show key signature but also alterations
Hi, I'm writing a scale book. I would like to have the key signature but also an accidentals in front of each note. For example, in d \major, I would like to print f# c# as key signature and a # in front of each f and c. I see 2 possibilities: 1. define a custom Key_engraver which just prints the key and do not set the alterations. 2. define a special accidental rule that considers that the key signature is blank However, I was not able to do any of those. Any idea? Thanks, F
Re: show key signature but also alterations
Hi David,
> \fixed c'
> { \key d\major \accidentalStyle dodecaphonic
> c' d' e' f'
> cis' dis' eis' fis'
> ces' des' es' fes'
> }
I tested that one already but I do not want the natural signs.
Thanks
Re: show key signature but also alterations
> > \key d\major
> > \set Staff.keyAlterations = #'()
> > \accidentalStyle dodecaphonic
>
> Obviously not \accidentalStyle dodecaphonic though.
> \accidentalStyle forget I think?
apparently, this doesn't work:
\version "2.19.0"
\language "english"
{
\key d \major
\set Staff.keyAlterations = #'()
\accidentalStyle forget
d' e' fs' g' a' b' cs'' d''
}
The effect of \set Staff.keyAlterations = #'() seems to be the same as
\key c \major, it removes the key signature.
I would like to write my own accidental style in scheme but I'm a bit
lost about where to start.
F
Re: show key signature but also alterations
> \accidentalStyle teaching is close but parenthesises the accidental, so
> switch off the parentheses.
>
> {
>\override AccidentalCautionary.parenthesized=##f
>\accidentalStyle teaching
>\key d\major
>d'4 e' fis' g' a' b' cis'' d''
> }
This is really good and so simple!
Thanks a lot all of you for your help.
F
bug in \caps
Hi,
\caps does not work with non ASCII characters:
\version "2.19.84"
\markup { \caps "Blée" }
In this example, the 3rd character "é" is not converted to É.
Kind regards,
F
Re: bug in \caps
> > \caps does not work with non ASCII characters: > > Irrespective of the problem, the character 'é' is *not* part of ASCII. > The ASCII character is quite an old 7bit character set, approximately > what we have today in Unicode at positions U+ to U+007F. yes, this is why I wrote it did not work for "non ASCII characters" :=) F
Re: bug in \caps
> See: http://lilypond.org/doc/v2.19/Documentation/changes-big-page.html
> %\version "2.20.0"
> \version "2.19.84"
> \markup{ \override #'(font-features . ("smcp")) "Blée" }
You're right, that works although the size of É and E looks strange.
Thanks for the help.
F
Is it possible to specify a temporary directory instead of /tmp?
Hi, I'm trying to generate scores from a web page but my http server (apache) is not allowed to write in /tmp (SELinux). I am allowed to write in a specific directory where I save the .ly and .pdf but lilypond generates the postscript file /tmp which fails when ran from the web site. Can I specify a specific temporary directory? Regards, F
Re: Is it possible to specify a temporary directory instead of /tmp?
> You may set the TMPDIR environment variable when calling lilypond: > > TMPDIR=~/tmp lilypond --verbose file.ly wonderful! Thanks
Re: show key signature but also alterations
> > {
> >\override AccidentalCautionary.parenthesized=##f
> >\accidentalStyle teaching
> >\key d\major
> >d'4 e' fis' g' a' b' cis'' d''
> > }
>
> This is really good and so simple!
> Thanks a lot all of you for your help.
Halas, my web server is under raspberry pi which has only lilypond
2.18.2. But 2.18.2 does not give a suitable output (too many natural
signs).
Try that:
\version "2.18.2"
{
\override AccidentalCautionary.parenthesized = ##f
\accidentalStyle teaching
\key d \major
d'4 fis' d' fis' d'4 fis' d' fis'
}
and you'll get a natural sign on second, third and fourth d. But it's
perfectly fine on 2.19.84.
Any possibility to install a more recent version of lilypond on
raspberry or to make it work on 2.18.2?
Thanks
Re: show key signature but also alterations
> You could try the attached, which is the 2.20.0 source code for the
> teaching accidental style (+some helper functions) with one change to
> accommodate 2.18 syntax, i.e. the key signature is obtained from the
> localKeySignature context property instead of localAlterations.
That's very close to what I need but look at the attached sample, the
first dis has no sharp sign!
F
\version "2.18.2"
#(begin
(define (key-entry-bar-number entry)
"Return the bar number of an entry in @code{localAlterations}
or @code {#f} if the entry does not have a bar number.
See @code{key-entry-notename} for details."
(and (pair? (cdr entry)) (caddr entry)))
(define (key-entry-measure-position entry)
"Return the measure position of an entry in @code{localAlterations}
or @code {#f} if the entry does not have a measure position.
See @code{key-entry-notename} for details."
(and (pair? (cdr entry)) (cdddr entry)))
(define (key-entry-alteration entry)
"Return the alteration of an entry in localAlterations
For convenience, returns @code{0} if entry is @code{#f}."
(if entry
(if (number? (cdr entry))
(cdr entry)
(cadr entry))
0))
(define-public (my-teaching-accidental-rule context pitch barnum measurepos)
"An accidental rule that typesets a cautionary accidental if it is
included in the key signature @emph{and} does not directly follow a note
on the same staff line."
(let* ((keysig (ly:context-property context 'localKeySignature))
(entry (find-pitch-entry keysig pitch #t #t)))
(if (not entry)
(cons #f #f)
(let* ((global-entry (find-pitch-entry keysig pitch #f #f))
(key-acc (key-entry-alteration global-entry))
(acc (ly:pitch-alteration pitch))
(entrymp (key-entry-measure-position entry))
(entrybn (key-entry-bar-number entry)))
(cons #f (not (or (equal? acc key-acc)
(and (equal? entrybn barnum) (equal? entrymp measurepos)
)
\layout {
\context {
\Score
autoAccidentals = #`(Staff ,my-teaching-accidental-rule)
}
}
{
\key e \minor
dis'8 c' dis' e' dis' e' fis'4
dis'8 c' dis' dis' dis' e' fis'4
}
Re: show key signature but also alterations
> Maybe the simplest way to achieve this is the good old "!" You're right, that may be the easiest, in particular because I auto-generate the score so it should be easy to add !
Re: show key signature but also alterations
> > Maybe the simplest way to achieve this is the good old "!" > > You're right, that may be the easiest, in particular because I > auto-generate the score so it should be easy to add ! it worked with "!". Was the easiest in the end. Thanks to all of you. F
pdf bookmarks
Hi, In pdf files, you can have a navigation panel with bookmarks. This is very useful to access a particular location in a document and is very often a copy of the table of contents. Is there any possibility that \tocItem generates such a bookmark? Kind regards, F
Re: pdf bookmarks
> It’s certainly possible using pdfmark commands, but not supported yet > (actually, I’ve been investigating that feature for a little while). Has anything been done yet? Can I help? In the past, I've already added to a postscript file some bookmarks. It was just adding postscript commands somewhere. I would need to find that again but then, the most difficult will be to make the links to the pages. F
Re: Auto-beaming
Hi,
> I'm currently writing some sheet music in 2/4. I'd like measures containing
> four eights to be all beamed together, but everything except that should use
> Lilypond's default rules. How can I achieve this?
I was wonderning if in the end you found a solution. I would like to
do the same and have the same issues but nobody was able to help you
in 2017.
I also tried \beamExceptions { 8[ 8 8 8 8] } but I also get 1/16
beamed together on the whole measures.
Thanks,
F
Re: Auto-beaming
Hi, > > I'm currently writing some sheet music in 2/4. I'd like measures containing > > four eights to be all beamed together, but everything except that should > > use Lilypond's default rules. How can I achieve this? > > I was wonderning if in the end you found a solution. I would like to > do the same and have the same issues but nobody was able to help you > in 2017. Finally, I found the solution: I copied the exceptions of default 4/4 with minor changes to adapt for the shorter measure: \time 2/4 \set Timing.beamExceptions = #'(( end . ( (1/8 . (4)); 1/8 note whole measure (1/12 . (3 3)) ; anything shorter by beat ) )) With that, 1/16 end at each time and 1/8 are grouped by measure. I love lilypond! Thanks, F
Re: \after 8 \turn as a variable
> gruppetto = \after 8 \turn \etc > should do it. > The \etc acts as a pacifier. Thanks a lot, it works!
\after 8 \turn as a variable
Hi all, Can I have \after 8 \turn in a variable so that I can call it with the variable name and be able to change the duration delay in a single place? I tried that: gruppetto = \after 8 \turn But I get an error: expecting music I would like later to use it like \gruppetto a4 (of course a4\gruppetto would be better). Thanks, F
Re: Convert chord mode into multi-voice mode
>> on the following music:
>> \times 4/6 { r16 -.[( -. -.-> -. -.)] }
>> I get what I expect:
>> \times 4/6 { r16 << {
>> fa-.[( sib-. re-.-> sib-. fa-.)]
>> } \\ {
>> re-.[( fa-. sib-.-> fa-. re-.)]
>> } >>
>> }
>
> I noticed that the third chord goes from high to low instead of low to high.
> That will mean your voices cross for that chord. Was that intended?
I don't think so. In the version with chords, the first note of each
chord is always the lower. In the second version, the lower voice is
fine but the upper voice sometimes needs to be change manually because
some octaves are wrong due to a different previous note in relative
mode. But this is then an easy job.
> Also, it doesn't look like << { } \\ { } >> works very well inside a tuplet
> (times). These kinds of things will have to be dealt with by hand.
I did work for what I wanted. Well, once splitted, I copied voice 1
into a file and voice 2 into anathoer file so I did not see the issue.
Thanks
F
Convert chord mode into multi-voice mode
Hi,
I want to adapt a piano score for a small set of instruments. The
right hand is already written as a set of chords with 2 notes
... Is there a way to turn it into a set of 2 voices { a b } \\
{ c' d' }?
Thanks,
F
Re: Convert chord mode into multi-voice mode
Thank you all. I wanted to know if there was already something
available but I will build a python script for it. I'm also under
Linux and pretty used to that.
Here is an example of input:
lower = \relative f, {
\key f \major
\time 4/4
2 r
| r
| 1
| 2 r
| 1
| 2
| r
| 2. 4
| 1
|
| 4 r r
| r8 c( g' bes c bes g bes)
| 4 r r
}
F
\cueDuring with differed start
Hi,
I would like to use a single quote of a part (the entire part) in
other parts but I do not want to create a specific quote for each cue
notes section. I would prefer to create a single quote with the entire
music and later choose where my cue notes start.
For example, I can have:
Singer = \relative { ... }
addQuote "singer" \Singer
Then, later, I want:
InstrumentA = \relative {
...
\cueDuring "singer" #UP { R1*5 } % I want to start at measure #5 in "singer"
}
InstrumentB = \relative {
...
\cueDuring "singer" #UP { R1*2 } % I want to start at measure #10 in "singer"
}
Is it possible?
Thanks,
F
Re: Convert chord mode into multi-voice mode
Hi Valentin,
I came to the same conclusion as you: prefer \new Voice << { notes1 }
{ notes2 } >> over a series of chords. After I split the 2 voices, I
was able to rebuild the original version like that so I could compare
the notes to the original score before going further with my
transcription.
Thank you for your proposed scheme script. However, although it does
what was asked (extract voices), it is not really useful for my
purpose of doing a transcription. I need a file with the notes because
later, I will probably make some changes. Maybe I can use
\displayLilyMusic for this and that would solve most of my problem but
if I remember correctly, this only outputs absolute pitches. Is that
true? Is there a way to output the music as relative?
Thanks,
F
Re: \tranposition is not transposed by \transpose in \cueDuring
> Of course, there are so many ways to achieve this. Thank you all. I ended with the same solution as Pierre-Luc shared. F
\tranposition is not transposed by \transpose in \cueDuring
Hi,
I have some music written for instruments in ut. So I write
\transposition c' in the source code.
When I use \transpose to adapt the music to a clarinet, \cueDuring do
not transpose the cue notes.
In the example below,
- the violin gets the cue notes in ut which is good
- ClarinetI has the notes written 1 tone up so that the clarinet
sounds the same as the singer but the cue notes are still written in
ut when it should be 1 tone up
- ClarinetII has everything written for clarinet (1 tone up) but that
required to writte \transposition bf in the music in ut (before
applying \transpose) which looks strange to me.
So I have the impression that there is a bug, i.e. that \transposition
should be changed when \transpose is applied.
Thanks,
F
\version "2.25.20"
\language "english"
Singer = \relative {
\transposition c'
c' d e f g a b c
}
\addQuote "Singer" \Singer
Violin = \relative {
\transposition c'
c'' d e f \cueDuring "Singer" #DOWN { g a b c }
}
ClarinetI = \transpose c d \Violin
ClarinetII = \transpose c d \relative {
\transposition bf
c'' d e f \cueDuring "Singer" #DOWN { g a b c }
}
\score {
\new Score <<
\new Staff \with { instrumentName = "Singer" } << \Singer >>
\new Staff \with { instrumentName = "Violin" } << \Violin >>
\new Staff \with { instrumentName = "ClarinetI" } << \ClarinetI >>
\new Staff \with { instrumentName = "ClarinetII" } << \ClarinetII >>
>>
}
Is it possible to quote only voiceOne?
Hi, I want to show cue notes but only the first voice. Can I use \addQuote with only voiceOne? Thanks, F
Re: Is it possible to quote only voiceOne?
> I want to show cue notes but only the first voice. Can I use \addQuote > with only voiceOne? Oh, Copilot seems to have the answer: voiceOneOnly = \extractVoice #'voiceOne \musicPart but it seems to be hallucination :=)
Re: Is it possible to quote only voiceOne?
> Try the attached file, which uses this snippet: > This appears to work on 2.25.21. Does this do what you were hoping to > accomplish? Thank you so much William. It does exactly what I wanted!
Re: Convert chord mode into multi-voice mode
Hi Knute,
Please let me first thank you so much for what you shared on this
topic of converting chords to multivoices. Thanks to you, I discovered
there exists a python lexer for lilypond files; this is really
awesome!
On my side, I worked in a different direction, starting from your
first script. I wanted to have a unique << { } \\ { } >> if possible
and not repeat that at each chord. Here is where I am currently. Not
yet perfect but on the following music:
\times 4/6 { r16 -.[( -. -.-> -. -.)] }
I get what I expect:
\times 4/6 { r16 << {
fa-.[( sib-. re-.-> sib-. fa-.)]
} \\ {
re-.[( fa-. sib-.-> fa-. re-.)]
} >>
}
I am not very familiar yet with the ly library so not sure this is
really correctly done.
I see that you worked on the relative/absolute issue. I have not the
time right now to dig into that. I will certainly later but I still
wanted to share what I did.
Thanks,
F
Le dim. 22 déc. 2024 à 01:40, Knute Snortum a écrit :
>
> On Fri, Dec 20, 2024 at 1:40 PM Knute Snortum wrote:
>>
>> Since you're going to write a Python script, I figure I can share what I've
>> done so far on mine.
>
>
> I made a lot of improvements to my Python script (one of the advantages of
> being retired) and I thought I'd share it, even if it never gets used. It
> deals with:
>
> * chords that don't have two notes in them (it leaves them alone)
> * adding dotted length and articulations and slurs, etc. to each voice (but
> stops if there is a space)
> * deals with chords that aren't separated by spaces
> * automatically changes \relative blocks to absolute
>
> It certainly could be cleaner, but I'll share what I have now:
>
> --
> Knute Snortum
>
#!/usr/bin/python3
import argparse
import ly.lex
import ly.lex.lilypond
import os.path
import sys
def flush_voices(voices):
'''
Print all voices in reverse order in multivoice mode.
voices[0] is the lower voice and is printed last
voices[-1] is the higher voice and is printed first
'''
if len(voices) > 0:
print("<< {")
for i in range(len(voices)):
if i > 0:
print("\n} {", end = '\n')
print(' ', end = '')
voice = voices[len(voices) - 1 - i]
for voice_token in voice:
if isinstance(voice_token, ly.lex._token.Space):
print(' ', end = '')
else:
print(voice_token, end = '')
print("\n} >>")
### program starts here ###
parser = argparse.ArgumentParser(description = 'In a Lilypond file, converts chords into multivoice mode.')
parser.add_argument("file", help = "Lilypond file to convert")
args = parser.parse_args()
if not os.path.isfile(args.file):
print(f"error: file '{args.file}' does not exist or is not a file")
sys.exit(1)
with open(args.file, 'r') as f:
txt = f.read()
s = ly.lex.state("lilypond")
tokens = s.tokens(txt)
# voices contains voices found in chords from lower [0] to higher [-1]
# if, after a chord, a new chord is found, the new chord notes are appended to each corresponding voice
# when something else than a chord is read, the voices are flushed in multivoice mode
voices = []
pending = None
for token in tokens:
if isinstance(token, ly.lex.lilypond.ChordStart):
# enter in a chord
voice = [] # will contain the chord note of the voice and all additions after the chord
voice_id = 0 # restart at voice 0
for inside_token in tokens:
# read the chord notes
if isinstance(inside_token, ly.lex.lilypond.ChordEnd):
if len(voice) > 0:
if len(voices) > voice_id:
voices[voice_id] += voice
else:
voices += [ voice ]
voice = []
voice_id = 0
break
# assume a space separates notes
if isinstance(inside_token, ly.lex._token.Space) and len(voice) > 0:
if len(voices) > voice_id:
voices[voice_id] += voice
else:
voices += [ voice ]
voice = []
voice_id += 1
else:
voice += [ inside_token ]
# add tokens after the chords to each voice until a space is found
for outside_token in tokens:
for i in range(len(voices)):
voices[i] += [ outside_token ]
if isinstance(outside_token, ly.lex._token.Space):
pending = outside_token
break
else:
flush_voices(voices)
if pending is not None:
print(pending, end = '')
pending = None
voices = []
print(token, end = '')
print()
Re: substitution with \movement
Bonjour,
Valentin Villenave a écrit :
Yes, French keyboard layout is much more annoying (it requires
twisting your right hand to have the thumb on AltGr and the middle
finger on the alpha-num "3" key).
Va falloir ajouter les doigtés dans les traductions de la doc, alors, et
prévoir des sous-parties,
%% hmm, ou num3-5 pour les petites mains?
\fravecpave { }
%% Pour un portable:
\frsanspave { << {altGr-1} \\ %main droite
{clav3-3}%main gauche
>>
}
vu que tout à main droite sans pavé et sans bouger le coude est réservé
aux mains immenses et aux coudes hyperlaxes.
--
bon bon je retourne travailler au lieu d'embêter les gens,
Frédéric
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Re: substitution with \movement
I Wrote: (...) Va falloir ajouter les doigtés dans les traductions de la doc, alors, et (...) Shame on me! Wrong addresses...(and Snippet?id=435) -- Sorry, FM ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
postscript output with psbook and psnup
Do you know why the postscript files produced by lilypond (2.10.33, cygwin) are not compatible with psbook and psnup? To prepare the printing on A3 paper, I used to do the following with lilypond 2.6.0: psbook score.ps | psnup -2 > score.2.ps With the output of 2.10.33, the output of psbook cannot be viewed with gv: the file has a size comparable to the original but gv shows a blank page only. F. Bron ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
programming error: (de)crescendo on items with specified volume
What does this mean? (using 2.10.33, cygwin) programming error: (de)crescendo on items with specified volume. continuing, cross fingers in the midi file, the voices disappear sometimes. F. Bron ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
cautionary accidentals with more than 1 measure remembrance
I am using 2.10.33 (cygwin).
I like to use #(set-accidental-style 'modern-cautionary) because it is
easy to forget that a c sharp become c natural in the following measure
and this option puts an extra cautionary accidental (natural) in the
following measure.
However, I would like something more custumizable: I would like to print
a cautionary natural sign if the last same note had a different pitch in
the last "given" duration. The "given" duration could be given in
duration style of multimeasure rests 1*2, 4*4... This would make it
possible to get a natural sign if the sharp sign was 2 measures before
(which can be short in 2/4 time).
For example I would like that
\relative c' { \time 2/4 ces2 | d | c }
gives a natural sign for the last c
F. Bron
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Re: Automatic indentation in Vim
by the way, do you know how to change the default indentation in lilypond files from 2 spaces to 1 tabulation? Frédéric ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
combine dynamics of 2 voices
I would like to print on the same staff two parts of wind instruments
(flutes, clarinettes...) but if I use << { \partI } \\ { \partII } >> or
\partcombine { \partI } { \partII }, the dynamics are not merged when
they are the same. I get the same crescendo et decrescendo above and
below the staff which is not very nice.
Any clue?
Frédéric Bron
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minimumVerticalExtent & minimum-Y-extent
Hi,
I'm beginning with 2.10: 3 voices + verses, and I'd like to keep the
default distance between music and verse 1 but a shorter vertical
spacing between the next lines of lyrics.
I found that
\layout {
\context {
\Lyrics
minimumVerticalExtent = #'(0 . 0)
}
}
didn't do anything... but that
\layout {
\context {
\Lyrics
\override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
}
}
was 'working'.
Now, how do I keep the 'above default spacing' for the first verse?
--
Regards,
Frédéric Moinard
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Re: The LilyPond Report: a new weekly opinion column about Lily's world
Valentin Villenave a écrit : Hi everybody, (...) Its sole purpose is to be pleasant to read, entertaining -- and to make LilyPond look sexy. It's primarily intended for newbies, and it works !! ;) -- Regards, Frédéric Moinard -- ps: and nice, just after reading gmane.comp.web.spip.user/dev/zone ! ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: minimumVerticalExtent & minimum-Y-extent
Hi,
Mats Bengtsson a écrit :
Frédéric Moinard wrote:
Hi,
I'm beginning with 2.10: 3 voices + verses, and I'd like to keep the
default distance between music and verse 1 but a shorter vertical
spacing between the next lines of lyrics.
(...)
That's correct. This syntax was removed in version 2.7.14. If you have
it an old .ly file,
That's right...
and update it using convert-ly, then you should automatically get the
new relevant syntax
(which you use below).
(...))
To do settings for only one specific instantiation of a context, use the
\with construct:
\new Lyrics \with {\override VerticalAxisGroup #'minimum-Y-extent = #'(0
. 0) }
{ Here comes the ly -- rics }
Many thanks... I have to do some more rtfm :)
--
Regards,
FM
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Re: shortInstrumentName help
Hi,
Stan Mulder a écrit :
I'm want my score to have short instrument names. What I've got is not working.
Apparently I need to separate the trumpet and clarinet contexts but I'm not sure
how to do that.
\book {
\score {
<<
\new StaffGroup = "horns"
<<
\new Staff = "trumpet" \transpose c c \trumpet
\set Staff.shortInstrumentName = "Tpt "
\new Staff = "clarinet" \transpose c c \clarinet
\set Staff.shortInstrumentName = "Clr "
>>
>>
\midi { }
}
}
\new Staff = "trumpet" {
\transpose c c
\trumpet
\set Staff.shortInstrumentName = "Tpt "
}
?
You can do it in the notes definitions too:
trumpet = {
\set Staff.instrumentName = "Trumpet "
\set Staff.shortInstrumentName = "Tpt "
% notes...
}
--
hth
Frédéric Moinard
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Re: Learning Music
Hi, Eric Beaty a écrit : I've recently been studying how to read music though I've played music by ear for many years. I downloaded LilyPond but I need a way to test/hear what I've created to make sure I'm writing it correctly. Unfortunately, the free graphical interface programs you list are for Linux only and I used WindowsXP. I would prefer a free graphical interface and thought about using PowerTabs, but I want the music only without the tab so I can learn to read music by itself. Is there a way to copy and paste the pdf of the LilyPond music score into some time of software that would give me an accurate playback of what I've written is my question. I'm learning lilypond since a week, so, don't trust me :) I found that http://www.jedit.org/ and http://lilypondtool.organum.hu/ give a nice "Lilypond midi player"... type your music, and click "play" to hear it (with something like \set Staff.midiInstrument="voice oohs" in your staff context).. (ok, I work with linux, on a "sort of multimedia music oriented laptop", and it worked 'out of the box'... I don't know what you need for xp) -- hth Frédéric Moinard ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
repeating articulation
Is there a way to do the following? 1. from this point, add "-." to all notes 2. series of notes 3. from this point, normal behavior (i.e. no articulation by default) Same question for all articulations or combination of articulations. this would quicken the entry of long series of notes with the same articulations c-. d-. e-. f-. g-. h-. ... Many thanks in advance. Frédéric Bron PS : I use LilyPond 2.6.3 on Windows. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Pango font problem
Using Lily 2.6.4 with Cygwin
I have problems with new font system. If I do not specify anything, the
output is Sans-Serif. If I try to specify what is in the doc to have Roman
output, i.e.
#(define fonts
(make-pango-font-tree
"Times New Roman" "Helvetica" "Courier"
(/ myStaffSize 20)))
I have the Roman font (fine) but then \italic has no effect!
Here is a small example where the "dim." should be italic and is not:
\version "2.6.0"
\include "english.ly"
#(set-global-staff-size 18)
#(set-default-paper-size "a4")
\paper {
#(define fonts (make-pango-font-tree "Times New Roman" "Helvetica"
"Courier" (/ 18 20)))
}
\score {
\new Staff {
\clef treble
\key c \major
\time 2/4
\relative {
c4_\markup { \italic dim. } d e f
\bar "|."
}
}
}
---
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38506 VOIRON CEDEX
tél. : (33) 4 76 67 17 27
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Re: triplets
Why isn't this the default?
Would it be possible to add those rules to auto-beam.scm?
Frédéric
Mats Bengtsson wrote:
A better solution is to tell LilyPond to automatically beam the
triplets this way, see "8.6.2 Setting automatic beam behavior" for
more details. For Jutta's example, just add
#(override-auto-beam-setting '(end 1 12 3 4) 1 4)
#(override-auto-beam-setting '(end 1 12 3 4) 2 4)
before the triplets start.
Also, to save some typing, I would recommend to read about the
tupletSpannerDuration property in the section on Tuplets.
The resulting example could then look something like:
\version "2.6.0"
{
\time 3/4
\key g \major
#(override-auto-beam-setting '(end 1 12 3 4) 1 4)
#(override-auto-beam-setting '(end 1 12 3 4) 2 4)
\set tupletSpannerDuration = #(ly:make-moment 1 4)
\times 2/3 { b''8 b' g' b''8 b' g' b''8 b' g' }
}
/Mats
Trevor Bača wrote:
On 12/6/05, jutta <[EMAIL PROTECTED]> wrote:
Hi,
I need some help with triplets. I want to have 3 triplets in one
measure. Each
triplet consists of bbg (example below). So each triplet should be
beamed
individually. But: what happens is that all 3 triplets are connected
by one
lang beam. What can I do?
Try
{
\time 3/4
\key g \major
\times 2/3 { b''8[ b' g'] }
\times 2/3 { b''8[ b' g'] }
\times 2/3 { b''8[ b' g'] }
}
with the [ and ] brackets to specify start- and stop-beaming by hand.
--
Trevor Bača
[EMAIL PROTECTED]
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Re: help on unreadable text (cygwin)
I have already sent a font problem with lilypond on cygwin (2.6.4) but nobody could answer: on cygwin, by default, the font is "sans serif" and not roman. If I apply what's in the doc to be roman, then "\italic" does not work anymore. There is also the problem you mention: on cygwin, the version is always late. I have tried to compile from source but was unable to do it (ready to retry if anyone can help me and if it works, ready to provide cygwin package to the community regularly). Now, I install both cygwin version (to have the documentation) and Windows version and I use an bash alias to use Windows version from cygwin (I agree that windows version is somewhat long). By the way, could it be possible to include the documentation in Windows version? F. Bron Riccardo Cohen wrote: Hi, I just downloaded lilypond for windows, it takes about 15sec to launch, and then displays quick dos window that closes immediatly. But it works !). So I tried the cygwin version, and it is much quicker, and the script lily-wins opens the pdf automatically which is great. Unfortunately, all text is displayed badly ! (see examples joined) : most letters does not appear which makes the text unreadable. I tried to reinstall the lilypond cygwin package, but it does not change. (I must say that cygwin gives only version 2.6.4-1 compared to windows version which is 2.6.4-5) I found nothing about this in the (big) online doc. Thanks for any help on cygwin font, or on windows speed :) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
transpose a full score
Is there a way to transpose a full score in one command instead of applying the same transposition to each voice? Fred ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Problems with Lilypond
Why did you install 2.6.0 while 2.6.4 is available? Fred Steve wrote: Hi, Installed lilypond on my PC running Window XP Pro SP2. Installation completed with error. Downloaded test.ly file and followed instructions on http://lilypond.org/web/install/windows Got error saying could not find test.ly file. I've checked...it's there with the right extension. Any ideas? Thanks Error log as follows: GNU LilyPond 2.6.0 warning: can't find file: `test.ly' error: failed files: "test.ly" ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
compilation with cygwin
I tried to compile 2.7.17 on cygwin but configure reports the following which is not true: ERROR: Please install required programs: gcc >= 2.8 (installed: 0.125) g++ >= 3.0.5 (installed: 0.125) mftrace fontforge I have gcc, g++ 3.4.4 installed. Why is it reporting version 0.125? I do not know for mftrace and fontforge. Can anybody help? Fred ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: \acciaccatura and \key
Same problem as the one I reported. Also solved in development version
2.7.17 (and probably later).
Fred
Gilles wrote:
Hi.
Running lilypond 2.6.3 on the following:
%---
\version "2.6.3"
theMusic = \relative c''' {
\time 4/4
\acciaccatura g16 f1 |
f1 |
}
\score {
{
\key a \minor
\theMusic
}
\layout {}
}
%---
it outputs the following message:
GNU LilyPond 2.6.3
Processing `test2.ly'
Parsing...
Interpreting music...
/usr/share/lilypond/2.6.3/ly/grace-init.ly:26:8: warning: can't end slur
s1*0
)
test2.ly:7:20: warning: adding note head to incompatible stem (type = 16)
\acciaccatura g16
f1 |
test2.ly:7:20: warning: maybe input should specify polyphonic voices
\acciaccatura g16
f1 |[2]
/usr/share/lilypond/2.6.3/ly/grace-init.ly:20:8: warning: unterminated slur
s1*0
(
Preprocessing graphical objects...
Calculating line breaks...
Calculating page breaks...
Layout output to `test2.ps'...
Converting to `test2.pdf'...
and the resulting score doesn't display the grace note (and its slur) correctly.
[Moving the \key inside the "theMusic" variable seems to work around the
problem, but I prefer the other way...]
Regards,
Gilles
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Re: font shape
Some messages have already been posted on that subject (cygwin font problem). Unfortunately, it seems there is no more cygwin expert. The current version on cygwin does not work properly (default font is not roman but sans serif). The solution I adopted is to install the windows version and use it from cygwin with an alias. It works fine but I keep the cygwin version because there is no documention package on Windows and I like to browse the web doc off line. Would it be possible to make one? Fred [EMAIL PROTECTED] wrote: Hi, I installed lilypond 2.6.4 on Cygwin. The font shape "italic" does not work and I do not know why. Could you help me, please? Andrea _ TISCALI ADSL Web&Mail Solo con Tiscali Adsl navighi e telefoni senza canone Telecom a partire da 14,95 Euro/mese. Attivala subito! Per te 500 MB inclusi per navigare, inviare e ricevere messaggi e-mail, foto ed mp3. http://abbonati.tiscali.it/adsl/sa/2wam_tc/ ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Printed score with Lily 2.7.26-2 on Windows
Lily 2.7.26-2 on Windows works fine now but I have one trouble: The pdf looks fine on the screen but the printed score is strange: all texts have been replaced by "yy" or "w" or "t". The only font that prints good is dynamic. Has somebody the same difficulty? Fred --- Frédéric Bron ([EMAIL PROTECTED]) Villa des Quatre Chemins, Centre Hospitalier, BP 208 38506 VOIRON CEDEX tél. : (33) 4 76 67 17 27 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inputting special symbols
Well, there is another case when this extra space is not nice and when UTF-8
cannot make it: \markup{ 1\super "st" clarinet } (space between 1 and st).
Fred
> In this particular case, it seems like a much better solution to use a
> text editor
> that handles UTF-8, but that's of course another discussion.
>
> /Mats
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Re: modern-cautionary
Works fine with 2.6.5 on Windows. Fred > I'm not getting a cautionary naturalization on the lower A - and it > sure would be nice to have! In other instances where the notes are in > the same octave it works fine. > > #(set-accidental-style 'modern-cautionary) > f''4 g''8 aes''8 a'4 d''4 > > Running XP and version 2.6.4-5 > Arthur ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: winxp - delay and filenames
1. Even with a very small input file, I find a delay of 4-5 seconds
after invoking lilypond before I see anything happening. Is this
normal, or am I doing something wrong? It's the same whether I type
"lilypond filename" in a console window, or invoke lilypond through an
editor interface. I've used Latex a lot, which seems to work much
faster - but then music processing is more complicated than text.
It is strange because I had exaclty the same problem but I have just
installed 2.8.5 to check and now it is much quicker: 1.6 seconds
(Pentium M, 1.86 GHz) for the following very small example: { c d e f g
a b }
I am using 2.8.5 with Windows XP and I call the windows version of
Lilypond from Cygwin (not using the cygwin version). However, when I try
it from DOS, it takes exactly the same time but the behaviour is
different: the program stops immediately and later, a black windows pops
up very quickly.
2. It seems that lilypond can read files with long names, but it writes
.ps and .pdf files in 8+4 format. So if I use a filename with more than
8 characters, the output files have apparently different names. Is
there any way to get it to output .ps files with the same name as the
input file?
Never experienced such a problem. I have tried both from Cygwin and from
DOS: it works,
F. Bron
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Re: re-install
You should not use 2.6.4 for cygwin because the font system has a serious bug. Instead you should install 2.8.6 ou 2.6.4 for Windows and use it from cygwin if you want (that's what I do). F. Bron Daniel Boronka a écrit : I am having problems re-installing lilypond 2.6.4-1 (cygwin). I tried many times, and usually the installing stops at 99% complete: Running... No Package /etc/postinstall/post-texmf.sh I downloaded an updated version, but I like the old version better. After I un-installed the updated version I couldn't install the original version. Daniel Boronka ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user -- F. Bron --- Frédéric Bron ([EMAIL PROTECTED]) Villa des Quatre Chemins, Centre Hospitalier, BP 208 38506 VOIRON CEDEX tél. : (33) 4 76 67 17 27 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: utf-8
I use with success the windows version of lily combined with vim (:set encoding=utf-8). No issue with French text. Can you send your extract and I will make it work. Then I am sure you will be able to find a proper editor. Fred dubcek a écrit : For about a year now. I have been using Lilypond. I was very happy with it, very very happy. Until the day that I tried to write a French title in which there was a letter with an accent. Ever since, no matter what I have done, I have failed to produce a pdf file that displayed the character properly. I am using a Windows XP machine. First I used the lilypond offered through cygwin. That worked until I tried the letter with the accent. I have used emacs through cygwin, then the latest version of Xemacs without Cygwin. Nothing worked. I updated lilypond through cygwin only to get no characters at all any more. When I read that it was better to use lilypond for Windows, I switched (the characters now were better than ever before, but still no character with an accent. Finally, I switched editors, tried Editpad. To no avail. I have spent innumerable hours trying to solve the problem. There must be a simple solution, for I have seen a source file with the line in the header saying inputencoding="utf-8". I copied that trick. Lilypond handled it without protesting. But no accented character. Who can tell me in clear language how to lick the problem? Thanks. dubcek. -- F. Bron --- Frédéric Bron ([EMAIL PROTECTED]) Villa des Quatre Chemins, Centre Hospitalier, BP 208 38506 VOIRON CEDEX tél. : (33) 4 76 67 17 27 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
chord :dim7
Using lily 2.8.7 on Windows.
Why \chords { gs:dim7 } gives G#07 in the output and not G#dim (\include
english.ly)?
I want < gs b d f >.
Regards,
Fred
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Re: chord :dim7
Does this mean that if I want all dim7 chords be written "dim", I need to code 12 exceptions, one for each note?Fred2006/11/1, Rick Hansen (aka RickH) <
[EMAIL PROTECTED]>:Frédéric Bron wrote:>> Using lily
2.8.7 on Windows.>> Why \chords { gs:dim7 } gives G#07 in the output and not G#dim (\include> english.ly)?> I want < gs b d f >.>> Regards,
>> Fred>>> ___> lilypond-user mailing list> lilypond-user@gnu.org>
http://lists.gnu.org/mailman/listinfo/lilypond-user>>I'm not fully understanding your question, but G#BDF is the spelling forG#dim7, and G#BD is the spelling for G#dim. If you simply want to get rid
of the "circle designation" for diminised chords in general, then you cancode a chord names exceptions list and override the circle to print as "dim"instead.If you search the archive for "jazzychord" I think you will find an example
of making chord name exceptions list.
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Re: Chord names above staff
Just add { } around your music after \blg:{ \clef "treble_8" ... \bas }Fred2006/11/1, Claus Rogge <[EMAIL PROTECTED]>:
I searched the archives but I still can´t figure it out - how do I makethe chord names appear ABOVE the staff?
Can someone please help me out, what am I doing wrong?This is the code:\version "2.8.0"mel = \relative c'{\partial2. a4 a cis | cis1 | r4 a a b | b1 r4 b4 b cis d1 r4 d4 e b
cis1 r4 cis4 cis e e1 r4 cis4 d e d1 r4 a4 a b cis1 r4 b4 b a a1\partial4 r4}bas = \relative c {\partial2. r4 r2 | a1 a e e \break e e a a \break a ad d \break a e a \partial4 a4}bgl = \chords {r2. a1 a e e e e a a a a d d a e a a4}
\paper{#(set-default-paper-size "a4")}\header{title="Banks of the Ohio"}{<<\bgl\clef "treble_8" \key a \major\override Staff.TimeSignature
#'style = #'()\mel\\\bas\\>>}___lilypond-user mailing listlilypond-user@gnu.org
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Cannot find file for FontConfig cache
Lily 2.8.7 on Windows but called from cygwin.I get the following output when compiling any file like just the following\version "2.8.7"{ c d e f g a b }output=erreur de programmation : Cannot find file for FontConfig cache.
poursuite ; croisons les doigtsTraitement de « test.ly »...which I can translate:programming error: cannot find file for FontConfig cache.continue; keep your fingers crossed
The output is perfect but I was just wondering what this message means.Regards,Fred
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Re: chord :dim7
I have tried to make a chord exception as indicated in the documentation and in chord-name-exceptions.ly
to replace "07" by "dim" but it did not work. Here is what I tried:\version "2.8.7"\include "english.ly"chExceptionMusic = { 4-\markup { G\sharp\super "dim" } }
chExceptions = #(append (sequential-music-to-chord-exceptions chExceptionMusic #t) ignatzekExceptions)<< \chords { \set chordNameExceptions = #chExceptions gs4:dim7 }
gs'4>>Fred2006/11/1, Rick Hansen (aka RickH) <[EMAIL PROTECTED]>:
Frédéric Bron wrote:>> Using lily 2.8.7 on Windows.>> Why \chords { gs:dim7 } gives G#07 in the output and not G#dim (\include> english.ly)?
> I want < gs b d f >.>> Regards,>> Fred>>> ___> lilypond-user mailing list>
lilypond-user@gnu.org> http://lists.gnu.org/mailman/listinfo/lilypond-user>>I'm not fully understanding your question, but G#BDF is the spelling for
G#dim7, and G#BD is the spelling for G#dim. If you simply want to get ridof the "circle designation" for diminised chords in general, then you cancode a chord names exceptions list and override the circle to print as "dim"
instead.If you search the archive for "jazzychord" I think you will find an exampleof making chord name exceptions list.--View this message in context:
http://www.nabble.com/chord-%3Adim7-tf2554083.html#a7119923Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.___
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Re: chord :dim7
Many thanks, it works now! I needed also to remove G\sharp from the
markup as it is added automatically.
Bye,
Fred
Rick Hansen (aka RickH) a écrit :
Frédéric Bron wrote:
I have tried to make a chord exception as indicated in the documentation
and
in
chord-name-exceptions.ly<http://lilypond.org/doc/v2.8/Documentation/user/lilypond/source/input/regression/lily-496021814.ly>to
replace "07" by "dim" but it did not work. Here is what I tried:
\version "2.8.7"
\include "english.ly"
chExceptionMusic = { 4-\markup { G\sharp\super "dim" } }
chExceptions = #(append
(sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
<<
\chords { \set chordNameExceptions = #chExceptions gs4:dim7 }
gs'4
Fred
Code all your exceptions with a root note of C and it should work, try:
chExceptionMusic = { 4-\markup { G\sharp\super "dim" } }
--
F. Bron
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Re: Chord names above staff
Your problem is just that you need to include your 2 voices between << >>:
<< \mel \\ \bas >>
Fred
Claus Rogge a écrit :
Am 01. Nov 2006 um 21:29 schrieb Frédéric Bron:
Just add { } around your music after \blg:
{ \clef "treble_8" ... \bas }
Hi Fred, thanks for taking your time ... it seems LP is not really fond
of applying chord names to a score that has two voices! If I put the end
bracket after the end of part two (the bass voice), LP gives me the
first part with chords above staff, then the second part (meant to lie
below the first one but on the same system) by itself. If the end
bracket is after part one, the chord symbols appear below the staff!
Can you help me out on this one?
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acciaccatura slash on beamed eighth notes
Hello,I am trying to transcribe one of my own compositions on Lilypond 2.9.28. I need to have slash beamed gracenotes. I didn't find any way to do it on the mailing list. Did I miss something?The slashed beamed gracenote groups are quite common in contemporary music. I can give you some scanned examples if you need. Thanks for your answers,Frédéric Chiasson ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: acciaccatura slash on beamed eighth notes
Okay, I think I will do it manually for each case, since I really don't have any notion of Scheme programming.Is there any comprehensive tutorial for beginners in Scheme somewhere on Internet?Thanks for your answers, Frédéric2006/11/7, Mats Bengtsson <[EMAIL PROTECTED]>: Please always keep the discussion on the mailing list, for thebenefit of yourself since you get access to the collectedexpertise on the list and for the benefit of others who experiencesimilar problems. Feel free to quote my answer below if you wish. The offset is relative to the normal position of the text script.The horizontal position shouldn't be a problem, but for thevertical position, LilyPond tries to keep a minimum distanceboth to the closest note head/stem and to the stave, so when the beam falls within the stave you will need special treatmentfor every beam position.If you are willing to do some Scheme hacking, then the bestsolution is probably to replace the standard print function for Beam with one that internally calls the default functionand then adds the slash. /MatsFrédéric Chiasson wrote:> Thanks for the tip,>> I have made it using \once \override TextScript #'extra-offset = #'(x . y) >> Is there a way to calculate the offset from the tip of the stem, or at> least the notehead, so I can use the same values for x and y, for each> of the many gracenote groups used in my pieces? >> Frédéric>>> 2006/11/7, Mats Bengtsson <[EMAIL PROTECTED]> [EMAIL PROTECTED] >>:>> There is no direct support for such slashed beams in LilyPond, but> if you> search the mailing list archives, you should find some tricks that> people > have used as a workaround. Basically, what you can do is to add a> slash> as a text script and then move it around to the desired position.>>/Mats>> Frédéric Chiasson wrote: > > Hello,> >> > I am trying to transcribe one of my own compositions on Lilypond> > 2.9.28. I need to have slash beamed gracenotes. I didn't find> any way > > to do it on the mailing list. Did I miss something?> >> > The slashed beamed gracenote groups are quite common in contemporary> > music. I can give you some scanned examples if you need. > >> > Thanks for your answers,> >> > Frédéric Chiasson> >> >> > >> > ___> > lilypond-user mailing list> > lilypond-user@gnu.org lilypond-user@gnu.org>> > http://lists.gnu.org/mailman/listinfo/lilypond-user> < http://lists.gnu.org/mailman/listinfo/lilypond-user>> >>> --> => Mats Bengtsson> Signal Processing > Signals, Sensors and Systems> Royal Institute of Technology> SE-100 44 STOCKHOLM> Sweden> Phone: (+46) 8 790 8463> Fax: (+46) 8 790 7260 > Email: [EMAIL PROTECTED]> [EMAIL PROTECTED]>> WWW: http://www.s3.kth.se/~mabe <http://www.s3.kth.se/%7Emabe>> =>> --=Mats BengtssonSignal ProcessingSignals, Sensors and SystemsRoyal Institute of TechnologySE-100 44 STOCKHOLM SwedenPhone: (+46) 8 790 8463Fax: (+46) 8 790 7260Email: [EMAIL PROTECTED]WWW: http://www.s3.kth.se/~mabe= ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Selling music engraved by Lilypond
Hi,I just saw a message about the tagline "Engraved by Lilypond" and I was wondering if it is legal to sell our own partitions of our own compositions engraved with Lilypond? Is there any limitation you put against a «commercial» use (for now, it is really «on the side» but still...)? Frédéric Chiasson ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Selling music engraved by Lilypond
Thanks for the quick answers! And yes, I will keep the tag, it is least I can do to encourage such a wonderful project!However is it possible to change the alignment, the size, the font or any other characteristic of the tagline (while keeping it noticeable!) ? Is it the same as using \override on TextScript? Fred2006/11/15, Joseph Wakeling <[EMAIL PROTECTED]>: Frédéric Chiasson wrote:> I just saw a message about the tagline "Engraved by Lilypond" and I was> wondering if it is legal to sell our own partitions of our own> compositions engraved with Lilypond? Is there any limitation you put > against a «commercial» use (for now, it is really «on the side» but> still...)?Lilypond is distributed under the GNU General Public License. Underthese terms there is *no way* to restrict you in this manner. "The act of running the Program is not restricted, and the output fromthe Program is covered only if its contents constitute a work based onthe Program (independent of having been made by running the Program). Whether that is true depends on what the Program does." -- from section 0 of the GPL."You may not impose any further restrictions on the recipients' exerciseof the rights granted herein." -- from section 6.The wider philosophical scope for this can be seen in the Free Softwaredefinition at http://www.gnu.org/philosophy/free-sw.html . "Freedom 0"is "The freedom to run the program, for any purpose."You are not even obliged to keep the "Engraved by Lilypond" tag line,although obviously it is nice and polite to do so. :-) -- Joe ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lily doc in french ?
I may participate a bit if a project is started and there is no software difficulty (I do not own my own PC, I work with Windows+Cygwin, I am not administrator and I do not fully control the firewall...). Fred Jean-marc LEGRAND a écrit : Hi all ! Two years have passed, and I'm still wondering if a french translation of Lilypond Docs wouldn't be a good thing (well, for french users, I think...). Here's my previous mail on this question, and Mat's answer was quite wise (I was just discovering Lilypond) :http://www.mail-archive.com/lilypond-user@gnu.org/msg07983.html Would anyone be ok to translate the docs with me ? I know that lily evolves a lot, and it's a good thing ! But if we manage to translate 2.10 docs together (lots of "togethers", actually), I think updates can be quite easy if we are numerous enough. The fact is this has to be strongly organized, by someone who is in charge of doc, for example ;o) So the question is : - does any french user is ok to translate the doc ? - is a lily author ok to manage a translation team ? Sure I have missed major aspects of this question, so don't hesitate to criticize ! Best regards JMarc ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lily doc in french ?
John Mandereau ([EMAIL PROTECTED]) has already started a french translation of the tutorial, which appears automatically if the site detects your computer uses french. You can contact him using the french user forum : [EMAIL PROTECTED] Frédéric Chiasson 2006/11/21, Mats Bengtsson <[EMAIL PROTECTED]>: You need a TeX installation and on top of that you need a fresh version of texinfo, to be able to get the HTML version. However, it's probably tricky to process the documentation using the Makefiles in the LilyPond source code directory structure, without building also the software (which involves a number of other dependencies). See my reply to the original question of this thread for a hint on who can provide more information. /Mats Quoting Ole Hesprich <[EMAIL PROTECTED]>: > Mats Bengtsson wrote: > >> The documentation is written using texinfo + lilypond-book and is >> included in the source code of LilyPond. > > > Any hint to what is needed do compile it? LaTeX? And what's about a > change-log of the documentation files? > > Ole > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: LilyPond 2.4.6 for cygwin?
You could do the following: install 2.6.5-1 for Windows from http://lilypond.org/web/install/older-versions and run it from Cygwin. This is perhaps easier. Fred Thomas Scharkowski a écrit : "Thomas Scharkowski" <[EMAIL PROTECTED]> writes: Is there any chance to reinstall 2.4.6? When you run Cygwin's setup.exe, it first downloads all packages to be installed. If you did not delete those, they are still on your hard disk. Jan. Thank you, I managed to reinstall 2.4.6-1 from my harddisk, but when running, I get the following message: -- error: can't find 'feta20.afm' Music font has not been installed properly. Aborting -- I remember having seen this message before, and that there was a solution, but this was quite long ago and I don't remember. Can anyone help? Thank you Thomas ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond and editors
Hi everyone, On the same subject, I would like to propose an improvement for the Lilypond editor on Mac OS (mine is 10.4). It would be really nice if we could point and click on an error message and the code creating the error would be highlighted. Or, an easier thing to program, a line and character counter in the editor would be great, since the error messages give the line number where the bug is. It would be a great improvement. By the way, is there any editor having LilyPond tool other than jEdit? Thanks, Frédéric Chiasson 2006/12/7, Andreas v. Heydwolff <[EMAIL PROTECTED]>: confrey wrote: > Hi everybody, > I know some text editors have a support for lilypond; I'd like to know > what's a fine editor for lilypond, and if it is possible to customize > gedit (sintax highlighting and statement recognition adn completation). > bye > confrey kate with colored syntax (downloadable somewhere), utf-encoding, command line window for compiling, code snippet and session saving. "Rocks." Andreas v.H. (sorry for PM) ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: lilypond and editors
Well, I never tried jEdit on Mac. But I tried it on PC and the LilypondTool didn't work out and I had so many problems that I discarded it after a week. Maybe I should give it a second shot. It migth work better on Mac OS. Thanks for the comments, Frédéric 2006/12/7, Bertalan Fodor <[EMAIL PROTECTED]>: Often one can gain productivity by fitting his way of work to the editor :-) Bert > So what's wrong with jEdit? Nothing, if it fits the way you work. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Put a slash on acciaccatura beamed eighth notes
Hello everyone,
I would like to know if anyone has found a way to put a slash on beamed
eighth notes in acciaccatura? With the \acciaccatura function, the slash
appears on single notes, but not on beamed notes. The ideal engraving would
be a slash at the start of the beam, like in Berio's Sequenza IXb for alto
saxophone (attachment too large for sending)
I have compared the codes of "\acciaccatura c8" and "\acciaccatura { c8[
d8]}" with \displayMusic. The code requesting the slash is the same :
(make-music 'ContextSpeccedMusic 'context-type 'Bottom 'element
(make-music 'OverrideProperty 'pop-first #t
'grob-property-path (list (quote stroke-style)) 'grob-value "grace" 'symbol
'Stem
and later...
(make-music 'ContextSpeccedMusic 'context-type 'Bottom 'element
(make-music 'RevertProperty 'grob-property-path (list
(quote stroke-style)) 'symbol 'Stem))
No change for the beamed eighth notes, although the slash doesn't appear. No
difference either in ly/grace- init.ly. Does anyone know where the denial of
this request for beamed notes is programmed? How can I change it?
The complete Scheme procedures for both codes :
;\acciaccatura c8
(make-music 'SequentialMusic 'elements
(list (make-music 'GraceMusic 'element
(make-music 'SequentialMusic 'elements
(list (make-music 'SequentialMusic 'elements
(list (make-music
'EventChord 'elements
(list
(make-music 'SkipEvent 'duration (ly:make-duration 0 0 0 1))
(make-music 'SlurEvent 'span-direction -1)))
(make-music
'ContextSpeccedMusic 'context-type 'Bottom 'element
(make-music 'OverrideProperty 'pop-first #t 'grob-property-path
(list (quote stroke-style))
'grob-value "grace" 'symbol 'Stem
(make-music 'EventChord 'elements
(list (make-music
'NoteEvent 'duration (ly:make-duration 3 0 1 1) 'pitch (ly:make-pitch -1 0
0
(make-music 'SequentialMusic 'elements
(list (make-music
'ContextSpeccedMusic 'context-type 'Bottom 'element
(make-music 'RevertProperty 'grob-property-path (list (quote stroke-style))
'symbol 'Stem))
(make-music
'EventChord 'elements
(list
(make-music 'SkipEvent 'duration (ly:make-duration 0 0 0 1))
(make-music 'SlurEvent 'span-direction 1))
;\acciaccatura {c8[ d8]}
(make-music 'SequentialMusic 'elements
(list (make-music 'GraceMusic 'element
(make-music 'SequentialMusic 'elements
(list (make-music 'SequentialMusic
'elements
(list
(make-music 'EventChord 'elements
(list (make-music 'SkipEvent 'duration (ly:make-duration 0 0 0 1))
(make-music 'SlurEvent 'span-direction -1)))
(make-music 'ContextSpeccedMusic 'context-type 'Bottom 'element
(make-music 'OverrideProperty 'pop-first #t 'grob-property-path
(list (quote stroke-style))
'grob-value "grace" 'symbol 'Stem
(make-music
'SequentialMusic 'elements
(list
(make-music 'EventChord 'elements
(list (make-music 'NoteEvent 'duration (ly:make-duration 3 0 1 1) 'pitch
(ly:make-pitch -1 0 0))
(make-music 'BeamEvent 'span-direction -1)))
(make-music 'EventChord 'elements
(list (make-music 'NoteEvent 'duration (ly:make-duration 3 0 1 1) 'pitch
(ly:make-pitch -1 1 0))
(make-music 'BeamEvent 'span-direction 1)
(make-music
'SequentialMusic 'elements
(list
(make-music 'ContextSpeccedMusic 'context-type 'Bottom 'element
(make-music 'RevertProperty 'grob-property-path (list (quote stroke-style))
'symbol 'Stem))
(make-music 'EventChord 'elements
(list (make-music 'SkipEvent 'duration (ly:make-duration 0 0 0 1))
(make-music 'SlurEvent 'span-direction 1))
Regards,
Frédéric Chiasson
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Fwd: Put a slash on acciaccatura beamed eighth notes
Sorry for not answering to everyone
-- Forwarded message --
From: Frédéric Chiasson <[EMAIL PROTECTED]>
Date: 8 déc. 2006 15:21
Subject: Re: Put a slash on acciaccatura beamed eighth notes
To: Mats Bengtsson <[EMAIL PROTECTED]>
Good, let's try it then. So in which file is the code and the missing
support. In which langage should I program for this?
2006/12/8, Mats Bengtsson < [EMAIL PROTECTED]>:
Frédéric Chiasson wrote:
> Hello everyone,
>
> I would like to know if anyone has found a way to put a slash on
> beamed eighth notes in acciaccatura? With the \acciaccatura function,
> the slash appears on single notes, but not on beamed notes. The ideal
> engraving would be a slash at the start of the beam, like in Berio's
> Sequenza IXb for alto saxophone (attachment too large for sending)
>
> I have compared the codes of "\acciaccatura c8" and "\acciaccatura {
> c8[ d8]}" with \displayMusic. The code requesting the slash is the same
:
> ...
> No change for the beamed eighth notes, although the slash doesn't
> appear. No difference either in ly/grace- init.ly <http://init.ly>.
> Does anyone know where the denial of this request for beamed notes is
> programmed? How can I change it?
The problem isn't that the request is denied, but that the
support for slashes through beams never has been implemented.
In the mailing list archives, you can find that this question has
popped up a number of times and you can also find some tricks
to fake the slash. However, it would be great if you could take
a look and make a proper implementation.
/Mats
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Re: Put a slash on acciaccatura beamed eighth notes
While waiting for your answer, I tried to put the slash in a crude manual
way with extra-offset, like this :
Slash = \markup {\musicglyph #"flags.ugrace"} % must use ^
PlaceSlash = #(define-music-function (parser location xy) (pair?)
#{
\once \override TextScript #'extra-offset = #$xy
#})
\version "2.11.1"
\relative {
\PlaceSlash #'(1.1 . -3.2) c^\Slash
}
It works, although you must calculate the offset for each situation and you
must use two functions for one action. How could you program a function so
when you type for example :
c8\Slash #'(1.1 . -3.2)
you get the same result. Also, is there a way to start the offset from the
base of the stem, so you can have a constant value for the slash offset?
That kind of offset would be also useful to put other symbol on the stem,
like an "x" on the stem (over the notehead), which can mean "slap tongue" in
modern saxophone writing.
Also, if you know the file where the slash is put with stroke-style =
"grace", please tell me so I can try to to put code for beamed notes with my
basic programming skills.
Thanks,
Frédéric
2006/12/8, Frédéric Chiasson <[EMAIL PROTECTED]>:
Sorry for not answering to everyone
-- Forwarded message --
From: Frédéric Chiasson <[EMAIL PROTECTED] >
Date: 8 déc. 2006 15:21
Subject: Re: Put a slash on acciaccatura beamed eighth notes
To: Mats Bengtsson <[EMAIL PROTECTED]>
Good, let's try it then. So in which file is the code and the missing
support. In which langage should I program for this?
2006/12/8, Mats Bengtsson < [EMAIL PROTECTED]>:
>
> Frédéric Chiasson wrote:
>
> > Hello everyone,
> >
> > I would like to know if anyone has found a way to put a slash on
> > beamed eighth notes in acciaccatura? With the \acciaccatura function,
> > the slash appears on single notes, but not on beamed notes. The ideal
> > engraving would be a slash at the start of the beam, like in Berio's
> > Sequenza IXb for alto saxophone (attachment too large for sending)
> >
> > I have compared the codes of "\acciaccatura c8" and "\acciaccatura {
> > c8[ d8]}" with \displayMusic. The code requesting the slash is the
> same :
> > ...
>
>
> > No change for the beamed eighth notes, although the slash doesn't
> > appear. No difference either in ly/grace- init.ly <http://init.ly >.
> > Does anyone know where the denial of this request for beamed notes is
> > programmed? How can I change it?
>
> The problem isn't that the request is denied, but that the
> support for slashes through beams never has been implemented.
> In the mailing list archives, you can find that this question has
> popped up a number of times and you can also find some tricks
> to fake the slash. However, it would be great if you could take
> a look and make a proper implementation.
>
>/Mats
>
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Re: markup height measured from staff?
Hi, Is it also possible to make a \markup at a specified distance frome the notehead? I have asked this question already but nobody seemed able to answer me. Frédéric 2006/12/9, Mats Bengtsson <[EMAIL PROTECTED]>: Use the staff-padding property to specify the distance from the staff. However, even if you set the padding property to zero, LilyPond will not let the note head collide with the text (unless you attach it to spacing note in a separate Voice context). /Mats Quoting Monk Panteleimon <[EMAIL PROTECTED]>: > >> Hello! >> >>> I would like to create a custom \markup command that puts a letter >>> at a specified distance from the staff rather than from a note. > > On 12/09/2005 01:51:26 PM, Kieren MacMillan wrote: >> What about putting an invisible note in a separate voice, at a known >> position (e.g., top line of the staff), and attaching the \markup to >> that? >> > > Thank you. > That would be good if the markup where used once or twice in a score, > but this is for "ison" or drone notes that are used in Byzantine Chant. > They are often noted by a letter above the staff which appears only > when the note changes.This happens at irregular intervals, like chord > changes although generally less regular and less frequent. If I just > attach them to the notes, this gives an uneven appearance in places > where the changes are closer together, and I'm trying to avoid tweaking > them all with #'extra-offset until they sort of look even. > > The markup I'm looking for should be something that acts visually more > or less like lilypond's chord-letters but has no midi output. I would > just use the chords if it weren't for the midi output and the fact that > I can't (afaik) visually format the chords. > > Fr. P > > > ___ > lilypond-user mailing list > lilypond-user@gnu.org > http://lists.gnu.org/mailman/listinfo/lilypond-user > ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Make-pango-font-tree doesn't work with set-global-staff size
Hi!
I would like to know what is going wrong with this code. I tried to change
the fonts but it doesn't work. But if I remove the set-global-staff-size
function, the fonts changed as I wanted. Is this a bug or there is something
with the make-pango-font-tree that I don't know?
I'm working on Mac OS 10.4.8
Thanks,
Frédéric
The code :
\version "2.11.1"
\paper
{
#(set-default-paper-size "letter")
#(define fonts (make-pango-font-tree "Times"
"Helvetica"
"Courier"
(/ 16 20)))
}
\header
{
title = "Titre"
composer = "Compositeur"
}
\new Score
{
#(set-global-staff-size 16)
\relative c'
{ c8^\markup{"Times?" \sans "Helvetica?" \typewriter "Courier?"}
d e f g a b c }
}
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How to use ^\markup in a scheme function?
Hi,
I tried to program a function to put a slash at a given offset on a note,
but the line with the ^\markup doesn't work.
Here is the code :
Slash = #(define-music-function (parser location xy note)
(pair? ly:music?)
#{
\once \override TextScript #'extra-offset = #$xy
$note ^\markup{\musicglyph #"flags.ugrace"}
#})
\version "2.11.1"
\relative {
\Slash #'(1.1 . -3.2) c4
}
Here are the errors :
:3:45: ERREUR : syntax error, unexpected '^'
\lilyvartmpd
^\markup{\musicglyph #"
flags.ugrace"}
:3:54: ERREUR : cha^ine d''echappement inconnue (Unknown escape
string): << \musicglyph >>
\lilyvartmpd ^\markup{
\musicglyph #"
flags.ugrace"}
Thanks,
Frédéric
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Fwd: How to use ^markup in a scheme function?
-- Forwarded message --
From: Mats Bengtsson <[EMAIL PROTECTED]>
Date: 15 déc. 2006 15:31
Subject: Re: How to use ^markup in a scheme function?
To: Frédéric Chiasson <[EMAIL PROTECTED]>
I'm certainly not any expert in Scheme coding for LilyPond. Please
always keep the discussion on the mailing list, for the
benefit of yourself since you get access to the collected
expertise on the list and for the benefit of others who experience
similar problems.
/Mats
Quoting Frédéric Chiasson <[EMAIL PROTECTED]>:
Thanks, at last I understood how to do it?
One problem left, I copied the code displayed for "\once \override
TextScript #'extra-offset = #$xy" to put it in the code of the Slash
function. The code is compiled without errors, but there is no offset
produced. Why? Do I use the right prefixes for xy?
Also it is possible to use both LilyPond and Scheme code like this?
(define-music-function (variables)
#{
LilyPond code
#}
(Scheme code))
Thanks for all the help,
Fred
P.S. The code for the function :
Slash = #(define-music-function (parser location xy note)
(pair? ly:music?)
"Return a note with a slash at offset (x . y)"
(make-music 'ContextSpeccedMusic 'context-type 'Bottom 'element
(make-music 'OverrideProperty 'pop-first #t
'grob-property-path (list (quote extra-offset))
'grob-value
'xy
'once #t 'symbol 'TextScript))
(let ((new-note (ly:music-deep-copy note)))
(set! (ly:music-property new-note 'elements)
(cons (make-music 'TextScriptEvent
'direction 1 'text
(markup #:line
(#:musicglyph "flags.ugrace")))
(ly:music-property new-note 'elements)))
new-note))
\version "2.11.1"
\relative {
\Slash #'(1.2 . -3.2) c4
}
2006/12/15, Mats Bengtsson <[EMAIL PROTECTED]>:
The reason is exactly the same as the reason that you cannot do
mynote = c
\score{{\mynote ^"text" }}
See the section on "Adding articulation to notes (example)" for more
information on how to solve the problem.
/Mats
Frédéric Chiasson wrote:
> Hi,
>
> I tried to program a function to put a slash at a given offset on a
> note, but the line with the ^\markup doesn't work.
>
> Here is the code :
>
> Slash = #(define-music-function (parser location xy note)
> (pair? ly:music?)
> #{
> \once \override TextScript #'extra-offset = #$xy
> $note ^\markup{\musicglyph #"flags.ugrace"}
> #})
>
>
> \version " 2.11.1"
>
> \relative {
> \Slash #'(1.1 . -3.2) c4
> }
>
>
> Here are the errors :
>
> :3:45: ERREUR : syntax error, unexpected '^'
> \lilyvartmpd
> ^\markup{\musicglyph #"
> flags.ugrace"}
> :3:54: ERREUR : cha^ine d''echappement inconnue (Unknown
> escape string): << \musicglyph >>
> \lilyvartmpd ^\markup{
> \musicglyph #"
> flags.ugrace"}
>
> Thanks,
>
> Frédéric
>
>
>
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=
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Re: How to use ^markup in a scheme function?
Then, well, who can help me??
Frédéric
2006/12/15, Mats Bengtsson <[EMAIL PROTECTED]>:
I'm certainly not any expert in Scheme coding for LilyPond. Please
always keep the discussion on the mailing list, for the
benefit of yourself since you get access to the collected
expertise on the list and for the benefit of others who experience
similar problems.
/Mats
Quoting Frédéric Chiasson <[EMAIL PROTECTED]>:
> Thanks, at last I understood how to do it?
>
> One problem left, I copied the code displayed for "\once \override
> TextScript #'extra-offset = #$xy" to put it in the code of the Slash
> function. The code is compiled without errors, but there is no offset
> produced. Why? Do I use the right prefixes for xy?
>
> Also it is possible to use both LilyPond and Scheme code like this?
> (define-music-function (variables)
> #{
>LilyPond code
> #}
> (Scheme code))
>
> Thanks for all the help,
>
> Fred
>
> P.S. The code for the function :
>
> Slash = #(define-music-function (parser location xy note)
>(pair? ly:music?)
>"Return a note with a slash at offset (x . y)"
>(make-music 'ContextSpeccedMusic 'context-type 'Bottom
'element
> (make-music 'OverrideProperty 'pop-first #t
>'grob-property-path (list (quote extra-offset))
>'grob-value
> 'xy
>'once #t 'symbol 'TextScript))
>(let ((new-note (ly:music-deep-copy note)))
>(set! (ly:music-property new-note 'elements)
> (cons (make-music 'TextScriptEvent
> 'direction 1 'text
>(markup #:line
>(#:musicglyph "flags.ugrace")))
> (ly:music-property new-note 'elements)))
>new-note))
>
>
>
> \version "2.11.1"
>
> \relative {
> \Slash #'(1.2 . -3.2) c4
> }
>
>
> 2006/12/15, Mats Bengtsson <[EMAIL PROTECTED]>:
>>
>> The reason is exactly the same as the reason that you cannot do
>> mynote = c
>> \score{{\mynote ^"text" }}
>> See the section on "Adding articulation to notes (example)" for more
>> information on how to solve the problem.
>>
>>/Mats
>>
>> Frédéric Chiasson wrote:
>> > Hi,
>> >
>> > I tried to program a function to put a slash at a given offset on a
>> > note, but the line with the ^\markup doesn't work.
>> >
>> > Here is the code :
>> >
>> > Slash = #(define-music-function (parser location xy note)
>> > (pair? ly:music?)
>> > #{
>> > \once \override TextScript #'extra-offset = #$xy
>> > $note ^\markup{\musicglyph #"flags.ugrace"}
>> > #})
>> >
>> >
>> > \version " 2.11.1"
>> >
>> > \relative {
>> > \Slash #'(1.1 . -3.2) c4
>> > }
>> >
>> >
>> > Here are the errors :
>> >
>> > :3:45: ERREUR : syntax error, unexpected '^'
>> > \lilyvartmpd
>> > ^\markup{\musicglyph #"
>> > flags.ugrace"}
>> > :3:54: ERREUR : cha^ine d''echappement inconnue (Unknown
>> > escape string): << \musicglyph >>
>> > \lilyvartmpd ^\markup{
>> > \musicglyph #"
>> > flags.ugrace"}
>> >
>> > Thanks,
>> >
>> > Frédéric
>> >
>> >
>> >
>> > ___
>> > lilypond-user mailing list
>> > lilypond-user@gnu.org
>> > http://lists.gnu.org/mailman/listinfo/lilypond-user
>> >
>>
>> --
>> =
>> Mats Bengtsson
>> Signal Processing
>> Signals, Sensors and Systems
>> Royal Institute of Technology
>> SE-100 44 STOCKHOLM
>> Sweden
>> Phone: (+46) 8 790 8463
>> Fax: (+46) 8 790 7260
>> Email: [EMAIL PROTECTED]
>> WWW: http://www.s3.kth.se/~mabe
>> =
>>
>>
>
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Re: How to use ^markup in a scheme function?
Thanks for the later answer, that is what i'm using and it works.
For the Lilypond code with the Scheme code, I just want to execute the
Lilypond code, so I should write :
(define-music-function (variables)
(let ((music #{ LilyPond code #}))
( (make-music music)
other Scheme code )))
?
Fred
2006/12/16, Erik Sandberg <[EMAIL PROTECTED]>:
On Friday 15 December 2006 22:07, Frédéric Chiasson wrote:
> Then, well, who can help me??
>
> Frédéric
>
> 2006/12/15, Mats Bengtsson <[EMAIL PROTECTED]>:
> > I'm certainly not any expert in Scheme coding for LilyPond. Please
> > always keep the discussion on the mailing list, for the
> > benefit of yourself since you get access to the collected
> > expertise on the list and for the benefit of others who experience
> > similar problems.
> >
> >/Mats
> >
> > Quoting Frédéric Chiasson <[EMAIL PROTECTED]>:
> > > Thanks, at last I understood how to do it?
> > >
> > > One problem left, I copied the code displayed for "\once \override
> > > TextScript #'extra-offset = #$xy" to put it in the code of the Slash
> > > function. The code is compiled without errors, but there is no
offset
> > > produced. Why? Do I use the right prefixes for xy?
> > >
> > > Also it is possible to use both LilyPond and Scheme code like this?
> > > (define-music-function (variables)
> > > #{
> > >LilyPond code
> > > #}
> > > (Scheme code))
I think #{ #} simply produces a Music tree, so you can probably do
(define-music-function (variables)
(let ((music #{ LilyPond code #}))
(Scheme code using music)))
BTW, wouldn't it be possible to just do something like:
#{
\once \override TextScript #'extra-offset = #$xy
<< $note
\skip 1*0^\markup{\musicglyph #"flags.ugrace"}
>>
#})
(that should work in most cases AFAICS)
--
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Re: Constructive Criticism and a Question
Jonathan «puts the finger» on an interesting topic. While most of the basic commands for note entry are quite intuitive (and that's a good thing!), there are some commands that the syntax seems counter-intuitive for a composer or a simple musician. For example, the command \times. Normally, we only write one number for tuplets, but in contemporary music, it is common to write a ratio to clarify the actual duration of the tuplet. For a triplet, we can write "3", but we can also write "3 : 2" over the note. It says "3 notes in the duration of 2" (I know most of you know that, but it is to explain the syntax. Also my English syntax might be bad). It is useful to make the difference between "7 : 8" and "7 : 4", for example. Some contemporary composers even write "7 : (quarter note figure)" to say "7 notes in a quarter note duration" But the \times function demands for a triplet to write "2/3". I know it might seem logical to ask for the fraction of the note. But in fact, for a composer, it is far more intuitive to write "3/2" or even better, "3:2" than "2/3" for a triplet. Writing "2/3" for a 3:2 tuplet is not a big problem, but what about 10:7? Also, for simple note entry, I think you should put MORE freedom for the possible order to write all the symbols. For example you want to put a eighth note at c# one octave higher, you want to make an octave check and make sure the sharp appears. We could write it in many ways cis'!=''8 cis'!8='' c8is!'='' cis8'=''! cis'8!='' etc. But LilyPond accepts only one way of writing it ... and I don't remember which one! And I didn't find any syntax rule about the exact order of the commands in the user manual. To put a syntax rule in the user manual would be good, but to make the compiler more flexible would be even better. Finally, it would be a good thing to revise the grammar of the functions in LilyPond by composers and musicians who are NOT programmers to make the LilyPond language more intuitive, so the learning curve would be less steep. That would be a great thing to do for an eventual LilyPond 3.0. And I would be willing to give some of my free time for that! Regards, Frédéric Chiasson 2006/12/18, Mats Bengtsson <[EMAIL PROTECTED]>: Jonathan Henkelman wrote: > > Ay - I hear you there. I have been considering taking on this project, and I > still need to figure out if I have time before I get myself in over my head > and unable to keep up with the commitment others might have made to me. A > couple of questions I have been pondering in this regard: > > 1) Since I am fairly new to Lilypond, are there folks out there that would be > willing to aid me in the likely event of confusion (I assume this group will > do). > Of course! > 2) If/when inconsistencies in the language turn up - as I'm sure they will - > is there an interest amoung the programmers to correct these? > Since the parser is implemented using lex and bison, there shouldn't be any formal inconsistencies. At second thought, larger and larger parts of the syntax is now implemented as Scheme functions, but they too have a formal syntax check. However, I'm sure you can find lots of language constructs that are confusing. Note that the syntax and semantics has evolved over the years and still is. Many of these changes have in my opinion made the syntax more consequent and simpler. > 3) A complaint I have seen both commonly on this archive and also on > the "todo" list of the co-ordinators for lilypond, is to try and make the > learning curve a bit less steep. One logical outcome of a document of this > type is that it can be used to "clean up" the language - i.e. fulfilling this > last goal. Is there any interest on the part of the programmers/organizers to > undertake this task should I ever get this doc completed. I envision a > process whereby the basic notation of lilypond stays the same (obviously), but: > > - perhaps some command forms would be dropped, > - perhaps users would be forced into less freedom in the syntax > This is one concern I have raised a couple of times. There are lots of optional constructs, which often confuses new users. They certainly save some typing and perhaps lower the initial threshold a bit for new users. However, I think the reduced number of key strokes only is significant in small test examples (which is what the main developers mostly do, and myself and other who help on the mailing list) but not in any real world typesetting. > - perhaps come commands would be morphed to fit into a framework that more > closely matches other commands. > - any changes would idealy be changeable in input scripts
Re: Constructive Criticism and a Question
To answer Carl, yes! To put 2 notes instead of 3, I would put "2:3", which
means "2 instead of 3" or "2 for 3". As David Rogers said, it fits what is
printed, or what would be printed if the whole ratio was there.
Also, is there a reason why the function wasn't named simply \tuplet ?
Frédéric
2006/12/18, David Rogers <[EMAIL PROTECTED]>:
Carl Youngblood wrote:
>There are also places where 3/2 is necessary with the current way of
>doing things. For example, I was just doing a piece in 12/8 time
>where triplets are the norm and I needed to do eighth notes with a
>two feel. In this case I had to use \times 3/2 { c8 c } etc. I
>guess in this case you're saying it would be more intuitive to do
>2/3? I really don't mind the way things are now. It's a syntax that
>has to be learned anyway, and once you learn it, it seems about the
>same effort either way.
The way the syntax is now, is (in musical terms) the opposite of what's
printed. Having the syntax match the print is likely to be easier to learn
for at least the majority, if not everyone. (The way the syntax is now, it
makes mathematical sense; which is nice - but I don't think it serves a
practical purpose.)
David
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Re: Constructive Criticism and a Question
Yeah, that would be a good solution satisfying everyone.
Frédéric
2006/12/18, Kress, Stephen <[EMAIL PROTECTED]>:
You could compromise and use "2/3" to indicate current fractional time the
way it works now, but support using "3:2" to be more "musically intuitive".
I.e., the separator denotes the meaning; '/' for raw division and ":" for
ratio. Not knowing how the parser works, it could even be done by the
parser itself, automatically converting "3:2" to "2/3"...
This also has the virtue of not breaking existing files.
Stephen
-Original Message-
From: [EMAIL PROTECTED] on
behalf of David Rogers
Sent: Mon 12/18/2006 3:48 PM
To: lilypond-user@gnu.org
Subject: Re: Constructive Criticism and a Question
Carl Youngblood wrote:
>There are also places where 3/2 is necessary with the current way of
>doing things. For example, I was just doing a piece in 12/8 time
>where triplets are the norm and I needed to do eighth notes with a
>two feel. In this case I had to use \times 3/2 { c8 c } etc. I
>guess in this case you're saying it would be more intuitive to do
>2/3? I really don't mind the way things are now. It's a syntax that
>has to be learned anyway, and once you learn it, it seems about the
>same effort either way.
The way the syntax is now, is (in musical terms) the opposite of what's
printed. Having the syntax match the print is likely to be easier to learn
for at least the majority, if not everyone. (The way the syntax is now, it
makes mathematical sense; which is nice - but I don't think it serves a
practical purpose.)
David
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2006-12-18, 16:52:20
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2006-12-18, 16:24:45
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Re: Constructive Criticism and a Question
Maybe, but it is more that it is "7:8" that would be engraved, and not
"7/8". So it is alright to separate both options.
2006/12/19, Paul Scott <[EMAIL PROTECTED]>:
Han-Wen Nienhuys wrote:
> Werner LEMBERG escreveu:
>
>>> I suppose you could add the command \times 3:2 {a b c} to do exactly
>>> the same as \times 2/3 {a b c} [...]
>>>
>> If at all, then
>>
>> \tuplet 3:2 {...}
>>
>
> I don't mind changing \times to \tuplet, and agree that the confusion
with
> \time is a bad thing. We could make \tuplet accept 3:2 2/3 and 3.
>
Is it relevant that ':' and '/' actually both mean divide?
Paul Scott
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Re: Constructive Criticism and a Question
I tried the function and I don't see any incoherence using \tuplet instead
of \times in this situation. Maybe I don't understand the point well.
For me, I wouldn't mid at all to replace entirely the \times function by a
\tuplet function, giving both options of using a fraction (2/3) or the
engraved ratio (3:2).
Frédéric
2006/12/19, Mats Bengtsson <[EMAIL PROTECTED]>:
Werner LEMBERG wrote:
>>> \tuplet 3:2 {...}
>>>
>>>
>> One minor detail is that the name isn't exactly appropriate when you
>> do
>> \set tupletSpannerDuration = #(ly:make-moment 1 4)
>> \times 2/3 {c8 d e f e d e f g f e d }
>>
>
> Well, in that case just stay with \times.
>
>
I thought the proposal was to completely get rid of \times and replace it
by \tuplet (which I think is a good idea). Just wanted to see if anybody
had any bright idea on a command name that's accurate also in this
special case.
/Mats
> Werner
>
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=
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Signal Processing
Signals, Sensors and Systems
Royal Institute of Technology
SE-100 44 STOCKHOLM
Sweden
Phone: (+46) 8 790 8463
Fax: (+46) 8 790 7260
Email: [EMAIL PROTECTED]
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Fwd: Constructive Criticism and a Question
-- Forwarded message --
From: Frédéric Chiasson <[EMAIL PROTECTED]>
Date: 19 déc. 2006 17:45
Subject: Re: Constructive Criticism and a Question
To: [EMAIL PROTECTED]
Yeah, I prefer to keep the punctuation ":" and "/" to avoid confusion.
Frédéric
2006/12/19, Erik Sandberg <[EMAIL PROTECTED] >:
On Tuesday 19 December 2006 10:57, Han-Wen Nienhuys wrote:
> Werner LEMBERG escreveu:
> >> I suppose you could add the command \times 3:2 {a b c} to do exactly
> >> the same as \times 2/3 {a b c} [...]
> >
> > If at all, then
> >
> > \tuplet 3:2 {...}
>
> I don't mind changing \times to \tuplet, and agree that the confusion
with
> \time is a bad thing. We could make \tuplet accept 3:2 2/3 and 3.
>
> Since it is a change that can be accomodated with convert-ly, we
wouldn't
> even need a major version bump for it.
I think these changes sound scary, it is an additional hack in the parser
machinery. I think it would be cleaner if \times could be changed to a
proper
music function, e.g. as
\tuplet 2 3 {...}
This would remove rules from the parser instead of adding them.
(Hm, my suggestion is not really in line with this discussion; I can agree
that \tuplet 2 3 would be easier to confuse with "3:2" than \tuplet 2/3
is).
--
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Re: Constructive Criticism and a Question
Might be an idea, but why should we keep two functions making the same
function?
Does it cost that much on functionality to use two differents syntax in the
same function?
Frédéric
2006/12/19, Han-Wen Nienhuys <[EMAIL PROTECTED]>:
Jonathan Henkelman escreveu:
> Erik Sandberg gmail.com> writes:
>
>> I think these changes sound scary, it is an additional hack in the
parser
>> machinery. I think it would be cleaner if \times could be changed to a
> proper
>> music function, e.g. as
>> \tuplet 2 3 {...}
>> This would remove rules from the parser instead of adding them.
>>
>> (Hm, my suggestion is not really in line with this discussion; I can
agree
>> that \tuplet 2 3 would be easier to confuse with "3:2" than \tuplet 2/3
is).
>>
>
> I think Eriks point is actually well founded. The discussion started
with my
> discussion of trying to trim down the grammer complexity. Adding syntax
is not
> really in that direction.
>
> That being said, \tuplet 2 3 {...} is rather confusing. I can live with
Another option:
- add \tuplet 3:2 {.. }
- replace \times 2/3 by \times #'(2 . 3) ; this can be implemented with
a standard music function
--
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-- Code for Music Notation
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Re: Constructive Criticism and a Question
« Although I like the idea of accepting both \tuplet 3:2 and \tuplet 2/3,
I don't like the notion of having \tuplet and \times. I suppose we
could keep \times as an old command and remove it from the manual to
avoid confusion... but that seems silly. Either eliminate \times, or
don't bother introducing \tuplet.
Cheers,
- Graham
»
I agree totally to that Graham. Also, the advanced users can make the
semantic differences between the real meaning of "tuplet" and the effect
produced with #setTupletSpannerDuration or whatever.
Indeed, `\times 3' is problematic, but `\tuplet 3' sounds clear to me.
>> Additionally, I suggest that `\tuplet 3' prints the `3' above the
>> group, while `\tuplet 3:2' prints `3:2' (which some composers prefer).
>>
>>> You *could* keep \times and *add* the keyword \tuplet with the
>>> syntax \tuplet m:n {sequence-of-notes},
>>>
>>
>> Actually, I would prefer this too.
>>
> Yes! \times is shorter than \tuplet to type.
Wow, you are that slow at typing? :))
Seriously, the problem to change \times for \tuplet is to break an habit for
many users. But since LilyPond has changed a lot since its beginnings and
convert-ly can easily make the conversion, why not!
But I'm not keen to admit typing \tuplet 3 to have a "3" over the notes and
\tuplet 3:2 to have "3:2". What about wanting a 7:8 but only print "7" when
the standard for 7 is "7:4"? Also, that situation would surely add a lot of
code! That would also happen for using only \tuplet without arguments.
But to avoid repeating \tuplet functions for long passages with the same
tuplets, we could admit that kind of syntax :
\tuplet 3:2 {c8 d e f g a b c d e d c b a g f e d}
without having one long bracket going through all the notes. But I
understand that you don't want to change that for programming issues.
Better keep 3:2 and 2/3. And if you want a function for triplets, just type
"triplet = \tuplet 3:2" and it's done.
And I definitely don't want \times #'(2 . 3) This pseudo-Scheme syntax is
very hard to understand for the beginner, especially the " ' " ! The least
Scheme syntax necessary, the better!
Greetings,
Frédéric
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Re: Constructive Criticism and a Question
Good! Frédéric 2006/12/20, Kress, Stephen <[EMAIL PROTECTED]>: Ok. Based on what everyone has been saying and seeming to come to an agreement on, here's the details of the changes that we are proposing be made. 1. \times is replaced by \tuplet since tuplet makes more musical sense and convert-ly can easily be updated to make the change. Because of convert-ly, there's not a real reason (other than the status quo people are used to) to keep \times around. 2. The first argument to \tuplet may be either a ratio (more understandable to musicians) or a division (as is currently supported). The punctuation between the two numbers marks what it is. A single number will not be supported. 3. The second argument remains an arbitrary musical expression. There is no reason to force the expression to contain only the "proper" duration of notes since LP is already built to engrave this situation properly. 4. By default, a single number will be engraved in the tuplet bracket. There is already the text property of the TupletNumber object that can be tweaked to get the ratio printed if one so desires. In other words, no changes need to be made to LP in how the single number vs. ratio engraving is done; LP already does it right. That's all we seem to be talking about. A minor syntactic change that adds clarity and flexibility without making anything (except maybe the parser) more complicated. I think this captures the consensus of the discussion. If we're agreed, we can find out what the price tag will be... Stephen 2006-12-20, 15:33:08 The information contained in this e-mail message and any attachments may be privileged and confidential. If the reader of this message is not the intended recipient or an agent responsible for delivering it to the intended recipient, you are hereby notified that any review, dissemination, distribution or copying of this communication is strictly prohibited. If you have received this communication in error, please notify the sender immediately by replying to this e-mail and delete the message and any attachments from your computer. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: boxed extra rehersal mark
You can use : \set Score.markFormatter = #format-mark-box-letters to put boxes around letters Frédéric 2006/12/20, Neuro <[EMAIL PROTECTED]>: Excuse me, I am almost newbie... I have a quick small question here: How do you mark a extra "boxed" rehersal mark such as "A1" ? My script goes like this: \mark \default%% supposse this is "boxed A" \mark "A1"%% supposse this is A1, bu I prefer "boxed A1" \mark "A2"%% supposse this is A2 ... \mark "A3"%% supposse this is A3 ... \mark \default%% supposse this is "boxed B" thank you very much Neuro [EMAIL PROTECTED] ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Constructive Criticism and a Question
Yes, that makes sense.
Frédéric
2006/12/21, John Mandereau <[EMAIL PROTECTED]>:
Frédéric Chiasson wrote:
> But to avoid repeating \tuplet functions for long passages with the
> same tuplets, we could admit that kind of syntax :
>
> \tuplet 3:2 {c8 d e f g a b c d e d c b a g f e d}
>
> without having one long bracket going through all the notes. But I
> understand that you don't want to change that for programming issues.
It is not possible to determine whether "long" tuplets should be
splitted or not; how then would you determine whether
\tuplet 3:2 {c4 c8 c c4}
should be printed as
|- 3 |
__
| | | |
| | | |
X X X X
or as
|- 3 -| |- 3 -|
| |\ |\ |
| | | |
X X X X
?
In your example,
\set tupletSpannerDuration = #(ly:make-moment 1 4)
can already save from typing \tuplet (\times today) a lot of times.
Cheers,
--
John Mandereau <[EMAIL PROTECTED]>
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No parenthesises
Hello,
I tried for the first time to use parenthesises on notes but it doesn't
work. Am I doing something wrong?
\version "2.11.3"
\relative c'{
\parenthesize b1
}
Frédéric
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Re: Constructive Criticism and a Question
Might it be possible to use
\tuplet 3:2 {x x x}
for the usual operation, and if we want to have many tuplets of the same
kind, to use
\tuplet 3:2 { {x x x} {y y y} {z z z} }
Might resolve the clarity problems.
Frédéric
2006/12/22, Han-Wen Nienhuys <[EMAIL PROTECTED]>:
[EMAIL PROTECTED] escreveu:
> Since the duration would be the second of three arguments, it could not
be
> optional, but that's not a problem.
>
> I think (?) this would have the side effect that \tuplet 3:2 2. would
> be the same as \tuplet 6:4 2. or \tuplet 9:6 2., which would mean
> that it would always be OK (even if not required) to express the ratio
> in reduced form (3:2 here).
1. We want to cut back on optional constructs
2. \tuplet 6:4 2. { .. } is a lot of numbers. Not very readable IMO.
--
Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen
LilyPond Software Design
-- Code for Music Notation
http://www.lilypond-design.com
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The markup functions don't work with changed fonts
Hello,
Using : LilyPond 2.11.4, Mac OS X 10.4.8
I think I have found a bug. When using changed fonts with the function
make-pango-font-tree, the functions \italic and \bold don't work anymore.
What do you think?
Frédéric
The input code :
\version "2.11.4"
\paper{
#(define fonts (make-pango-font-tree "Times New Roman"
"Helvetica"
"Courier" (/ 20 20)))
ragged-right = ##t
}
\relative {
c^\markup {\italic "Italic?"} d^\markup{ \bold "Bold?" }
}
Untitled.pdf
Description: Adobe PDF document
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Re: Setting staff size?
Weird, it is supposed to reduce the font size (it works in my files). But I know that for a single staff, you must use two commands to reduce the note font and the spaces between the staff lines : fontSize = #-3 \override StaffSymbol #'staff-space = #(magstep -3) Hope that will help, Frédéric 2006/12/30, Bertalan Fodor <[EMAIL PROTECTED]>: #(set-global-staff-size 11) doesn't reduce the font size. Is it a bug? Bert ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Off-Topic: Orchestration Aid
Ouch! Normally (you must know that), composers use orchestration treatises - books - for that. I don't know about a software giving this kind of advice. I know Sibelius change the color of the notehead when the instrument is off-bounds, but that's all. For fingerings and instrumentation (the science of composing for instruments separately), I suggest the Blatter orchestration treatise, or beginner instrument methods. Maybe the Adler might be good too to have a gradual introduction to orchestration. But for great advice for orchestration and instrumentation, I suggest definitely the Koechlin's "Traité de l'orchestration". It has plenty of great ideas for orchestral writing. But there are some problems : it is so badly organised - you might need to look at many chapters to understand a single topic - and it is written only in French. But for a software? I really don't know. Maybe you could develop this! Regards, Frédéric Chiasson 2006/12/30, Mehmet Okonsar < [EMAIL PROTECTED]>: Does anyone in the list knows some helper software for instrumentation topics, instruments ranges, fingerboard positions on strings etc.. Please forgive the off-topic intrusion and reply to me personally if you wish so.. [EMAIL PROTECTED] thanks -- Mehmet Okonsar, pianist-composer-conductor www.okonsar.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Constructive Criticism and a Question
When I started this topic, the point was to suggest a more intuitive syntax, which is closer to the musicians' language and the output on the score. That is why I proposed \tuplet (closer to musicians's language) and "3:2" (closer to the output of the score). In my opinion, I though this function was working very well the way it was. For the syntax topic, I would also suggest to standardize the tweak entries. At this moment, we can have for example : \override Voice.Textscript #'padding = #3 (a number) \override Voice.Stem #'stencil = #ly:stem::print (a function) #(set-global-staff-size 13) \set fontSize = #2 This diversity of syntax is hard to understand and very hard to remember for a non-programmer. Maybe we could replace them by "\" functions?? By the way, happy new year to everyone! Frédéric 2007/1/5, Han-Wen Nienhuys <[EMAIL PROTECTED]>: [EMAIL PROTECTED] escreveu: >> I think changing \times to \tuplet is a great idea for the reason that >> started the thread: \times is too close to \time. > > That I really don't get. LilyPond is written in *English*. There is a the other, perhaps more valid reason, is that \tuplet more closely matches the purpose than \times. -- Han-Wen Nienhuys - [EMAIL PROTECTED] - http://www.xs4all.nl/~hanwen LilyPond Software Design -- Code for Music Notation http://www.lilypond-design.com ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Constructive Criticism and a Question
My point when I started this topic was not to change the whole definition of
the \times function. In fact, I think the function works quite well as it
is. I was mostly talking about improving the "interface" - i.e. the words
and the syntax we use to call the functions - to make it more intuitive,
especially for a non-programmer. The \times function was an example among
other. I was proposing to change it to \tuplet x:y, simply because it is
closer to the musicians' language (tuplet), and it reflects more the result
we see and we would write manually (3:2 or 7:5, even if we have 6
sixteenth-notes for the 7:5 in contemporary music).
In fact, if we forget a few little bugs, LilyPond is already VERY powerful
and versatile. The point is not much to improve its features (even if it is
important), but to improve - even maybe rethink - its code entry. Some
symbols, most of the basics in fact, work very well (the notes names (a b
c), the durations (4., 8, 16, \breve), \stemUp, \cadenzaOn, the fantastic
*x/y function, etc.). But the syntax gets hard when getting in
kind-of-Scheme syntax for every tweak, and it changes a lot!
For example, we can write :
\override Voice.Stem #'transparent = ##t
#'(set-global-staff-size 13)
\set fontSize = #14
\override Voice.NoteHead #'stencil = (ly:make-textscript) (?) (which is a
function, why not simply a font character?)
And I am sure to make mistakes!
Just to make functions with a more constant syntax would be a great help for
us, simple users. Like making functions with \ most of the time (inspired by
LaTeX) :
\transparent{Voice.Stem}
\globalStaffSize{13}
\fontSize{14}
\setStencil{Voice.NoteHead, cross} (or even better, \setNotehead{cross} )
or any other syntax, but the thing is to make it constant.
The inconstant syntax to make anything a little outside the ordinary is, in
my humble opinion, the most time wasting feature of LilyPond. The problem is
that we always need to refer to the manual to find the way to write the
tweak, then we always forget how to do it for another score, since all the
tweaks we use have a different syntax.
Also, when doing this, the point would be to keep the names of the functions
as close to the musical terms and to the musical written symbols.
But a little program editor like the LilyPondTool in jEdit makes it much
easier indeed! Maybe that is the solution to the sometimes too complex
syntax of LilyPond.
Also, thanks for the changes in micro-intervals symbols, especially the db
for -eseh!
Frédéric
Note, importantly, that, with the present tuplet syntax, lily handles
all tuplets -- *including broken ones* -- correctly out of the box.
This sort of thing brings Finale and Sibelius screaming to their
knees. (This seems to be an extension of the fact that lily gets one
thing *exceedingly* correct: the duration model of musical time. Out
of the box you can also specify time signatures like 6/15, 5/28, 3/10
and so on, all of which bring other musical notation programs -- with
the the notable exception of SCORE -- to a crashing standstill. Or at
least the last time I bothered to check.)
I've been watching the tuplet discussion with some hesitation. I think
chaning \times to \tuplet is a great idea for the reason that started
the thread: \times is too close to \time. But it seems to me that most
of the suggestions following that initial suggestion begin to confuse
the essential time-scaling function of tuplet brackets (which is their
absolutely core purpose, both in the common practice and now) and
other graphical aspects of the notation such as beaming, grouping (and
even accentuation). Beaming and grouping are terribly important, of
course, but I think that it's best to leave their specification out of
the core tuplet syntax.
More important is to fix the fact that
\times { c8 d e f }
will currently by default print with only a 4 in the tuplet bracket,
which is mathematically wrong; the denominator 5 must appear.
--
Trevor Bača
[EMAIL PROTECTED]
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