On 11/03/2013 05:15 PM, Joseph Rushton Wakeling wrote:
So, there needs to be a way of saying: these are the staff pitches and
the staff positions they correspond to (define c, d, e, f, g, a, b) and
these are the alterations and the accidentals they correspond to (define
-s, -f, etc.), now give m
s a patch
Graham
>From 2d6bc54fa0cf64ff6ca9be6ce575fdb427ca784a Mon Sep 17 00:00:00 2001
From: Graham Breed
Date: Mon, 11 Jul 2011 10:23:52 +0100
Subject: [PATCH 3/3] Formatting from Neil
---
lily/midi-item.cc |6 +++---
1 files changed, 3 insertions(+), 3 deletions(-)
diff --git a
Colin Campbell wrote:
> Thanks for this, Graham! I've added this to the tracker
> as issue 1711. Can you also provide a test file which
> would demonstrate the problem? I recognise this may not
> be all that easy to do, but it would help in verifying
> the fix.
Here's an example based on one Ri
Graham Percival wrote:
> However, for patch 1 he will first remove the change to
> configure.in; we now require at least fontforge 20100501.
Oh, sorry, I didn't realize that had gone in. I don't need
to compile the fonts, but I need to convince the build
process that I'm able to.
is fixed in get_semitone_pitch().
It's just a question of rounding off the result.
Everything else is for problem (2).
Graham
>From d402cd356203205f4863ad35f67ae23ff3422a03 Mon Sep 17 00:00:00 2001
From: Graham Breed
Date: Fri, 24 Jun 2011 00:12:52 +0100
Subject: [PA
Benkő Pál wrote:
> huh, I understand less and less. I'll try this example;
> my meantone tests are not crashing, they produce
> correct MIDI (at least it sounds correct - I didn't think
> MIDI has a concept of key signature); the signature
> is missing from the score, though.
If the key signatu
I've improved my patch. This line gives correct MIDI key signatures
for all plausibly authentic scenarios:
(apply + (map (lambda (p) (round (* (cdr p) 2))) pitch-list)) )
It would give the wrong result for a key signature with double sharps
or flats in 19 note equal temperament.
On 22 February 2011 15:27, Benkő Pál wrote:
>>> as a start I'd take Graham Breed's microtonal thingy:
>>> http://lists.gnu.org/archive/html/lilypond-devel/2011-02/msg00567.html
>>
>> I don't recommend that; Felipe has been working on microtonal
>> notation support. See:
>> http://code.google.com/
There's a long standing problem with unequally tempered key
signatures. If the accidentals aren't halves, the MIDI production
fails. I've worked out a fix. Here's the diff from my system:
*** scm/midi.scm2011/02/20 20:32:26 1.1
--- scm/midi.scm2011/02/20 20:33:01
***
2009/8/14 Joseph Wakeling :
> I'd prefer not to do that for semantic reasons. In my conception of
> arrow-notated quarter-tones, C-quarter-sharp is enharmonically, but not
> semantically, the same as C-sharp-quarter-flat (just as D# is
> enharmonically but not semantically the same as Eb).
What
2009/8/13 Joseph Wakeling :
> A few comments on the proposed patches for microtonal arrow notation.
> I've already noted these on the Google Code Issue dedicated to this topic:
> http://code.google.com/p/lilypond/issues/detail?id=694
Oh, I didn't realize Google were covering this. I've done some
2009/7/27 Mark Polesky :
> While we're on the topic, please have a look at this:
>
> EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION
> http://music.calarts.edu/~msabat/ms/pdfs/legend.pdf
> http://music.calarts.edu/~msabat/ms/pdfs/HE-font-2009.zip
>
> A composer friend of mine said that a lot of his com
Graham Percival wrote:
I mean, in Japanese there's no pluralization of nouns. Given the
writing that I see from the graduate students here, I gather that
Chinese doesn't pluralize nouns either. Now how can I explain to
them how to do something as simple as saying "one foo" and "two
foos" ? Th
David Kastrup wrote:
Graham Percival writes:
That's not a terrible idea -- IIRC Sibelius and Finale already
have something like that built-in -- but it doesn't belong in the
main lilypond code. I'd recommend writing a separate tool, using
python or something like htat.
It could be ar
As promised, here's an example of a 12 note staff. It works like a
piano keyboard. Black notes are on the lines and white notes are in
the spaces.
One problem is that the ledger lines don't follow the same pattern as
the staff lines. I made the ledger lines as thin as possible for now.
A bette
2008/12/22 Mark Polesky :
> Has anyone else experienced an apparent out-of-tune-ness
> with the MIDI piano sound? I don't mean 30 cents flat, as
> I've seen discussed elsewhere, but rather it sounds to me
> as if the "piano" is not in tune with itself. I don't
> have a file handy to demonstrate thi
2008/12/22 Graham Percival :
> On Mon, Dec 22, 2008 at 12:09:10PM +0800, Graham Breed wrote:
>> I've been investigating the new pitch model with Hans. It is, in
>> fact, better than either of us thought but some of that isn't
>> documented. So pay attention.
>
&
I've been investigating the new pitch model with Hans. It is, in
fact, better than either of us thought but some of that isn't
documented. So pay attention.
First, alterations are specified in terms of what the documentation
vaguely calls "whole tones". They are specifically intervals of 200
ce
2008/12/19 Hans Aberg :
> Keyboard maps can demand certain key stroke combinations for output, and can
> output a sequence of characters, I would think, because otherwise some
> Unicode combining character combinations might not be possible. So it might
> be possible to capture keywords - I do not
2008/12/19 Johannes Schindelin :
> Hi,
>
> On Thu, 18 Dec 2008, Hans Aberg wrote:
>> Right. On Mac OS X, just use or whatever you set it to
>> change key map.
>
> Right, let's make things complicated.
>
> No, but thanks, no,
So how do you switch to Chinese input?
Graha
2008/12/10 Hans Aberg <[EMAIL PROTECTED]>:
> Now, everyone agrees that in Arab music, the intermediate pitch isn't that -
> in fact the guy who write it said he was taught to lower it, which agree
> with the values Farhat uses in Persian music (using koron and sori; see
> below).
Yes, but nobody
2008/12/10 Graham Percival <[EMAIL PROTECTED]>:
> You'll want to pay special attention to ly/arabic.ly, and make
> sure you understand everything that's happening in there.
I found it! There's some stencil stuff which looks interesting, but
otherwise it doesn't do very much -- the tuning comes f
2008/12/10 Graham Percival <[EMAIL PROTECTED]>:
> On Wed, Dec 10, 2008 at 08:01:08PM +0800, Graham Breed wrote:
>> I've checked the documentation for key signatures and see no
>> indication that \key b \bayati could possible work though.
>
> Say what?
> http://l
2008/12/10 Hans Aberg <[EMAIL PROTECTED]>:
> On 10 Dec 2008, at 13:01, Graham Breed wrote:
>> You can uncomment anything you like now because the
>> rational numbers are accepted.
>
> Fine.
But if you try and do \key d \bayati you'll get that error.
>>
2008/12/10 Hans Aberg <[EMAIL PROTECTED]>:
> On 10 Dec 2008, at 07:55, Graham Breed wrote:
>
>>> I attach an example file.
>>
>> I don't see any transpositions.
>
> From what I recall, if one uncomments the key signature, lilypond complains
> that it
2008/12/10 Hans Aberg <[EMAIL PROTECTED]>:
>
> On 10 Dec 2008, at 07:40, Graham Breed wrote:
>> Transpositions aren't "computed against" any equal temperament. If
>> you transpose by a comma, then a comma will be added or subtracted
>> from the pre
2008/12/9 Hans Aberg <[EMAIL PROTECTED]>:
> On 9 Dec 2008, at 13:26, Graham Breed wrote:
>
> I attach an example file.
I don't see any transpositions.
> I think it is the commented out part (long time ago), which for some reason
> only works with E24. Therefore
2008/12/9 Hans Aberg <[EMAIL PROTECTED]>:
> On 9 Dec 2008, at 13:42, Graham Breed wrote:
>>>>>
>>>>> And key signatures make the notes sound different.
>>>>
>>>> Yes, and it's a classic cause of errors in performance, despite t
2008/12/9 Hans Aberg <[EMAIL PROTECTED]>:
> On 9 Dec 2008, at 11:57, Graham Breed wrote:
>>>
>>> The format should be such that it can be sued by sound generating
>>> programs.
>>
>> Do you have a patch?
>
> Then I would not need to mention i
2008/12/9 Hans Aberg <[EMAIL PROTECTED]>:
> On 9 Dec 2008, at 05:00, Graham Breed wrote:
>> No, because Lilypond also preserves the number of scale steps. At
>> least, it should.
>
> I attach what I wrote for E36. There seems to be two systems, but they keep
> the
I wrote:
> How can it possibly do so? Tell me! C to Db is M. C to the diesis
> above C# is M. How does abstract m and M distinguish M from M?
Sorry, that should be m and m. C-Db is m and C-C# plus a diesis is m.
So the goal is to distinguish m from m.
Graha
2008/12/9 Hans Aberg <[EMAIL PROTECTED]>:
> On 9 Dec 2008, at 03:13, Graham Breed wrote:
>> Lilypond code is already semantic markup for music. Your intermediate
>> file would end up looking a lot like the original.
>
> If that would be the case, it would be not p
2008/12/8 Hans Aberg <[EMAIL PROTECTED]>:
> On 8 Dec 2008, at 05:20, Graham Breed wrote:
>> To get it to sound right, you multiply by 6. If accidentals and
>> transpositions don't work you may need to define a different grid from
>> them. The worst is that you
2008/12/8 Hans Aberg <[EMAIL PROTECTED]>:
> On 8 Dec 2008, at 12:28, Graham Breed wrote:
>
>>> So it might be better to write an intermediate sound file with the
>>> diatonic
>>> structure. Then it can be used to return the output without having to
>>&g
2008/12/8 Hans Aberg <[EMAIL PROTECTED]>:
>
> On 8 Dec 2008, at 04:53, Graham Breed wrote:
>> Right. But the actual fifth has to be specified so you need an init
>> file to do that. The exact meaning of the alterations also have to be
>> specified in an in
2008/12/7 Hans Aberg <[EMAIL PROTECTED]>:
> On 7 Dec 2008, at 14:59, Graham Breed wrote:
>
>>> That is not the problem , but that whole tone is not the double of the
>>> half
>>> tone. M = 9, m = 4, so that there are 5*M+2*m = 53 tonesteps or commas in
2008/12/7 Hans Aberg <[EMAIL PROTECTED]>:
> The paper
> Sagittal A Microtonal Notation System
> by George D. Secor and David C. Keenan
> says:
> The Sagittal notation uses a conventional staff on which the natural notes
> are in a
> single series of fifths, with sharps and flats (and doubles t
2008/12/7 Hans Aberg <[EMAIL PROTECTED]>:
> That is not the problem , but that whole tone is not the double of the half
> tone. M = 9, m = 4, so that there are 5*M+2*m = 53 tonesteps or commas in an
> octave.
How is that a problem?
> The same problem is in meantone tunings, in E31, M = 5, m = 3,
2008/12/7 Hans Aberg <[EMAIL PROTECTED]>:
> On 7 Dec 2008, at 11:42, Graham Breed wrote:
>
>> The only 12-ness is in the tuning of MIDI files, which I think you can
>> change to get extended meantone.
>
> The implementations in Turkish music seemed to force a multiple
2008/12/7 Hans Aberg <[EMAIL PROTECTED]>:
> From what I know, LilyPond uses essentially E12 (12-ET), with some
> extensions (right?). Have you considered switching to a diatonic notation
> system (or extended meantone system)?
The only 12-ness is in the tuning of MIDI files, which I think you can
On Sat, 2008-10-25 at 18:41 -0400, Trevor Bača wrote:
> 2008/10/24 Valentin Villenave <[EMAIL PROTECTED]>
> 2008/10/24 Trevor Bača <[EMAIL PROTECTED]>:
>
> > If we're keeping track (informally) of user requests for
> certain features,
> > you can add my name
Han-Wen Nienhuys wrote:
Looking a bit more into this, the memories of why this is so
complicated come back.
In paper.scm, the default fonts are setup in
(define-public (layout-set-absolute-staff-size-in-module module staff-height)
this sets a variable 'fonts, which is a Font-tree-element (see
override Accidental #'stencil = #ly:text-interface::print
\once \override Accidental #'text = \markup{"hello world"}
cis d e f g f e d c1 }
Graham
On Sat, Jul 19, 2008 at 10:51 AM, Graham Breed <[EMAIL PROTECTED]> wrote:
Han-Wen Nienhuys wrote:
On Thu, Jul 1
Han-Wen Nienhuys wrote:
On Thu, Jul 17, 2008 at 11:10 AM, Graham Breed <[EMAIL PROTECTED]> wrote:
\override Accidental #'font-name = #"Sagittal"
in a script, and characters from Accidental's glyph-name-alist can come from
Sagittal. The problem is that Lil
Han-Wen Nienhuys wrote:
On Thu, Jul 17, 2008 at 11:10 AM, Graham Breed <[EMAIL PROTECTED]> wrote:
\override Accidental #'font-name = #"Sagittal"
in a script, and characters from Accidental's glyph-name-alist can come from
Sagittal. The problem is that Lil
I'm trying to get accidentals using glyphs that don't come
from the standard font. This is in order to get arbitrary
microtonal accidentals, particularly using Sagittal.
Torsten Anders has looked at this before and I'm picking up
on his work.
The idea is that you install the Sagittal font fr
Hello all!
I've just built 2.11.52. I needed t1asm, which on Ubuntu
comes in a package called t1utils. There's no mention of it
in the installation instructions. At least, I didn't notice
it, and I'm sure somebody else'll miss it as well. Also, I
had to scroll a long way up to find the me
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