a part,
that may require a change of articulation.
e.g.

staffFlute = \new Staff {
\set Staff.instrumentName = "FluteI"
\set Staff.midiInstrument = "flute"
\key e \minor
\clef treble
\relative c' { 
c'2\p r2 
d2\<( a'2\!
g2.\mf\>) r4\!  
r1
r1 
r4 a4\p( b c)
r1 
r4 a4\p\<( b c)\! 
b8\mf( a g a) g2
r2 c8(b a b)
a8( g fs g) r2
r2 fs(e d e)
r2

A quick flute extract from a score.

Now with the new commands, using bank and patch changes to switch flute
legato to flute staccato in a self made midi instrument map.

staffFlute = \new Staff {
\set Staff.instrumentName = "FluteI"
\set Staff.midiInstrument = "flute"
\key e \minor
\clef treble
\relative c' { 
c'2\p r2 
d2\<( a'2\!
g2.\mf\>) r4\!  
r1
r1 
r4 a4\p( b c)
r1 
r4 a4\p\<( b c)\! 
b8\mf( a g a) g2
r2 c8(b a b)

"\bankLSB 0
\patch 79"

a8( g fs g) r2
r2 fs(e d e)
r2

Given that bank and patch changes are pretty well universal for midi, not
for instrument numbers, but for the structure of using bank and patch
changes, then this addition to lilypond might well serve as a "univeral"
means of tailoring midi playback according to the user's requirements, and
possibly introduce a greater degree of accuracy of playback.

Suggestion 2.

On a wider note, may i suggest additional commands called \midiPort , and
\midiMcha .

For those of us who use, on a regular basis, more than 16 staves in a score,
the 16midi channel limitation can be problematic. Even the workarounds so
generously supplied by lily users, as useful as they are, don't overcome
this limitation.

With the suggested /midiPort command,  the user could define more than one
midi port, each with 16 channels in the block, and have access to a far
greater number of options for more accurate playback, with no limitations.

As follows, with the same flute block as an example:

staffFlute = \new Staff {
\set Staff.instrumentName = "FluteI"
\set Staff.midiInstrument = "flute"
"\midiPort 0
\midiMcha 2"
\key e \minor
\clef treble
\relative c' { 
c'2\p r2 
d2\<( a'2\!
g2.\mf\>) r4\!  
r1
r1 
r4 a4\p( b c)
r1 
r4 a4\p\<( b c)\! 
b8\mf( a g a) g2
r2 c8(b a b)
a8( g fs g) r2
r2 fs(e d e)
r2

midi files are then created with as many channels as there are ports(1 port
=16 channels), and for playback, the user can import the midi file into a
sequencer, or playback the file with a multiport sampler, for example
something like Qsynth, with multiple engines, and soundfonts loaded. 

I've tried to think this through within the context of lily syntax, but
there may be something in here that's inherently impossible, as a) i'm not a
coder, and b), I'm new to lilypond.

Alex.

Edited for greater accuracy.
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Re: Suggestions: New definitions for greater midi control

[Alex Stone]

A quick follow up, after reducing my test file to 16 midi channels, and
testing a number of soundfonts, i'm able to get more or less correct
instrument playback.

Alex.
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Re: Presentation: "Publisher-grade LilyPond" in Ottawa

[Valentin Villenave]

On Tue, Jun 15, 2010 at 5:34 PM, Graham Percival
 wrote:
> I believe the highest bounty so far was 250 euro, back in the days
> when Han-Wen was working full-time and Trevor Baca was requesting many
> new features.

FTR -- The highest bounty I ever paid was 500 euros, in 2007.

On Tue, Jun 15, 2010 at 8:25 PM, Jan Nieuwenhuizen
 wrote:
> I am considering to offer commercial support and may be able to do
> that on a part-time basis.  However, working on two bounties has
> illustrated that bounty work can be quite tricky.  It would be very
> nice for someone doing this for a hobby and getting to know LilyPond,
> but commercial support requires some level of predictability.

Absolutely. That's why I've always said that we should have something
like a "bounty thermometer" (such as the one they use for Blender's
open movies IIRC, or http://haikuware.com/bounties/ as well). Right
now we start with fixing things, and then care about the money, but I
can imagine it the other way around:

 - step 1, we establish a public list of "most wanted" features or
bugfixes, and developers who could be willing to work on these
estimate the amount of time (i.e. money) required to address each one
of these;

 - step 2, we gradually gather the money (there are a number of ways
to do so), on a "neutral" bank account: that means, the Lilypond
Foundation, of the non-profit LilyPond organization that's being built
here in France,

 - step 3, whenever the required amount of money for an issue is
reached, the developer who called dibs on said issue does his job, and
takes the dough.

However, if Han-Wen's LilyPond-design experiment has to teach us
something, it's that considering this only from a development
perspective is not enough. Therefore, I do believe that we should
*also* consider having "LilyPonding" branch, for newbies, musicians,
composers, teachers, who sometimes need to have a large score typeset
quickly but don't have enough skills or time or patience to typeset it
on their own. Sort of a "rent-a-LilyPonder" service :-)
Advanced users who could handle this type of jobs would get paid
(obviously), but a part of the money could also go to development
funding.

(Full disclosure: I have actually founded my own small one-person
company to offer LilyPond-related services, such as publishing,
training, composition, arrangement, LilyPonding of sorts, etc. And
AFAIK, as of today there are at least half a dozen other
companies/small-businesses like mine.)

Cheers,
Valentin

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Re: bounties

[Valentin Villenave]

On Thu, Jun 17, 2010 at 8:38 AM, Marc Hohl  wrote:
> (I wouldn't surely be the ideal person for founding a lilypond
> users group), I am willing to spend a fee, say $50 a year, for
> supporting the lilypond development. If there are 99 people more
> (and I think there are a lot more!), we would have $5000 to pay
> someone for improving lilypond.

As I mentioned in the other thread, there are plans to build such an
organization in France, from scratch (another possibility would be to
revive the (Netherlands-based?) LilyPond foundation, but we'd need
more information about it).

The main obstacle, of course, being the international essence of the
project, whereas non-profit organisations, bank accounts, etc. are
usually conceived in a nation-centric perspective.

Cheers,
Valentin

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Re: Aligning the end of a text spanner with a tempo indication

[-Eluze]

Richard Sabey wrote:
> 
> 
> Please, how do I set up a text spanner so that its end-text is in the
> correct place, if there also happens to be a tempo indication there? In
> the example below, I intend the "a tempo" to come at the start of bar 3,
> but it is late. It seems that the left-hand edge of "a tempo" is
> vertically aligned with the centre of the tempo indication.
> 
hm…, i think it is centered on the end of the duration of the last note (s1)


> tempi =
> {
> \override TextSpanner #'(bound-details left text) = "rit."
> \override TextSpanner #'(bound-details right text) = "a tempo"
> s1\startTextSpan s% 1-2
> \tempo "Un poco meno mosso" 4=100
> s\stopTextSpan s% 3-4
> }
> 

if you add   \override TextSpanner #'(bound-details right attach-dir) =
#LEFT you should get what you want!
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Re: Please help with automatic accidentals!

[James Bailey]

On 17.06.2010, at 14:20, Dmytro O. Redchuk wrote:


Hi!

Please help --- "can't understand" (tm) "what's wrong" (tm) :-)

Looking at that snippet below i would say that too few notes have  
natural sign
cancelling preceeding sharp (only one). I would expect other voices  
have

cancellations too.


Just a thought, but could this be an application of issue 897?

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Re: bounties

[Editions IN NOMINE]

Hi.

I thought one could order "pieces of improvment" (it's been a long time 
since I read something on it...). The idea is : I pay for my personnel 
need, and the improvment is put back in the community. This question 
strikes me because I've just beginning to set up shop as an editor, and 
I've planned to pay back part of my (future ;-) ) benefits to Lilypond.


As for last point of Valentin's respose, such models must already exist 
: for instance, the Ubuntu project is worldwide, but the French 
community is able to receive money on his own 
(http://www.ubuntu-fr.org/soutien).


Any idea ?

Best regards

JM

Valentin Villenave a écrit :

On Thu, Jun 17, 2010 at 8:38 AM, Marc Hohl  wrote:
  

(I wouldn't surely be the ideal person for founding a lilypond
users group), I am willing to spend a fee, say $50 a year, for
supporting the lilypond development. If there are 99 people more
(and I think there are a lot more!), we would have $5000 to pay
someone for improving lilypond.



As I mentioned in the other thread, there are plans to build such an
organization in France, from scratch (another possibility would be to
revive the (Netherlands-based?) LilyPond foundation, but we'd need
more information about it).

The main obstacle, of course, being the international essence of the
project, whereas non-profit organisations, bank accounts, etc. are
usually conceived in a nation-centric perspective.

Cheers,
Valentin

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Re: Aligning the end of a text spanner with a tempo indication

[Richard Sabey]

Eluze,

Thank you for that suggestion. It works.

(I had looked TextSpanner up in Internals, but it wasn't obvious from the 
documentation there that TextSpanner even has a property #'(bound-details right 
attach-dir), let alone that that property was the right one for this task.)

> Date: Thu, 17 Jun 2010 08:13:53 -0700 (PDT)
> From: -Eluze 

> if you add   \override TextSpanner #'(bound-details right attach-dir) =
> #LEFT you should get what you want!

  
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Re: Aligning the end of a text spanner with a tempo indication

[Kieren MacMillan]

Hi Richard,

> Thank you for that suggestion. It works.
> (I had looked TextSpanner up in Internals, but it wasn't obvious from the 
> documentation there that TextSpanner even has a property #'(bound-details 
> right attach-dir), let alone that that property was the right one for this 
> task.)

It is somewhat opaque...  =)

For future archive readers, the very first property on 
 shows that:
1. there is a property #'bound-details
2. there are left and right subproperties
3. the left subproperty has a subsubproperty called attach-dir (defaulted 
to -1).

On the page 
,
 which deals with spanners in general (including textspanners in particular), 
we find:

"A number of further properties of the left and right sub-lists of the 
bound-details property may be modified in the same way [...] attach-dir: this 
determines where the line starts and ends in the X-direction, relative to the 
bound object. So, a value of -1 (or LEFT) makes the line start/end at the left 
side of the note head it is attached to."

Hope this helps!
Kieren.
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Re: bounties

[David Stocker]

If you haven't already, have a look at Ardour's subscription page 
http://ardour.org/why_subscribe


This may be a viable answer. At one time, I was a subscriber, 
contributing $4.00US per month via automated paypal withdrawl. $4.00/mo 
is pretty painless when you lump it in with your other business 
expenses. I'd be willing to do that or a little more with LilyPond, 
since I use it more (often, for client work) than I use Ardour at the 
moment, if the option was available.


Although Ardour's appeal is arguably broader (and perhaps, more 
commercially oriented) than LilyPond's, just in terms of prospective 
users, I think LilyPond has a dedicated base of users who would be glad 
to contribute resources in a concrete and structured way. It might be 
worth considering.


David

On 06/17/2010 12:12 PM, Editions IN NOMINE wrote:

Hi.

I thought one could order "pieces of improvment" (it's been a long 
time since I read something on it...). The idea is : I pay for my 
personnel need, and the improvment is put back in the community. This 
question strikes me because I've just beginning to set up shop as an 
editor, and I've planned to pay back part of my (future ;-) ) benefits 
to Lilypond.


As for last point of Valentin's respose, such models must already 
exist : for instance, the Ubuntu project is worldwide, but the French 
community is able to receive money on his own 
(http://www.ubuntu-fr.org/soutien).


Any idea ?

Best regards

JM

Valentin Villenave a écrit :

On Thu, Jun 17, 2010 at 8:38 AM, Marc Hohl  wrote:

(I wouldn't surely be the ideal person for founding a lilypond
users group), I am willing to spend a fee, say $50 a year, for
supporting the lilypond development. If there are 99 people more
(and I think there are a lot more!), we would have $5000 to pay
someone for improving lilypond.


As I mentioned in the other thread, there are plans to build such an
organization in France, from scratch (another possibility would be to
revive the (Netherlands-based?) LilyPond foundation, but we'd need
more information about it).

The main obstacle, of course, being the international essence of the
project, whereas non-profit organisations, bank accounts, etc. are
usually conceived in a nation-centric perspective.

Cheers,
Valentin

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--
David Stocker
804-598-3762
http://notesettersinc.com

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Re: bounties

[Christ van Willegen]

On Thu, Jun 17, 2010 at 6:24 PM, David Stocker
 wrote:
> I think
> LilyPond has a dedicated base of users who would be glad to contribute
> resources in a concrete and structured way. It might be worth considering.

I agree. Paying a 'subscription' for Lilypond usage would suit me just fine.

Christ van Willegen
-- 
09 F9 11 02 9D 74 E3 5B D8 41 56 C5 63 56 88 C0

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Re: Please help with automatic accidentals!

[Dmytro O. Redchuk]

On Thu 17 Jun 2010, 17:47 James Bailey wrote:
> On 17.06.2010, at 14:20, Dmytro O. Redchuk wrote:
> 
> >Hi!
> >
> >Please help --- "can't understand" (tm) "what's wrong" (tm) :-)
> >
> >Looking at that snippet below i would say that too few notes have
> >natural sign
> >cancelling preceeding sharp (only one). I would expect other
> >voices have
> >cancellations too.
> 
> Just a thought, but could this be an application of issue 897?
Not sure ;-(

When i add "\key c \major" to every voice --- nothing changes.

I started to think i'm already blind a bit --- can not understand why that
sample does work while this one does not... Or rather stupid a bit?-)

Please help :O(

-- 
  Dmytro O. Redchuk

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Re: bounties

[Marek Klein]

2010/6/17 Christ van Willegen 

> On Thu, Jun 17, 2010 at 6:24 PM, David Stocker
>  wrote:
> > I think
> > LilyPond has a dedicated base of users who would be glad to contribute
> > resources in a concrete and structured way. It might be worth
> considering.
>
> I agree. Paying a 'subscription' for Lilypond usage would suit me just
> fine.
>
> +1

Marek Klein
http://gregoriana.sk
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Re: bounties

[Editions IN NOMINE]

so +1
The question is : how is it used, what for, and by who ? It may sound an 
odd question, but I can assure you that in France, such questions of 
transparency ARE NOT that obvious. I think each list shouild have its 
contributors ?


Cheers

JM

Marek Klein a écrit :


2010/6/17 Christ van Willegen >


On Thu, Jun 17, 2010 at 6:24 PM, David Stocker
mailto:dstoc...@notesettersinc.com>>
wrote:
> I think
> LilyPond has a dedicated base of users who would be glad to
contribute
> resources in a concrete and structured way. It might be worth
considering.

I agree. Paying a 'subscription' for Lilypond usage would suit me
just fine.

+1

Marek Klein
http://gregoriana.sk
 



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Re: Please help with automatic accidentals!

[Neil Puttock]

On 17 June 2010 13:20, Dmytro O. Redchuk  wrote:
> Hi!
>
> Please help --- "can't understand" (tm) "what's wrong" (tm) :-)
>
> Looking at that snippet below i would say that too few notes have natural sign
> cancelling preceeding sharp (only one). I would expect other voices have
> cancellations too.

The lack of accidentals in the first bar is explaing by the known
issue at the bottom of this page:
http://lilypond.org/doc/v2.13/Documentation/notation/displaying-pitches#automatic-accidentals

Looking at the definition for 'piano, it seems accidentals in other
voices are only remembered in the current bar, hence why there's only
one accidental present in the second bar.  You can tweak the
definition manually,

\layout {
  \context {
\PianoStaff
extraNatural = ##f
autoAccidentals =
#`(Staff
  ,(make-accidental-rule 'any-octave 1)
  ,(make-accidental-rule 'same-octave 1)
  PianoStaff
  ,(make-accidental-rule 'any-octave 1)
  ,(make-accidental-rule 'same-octave 1))
autoCautionaries = #'()
  }
}

but there's still a problem with the lower stave not noticing the cis,
due to the durations all being equal in the first bar (this might be a
bug; I'm not sure without investigating further.)

Cheers,
Neil

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Re: bounties

[Xavier Scheuer]

2010/6/17 Valentin Villenave :

> Absolutely. That's why I've always said that we should have something
> like a "bounty thermometer" (such as the one they use for Blender's
> open movies IIRC, or http://haikuware.com/bounties/ as well).

Agree.
At this time there is nothing on the official LilyPond website that say
"You like using LilyPond, support it!  You can donate to help improving
the development".
A good "nice-looking" thermometer could be IMO quite efficient if it is
visible enough to "lambda" users.


>  - step 1, we establish a public list of "most wanted" features or
> bugfixes, and developers who could be willing to work on these
> estimate the amount of time (i.e. money) required to address each one
> of these;

Totally agree.
This list of "most wanted" features would be very helpful to _really_
understand what are the most annoying things/lacks in LilyPond
*everyday usage* (i.e. "lambda" users).

There is sometimes a "gap" between user priorities and devel ones...

Right now it is already more or less possible to have a basic idea of
"most wanted" features (or "most annoying" bugs) in sorting issues by
"Stars".
http://code.google.com/p/lilypond/issues/list?can=1&q=&sort=-stars&colspec=ID%20Type%20Status%20Priority%20Stars%20Owner%20Summary

But it is IMO a very limited system since

  a. "lambda" users do not use the bug tracker;
  b. if they have had a look at it they wouldn't know they can "star"
 the issue they want to be solved;
  c. you need a Google account to use the tracker (which can be really
 _painful_).


> However, if Han-Wen's LilyPond-design experiment has to teach us
> something, it's that considering this only from a development
> perspective is not enough. Therefore, I do believe that we should
> *also* consider having "LilyPonding" branch, for newbies, musicians,
> composers, teachers, who sometimes need to have a large score typeset
> quickly but don't have enough skills or time or patience to typeset it
> on their own. Sort of a "rent-a-LilyPonder" service :-)
> Advanced users who could handle this type of jobs would get paid
> (obviously), but a part of the money could also go to development
> funding.

Very nice idea too.
That could be good for users who do not want to involve themselves in
LilyPond "development" (including doc/bug work) but who would want to
support LilyPond development in doing what they like: typesetting music
(even for other people).  :-)


> (Full disclosure: I have actually founded my own small one-person
> company to offer LilyPond-related services, such as publishing,
> training, composition, arrangement, LilyPonding of sorts, etc. And
> AFAIK, as of today there are at least half a dozen other
> companies/small-businesses like mine.)

Congratulations and good luck.

Cheers,
Xavier

--
Xavier Scheuer 

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\addlyrics

[Mario Moles]

Hi lilyponders!
I would want to know if a way exists for making to appear the text above the 
stave and not under!
Thank's!
-- 
oiram/bin/selom
\version "2.13.19"
tempoMark = {
  \once \override Score.RehearsalMark #'self-alignment-X = #LEFT
  \once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature key-signature)
  \once \override Staff.TimeSignature #'break-align-anchor-alignment = #LEFT
  \mark \markup \bold {
"Moderato " 
\small \general-align #Y #DOWN \note #"4" #1 = 76
 }
}

global = {
  \tempoMark
  \key f \major
  \time 4/4
  \partial 4
}

rightOne = \relative c' {
  \global
  % Qui segue la musica.
  c8 c|
  a'4 a8  g a f e d|
}  
\addlyrics { Al tuo altare }

rightTwo = \relative c' {
  \global
  % Qui segue la musica.
  r4^\markup  "Popolo"|
  c2 a4 bes|
}

leftOne = \relative c {
  \global
  % Qui segue la musica.
  r4|
  
}

leftTwo = \relative c' {
  \global
  % Qui segue la musica.
  
}

\bookpart {
  \header {
  title = "AL TUO ALTARE"
  subtitle = "(Canto d‘ingresso)"
  composer = "F. Spingola"
}
  \score {
\new PianoStaff \with {
  instrumentName = "Organo"
} <<
  \new Staff = "right" \with {
midiInstrument = "acoustic grand"
} << \rightOne \\ \rightTwo >>
  \new Staff = "left" \with {
midiInstrument = "acoustic grand"
  } { \clef bass << \leftOne \\ \leftTwo >> }
>>
\layout { }
\midi {
  \context {
\Score
tempoWholesPerMinute = #(ly:make-moment 76 4)
  }
}
  }
}

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Re: \addlyrics

[Xavier Scheuer]

2010/6/17 Mario Moles :

> Hi lilyponders!
>
> I would want to know if a way exists for making to appear the text
> above the stave and not under!

With \addlyrics I don't think it is possible (easy to do).

But with

  \new Lyrics \with { alignAboveContext = staffName }

http://lsr.dsi.unimi.it/LSR/Item?id=362

Cheers,
Xavier

--
Xavier Scheuer 

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Re: \addlyrics

[-Eluze]

oiram73 wrote:
> 
> Hi lilyponders!
> I would want to know if a way exists for making to appear the text above
> the 
> stave and not under!
> 
sure - the keyword you're looking for is alignAboveContext - see the manuals
for examples + details!
-- 
View this message in context: 
http://old.nabble.com/%5Caddlyrics-tp28918564p28918726.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


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