getting a TextSpanner 'text

[Graham Percival]

How do you get values from a context property?  I'm trying to access
the left-bound text.  I know I can do it like this:
  (cdr (car (cdr (car (cdr (car (car (ly:context-property context
'TextSpanner)))
but that's kind-of ugly.

This code:

#(define (format-textspan engraver event)
   (let* ((context (ly:translator-context engraver))
  (moment (ly:context-current-moment context)))
 (display "\n")
 (display
  (ly:context-property context 'TextSpanner)
 )
))


produces the following (with linebreaks and indents added).  I'm
really confused about the multiple "bound-details", the multiple
"left/right" inside each bound-details, etc.  How can I make sure I
get the bound-details that I want, without using plain old (car ...) ?

(
  (bound-details
(left (text . II) (stencil-align-dir-y . 0) (Y . 0) (padding .
0.25) (attach-dir . -1))
(right (text #
((# (0 . -1
(padding . -1) (Y . 0) (padding . 0.25))
(left (stencil-align-dir-y . 0) (Y . 0) (padding . 0.25) (attach-dir . -1))
(right (padding . -1) (Y . 0) (padding . 0.25))
(left (Y . 0) (padding . 0.25) (attach-dir . -1))
(left-broken (end-on-note . #t))
(right (Y . 0) (padding . 0.25))
  )
  (bound-details
(right (text #
((# (0 . -1
(padding . -1) (Y . 0) (padding . 0.25))
(left (stencil-align-dir-y . 0) (Y . 0) (padding . 0.25)
(attach-dir . -1)) (right (padding . -1) (Y . 0) (padding . 0.25))
(left (Y . 0) (padding . 0.25) (attach-dir . -1))
(left-broken (end-on-note . #t)) (right (Y . 0) (padding . 0.25))
  )
  (bound-details (left (stencil-align-dir-y . 0) (Y . 0) (padding .
0.25) (attach-dir . -1)) (right (padding . -1) (Y . 0) (padding .
0.25)) (left (Y . 0) (padding . 0.25) (attach-dir . -1)) (left-broken
(end-on-note . #t)) (right (Y . 0) (padding . 0.25)))

... and so on...


Cheers,
- Graham

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Re: getting repeats to play in midi

[Janek Warchoł]

Hi,
please use "reply to all" button (i.e. send a reply not only to the
person who answered, but also to the whole list). This way we can help
you better and the conversation would be archived and available for
others.
Now back to the problem :)

2011/4/14 Tom Cloyd 
>
> Well (sigh), it didn't change a thing. At the first repeat I still get aural 
> chaos. I have posted my entire code at http://pastie.org/1794353, if you have 
> a moment to look at it. I really cannot seem to get my head around this midi 
> repeat thing, and my searches for anything helpful have not led me anywhere. 
> I'm stumped at the moment.

If you analyze the funny midi output that you get, the answer will
become quite clear: in the midi output, melody voice is repeated
properly, while alto and bass are not repeated. Now look into the
source file... exactly! "\repeat volta 2" is specified in melody voice
only. You need to write it in every voice :)

cheers,
Janek

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Re: getting repeats to play in midi

[Tom Cloyd]

Well (sigh), it didn't change a thing. At the first repeat I still get 
aural chaos. I have posted my entire code at http://pastie.org/1794353, 
if you have a moment to look at it. I really cannot seem to get my head 
around this midi repeat thing, and my searches for anything helpful have 
not led me anywhere. I'm stumped at the moment.


Any suggestions would be much appreciated!

Tom

On 04/13/2011 12:31 AM, Janek Warchoł wrote:

Hi,

2011/4/13 Tom Cloyd:

I want to have a PDF score with simple repeats, and a midi file in which all
repeats are taken. This is revision of a program file which has been working
perfectly, except that the midi evidence no repeats. I'm achieving all
engraved repeats using the \repeat volta 2{ music} convention.

I'm using Lilypond ver. 2.13.53. Following the Notation Reference section
3.5.4 - "Repeats in MIDI", I have changed the \score blocks in my ly file to
read:

\score {
   \context Staff = "guitar" \with {
   \consists "Span_arpeggio_engraver"
   }
   <<
   %\set Staff.instrumentName="Classical Guitar"  %puts name to left of line
one
   \set Staff.midiInstrument="acoustic guitar (nylon)"
   \set Staff.connectArpeggios = ##t
   \context Voice = "melody" \melody
   \context Voice = "alto" \alto
   \context Voice = "bass" \bass
   >>

  \layout {
indent = 0.0\cm % remove indent on first staff
}
}
\score {
   \unfoldRepeats
   <<
   %\set Staff.instrumentName="Classical Guitar"  %puts name to left of line
one
   \set Staff.midiInstrument="acoustic guitar (nylon)"
   \set Staff.connectArpeggios = ##t
   \context Voice = "melody" \melody
   \context Voice = "alto" \alto
   \context Voice = "bass" \bass
   >>
   \midi { %causes generation of midi score\
   }
}

I see two possible reasons. First, you don't initialize a staff in
your midi-score. Second, you use \context while \new might be more
appropriate.

I'd also advice you to write your whole structure to a variable,
instead of writing it twice. I mean something like

structure = {
\new Staff = "guitar" \with { \consists "Span_arpeggio_engraver" }
   <<
   %\set Staff.instrumentName="Classical Guitar"  %puts name to left of line one
   \set Staff.midiInstrument="acoustic guitar (nylon)"
   \set Staff.connectArpeggios = ##t
   \context Voice = "melody" \melody
   \context Voice = "alto" \alto
   \context Voice = "bass" \bass
   >>
}

% And then

\score {
   \structure
   \layout {
   indent = 0.0\cm % remove indent on first staff
 }
}

\score {
   \unfoldRepeats \structure
   \midi { %causes generation of midi score\
 }
}

Hope this helps,
Janek



--

~

"It is impossible for a man to learn what he thinks he already
knows." ~ Epictetus (c.55-c.135)
~
Tom Cloyd, MS MA
Private practice Psychotherapist
St. George, Utah, U.S.A: (435) 272-3332
<<  t...@tomcloyd.com>>  (email)
<<  TomCloyd.com>>  (website)
<<  sleightmind.wordpress.com>>  (mental health issues weblog)
~


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more ossia

[David Bobroff]

Thanks, Trevor for tweaking my code so the lyrics line up.  I'm still at 
a loss to understand why that is, but that can wait.


In looking at the result of my struggles with ossias I have concluded 
that I want something a bit different from what I'm getting now.  The 
ossia sections in this score are long enough that, without clefs and key 
signatures, they look odd.  I've been studying the section on ossias in 
1.6.2 (v2.12.3) of the Notation Manual.  There is an example which uses 
\RemoveEmptyStaffContext.  This looks promising but I'm wondering if 
this can be used with a "layering" approach.  That is, is it possible to 
contain all the ossia passages in a single ossia = {...} and combine it 
with the main line inside << >>.  For display I want the clefs/key sigs 
to appear at the start of the ossia line.  I see that using 
\RemoveEmptyStaffContext is "most convenient" when the ossia line begins 
at a line break.  I suppose I could simply force a line break where 
these passages begin which would/should give me the clefs and keys at 
the start of the ossia passage (although it would be nice if I could let 
Lily decide the line breaks and have the clef/key show up at the 
beginning of the ossia without a floating clef at the left end of the 
line).  On the other hand, by using \RemoveEmptyStaffContext am I 
constrained to adding the ossia passages within the main line as it is 
done in the example in the docs?


Thanks,

David



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Re: more ossia

[Phil Holmes]

- Original Message - 
From: "David Bobroff" 

To: 
Sent: Thursday, April 14, 2011 10:18 AM
Subject: more ossia


Thanks, Trevor for tweaking my code so the lyrics line up.  I'm still at a 
loss to understand why that is, but that can wait.


In looking at the result of my struggles with ossias I have concluded that 
I want something a bit different from what I'm getting now.  The ossia 
sections in this score are long enough that, without clefs and key 
signatures, they look odd.  I've been studying the section on ossias in 
1.6.2 (v2.12.3) of the Notation Manual.  There is an example which uses 
\RemoveEmptyStaffContext.  This looks promising but I'm wondering if this 
can be used with a "layering" approach.  That is, is it possible to 
contain all the ossia passages in a single ossia = {...} and combine it 
with the main line inside << >>.  For display I want the clefs/key sigs to 
appear at the start of the ossia line.  I see that using 
\RemoveEmptyStaffContext is "most convenient" when the ossia line begins 
at a line break.  I suppose I could simply force a line break where these 
passages begin which would/should give me the clefs and keys at the start 
of the ossia passage (although it would be nice if I could let Lily decide 
the line breaks and have the clef/key show up at the beginning of the 
ossia without a floating clef at the left end of the line).  On the other 
hand, by using \RemoveEmptyStaffContext am I constrained to adding the 
ossia passages within the main line as it is done in the example in the 
docs?


Thanks,

David


If you look at the very first example given in the Notation Reference on 
ossia staves, you'll see it has a clef and time sig.  The only reason ossia 
staves don't have them is that they're not normally wanted, and so the code 
includes:


\remove "Time_signature_engraver"
firstClef = ##f

which removes them.

However, I personally find using \RemoveEmptyStaffContext to be a simple way 
of allowing staves to appear and disappear. Fill each bar you don't want 
displaying with a MultiMeasureRest and then let LilyPond produce the music. 
Then, as you can say, you can add \break as appropriate, to place the added 
music appropriately.  You will also need


   \override VerticalAxisGroup #'remove-first = ##t


--
Phil Holmes 



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Re: first time

[Ralph Palmer]

On Wed, Apr 13, 2011 at 9:38 PM, Andrew Wood  wrote:

>  *I just asked a question about syntax error NOTENAME_PITCH.   I removed
> the melody = and it works now*
>
>
Greetings, Andrew Wood -

I  would strongly recommend that you read the Learning Manual, which can be
found at :

http://www.lilypond.org/doc/v2.12/Documentation/user/lilypond-learning/index.html

The Learning Manual is a "must read" document, if you want to do much in
LilyPond.

Sincerely,

Ralph Palmer

-- 
Ralph Palmer
Montague City, MA
USA
palmer.r.vio...@gmail.com
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Quotation mark in lyrics

[Phil Holmes]

Turns out that the way I have been doing quotation marks in lyric lines: " 
is to use 2 single apostrophes: ''.  This looks OK until I'm now using it in 
italics and it looks bad.  I've tried \" and /" and neither work and I can't 
find an example in the NR, LM or LSR.  Can anyone show me how to get this 
lyric line:


La "la la" la

where the 2nd and 3rd la each takes a single note space?

--
Phil Holmes



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Re: Quotation mark in lyrics

[Graham Percival]

On Thu, Apr 14, 2011 at 12:28:05PM +0100, Phil Holmes wrote:
> Turns out that the way I have been doing quotation marks in lyric
> lines: " is to use 2 single apostrophes: ''.  This looks OK until
> I'm now using it in italics and it looks bad.  I've tried \" and /"
> and neither work and I can't find an example in the NR, LM or LSR.

Second image from the top on:
http://lilypond.org/doc/v2.13/Documentation/notation/common-notation-for-vocal-music#entering-lyrics

?  I have no idea why the syntax is that clunky, but doc-wise it's
pretty much where I expected it to be.

Cheers,
- GRaahm

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Re: Quotation mark in lyrics

[Phil Holmes]

- Original Message - 
From: "Graham Percival" 

To: "Phil Holmes" 
Cc: "LilyPond User Group" 
Sent: Thursday, April 14, 2011 12:50 PM
Subject: Re: Quotation mark in lyrics



On Thu, Apr 14, 2011 at 12:28:05PM +0100, Phil Holmes wrote:

Turns out that the way I have been doing quotation marks in lyric
lines: " is to use 2 single apostrophes: ''.  This looks OK until
I'm now using it in italics and it looks bad.  I've tried \" and /"
and neither work and I can't find an example in the NR, LM or LSR.


Second image from the top on:
http://lilypond.org/doc/v2.13/Documentation/notation/common-notation-for-vocal-music#entering-lyrics

?  I have no idea why the syntax is that clunky, but doc-wise it's
pretty much where I expected it to be.

Cheers,
- GRaahm



Thanks.  I'd started at the contents and clicking on "Techniques specific to 
lyrics" so was already past that.  Also searched on quotation, inverted and 
also didn't find it :-(


--
Phil Holmes


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Re: Quotation mark in lyrics

[-Eluze]

Phil Holmes wrote:
> 
> Turns out that the way I have been doing quotation marks in lyric lines: " 
> is to use 2 single apostrophes: ''.  This looks OK until I'm now using it
> in 
> italics and it looks bad.  I've tried \" and /" and neither work and I
> can't 
> find an example in the NR, LM or LSR.  Can anyone show me how to get this 
> lyric line:
> 
> La "la la" la
> 
> where the 2nd and 3rd la each takes a single note space?
> 
maybe lyr = \lyricmode { La \markup \italic "\"la" \markup \italic "la\"" la
} is what you want!?
-- 
View this message in context: 
http://old.nabble.com/Quotation-mark-in-lyrics-tp31396091p31396368.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


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Re: getting a TextSpanner 'text

[Carl Sorensen]

On 4/14/11 1:47 AM, "Graham Percival"  wrote:

> How do you get values from a context property?  I'm trying to access
> the left-bound text.  I know I can do it like this:
>   (cdr (car (cdr (car (cdr (car (car (ly:context-property context
> 'TextSpanner)))
> but that's kind-of ugly.

Yes, it is.  At the very least, you should use things like (caar x) which is
equal to (car (car x)).
> 
> This code:
> 
> #(define (format-textspan engraver event)
>(let* ((context (ly:translator-context engraver))
>   (moment (ly:context-current-moment context)))
>  (display "\n")
>  (display
>   (ly:context-property context 'TextSpanner)
>  )
> ))
> 
> 
> produces the following (with linebreaks and indents added).  I'm
> really confused about the multiple "bound-details", the multiple
> "left/right" inside each bound-details, etc.  How can I make sure I
> get the bound-details that I want, without using plain old (car ...) ?
> 

The correct bound-details is the first one (overrides are prepended; the old
values are not removed).

The proper way to do it is something like

(let* ((spanner-props (ly:context-property context 'TextSpanner))
   (details (assoc-get 'bound-details spanner-props '()))
   (left-props (assoc-get 'left details left-props '()))
   (left-text (assoc-get 'text left-props '(
(display left-text))

We try never to use the structure to get things; we always try to use the
associated keys.

HTH,

Carl


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Re: getting repeats to play in midi

[Tom Cloyd]

On 04/14/2011 03:01 AM, Janek Warchoł wrote:

Hi,
please use "reply to all" button (i.e. send a reply not only to the
person who answered, but also to the whole list). This way we can help
you better and the conversation would be archived and available for
others.
Now back to the problem :)

2011/4/14 Tom Cloyd

Well (sigh), it didn't change a thing. At the first repeat I still get aural 
chaos. I have posted my entire code at http://pastie.org/1794353, if you have a 
moment to look at it. I really cannot seem to get my head around this midi 
repeat thing, and my searches for anything helpful have not led me anywhere. 
I'm stumped at the moment.

If you analyze the funny midi output that you get, the answer will
become quite clear: in the midi output, melody voice is repeated
properly, while alto and bass are not repeated. Now look into the
source file... exactly! "\repeat volta 2" is specified in melody voice
only. You need to write it in every voice :)

cheers,
Janek
Hmmm. Very interesting. I have been using the wrong mental model of what 
Lilypond does with my engraving code. Thanks very much - haven't tried 
your fix yet, but it sounds most reasonable.


On the other hand, don't we have a bit of a problem with Lilypond, here? 
It's doing one thing with the 3 voices when engraving, and quite a 
different one when generating midi. Furthermore, there's nothing about 
this in the documentation (Notation Reference) that I can find - I 
looked in "1.4.1 Long repeats", and "3.5 Midi output", and a number of 
other less likely places, and found no mention of a need to add repeats 
to voices which are not needed for engraving so that midi output will 
make sense.


The logical place for this information to be placed would seem to be 
"3.5.4 Repeats in midi", and a link to this should appear in 1.4.1, I think.


If this is a reasonable idea, does anyone know to whom I should make 
this request?


Also, in the course of working this out, I've made an interesting 
discovery which I'll share in a different post (new topic).


Thanks again, and I AM interested in seeing that the documentation is 
updated if this possible.


t.

--

~

"It is impossible for a man to learn what he thinks he already
knows." ~ Epictetus (c.55-c.135)
~
Tom Cloyd, MS MA
Private practice Psychotherapist
St. George, Utah, U.S.A: (435) 272-3332
<<  t...@tomcloyd.com>>  (email)
<<  TomCloyd.com>>  (website)
<<  sleightmind.wordpress.com>>  (mental health issues weblog)
~


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Re: Stacked markup problem

[Jesse Engle]

I took the time to check out a copy of the development source from the 
repository and everything compiled and installed fine. The stickings 
were displayed in the correct order as you said, but now there's an 
entirely separate problem: the accents are now much lower than they 
should be. The example I used previously illustrates this:


\version "2.13.60"

\new DrumStaff \new DrumVoice \drummode {
  \stemUp
  sn4:16_"L"_"R" ~ sn4->_"L"_"R"
  sn4:16_"R"_"L" ~ sn4->_"R"_"L"
}

I apologise if this is not the proper venue for development-version 
issues, but because it had to do with an issue I had in the stable 
version, I thought it might be appropriate to post it here...Jesse


On 04/13/2011 04:05 AM, -Eluze wrote:

Jesse Engle-3 wrote:



What I wanted was for the first row of text to read "L L R R," and the
second row to read "R R L L", but Lilypond seems to have a different
means of choosing the display order. Is there any way to override this,
or is it a bug?


you can stack L and F in a \column (you will have to vertically align
lines!) or simply use the newest version of Lilypond where it is aligned
automagically as expected!

Eluze



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Using the "articulate.ly" script AND getting nice-looking engraved output - how to

[Tom Cloyd]

I seem to have made a discovery which I don't see covered in either 
Lilypond's Notation Reference or the documentation for the articulate 
script at its homepage .


First, for those who don't know, use of this script produces "a more 
realistic MIDI output", in which articulations (slurs, staccato, etc) 
are performed better, "by replacing notes with sequential music of 
suitably time-scaled note plus skip. It also tries to unfold trills 
turns etc., and take rallentando and accelerando into account." 
(Notation reference section 3.5.7)


For my instrument, classic guitar, the results are audibly better. 
However, there is a price: "After altering your input file this way, the 
visual output is heavily altered" (Notation Reference), such that it now 
reflects what the midi is performing.


However, this can be fixed easily. With my method, I am getting the midi 
output to employ articulate.ly's magic, AND play the repeats in the 
score, while producing a PDF engraving file that is what I expect, 
rather than what midi is performing - all in one compiler pass. It's a 
very nice result. My entire Lilypond score script may be viewed at 
http://pastie.org/1795196


For the archives, here is a reduction:

[begin score script]

\version "2.13.51"
\include "articulate.ly"

\header {...}
\paper {...}

% * VOICE ONE 
melody = \relative c' {...}

% * VOICE THREE ===
alto = \relative c {
\voiceThree
...}

% * VOICE TWO 
bass = \relative c' {
  \voiceTwo
  ... }

structure = {
  \new Staff = "guitar" \with { \consists "Span_arpeggio_engraver" }
<<
  \set Staff.midiInstrument="acoustic guitar (nylon)"
  \set Staff.connectArpeggios = ##t
  \context Voice = "melody" \melody
  \context Voice = "alto" \alto
  \context Voice = "bass" \bass
>>
}

\score {
 \structure
 \layout {
   indent = 0.0\cm % remove indent on first staff
   }
}

\score {
  \unfoldRepeats \articulate \structure
  \midi { %causes generation of midi score\
}
}


[end score script]

It's worth noting that the \unfoldRepeats causes midi to play the 
repeats as written, but only if they are scripted in every voice, a 
requirement which appears to me not to be documented in the Notation 
Reference. Also, enables midi output of "performing abbreviatures (sic) 
such as trills".


All comments most welcome.

Oh...is this something which should be included in the Notation 
Reference section 3.5.7 on the articulate script? I surely would have 
appreciated finding it there!


Thanks to all who helped me with a related issue, which led to the 
inadvertent discover of this solution to the problem of using 
articulate.ly AND getting proper engraving output.


Tom

~

"It is impossible for a man to learn what he thinks he already
knows." ~ Epictetus (c.55-c.135)
~
Tom Cloyd, MS MA
Private practice Psychotherapist
St. George, Utah, U.S.A: (435) 272-3332
<<  t...@tomcloyd.com>>  (email)
<<  TomCloyd.com>>  (website)
<<  sleightmind.wordpress.com>>  (mental health issues weblog)
~

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Re: Using the "articulate.ly" script AND getting nice-looking engraved output - how to

[Graham Percival]

On Thu, Apr 14, 2011 at 10:53:36AM -0600, Tom Cloyd wrote:
>I seem to have made a discovery which I don't see covered in either
>Lilypond's Notation Reference or the documentation for the articulate
>script at its homepage.
...
>However, this can be fixed easily. With my method, I am getting the midi
>output to employ articulate.ly's magic,

Yes, having two \score blocks is the proper way to use articulate.
This was discussed when the script was first mentioned, but so far
nobody's sent a patch for the documentation which adds this.
Maybe you'll be the first?

If you don't want to bother with a full documentation patch, then
adding it to LSR and tagging it with "docs" is the most effective
trade-off for "helping others" vs. "amount of time spent".

Cheers,
- Graham

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Re: Using the "articulate.ly" script AND getting nice-looking engraved output - how to

[Francisco Vila]

2011/4/14 Graham Percival :
> On Thu, Apr 14, 2011 at 10:53:36AM -0600, Tom Cloyd wrote:
>>    I seem to have made a discovery which I don't see covered in either
>>    Lilypond's Notation Reference or the documentation for the articulate
>>    script at its homepage.
> ...
>>    However, this can be fixed easily. With my method, I am getting the midi
>>    output to employ articulate.ly's magic,
>
> Yes, having two \score blocks is the proper way to use articulate.
> This was discussed when the script was first mentioned, but so far
> nobody's sent a patch for the documentation which adds this.
> Maybe you'll be the first?

I volunteer for this.  Also, I will change 'abbreviatures' which is
easily a non-existing english word, to whatever you suggest.

-- 
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com

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Re: Quotation mark in lyrics

[Phil Holmes]

- Original Message - 
From: "Graham Percival" 

To: "Phil Holmes" 
Cc: "LilyPond User Group" 
Sent: Thursday, April 14, 2011 12:50 PM
Subject: Re: Quotation mark in lyrics



On Thu, Apr 14, 2011 at 12:28:05PM +0100, Phil Holmes wrote:

Turns out that the way I have been doing quotation marks in lyric
lines: " is to use 2 single apostrophes: ''.  This looks OK until
I'm now using it in italics and it looks bad.  I've tried \" and /"
and neither work and I can't find an example in the NR, LM or LSR.


Second image from the top on:
http://lilypond.org/doc/v2.13/Documentation/notation/common-notation-for-vocal-music#entering-lyrics

?  I have no idea why the syntax is that clunky, but doc-wise it's
pretty much where I expected it to be.

Cheers,
- GRaahm



I use a Regex to translate the quote mark that Noteworthy creates (\") into 
the LilyPond quote mark.  Would anyone like to guess how many consecutive 
backslashes I have to use in c# to find the 2 characters \"  ?



--
Phil Holmes



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RE: getting repeats to play in midi

[James Lowe]

Hello,

)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Tom Cloyd
)Sent: 14 April 2011 17:07
)To: Lilypond
)Subject: Re: getting repeats to play in midi
)
)
)On the other hand, don't we have a bit of a problem with Lilypond, here?
)It's doing one thing with the 3 voices when engraving, and quite a
)different one when generating midi. Furthermore, there's nothing about
)this in the documentation (Notation Reference) that I can find - I looked in
)"1.4.1 Long repeats", and "3.5 Midi output", and a number of other less
)likely places, and found no mention of a need to add repeats to voices
)which are not needed for engraving so that midi output will make sense.
)
)The logical place for this information to be placed would seem to be
)"3.5.4 Repeats in midi", and a link to this should appear in 1.4.1, I think.
)
)If this is a reasonable idea, does anyone know to whom I should make this
)request?
)
)Also, in the course of working this out, I've made an interesting discovery
)which I'll share in a different post (new topic).
)
)Thanks again, and I AM interested in seeing that the documentation is
)updated if this possible.
)

Any constructive suggestions to the Documentation are always, always welcome 
especially if you write something yourself.

Start here:

http://lilypond.org/doc/v2.13/Documentation/contributor/documentation-suggestions.html

regards

James 
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Re: Quotation mark in lyrics

[Graham Percival]

On Thu, Apr 14, 2011 at 06:31:57PM +0100, Phil Holmes wrote:
> I use a Regex to translate the quote mark that Noteworthy creates
> (\") into the LilyPond quote mark.  Would anyone like to guess how
> many consecutive backslashes I have to use in c# to find the 2
> characters \"  ?

Hmm.  I'd guess that need 2^n for each character, where n will be
0, 1, or 2.  So that gives 3, 5, or 9 backslashes.

Do I win?

Cheers,
- Graham

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Re: Using the "articulate.ly" script AND getting nice-looking engraved output - how to

[Tom Cloyd]

Thank you for volunteering! I'd love to do it, but frankly am very hard 
pressed to accomplish what's already on my schedule. Ha! Once again this 
file forum comes to my rescue. I'm so pleased to be here, and of all to 
be able to use and continue learning about Lilypond. What a gift this 
this is...


T.

On 04/14/2011 11:27 AM, Francisco Vila wrote:

2011/4/14 Graham Percival:

On Thu, Apr 14, 2011 at 10:53:36AM -0600, Tom Cloyd wrote:

I seem to have made a discovery which I don't see covered in either
Lilypond's Notation Reference or the documentation for the articulate
script at its homepage.

...

However, this can be fixed easily. With my method, I am getting the midi
output to employ articulate.ly's magic,

Yes, having two \score blocks is the proper way to use articulate.
This was discussed when the script was first mentioned, but so far
nobody's sent a patch for the documentation which adds this.
Maybe you'll be the first?

I volunteer for this.  Also, I will change 'abbreviatures' which is
easily a non-existing english word, to whatever you suggest.



--

~

"It is impossible for a man to learn what he thinks he already
knows." ~ Epictetus (c.55-c.135)
~
Tom Cloyd, MS MA
Private practice Psychotherapist
St. George, Utah, U.S.A: (435) 272-3332
<<  t...@tomcloyd.com>>  (email)
<<  TomCloyd.com>>  (website)
<<  sleightmind.wordpress.com>>  (mental health issues weblog)
~


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Re: getting repeats to play in midi

[Tom Cloyd]

Thank you very much. I'll get to this this evening.

t.

On 04/14/2011 11:13 AM, James Lowe wrote:

Hello,

)-Original Message-
)From: lilypond-user-bounces+james.lowe=datacore@gnu.org
)[mailto:lilypond-user-bounces+james.lowe=datacore@gnu.org] On
)Behalf Of Tom Cloyd
)Sent: 14 April 2011 17:07
)To: Lilypond
)Subject: Re: getting repeats to play in midi
)
)
)On the other hand, don't we have a bit of a problem with Lilypond, here?
)It's doing one thing with the 3 voices when engraving, and quite a
)different one when generating midi. Furthermore, there's nothing about
)this in the documentation (Notation Reference) that I can find - I looked in
)"1.4.1 Long repeats", and "3.5 Midi output", and a number of other less
)likely places, and found no mention of a need to add repeats to voices
)which are not needed for engraving so that midi output will make sense.
)
)The logical place for this information to be placed would seem to be
)"3.5.4 Repeats in midi", and a link to this should appear in 1.4.1, I think.
)
)If this is a reasonable idea, does anyone know to whom I should make this
)request?
)
)Also, in the course of working this out, I've made an interesting discovery
)which I'll share in a different post (new topic).
)
)Thanks again, and I AM interested in seeing that the documentation is
)updated if this possible.
)

Any constructive suggestions to the Documentation are always, always welcome 
especially if you write something yourself.

Start here:

http://lilypond.org/doc/v2.13/Documentation/contributor/documentation-suggestions.html

regards

James


--

~

"It is impossible for a man to learn what he thinks he already
knows." ~ Epictetus (c.55-c.135)
~
Tom Cloyd, MS MA
Private practice Psychotherapist
St. George, Utah, U.S.A: (435) 272-3332
<<  t...@tomcloyd.com>>  (email)
<<  TomCloyd.com>>  (website)
<<  sleightmind.wordpress.com>>  (mental health issues weblog)
~


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Re: Quotation mark in lyrics

[Kieren MacMillan]

Hi Phil,

>>> Turns out that the way I have been doing quotation marks in lyric
>>> lines: " is to use 2 single apostrophes: ''.  This looks OK until
>>> I'm now using it in italics and it looks bad.  I've tried \" and /"
>>> and neither work and I can't find an example in the NR, LM or LSR.

I use “ and ” — they work like a charm.

Hope this helps!
Kieren.
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Re: Quotation mark in lyrics

[Phil Holmes]

- Original Message - 
From: "Graham Percival" 

To: "Phil Holmes" 
Cc: "LilyPond User Group" 
Sent: Thursday, April 14, 2011 6:39 PM
Subject: Re: Quotation mark in lyrics



On Thu, Apr 14, 2011 at 06:31:57PM +0100, Phil Holmes wrote:

I use a Regex to translate the quote mark that Noteworthy creates
(\") into the LilyPond quote mark.  Would anyone like to guess how
many consecutive backslashes I have to use in c# to find the 2
characters \"  ?


Hmm.  I'd guess that need 2^n for each character, where n will be
0, 1, or 2.  So that gives 3, 5, or 9 backslashes.

Do I win?

Cheers,
- Graham



No.  It's 7.  My comment to explain this is:

Yes - you really do need all those backslashes.  We're looking for a word 
starting \" and so to tell the regtest parser to look for that, it needs \\ 
\"  So we need to escape those for the c# text parser, so need \\ \\ \\ \"


--
Phil Holmes




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nice praise via twitter

[Jan Nieuwenhuizen]

On twitter, http://josiahboothby.org/?page_id=5 writes

I love @GNU_LilyPond. Reduced a sloppy, nearly illegible
Sibelius-engraved, 5-page part into a neat, legible 2-page part. #fb

ref: http://twitter.com/dzdz/status/58437233811783680

Jan

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

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Re: Stacked markup problem

[-Eluze]

Jesse Engle-3 wrote:
> 
> I took the time to check out a copy of the development source from the 
> repository and everything compiled and installed fine. The stickings 
> were displayed in the correct order as you said, but now there's an 
> entirely separate problem: the accents are now much lower than they 
> should be. The example I used previously illustrates this:
> 
> \version "2.13.60"
> 
> 
> \new DrumStaff \new DrumVoice \drummode {
>\stemUp
>sn4:16_"L"_"R" ~ sn4->_"L"_"R"
>sn4:16_"R"_"L" ~ sn4->_"R"_"L"
> }
> 
indeed - prior to 2.13.10 it used to be right below the notehead and not
under the staff.

you can correct this behaviour with \override DrumStaff.Script
#'staff-padding = #'()

unluckily this leads to a collision with the tie… i'm not sure if this is a
bug and how to easily work around that!


> I apologise if this is not the proper venue for development-version 
> issues, but because it had to do with an issue I had in the stable 
> version, I thought it might be appropriate to post it here...Jesse
> 
i believe that's the right place!

Eluze

-- 
View this message in context: 
http://old.nabble.com/Stacked-markup-problem-tp31384848p31400791.html
Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


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Re: Using the "articulate.ly" script AND getting nice-looking engraved output - how to

[Francisco Vila]

2011/4/14 Tom Cloyd :
> Thank you for volunteering! I'd love to do it, but frankly am very hard
> pressed to accomplish what's already on my schedule. Ha! Once again this
> file forum comes to my rescue. I'm so pleased to be here, and of all to be
> able to use and continue learning about Lilypond. What a gift this this
> is...

I wrote the section about \articulate, that's why I am asking you for
a better wording, as I am not a native English speaker.

-- 
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com

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suggestion for articulate

[胡海鹏 - Hu Haipeng]

Hello,
  Before I make a 16 track midi to show the remaining bug on midi output in the 
recent devel versions, I'll suggest an improvement upon articulate.ly. I 
changed the following line, and the non-slurred music sounds more natural, 
while the slurred music still gets more smooth:
#(define ac:normalFactor '(15 . 16))
Regards
Haipeng


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Re: suggestion for articulate

[Peter Chubb]

> "胡海鹏" == 胡海鹏  <- Hu Haipeng > writes:

胡海鹏> Hello, Before I make a 16 track midi to show the remaining bug
胡海鹏> on midi output in the recent devel versions, I'll suggest an
胡海鹏> improvement upon articulate.ly. I changed the following line,
胡海鹏> and the non-slurred music sounds more natural, while the
胡海鹏> slurred music still gets more smooth: #(define ac:normalFactor
胡海鹏> '(15 . 16)) Regards Haipeng


What really needs to happen is that this (and the other paramet6ers)
need to be documented.  Whether 15/16 or 7/8 sounds better depends on
the instrument and the style of the music being played, and how
non-legato you want the normal articulations to be.  In the original
parameter settings I was aiming for baroque music practice: something
like this for Bach's English Suite (This is Pogorelich's playing):

http://lawrence.li/blog/audio/01%20English%20Suite%20No.2%20in%20A%20minorBWV%200807_%20Prelude.mp3

And in CPE Bach's `True art of playing the Keyboard' he says that
otherwise unmarked notes should be held for half their marked values,
suggesting #(define ac:normalFactor '(1 . 2))

But see Jackson, `Performance Practice: A Dictionary-guide for
Musicians' on articulation.  Performance practice varies widely.
--
Dr Peter Chubb  peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au   ERTOS within National ICT Australia
All things shall perish from under the sky/Music alone shall live, never to die

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Re: suggestion for articulate

[David Kastrup]

Peter Chubb  writes:

>> "胡海鹏" == 胡海鹏  <- Hu Haipeng > writes:
>
> 胡海鹏> Hello, Before I make a 16 track midi to show the remaining bug
> 胡海鹏> on midi output in the recent devel versions, I'll suggest an
> 胡海鹏> improvement upon articulate.ly. I changed the following line,
> 胡海鹏> and the non-slurred music sounds more natural, while the
> 胡海鹏> slurred music still gets more smooth: #(define ac:normalFactor
> 胡海鹏> '(15 . 16)) Regards Haipeng
>
>
> What really needs to happen is that this (and the other paramet6ers)
> need to be documented.  Whether 15/16 or 7/8 sounds better depends on
> the instrument and the style of the music being played, and how
> non-legato you want the normal articulations to be.

A fixed ratio seems a mistake to me: like optical scaling of fonts, the
ratio should depend on the length of the note as well as the speed of
the piece.  And one does not want to have chords end early in one voice
merely because the voice had a longer note starting the chord.

-- 
David Kastrup


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Re: suggestion for articulate

[Peter Chubb]

> "David" == David Kastrup  writes:


David> A fixed ratio seems a mistake to me: like optical scaling of
David> fonts, the ratio should depend on the length of the note as
David> well as the speed of the piece.  And one does not want to have
David> chords end early in one voice merely because the voice had a
David> longer note starting the chord.

I agree, but that's really hard to implement.  Maybe if Grahame's
virtual violinist can turn into a virtual orchestra, and interpret
music properly (instead of just playing whatever Lilypond produces
like a robotic MIDI player)  but I think that's a long way off.

As it is, you can adjust the shortening of the notes for non-legato
playing as you wish.  In practice playing in a small group, the only
time when we really care about different voices ending at different
times is on the final chord of a cadence:  and cadences usually fall at the
end of a phrase marked with a phrasing slur or are explicitly marked
tenuto so it isn't an issue.  I can see there could be problems in
some music though.


--
Dr Peter Chubb  peter DOT chubb AT nicta.com.au
http://www.ertos.nicta.com.au   ERTOS within National ICT Australia
All things shall perish from under the sky/Music alone shall live, never to die

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Re: Self-Publishing

[Han-Wen Nienhuys]

On Sun, Apr 10, 2011 at 1:37 PM, Laura Conrad  wrote:
>> "Pete" == PMA   writes:
>
>    Pete> The upshot -- well, so far -- is that *if* I buy the printer,
>    Pete> it will be a refurbished HP LaserJet 5000.  Am sniffing out
>    Pete> reputable vendors.
>
> I would recommend against this.  I did that, after the kind of
> exploration you did, and if you can pick it up on the third floor in
> Cambridge, MA, USA, you can have it free.  I don't think the duplexer
> ever worked more than a month at a time, and currently the fuser is
> broken as well.  You can buy a duplexing laser printer for less than the
> cost of a service call for the HP.

Most printers have a status page that will print the number of pages
printed.  Look for a printer that has a very low number there, a
couple of thousand maybe. Many offices have a printer that sits around
doing nothing all day.  That is the one you want to buy second hand.

-- 
Han-Wen Nienhuys - han...@xs4all.nl - http://www.xs4all.nl/~hanwen

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Re: Using the "articulate.ly" script AND getting nice-looking engraved output - how to

[Tom Cloyd]

On 04/14/2011 04:57 PM, Francisco Vila wrote:

2011/4/14 Tom Cloyd:

Thank you for volunteering! I'd love to do it, but frankly am very hard
pressed to accomplish what's already on my schedule. Ha! Once again this
file forum comes to my rescue. I'm so pleased to be here, and of all to be
able to use and continue learning about Lilypond. What a gift this this
is...

I wrote the section about \articulate, that's why I am asking you for
a better wording, as I am not a native English speaker.

OK - I visited the Lilypond website and tried to figure out how to post 
to some documentation discussion list I thought existed. That left me 
confused and without options, so I'm back here. The best I can do is 
offer a first draft rewrite here, and know that those better informed 
than I will know what to do with it. I thank them in advance for their 
assistance.


Proposed revision to Notation Reference:

[begin proposal]

*3.5.7 The Articulate script*

Use of this script changes midi output in several ways, which can result 
in a more realistic sound, and also a more accurate representation of 
certain aspects of the score input.


The script tries to take articulations (slurs, staccato, etc) into 
account, by replacing notes that normally sound for the full duration 
notated with notes composed of sound plus a small interval of silence 
whose duration tries to reflect the desired articulation. It can also 
optionally try  to unfold trills, turns, etc., and take /rallentando/ 
and /accelerando/ into account.


To use the script, insert at the top of your script (after your 
/\version/ statement is good) an /\include/ request:


\include "articulate.ly"

Then, in the \score section of your script, add a reference to the script:

\articulate <<
all the rest of the score...
>>

Optionally, to enable performance of abbreviations such as /trills/, and 
full performance of all repeats, insert an \unfoldRepeats command, 
making the snippet above


\unfoldRepeats \articulate <<
all the rest of the score...
>>

Note that for this to work correctly repeats must be explicitly 
indicated in every voice which should repeat a given section.


*Known issues and warnings*

A. Unwanted alteration of the visual score

Production of an improved midi performance in this way will also yield a 
score altered to represent what the midi actually sounds like, which is 
not usually a desirable result. This problem may be eliminated by using 
two score blocks. The following example also assigns script lines, which 
would otherwise have to be repeated in both /\score/ blocks, to a 
variable ("structure") which is then used in their place, to reduce 
script length:


\version "2.13.51"
\include "articulate.ly"

[score scripting...]

structure = {
  [repeated lines]
}

\score {
 \structure
 \layout {
   [layout specifications...]
   }
}

\score {
  \unfoldRepeats \articulate \structure
  \midi
}
}

B. Over-articulation of notes, for certain instruments

While the slight separation of notes in the midi output often seems to 
improve the sound of music for instruments which don't normally sound 
legato, such as classic guitar, it can also make other instruments, such 
as organ, sound unrealistic. One approach to reducing or eliminating 
this problem is to experimentally alter a single line in the 
/articulate.ly/ script - here is an example of such an alteration:


#(define ac:normalFactor '(15 . 16))

[end proposal]

I hope this is helpful!

Tom C.

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Re: Self-Publishing

[Éditions IN NOMINE]

Hi.

I'd like to give you my testymony as a publisher : if you want to 
publish and sell as a professional, I have to say that printing is a 
REAL job. I mean it takes time, and you won't have a proper score at the 
end without professional printers (machine AND guys). I made this choice 
a year ago : I've  found a printer next to me (a musician !) and I must 
admit I spend a lot of time with him to get the best final product 
before printing the whole stock. With a final cost below Lulu & Co ! (I 
can make as many tests as I want before production, and that saves me 
many times !)


Another thing : try to calculate the time you will spend to print your 
score on the base of N buyers. You'll spend a LOT of time for this and 
it will not be, sadly, of the same quality of a professional printer.


Well, I mean, don't hink that working with a pro will be so much money !

Best regards.
JMarc

Han-Wen Nienhuys a écrit :

On Sun, Apr 10, 2011 at 1:37 PM, Laura Conrad  wrote:
  

"Pete" == PMA   writes:
  

   Pete> The upshot -- well, so far -- is that *if* I buy the printer,
   Pete> it will be a refurbished HP LaserJet 5000.  Am sniffing out
   Pete> reputable vendors.

I would recommend against this.  I did that, after the kind of
exploration you did, and if you can pick it up on the third floor in
Cambridge, MA, USA, you can have it free.  I don't think the duplexer
ever worked more than a month at a time, and currently the fuser is
broken as well.  You can buy a duplexing laser printer for less than the
cost of a service call for the HP.



Most printers have a status page that will print the number of pages
printed.  Look for a printer that has a very low number there, a
couple of thousand maybe. Many offices have a printer that sits around
doing nothing all day.  That is the one you want to buy second hand.

  


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proposed addition to Notation Reference 3.5.4

[Tom Cloyd]

This deals with the problem of getting correct midi output when playing 
of repeats is desired AND the score has multiple voices.


I suggest insertion of the following sentence (as its own paragraph) 
immediately before the sentence "When creating a score file using 
\unfoldRepeats..."



In scores containing multiple voices, unfolding of repeats in midi 
output will only occur correctly if /each/ voice contains fully notated 
repeat indications.



t.

--

~

"It is impossible for a man to learn what he thinks he already
knows." ~ Epictetus (c.55-c.135)
~
Tom Cloyd, MS MA
Private practice Psychotherapist
St. George, Utah, U.S.A: (435) 272-3332
<<  t...@tomcloyd.com>>  (email)
<<  TomCloyd.com>>  (website)
<<  sleightmind.wordpress.com>>  (mental health issues weblog)
~

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