Re: tempo percentage

2017-11-09 Thread Gianmaria Lari 
Thank you David & Mark!

Mark's solutions looks simpler. Any disadvantages using it comparing to
David'one?

Thank you, gianmaria

On 8 November 2017 at 18:15, David Kastrup  wrote:

> Gianmaria Lari  writes:
>
> > Talking about midi, is there any way to to reduce or increase the tempo
> of
> > some measures by a certain percentage instead of setting it to an
> absolute
> > value?
> >
> > For example instead of:
> >
> > \tempo 4=100 a b c d
> > \tempo 4=110 e f g a
> >
> >
> > something like
> >
> > \tempo 4=100 a b c d
> > \tempo 4=currentTempo*1.1 e f g a
> >
>
> Well, it's not pretty (but then one can try wrapping the prettiness into
> a music function), but here goes:
>
>
>
>
> --
> David Kastrup
>
>
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Re: tempo percentage

2017-11-09 Thread David Kastrup 
Gianmaria Lari  writes:

> Thank you David & Mark!
>
> Mark's solutions looks simpler. Any disadvantages using it comparing to
> David'one?

It doesn't do what you asked for, namely setting the tempo in relation
to the _current_ tempo rather than some fixed tempo.

That makes it simpler because it does not need to reference the current
tempo.  If its operation better suits your purposes, that's fine.
However, you shouldn't be mixing both approaches since Mark's solution
_rounds_ the tempo (and \tempo will only accept integers, so using
\tempo basically requires this), so the resulting tempo is nothing you
should use as a reference for further changes.

In particular, you can alternatively multiply and divide
tempoWholesPerMinute by #e1.1 (an "exact" number) and arrive at the
original value.

-- 
David Kastrup

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Re: Transposing an entire score

2017-11-09 Thread Vaughan McAlley 
On 8 November 2017 at 22:42, Francisco Vila  wrote:

> On 08/11/17 01:52, Flaming Hakama by Elaine wrote:
> >
> > Why? That would only make sense if you used the same variables in
> > different scores and wanted to transpose all of them
> >
> >
> >
> > I answered the question that was asked.
> > And it makes sense: to transpose music, you use the \transpose function.
>
> This is true, but I think what Simon says is that it is better to leave
> the music definitions in concert pitch and transpose the choir staff
> only, which is a single << >> music expression.
>
>
To clarify, replace line 29 of 01-clemens-a7-0-score.ly so that it it
changes from:

  \score {
<<
  \new ChoirStaff = choirStaff \with {

to:

  \score {
\transpose f af <<
  \new ChoirStaff = choirStaff \with {

If you want single parts (probably not), you would do a similar thing in
the respective parts files.

Don't write \transpose f as <<
as I did, because in English notes that makes A sharp major (four sharps
and three double sharps ;-) )

One of the first things I did in Lilypond was try to transpose a
renaissance choral piece, and I remember that it's not necessarily trivial
or easy, especially for a Lilypond beginner. It took a while for me to get
my head round the file structure of this piece. I prefer to put it all in
fewer files, though sometimes my file structure is just as weird.

Vaughan
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Re: tempo percentage

2017-11-09 Thread Gianmaria Lari 
On 9 November 2017 at 11:04, David Kastrup  wrote:

> Gianmaria Lari  writes:
>
> > Thank you David & Mark!
> >
> > Mark's solutions looks simpler. Any disadvantages using it comparing to
> > David'one?
>
> It doesn't do what you asked for, namely setting the tempo in relation
> to the _current_ tempo rather than some fixed tempo.
>

:)


> That makes it simpler because it does not need to reference the current
> tempo.  If its operation better suits your purposes, that's fine.
> However, you shouldn't be mixing both approaches since Mark's solution
> _rounds_ the tempo (and \tempo will only accept integers, so using
> \tempo basically requires this), so the resulting tempo is nothing you
> should use as a reference for further changes.
>
> In particular, you can alternatively multiply and divide
> tempoWholesPerMinute by #e1.1 (an "exact" number) and arrive at the
> original value.


Thank you David for the explanation. I understood the difference and now I
know when to use your or Mark's one.

Best regards, g.
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page-turn-breaking with toplevel markup

2017-11-09 Thread Toine Schreurs 
page-turn-breaking combined with toplevel markups issues a programming
error.

\version "2.19.80"
\paper {
  #(define page-breaking ly:page-turn-breaking)
}
\markup { one }
\markup { two }

GNU LilyPond 2.19.80
Processing `turnable.ly'
Parsing...
programming error: found a page-turnable place which was not breakable
continuing, cross fingers
programming error: found a page-turnable place which was not breakable
continuing, cross fingers
Calculating page and line breaks (1 possible page breaks)...[1]
Drawing systems...
.

The compilation completes succesfully, but the message clearly
suggests a programmming error.

greetings,
Toine Schreurs

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Re: Transposing an entire score

2017-11-09 Thread David Wright 
On Wed 08 Nov 2017 at 11:33:34 (-0800), Flaming Hakama by Elaine wrote:
> > From: Francisco Vila 
> > To: Flaming Hakama by Elaine , Simon Albrecht <
> > simon.albre...@mail.de>
> > Cc: peter bach , Lilypond-User Mailing List <
> > lilypond-user@gnu.org>
> > Bcc:
> > Date: Wed, 8 Nov 2017 12:42:59 +0100
> > Subject: Re: Transposing an entire score
> > On 08/11/17 01:52, Flaming Hakama by Elaine wrote:
> > >
> > > Why? That would only make sense if you used the same variables in
> > > different scores and wanted to transpose all of them
> > >
> > >
> > >
> > > I answered the question that was asked.
> > > And it makes sense: to transpose music, you use the \transpose function.
> >
> > This is true, but I think what Simon says is that it is better to leave
> > the music definitions in concert pitch and transpose the choir staff
> > only, which is a single << >> music expression.
> >
> > Transposing every definition does work indeed, but it is a potential
> > source of problems for reusing that music (maybe in another
> > transposition) unless you want the music definitions transposed at
> > origin once and forever, for some reason.
> >
> > --
> > Francisco Vila. Badajoz (Spain)
> > paconet.org , csmbadajoz.com
> >
> >
> 
> 
> I'll bet that no one else actually looked at the example provided.

Funny thing to say.

> Sure, you can \transpose at the score level;
> This is my normal practice as well.

Same here; my typical a cappella score starts
\book {
  \bookOutputSuffix "voices"
  \score {
\transpose f f
\new ChoirStaff <<
  \new Staff <<
apart from Anglican chants which have \trnsps, a music
function that allows for automatic transpositions when
making a psalm with LaTeX.

> However, in this example there were multiple scores across multiple files.
> Whereas the music variables, including \key's, were all in one file.

Yes, I would have done as you in the circumstances, except
I would have left the incipits untransposed; I don't think
it was originally written in four flats!

I don't usually have to take them into account as I print
mainly performing copies. I would be more concerned with
avoiding a riot¹ in the alto section by using a G clef,
and might then get away with only raising the key to G.

Cheers,
David.

¹ light-hearted expression; not intended to cause offence.
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openLilyLib (development)

2017-11-09 Thread Urs Liska 

Hi,

it would be really helpful if there would be someone (or more) who is 
interested and capable of joining the development of openLilyLib, 
especially the oll-core package.


I really think this system can make a difference, and it would be a pity 
if it wouldn't get the chance to mature and then get more accessible for 
the average user. Obviously I'm not in the situation to push that 
forward alone, and it seems noone else has sufficient knowledge yet, or 
at least the combination of knowledge, time, and motivation.


Please get in touch with me if you see any chance of learning more about 
it - I'd be happy to give hints and answer questions.


Best
Urs


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Re: openLilyLib (development)

2017-11-09 Thread Ralph Palmer 
Hi, Urs -

I have lot on my plate at the moment. When things settle down a little, I'd
like to take a look. I must warn you, though, that my programming skills
are pretty minimal.

Thanks for all you have done,

Ralph

On Thu, Nov 9, 2017 at 4:36 PM, Urs Liska  wrote:

> Hi,
>
> it would be really helpful if there would be someone (or more) who is
> interested and capable of joining the development of openLilyLib,
> especially the oll-core package.
>
> I really think this system can make a difference, and it would be a pity
> if it wouldn't get the chance to mature and then get more accessible for
> the average user. Obviously I'm not in the situation to push that forward
> alone, and it seems noone else has sufficient knowledge yet, or at least
> the combination of knowledge, time, and motivation.
>
> Please get in touch with me if you see any chance of learning more about
> it - I'd be happy to give hints and answer questions.
>
> Best
> Urs
>
>
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-- 
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com
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Re: openLilyLib (development)

2017-11-09 Thread Sam Bivens 

Hi Urs,

Like Ralph, my programming skills are minimal (=mostly nonexistent). Is 
there a way for people like us to contribute?


Thanks,

Sam


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Re: openLilyLib (development)

2017-11-09 Thread Urs Liska 



Am 09.11.2017 um 22:55 schrieb Sam Bivens:

Hi Urs,

Like Ralph, my programming skills are minimal (=mostly nonexistent). 
Is there a way for people like us to contribute?


Definitely!
One of the things openLilyLib is missing is documentation of various 
kinds. In a way the most pressing is some low-level "package 
documentation" on the file level. It is pressing because it requires 
prior development of a suitable infrastructure (actually we had exposed 
this as a project suggestion for the Google Summer of Code this year), 
and because this will become even more a problem with each added package 
or package feature.


But equally useful for making openLilyLib usable and useful is a layer 
of high-level descriptions, and this is something non-programmers can 
very well contribute to. It would be good to have more content on 
oll-core's Wiki (https://github.com/openlilylib/oll-core/wiki), giving 
more essayistic and practical information about what openLilyLib *is*, 
how it generally works and how it can be installed and used. 
Additionally similar overviews would be useful for the individual 
packages themselves (which can be found on https://github.com/openlilylib).


One possible way to contribute would be to get familiar with the system 
and/or with individual packages (the existing package are of quite 
varying complexity and maturity ...) and add descriptions to the Wiki 
pages of the different packages.


Getting familiar with packages can be started by trying out and 
investigating the example files that should be present in all packages. 
Of course I and the main authors of other packages would be happy to 
help with that process.
And working on that kind of high-level documentation can easily be done 
in the GIthub web interface, with very little (if at all) knowledge of Git.


Best
Urs



Thanks,

Sam


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Re: Transposing an entire score

2017-11-09 Thread Flaming Hakama by Elaine 
> From: Wols Lists 
> To: Flaming Hakama by Elaine , Lilypond-User
> Mailing List 
> Subject: Re: Transposing an entire score
> On 08/11/17 19:38, Flaming Hakama by Elaine wrote:
> >
> > Subject: Re: Transposing an entire score
> > On 08/11/17 11:42, Francisco Vila wrote:
> > > Transposing every definition does work indeed, but it is a
> potential
> > > source of problems for reusing that music (maybe in another
> > > transposition) unless you want the music definitions transposed at
> > > origin once and forever, for some reason.
> >
> > When I'm dealing with a transposed part and want it back in C ? :-)
> >
> > Cheers,
> > Wol
> >
> >
> > This is no different than the original problem.
> >
> > Except that it is already solved, since we started with everything in
> > concert.
> >
> You might. I don't :-)
>

Not sure if you were aware, but this thread was NOT about your work.
It was based on someone else's work, which was all in concert.


That's the point. *I* have parts in a random mix of C and Bb, so I want
> everything internal to lilypond to be in concert.
>
> Cheers,
> Wol
>

Regardless, this is also irrelevant.

It doesn't matter whether your music variables were originally in concert
or transposed pitch, or whether you score is concert or transposed.

Starting with a correct score, transposing the contents of that score
produces the same result as transposing the entire score

Here's an example.


\version "2.19.15"

% Here's a score with both concert and transposed version of a part:

part = \relative c' { \mark "Original" \key c \major c1 }
\new score {
\new StaffGroup <<
\new Staff {
\set Staff.instrumentName = "Concert"
\part
}
\new Staff {
\set Staff.instrumentName = "Transposed"
\transpose bes, c \part
}
>>
}


% An approach everyone agrees is better:

part = \relative c' { \mark "New Key"  \key c \major c1 }
\new Score \transpose  a, c {
\new StaffGroup <<
\new Staff {
\set Staff.instrumentName = "Concert"
\part
}
\new Staff {
\set Staff.instrumentName = "Transposed"
\transpose  bes, c \part
}
>>
}


% However, this approach yields identical results:

part =  \transpose a, c \relative c' { \mark "Same New Key"  \key c \major
c1 }
\new Score {
\new StaffGroup <<
\new Staff {
\set Staff.instrumentName = "Concert"
\part
}
\new Staff \transpose  bes, c {
\set Staff.instrumentName = "Transposed"
\part
}
>>
}



David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: reciting text over line breaks

2017-11-09 Thread Benjamin Bloomfield 
Also, I am having difficulty preventing hyphens in the lyrics when using
\hide NoteHead to hide the noteheads after the breves.  Is there a way to
force these lyrics to not use hyphens?

Thanks,

*Benjamin Bloomfield*

On Thu, Nov 9, 2017 at 7:44 PM, Benjamin Bloomfield 
wrote:

> Dear forum, I am trying to figure out the best way to typeset something
> similar to the attached image (if the image doesn't work, it is of the
> fourth and fifth systems in this PDF
> ).
> Basically, the breves indicate a reciting tone, and may be paired with a
> rather long text, which may not all fit on the rest of the line, in which
> case whatever *will* fit on the line should be placed on that line, and
> then a second breve will need to begin the next system, with the rest of
> the lyrics.
> [image: Inline image 1]
>
> What is the best way to achieve this in Lilypond?  From this page in the
> documentation
> ,
> I am using \hide NoteHead to hide the noteheads that should not display,
> but is there a way to determine if one of these syllables gets placed as
> the first on a new system, and in that case to unhide its notehead?
>
> Thanks so much for any suggestions,
>
> *Benjamin Bloomfield*
>
>
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reciting text over line breaks

2017-11-09 Thread Benjamin Bloomfield 
Dear forum, I am trying to figure out the best way to typeset something
similar to the attached image (if the image doesn't work, it is of the
fourth and fifth systems in this PDF
).
Basically, the breves indicate a reciting tone, and may be paired with a
rather long text, which may not all fit on the rest of the line, in which
case whatever *will* fit on the line should be placed on that line, and
then a second breve will need to begin the next system, with the rest of
the lyrics.
[image: Inline image 1]

What is the best way to achieve this in Lilypond?  From this page in the
documentation
,
I am using \hide NoteHead to hide the noteheads that should not display,
but is there a way to determine if one of these syllables gets placed as
the first on a new system, and in that case to unhide its notehead?

Thanks so much for any suggestions,

*Benjamin Bloomfield*
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