date:20130913

tempo range notation error?

2013-09-13 Thread Marc Hohl


Hi list,

despite the fact that the current documentation allows for

\tempo 4 = 67 ~ 80

see
http://lilypond.org/doc/v2.17/Documentation/notation/displaying-rhythms#metronome-marks

I got an error when I use it:

syntax error, unexpected EVENT_IDENTIFIER
  \tempo  4 = 67
 ~ 80

I am using the current development version 2.17.27

Regards,

Marc



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Re: tempo range notation error?

2013-09-13 Thread Thomas Morley

Hi Marc,

2013/9/13 Marc Hohl :
> Hi list,
>
> despite the fact that the current documentation allows for
>
> \tempo 4 = 67 ~ 80
>
> see
> http://lilypond.org/doc/v2.17/Documentation/notation/displaying-rhythms#metronome-marks

Actully not.

It's
\tempo 4 = 67 - 80
now.
Note the dash: "-"


Best,
  Harm

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Re: tempo range notation error?

2013-09-13 Thread David Kastrup

Marc Hohl  writes:

> Hi list,
>
> despite the fact that the current documentation allows for
>
> \tempo 4 = 67 ~ 80
>
> see
> http://lilypond.org/doc/v2.17/Documentation/notation/displaying-rhythms#metronome-marks

Uh, no it doesn't allow for this?  Copy and paste from the link you give
delivers

\tempo 4 = 40 - 46

which is different.

> I am using the current development version 2.17.27

convert-ly would have covered for this (it's in 2.17.25), and it is
mentioned in http://lilypond.org/doc/v2.17/Documentation/changes/>

as

Tempo change ranges are now written as \tempo 4 = 60 - 68 rather than
\tempo 4 = 60 ~ 68.

That syntax change is part of
http://code.google.com/p/lilypond/issues/detail?id=3487> and
mentioned prominently.

If you find any part of the documentation which refers to the old
syntax, feel free to point it out.  But so far, I consider the change
covered properly.

-- 
David Kastrup

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Re: frescobaldi on mac

2013-09-13 Thread Jacques Menu

Hello Davide,

After looking around, found two glitches in the french version of 
frescobaldi-devel 2.0.11:

- the About menu is in english;
- same for the first item in the "Outils" menu to setup a new score.

I've switched by default to the Menlo font, designed by Apple to replace Monaco 
as a fixed size font. It's been optimized for various displays, among them the 
Retina ones.

Great app, thanks a lot!

JM

--

Jacques Menu
Ch. de la Pierre 12
1023 Crissier

mailto:jacques.m...@tvtmail.ch




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Re: film score example

2013-09-13 Thread Kieren MacMillan

Hi Curt,

Thank you so much for doing this!
As someone who dabbled in film scoring pre-Lilypond (and, in fact, before 
Sibelius was on anything but RISC OS), and wants to get back into it in 
Lilypond, this is all very interesting information.

> The score was originally prepared (in Sibelius) a few years ago, under the 
> tutelage of a professional hollywood film composer, Hummie Mann

If you're ever communicating with him again, tell him I love his work 
(especially "Year of the Comet").

> Appended below is part of one of the README's - the "unexpected difficulties" 
> I had with lilypond, as in the areas that didn't seem to work easily right 
> away.  (Note that I started this re-notation project as a complete lilypond 
> beginner.)  A big one here is "giant time signatures", which are common in 
> film scores but don't seem to have a graceful solution in lilypond.  Please 
> note that these are just the (minor) complaints, and that overall I was 
> *extremely* happy with the experience and output.  I did this all in eclipse 
> (elysium) on a 15"  MacBook Pro and loved the "coding" experience.

As part of my "template/stylesheet" project, perhaps I'll put together 
templates and functions for some (or all) of these difficulties…

Cheers,
Kieren.
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Re: film score example

2013-09-13 Thread Urs Liska


Hi Curt,

this seems very nice work. If you feel like sharing one or the other 
experience as a blog post or pdf tutorial on lilypondblog.org don't 
hesitate contacting me privately.


As I'm working in quite different fields I don't have to say much to 
many of your perceptions. Just a few comments below:


Am 13.09.2013 05:54, schrieb Curt:

...

~^~^~^~^

Unexpectedly hard parts of creating this score (all specific to v2.16):

- General spacing and staff sizes.  I believe Lilypond by default puts 
everything
too close together for music that is read by instrumentalists, 
particularly
sight-readers.  The spacing commands are easy to use, but difficult to 
find
and look up if you don't already know them.


I think this is highly subjective or task-related. For my purposes the 
spacing is usually too loose, and I usually start making things smaller 
and tighter. And I _am_ an instrumentalist and sight-reader ;-)


This said, I suggest getting used to the concept of 'house styles' in 
order to get a layout tailored to your needs with (usually) one \include 
command.


The problem with the documentation is well known. Unfortunately it isn't 
possible to make everything as digestable as the Learning Manual. But I 
think a considerable share of development power already goes into 
improving documentation.



- Hairpins are surprisingly difficult.  Most instruments do not have a natural
decay, so hairpins don't necessarily start or end right at the note
boundaries.  It's necessary to use "fake voices" in these cases.  Even
with this, it didn't support having a decrescendo end at the Fine bar -
I had to make it end at a note value before the Fine bar.  And
if you have ties over these fake voices, you have to know about
\set tieWaitForNote = ##t


+1

- Header text elements are a bit bearish to configure.  Our instructions were to
put the instrument name in the "upper left" of each part; I ended up 
using
the out of the box "poet" slot, and then later reconfigured all of
bookTitleMarkup to reposition "instrument" when it became clear I'd need
the "instrument" slot for later pages.  It also could be easier to put a
simple newline in, for longer instrument names.

+1

- In film scoring, it's common to include the information of the SMPTE timecode
of when a last note in a cue gets cut off, for the instruments that are
playing at that time.  It was not possible to make a \markup element
right-align with the final barline.  This eventually required a few
overrides to Score.RehearsalMark - not too bad, but it felt a bit
hackish.


This is somewhat similar to a feature request I just read in the 'Making 
Notes' blog: The ability to display MIDI CC curves in a score.

Might also be a good thing for LilyPond (if it isn't doable already).

Best
Urs

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Anki and LilyPond

2013-09-13 Thread Urs Liska


Hi list,

I'm curious if anybody has some experience using Anki in conjunction 
with LilyPond.

I've just discovered Anki and ponder over how useful it could be for me.

As I've seen this LilyPond add-on: 
https://github.com/frostschutz/Anki-LilyPond

I thought this could be terrific for creating musical teaching material.
And I thought whether this could be made useful for tutorial material 
about LilyPond itself (maybe a shared deck of Anki cards accompanying 
the Learning Manual).


Any ideas?
Urs
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[OT] Looking for someone checking XeLaTeX and LuaLaTeX font loading on Windows?

2013-09-13 Thread Urs Liska


Hi,

for finalizing the setup instructions for www.openlilylib.org/lilyglyphs 
I need to get some more information on the installation and usage of 
OpenType fonts with XeLaTeX and LuaLaTeX on Windows.


If there is someone here with a TeX installation on Windows and a few 
minutes (well, may be a few quarter-hours, depending on the first 
results) please contact me privately.


Best
Urs

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Re: film score example

2013-09-13 Thread David Kastrup

Urs Liska  writes:

>> Unexpectedly hard parts of creating this score (all specific to v2.16):
>>
>> - General spacing and staff sizes.  I believe Lilypond by default
>> puts everything
>>  too close together for music that is read by instrumentalists,
>> particularly
>>  sight-readers.  The spacing commands are easy to use, but
>> difficult to find
>>  and look up if you don't already know them.
>
> I think this is highly subjective or task-related. For my purposes the
> spacing is usually too loose, and I usually start making things
> smaller and tighter. And I _am_ an instrumentalist and sight-reader
> ;-)
>
> This said, I suggest getting used to the concept of 'house styles' in
> order to get a layout tailored to your needs with (usually) one
> \include command.
>
> The problem with the documentation is well known. Unfortunately it
> isn't possible to make everything as digestable as the Learning
> Manual. But I think a considerable share of development power already
> goes into improving documentation.

Sometimes the effort is better spent simplifying the underlying concepts
and documenting the results.  One hits diminuishing returns pretty fast
when trying to simplify the explanation of complex matters.

I think when I tried starting to augment LilyPond's documentation about
its programming models, I got into a bad mood rather fast.  It was like
writing a driver's manual of the kind:

"To make a right turn, you stick together the blue wire under the
passenger seat and the black wire sticking out from the speedometer.
The black wire is not obligatory, you can touch any blank part of
the car's chassis instead once you scrape it open.  This will set
the turn signal.  The turn itself is done as customary using the
handlebar.  Power steering is available by pulling on the wire
coming off the speedometer though it inverts the direction of the
handlebar.  We suggest holding the wire in your teeth in order not
to have to fumble for it."

Of course, you had to talk to the engineers and dig through the
blueprints to figure out all that.

-- 
David Kastrup

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Re: Windows registry, Python, and LilyPond

2013-09-13 Thread Frederick Bartlett

Thanks for the information, everyone 

I think what I'm looking for is a Windows installation whereby LilyPond's
python scripts are run by its own python.exe, while all other python
scripts are run by the system's python.

This is likely not possible under Windows. *sigh*

However, since the python script I use most (midi2ly) doesn't work on
Windows anyway (fortunately, my main system is a Linux box, where
everything -- more or less -- just works), I think I'll just kill
LilyPond's registry key and see what happens ...

Regards,
Fred

-- 
“To my knowledge I have no knowledge.” -- John Kerry, the Secretary of
State of the United States of America, in response to Senator Barbara
Boxer, 3 Sep 2013
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Name of default notehead for #'style tweak?

2013-09-13 Thread EdBeesley

Easy one this time! I'm using crosshead notes but I want to tweak one back to
the default blob, this is what I'm using:

 <\tweak #'style #'default> c a'>

Obviously default is the wrong name because I get no notehead, so what is
it?




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Re: Windows registry, Python, and LilyPond

2013-09-13 Thread Jan Nieuwenhuizen

Frederick Bartlett writes:

> I think what I'm looking for is a Windows installation whereby LilyPond's
> python scripts are run by its own python.exe, while all other python scripts
> are run by the system's python.
>
> This is likely not possible under Windows. *sigh*

What if all our python scripts were named .pylily (or .pyly whatever)
and bind .pylily to LilyPond's python.  Wouldn't that work?

However, I think we should strive to have python-version-independent
python scripts, that should be doable too.  See the TODO in GUB
and the actual code for a list of tricks needed to support python2+3.

https://github.com/janneke/gub/blob/master/TODO

Greetings, Jan

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

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Re: Name of default notehead for #'style tweak?

2013-09-13 Thread Noeck

It looks like default works

http://www.lilypond.org/doc/v2.17/Documentation/notation/note-head-styles

You have a > too much:

  <\tweak #'style #'default c a'>

If you want to revert for all notes, you can also use
\revert NoteHead #'style

Cheers,
Joram


Am 13.09.2013 16:22, schrieb EdBeesley:
> Easy one this time! I'm using crosshead notes but I want to tweak one back to
> the default blob, this is what I'm using:
> 
>   <\tweak #'style #'default> c a'>
> 
> Obviously default is the wrong name because I get no notehead, so what is
> it?
> 
> 
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/Name-of-default-notehead-for-style-tweak-tp150746.html
> Sent from the User mailing list archive at Nabble.com.
> 
> ___
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Re: frescobaldi on mac

2013-09-13 Thread Davide Liessi

Dear Jacques,

2013/9/13 Jacques Menu :
> - the About menu is in english;

Are you referring to the "About Frescobaldi" menu entry in the menu
named "Frescobaldi" or to the "About Frescobaldi" window that pops up
when you click on that menu entry?
All menu entries in the "Frescobaldi" menu are always in English, I
have yet to understand how to make them switch language; on the other
hand, the "About..." window should be in French, and if this is not
the case, it is a new bug.

> - same for the first item in the "Outils" menu to setup a new score.

This is expected, because (some of) the translation files need to be updated.

Best wishes.
Davide

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Re: Name of default notehead for #'style tweak?

2013-09-13 Thread EdBeesley

Sorry should have mentioned, I'm using version 2.16.2 (although documentation
for that gives the same name)

See example below...

 



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Re: Name of default notehead for #'style tweak?

2013-09-13 Thread EdBeesley

Ack well spotted, I could have stared at that all day without seeing the
superfluous bracket!
Thanks



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Re: film score example

2013-09-13 Thread Trevor Daniels


David Kastrup wrote Friday, September 13, 2013 3:03 PM

> Sometimes the effort is better spent simplifying the underlying concepts
> and documenting the results.  One hits diminuishing returns pretty fast
> when trying to simplify the explanation of complex matters.
> 
> I think when I tried starting to augment LilyPond's documentation about
> its programming models, I got into a bad mood rather fast.  It was like
> writing a driver's manual of the kind:
> 
>"To make a right turn, you stick together the blue wire under the
>passenger seat and the black wire sticking out from the speedometer.
>The black wire is not obligatory, you can touch any blank part of
>the car's chassis instead once you scrape it open.  This will set
>the turn signal.  The turn itself is done as customary using the
>handlebar.  Power steering is available by pulling on the wire
>coming off the speedometer though it inverts the direction of the
>handlebar.  We suggest holding the wire in your teeth in order not
>to have to fumble for it."
> 
> Of course, you had to talk to the engineers and dig through the
> blueprints to figure out all that.

LOL!  That brings back memories of my early attempts at discovering
how things worked before attempting to write documentation!

Trevor
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350 "\relative"s on all parts - is it possible to simply the code?

2013-09-13 Thread MING TSANG

Hi, lilyponders:

Sorry for the long .ly file.
I am using variables for each measure (bar).  I have trouble use one 
"\relative" for each soprano, alto, tenor, right & left. Now I have 70 
"\relative"s.

1.  Is there a better way to code this, so that I don't need to have 70 
"\relative"s? ( 70 x 5 = 350 for all parts)
2.  How to code dynamic in such a way that it will not affect the variable use 
elsewhere.  bar 13 (right hand piano) is coded with \mf, but when I re used bar 
13 on bar 27 the \mf is there : bar 27 should not have a \mf dynamic? 

Thank for any recommendation.
Ming\version "2.17.25"
\language "english"

 


\header {
  title = "å° é æª äº¤ è¨ ä¸ å¸"
  subtitle = "Cast Thy Burden Upon the Lord" 
% Remove default LilyPond tagline
  tagline = ##f
}

\paper {
  #(set-paper-size "letter")
}
 %#(set-global-staff-size 12)
\layout {
  \context {
\Score
%\remove "Bar_number_engraver"
  }
}



global = {
  \key d \major
  \numericTimeSignature
  \time 4/4
  \tempo "Moderately slow" 4=72
}

ssâ¶	= r1
ssâ·	= r1
ssâ¸	= r1
ssâ¹	= r1
ssâº	= r1
ssâ»	= r1
ssâ¼	= \relative c''{ a4. a,8 d4 fs8 a |}
ssâ½	= \relative c''{ a8 g16 fs g2. |}
ssâ¾	= \relative c''{ g4. a,8 cs4 e8 g |}
ssâ¶â¿	= \relative c''{ g8 fs16 e fs4 r8 fs a a, |}
ssâ¶â¶	= \relative c'{ a8 b b4~ b8 b b b |}
ssâ¶â·	= \relative c'{ b8 e cs4~ cs8 cs cs cs |}
ssâ¶â¸	= \relative c'{ cs8 fs d2 fs8 a |}
ssâ¶â¹	= \relative c''{ a8 b d,2.~ |}
ssâ¶âº	= \relative c'{ d1 |}
ssâ¶â»	= \relative c''{ r4 a8 d, d e16 fs e8\fermata d |}
ssâ¶â¼	= \relative c'{ d1 |}
ssâ¶â½	= r1
ssâ¶â¾	= r1
ssâ·â¿	= r1
ssâ·â¶	= \relative c''{ a4. a,8 d4 fs8 a |}
ssâ·â·	= \relative c''{ a8 g16 fs g2. |}
ssâ·â¸	= \relative c''{ g4. a,8 cs4 e8 g |}
ssâ·â¹	= \relative c''{ g8 fs16 e fs4~ fs8 fs a8 a, |}
ssâ·âº	= \ssâ¶â¶
ssâ·â»	= \ssâ¶â·
ssâ·â¼	= \ssâ¶â¸
ssâ·â½	= \ssâ¶â¹
ssâ·â¾	= \ssâ¶âº
ssâ¸â¿	= \ssâ¶â»
ssâ¸â¶	= \relative c'{ d2. d4 \bar"||" }
ssâ¸â·	= \relative c'{ \key bf\major d4. d8 d d ef4 |}
ssâ¸â¸	= \relative c'{ c2. r8 d |}
ssâ¸â¹	= \relative c'{ c8 d ef f g4 a4 |}
ssâ¸âº	= \relative c'{ f2. f4 |}
ssâ¸â»	= \relative c'{ f8 f f f bf f4. |}
ssâ¸â¼	= \relative c'{ r2 r4 r8 f16 f |}
ssâ¸â½	= \relative c''{ \tuplet 3/2{ef4 d c} bf g |}
ssâ¸â¾	= \relative c''{ c2. f,4 |}
ssâ¹â¿	= \relative c'{ f4 f8 f f g a bf |}
ssâ¹â¶	= \relative c'{ f2. r4 |}
ssâ¹â·	= r1
ssâ¹â¸	= \relative c'{ r2 r4 ef8 ef |}
ssâ¹â¹	= \relative c'{ d8 d d d d e fs g |}
ssâ¹âº	= \relative c'{ d4. d8 d4 d8 d |}
ssâ¹â»	= \relative c'{ d2 g2 |}
ssâ¹â¼	= \relative c''{ g8 a a2. |}
ssâ¹â½	= { r1 \bar"||" }
ssâ¹â¾	= \relative c''{ \key g\major d4. d,8 g4 b8 d |}
ssâºâ¿	= \relative c''{ d8 c16 b c2. |}
ssâºâ¶	= \relative c''{ c4. d,8 fs4 a8 c |}
ssâºâ·	= \relative c''{ c8 b16 a b4 r8 b d d, |}
ssâºâ¸	= \relative c'{ d8 e e4~ e8 e e e |}
ssâºâ¹	= \relative c'{ e8 a fs4~ fs8 fs fs fs |}
ssâºâº	= \relative c'{ fs8 b g2 b8 d |}
ssâºâ»	= \relative c''{ d8 e g,2.~ |}
ssâºâ¼	= \relative c''{ g1 |}
ssâºâ½	= \relative c''{ r4 d8 g, g a16 b a8\fermata g |}
ssâºâ¾	= \relative c''{ g1 |}
ssâ»â¿	= { r1 }
ssâ»â¶	= { r1 }
ssâ»â·	= { r1 }
ssâ»â¸	= \relative c''{ r4\fermata d8 g, g a16 b a8 g |}
ssâ»â¹	= \relative c''{ \time 2/4 g2~ |}
ssâ»âº	= \relative c''{ \time 4/4 g1 |}
ssâ»â»	= r1
ssâ»â¼	= r1
ssâ»â½	= \relative c'{ r2 d4 d |}
ssâ»â¾	= \relative c'{ d4 d8~ d d4~ d |}
ssâ¼â¿	= \relative c'{ d1\fermata |} 

soprano =  {  \global
  \ssâ¶		\ssâ·		\ssâ¸ \break
  \ssâ¹		\ssâº		\ssâ» \break
  \ssâ¼		\ssâ½		\ssâ¾ \break
  \ssâ¶â¿	\ssâ¶â¶		\ssâ¶â· \break  
  \ssâ¶â¸	\ssâ¶â¹		\ssâ¶âº		\ssâ¶â» \break
  \ssâ¶â¼	\ssâ¶â½		\ssâ¶â¾		\ssâ·â¿ \break
  \ssâ·â¶	\ssâ·â·		\ssâ·â¸ \break
  \ssâ·â¹	\ssâ·âº		\ssâ·â» \break
  \ssâ·â¼	\ssâ·â½		\ssâ·â¾ \break
  \ssâ¸â¿	\ssâ¸â¶		\ssâ¸â· \break
  \ssâ¸â¸	\ssâ¸â¹ \break
  \ssâ¸âº	\ssâ¸â» \break
  \ssâ¸â¼	\ssâ¸â½		\ssâ¸â¾ \break
  \ssâ¹â¿	\ssâ¹â¶		\ssâ¹â· \break
  \ssâ¹â¸	\ssâ¹â¹		\ssâ¹âº \break
  \ssâ¹â»	\ssâ¹â¼		\ssâ¹â½		\ssâ¹â¾ \break
  \ssâºâ¿	\ssâºâ¶		\ssâºâ· \break
  \ssâºâ¸	\ssâºâ¹		\ssâºâº \break
  \ssâºâ»	\ssâºâ¼		\ssâºâ½ \break
  \ssâºâ¾	\ssâ»â¿		\ssâ»â¶		\ssâ»â· \break
  \ssâ»â¸	\ssâ»â¹		\ssâ»âº \break
  \ssâ»â»	\ssâ»â¼		\ssâ»â½		\ssâ»â¾		\ssâ¼â¿
  \label #'lastPage
}


aaâ¶toâ¸â»	= {\ssâ¶	\ssâ·	\ssâ¸  \ssâ¹ \ssâº \ssâ» \ssâ¼	\ssâ½ \ssâ¾  \ssâ¶â¿ \ssâ¶â¶
   \ssâ¶â· \ssâ¶â¸ \ssâ¶â¹ \ssâ¶âº \ssâ¶â»  \ssâ¶â¼ \ssâ¶â½	 \ssâ¶â¾	 \ssâ·â¿ 
   \ssâ·â¶ \ssâ·â· \ssâ·â¸ \ssâ·â¹ \ssâ·âº \ssâ·â» \ssâ·â¼ \ssâ·â½ \ssâ·â¾ 
   \ssâ¸â¿ \ssâ¸â¶ \ssâ¸â· \ssâ¸â¸ \ssâ¸â¹ \ssâ¸âº \ssâ¸â» } 
   
aaâ¸â¼		= \ssâ¸â¼
aaâ¸â½		= \relative c''{ \tuplet 3/2{g4 g g} d d |}
aaâ¸â¾		= \relative c'{ ef2. f4 |}
aaâ¹â¿		= \ssâ¹â¿

Re: 350 "\relative"s on all parts - is it possible to simply the code?

2013-09-13 Thread David Nalesnik

Hi Ming,

On Fri, Sep 13, 2013 at 11:42 AM, MING TSANG  wrote:

> Hi, lilyponders:
>
> Sorry for the long .ly file.
> I am using variables for each measure (bar).  I have trouble use one
> "\relative" for each soprano, alto, tenor, right & left. Now I have 70
> "\relative"s.
>
> 1.  Is there a better way to code this, so that I don't need to have 70
> "\relative"s? ( 70 x 5 = 350 for all parts)
>

To answer your first question, you ought to use a single variable to
represent the entire soprano part, a single variable for the whole alto
part, etc.  You can store music expressions of any length in a variable,
not just one measure chunks.  A \relative for each of four variables won't
be cumbersome at all!

Hope this helps,
David
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Re: Skip to Specific Bar

2013-09-13 Thread Kieren MacMillan

Hi Ed,

> what else do you think could be stopping it from hiding?

I think RhythmicStaff, by default, does not have \RemoveEmptyStaves — maybe try

\new RhythmicStaff \with { \RemoveEmptyStaves }

and see if that works for you.

Hope this helps!
Kieren.
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Re: 350 "\relative"s on all parts - is it possible to simply the code?

2013-09-13 Thread Urs Liska

You might also consider writing everything in one relative variable, then 
convert everything to absolute (with Frescobaldi for example), then create a 
little script to split the variables into chunks and finally reconvert them to 
relative mode.

HTH
Urs



Kieren MacMillan  schrieb:
>Hi Ming,
>
>Perhaps if you used
>
>  \relative a' { a4 c b e | }
>
>instead of
>
>  \relative c'' { a4 c b e | }
>
>you'd be able to reuse the material?
>
>Also, there are \extractMusic functions which you might be able to use,
>to pull just specific chunks (e.g., one measure) out of a larger
>variable.
>
>Hope this helps!
>Kieren.
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Re: 350 "\relative"s on all parts - is it possible to simply the code?

2013-09-13 Thread MING TSANG

Hi, David:
Thank you.
I have been using one "\relative" per part for all my lilypond files. My 
problem of this one "\repative" is that I cannot reuse the measure other than 
copy & paste and remove or add ","; "'". 

e.g. 1
\version "2.17.26"
\relative c''{ a4 c b e | g, a b b | c c c a | g, a b b
}
When I reuse bar2 for bar4, I have to remove the "," on g after copy & paste.

e.g 2
\version "2.17.26"
ssOne = \relative c''{ a4 c b e |}
ssTwo = \relative c''{ f, a b b |}
ssThree = \relative c''{ c c c a |}
ssFour = \ssTwo

\score {
\new Staff \with { 
} 
\new Voice = "soprano" { \ssOne \ssTwo \ssThree \ssFour }
}
On this example, there is no need to copy & paste and remove ",". I wish there 
is a better way of coding it.

Thanks,
Ming 

 From: David Nalesnik 
To: MING TSANG  
Cc: "lilypond-user@gnu.org"  
Sent: Friday, September 13, 2013 1:05:11 PM
Subject: Re: 350 "\relative"s on all parts - is it possible to simply the code?

Hi Ming,

On Fri, Sep 13, 2013 at 11:42 AM, MING TSANG  wrote:

Hi, lilyponders:
>
>
>Sorry for the long .ly file.
>I am using variables for each measure (bar).  I have trouble use one 
>"\relative" for each soprano, alto, tenor, right & left. Now I have 70 
>"\relative"s.
>
>
>1.  Is there a better way to code this, so that I don't need to have 70 
>"\relative"s? ( 70 x 5 = 350 for all parts)

To answer your first question, you ought to use a single variable to represent 
the entire soprano part, a single variable for the whole alto part, etc.  You 
can store music expressions of any length in a variable, not just one measure 
chunks.  A \relative for each of four variables won't be cumbersome at all!

Hope this helps,
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Re: Skip to Specific Bar

2013-09-13 Thread Toine Schreurs

> The only problem is I'm now left with a part (the one that contained all the
> \time information) that refuses to auto hide when it just contains whole bar
> rests. All the other parts are hiding fine, just not this one. I've removed
> all the \time tags so what else do you think could be stopping it from
> hiding? I've attached the contents of just that part plus the \staff parts
> that reference it. If someone could be lovely and have a quick scan through
> them to see what I'm missing, I'd be very grateful :) extract.txt
>   
> 
Perhaps?:

  \context { 
\RhythmicStaff
\RemoveEmptyStaves
  }  

Toine Schreurs

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Re: Skip to Specific Bar

2013-09-13 Thread Thomas Morley

2013/9/13 Kieren MacMillan :
> Hi Ed,
>
>> what else do you think could be stopping it from hiding?
>
> I think RhythmicStaff, by default, does not have \RemoveEmptyStaves — maybe 
> try
>
> \new RhythmicStaff \with { \RemoveEmptyStaves }
>
> and see if that works for you.
>
> Hope this helps!
> Kieren.
> ___
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> lilypond-user@gnu.org
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There's the predefined command:

\RemoveEmptyRhythmicStaffContext

Cheers,
  Harm

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Re: Skip to Specific Bar

2013-09-13 Thread EdBeesley

Ahh it's so simple when you know the answer! Thanks guys :) 



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Re: 350 "\relative"s on all parts - is it possible to simply the code?

2013-09-13 Thread Kieren MacMillan

Hi Ming,

Perhaps if you used

  \relative a' { a4 c b e | }

instead of

  \relative c'' { a4 c b e | }

you'd be able to reuse the material?

Also, there are \extractMusic functions which you might be able to use, to pull 
just specific chunks (e.g., one measure) out of a larger variable.

Hope this helps!
Kieren.
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Re: Skip to Specific Bar

2013-09-13 Thread EdBeesley

Figured I'd post this to this thread because it's a follow on from what we've
discussed. 

I've extracted the time changes from the parts and put them in their own
'global' variable. Amazingly enough I managed to get it work as you've
suggested after only a couple of tries, so well done me ;) 

The only problem is I'm now left with a part (the one that contained all the
\time information) that refuses to auto hide when it just contains whole bar
rests. All the other parts are hiding fine, just not this one. I've removed
all the \time tags so what else do you think could be stopping it from
hiding? I've attached the contents of just that part plus the \staff parts
that reference it. If someone could be lovely and have a quick scan through
them to see what I'm missing, I'd be very grateful :) extract.txt
  



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Re: tempo range notation error?

2013-09-13 Thread Marc Hohl


Am 13.09.2013 11:47, schrieb Thomas Morley:

Hi Marc,

2013/9/13 Marc Hohl :

Hi list,

despite the fact that the current documentation allows for

\tempo 4 = 67 ~ 80

see
http://lilypond.org/doc/v2.17/Documentation/notation/displaying-rhythms#metronome-marks


Actully not.

It's
\tempo 4 = 67 - 80
now.
Note the dash: "-"


Hi Harm, hi David,

I looked at the documentation again – probably something like
WYSIWYWS (what you see is what you want to see) or I have to
have my eyes checked ... sorry for the noise.

Marc



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Re: 350 "\relative"s on all parts - is it possible to simply the code?

2013-09-13 Thread MING TSANG

Urs, Jieren & David:

Thank you for the suggestion. I will code parts with "\relative" and then use 
frecobaldi to convert it to absolute.  This will save time to code 350 
"\relative"s.  The code is much cleaner.

Thanks,
Ming.



 From: Urs Liska 
To: Kieren MacMillan ; MING TSANG 
 
Cc: "lilypond-user@gnu.org" ; David Nalesnik 
 
Sent: Friday, September 13, 2013 2:39:21 PM
Subject: Re: 350 "\relative"s on all parts - is it possible to simply the code?
 


You might also consider writing everything in one relative variable, then 
convert everything to absolute (with Frescobaldi for example), then create a 
little script to split the variables into chunks and finally reconvert them to 
relative mode.

HTH
Urs




Kieren MacMillan  schrieb:
Hi Ming,
>
>Perhaps if you used
>
>\relative a' { a4 c b e | }
>
>instead of
>
>\relative c'' { a4 c b e | }
>
>you'd be able to reuse the material?
>
>Also, there are \extractMusic functions which you might be able to use, to 
>pull just specific chunks (e.g., one measure) out of a larger variable.
>
>Hope this helps!
>Kieren.
>>
>
>lilypond-user mailing list
>lilypond-user@gnu.org
>https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: Windows registry, Python, and LilyPond

2013-09-13 Thread Eluze

Frederick Bartlett wrote
> However, since the python script I use most (midi2ly) doesn't work on
> Windows anyway 

please, refine what you mean with this or give an example!
Eluze



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350 "\relative"s on all parts - is it possible to simply the code?

Re: 350 "\relative"s on all parts - is it possible to simply the code?

Re: Skip to Specific Bar

Re: 350 "\relative"s on all parts - is it possible to simply the code?

Re: 350 "\relative"s on all parts - is it possible to simply the code?

Re: Skip to Specific Bar

Re: Skip to Specific Bar

Re: Skip to Specific Bar

Re: 350 "\relative"s on all parts - is it possible to simply the code?

Re: Skip to Specific Bar

Re: tempo range notation error?

Re: 350 "\relative"s on all parts - is it possible to simply the code?

Re: Windows registry, Python, and LilyPond

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