ANN python-ly 0.2 released

[Wilbert Berendsen]

Hi all,

python-ly 0.2 has been released.

The python-ly is in development and provides the 'ly' module for python
programs and the 'ly' commandline tool that can parse and manipulate
LilyPond source files.

Url: https://pypi.python.org/pypi/python-ly/

Main changes in 0.2:
- new commands abs2rel and rel2abs that convert \relative music to
  absolute and vice versa
- support for python 3. Not all of the ly python module has already been
  tested, but installing and running the various ly commands works well.

relevant commit log:
25135fe handle encoding of sys.argv gracefully
2db226c hurray: the basic parts of ly work with python 3 !
c50c68c make writing files work with python 2 and 3
6afdbbf make loading a file work with both python2 and 3
7a53c64 use from import in ly
6642e07 sys.maxint -> sys.maxsize (introduced in Python 2.6)
b4fbed0 bump ly to 0.2
4fdcdb0 add rel2abs and abs2rel commands to ly
23ac442 include ly version in musicxml
2816b7a move etreeutil to ly

The 'python-ly' package is developed within the Frescobaldi git 
repository at github.com/wbsoft/frescobaldi, in the frescobaldi_app/ly 
directory.


-- 
Wilbert Berendsen
(http://www.wilbertberendsen.nl)


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Re: Open string tunings for guitar

[Fulvio Turra]

Hi Alex, thanks for your kind response.
It works, but there's too much space between the string names and the tab.
I attach a .ly file for you to see the result.
Is there a way to move the string names a bit to the right?
Thanks again.

Fulvio



2014/1/8 Alex Loomis 

> The Frescobaldi website says to post feature requests here.
> https://github.com/wbsoft/frescobaldi/issues
>
>
> On Sun, Jan 5, 2014 at 2:12 PM, Fulvio Turra wrote:
>
>> Federico hit the point. I forgot to mention in my first message that
>> Frescobaldi is the editor I use and a custom tuning generator would be a
>> very nice addition!
>> Regards.
>>
>> Fulvio
>>
>>
>>
>> 2014/1/5 Federico Bruni 
>>
>>> 2014/1/5 David Kastrup 
>>>
 I think that extending the tunings for "unorthodox" tunings is pretty
 pointless since that makes finding the needed information harder, and
 since it results in basically random selection of predefined tunings.

 The point here is more that it is _trivial_ to do your own tuning, by
 writing something like

 \new TabStaff \with { stringTunings = \stringTuning  }
 { ... }

 It is much faster to write this down rather than searching through
 preexisting tuning tables to find a particular unorthodox tuning.

>>>
>>> I agree.
>>> But a custom tuning generator in Frescobaldi wizard would be nice:
>>> https://github.com/wbsoft/frescobaldi/issues/342
>>>
>>>
>>
>> ___
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>>
>>
>
\version "2.18.0"

mienote = { bes,, a, d g a e' r2 }
<<
  \new Staff {
\clef "G_8"
\key bes \major
 
  a'8\harmonic^\markup harm.. a'8\harmonic a''8\harmonic e''8\harmonic c'''2\harmonic
  }
  
  \new TabStaff {
\clef moderntab
 \set TabStaff.instrumentName = \markup { \override #'(baseline-skip . 1.5) \column \fontsize #-4.5 \sans { E A D G A Bb }}
\set Staff.stringTunings = \stringTuning 
   
   \harmonicByFret #5 a'8\5
   \harmonicByFret #7 a'8\4
   \harmonicByFret #5 a''8\3
   \harmonicByFret #7 e''8\2
   \harmonicByFret #7 c'''2\1
   
  }
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Re: Open string tunings for guitar

[Eluze]

Fulvio Turra wrote
> It works, but there's too much space between the string names and the tab.
> ...
> Is there a way to move the string names a bit to the right?

you can add 

\hspace #7

before the column

Eluze



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indent vs reformat

[Martin Tarenskeen]

Hi,

It's not quite clear to me what the difference is between "indent" and 
"reformat" using python-ly ?


--

MT


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Re: Version control tools

[karl]

Joram:
> Simon Bailey:
> > so, my follow up question: why use git as a single user? 
> 
> I always use git, event git-svn for svn repos.
> Comparing to CVS and SVN, I see these advantages:
> 
> - easy branching
> - I am a heavy user of git rebase
> - being able to commit, branch, diff etc. without internet connection
>   that way I can work on a train, for example
> - this makes the commit often & early paradigm easy

With svn/cvs you need more-or-less a permanent connection to
"the server". With git I can work off-line and update (both ways)
when connected.

Regards,
/Karl Hammar

---
Aspö Data
Lilla Aspö 148
S-742 94 Östhammar
Sweden
+46 173 140 57



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Re: Is it possible to invert the two-sided option?

[David Kastrup]

Alex Loomis  writes:

> In books, recto (odd) pages have larger left margin and versos have larger
> right margins.

No.  You are confusing the binding allotment (which depends on the
position of the sheets in the binding and thus is page-dependent) with
the inner margin, which is the actually visible free area.  Since the
inner margins from two opposing pages combine, they are usually chosen
to be less than each outer margin.

The binding allotment is in addition to the page size and is to be added
when the PDF pages are positioned on the printed sheets.

-- 
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Re: Open string tunings for guitar

[Fulvio Turra]

Hi Eluze, thanks for your suggestion.
I inserted \hspace #-7 before \column: in the attachment you can see the
result.
I also tried to tweak a bit the other numbers with no success.
Fulvio


2014/1/8 Eluze 

> Fulvio Turra wrote
> > It works, but there's too much space between the string names and the
> tab.
> > ...
> > Is there a way to move the string names a bit to the right?
>
> you can add
>
> \hspace #7
>
> before the column
>
> Eluze
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/Open-string-tunings-for-guitar-tp157175p157410.html
> Sent from the User mailing list archive at Nabble.com.
>
> ___
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> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: Open string tunings for guitar

[Eluze]

Fulvio Turra wrote
> Hi Eluze, thanks for your suggestion.
> I inserted \hspace #-7 before \column: in the attachment you can see the
> result.

*before the column* means before the specs for the column:

\set TabStaff.instrumentName = \markup { 
  \hspace #7 
  \override #'(baseline-skip . 1.5) \column \fontsize #-4.5 \sans { E A D G
A Bb }
}

does this work now?

Eluze



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Re: Open string tunings for guitar

[Fulvio Turra]

Sorry Eluze, I'm just a beginner with Lilypond.
Yes, it works now! I just replaced the hspace#7 with a #3 and it's perfect!
Do you think the difference between the two numbers may be because I use
Frescobaldi to edit the files?
Thanks a lot, once again :)
Fulvio


2014/1/8 Eluze 

> Fulvio Turra wrote
> > Hi Eluze, thanks for your suggestion.
> > I inserted \hspace #-7 before \column: in the attachment you can see the
> > result.
>
> *before the column* means before the specs for the column:
>
> \set TabStaff.instrumentName = \markup {
>   \hspace #7
>   \override #'(baseline-skip . 1.5) \column \fontsize #-4.5 \sans { E A D G
> A Bb }
> }
>
> does this work now?
>
> Eluze
>
>
>
> --
> View this message in context:
> http://lilypond.1069038.n5.nabble.com/Open-string-tunings-for-guitar-tp157175p157416.html
> Sent from the User mailing list archive at Nabble.com.
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: Open string tunings for guitar

[Eluze]

Fulvio Turra wrote
> Yes, it works now! I just replaced the hspace#7 with a #3 and it's
> perfect!
> Do you think the difference between the two numbers may be because I use
> Frescobaldi to edit the files?

it's a matter of preference

to compile, Frescobaldi uses the LilyPond version you've installed, so there
should be no difference

Eluze



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Re: Version control tools

[Simon Bailey]

hi,

On Wed, Jan 8, 2014 at 10:20 AM,  wrote:

> Joram:
> > Simon Bailey:
> > > so, my follow up question: why use git as a single user?
> >
> > I always use git, event git-svn for svn repos.
> > Comparing to CVS and SVN, I see these advantages:
> >
> > - easy branching
>

what for when working with scores?


> > - I am a heavy user of git rebase
>

which does what?


> > - being able to commit, branch, diff etc. without internet connection
>

how often do you branch or diff when working on scores?


> >   that way I can work on a train, for example
>

hmm. i do a lot of work on trains. however, i have a data plan on my phone
which i use for tethering if i need a connection.


> > - this makes the commit often & early paradigm easy
>

i understand this when working on software programs. but on music scores?

With svn/cvs you need more-or-less a permanent connection to
> "the server". With git I can work off-line and update (both ways)
> when connected.
>

i only need the connection with SVN if i'm actually committing. with git i
can commit offline, but then when i get a data connection i have to commit
again to the repo? that's two steps compared to one with SVN. i still don't
get it. especially as i generally commit when i reach certain milestones or
at the end of a working day.

don't get me wrong, i'm really trying to find a reason to like git. but
nothing seems different to SVN so far, except for the fact that i have to
commit TWICE...

Urs also pointed out:
On Tue, Jan 7, 2014 at 2:51 PM, Urs Liska  wrote:

> Ah, finally one idea about your question, not based on experience but on
> randomly read statements: How can you use branches with SVN? If it's
> correct that Git branches are conceptually different through being so
> exceptionally light-weight then I'd think this _is_ an advantage even for a
> single user.


$ svn copy /trunk /branch/my-branch

from http://svnbook.red-bean.com/en/1.8/svn.branchmerge.using.html :
<<<
Subversion's repository has a special design. When you copy a directory,
you don't need to worry about the repository growing huge—Subversion
doesn't actually duplicate any data. Instead, it creates a new directory
entry that points to an existing tree. If you're an experienced Unix user,
you'll recognize this as the same concept behind a hard link. As further
changes are made to files and directories beneath the copied directory,
Subversion continues to employ this hard link concept where it can. It
duplicates data only when it is necessary to disambiguate different
versions of objects.
>>>

sounds fairly lightweight to me too... ;) (this is also the same workflow
for tags).

regards,
sb
-- 
Do not meddle in the affairs of trombonists, for they are subtle and quick
to anger.
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Re: Version control tools

[Simon Bailey]

On Wed, Jan 8, 2014 at 11:24 AM, Simon Bailey  wrote:

> don't get me wrong, i'm really trying to find a reason to like git. but
> nothing seems different to SVN so far, except for the fact that i have to
> commit TWICE...
>

just to clarify: i'm trying to find a reason for using git for my workflow.
in other scenarios (such as lily devel work or distributed software
development) i know there are benefits/differences and possibilities
compared to SVN/CVS or any other centralized source-code repo.

regards,
sb

-- 
Do not meddle in the affairs of trombonists, for they are subtle and quick
to anger.
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Re: Engraving challenges

[Phil Holmes]

- Original Message - 
From: "Urs Liska" 
To: "lilypond-user" ; "Janek Warchoł" 


Sent: Tuesday, January 07, 2014 4:15 PM
Subject: Engraving challenges



Hi all,

recently we discussed about comparing LilyPond's performance with that of 
competing programs

(http://lists.gnu.org/archive/html/lilypond-user/2013-11/msg00323.html),
and I've finally managed to set something up.
It's a Github repository along with a kind of "Contributor's Guide":

https://github.com/openlilylib/engraving-challenges

I've prepared a first "challenge", a page of late romantic piano music, 
but will keep it secret until we'll actually have participants.


Questions:

a)
Who would be interested in participating by giving it a try with another 
program?
As discussed sufficient proficiency with the tool and a current version is 
required.


I would be interested and willing to use Sibelius 7.0.


b)
Who would be interested in participating with LilyPond?
Of course with LilyPond it'll be easy to do it collaboratively, while I 
don't really see how Finale users should do the same.


I'll let someone else.


My main concern is the emphasis on git.  Sibelius runs on my Windows box and 
I don't generally use git on that at all.  Sibelius also only produces 
binary files, so there's no point in trying to track or collaborate through 
git.  How would a Windows/non-git machine proceed?


--
Phil Holmes 



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Re: [Frescobaldi] Frescobaldi musicxml export

[Peter Bjuhr]

Hi Martin,

thanks for the report. It's very good for the development with some 
feedback!



On 01/08/2014 08:49 AM, Martin Tarenskeen wrote:



Frescobaldi's musicxml export is still in an early stage of 
development so I will not try to mail a list with all things that fail 
or don't work yet. But I do want to report two little things.


1. It does not seem to know that Lilypond uses a default of 4/4 when 
no timesignature is given.


% minimal example
\version "2.18.0"
{c'}
% gives an error when trying to export musicxml

% minimal example
\version "2.18.0"
{\time 4/4 c'}
% works correctly


The export does set 4/4 (and treble clef) as default, and your example 
works when I try it on the latest development version of Frescobaldi.





2. It does not interpret the new \relative syntax correctly

% minimal example
\version "2.18.0"
\relative {\time 4/4 d' e f g}
% gives VERY strange musicxml export result. Try it: export as 
musicxml, % import the result, and you will see what I mean




Yes, the export is behind on this and some other 2.18 syntax (e g 
\tuplet). I'll try to update this soon!


Best
Peter

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Re: Version control tools

[Urs Liska]

Am 08.01.2014 11:24, schrieb Simon Bailey:

hi,

On Wed, Jan 8, 2014 at 10:20 AM, mailto:k...@aspodata.se>> wrote:

Joram:
 > Simon Bailey:
 > > so, my follow up question: why use git as a single user?
 >
 > I always use git, event git-svn for svn repos.
 > Comparing to CVS and SVN, I see these advantages:
 >
 > - easy branching


what for when working with scores?


Did you see 
http://lilypondblog.org/2014/01/why-use-version-control-for-engraving-scores/ 
?
There's a section about this specific question. The remaining sections 
are rather tool-agnostic and apply equally to SVM.
Bottom line is: You can use branches to keep master in a consistent 
state. You can work at different spots in parallel, keeping the whole 
consistent.




 > - I am a heavy user of git rebase


which does what?

 > - being able to commit, branch, diff etc. without internet connection


how often do you branch or diff when working on scores?

 >   that way I can work on a train, for example


hmm. i do a lot of work on trains. however, i have a data plan on my
phone which i use for tethering if i need a connection.

 > - this makes the commit often & early paradigm easy


i understand this when working on software programs. but on music scores?


It's exactly the same :-)
Why would you "commit often and early" in software development? mostly 
to have fine-grained control on the content of a commit and not to have 
a big blob of unrelated changes in a unit. That's exactly the same when 
you write scores.




With svn/cvs you need more-or-less a permanent connection to
"the server". With git I can work off-line and update (both ways)
when connected.


i only need the connection with SVN if i'm actually committing. with git
i can commit offline, but then when i get a data connection i have to
commit again to the repo? that's two steps compared to one with SVN. i
still don't get it. especially as i generally commit when i reach
certain milestones or at the end of a working day.


A Git commit isn't about integrating your work with the main line 
(remote repository) but about tailoring a coherent changeset. You may 
enclose your day's work in a commit but you can (as the other extreme) 
enclose a singly typo fix in a commit. With this you have finegrained 
control over your project history.
Each of these commits is a separate unit and step that can be inspected, 
reverted or modified individually later.
When you contact the server again you don't "commit" (in Git speech) but 
"push" your local commits to the server.

Obviously that's not what you're doing so far, so you don't miss it.
But I'm sure it is superior to be able to "tailor" the commit history 
locally instead of creating commits depending on the availability of an 
internet connection.




don't get me wrong, i'm really trying to find a reason to like git. but
nothing seems different to SVN so far, except for the fact that i have
to commit TWICE...

Urs also pointed out:
On Tue, Jan 7, 2014 at 2:51 PM, Urs Liska mailto:u...@openlilylib.org>> wrote:

Ah, finally one idea about your question, not based on experience
but on randomly read statements: How can you use branches with SVN?
If it's correct that Git branches are conceptually different through
being so exceptionally light-weight then I'd think this _is_ an
advantage even for a single user.


$ svn copy /trunk /branch/my-branch

from http://svnbook.red-bean.com/en/1.8/svn.branchmerge.using.html :
<<<
Subversion's repository has a special design. When you copy a directory,
you don't need to worry about the repository growing huge—Subversion
doesn't actually duplicate any data. Instead, it creates a new directory
entry that points to an existing tree. If you're an experienced Unix
user, you'll recognize this as the same concept behind a hard link. As
further changes are made to files and directories beneath the copied
directory, Subversion continues to employ this hard link concept where
it can. It duplicates data only when it is necessary to disambiguate
different versions of objects.
 >>>

sounds fairly lightweight to me too... ;) (this is also the same
workflow for tags).


Hm, don't know. As said, my comment was based on arbitrary reading.
Obviously (from skimming through that linked page) the branching concept 
between SVN and Git is _very_ different.
I can't really judge that, but as far as I've read this area is one of 
the major improvements of Git over the older VCSs.


Urs



regards,
sb
--
Do not meddle in the affairs of trombonists, for they are subtle and
quick to anger.


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--
Urs Liska
www.openlilylib.org

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Re: Center Lyric Syllables (ignoring punctuation)

[Alexander Kobel]

On 01/08/2014 04:10 AM, Alex Loomis wrote:

Shouldn't this be the default output? Looking at hand-engraved examples,
such as this lied
,
words tend to be centered ignoring punctuation (measures 8 and 14), or
further right than they would be if centered (measure 10). Currently the
default seems to be the reverse.


Hi Alex,

the positioning in the linked example is somewhat arbitrary. Which I 
consider a good thing, stemming from old-school craftsmanship - it's 
carefully chosen not to waste space, and still to be as readable as 
possible. I /think/ it shows a slight preference for having the vowel of 
the syllable close to the notehead, if space allows, but I may be 
mistaken. This approach is actually on Janek's never-ending to-do list, 
and I believe it will be even better than the output you achieve with 
this snippet.
For the time being, I tend to agree; I cannot imagine a situation where 
using this approach degrades the output, and it's among my default 
includes. On the other hand, AFAIU the decision what is or isn't 
punctuation is not universal over all languages, and having it as 
default might make tweaking the output slightly more complicated...



Best,
Alexander

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Re: Version control tools

[Noeck]

Hi Simon,

I just listed the reasons why I use git in general. And I like having
one system for all version control use cases. You are right, the
advantages apply more to software than to scores.

> > - easy branching
> what for when working with scores?

Rarely in scores. But I use branches for the lily library for
includes/modules I use it for different feature branches, which I only
merge once they are done/usable.

> > - I am a heavy user of git rebase
> which does what?

It takes a branch, decouples it from its connection to the rest and puts
it on top of another given branch. That makes the history easier to
read. If you consider this situation, the master advanced (e.g. with a
ready feature) and now 'feature' is ready I could merge it. But I like
to put it after the master commits:

o--o--o--o--o--o master
  \
   '-o--o--o feature

git rebase master

   master
o--o--o--o--o--o--o--o--o feature


> > - being able to commit, branch, diff etc. without internet connection
> how often do you branch or diff when working on scores?

see above

> >   that way I can work on a train, for example
> 
> 
> hmm. i do a lot of work on trains. however, i have a data plan on my
> phone which i use for tethering if i need a connection.

I don't have.

For me the situation is this: I had the choice to learn svn or git and I
chose git for the beforementioned reasons. And I like to use one system
for all purposes.

But I see no point in converting others to git if they prefer svn and
like it.

Cheers,
Joram


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Re: Engraving challenges

[Urs Liska]

Am 08.01.2014 11:26, schrieb Phil Holmes:

- Original Message - From: "Urs Liska" 
To: "lilypond-user" ; "Janek Warchoł"

Sent: Tuesday, January 07, 2014 4:15 PM
Subject: Engraving challenges



Hi all,

recently we discussed about comparing LilyPond's performance with that
of competing programs


...



a)
Who would be interested in participating by giving it a try with
another program?
As discussed sufficient proficiency with the tool and a current
version is required.


I would be interested and willing to use Sibelius 7.0.


Great. You had already expressed this earlier, I know.




b)
Who would be interested in participating with LilyPond?
Of course with LilyPond it'll be easy to do it collaboratively, while
I don't really see how Finale users should do the same.


I'll let someone else.


OK, we'll probably be too many anyway.




My main concern is the emphasis on git.  Sibelius runs on my Windows box
and I don't generally use git on that at all.  Sibelius also only
produces binary files, so there's no point in trying to track or
collaborate through git.  How would a Windows/non-git machine proceed?


The question is not unexpected but nevertheless tricky.
We _have_ to track binary files also with Git.
Half of the point is still there: Having a history chain of the file's 
development.
The other half is of course pointless as the commits don't provide 
meaningfull diffs.
And of course it will somewhat bloat the repo size, but we can accept 
this because the repo won't become huge anyway.


So it would be great if you would install Git also on the Windows 
machine. AFAIK this isn't a big deal anymore.


If that's not possible the only option I see is to somehow transfer the 
files somewhere where they can be added to the repository.

For example by
- making a copy with a revision number suffix.
- when in a git-friendly environment commit them one by one,
  stripping off the suffix.

Urs

--
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www.openlilylib.org

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Re: Engraving challenges

[Urs Liska]

Am 08.01.2014 02:52, schrieb Alex Loomis:

I'm interested and have access to both LillyPond (of course) and Sibelius.



Great, so you can work together with Phil Holmes on Sibelius (at least 
for the proof-reading stages - we'll have to see if there _are_ 
possibilities to collaborate on Sibelius scores), and additionally with 
LilyPond.


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www.openlilylib.org

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Re: Center Lyric Syllables (ignoring punctuation)

[Kieren MacMillan]

Hi Alexander,

> it's among my default includes.

Could you please share the snippet you use?
I tried  and got a bunch of 
“infinite offset” errors…  =\

Thanks,
Kieren.
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Re: Center Lyric Syllables (ignoring punctuation)

[Kieren MacMillan]

p.s. Never mind — found this part of the thread!  =)
Sorry for the noise.

Kieren.

On Jan 7, 2014, at 9:10 AM, Alexander Kobel  wrote:

> Hi,
> 
> I just recognized that this snippet does not work as-is in 2.18.0 (and 2.17.x 
> for x large enough), but gives -inf.0 as X-offsets if no punctuation prefixes 
> a syllable. IIUC empty text-markups now return empty instead of point 
> stencils these days, and the width computation for the punctuation prefixes 
> barfs out. Maybe a side effect from the refined skyline computation?
> Anyway, attached is a modified version which works on 2.17.x and 2.18. Could 
> you update the LSR snippet? I'm not allowed to. Thanks!

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Re: Engraving challenges

[Phil Holmes]

- Original Message - 
From: "Urs Liska" 

To: "Alex Loomis" 
Cc: "Janek Warchoł" ; "lilypond-user" 


Sent: Wednesday, January 08, 2014 11:28 AM
Subject: Re: Engraving challenges



Am 08.01.2014 02:52, schrieb Alex Loomis:
I'm interested and have access to both LillyPond (of course) and 
Sibelius.




Great, so you can work together with Phil Holmes on Sibelius (at least for 
the proof-reading stages - we'll have to see if there _are_ possibilities 
to collaborate on Sibelius scores), and additionally with LilyPond.


--
Urs Liska
www.openlilylib.org



It might actually be interesting _not_ to collaborate, and see what 
differences occur.  This might also be true for Lilypond.


--
Phil Holmes 



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Re: Engraving challenges

[Simon Bailey]

On Wed, Jan 8, 2014 at 12:42 PM, Phil Holmes  wrote:

> It might actually be interesting _not_ to collaborate, and see what
> differences occur.  This might also be true for Lilypond.
>

I was thinking something similar. It might be interesting to see how
different people interpret or beautify the given examples. i'd be willing
to create a no-frills default lilypond version. and then a tweaked one in
my "house" style. However, I would also find it interesting how other
experienced lily users approach the task differently -- there's always more
than one way to do things... ;)

regards,
sb

-- 
Do not meddle in the affairs of trombonists, for they are subtle and quick
to anger.
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transposition: entering parts in absolute pitch

[Tom Yates]

I apologise if this is a FAQ; I've gone back a few months in the archives 
and can't find anything that seems relevant, and I want to get my head 
straight before I do any more work on my arrangement.


I'm arranging something for brass band, which means dealing with 22 lines 
in a variety of transpositions (C, Bb, Eb).  To prevent my head exploding, 
I'm entering all the notes in C (ie, untransposed); what I want to do is 
print the parts, and perhaps the score, with the relevant transpositions 
in place.  I'm also rendering to midi (as an idiot check) and I want that 
to work, too.


But the documentation about \transposition says "\transposition should 
only be used if the pitches are not being entered in concert pitch" [1], 
and that is the reverse of my problem - I'm entering pitches in concert 
pitch and wish only to print transposed.


Am I going about this the wrong way?  Should I go back and re-enter all my 
parts in printed (ie, transposed) pitch?



--

  Tom Yates  -  http://www.teaparty.net


[1] 
http://lilypond.org/doc/v2.18/Documentation/notation/displaying-pitches#instrument-transpositions


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Re: transposition: entering parts in absolute pitch

[David Kastrup]

Tom Yates  writes:

> I apologise if this is a FAQ; I've gone back a few months in the
> archives and can't find anything that seems relevant, and I want to
> get my head straight before I do any more work on my arrangement.
>
> I'm arranging something for brass band, which means dealing with 22
> lines in a variety of transpositions (C, Bb, Eb).  To prevent my head
> exploding, I'm entering all the notes in C (ie, untransposed); what I
> want to do is print the parts, and perhaps the score, with the
> relevant transpositions in place.  I'm also rendering to midi (as an
> idiot check) and I want that to work, too.
>
> But the documentation about \transposition says "\transposition should
> only be used if the pitches are not being entered in concert pitch"
> [1], and that is the reverse of my problem - I'm entering pitches in
> concert pitch and wish only to print transposed.
>
> Am I going about this the wrong way?  Should I go back and re-enter
> all my parts in printed (ie, transposed) pitch?

Which version of LilyPond are you using?  In 2.17.13 the behavior was
changed and is much simpler now.  I am describing how this works now:

You use \transposition to state the relation of printed to played music,
regardless of whether you are entering in concert pitch or printed
pitch.

You use \transpose to change the printed pitch (and the played pitch
will move along).

-- 
David Kastrup

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Re: transposition: entering parts in absolute pitch

[Tom Yates]

On Wed, 8 Jan 2014, David Kastrup wrote:

Which version of LilyPond are you using?  In 2.17.13 the behavior was 
changed and is much simpler now.  I am describing how this works now:


GNU LilyPond 2.17.26, which is apparently handy!  i'm sorry for not 
including that information earlier.



You use \transposition to state the relation of printed to played music,
regardless of whether you are entering in concert pitch or printed
pitch.

You use \transpose to change the printed pitch (and the played pitch
will move along).


so it sounds as if i want \transposition, to change the printed pitch 
without changing the rendered or real pitches.


thank you!


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Re: transposition: entering parts in absolute pitch

[David Kastrup]

Tom Yates  writes:

> On Wed, 8 Jan 2014, David Kastrup wrote:
>
>> Which version of LilyPond are you using?  In 2.17.13 the behavior
>> was changed and is much simpler now.  I am describing how this works
>> now:
>
> GNU LilyPond 2.17.26, which is apparently handy!  i'm sorry for not
> including that information earlier.
>
>> You use \transposition to state the relation of printed to played music,
>> regardless of whether you are entering in concert pitch or printed
>> pitch.
>>
>> You use \transpose to change the printed pitch (and the played pitch
>> will move along).
>
> so it sounds as if i want \transposition, to change the printed pitch
> without changing the rendered or real pitches.

No.  \transposition will never affect the printed pitch.  It is only
used by Midi.  You first fiddle around with \transpose until the
printout is what you want.  And then you put in \transposition in order
to get the Midi to be what you want, in case that is different from the
printed version.

-- 
David Kastrup

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Re: transposition: entering parts in absolute pitch

[Tom Yates]

On Wed, 8 Jan 2014, David Kastrup wrote:


Tom Yates  writes:


On Wed, 8 Jan 2014, David Kastrup wrote:


You use \transposition to state the relation of printed to played music,
regardless of whether you are entering in concert pitch or printed
pitch.

You use \transpose to change the printed pitch (and the played pitch
will move along).


so it sounds as if i want \transposition, to change the printed pitch
without changing the rendered or real pitches.


No.  \transposition will never affect the printed pitch.  It is only
used by Midi.  You first fiddle around with \transpose until the
printout is what you want.  And then you put in \transposition in order
to get the Midi to be what you want, in case that is different from the
printed version.


sorry, my bad; i understand now.  thanks again.


--

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Re: indent vs reformat

[Urs Liska]

Am 08.01.2014 09:44, schrieb Martin Tarenskeen:


Hi,

It's not quite clear to me what the difference is between "indent" and
"reformat" using python-ly ?



a) it's the same as using the respective commands inside Frescobaldi.

b) Indent only takes care of the indent levels of the code lines.
Reformat performs addditional tasks.
From the ly source files:

"""Add newlines around indent and dedent tokens where needed.

If there is stuff after a { or << (that's not closed on the same line)
it is put on a new line, and if there if stuff before a } or >>, the }
or >> is put on a new line.

It is necessary to run the indenter again over the same part of the
document, as it will look garbled with the added newlines.

"""

"""Move line comments with more than 2 comment characters to column 0."""

"""Removes whitespace from all lines in the cursor's range."""

HTH
Urs

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umlaut

[Gagi Petrovic]

 Hi group, is this umlaut supposed to be like this??

Take a look at this header code and the attached output.


\version "2.16.1"

\header{  title = "o ó ö"  }

\relative c' {c1}


Should i report it as a bug?

All the best, Gagi
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Re: Engraving challenges

[Urs Liska]

Am 08.01.2014 15:35, schrieb Marc Sabatella:

I run git on on my Windows machine and it works well.  I don't always
"get" git, but give me a workflow to follow and I can follow it.


Perfect!


  Offline, I volunteered to do MuseScore using a pre-release of  2.0.
  It can save files in a text format, unless there are custom graphics
(eg, SVG files) that need to be included in the score.


For now we won't need SVG files. But it may well be that one day we'll 
head in such areas. No idea how long it will take to complete _one_ 
challenge ...


Urs

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Re: umlaut

[Gagi Petrovic]

Okay, i just noticed it's just jEdit that makes the umlait look really
weird. Sorry, disregard this message please.


On 8 January 2014 15:36, Gagi Petrovic  wrote:

> Hi group, is this umlaut supposed to be like this??
>
> Take a look at this header code and the attached output.
>
>
> \version "2.16.1"
>
> \header{  title = "o ó ö"  }
>
> \relative c' {c1}
>
>
> Should i report it as a bug?
>
> All the best, Gagi
>



-- 
+31 6 1259 8681 |
LinkedIn
 | gagipetrovic.nl
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Re: umlaut

[Urs Liska]

Am 08.01.2014 15:36, schrieb Gagi Petrovic:

Hi group, is this umlaut supposed to be like this??

Take a look at this header code and the attached output.


\version "2.16.1"

\header{  title = "o ó ö"  }

\relative c' {c1}




I don't see what you mean. The image looks exactly like I'd expect from 
the code I see in the email.
Maybe you should also supply a screenshot of how the code looks in your 
editor?



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Re: Engraving challenges

[Marc Sabatella]

I run git on on my Windows machine and it works well.  I don't always "get" 
git, but give me a workflow to follow and I can follow it.  Offline, I 
volunteered to do MuseScore using a pre-release of  2.0.  It can save files in 
a text format, unless there are custom graphics (eg, SVG files) that need to be 
included in the score.—
Marc Sabatella

On Wed, Jan 8, 2014 at 4:26 AM, Urs Liska  wrote:

> Am 08.01.2014 11:26, schrieb Phil Holmes:
>> - Original Message - From: "Urs Liska" 
>> To: "lilypond-user" ; "Janek Warchoł"
>> 
>> Sent: Tuesday, January 07, 2014 4:15 PM
>> Subject: Engraving challenges
>>
>>
>>> Hi all,
>>>
>>> recently we discussed about comparing LilyPond's performance with that
>>> of competing programs
> ...
>>>
>>> a)
>>> Who would be interested in participating by giving it a try with
>>> another program?
>>> As discussed sufficient proficiency with the tool and a current
>>> version is required.
>>
>> I would be interested and willing to use Sibelius 7.0.
> Great. You had already expressed this earlier, I know.
>>
>>> b)
>>> Who would be interested in participating with LilyPond?
>>> Of course with LilyPond it'll be easy to do it collaboratively, while
>>> I don't really see how Finale users should do the same.
>>
>> I'll let someone else.
> OK, we'll probably be too many anyway.
>>
>>
>> My main concern is the emphasis on git.  Sibelius runs on my Windows box
>> and I don't generally use git on that at all.  Sibelius also only
>> produces binary files, so there's no point in trying to track or
>> collaborate through git.  How would a Windows/non-git machine proceed?
> The question is not unexpected but nevertheless tricky.
> We _have_ to track binary files also with Git.
> Half of the point is still there: Having a history chain of the file's 
> development.
> The other half is of course pointless as the commits don't provide 
> meaningfull diffs.
> And of course it will somewhat bloat the repo size, but we can accept 
> this because the repo won't become huge anyway.
> So it would be great if you would install Git also on the Windows 
> machine. AFAIK this isn't a big deal anymore.
> If that's not possible the only option I see is to somehow transfer the 
> files somewhere where they can be added to the repository.
> For example by
> - making a copy with a revision number suffix.
> - when in a git-friendly environment commit them one by one,
>stripping off the suffix.
> Urs
> -- 
> Urs Liska
> www.openlilylib.org
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RE: umlaut

[Daniel Rosen]

> From: Gagi Petrovic [mailto:m...@gagipetrovic.nl] 
> Sent: Wednesday, January 08, 2014 9:36 AM
> To: LilyPond Users
> Subject: umlaut
> 
> Hi group, is this umlaut supposed to be like this??

What exactly do you think should be different about it? (It looks normal to me.)

DR

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Re: Engraving challenges

[Alex Loomis]

Another vote for this. It would also make logistics easier.



On Jan 8, 2014, at 6:48 AM, Simon Bailey  wrote:

> On Wed, Jan 8, 2014 at 12:42 PM, Phil Holmes  wrote:
> It might actually be interesting _not_ to collaborate, and see what 
> differences occur.  This might also be true for Lilypond.
>  
> I was thinking something similar. It might be interesting to see how 
> different people interpret or beautify the given examples. i'd be willing to 
> create a no-frills default lilypond version. and then a tweaked one in my 
> "house" style. However, I would also find it interesting how other 
> experienced lily users approach the task differently -- there's always more 
> than one way to do things... ;)
> 
> regards,
> sb 
> 
> -- 
> Do not meddle in the affairs of trombonists, for they are subtle and quick to 
> anger.
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Re: Engraving challenges

[Urs Liska]

Am 08.01.2014 16:02, schrieb Alex Loomis:

Another vote for this. It would also make logistics easier.



OK, it's a good idea. We can have any number of parallel approaches of 
course.


Just one thing: I think peer review is a _very_ valuable tool when it 
comes to editing music. It may be different when you are composing and 
providing your own music as material. But when you have to prepare an 
edition of existing music proof-reading is essential and can only be 
done by different people.
I was told that in the formalized workflow at Henle there is the 
preparation of the "engraver's copy" by the editor, then comes the 
typesetting, and finally no less than six rounds of proof-reading.


I find it interesting to explore how this can be done with different 
tools. Although this may be extremely biased because I'm so sure that 
text based tools are infinitely more suitable for such tasks ;-)


Urs



On Jan 8, 2014, at 6:48 AM, Simon Bailey mailto:si...@bailey.at>> wrote:


On Wed, Jan 8, 2014 at 12:42 PM, Phil Holmes mailto:m...@philholmes.net>> wrote:

It might actually be interesting _not_ to collaborate, and see
what differences occur.  This might also be true for Lilypond.

I was thinking something similar. It might be interesting to see how
different people interpret or beautify the given examples. i'd be
willing to create a no-frills default lilypond version. and then a
tweaked one in my "house" style. However, I would also find it
interesting how other experienced lily users approach the task
differently -- there's always more than one way to do things... ;)

regards,
sb

--
Do not meddle in the affairs of trombonists, for they are subtle and
quick to anger.



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Musical theater headers

[Daniel Rosen]

I'm engraving pit parts for a new musical, and one of the arrangers has given 
me this note: "To follow convention, the song number should be in large type in 
a box in the top-right corner of the first page of the song. Players expect 
this and it will help them to locate the song quickly." He references the 
attached example as a model.

To those of you who use LilyPond for musical theater, do you do this with your 
parts? If so, how? If not, what would be the best way to achieve it?

DR

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Re: Survey: Git (G)UIs

[Henning Hraban Ramm]

Am 2014-01-06 um 19:20 schrieb Sven Axelsson :

> As for usability and aesthetics, the GUIs included with the git distribution 
> are pretty terrible, but there are several other alternatives. As a Mac user, 
> I prefer GitX for it's simplicity and unobtrusiveness. Atlassian's SourceTree 
> is also nice and free for Mac and Windows.

I (also) mostly use Atlassian SourceTree, since development on GitX seems to 
have stopped a long time ago (already tried some branches) and it keeps 
crashing.
If I’m in Eclipse/Aptana anyway, I use its team tools.


Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)





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Re: Musical theater headers

[Kieren MacMillan]

Hi Daniel,

> I’m engraving pit parts for a new musical

Welcome to the club!  =)

> and one of the arrangers has given me this note: “To follow convention, the 
> song number should be in large type in a box in the top-right corner of the 
> first page of the song. Players expect this and it will help them to locate 
> the song quickly.” He references the attached example as a model.

1. Yuck.  ;)

2. Yes, this header block is found in various scores/parts… but really, there 
is no “standard”, as one sees when one MDs as many shows as I do.

> To those of you who use LilyPond for musical theater, do you do this with 
> your parts?

No. My headers are inspired by the [more elegant, IMO] model of Boosey & Hawkes 
“West Side Story” (1959 etc., not the less-attractive 2000 edition).

> If not, what would be the best way to achieve it?]

It would be easy to duplicate this with a set of custom titles and header 
variables. I *literally* just sent a new Vocal Book and Libretto/Script to a 
customer three minutes ago… so I would have some time now to mock up how this 
could be done, if you can’t do it yourself.

Cheers,
Kieren.
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Re: Version control tools (was: Survey: Git (G)UIs)

[Henning Hraban Ramm]

Am 2014-01-07 um 19:27 schrieb Urs Liska :

> As a follow-up question I'd be interested in whether people use other version 
> control systems beside Git. If you use more than one, a short comparison 
> would be of general interest I think.

Hi Urs,
I’m using everything that I need to fetch some project - I never needed 
something else than svn, git and hg (hm, there was that one project on bzr …), 
but personally only git. I guess hg is marginally better or simpler to learn, 
but I started with github and not bitbucket.

Greetlings, Hraban
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RE: umlaut

[Gagi Petrovic]

Thanks for the replies guys. But like i said: it's jEdit that messes it up
in its pdf viewer (not visible in the attachment, my bad). So there is no
real problem.

Cheers, Gagi
On Jan 8, 2014 4:03 PM, "Daniel Rosen"  wrote:

> > From: Gagi Petrovic [mailto:m...@gagipetrovic.nl]
> > Sent: Wednesday, January 08, 2014 9:36 AM
> > To: LilyPond Users
> > Subject: umlaut
> >
> > Hi group, is this umlaut supposed to be like this??
>
> What exactly do you think should be different about it? (It looks normal
> to me.)
>
> DR
>
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baseline-referenced text/markups?

[Kieren MacMillan]

Hello all,

What would be involved in changing the “reference point” of markups to be the 
baseline (instead of whatever the heck it is now)?

The many unfortunate things demonstrated in the following “default”** snippet 
keep me up at night (figuratively *and* literally):

\version "2.17"

\layout { system-count = 1 }

music = {
  \markLengthOn
  \mark \default \tempo "No descenders." R1
  \mark \default \tempo "No descenders." R1
  \mark \default \tempo "going going going." R1
}

\new Staff \music

Thanks,
Kieren.

** the only non-default is the \markLengthOn… which really *should also* be a 
default!!
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RE: umlaut

[Daniel Rosen]

> From: gagig...@gmail.com [mailto:gagig...@gmail.com] On Behalf Of Gagi 
> Petrovic
> Sent: Wednesday, January 08, 2014 11:35 AM
> To: Daniel Rosen
> Cc: LilyPond Users
> Subject: RE: umlaut
> 
> Thanks for the replies guys. But like i said: it's jEdit that messes it up in 
> its pdf viewer (not visible in the attachment, my bad). So there is no real 
> problem.
> Cheers, Gagi

I didn't see your second email until after I'd sent mine. Glad you figured out 
the issue!

DR

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RE: Musical theater headers

[Daniel Rosen]

> -Original Message-
> From: Kieren MacMillan [mailto:kieren_macmil...@sympatico.ca]
> Sent: Wednesday, January 08, 2014 11:26 AM
> To: Daniel Rosen
> Cc: Lilypond-User Mailing List
> Subject: Re: Musical theater headers
> 
> Hi Daniel,
> 
> > I'm engraving pit parts for a new musical
> 
> Welcome to the club!  =)

Thanks! :)

> > and one of the arrangers has given me this note: "To follow convention,
> the song number should be in large type in a box in the top-right corner of
> the first page of the song. Players expect this and it will help them to 
> locate
> the song quickly." He references the attached example as a model.
> 
> 1. Yuck.  ;)
> 
> 2. Yes, this header block is found in various scores/parts... but really, 
> there is
> no "standard", as one sees when one MDs as many shows as I do.
> 
> > To those of you who use LilyPond for musical theater, do you do this with
> your parts?
> 
> No. My headers are inspired by the [more elegant, IMO] model of Boosey &
> Hawkes "West Side Story" (1959 etc., not the less-attractive 2000 edition).
> 
> > If not, what would be the best way to achieve it?]
> 
> It would be easy to duplicate this with a set of custom titles and header
> variables.

I've been trying to do that for the past half-hour or so, and it's not working 
the way I want it to. My header block is:

\version "2.18.0"
\header {
  piece = "Piece"
  number = "#"
  instrument = "Instrument"
  date = "01/01/0101"
  composer = "Composer"
}

Right now I'm just trying to focus on getting everything in the right place 
before I start changing font sizes and stuff. I'm envisioning three columns, 
with the left column left-aligned, the center column centered, and the right 
column right-aligned.

instrument | null  | date
number | piece | null
null   | null  | composer

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RE: Musical theater headers

[Daniel Rosen]

> -Original Message-
> From: Daniel Rosen
> Sent: Wednesday, January 08, 2014 12:43 PM
> To: 'Kieren MacMillan'
> Cc: Lilypond-User Mailing List
> Subject: RE: Musical theater headers
> 
> I've been trying to do that for the past half-hour or so, and it's not working
> the way I want it to. My header block is:
> 
> \version "2.18.0"
> \header {
>   piece = "Piece"
>   number = "#"
>   instrument = "Instrument"
>   date = "01/01/0101"
>   composer = "Composer"
> }
> 
> Right now I'm just trying to focus on getting everything in the right place
> before I start changing font sizes and stuff. I'm envisioning three columns,
> with the left column left-aligned, the center column centered, and the right
> column right-aligned.
> 
> instrument | null  | date
> number | piece | null
> null   | null  | composer

Whoops, I goofed on the second line--the arranger wanted the number on the 
right side, not the left.

instrument | null  | date
null   | piece | number
null   | null  | composer

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Guitar Tab

[Patrick Thomas]

Is it possible to write guitar tab by itself without an accompanying 
'normal' stave.


Patrick Thomas

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Re: Musical theater headers

[Paul Scott]

On Wed, Jan 08, 2014 at 05:43:29PM +, Daniel Rosen wrote:
> > -Original Message-
> > From: Kieren MacMillan [mailto:kieren_macmil...@sympatico.ca]
> > Sent: Wednesday, January 08, 2014 11:26 AM
> > To: Daniel Rosen
> > Cc: Lilypond-User Mailing List
> > Subject: Re: Musical theater headers
> > 
> > Hi Daniel,
> > 
> > > I'm engraving pit parts for a new musical
> > 
> > > and one of the arrangers has given me this note: "To follow convention,
> > the song number should be in large type in a box in the top-right corner of
> > the first page of the song. Players expect this and it will help them to 
> > locate
> > the song quickly." He references the attached example as a model.
> > 
> > > To those of you who use LilyPond for musical theater, do you do this with
> > your parts?
> > 
> > No. My headers are inspired by the [more elegant, IMO] model of Boosey &
> > Hawkes "West Side Story" (1959 etc., not the less-attractive 2000 edition).
> > 
> > > If not, what would be the best way to achieve it?]
> > 
> > It would be easy to duplicate this with a set of custom titles and header
> > variables.
> 
> I've been trying to do that for the past half-hour or so, and it's not 
> working the way I want it to. My header block is:

I use \markup\fill-line{ "left" "center" "right" }

for what I think you want.  I have made substitute parts for parts with that 
same format.

HTH

Paul Scott

> 
> \version "2.18.0"
> \header {
>   piece = "Piece"
>   number = "#"
>   instrument = "Instrument"
>   date = "01/01/0101"
>   composer = "Composer"
> }
> 
> Right now I'm just trying to focus on getting everything in the right place 
> before I start changing font sizes and stuff. I'm envisioning three columns, 
> with the left column left-aligned, the center column centered, and the right 
> column right-aligned.
> 
> instrument | null  | date
> number | piece | null
> null   | null  | composer
> 
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> 


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RE: Musical theater headers

[Daniel Rosen]

> -Original Message-
> From: Paul Scott [mailto:waterho...@ultrasw.com]
> Sent: Wednesday, January 08, 2014 1:09 PM
> To: Daniel Rosen
> Cc: Kieren MacMillan; Lilypond-User Mailing List
> Subject: Re: Musical theater headers
> 
> I use \markup\fill-line{ "left" "center" "right" }
> 
> for what I think you want.  I have made substitute parts for parts with that
> same format.
> 
> HTH
> 
> Paul Scott

Yes, but they're not showing up the way I want them to:

> Whoops, I goofed on the second line--the arranger wanted the number on the 
> right side, not the left.
> 
> instrument | null  | date
> null   | piece | number
> null   | null  | composer

Here's something along the lines of what I've been trying:

\version "2.18.0"

\header {
  piece = "Piece"
  number = "#"
  instrument = "Instrument"
  date = "01/01/0101"
  composer = "Composer"
}

\paper {
  #(set-paper-size "letter")
  scoreTitleMarkup = \markup {
\fill-line {
  \line {
\fromproperty #'header:instrument
\null
\fromproperty #'header:date
  }
  \line {
\null
\fromproperty #'header:piece
\fromproperty #'header:number
  }
  \line {
\null
\null
\fromproperty #'header:composer
  }
}
  }
}

{ c' } 

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Re: Musical theater headers

[Kieren MacMillan]

Hi Daniel,

Maybe start here:

\version "2.18.0"

\header {
   piece = "Piece"
   number = "1"
   instrument = "Instrument"
   date = "01/01/0101"
   composer = "Composer"
}

\paper {

  scoreTitleMarkup = \markup \override #'(baseline-skip . 5) \column {
\fill-line {
  \bold \fromproperty #'header:instrument
  ""
  \fromproperty #'header:date
}
\fill-line {
  ""
  \abs-fontsize #24 \fromproperty #'header:piece
  \override #'(box-padding . 2) \box \abs-fontsize #18 \fromproperty 
#'header:number
}
\fill-line {
  ""
  ""
  \fromproperty #'header:composer
}
  }

  bookTitleMarkup = ##f

}

\score { c'1 }

Hope this helps!
Kieren.

On Jan 8, 2014, at 12:53 PM, Daniel Rosen  wrote:

> Whoops, I goofed on the second line--the arranger wanted the number on the 
> right side, not the left.
> 
> instrument | null  | date
> null   | piece | number
> null   | null  | composer


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Re: Survey: Git (G)UIs

[Sven Axelsson]

On 8 January 2014 17:19, Henning Hraban Ramm  wrote:
>
> Am 2014-01-06 um 19:20 schrieb Sven Axelsson :
>
>> As for usability and aesthetics, the GUIs included with the git
>> distribution are pretty terrible, but there are several other alternatives.
>> As a Mac user, I prefer GitX for it's simplicity and unobtrusiveness.
>> Atlassian's SourceTree is also nice and free for Mac and Windows.
>
> I (also) mostly use Atlassian SourceTree, since development on
> GitX seems to have stopped a long time ago (already tried
> some branches) and it keeps crashing.
> If I’m in Eclipse/Aptana anyway, I use its team tools.

FYI, I use GitX from this branch, which is still in active
development. http://rowanj.github.io/gitx/

-- 
Sven Axelsson
++[>++>+++>++>++
><-]>.+..>+.>+.<<-.>>+.>.<<.
+++.>-.<<++.>>.<++.>>>++..>>.<.

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Re: Guitar Tab

[Federico Bruni]

Il 08/gen/2014 19:02 "Patrick Thomas"  ha scritto:
>
> Is it possible to write guitar tab by itself without an accompanying
'normal' stave.
>

Sure:

\new TabStaff {
  music
}
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Re: Version control tools

[Yann]

Hello :)

I used to work with svn some years ago (I learned it for programming at
first). I mostly then used GUIs with it (TortoiseSVN on windows and kdesvn
on linux).

Then I moved to Mercurial (hg) after comparing between different softwares.
One of the main reason I chose it over git was the availability of a good
GUI on windows
 (TortoiseHG works very well and is integrated both with windows explorer
and nautilus under linux/gnome). I also sometime use the command line
directly, but mostly for administration tasks or scripting.

I frequently use an addon to hg called mercurial-queues (mq) that allow to
work on a patch queue. So most of the time, I use patches to try some new
things (in scores also), or can switch between different queues depending
on which project I work on (each change on patches can be versionned in a
secondary repository).

When things get a little more stable, I commit changes to the main
repository, and I can push to a server if I'm working on a shared project
(I guess hg and git are quite similar in term of possible workflows).


To the question :
 > Simon Bailey:
> > so, my follow up question: why use git as a single user?

The main advantage I would see on using hg (but I think it is the same with
git) over svn, as a single user, is that :
in svn, you basically (if I'm not mistaken) need both the repository itself
(either local or distant) and a local checkout/working copy. If by any
chance by mistake you delete the repo folder, then all your history is lost
(er... yes, I did it once).

With hg, each clone of a repository IS a complete repository itself. So
your "working copy" is a repository itself (the main folder just contains a
hidden .hg folder with all the history data). I feel this is an advantage
over svn when working locally, as your data and the history are at the same
place.

Yann
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LSR and convert-ly/updating

[Yann]

Hello all :)

I remember seeing somewhere that the snippets on the LSR were written for
Lilypond 2.14.

Should I update them with convert-ly when using them ?

By the way, thanks to all the contributors for the recent release of 2.18
!! :D

Yann
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Re: LSR and convert-ly/updating

[David Kastrup]

Yann  writes:

> I remember seeing somewhere that the snippets on the LSR were written for
> Lilypond 2.14.
>
> Should I update them with convert-ly when using them ?

Yes.

-- 
David Kastrup

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Re: Version control tools

[Joseph Rushton Wakeling]

On 08/01/14 19:40, Yann wrote:

With hg, each clone of a repository IS a complete repository itself. So your
"working copy" is a repository itself (the main folder just contains a hidden
.hg folder with all the history data). I feel this is an advantage over svn when
working locally, as your data and the history are at the same place.


Exactly, as with git (which Lilypond uses) and bzr (a very nice tool as well, 
but now sadly somewhat neglected).


If reddit is to be believed, it looks like hg has picked up a bunch of recent 
interest and investment from Facebook in order to optimize things like 
single-file diffs (which in git are no less expensive than whole-repo diffs). 
So for those interested in these tools, it might be worth giving it a try. 
Perhaps the DVCS landscape is not as settled as it has looked recently ...



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RE: Musical theater headers

[Daniel Rosen]

> -Original Message-
> From: Kieren MacMillan [mailto:kieren_macmil...@sympatico.ca]
> Sent: Wednesday, January 08, 2014 1:22 PM
> To: Daniel Rosen
> Cc: Lilypond-User Mailing List
> Subject: Re: Musical theater headers
> 
> Hi Daniel,
> 
> Maybe start here:
> 
> \version "2.18.0"
> 
> \header {
>piece = "Piece"
>number = "1"
>instrument = "Instrument"
>date = "01/01/0101"
>composer = "Composer"
> }
> 
> \paper {
> 
>   scoreTitleMarkup = \markup \override #'(baseline-skip . 5) \column {
> \fill-line {
>   \bold \fromproperty #'header:instrument
>   ""
>   \fromproperty #'header:date
> }
> \fill-line {
>   ""
>   \abs-fontsize #24 \fromproperty #'header:piece
>   \override #'(box-padding . 2) \box \abs-fontsize #18 \fromproperty
> #'header:number
> }
> \fill-line {
>   ""
>   ""
>   \fromproperty #'header:composer
> }
>   }
> 
>   bookTitleMarkup = ##f
> 
> }
> 
> \score { c'1 }
> 
> Hope this helps!
> Kieren.

Looks great, thanks!

DR

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Re: Guitar Tab

[Carl Sorensen]

On 1/8/14 11:01 AM, "Patrick Thomas"  wrote:

>Is it possible to write guitar tab by itself without an accompanying
>'normal' stave.

Yes.  Please see the third example in the Notation Reference, Section
2.4.1 Default tablatures.

http://www.lilypond.org/doc/v2.18/Documentation/notation/common-notation-fo
r-fretted-strings#default-tablatures



HTH,

Carl


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Re: Version control tools

[David Kastrup]

Joseph Rushton Wakeling  writes:

> On 08/01/14 19:40, Yann wrote:
>> With hg, each clone of a repository IS a complete repository itself. So your
>> "working copy" is a repository itself (the main folder just contains a hidden
>> .hg folder with all the history data). I feel this is an advantage over svn 
>> when
>> working locally, as your data and the history are at the same place.
>
> Exactly, as with git (which Lilypond uses) and bzr (a very nice tool
> as well, but now sadly somewhat neglected).
>
> If reddit is to be believed, it looks like hg has picked up a bunch of
> recent interest and investment from Facebook in order to optimize
> things like single-file diffs (which in git are no less expensive than
> whole-repo diffs).

Actually, that seems like a mischaracterization to me.  It's the single
file logs which aren't cheaper than the multi-file logs.

At the current point of time, due to a discussion about version control
on the Emacs developer list, I am working on git blame which is
ridiculously slow.  For the file src/xdisp.c, it takes about 2 minutes
on my computer.  I've cut it down by some 20 or 30% on the first
attempt, but with my current approach, I should eventually get it down
to few seconds at most.  At the current point of time, it segfaults
almost instantaneously.  One out of two ain't bad...

Ridiculous that this code has not been sensibly improved over the last
10 years or so...

-- 
David Kastrup

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Re: Professional Engraving

[Janek Warchoł]

2014/1/8 Alex Loomis :
> This isn't directly related to LilyPond, but I have a question for people on
> the mailing list. it seems like several people on this mailing list get
> payed to engrave music. How did you get started with those jobs?

I met Urs on this mailing list ->
http://lists.gnu.org/archive/html/lilypond-user/2011-04/msg00621.html
(replied to him off-list).  Then it sort of expanded naturally :)

best,
Janek

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Re: Giving Thanks (and Preachin' the Gospel)

[Janek Warchoł]

Great to hear this!
J

2014/1/4 Kieren MacMillan :
> Hi all,
>
> Trying this again without the images…  =(
>
> Kieren.
>
>
> On Jan 4, 2014, at 1:34 PM, Kieren MacMillan  
> wrote:
>
>> Hello all,
>>
>> Just wanted to let you know two things.
>>
>> 1. I was a guest lecturer at the Michigan State University School of Music 
>> last month. Although most of my [short and varied] presentation to the 
>> composition department was ostensibly about my music and career, I gave a 
>> BIG plug to our favourite engraving app. Everything I said just got them 
>> more and more excited about Lilypond — you should have seen their minds 
>> being blown when I told them about polymetrics and the recent 
>> “Ferneyhough-style interrupted polyphony”. And of course, when I showed them 
>> the untweaked (but styled) output of my full orchestra score(s), they were 
>> appropriately stunned:
>>
>> 
>
> This was the top of the [lovely] first page of my big arrangement of “The 12 
> Days of Christmas”…
>
>> 2. The promotional CD for “Robin Hood: The Legendary Musical Comedy” (from 
>> last year’s Hart House Theatre production) is almost ready. I thought you’d 
>> get a kick out of this corner of the liner notes:
>>
>> 
>
> This said “Thank Yous” and the list included “Lilypond Developers & 
> Community”…
>
>>
>> I really do appreciate everything that the heavy lifters do (you know who 
>> you are) — I continue to be in awe of how good you make me look, at least on 
>> score paper.  =)
>>
>> With gratitude,
>> Kieren.
>
>
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Re: Version control tools

[Joseph Rushton Wakeling]

On 08/01/14 21:13, David Kastrup wrote:

Actually, that seems like a mischaracterization to me.  It's the single
file logs which aren't cheaper than the multi-file logs.


You could be right.  In any case, the Facebook devs are claiming wins for all 
change-related commands, including status, diff, update and commit:

https://code.facebook.com/posts/218678814984400/scaling-mercurial-at-facebook/


At the current point of time, due to a discussion about version control
on the Emacs developer list, I am working on git blame which is
ridiculously slow.  For the file src/xdisp.c, it takes about 2 minutes
on my computer.  I've cut it down by some 20 or 30% on the first
attempt, but with my current approach, I should eventually get it down
to few seconds at most.  At the current point of time, it segfaults
almost instantaneously.  One out of two ain't bad...

Ridiculous that this code has not been sensibly improved over the last
10 years or so...


It's a surprise to me, certainly.  What do you think of the Facebook developers' 
contention that Git's internals would be difficult to work with if serious 
scaling gains are desired?


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Re: Version control tools

[Joseph Rushton Wakeling]

On 07/01/14 14:51, Urs Liska wrote:

I don't think it would be advisable to encourage any _new_ user to learn SVN or
CVS (if it isn't for a specific project of interest), but for your use case this
is surely a valid question.


One way in which svn can still be useful is in cases where you want the code but 
don't care about having a local copy of the version history.  Example: recently 
I needed the latest gcc trunk source.  Cloning via git-svn or bzr-svn proved 
extraordinarily slow and painful simply because the history was so large; taking 
a svn checkout was much quicker and easier, and (obviously) also used far less 
disk space; and it was completely adequate to purpose, because all I wanted was 
the ability to keep the code up to date, not to commit to it myself.


I do wonder if this is one of the reason why some projects keep svn as the main 
VCS, using git or other DVCS mirrors for those who want to use them.



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Re: Version control tools

[David Kastrup]

Joseph Rushton Wakeling  writes:

> On 08/01/14 21:13, David Kastrup wrote:
>
>> At the current point of time, due to a discussion about version
>> control on the Emacs developer list, I am working on git blame which
>> is ridiculously slow.  For the file src/xdisp.c, it takes about 2
>> minutes on my computer.  I've cut it down by some 20 or 30% on the
>> first attempt, but with my current approach, I should eventually get
>> it down to few seconds at most.  At the current point of time, it
>> segfaults almost instantaneously.  One out of two ain't bad...
>>
>> Ridiculous that this code has not been sensibly improved over the last
>> 10 years or so...
>
> It's a surprise to me, certainly.  What do you think of the Facebook
> developers' contention that Git's internals would be difficult to work
> with if serious scaling gains are desired?

Well, I'll answer like Gandhi when asked "Mr Gandhi, what do you think
of Western civilization?": "I'd consider it a good idea.".

I've taken a look at some of the difference machine internals (that's
basically git's workhorse) and found out that optimizations I did in
2006 or so have not been superseded.  Now it's hard to get those much
faster but it was still sort of a surprise that the core stayed pretty
much the same.  It's mostly the callers who get some polish, and
options, and utf-8 message re-/encoding and such things.

-- 
David Kastrup

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Autochange not working

[muggle]

Here is my code:


\version "2.16.2" 

\header{ 
  title =  \markup{"title"} 
  subsubtitle = \markup{"subtitle"} 
} 

up = \relative c'' { 
  \clef treble 
  \key c \major 
  \time 4/4
  \autochange {c4 c, c, c' c' c, c, c, c' c' c' c'}
} 

down = \relative c { 
  \clef bass 
  \key c \major 
  \time 4/4
} 

\score { 
  << 
\new PianoStaff << 
  \new Staff = "up" \up 
  \new Staff = "down" \down 
>> 
  >> 
  \layout { 
\context { \Staff \RemoveEmptyStaves } 
  } 
  \midi { } 
} 


where all notes appear in the bass clef. Is there a way to specify which
notes go where? For example, if I want all notes above A (it's 3 semitones
below middle C) to be printed on the treble clef, is there a command to do
so?



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Re: Autochange not working

[Eluze]

muggle wrote
> Here is my code:
> [...]
> 
> where all notes appear in the bass clef. Is there a way to specify which
> notes go where? For example, if I want all notes above A (it's 3 semitones
> below middle C) to be printed on the treble clef, is there a command to do
> this?

 in NR "Changing staff automatically" there is:

"A \relative section that is outside of \autochange has no effect on the
pitches of the music,
so if necessary, put \relative inside \autochange."

hth
Eluze



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Re: Autochange not working

[muggle]

So it should be something like this:

 \relative{\autochange {c4 c, c, c' c' c, c, c, c' c' c' c'}}

? It doesn't seem to make much difference...



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Re: Autochange not working

[muggle]

Doh! I mean:

\autochange { \relative{c4 c, c, c' c' c, c, c, c' c' c' c'}} 

...and it works.

Thanks!






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Issue with autochange, staves and rests

[muggle]

I get a funny-looking score with my code:


\version "2.16.2"

\header{
  title =  "title"
  subsubtitle = "composer"
}

up = \relative c' {
  \clef treble
  \key c \major
  \time 12/8
R1*12/8 r4. \autochange {\relative {e,16 f g a b c d e f g a b c d r f r a}} 
}

down = \relative c {
  \clef bass
  \key c \major
  \time 12/8
c1.
}

\score {
  <<
\new PianoStaff <<
  \set Score.connectArpeggios = ##t
  \new Staff = "up" \up
  \new Staff = "down" \down
>>
  >>
  \layout {
\context { \Staff \RemoveEmptyStaves
  \override VerticalAxisGroup #'remove-first = ##t }
  }
}


Basically the second bar is broken when I have that r4. rest. If there are
just notes instead of r4., everything is OK. Is there a way to glue that
stave together?



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Re: Issue with autochange, staves and rests

[muggle]

OK, now I'm just being thick :(

R1*12/8 \autochange {\relative {r4. e,16 f g a b c d e f g a b c d r f r a}} 

should do the trick.

Sorry if I've wasted your time.



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