Re: Manual search returns results from wrong version

[Phil Holmes]

- Original Message - 
From: "Graham Percival" 

To: "Phil Holmes" 
Cc: "Nick Payne" ; ; 


Sent: Tuesday, October 16, 2012 10:42 PM
Subject: Re: Manual search returns results from wrong version



On Tue, Oct 16, 2012 at 09:02:18AM +0100, Phil Holmes wrote:
It's a common header, used on all the web pages, and therefore uses the 
same version number throughout.  Non-trivial to change.


Shouldn't it be v2.16, though?  It's safer to point to v2.16
rather than v2.17.

- Graham



I actually think 2.17 is better than 2.16 in case anyone is looking for 
instructions on recent updates.  Both would be better than either.


--
Phil Holmes 



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Re: Warning with voltaSpannerDuration

[Kai Lautenschläger]

Thanks, Eluze! 

Yes, the output is correct. I was just fighting my way through a long list of 
errors and warnings, trying to understand. 

Best regards

Kai

... von unterwegs gesendet!

Am 09.10.2012 um 23:21 schrieb Eluze :

> "Dr. med. Kai Lautenschläger" wrote
>> The following warning is given: (sorry, it's in german)
>> […]
>> Interpretation der Musik...[8]
>> Warnung: Volta-Klammer kann nicht beendet werden
>> [16]
>> Warnung: Volta-Klammer kann nicht beendet werden
>> Vorverarbeitung der grafischen Elemente...
>> […]
> 
> there's already an issue
> http://code.google.com/p/lilypond/issues/detail?id=1476 for this, but it's
> not fixed yet.
> 
> however is the output correct?
> 
> Eluze
> 
> 
> 
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Re: error message

[Joram Berger]

Dear Mark,

do you have Lilypond 2.16 installed? And have you set the correct path
in Frescobaldi? Please check in Frescobaldi something like:
Edit > Options, then Lilypond-Options. There the lilypond-windows.exe
should correspond to your Lilypond installation, which is usually in
C:\Program Files\Lilypond\usr\bin\
or where ever you installed it.

Cheers,
Joram

Am 10.10.2012 19:28, schrieb Mark Stephen Mrotek:
> After putting in code into Frescobaldi, I clicked the Lilypond icon. The
> following error message appeared:
> 
> Starting lilypond-windows.exe 2.16.0 [Untitled]...
> Could not start lilypond-windows.exe.
> Please check path and permissions.
> 
> Two previous suggestions, which I followed, were to open as
> Administrator and to set Frescobaldi preferences to use Lilypond.
> 
> Again after entering code and clicking the error message appear.
> 
> Thank you for your kind attention.
> 
> Mark Stephen Mrotek

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please help with updating old scheme code

[TaoCG]

So, some years ago I wrote this code for an alternative method of displaying
chord symbols.
It still worked fine in 2.14 but not so in 2.16. I tried running convert-ly
but it didn't change anything.

Details and code can be found in this thread:
http://lilypond.1069038.n5.nabble.com/chord-symbols-as-plain-text-td32481.html

Apparently I have made an update to the code at some point, at least the
file I have been using until recently is somewhat different to the one in
that thread.
So here is the actual version:  chordsymbols.ly
  

I haven't done anything similar in scheme again so I only remember little of
what I did back then.
I'm posting this request for help here in hope that the things to change are
easy to spot for one of you experienced scheme-gurus.



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RE: Subject: Score/Part creating tool

[Peter Gentry]

I have tried downloading this code as part of learning about scheme. Every way 
I try is thwarted - I even down loaded the Git for
Windows stuff. I did manage to browse a file but cut and paste just produced 
one long line and the download option does not work
which is a shame.


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Re: how to call these notes?

[Hans Aberg]

On 16 Oct 2012, at 19:20, David Rogers wrote:

> I don't have any of the engraving manuals - what is this note called
> in those books? It would probably be better to go along with the
> "industry standard name", even if that name turns out not to be
> perfect.

The Harvard Concise says that originally (c. 1675-1725), acciaccatura was the 
crush, but it did not have a special notation. The others are all called 
appoggiatura. The slashed grace note notation was invented in the 19th century, 
and some came to incorrectly call them acciaccatura. Lilypond propagates this 
misconception with \acciaccatura.

Hans



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RE: how to call these notes?

[Mark Stephen Mrotek]

The Harvard Concise is not in my possession.  I do have a copy of Haydn's
Keyboard Concerto No. 11 in D. The acciaccatura (small eight notes with
diagonal stroke "tied" to the principal note) appears multiple times in the
first and third movements. This concerto was published in 1782.

Mark Stephen Mrotek


On 16 Oct 2012, at 19:20, David Rogers wrote:

> I don't have any of the engraving manuals - what is this note called 
> in those books? It would probably be better to go along with the 
> "industry standard name", even if that name turns out not to be 
> perfect.

The Harvard Concise says that originally (c. 1675-1725), acciaccatura was
the crush, but it did not have a special notation. The others are all called
appoggiatura. The slashed grace note notation was invented in the 19th
century, and some came to incorrectly call them acciaccatura. Lilypond
propagates this misconception with \acciaccatura.

Hans



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Re: how to call these notes?

[Stefan Thomas]

Are You sure that is an "Urtext" and not a kind of later arrangement of
this piece?

2012/10/17 Mark Stephen Mrotek 

> The Harvard Concise is not in my possession.  I do have a copy of Haydn's
> Keyboard Concerto No. 11 in D. The acciaccatura (small eight notes with
> diagonal stroke "tied" to the principal note) appears multiple times in the
> first and third movements. This concerto was published in 1782.
>
> Mark Stephen Mrotek
>
>
> On 16 Oct 2012, at 19:20, David Rogers wrote:
>
> > I don't have any of the engraving manuals - what is this note called
> > in those books? It would probably be better to go along with the
> > "industry standard name", even if that name turns out not to be
> > perfect.
>
> The Harvard Concise says that originally (c. 1675-1725), acciaccatura was
> the crush, but it did not have a special notation. The others are all
> called
> appoggiatura. The slashed grace note notation was invented in the 19th
> century, and some came to incorrectly call them acciaccatura. Lilypond
> propagates this misconception with \acciaccatura.
>
> Hans
>
>
>
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Re: how to call these notes?

[Hans Aberg]

Article "appoggiatura" says: "The 19th century brought still further changes in 
the treatment of the appoggiatura. The long appoggiatura became absorbed in the 
ordinary notation, and the short appoggiatura was invariably indicated by a 
small note with a single stroke across its stem, called a grace note or 
(erroneously) an acciaccatura."

So it suggests that the stroked grace notes became the normal way of notate in 
the 19th century. But you need to check what is notated in the original 
manuscript, because engravers may at will translate into modern notation.


On 17 Oct 2012, at 15:47, Mark Stephen Mrotek wrote:

> The Harvard Concise is not in my possession.  I do have a copy of Haydn's
> Keyboard Concerto No. 11 in D. The acciaccatura (small eight notes with
> diagonal stroke "tied" to the principal note) appears multiple times in the
> first and third movements. This concerto was published in 1782.
> 
> Mark Stephen Mrotek
> 
> 
> On 16 Oct 2012, at 19:20, David Rogers wrote:
> 
>> I don't have any of the engraving manuals - what is this note called 
>> in those books? It would probably be better to go along with the 
>> "industry standard name", even if that name turns out not to be 
>> perfect.
> 
> The Harvard Concise says that originally (c. 1675-1725), acciaccatura was
> the crush, but it did not have a special notation. The others are all called
> appoggiatura. The slashed grace note notation was invented in the 19th
> century, and some came to incorrectly call them acciaccatura. Lilypond
> propagates this misconception with \acciaccatura.
> 
> Hans
> 
> 


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Re: Subject: Score/Part creating tool

[Mark Witmer]

Hi Peter,

There's a link to the left of the repository address with the word "zip"
and a little icon of a cloud on it that will let you download all the files
as a zip archive. Here's the link:
https://github.com/mwitmer/LyUtil/zipball/master.

Hope that helps!

Mark

On Wed, Oct 17, 2012 at 8:35 AM, Peter Gentry
wrote:

> I have tried downloading this code as part of learning about scheme. Every
> way I try is thwarted - I even down loaded the Git for
> Windows stuff. I did manage to browse a file but cut and paste just
> produced one long line and the download option does not work
> which is a shame.
>
>
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Vertical text at the end of score

[Dominique Faure]

Hi,
With the following code (mainly stolen from
http://lilypond.1069038.n5.nabble.com/vertical-text-tt31444.html), I
could get some vertical text at the end of my score:

%%
\version "2.16.0"

markVerticalText =
#(define-music-function (parser location text) (string?)
   #{
 \once \override Score.RehearsalMark #'rotation = #'(90 0 0)
 \once \override Score.RehearsalMark #'extra-offset = #'(1.5 . 7)
 \once \override Score.RehearsalMark #'direction = #DOWN
 \once \override Score.RehearsalMark #'font-size = #-4
 \once \override Score.RehearsalMark #'font-shape = #'italic
 \mark \markup $text
  #})

\score {
  \new StaffGroup <<
\new Staff {
  R1 R1
  \markVerticalText "Some text here"
}
\new Staff { R1 R1 }
\new Staff { R1 R1 }
  >>
}
%%

Nevertheless, this solution isn't fully satisfactory, since I need to
render several lines of text with some placement control on the result
(at least centered on the staff group).

BTW, is there a mean (other than altering the ragged-right parameter)
to ensure that this extra final width extend would be taken in account
while letting lilypond populate the staves on the page?

-- 
Dominique

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Re: how to call these notes?

[David Rogers]

Stefan Thomas  writes:

> Are You sure that is an "Urtext" and not a kind of later arrangement of
> this piece?
>
> 2012/10/17 Mark Stephen Mrotek 
>
>> The Harvard Concise is not in my possession.  I do have a copy of Haydn's
>> Keyboard Concerto No. 11 in D. The acciaccatura (small eight notes with
>> diagonal stroke "tied" to the principal note) appears multiple times in the
>> first and third movements. This concerto was published in 1782.


Even some (most?) of the so-called Urtext editions modernize the
notation. It's necessary to see Haydn's handwriting to know for sure.

-- 
David

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Re: how to call these notes?

[Matthew Collett]

On 18/10/2012, at 2:47 am, Mark Stephen Mrotek wrote:
> 
>> The Harvard Concise says that originally (c. 1675-1725), acciaccatura was
>> the crush, but it did not have a special notation. The others are all called
>> appoggiatura. The slashed grace note notation was invented in the 19th
>> century, and some came to incorrectly call them acciaccatura. 
> 
> The Harvard Concise is not in my possession.  I do have a copy of Haydn's
> Keyboard Concerto No. 11 in D. The acciaccatura (small eight notes with
> diagonal stroke "tied" to the principal note) appears multiple times in the
> first and third movements. This concerto was published in 1782.

Very likely.  The 19th century did _not_ invent the slashed grace note 
notation, only the convention that a slashed grace note represents an 
'acciaccatura' or 'short appoggiatura', while an unslashed one represents a 
'long appoggiatura'.  A slashed quaver  grace note in Haydn means exactly the 
same as an unslashed semiquaver one; the performer must decide from the context 
whether 'long' or 'short' is intended.

Best wishes,
Matthew




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Script objects avoid notes in other voices?

[Daniel Rosen]

I'm trying to create a score and parts for a piece. I want to have bow markings 
in the string parts but not the score, so I'm trying to put them in a voice 
separate from the notes (ex. 1):

\version "2.16.0"

music = \relative c'' {
   
}

bowing = {
  s\upbow s\downbow
}

{
  \new Staff
  <<
\new Voice { \music }
\new Voice { \bowing }
  >>
}

My issue is that, when I compile the part, the bow markings don't automatically 
avoid the notes in the other voice. Is there some way to get it to look more 
like this (ex. 2)?

\version "2.16.0"

{ \relative c'' { \upbow \downbow } }

Perhaps a property of Script that can be overridden?

Thanks!

DR

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Re: Script objects avoid notes in other voices?

[Eluze]

Daniel Rosen wrote
> I'm trying to create a score and parts for a piece. I want to have bow
> markings in the string parts but not the score, so I'm trying to put them
> in a voice separate from the notes (ex. 1):
> 
> My issue is that, when I compile the part, the bow markings don't
> automatically avoid the notes in the other voice. Is there some way to get
> it to look more like this (ex. 2)?
> 
> Perhaps a property of Script that can be overridden?

perhaps putting the bowings into the same voice helps?

{
  \new Staff <<
\context Voice = "A" { \music }
\context Voice = "A" { \bowing }
  >>
}

Eluze



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Re: Script objects avoid notes in other voices?

[Nick Payne]

On 18/10/12 08:32, Daniel Rosen wrote:
>
> I'm trying to create a score and parts for a piece. I want to have bow
> markings in the string parts but not the score, so I'm trying to put
> them in a voice separate from the notes (ex. 1):
>
>  
>
> \version "2.16.0"
>
>  
>
> music = \relative c'' {
>
>
>
> }
>
>  
>
> bowing = {
>
>   s\upbow s\downbow
>
> }
>
>  
>
> {
>
>   \new Staff
>
>   <<
>
> \new Voice { \music }
>
> \new Voice { \bowing }
>
>   >>
>
> }
>
>  
>
> My issue is that, when I compile the part, the bow markings don't
> automatically avoid the notes in the other voice.
>

You could but the bow markings in a dynamics context and place that
above the staff:

\version "2.16.0"

music = \relative c'' {
   
}

bowing = {
  s\upbow s\downbow
}

\score {
  \new StaffGroup
  <<
\context Staff = violin {
<<
  \new Voice { \music }
>>
}
\new Dynamics \with { alignAboveContext = #"violin" }
  { \bowing }
  >>
  \layout { }
}
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Re: Script objects avoid notes in other voices?

[David Kastrup]

Daniel Rosen  writes:

> I'm trying to create a score and parts for a piece. I want to have bow
> markings in the string parts but not the score, so I'm trying to put
> them in a voice separate from the notes (ex. 1):

Don't do that.  Put them in the same voice, or they won't combine well.

> \version "2.16.0"

> <<
>
> \new Voice { \music }
>
> \new Voice { \bowing }
>
> >>

rather use

\new Voice << \music \bowing >>

-- 
David Kastrup


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Re: Glissando between single notes in chord

[pabuhr]

I've been working on the last version of David Nalesnik's guide-finger code.
The reason is a horizontal and vertical placement problem when the guide line
is long and/or at a steep angle. I have managed to fix the vertical problem,
but the horizontal problem has me flummoxed. The example below shows the
horizontal problem by placing a guide finger above/below a normal finger
number.

A stencil is created for the guide-line and finger number, which needs to be
centered above/below its associated note head for fingeringOrientations up and
down. However, something is wrong with the centering calculation. The width of
the stencil seems to be too short so the calculation fails to center it. So
there is something about the width of the stencil I do not understand.

I have heavily comment the code to make it possible to understand.

===

\version "2.17.4"
\language english
#(set-global-staff-size 30)

% left-hand finger guide before note
#(define (guide-finger slope len fingering)
  ;; Purpose
  ;;   add ornamentation line before fingering symbol to indicate figner 
movement along a
  ;;   string without making a sound (i.e., not a glissando)
  ;; Parameters
  ;;   slope : angle of rotation around right centre
  ;;   len : length of line prefacing fingering
  ;;   fingering : fingering designation for note
  (let ((music (make-music 'FingeringEvent)))
   (set! (ly:music-property music 'tweaks)
(acons 'stencil
 (lambda (grob)
  (let* (
;; assign to finger the "digit" property from parameter 
"fingering"
(finger (ly:music-property fingering 'digit))
;; DOES NEXT LINE GENERATE A STENCIL FROM THE STRING FOR A 
FINGER NUMBER???
;; IS THERE A WAY TO GENERATE A FINGER STENCIL THAT IS A FINGER 
NUMBER RATHER THAN A MARKUP?
(finger-stil (grob-interpret-markup grob (number->string 
finger)))
;; assign to finger-stil-X the width of finger-stil
(finger-stil-X (ly:stencil-extent finger-stil X))
;; assign to finger-stil-Y the height slightly below the middle 
of finger number
(finger-stil-Y (* 0.4 (interval-length (ly:stencil-extent 
finger-stil Y

;; assign to guide-line a horizontal line-stencil with thickness
;;   and length "len" up "finger-stil-Y" vertically on 
fingering number
(guide-line (make-line-stencil 0.13 0 finger-stil-Y len 
finger-stil-Y))
;; rotate guide-line "slope" degrees around right centre
(guide-line (ly:stencil-rotate guide-line slope 1 0))
;; center line vertically on fingering number
(guide-line-X (ly:stencil-extent guide-line X))

;; assign to stil the concatenation of stencil line and finger 
number along X-axis on right
;;   add padding 0.2 to move guide slightly left from finger 
number
(stil (ly:stencil-combine-at-edge guide-line X 1 finger-stil 
0.2))
;; assign to stil-ext-X the width of stil
(stil-ext-X (ly:stencil-extent stil X))
  ) ;; end declarations
   ;; fingering oriented on left/right side ?
   (if (= 0 (ly:grob-property grob 'side-axis))
;; return finger guide as is
stil
;; otherwise, create and return new finger guide with X-extents 
positioned with the number
;; centered over the note
(ly:make-stencil
 ;; copy expr from stil
 (ly:stencil-expr stil)
 
;;#
 ;; widen the stencil by doubling its width minus one 
finger-number width,
 ;;   which should have a center point under the remaining 
finger number
 
;;#
 (cons 0 (- (* 2 (interval-length stil-ext-X)) (interval-length 
finger-stil-X)))
 (ly:stencil-extent finger-stil Y)
   ) ;; end make-stencil
  ) ;; end if
 ) ;; end let
) ;; end lambda
 (ly:music-property music 'tweaks)
   ) ;; end acons
  ) ;; end set
   music
 ) ;; end let
)

% guide-neutral
%   4  c4^\gn^2  c4-\gn-3  c4_\gn_4
gn = #(define-music-function (parser location fingering) (ly:music?)
   (guide-finger 0 0.7 fingering)) % line-slope line-length
% guide-down
%   4  c4^\gd^2  c4-\gd-3  c4_\gd_4
gd = #(define-music-function (parser location fingering) (ly:music?)
   (guide-finger 20 0.7 fingering))
% guide-up
%   4  c4^\gu^2  c4-\gu-3  c4_\gu_4
gu = #(define-music-function (parser location fingering) (ly:music?)
   (guide-finger -20 0.7 fingering))

% guide slope length
%   4  c4^\gslen #45 #1 ^2  c4-\gslen #-15 #1 -