Re: Writhing an non vocal letter before the tone in Lyrics

[Valentin Villenave]

On Thu, Dec 16, 2010 at 5:02 PM, Marek Klein  wrote:
> in Slovak language we have similar prepositions and I like the way lilypond
> does it if I would write s_to -- bom. But if you don't like it, you could
> shift particular sylable to the left with
> \once \override LyricText #'X-offset = #-2.4
>
> For example:
> \version "2.12.3"
> left = { \once \override LyricText #'X-offset = #-2.4 }
> \relative { c4 c d4 e }
> \addlyrics { i -- dem  \left "s to" -- bom }

Hi Stjepan, Marek,

if either of you could add this example to the LSR, I'll happily add
it to our Documentation.
See http://lsr.dsi.unimi.it/LSR/html/contributing.html

Cheers,
Valentin.

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Re: Writhing an non vocal letter before the tone in Lyrics

[Stjepan Horvat]

Hi Marek,
maybe you should add it. It was your soultion..And i'm new at this..:)

On Fri, Dec 17, 2010 at 9:02 AM, Valentin Villenave
wrote:

> On Thu, Dec 16, 2010 at 5:02 PM, Marek Klein  wrote:
> > in Slovak language we have similar prepositions and I like the way
> lilypond
> > does it if I would write s_to -- bom. But if you don't like it, you could
> > shift particular sylable to the left with
> > \once \override LyricText #'X-offset = #-2.4
> >
> > For example:
> > \version "2.12.3"
> > left = { \once \override LyricText #'X-offset = #-2.4 }
> > \relative { c4 c d4 e }
> > \addlyrics { i -- dem  \left "s to" -- bom }
>
> Hi Stjepan, Marek,
>
> if either of you could add this example to the LSR, I'll happily add
> it to our Documentation.
> See http://lsr.dsi.unimi.it/LSR/html/contributing.html
>
> Cheers,
> Valentin.
>



-- 
Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje. Izreke
12:18
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Re: Odd output

[Keith OHara]

Phil Holmes  philholmes.net> writes:
> 
> From: "Marco Correia"  gmail.com>
> >
> > \include "english.ly"
> > {
> > \clef treble
> > \time 4/4
> > <<
> > { fs'4 }
> > \\
> > { f'4 } >>
> >>>
>
> This was one of the first issues I raised, in June this year.  I think it 
> was my first bug report:
> 
> http://code.google.com/p/lilypond/issues/detail?id=1134
> 

 Lilypond's _only_ failure here is missing that the both notes need 
accidentals, because she compares only with previous notes, not simultaneous 
notes. (She does compare all voices.) If we force an explicit accidental with 
'!' 
  << { fis'4 } \\ {f'!4} >>
then Lilypond prints both a sharp and a natural -- with the natural always 
closer to the notehead so it is distinct from an extra natural that just 
cancels an earlier accidental.  

  Marco, and Phil, is sharp-natural-notehead the desired notation for this 
situation?  (I prefer it to the double-stem method, which I have seen only in 
Gardner Read's textbook, the "Displaying complex chords" snippet, and nowhere 
else.)

  For your computer-generated music, you might want to generate a forcing '!' 
whenever two notes of the same pitch name are produced at the same musical 
moment.  You might also consider "set-accidental-style 'dodecaphonic" and/or 
extraNatura=#f (see the manual for details). 

  Since you asked about Scheme, the decision on what accidentals are required 
is done by 'check-pitch-against-signature' in the file ../usr/share/lilypond/
current/scm/music-functions.scm which is installed with LilyPond.



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Re: Odd output

[Phil Holmes]

- Original Message - 
From: "Keith OHara" 

To: 
Sent: Friday, December 17, 2010 9:33 AM
Subject: Re: Odd output



Phil Holmes  philholmes.net> writes:


From: "Marco Correia"  gmail.com>
>
> \include "english.ly"
> {
> \clef treble
> \time 4/4
> <<
> { fs'4 }
> \\
> { f'4 } >>
>>>

This was one of the first issues I raised, in June this year.  I think it
was my first bug report:

http://code.google.com/p/lilypond/issues/detail?id=1134



Lilypond's _only_ failure here is missing that the both notes need
accidentals, because she compares only with previous notes, not 
simultaneous
notes. (She does compare all voices.) If we force an explicit accidental 
with

'!'
 << { fis'4 } \\ {f'!4} >>
then Lilypond prints both a sharp and a natural -- with the natural always
closer to the notehead so it is distinct from an extra natural that just
cancels an earlier accidental.

 Marco, and Phil, is sharp-natural-notehead the desired notation for this
situation?  (I prefer it to the double-stem method, which I have seen only 
in
Gardner Read's textbook, the "Displaying complex chords" snippet, and 
nowhere

else.)


The version that Chappell uses in the Mikado is attached.


--
Phil Holmes

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beautifully reworked wiki page

[Jan Nieuwenhuizen]

Hi,

Han-Wen noticed the new and reworked

http://en.wikipedia.org/wiki/GNU_LilyPond 

which is much more factional, informational and more
beautiful.  Thanks for all the work that has gone
into it!

I'm kind of hoping that the same would be done for
the German and Dutch pages -- although the German
page has a very beautiful Stockhausen excerpt.

Jan

-- 
Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  


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How to print less measures to each system

[Akira]

I would like to increase the number of systems per one page and
decrease the number of measure per one system.
Because by this way I can widen each measure, and performers can
easily read figure the rhythms out.

For instance, now I have 12 measures per each system (line) and 8
systems per one page.
The music which I want should have 8 measures per each system and 12
systems per one page.
By this, the vertical spacing between each staff will decrease, but it
won't matter.

I tried this:

\paper{
#(define page-breaking ly:optimal-breaking)
systems-per-page =11
}

But this was completely ignored!
What should I do?

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Re: How to print less measures to each system

[Phil Holmes]

- Original Message - 
From: "Akira" 

To: 
Sent: Friday, December 17, 2010 1:19 PM
Subject: How to print less measures to each system



I would like to increase the number of systems per one page and
decrease the number of measure per one system.
Because by this way I can widen each measure, and performers can
easily read figure the rhythms out.

For instance, now I have 12 measures per each system (line) and 8
systems per one page.
The music which I want should have 8 measures per each system and 12
systems per one page.
By this, the vertical spacing between each staff will decrease, but it
won't matter.

I tried this:

\paper{
#(define page-breaking ly:optimal-breaking)
systems-per-page =11
}

But this was completely ignored!
What should I do?


You can force line breaks with \break.

You can read about vertical spacing for the latest version of LilyPond at:

http://lilypond.org/doc/v2.13/Documentation/notation/vertical-spacing


--
Phil Holmes



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Re: How to print less measures to each system

[i . love . the . pikachu]

Is it that I can only do this manually?

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Re: How to print less measures to each system

[Phil Holmes]

- Original Message - 
From: 

To: "Phil Holmes" 
Cc: 
Sent: Friday, December 17, 2010 1:48 PM
Subject: Re: How to print less measures to each system



Is it that I can only do this manually?



It seemed that if you knew you wanted a fixed number of measures per 
horizontal line, then using \break is the easiest way to force this.


Have you looked at the next section in the Notation Reference, on horizontal 
spacing?


http://lilypond.org/doc/v2.13/Documentation/notation/horizontal-spacing-overview


--
Phil Holmes 



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Re: beautifully reworked wiki page

[Mike Solomon]

Bravo!
My one comment is that the q=60 marking looks a little off & is different than 
some commensurate markings in the docs. Otherwise, sweet!

MS



On Dec 17, 2010, at 8:09 AM, Jan Nieuwenhuizen  wrote:

> Hi,
> 
> Han-Wen noticed the new and reworked
> 
>http://en.wikipedia.org/wiki/GNU_LilyPond 
> 
> which is much more factional, informational and more
> beautiful.  Thanks for all the work that has gone
> into it!
> 
> I'm kind of hoping that the same would be done for
> the German and Dutch pages -- although the German
> page has a very beautiful Stockhausen excerpt.
> 
> Jan
> 
> -- 
> Jan Nieuwenhuizen  | GNU LilyPond http://lilypond.org
> Freelance IT http://JoyofSource.com | Avatar®  http://AvatarAcademy.nl  
> 
> 
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Re: How to print less measures to each system

[Alexander Kobel]

On 2010-12-17 14:19, Akira wrote:

For instance, now I have 12 measures per each system (line) and 8
systems per one page.
The music which I want should have 8 measures per each system and 12
systems per one page.  [...]

\paper{
#(define page-breaking ly:optimal-breaking)
systems-per-page =11
}


Hi,

first, which version do you use? I think to remember that 
systems-per-page did not work somewhere in the 2.13. branch, but it 
should work again in the most recent version.
Then, if you want 12 systems with 8 measures each, you should set 
systems-per-page to 12, right?


Anyway, a few suggestions - not tested:
- leave out the #(define page-breaking ...) rule and see if this changes 
things, [*]
- use "systems-per-page = #11" (without the quotes, but with the #; 
should not change anything, but your variant is syntactic sugar and not 
the most natural from a technicial point of view),
- try "min-systems-per-page = #10" and "max-systems-per-page = #12" 
instead or additionally (or set both to #11, but a little bit of 
flexibility may give better results), or
- use "system-count = #x" to set the total number of systems for the 
whole score, and "page-count = #y" to set the total number of pages (and 
leave *-systems-per-page alone).


The manual breaks should be the last instance if nothing else works out.


HTH,
Alexander


[*] ly:optimal-breaking is the default anyway, isn't it?

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Re: How to print less measures to each system

[Dmytro O. Redchuk]

On Fri 17 Dec 2010, 14:00 Phil Holmes wrote:
> - Original Message - From: 
> To: "Phil Holmes" 
> Cc: 
> Sent: Friday, December 17, 2010 1:48 PM
> Subject: Re: How to print less measures to each system
> 
> 
> >Is it that I can only do this manually?
> >
> 
> It seemed that if you knew you wanted a fixed number of measures per
> horizontal line, then using \break is the easiest way to force this.
My 3cents: if your score has constant time signature and you know a total
number of measures, than it's quite easy to do what you need (and what's Phil
is talking about) -- you need to use separate voice for breaks and
  \repeat "unfold" K { s1*L \break }
in that voice, where K is a number of breaks you need, L is a factor for s1 to
be multiplied to fill one system.. like that.

> Have you looked at the next section in the Notation Reference, on
> horizontal spacing?
> 
> http://lilypond.org/doc/v2.13/Documentation/notation/horizontal-spacing-overview

-- 
  Dmytro O. Redchuk
  Bug Squad

  Be careful! These are some commonly used abbreviations:
   • LM -- Learning Manual
   • NR -- Notation Reference
   • IR -- Internal Reference

  Look at LilyPond’s documentation to find more.

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Re: beautifully reworked wiki page

[James]

Hello,

On 17/12/2010 13:09, Jan Nieuwenhuizen wrote:

although the German
page has a very beautiful Stockhausen excerpt.


At what point would this contravene some copyright law?

James


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Re: How to print 2 rehearsal marks above and below same bar line

[James]

Jan

On 17/12/2010 00:29, Jan Warchoł wrote:

2010/12/16 James:

Is it easy to display those nice lines around the bounding boxes by
adding a \paper { } variable?

I can only find
\paper { annotate-spacing = ##t }
Which gives the arrows/values.


you have to use this:

#(ly:set-option 'debug-skylines #t)


Thank you that worked.



(in top-level).
I don't know where i learned it and i don't know if it's documented at all.
Looks really cool, though :D


I did a quick search in the PDFs from the latest doc build and couldn't 
find 'debug-skylines'.


I have some more doc edits to do soon, so I'll add this to my list and 
submit a patch in an appropriate place, as I think this is really 
helpful and might help a lot of other users to figure out odd spacing 
output.


James





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Re: beautifully reworked wiki page

[Graham Percival]

On Fri, Dec 17, 2010 at 2:49 PM, James  wrote:
> Hello,
>
> On 17/12/2010 13:09, Jan Nieuwenhuizen wrote:
>>
>> although the German
>> page has a very beautiful Stockhausen excerpt.
>
> At what point would this contravene some copyright law?

Depends on the legal jurisdiction -- which, of course, is not
particularly well-founded for internet sites.  The new ACTA treaty
might say something about this; I can't remember.

In my non-expert (I am not a lawyer) opinion, the current except on
the German page would contravene Canadian copyright law.  (if Canadian
copyright law would apply to somebody viewing a webpage written in
German, which is probably hosted on a server in the US, while in the
UK)


I honestly don't know why people tempt fate like this -- I mean,
Patrick's fibonacci is beautiful!  If you like the colours from the
Stockhausen except, well, those are easy to add to Patrick's piece.n
Throw in some cross-staff beams, and you're done.  And he's already
put the work in the public domain, so there's no problems making those
modifications!

Cheers,
- Graham

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Re: beautifully reworked wiki page

[Alexander Kobel]

On 2010-12-17 14:09, Jan Nieuwenhuizen wrote:

Hi,

Han-Wen noticed the new and reworked

 http://en.wikipedia.org/wiki/GNU_LilyPond

which is much more factional, informational and more
beautiful.  Thanks for all the work that has gone
into it!


Beautiful.  But really stunning is the fact that LilyPond is being faked 
now.
Look at : it features 
the very same music excerpt "fibonacci" by Patrick.  Obviously, the 
newest SCORE versions has a special compatibility setting to simulate 
the LilyPond SVG backend, even faking its tagline... ;-)



Cheers,
Alexander

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Re: Writhing an non vocal letter before the tone in Lyrics

[James]

Hello,

On 17/12/2010 08:50, Stjepan Horvat wrote:

maybe you should add it. It was your soultion..And i'm new at this..:)


It isn't hard and it really helps the rest of us if others like yourself 
can add their own (or other's) snippets.


See:

http://lsr.dsi.unimi.it/LSR/html/contributing.html

This is where you do it and the instructions are all there.

Yes it could take us 5 minutes, but that's 5 minutes of time that we 
could be doing more complicated LilyPond tasks, it all adds up and you 
will be helping other users too with your contribution.


You do not need to know how to use any special code (you already know 
how to write for LilyPond files), just a web browser and follow the 
simple instructions.


James


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Re: beautifully reworked wiki page

[Phil Holmes]

- Original Message - 
From: "Alexander Kobel" 

To: "Jan Nieuwenhuizen" 
Cc: "lilypond-user" 
Sent: Friday, December 17, 2010 3:03 PM
Subject: Re: beautifully reworked wiki page



On 2010-12-17 14:09, Jan Nieuwenhuizen wrote:

Hi,

Han-Wen noticed the new and reworked

 http://en.wikipedia.org/wiki/GNU_LilyPond

which is much more factional, informational and more
beautiful.  Thanks for all the work that has gone
into it!


Beautiful.  But really stunning is the fact that LilyPond is being faked 
now.
Look at : it features 
the very same music excerpt "fibonacci" by Patrick.  Obviously, the 
newest SCORE versions has a special compatibility setting to simulate 
the LilyPond SVG backend, even faking its tagline... ;-)



Cheers,
Alexander



Now edited to remove that.

--
Phil Holmes



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Re: beautifully reworked wiki page

[Mike Solomon]

I believe those are two different files.  At first I was under the same 
impression, but upon repeated jostling between the images, I see that the 
treble clefs, tempo markings, and taglines are different.

Perhaps some sort of document showing the subtle differences would help?

Or are they in fact the same and I am just in denial?

~Mike
On Dec 17, 2010, at 10:03 AM, Alexander Kobel wrote:

> On 2010-12-17 14:09, Jan Nieuwenhuizen wrote:
>> Hi,
>> 
>> Han-Wen noticed the new and reworked
>> 
>> http://en.wikipedia.org/wiki/GNU_LilyPond
>> 
>> which is much more factional, informational and more
>> beautiful.  Thanks for all the work that has gone
>> into it!
> 
> Beautiful.  But really stunning is the fact that LilyPond is being faked now.
> Look at : it features the 
> very same music excerpt "fibonacci" by Patrick.  Obviously, the newest SCORE 
> versions has a special compatibility setting to simulate the LilyPond SVG 
> backend, even faking its tagline... ;-)
> 
> 
> Cheers,
> Alexander
> 
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Re: beautifully reworked wiki page

[David Kastrup]

Graham Percival  writes:

> On Fri, Dec 17, 2010 at 2:49 PM, James  wrote:
>> Hello,
>>
>> On 17/12/2010 13:09, Jan Nieuwenhuizen wrote:
>>>
>>> although the German
>>> page has a very beautiful Stockhausen excerpt.
>>
>> At what point would this contravene some copyright law?
>
> Depends on the legal jurisdiction -- which, of course, is not
> particularly well-founded for internet sites.  The new ACTA treaty
> might say something about this; I can't remember.
>
> In my non-expert (I am not a lawyer) opinion, the current except on
> the German page would contravene Canadian copyright law.

It depends on whether the quote makes sense for working with/from.  Not
every attributed quote is illegal.

  (if Canadian

> I honestly don't know why people tempt fate like this

Laws are not "fate".

I have recently bought the organ version of BWV 565 Toccata and Fugue D
minor.  For organ.

The legalese on the first music sheet states (translated)

"This edition may only be used for public performances, radio
broadcasts, mechanical recordings and similar purposes in the
arrangement evident from it and announcing the editor's name".

Since I was going to play this on accordion, obviously I can't play the
organ version without further adaption, and I won't rule out playing
this on Youtube or similar.  I have my doubts this utter absurdity would
stand in court, but nevertheless this score is going back to the store.

The amount to which the media industry considers their customers enemies
who must not be allowed to make _any_ sensible use of their purchases is
really absurd.  If the publisher (in this case Schott) is not interested
in me actually using their score, I am not interested in buying it.

-- 
David Kastrup


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Re: beautifully reworked wiki page

[James]

Hello

On 17/12/2010 15:09, Graham Percival wrote:

I honestly don't know why people tempt fate like this -- I mean,
Patrick's fibonacci is beautiful!  If you like the colours from the
Stockhausen except, well, those are easy to add to Patrick's piece.n
Throw in some cross-staff beams, and you're done.  And he's already
put the work in the public domain, so there's no problems making those
modifications!


Well my point was with some of our duller Inspirational Headwords, I am 
always on the look out for 'interesting' LilyPond files that we could 
potentially use in the Doc.


So thinking if this were something we could use, but then thinking 
hmmm... perhaps this breaks some copyright, because of the dead after X 
years or this is some other publisher's copyright etc etc.


regards


James


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Re: beautifully reworked wiki page

[Trevor Daniels]

Mike Solomon wrote Friday, December 17, 2010 3:29 PM


I believe those are two different files.  At first 
I was under the same impression, but upon repeated 
jostling between the images, I see that the treble 
clefs, tempo markings, and taglines are different.


They are different.  If you blow up the SCORE image
you'll see it lacks Lily's rounded ends to the lines.
Also the editing record has a comment about adding a
missing tie.

Perhaps some sort of document showing the subtle 
differences would help?


Phil says he's removed it.  Perhaps a comment about its
creation would be better.

Trevor



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Re: Chords symbols for Function Theory (Riemann)

[Music Teacher]

Hi,
This mail never arrived, it seems. So i send it again...

I would like to know if there is a way (i search quite a while
whithout success) to write chords according to Riemann's Function
Theory. In principle, math would do the trick, but there are some
arguments for a own syntax (have a look at
)

> Thanks in advance
>
> Francois

2010/12/15, Music Teacher :
> Hello,
>
> I would like to know if there is a way (i search quite a while
> whithout success) to write chords according to Riemann's Function
> Theory. In principle, math would do the trick, but there are some
> arguments for a own syntax (have a look at
> )
>
> Thanks in advance
>
> Francois
>

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Re: How to print 2 rehearsal marks above and below same bar line

[Mats Bengtsson]

James wrote:




#(ly:set-option 'debug-skylines #t)


Thank you that worked.



(in top-level).
I don't know where i learned it and i don't know if it's documented 
at all.

Looks really cool, though :D


I did a quick search in the PDFs from the latest doc build and 
couldn't find 'debug-skylines'.


I have some more doc edits to do soon, so I'll add this to my list and 
submit a patch in an appropriate place, as I think this is really 
helpful and might help a lot of other users to figure out odd spacing 
output.


The short documentation is available from
lilypond -dhelp


   /Mats

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Re: beautifully reworked wiki page

[Graham Percival]

On Fri, Dec 17, 2010 at 3:30 PM, David Kastrup  wrote:
> Graham Percival  writes:
>
>> In my non-expert (I am not a lawyer) opinion, the current except on
>> the German page would contravene Canadian copyright law.
>
> It depends on whether the quote makes sense for working with/from.  Not
> every attributed quote is illegal.

I'm specifically thinking of "alternatives to the dealing", stemming
from the 2004 CCH Canadian Ltd v Law Society of Upper Canada supreme
court case.  Stockhausen is not the only composer to use cross-staff
beams or the like, so there are plenty of non-copyrighted works which
could be used instead.


> The amount to which the media industry considers their customers enemies
> who must not be allowed to make _any_ sensible use of their purchases is
> really absurd.

Oh, I agree -- I would even go so far as to call that behaviour
immoral.  And I definitely think that copyright laws should be
changed, and I optimistically think that they /will/ change over the
next 10-30 years.  But that doesn't change the actual current legal
standing of various (entirely reasonable) actions under current
legislation and judicial precedence.

Cheers,
- Graham

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Re: beautifully reworked wiki page

[Graham Percival]

On Fri, Dec 17, 2010 at 3:33 PM, James  wrote:
> Well my point was with some of our duller Inspirational Headwords, I am
> always on the look out for 'interesting' LilyPond files that we could
> potentially use in the Doc.

Invent something from scratch.

> So thinking if this were something we could use, but then thinking hmmm...
> perhaps this breaks some copyright, because of the dead after X years or
> this is some other publisher's copyright etc etc.

We have some unhappy history on this point in the development
community.  Invent something from scratch.

Basically, just assume that *anything* written / performed / painted /
sculpted / filmed / created  in the 20th century is tainted.  Pretend
that it never happened, or that martians came down and vaporized every
single piece of art since 1900, or something like that.  If you look
into a particular work, you might occasionally be pleasantly surprised
to find that you can legally use it -- there's some loophole in some
law, or the author deliberately placed it under creative commons, or
something like that -- but in the vast, vast, vast majority of cases,
you won't be pleased.

If you don't like the "martians vaporized our art" thought, then
consider letting politicians know, and consider voting for political
parties which favour certain types of copyright reform.  But if you
thought that the road to 2.14 was a long and painful process, you'll
be in for a nasty surprise when you start working on political change.
 :|

Cheers,  (?)
- Graham

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Re: beautifully reworked wiki page

[David Kastrup]

Graham Percival  writes:

> If you don't like the "martians vaporized our art" thought, then
> consider letting politicians know, and consider voting for political
> parties which favour certain types of copyright reform.  But if you
> thought that the road to 2.14 was a long and painful process, you'll
> be in for a nasty surprise when you start working on political change.

When you are getting close to achieving something, adverse winds will
start blowing banknotes in your eyes until you go blind.  And there is
always more where they came from.

-- 
David Kastrup


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Re: beautifully reworked wiki page

[Alexander Kobel]

On 2010-12-17 16:20, m...@apollinemike.com wrote:

Hey all,

I believe those are two different files.  At first I was under the same 
impression, but upon repeated jostling between the images, I see that the 
treble clefs, tempo markings, and taglines are different.
Or are they in fact the same and I am just in denial?


Ugh, darn. No, it was me.
I just glanced over the article, and wondered about the picture, clicked 
on it, and scrolled down just to see the tagline of the /template/, 
which indeed is set in LilyPond. But I missed the line
  "I (Craigsapp (talk)) created this work entirely by myself, based on 
the public domain image [...]" (LilyPond below)


It's different, you're right - sorry about the confusion.


Cheers,
Alexander

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Re: Chords symbols for Function Theory (Riemann)

[Alexander Kobel]

On 2010-12-17 16:58, Music Teacher wrote:

Hi,
This mail never arrived, it seems. So i send it again...


Hi, Francois,

it actually arrived - you can check this in the mailing list archives.


I would like to know if there is a way (i search quite a while
whithout success) to write chords according to Riemann's Function
Theory.


AFAIK, no. But there are workarounds like using custom markups as 
lyrics, or probably even tweaking a ChordNames context to look like 
this. But you'll have to make the analysis yourself.



In principle, math would do the trick,


AFAIK, no. You'd have to specify when the sensation of tonality changes 
for the listener; in particular, you need to know where and how long to 
put parentheses around the chord designators. It's not just giving 24 
chords (in minor and major) a symbol, and shift this assignment when 
everything is transposed.



Cheers,
Alexander

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Re: beautifully reworked wiki page

[Patrick McCarty]

On Fri, Dec 17, 2010 at 5:09 AM, Jan Nieuwenhuizen  wrote:
> Hi,
>
> Han-Wen noticed the new and reworked
>
>    http://en.wikipedia.org/wiki/GNU_LilyPond
>
> which is much more factional, informational and more
> beautiful.  Thanks for all the work that has gone
> into it!

I've tried to help improve the page from time to time, and I'm glad
that you approve of the progress!

It's nice to see more people editing the page itself instead of using
the talk page.  It makes the evolution of the article more
interesting.  :-)

Thanks,
Patrick

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Re: Chords symbols for Function Theory (Riemann)

[Carl Sorensen]

On 12/17/10 8:58 AM, "Music Teacher"  wrote:

> Hi,
> This mail never arrived, it seems. So i send it again...
> 
> I would like to know if there is a way (i search quite a while
> whithout success) to write chords according to Riemann's Function
> Theory. In principle, math would do the trick, but there are some
> arguments for a own syntax (have a look at
> )

There is no automatic chord analysis capability in LilyPond.

It has been suggested that you can do your own analysis and use a Lyrics
context to display it:

http://lists.gnu.org/archive/html/lilypond-user/2010-10/msg00523.html

One could adjust the note names list given in scm/chord-names.scm to change
from a letter to a roman numeral, and we currently have code in place to
render minor chords in lower case.

You may also want to look at these threads:

http://lists.gnu.org/archive/html/lilypond-user/2008-04/msg00050.html

http://lists.gnu.org/archive/html/lilypond-user/2008-06/msg00196.html

HTH,

Carl


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Re: beautifully reworked wiki page

[Patrick McCarty]

On Fri, Dec 17, 2010 at 6:19 AM, Mike Solomon  wrote:
> Bravo!
> My one comment is that the q=60 marking looks a little off & is different 
> than some commensurate markings in the docs. Otherwise, sweet!

I noticed this the other day, and I was prompted to open this tracker issue:

http://code.google.com/p/lilypond/issues/detail?id=1434

The specific issue here is that metronome markings use a string that
has a leading space.  In this case,

  " = 60"

In SVG, this can look like

   = 60

and the xml:space="preserve" is needed to preserve leading and
trailing spaces for the value of a  or  element.

I'm holding off on adding this attribute to LilyPond until I can
figure out the other librsvg bug.


Thanks,
Patrick

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Re: Writhing an non vocal letter before the tone in Lyrics

[Stjepan Horvat]

Hello Valentin..Thank you for your encourageing..I have added the soluting
to the snippets..:)

2010/12/17 James 

> Hello,
>
>
> On 17/12/2010 08:50, Stjepan Horvat wrote:
>
>> maybe you should add it. It was your soultion..And i'm new at this..:)
>>
>
> It isn't hard and it really helps the rest of us if others like yourself
> can add their own (or other's) snippets.
>
>
> See:
>
> http://lsr.dsi.unimi.it/LSR/html/contributing.html
>
> This is where you do it and the instructions are all there.
>
> Yes it could take us 5 minutes, but that's 5 minutes of time that we could
> be doing more complicated LilyPond tasks, it all adds up and you will be
> helping other users too with your contribution.
>
> You do not need to know how to use any special code (you already know how
> to write for LilyPond files), just a web browser and follow the simple
> instructions.
>
> James
>
>


-- 
Nesmotren govori kao da mačem probada, a jezik je mudrih iscjeljenje. Izreke
12:18
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Re: Chords symbols for Function Theory (Riemann)

[Music Teacher]

Thanks!

I read these posts, but this doesnt really help in the case of
analysis after the fonction theory. Minors and Majors arent used in
this form, instead, the last letter of the main symbol does it (upper
case=major, lower case=minor).

But there is more. Each symbol is like an elaborated matrix, i send a
pict attached to get an idea. You need also the ability to cross-out
the main symbol (meaning a chord without fundamental) and the
possibility of substition (two main symbols in a column, meaning that
the upper one is the fonction till now and the lower one the fonction
from now on)
And last but not least, this analysis can be written without music. So
I suppose the (new?) fonction should work either in a lyric-context
and in a markup.

Well, according to my less mathematical brain structure, this is a
matrix. The question is just how to implement it.

Francois

2010/12/17, Carl Sorensen :
> On 12/17/10 8:58 AM, "Music Teacher"  wrote:
>
>> Hi,
>> This mail never arrived, it seems. So i send it again...
>>
>> I would like to know if there is a way (i search quite a while
>> whithout success) to write chords according to Riemann's Function
>> Theory. In principle, math would do the trick, but there are some
>> arguments for a own syntax (have a look at
>> )
>
> There is no automatic chord analysis capability in LilyPond.
>
> It has been suggested that you can do your own analysis and use a Lyrics
> context to display it:
>
> http://lists.gnu.org/archive/html/lilypond-user/2010-10/msg00523.html
>
> One could adjust the note names list given in scm/chord-names.scm to change
> from a letter to a roman numeral, and we currently have code in place to
> render minor chords in lower case.
>
> You may also want to look at these threads:
>
> http://lists.gnu.org/archive/html/lilypond-user/2008-04/msg00050.html
>
> http://lists.gnu.org/archive/html/lilypond-user/2008-06/msg00196.html
>
> HTH,
>
> Carl
>
>
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Re: Odd output

[Keith OHara]

On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes  wrote:


The version that Chappell uses in the Mikado is attached.


Nice.
It does break the usual rules about horizontal placement, and about when to 
cancel accidentals in another voice. But, with the beaming to clarify the 
timing and linking the voices, I did not notice any rules were broken --until I 
tried to produce it with Lilypond.

It would be reasonable to ask Lilypond to produce 'A' below on her own, and 
even better if she would offset the notes as in 'B' (which she does do for 
chords in one voice).  Probably a human should decide when to bend the rules to 
produce 'C'.

I think it helps to show the desired behavior in the tracker, and plan to put 
what is below in a comment to 1134, unless somebody either beats me to it or 
has second thoughts.
-Keith


\relative c' { \time 2/8
  << s1*0^wrong
{ fis8 g } \\ { f f } >>
  << s1*0^A
{ fis8 g } \\ { f! f } >>
  << s1*0^B
{ fis8 g } \\
{ \once\override NoteColumn #'force-hshift = #1
  f! f } >>
  << s1*0^C
#(set-accidental-style 'voice)
{ fis8[ g] } \\ {
  s64 f!8*7/8[ f] } >>
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Re: Odd output

[Michael Ellis]

+1 for option C
Cheers,
Mike


On Fri, Dec 17, 2010 at 4:43 PM, Keith OHara  wrote:

> On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes 
> wrote:
>
>>
>> The version that Chappell uses in the Mikado is attached.
>>
>>  Nice.
> It does break the usual rules about horizontal placement, and about when to
> cancel accidentals in another voice. But, with the beaming to clarify the
> timing and linking the voices, I did not notice any rules were broken
> --until I tried to produce it with Lilypond.
>
> It would be reasonable to ask Lilypond to produce 'A' below on her own, and
> even better if she would offset the notes as in 'B' (which she does do for
> chords in one voice).  Probably a human should decide when to bend the rules
> to produce 'C'.
>
> I think it helps to show the desired behavior in the tracker, and plan to
> put what is below in a comment to 1134, unless somebody either beats me to
> it or has second thoughts.
> -Keith
>
>
> \relative c' { \time 2/8
>  << s1*0^wrong
>{ fis8 g } \\ { f f } >>
>  << s1*0^A
>{ fis8 g } \\ { f! f } >>
>  << s1*0^B
>{ fis8 g } \\
>{ \once\override NoteColumn #'force-hshift = #1
>  f! f } >>
>  << s1*0^C
>#(set-accidental-style 'voice)
>{ fis8[ g] } \\ {
>  s64 f!8*7/8[ f] } >>
> }
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>
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Re: Chords symbols for Function Theory (Riemann)

[Carl Sorensen]

On 12/17/10 2:40 PM, "Music Teacher"  wrote:

> Thanks!
> 
> I read these posts, but this doesnt really help in the case of
> analysis after the fonction theory. Minors and Majors arent used in
> this form, instead, the last letter of the main symbol does it (upper
> case=major, lower case=minor).
> 
> But there is more. Each symbol is like an elaborated matrix, i send a
> pict attached to get an idea. You need also the ability to cross-out
> the main symbol (meaning a chord without fundamental) and the
> possibility of substition (two main symbols in a column, meaning that
> the upper one is the fonction till now and the lower one the fonction
> from now on)
> And last but not least, this analysis can be written without music. So
> I suppose the (new?) fonction should work either in a lyric-context
> and in a markup.
> 
> Well, according to my less mathematical brain structure, this is a
> matrix. The question is just how to implement it.
> 

This is fairly similar in overall structure to a fret diagram.

When I implemented fret diagrams, I did it in the form of a markup function,
i.e.

\markup \fret-diagram-terse "x;3;2;o;1;o;"

The arguments necessary to define the fret diagram are in the string.  I
wrote Scheme code to parse the string, and then used Scheme code to create
the necessary stencils and glue them together into a fret diagram.  You can
read the code in the file scm/fret-diagrams.scm.

If I were trying to do your functional analysis, I'd do the same thing.
Determine a string that can be used to indicate the functional analysis
symbol you want, and write a markup function to parse that string and turn
it into a stencil.  This can then be used in a Lyrics context or as a markup
attached to a note.

I'll be happy to provide any help I can as you try to make this happen.

Thanks,

Carl


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Re: How to print less measures to each system

[-Eluze]

Alexander Kobel wrote:
> 
> 
>  I think to remember that 
> systems-per-page did not work somewhere in the 2.13. branch, but it 
> should work again in the most recent version.
> 

it still does not work - see attached pdf for

\version "2.13.43"
\paper { systems-per-page = #9 }
\repeat unfold 50 {
  c d e f g a b c
}

http://old.nabble.com/file/p30485162/test.pdf test.pdf 
-- 
View this message in context: 
http://old.nabble.com/How-to-print-less-measures-to-each-system-tp30480823p30485162.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


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Re: How to print 2 rehearsal marks above and below same bar line

[Neil Puttock]

On 16 December 2010 11:29, James  wrote:

> I suppose I should also add that to the LSR snippet. For the kind of music I
> engrave the method for extra offset is fine pretty much, and much less
> complicated than adding a second voice and then a \layout {} function.

What kind of music are you engraving where a load of unwanted space
above a system doesn't matter? :)

Cheers,
Neil

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RE: Odd output

[James Lowe]

Hello,


-Original Message-
From: lilypond-user-bounces+james.lowe=datacore@gnu.org on behalf of 
Michael Ellis
Sent: Fri 12/17/2010 21:50
To: Keith OHara
Cc: lilypond-user@gnu.org
Subject: Re: Odd output
 
+1 for option C
Cheers,
Mike


On Fri, Dec 17, 2010 at 4:43 PM, Keith OHara  wrote:

> On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes 
> wrote:
>
>>
>> The version that Chappell uses in the Mikado is attached.
>>
>>  Nice.
> It does break the usual rules about horizontal placement, and about when to
> cancel accidentals in another voice. But, with the beaming to clarify the
> timing and linking the voices, I did not notice any rules were broken
> --until I tried to produce it with Lilypond.
>
> It would be reasonable to ask Lilypond to produce 'A' below on her own, and
> even better if she would offset the notes as in 'B' (which she does do for
> chords in one voice).  Probably a human should decide when to bend the rules
> to produce 'C'.
>
> I think it helps to show the desired behavior in the tracker, and plan to
> put what is below in a comment to 1134, unless somebody either beats me to
> it or has second thoughts.
> -Keith
>
>
> \relative c' { \time 2/8
>  << s1*0^wrong
>{ fis8 g } \\ { f f } >>
>  << s1*0^A
>{ fis8 g } \\ { f! f } >>
>  << s1*0^B
>{ fis8 g } \\
>{ \once\override NoteColumn #'force-hshift = #1
>  f! f } >>
>  << s1*0^C
>#(set-accidental-style 'voice)
>{ fis8[ g] } \\ {
>  s64 f!8*7/8[ f] } >>
> }


---

What about when extra staff notation is needed?

For example if you needed slurs or ties?

Wouldn't A be preferable here? That is having an accidental either side of each 
note is far more clumsy than two accidentals to the left of the note then the 
slur doesn't interfere.

Also what is the purpose in the case of A B or C of the second natural? Isn't 
that implied by standard notation where the note retains the 'sharp/flat' for 
the duration of the measure unless explicitly changed?

Here is a simplified example of what Keith did above to illustrate the point.

\relative c' {
<< s1*0
#(set-accidental-style 'voice)
{ fis8[ g] } \\ { s64 f!8*7/8[ f] } 
>>
<< s1*0
#(set-accidental-style 'voice)
{ fis!8([ g] } \\ { s64 f!8*7/8~[ f] } 
>><< s1*0
#(set-accidental-style 'voice)
{ fis!8[ g]) } \\ { s64 f!8*7/8[ f] } 
>><< s1*0
#(set-accidental-style 'voice)
{ fis!8[ g] } \\ { s64 f!8*7/8)[ f] } 
>>
}

I am not a vocal specialist but just using this one simplistic example of C 
seems erroneous. Isn't the idea of the notes printed at the same moment to show 
that they need to be sung at the same moment if you see what I mean? Yes I am 
sure that a vocalist can make their own mind up, but if that is the reasoning 
then it doesn't matter what we use then does it and you can provide instruction 
accordingly.

I don't think that the beaming clarifies anything at all personally.

Just my tuppence worth.

james


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RE: How to print 2 rehearsal marks above and below same bar line

[James Lowe]

Hello,


-Original Message-
From: Neil Puttock [mailto:n.putt...@gmail.com]
Sent: Fri 12/17/2010 22:50
To: James Lowe
Cc: lilypond-user@gnu.org
Subject: Re: How to print 2 rehearsal marks above and below same bar line
 
On 16 December 2010 11:29, James  wrote:

> I suppose I should also add that to the LSR snippet. For the kind of music I
> engrave the method for extra offset is fine pretty much, and much less
> complicated than adding a second voice and then a \layout {} function.

What kind of music are you engraving where a load of unwanted space
above a system doesn't matter? :)

Cheers,
Neil

__

I take the point, but most of my single system, one voice, scores seem not to 
look too bad with more space between the systems (I just print out more pages 
:) ). I don't use this double rehearsal mark that much but it is a useful and 
simple hack.

I was hoping that a \tweak would resolve this but Phil seems not to think so 
and I cannot find anything in the IR to suggest it would or know what bits to 
tweak (like the dynamic mark), but there maybe a case in some music (especially 
where there are LOTs of ledger lines below the staff that having space above 
the next system below (where it doesn't clash) might possibly be ok or at the 
very least negligible.

James

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Re: Odd output

[Michael Ellis]

Hi James,
To beam or not to beam should be about rhythmic grouping.  Stem direction
tells which note heads go with which voice.  I think C is better for both
vocalists and pianists. With or without beaming, it's clearer what's going
on, especially with regard to which voices have the sharped or natural
notes.  Slurs, AFAIK, come lower in the hierarchy of which marks have to
make way for what.

 As to the second natural, if given I think it should be a parenthesized
courtesy accidental.  At least that's my understanding of what they tried,
and perhaps failed, to teach me in music school.

Be that as it may, if I were composing for a particular instrument and ran
into this situation I'd be inclined to consult some expert players and ask
them which they find easier to read.

Cheers,
Mike


On Fri, Dec 17, 2010 at 6:09 PM, James Lowe  wrote:

> Hello,
>
>
> -Original Message-
> From: lilypond-user-bounces+james.lowe=datacore@gnu.org on behalf of
> Michael Ellis
> Sent: Fri 12/17/2010 21:50
> To: Keith OHara
> Cc: lilypond-user@gnu.org
> Subject: Re: Odd output
>
> +1 for option C
> Cheers,
> Mike
>
>
> On Fri, Dec 17, 2010 at 4:43 PM, Keith OHara  wrote:
>
> > On Fri, 17 Dec 2010 04:09:10 -0800, Phil Holmes 
> > wrote:
> >
> >>
> >> The version that Chappell uses in the Mikado is attached.
> >>
> >>  Nice.
> > It does break the usual rules about horizontal placement, and about when
> to
> > cancel accidentals in another voice. But, with the beaming to clarify the
> > timing and linking the voices, I did not notice any rules were broken
> > --until I tried to produce it with Lilypond.
> >
> > It would be reasonable to ask Lilypond to produce 'A' below on her own,
> and
> > even better if she would offset the notes as in 'B' (which she does do
> for
> > chords in one voice).  Probably a human should decide when to bend the
> rules
> > to produce 'C'.
> >
> > I think it helps to show the desired behavior in the tracker, and plan to
> > put what is below in a comment to 1134, unless somebody either beats me
> to
> > it or has second thoughts.
> > -Keith
> >
> >
> > \relative c' { \time 2/8
> >  << s1*0^wrong
> >{ fis8 g } \\ { f f } >>
> >  << s1*0^A
> >{ fis8 g } \\ { f! f } >>
> >  << s1*0^B
> >{ fis8 g } \\
> >{ \once\override NoteColumn #'force-hshift = #1
> >  f! f } >>
> >  << s1*0^C
> >#(set-accidental-style 'voice)
> >{ fis8[ g] } \\ {
> >  s64 f!8*7/8[ f] } >>
> > }
>
>
> ---
>
> What about when extra staff notation is needed?
>
> For example if you needed slurs or ties?
>
> Wouldn't A be preferable here? That is having an accidental either side of
> each note is far more clumsy than two accidentals to the left of the note
> then the slur doesn't interfere.
>
> Also what is the purpose in the case of A B or C of the second natural?
> Isn't that implied by standard notation where the note retains the
> 'sharp/flat' for the duration of the measure unless explicitly changed?
>
> Here is a simplified example of what Keith did above to illustrate the
> point.
>
> \relative c' {
> << s1*0
> #(set-accidental-style 'voice)
> { fis8[ g] } \\ { s64 f!8*7/8[ f] }
> >>
> << s1*0
> #(set-accidental-style 'voice)
> { fis!8([ g] } \\ { s64 f!8*7/8~[ f] }
> >><< s1*0
> #(set-accidental-style 'voice)
> { fis!8[ g]) } \\ { s64 f!8*7/8[ f] }
> >><< s1*0
> #(set-accidental-style 'voice)
> { fis!8[ g] } \\ { s64 f!8*7/8)[ f] }
> >>
> }
>
> I am not a vocal specialist but just using this one simplistic example of C
> seems erroneous. Isn't the idea of the notes printed at the same moment to
> show that they need to be sung at the same moment if you see what I mean?
> Yes I am sure that a vocalist can make their own mind up, but if that is the
> reasoning then it doesn't matter what we use then does it and you can
> provide instruction accordingly.
>
> I don't think that the beaming clarifies anything at all personally.
>
> Just my tuppence worth.
>
> james
>
>
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Re: Odd output

[Neil Puttock]

On 17 December 2010 23:09, James Lowe  wrote:

> I am not a vocal specialist but just using this one simplistic example of C 
> seems erroneous. Isn't the idea of the notes printed at the same moment to 
> show that they need to be sung at the same moment if you see what I mean? Yes 
> I am sure that a vocalist can make their own mind up, but if that is the 
> reasoning then it doesn't matter what we use then does it and you can provide 
> instruction accordingly.

I've only seen this notation in piano music (I guess Phil's Mikado
example is part of the piano reduction accompanying the voices),
whereby the melodic line is kept separate from the accompaniment.

Attached is another example from the Mikuli edition of Chopin's
Impromptu in G flat major.

Cheers,
Neil
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Re: Chords symbols for Function Theory (Riemann)

[Music Teacher]

Hi Carl, many thanks,

I will have to learn scheme, tis obvious :-(
But this seems to be the idea. I will eventually really need your help...

A nice week-end to all,

Francois

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