date:20140312

2014-03-12 3:19 GMT+01:00 brentboylan :

Hey,


Hi Brent,

Is the server just down temporarily?


Yep. Sebastiano's working hard to fix that.

 I can't find the specific snippet I am looking for when I
> browse through its files.
>

I can send you the one you're looking for.

Cheers,
Pierre
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Re: Lilypond Snippet Repository


Am 12.03.2014 09:07, schrieb Pierre Perol-Schneider:

2014-03-12 3:19 GMT+01:00 brentboylan :

Hey,


Hi Brent,

Is the server just down temporarily?


Yep. Sebastiano's working hard to fix that.

  I can't find the specific snippet I am looking for when I

browse through its files.



I can send you the one you're looking for.


To make this clear:
https://github.com/openlilylib/snippets is a different thing from the LSR.

Originally Janek created this repository to be able to provide snippets 
and other material that wasn't compatible with LilyPond 2.14, which then 
ran on LSR.
Now that Pierre updated everything to Lilypond 2.18 (thanks!) situation 
is somewhat different. But I think the Github repository is useful 
anyway. The major difference is that you can use the openlilylib repo as 
an includable library. That is: download (or git clone), add the root 
directory to LilyPond's include path and then simply include what you 
need through the relative paths.


HTH
Urs



Cheers,
Pierre



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Re: Status of the kerning and Ligature bugs on Windows machines

2014-03-12 Thread Phil Holmes

No.  If you read the links I posted, you'll see it's the way font handling 
happens, and the need is to test code on Windows.

--
Phil Holmes

  - Original Message - 
  From: Joshua Nichols 
  To: Phil Holmes 
  Cc: Mailinglist lilypond-user 
  Sent: Wednesday, March 12, 2014 5:32 AM
  Subject: Re: Status of the kerning and Ligature bugs on Windows machines

  I wish I could help, but I am no programmer, unless there is something I 
should look at... Is this all in relationship to scheme?

  IC,

  Josh

  On Tue, Mar 11, 2014 at 7:44 PM, Phil Holmes  wrote:

No fix.  See http://code.google.com/p/lilypond/issues/detail?id=2657 and 
http://code.google.com/p/lilypond/issues/detail?id=2656.  I think there are 2 
options; offer to help fix them or run Linux in a VM.

--
Phil Holmes

  - Original Message - 
  From: Joshua Nichols 
  To: Mailinglist lilypond-user 
  Sent: Tuesday, March 11, 2014 6:09 PM
  Subject: Status of the kerning and Ligature bugs on Windows machines

  Does anyone have a fix to this problem? I'd really like to have my "ff," 
"fl," and other such things work within the font systems with Windows. Last 
time I check, it looked like it was a GhostScript problem...? Not sure what I'm 
saying at the moment, but I'd like to know the status of this, or if anyone 
knows a way to get this things to appear without manually calling them within 
the special character map within the OS.

  Sincerely,

  Josh

--

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Re: Oskar Fried: the Big Bang


Am 12.03.2014 04:51, schrieb Paul Morris:

(I'd say a ponding is in order!)


Not really, as there is a news item present by now.

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Winterreise (was: Oskar Fried: the Big Bang)


Am 11.03.2014 17:57, schrieb Federico Bruni:

Congratulations! I'm very glad to see that your hard work has been rewarded.

I'll do my best to support the liberation of the book. This is a succesful
campaign which might inspire you:
http://debian-handbook.info/liberation/




Inspiring story, indeed.
But - as with the OpenGoldberg project - there is a significant 
difference to our initiative. Both the Goldberg Variations and Debian 
are somewhat "central works". Of course Bach more than an operating 
system, but you'll get what I mean.


Not having a free book about Debian is definitely a bigger loss than not 
having a free edition of Fried's music.


So the incentive in our case should probably be targeted more at 
LilyPond itself, or the quality of free software in general and the 
power of plain text based workflows in particular.


You may be interested in reading this too:
http://www.preining.info/blog/2014/03/power-tex-music-scores/

Best
Urs



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Winterreise (was: Feedback for starting a crowd funding campaign)

Am 05.03.2014 19:38, schrieb Paul Morris:

Hi Urs,
You might take a look at these as examples, if you haven't already:

https://www.kickstarter.com/projects/opengoldberg/open-goldberg-variations-setting-bach-free

https://www.kickstarter.com/projects/opengoldberg/open-well-tempered-clavier-bah-to-bach

Best of luck with it!
-Paul

The fundamental difference here is that practically everybody knows who
Bach is and what he stands for, and there are uncountable numbers of
people caring about his music and potentially interested in a crowd
funding campaign on that basis.
I don't have any illusions about the interest a certain Oskar Fried will
raise by himself, so I hope we can make it interesting from the
"project" perspective.

But while we're at it I had an idea about a project that could become
similar to the Bach projects: We could try to prepare a crowd funded
edition of Schubert's "Winterreise".

This is not only something pulled out of the corner because it's a
prominent piece. There really _are_ significant aspects that can be
added to the existing editions. I don't have the time to go into detail
here, but I have invested significant amounts of time on it in the
context of my doctoral thesis, and there _are_ unresolved questions,
regarding original keys, and at least in one case regarding the issue in
which way the shorthand notation of articulations in the manuscript of
"Letzte Hoffnung" should be expanded.

Creating a free edition of the "Winterreise" that takes such questions
into account and makes it possible to generate individual transpositions
would be similar as a contribution to the mentioned Bach projects.

Adding a recording to that would be nice bonus, but no requirement.
Could actually be a second-level target (i.e. if a given amount of extra
money is collected). I'm quite positive that I could get a prominent
singer to do this.

I'd be really interested in such a project, but I have to say that I
could only really consider it if it is sufficiently crowdfunded
beforehand. And I think it would be expensive.

Best
Urs

--
Urs Liska
www.openlilylib.org

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Re: Winterreise (was: Feedback for starting a crowd funding campaign)

2014-03-12 Thread Jan Warchoł

2014-03-12 10:17 GMT+01:00 Urs Liska :

> Am 05.03.2014 19:38, schrieb Paul Morris:
>
>> Hi Urs,
>> You might take a look at these as examples, if you haven't already:
>>
>> https://www.kickstarter.com/projects/opengoldberg/open-
>> goldberg-variations-setting-bach-free
>>
>> https://www.kickstarter.com/projects/opengoldberg/open-
>> well-tempered-clavier-bah-to-bach
>>
>> Best of luck with it!
>> -Paul
>>
>>  []
> Adding a recording to that would be nice bonus, but no requirement. Could
> actually be a second-level target (i.e. if a given amount of extra money is
> collected). I'm quite positive that I could get a prominent singer to do
> this.
>
> I'd be really interested in such a project, but I have to say that I could
> only really consider it if it is sufficiently crowdfunded beforehand. And I
> think it would be expensive.
>

I'd be interested, too!  Actually, at Waltrop 2012 we were thinking about a
Kickstarter campaign, but didn't decide anything then...

And i think that a recording is **very** important from the crowdfunding
point of view, because that's something _anyone_ can "consume", as opposed
to sheet music.  Really, i think that a recording would make success 3
times more likely.

Anyway, we shall see how this campaign turns out, and then what commissions
we may get after the award.  So i've marked the beginning of May as "look
at Winterreise again" :)

best,
Janek
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Re: Winterreise


Am 12.03.2014 10:23, schrieb Jan Warchoł:

2014-03-12 10:17 GMT+01:00 Urs Liska :



I'd be really interested in such a project, but I have to say that I could
only really consider it if it is sufficiently crowdfunded beforehand. And I
think it would be expensive.



I'd be interested, too!  Actually, at Waltrop 2012 we were thinking about a
Kickstarter campaign, but didn't decide anything then...

And i think that a recording is **very** important from the crowdfunding
point of view, because that's something _anyone_ can "consume", as opposed
to sheet music.  Really, i think that a recording would make success 3
times more likely.

Anyway, we shall see how this campaign turns out, and then what commissions
we may get after the award.  So i've marked the beginning of May as "look
at Winterreise again" :)

>

Yes, and we can't start such an undertaking as a duo project. To be 
promising it should be backed by a number of contributors right from the 
start. And with contributors I don't mean "hired copyists".


Best
Urs



best,
Janek



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Re: Lilypond Snippet Repository

Everything should be fine now.
~Pierre
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Re: Winterreise

2014-03-12 Thread Peter Crighton

2014-03-12 10:28 GMT+01:00 Urs Liska :

> Am 12.03.2014 10:23, schrieb Jan Warchoł:
>
>> 2014-03-12 10:17 GMT+01:00 Urs Liska :
>>
>>
>>> I'd be really interested in such a project, but I have to say that I
>>> could
>>> only really consider it if it is sufficiently crowdfunded beforehand.
>>> And I
>>> think it would be expensive.
>>>
>>>
>> I'd be interested, too!  Actually, at Waltrop 2012 we were thinking about
>> a
>> Kickstarter campaign, but didn't decide anything then...
>>
>> And i think that a recording is **very** important from the crowdfunding
>> point of view, because that's something _anyone_ can "consume", as opposed
>> to sheet music.  Really, i think that a recording would make success 3
>> times more likely.
>>
>> Anyway, we shall see how this campaign turns out, and then what
>> commissions
>> we may get after the award.  So i've marked the beginning of May as "look
>> at Winterreise again" :)
>>
> >
>
> Yes, and we can't start such an undertaking as a duo project. To be
> promising it should be backed by a number of contributors right from the
> start. And with contributors I don't mean "hired copyists".
>


What do you mean then? :)
I’d be very interested in being part of this.

--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Re: Winterreise

2014-03-12 Thread Simon Albrecht


Am 12.03.2014 10:28, schrieb Urs Liska:

Am 12.03.2014 10:23, schrieb Jan Warchoł:

2014-03-12 10:17 GMT+01:00 Urs Liska :



I'd be really interested in such a project, but I have to say that I 
could
only really consider it if it is sufficiently crowdfunded 
beforehand. And I

think it would be expensive.



I'd be interested, too!  Actually, at Waltrop 2012 we were thinking 
about a

Kickstarter campaign, but didn't decide anything then...

And i think that a recording is **very** important from the crowdfunding
point of view, because that's something _anyone_ can "consume", as 
opposed

to sheet music.  Really, i think that a recording would make success 3
times more likely.

Anyway, we shall see how this campaign turns out, and then what 
commissions
we may get after the award.  So i've marked the beginning of May as 
"look

at Winterreise again" :)


Yes, and we can't start such an undertaking as a duo project. To be 
promising it should be backed by a number of contributors right from 
the start. And with contributors I don't mean "hired copyists".


Best
Urs 

I’m a bit sceptical about this for two reasons:
– For all the great achievements that have been made in creating 
lilypond, I think you will all consent that it is still far from 
reaching the quality level represented by hand-engraving from the end of 
19th to the middle of 20th century. An example of this is the 
Winterreise edition by Max Friedländer on IMSLP 
 (which 
is of course insatisfactory in textual matters).
– We nowadays go very far in refinement of editorial methods and 
preparing ever new Urtext editions, which often differ from each other 
only in details sometimes insignificant for actual music making and for 
getting the actual meaning of the music. Don’t misunderstand me: there 
are of course Urtext editions which do in fact shed a new light on the 
music and provide significant novelties. And if on top of that the 
typographical quality is acceptable or even nice (yes, it does occur, 
even without lilypond, in rare cases), I also buy them. But with Bach 
for example, I think most volumes of the old Bach complete edition 
 
maintain a really high scientific standard on top of being beautiful, 
and they are freely available already, which to me makes the earlier 
mentioned Open Goldberg/WTC campaign somewhat needless.
To come back on the Winterreise topic, on the above linked IMSLP site 
there is also the edition by Mandyczewski (also from a Breitkopf & 
Härtel complete edition), whose editorial work I consider to be level to 
that of most modern „Urtext” editions. The drawbacks are in this case: 
there is no medium/low voice edition, and the engraving is very nice, 
but too airy for my taste and thus also takes more pages than necessary 
for many pieces, which makes a practical inconvenience for the pianist.
So I do see the possibility of bringing together the best available 
typographical and scientific quality and make a „Winterreise” edition 
meeting all needs. However it’s not like there isn’t already a very good 
edition in the public domain.
(And it’s not a silly idea either to buy the very affordable Urtext 
edition by Peters, which takes the original, unsurpassed layout of the 
Friedländer edition and adds changes necessitated by textual revision, 
and then have it in fine print quality also.)
To conclude this: I’m under the impression that it would be better to 
focus on less-known music, of which there are no good editions already 
(like you did with Fried!) and perhaps live with the thought that having 
to pay for sheet music is perfectly fair and corresponds to the value of 
the product.
Or I’m simply lacking your musicological proficiency and my estimate 
about the necessity of a new edition of Schubert’s Winterreise is 
incorrect? After all, I am judging it more from the artist’s than from 
the scientist’s point of view.


Best regards,

Simon Albrecht
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Re: Winterreise

Urs Liska  writes:

> But while we're at it I had an idea about a project that could become
> similar to the Bach projects: We could try to prepare a crowd funded
> edition of Schubert's "Winterreise".
>
> This is not only something pulled out of the corner because it's a
> prominent piece. There really _are_ significant aspects that can be
> added to the existing editions.

Well, quite banally: as a song circle for a single singer, it is a
rather obvious target for individually transposed versions.

An even more prominent target for "individually transposed versions"
would be Monteverdi's Vespers as they are usually adopted according
tunings, voice distribution, instrumentation and a few other things,
partly per-piece.

-- 
David Kastrup

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Re: Winterreise

2014-03-12 Thread ul

Zitat von Simon Albrecht :

Am 12.03.2014 10:28, schrieb Urs Liska:

Am 12.03.2014 10:23, schrieb Jan Warchoł:

2014-03-12 10:17 GMT+01:00 Urs Liska :

I'd be really interested in such a project, but I have to say that I could
only really consider it if it is sufficiently crowdfunded
beforehand. And I

think it would be expensive.

I'd be interested, too! Actually, at Waltrop 2012 we were thinking about a
Kickstarter campaign, but didn't decide anything then...

And i think that a recording is **very** important from the crowdfunding
point of view, because that's something _anyone_ can "consume", as opposed
to sheet music. Really, i think that a recording would make success 3
times more likely.

Anyway, we shall see how this campaign turns out, and then what commissions
we may get after the award. So i've marked the beginning of May as "look
at Winterreise again" :)

Yes, and we can't start such an undertaking as a duo project. To be
promising it should be backed by a number of contributors right
from the start. And with contributors I don't mean "hired copyists".

Best
Urs

I’m a bit sceptical about this for two reasons:
– For all the great achievements that have been made in creating
lilypond, I think you will all consent that it is still far from
reaching the quality level represented by hand-engraving from the
end of 19th to the middle of 20th century. An example of this is the
Winterreise edition by Max Friedländer on IMSLP

(which is of course insatisfactory in textual matters).
– We nowadays go very far in refinement of editorial methods and
preparing ever new Urtext editions, which often differ from each
other only in details sometimes insignificant for actual music
making and for getting the actual meaning of the music. Don’t
misunderstand me: there are of course Urtext editions which do in
fact shed a new light on the music and provide significant
novelties. And if on top of that the typographical quality is
acceptable or even nice (yes, it does occur, even without lilypond,
in rare cases), I also buy them. But with Bach for example, I think
most volumes of the old Bach complete edition
maintain a really high scientific standard on top of being beautiful, and they are freely available already, which to me makes the earlier mentioned Open Goldberg/WTC campaign somewhat
needless.
To come back on the Winterreise topic, on the above linked IMSLP
site there is also the edition by Mandyczewski (also from a
Breitkopf & Härtel complete edition), whose editorial work I
consider to be level to that of most modern „Urtext” editions. The
drawbacks are in this case: there is no medium/low voice edition,
and the engraving is very nice, but too airy for my taste and thus
also takes more pages than necessary for many pieces, which makes a
practical inconvenience for the pianist.
So I do see the possibility of bringing together the best available
typographical and scientific quality and make a „Winterreise”
edition meeting all needs. However it’s not like there isn’t already
a very good edition in the public domain.
(And it’s not a silly idea either to buy the very affordable Urtext
edition by Peters, which takes the original, unsurpassed layout of
the Friedländer edition and adds changes necessitated by textual
revision, and then have it in fine print quality also.)
To conclude this: I’m under the impression that it would be better
to focus on less-known music, of which there are no good editions
already (like you did with Fried!) and perhaps live with the thought
that having to pay for sheet music is perfectly fair and corresponds
to the value of the product.
Or I’m simply lacking your musicological proficiency and my estimate
about the necessity of a new edition of Schubert’s Winterreise is
incorrect? After all, I am judging it more from the artist’s than
from the scientist’s point of view.

Hm, there _are_ some points to what you say. But I'd say that in the
case of Winterreise there _are_ significant aspects that aren't
completely clear yet. Maybe the open questions wouldn't warrant a new
commercial printed edition, but perhaps exactly a more volatile
digital edition. There are questions in the Winterreise that can't
ever be finally decided, but the editor of a printed edition _has_ to
make definitive decisions. This is something a digital edition can try
to deal with better - even when the final medium will still be a
printout on paper.

As said I don't have the time to go into detail currently, but just a
few hints:

There hasn't been _any_ edition so far that printed the songs in the
"original" keys, _all_ editions take the keys of the first
publication. Five songs, however, had originally been composed in
different keys, and it can very well be ar

Re: Winterreise

2014-03-12 Thread ul



Zitat von Peter Crighton :


2014-03-12 10:28 GMT+01:00 Urs Liska :


Am 12.03.2014 10:23, schrieb Jan Warchoł:


2014-03-12 10:17 GMT+01:00 Urs Liska :



I'd be really interested in such a project, but I have to say that I
could
only really consider it if it is sufficiently crowdfunded beforehand.
And I
think it would be expensive.



I'd be interested, too!  Actually, at Waltrop 2012 we were thinking about
a
Kickstarter campaign, but didn't decide anything then...

And i think that a recording is **very** important from the crowdfunding
point of view, because that's something _anyone_ can "consume", as opposed
to sheet music.  Really, i think that a recording would make success 3
times more likely.

Anyway, we shall see how this campaign turns out, and then what
commissions
we may get after the award.  So i've marked the beginning of May as "look
at Winterreise again" :)


>

Yes, and we can't start such an undertaking as a duo project. To be
promising it should be backed by a number of contributors right from the
start. And with contributors I don't mean "hired copyists".




What do you mean then? :)


I mean people that take some (administrative) responsibility on their own.
There are so many things to do and keep track of in such a project, we  
can't do this alone. Just out of my head one would need people that


- can administer a Git repo
- can create a professional campaign
- have experience with "spreading the word"
- can design (and perhaps maintain) a website
- can discuss and implement innovative web interfaces (for the end  
user presentation)

- have perhaps a better idea about money

... could be continued ...


I’d be very interested in being part of this.


Taken into account :-)

Urs



--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de





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Re: Winterreise

Simon Albrecht  writes:

> – For all the great achievements that have been made in creating
> lilypond, I think you will all consent that it is still far from
> reaching the quality level represented by hand-engraving from the end
> of 19th to the middle of 20th century.

Fortunately, the competition regarding things like transposability and
up-to-date state of research cannot do better than the quality level
represented by computer engravings from the early 21st century.

> But with Bach for example, I think most volumes of the old Bach
> complete edition
> 
> maintain a really high scientific standard on top of being beautiful,
> and they are freely available already, which to me makes the earlier
> mentioned Open Goldberg/WTC campaign somewhat needless.

[...]

> Or I’m simply lacking your musicological proficiency and my estimate
> about the necessity of a new edition of Schubert’s Winterreise is
> incorrect? After all, I am judging it more from the artist’s than from
> the scientist’s point of view.

Which will be the viewpoint for the overwhelming number of possible
customers, so not likely dismissed.

At any rate, regarding possible future projects and directions, it might
be worth talking with Jan Rosseel who is doing a tablet-based
synchronized sheet-reading solution for orchestra needs based on
LilyPond typesetting.  His project will run into scalability problems
once the project is taking off commercially (at the current point of
time, it has been premiered with one orchestra and that involved
basically turning his entire family into music typists).  That is an
"added value" project that is not easily possible with a normal printed
edition.

-- 
David Kastrup

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Re: markuplist and markup

2014-03-12 Thread Simon Albrecht

Well, now you ask, I did find it difficult to figure out what 
\markuplist actually does. As the command overviews in NR A.10 and A.11 
are separated, I thought \markuplist and \markup were actually different 
things and somehow incompatible. As I now take it, it’s rather like 
\markuplist splits the markup contained in its argument and makes every 
line be a separate object. Is this correct?

Perhaps I try some suggestions for clarification in the docs:
– Include NR A.11 as a subdivision in NR A.10 in order to make clear 
that \markup and \markuplist are not alien to each other.
– Rewrite NR 1.8.3, section „Multi-page markup”. Perhaps it’s easier to 
understand if one uses just one opening paragraph and then two or three 
examples. One proposal (in my second-language English...):


"Standard markup objects are not breakable. Therefore, some special 
commands are available which make a separate object out of every markup 
line and thus permit page breaks to be inserted inbetween:

[first example:]
\markuplist {
"foo"
\line { bar bar }
\column { \line { baz }
\line { bla } }
}
[second example:]
\markuplist {
\column-lines {
many
lines
\line { of text }
}
}
[third example: the one already included]

\markuplist {
\justified-lines {
A very long text of justified lines.
...
}
\wordwrap-lines {
Another very long paragraph.
...
}
...
}

An exhaustive list of markup list commands can be found in "Text markup 
list commands".

"


Eventually, one might add after the third example a remark like
"Markup list commands can be used inside \markup at the expense of 
losing their breakability.
If a markup command has a markup list as its argument, it is applied to 
every element of the markup list separately", perhaps even with an example.
However I think the only case where this makes sense is with 
\table-of-contents, so if no one objects and knows of other applications 
worth adding them to the NR, I’d rather make a remark in 3.2.5 Table of 
contents. This should probably be at the end of the section, by adding a 
paragraph and example after the current last example:


"\table-of-contents can also be used inside normal \markup, in order to 
combine it with markup commands:


\book {
\markup {

\override #'(line-width . 30)

\box \column \table-of-contents

}

\tocItem \markup { Allegro }

\tocItem \markup { Largo }

\markup \null
}
Note the \column before \table-of-contents: without it, a box would be 
drawn around every line of the table of contents."


Or is this rather a case for the LSR?


Please give your opinion.


Best regards,

Simon


PS. I cc’ed the bug list since the doc enhancement should perhaps be 
discussed there.



Am 10.03.2014 17:17, schrieb David Kastrup:

Simon Albrecht  writes:


is there any possibility to include \markuplist commands inside
\markup?  I’m trying to use a \table-of-contents with reduced
line-width, centered on the page and with a box around it, if
possible. All of these are easily feasible with \markup commands, but
not with \markuplist. Did I overlook some „integration” feature or
should I suggest creating one?

I have no idea what you are talking about.  Care for an actual example?
You can use \table-of-contents anywhere in a markup where you could use
a markup list enclosed in { ... }.  Neither \markup or \markuplist are
something one uses within markup or markup lists: they are just telling
LilyPond when it is in music typesetting mode that it should switch to
markup mode for a moment.

I’m so sorry. I just misunderstood something, or my brain was fuzzy,
but actually it all works.

The question is whether there is something in the docs that would have
contributed to a misunderstanding, or whether there could have been
something in the docs that would have prevented it.



--
Simon Albrecht, Kirchenmusikstudent


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Re: Rookie transpose / bookpart questions

2014-03-12 Thread brentboylan

In regards to this snippet: "Transposing pitches with minimum accidentals
("Smart" transpose)


Ole Schmidt wrote
> Maybe this could help too?
> 
> http://lsr.dsi.unimi.it/LSR/Item?id=266
> 
> best
> 
> ole

How do I get something like this to work for chordnames? I am doing a
similar project to the original poster, creating leadsheets for jam sessions
with friends (bass player, trumpet, alto sax, clarinet.) I'm using \bookpart
to create and transpose a page for each part but when I transpose lilypond
wants to default to F# instead of Gb, for example, even though Gb makes more
sense in the key of the other music.

(I've also run into the problem of page numbering and can't find a usable
solution to restart the numbering for each bookpart. For now I am just
turning page numbering off.)



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Re: markuplist and markup

Simon Albrecht  writes:

> Well, now you ask, I did find it difficult to figure out what
> \markuplist actually does. As the command overviews in NR A.10 and
> A.11 are separated, I thought \markuplist and \markup were actually
> different things and somehow incompatible. As I now take it, it’s
> rather like \markuplist splits the markup contained in its argument
> and makes every line be a separate object. Is this correct?

No.  \markuplist takes a markup list and makes a markup list.  I can
write things like

xxx = \markuplist { a b c }

\markup \column \xxx

and get the same result as if I wrote

\markup \column { a b c }

\column takes a markup list as an argument and converts it into a single
markup.  So does \line, but in a different way.  If \markup is
immediately followed by a markup _list_ rather than a markup, it
implicitly calls \line to convert that markup list into a single markup.

> "Standard markup objects are not breakable. Therefore, some special
> commands are available which make a separate object out of every
> markup line and thus permit page breaks to be inserted inbetween:

No, that's pretty wrong.  Markups are complete entities.  You never
split them (we recently discussed something like \line-parts that
_would_ break a markup into components but that's an exception that does
not even exist yet).

Calling a markup list command or enclosing any number of markups (or
markup lists which are then included element-wise) with { } forms a
markup list, which is a sequence of single markups not yet combined in
any manner.

As a special exception, markup commands accepting a markup as their last
element can also be written with a markup list as its last element and
then are applied per-element.

That means that
\markup \small { a b c d }
is the same as
\markup \line { \small a \small b \small c \small d }

which is different from

\markup \small \line { a b c d }

since the latter uses _small_ spaces while the former uses normal spaces
between small letters.

-- 
David Kastrup

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Re: Oskar Fried: the Big Bang

2014-03-12 Thread Jan Nieuwenhuizen

Urs Liska writes:

> Our edition of Oskar Fried's songs was elected "BEST EDITION 2014" by
> the German Music Publishers' Association, and we'll receive the award
> at the Frankfurt Musikmesse on Friday!

Congratulations!  This is a beautiful accomplishment.

I am very pleased to see that you have a detailed overview of what
manual work needed to be done to achieve this kind of quality.  I hope
some of that knowlegde can be integrated into LilyPond.  If we get a
better grasp of what it would take to improve slurs and ties for
example, what categories of mistakes the slur engine makes, etc.

Greetings, Jan

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

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dot placement with staff switch

2014-03-12 Thread Stan Sanderson

I’m stuck as to how to correct the placement of the dot in the code and attached example. Changing stem direction leaves the dot under the line, rather than above. I’d be grateful for a suggestion.version "2.19.3"\language "english"global = {        \key f \major        \time 4/4}fHSr = { \once \override NoteColumn.force-hshift = #1.5 }rightOne = \relative c' {        \global        r2 r4 f | f g a bf |}rightTwo = \relative c' {        \global        bf4 e \showStaffSwitch        f2 \change Staff = "left" \stemUp |        \once \override NoteColumn.force-hshift = 1.7 c2. d4 |}leftOne = \relative c' {        \global        bf1 | a |}leftTwo = \relative c {        \global        d1 | f1}\score {        \new PianoStaff  <<                \new Staff = "right" << \rightOne \\ \rightTwo >>                \new Staff = "left"  { \clef bass << \leftOne \\ \leftTwo >> }        >>        \layout { }}___
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[LSR] Some reflections.

[Cci] Sebastiano.

Dear All,
Dear Sebastiano,

Now that the LSR spring cleaning is done, i'd like to throw some ideas to
enrich, to simplify, to develop the users participation.
The LilyPond Snippet Repository is a wonderful data bank - and we all use
it to find ideas, solution, scheme code, etc. but I have the feeling that
it runs in slow motion.
Having said that, I think it would be great and helpful to :

1. have the LSR translated (at least the front pages into the usual
langages);
@Seba: would it be problematic to add a langage option?

2. have a dedicated mailing list - such as the one for the Bug list - which
would be used for :
- new snippet announcement
- LSR multilinguage translations
- dispach work for snippets updates
- a collective snippet sand box
- a waiting room for LSR publication or to
http://lilypondblog.org/publication (including helps to write into a
readable english)
- all LSR related questions
etc.

Cheers,
~Pierre
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Re: dot placement with staff switch

2014-03-12 Thread Stan Sanderson

On Mar 12, 2014, at 4:18 PM, Pierre Perol-Schneider 
 wrote:

> 2014-03-12 21:46 GMT+01:00 Stan Sanderson :
> 
> I’m stuck as to how to correct the placement of the dot in the code and 
> attached example.
> 
>  \once\dotsUp c2.
> 
> HTH,
> Pierre

Thank you!

Aggh, it was so simple. I tried the note-column switch after I had put the 
sample together, but nothing moved. I had done a google search of the docs but 
didn’t find Pierre’s solution.

Kieren’s suggestion is of course the more elegant approach, and I would use it 
if there were many occurrences of staff switches. 

Again, thanks to all.

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Re: Oskar Fried: the Big Bang

2014-03-12 Thread Peter Bjuhr





Janek and I have made some fuzz recently about that secret March 11, and
now's the time to disclose the great news:

Our edition of Oskar Fried's songs was elected "BEST EDITION 2014" by
the German Music Publishers' Association, and we'll receive the award at
the Frankfurt Musikmesse on Friday!

:-) :-) :-)



Congratulations!

I'll surely support the campaign by buying a copy!

Best
Peter

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Re: Oskar Fried: the Big Bang

2014-03-12 Thread Server Acim


On 03/11/2014 01:07 PM, Urs Liska wrote:

Hi all,

Janek and I have made some fuzz recently about that secret March 11, and
now's the time to disclose the great news:

Our edition of Oskar Fried's songs was elected "BEST EDITION 2014" by
the German Music Publishers' Association, and we'll receive the award at
the Frankfurt Musikmesse on Friday!

:-) :-) :-)

I won't repeat everything you might be interested in, instead I strongly
suggest you read our blog post at

http://lilypondblog.org/2014/03/oskar-fried-the-big-bang/

One important thing has to be said, though:
We intend to open up the edition and make its sources freely available -
as soon as the publisher's expenses have been fully covered. For this to
become reality we really need your support. _Please_ also visit our
crowdfunding campain at http://igg.me/at/free-fried and _please_ spread
the word as widely as possible.

Best
Urs

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Congratulations. This is a huge success of you.

With my regards.


--
Server ACİM
- Besteci (Composer)
- İnönü Üniversitesi Öğretim Üyesi (Full Professor of Music Composition 
at Inonu Universitesi - Malatya - TURKEY)

- Linux Mint Kullanıcısı ve Destekçisi (Linux Mint User and Supporter)

http://google.com/+ServerAcim
http://about.me/server.acim

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footnotes in columns?

2014-03-12 Thread Shane Brandes

Is there way to get footnotes to break into columns after a certain
number of them is hit?

Shane

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Re: dot placement with staff switch

2014-03-12 21:46 GMT+01:00 Stan Sanderson :

I’m stuck as to how to correct the placement of the dot in the code and
> attached example.
>

 \once\dotsUp c2.

HTH,
Pierre
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Re: dot placement with staff switch

2014-03-12 Thread Kieren MacMillan

Hi Stan,

> I’m stuck as to how to correct the placement of the dot in the code and 
> attached example.

You should use Lilypond’s built-in voicing commands to your advantage, e.g.

\version "2.19.3"
\language "english"

global = {
  \key f \major
  \time 4/4
}

rightOne = \relative c' {
  r2 r4 f |
  f g a bf |
}

rightTwo = \relative c' {
  bf4 e \showStaffSwitch f2 \change Staff = "left" | 
  \voiceOne c2. d4 |
}

leftOne = \relative c' {
  bf1 |
  a |
}

leftTwo = \relative c {
  d1 |
  f1
}

\score {
  \new PianoStaff  <<
\new Staff = "right" << \global << { \voiceOne \rightOne } \\ { \voiceTwo 
\rightTwo } >> >>
\new Staff = "left" << \clef bass \global << { \voiceOne \leftOne } { 
\voiceTwo \leftTwo } >> >>
  >>
}

That way, you can avoid all of the manual shifts and stem direction changes, 
etc.

Hope this helps!
Kieren.
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Re: Lilypond Snippet Repository

2014-03-12 Thread brentboylan

Thanks, it's working fine now.



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Ossia in Orchestra Grouping

2014-03-12 Thread Shane Brandes

In a piano concerto I need to make an ossia that remains next to the
piano staff. The temporary \new Staff method forces the ossia to the
bottom of the score below the string section. Adding a completely
independent staff for the Ossia also won't work as removing empty
staves is counter to the needs of the rest of the score.

Shane

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Grace notes causing extra space in other staves

2014-03-12 Thread carltesta

Hello Everyone, 

I have a measure written below, the top staff of the piano has three beamed
grace notes and it seems to be affecting the spacing of the sixteenth notes
in the bottom staff. Is there anything I could do so that the unsightly
space in the middle of those sixteenth notes goes away?

Thanks,
Carl

\version "2.18.0"

global = {
  \key c \major
  \time 4/4
}

right = \relative c' {
  \global
  % Music follows here.
r4 8  \tuplet 3/2 {4  \grace {c'8( d
ees} 4)}
  
}

left = \relative c, {
  \global
  % Music follows here.
2 r4 \grace { s8 s s } ges16 a c e
  
}

\score {
  \new PianoStaff \with {
instrumentName = "Piano"
  } <<
\new Staff = "right" \with {
  midiInstrument = "acoustic grand"
} \right
\new Staff = "left" \with {
  midiInstrument = "acoustic grand"
} { \clef bass \left }
  >>
  \layout { }
}

 





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RE: Ossia in Orchestra Grouping

2014-03-12 Thread Mark Stephen Mrotek

Shane,

It can be done without invoking "\newStaff." Look at the second example
here:
http://lilypond.org/doc/v2.18/Documentation/notation/modifying-single-staves
#ossia-staves

Mark

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Shane Brandes
Sent: Wednesday, March 12, 2014 4:57 PM
To: LilyPond User Group
Subject: Ossia in Orchestra Grouping

In a piano concerto I need to make an ossia that remains next to the piano
staff. The temporary \new Staff method forces the ossia to the bottom of the
score below the string section. Adding a completely independent staff for
the Ossia also won't work as removing empty staves is counter to the needs
of the rest of the score.

Shane

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Re: Ossia in Orchestra Grouping

2014-03-12 Thread Shane Brandes

Mark

Thanks for the advice! It lead me to a solution. It can be done the
other way too. I just needed this to push it back where it belonged
using the following.
alignBelowContext = #"contextname"

That was a real headache since the context name in this case is not
the same as the voice name since there are multiple voices.

Shane


On Wed, Mar 12, 2014 at 10:17 PM, Mark Stephen Mrotek
 wrote:
> Shane,
>
> It can be done without invoking "\newStaff." Look at the second example
> here:
> http://lilypond.org/doc/v2.18/Documentation/notation/modifying-single-staves
> #ossia-staves
>
> Mark
>
> -Original Message-
> From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
> Shane Brandes
> Sent: Wednesday, March 12, 2014 4:57 PM
> To: LilyPond User Group
> Subject: Ossia in Orchestra Grouping
>
> In a piano concerto I need to make an ossia that remains next to the piano
> staff. The temporary \new Staff method forces the ossia to the bottom of the
> score below the string section. Adding a completely independent staff for
> the Ossia also won't work as removing empty staves is counter to the needs
> of the rest of the score.
>
> Shane
>
> ___
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Re: Grace notes causing extra space in other staves

2014-03-12 Thread SoundsFromSound

carltesta wrote
> Hello Everyone, 
> 
> I have a measure written below, the top staff of the piano has three
> beamed grace notes and it seems to be affecting the spacing of the
> sixteenth notes in the bottom staff. Is there anything I could do so that
> the unsightly space in the middle of those sixteenth notes goes away?
> 
> Thanks,
> Carl
> 
> \version "2.18.0"
> 
> global = {
>   \key c \major
>   \time 4/4
> }
> 
> right = \relative c' {
>   \global
>   % Music follows here.
> r4 8  \tuplet 3/2 {4
>  \grace {c'8( d ees} 4)}
>   
> }
> 
> left = \relative c, {
>   \global
>   % Music follows here.
> 
> 
> 2 r4 \grace { s8 s s } ges16 a c e
>   
> }
> 
> \score {
>   \new PianoStaff \with {
> instrumentName = "Piano"
>   } <<
> \new Staff = "right" \with {
>   midiInstrument = "acoustic grand"
> } \right
> \new Staff = "left" \with {
>   midiInstrument = "acoustic grand"
> } { \clef bass \left }
>   >>
>   \layout { }
> }
 

Hello Carl,

Does this assist you at all? 

Ben



The space given to grace notes can be adjusted using the spacing-increment
property of Score.GraceSpacing.

graceNotes = {
  \grace { c4 c8 c16 c32 }
  c8
}

\relative c'' {
  c8
  \graceNotes
  \override Score.GraceSpacing #'spacing-increment = #2.0
  \graceNotes
  \revert Score.GraceSpacing #'spacing-increment
  \graceNotes
}




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Re: Grace notes causing extra space in other staves

2014-03-12 Thread SoundsFromSound

Sorry, it's late tonight and I misunderstood what you were asking. Disregard
if it was of no help :)
(You are talking about the other stave, not the top one, oops!)





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Re: footnotes in columns?