>> Actually, thinking about this some more, do ottava
>> symbols make any sense in tablature?
none at all. tablature tells you where to put your fingers to get the
notes, not what notes need playing.
--
Dana Emery
___
lilypond-devel mailing list
lil
> I was thinking of something as simple as using the number of beats
> per minute (\tempo ... ) and the the number of beats per bar to work out
> the elapsed time. Obviously this gets more complicated when taking
> tempo changes into account and any partial bars
and repeat sections, which can get
> Check out
> http://en.wikipedia.org/wiki/File:Calligraphy.malmesbury.bible.arp.jpg>,
> first letter in the next to last line. "cognationum" starts with a "c".
> You'll see where the confusion about blackletter "c" being either r or
> gamma arises.
the line above that has a better exemplar, at
>> I was amused by the recent "punctuation fix" commit: [...]
>
> BTW, may I remind to have TWO spaces after a full stop, exclamation
> mark and question mark at the end of a sentence.
That is the practice I recall from my time typing others doctoral thesi.
Sadly it is not the norm for html or m
> Thanks for this, Dana. We're some way off implementing
> fonts, or whatever means we select for rendering specific
> lettering
I realize that, what i was concerned with is that the technology for
flexibility be in place.
When the time comes, you will want to have done some surveying of
origin
>> Fret 3 was lettered as ɣ, which was rendered in some contemporary
>> engravings
>> to look a bit like a fancy r, so some modern transcriptions of the
>> tablature
>> turn it into an r. If we're going to re-render ɣ, why not do it as c,
>> and
>> keep the logical letter sequence.Â
>
> My p
What I am trying to say comes from my own experiences writing a gui
program to do tab typesetting on macintosh.
My software records {course,fret} data for each note in the score, and
pitch information for each course on the instrument (simplifying courses
with octaves as split play is very rare)
> Dana suggests "course", which I guess speaks well to lute players. But
> not
> to guitar players.
12 course guitar anyone?
maybe ts a classical guitar hing, but I also remember tutorials discussing
6-course instruments.
> I had envisioned that a full set of fretLetters would be given
At le
> I fully agree with your point in general, but we need
> to think of a variable name other than "string" for the
> string on an instrument. I tried, and failed :(, hence
> str.
String is only completely correct for instruments like violins that have a
single string per course.
'course' is the
> For example, the third fret on a Baroque
> lute is indicated by "r" rather than "c", as "c" can easily be
> confused with "e".
not quite right. I know none of what I say below is new to you Trevor,
just trying to present a clear picture for the other readers here.
Baroque tabulature for pluc
> Mats Bengtsson writes:
>
>> Graham Percival wrote:
>
>>> I don't think that lilypond should serve as a crutch to composer who
>>> know so little about their craft that they write unplayable notes.
>>> But if you want to persue this, feel free to write a music function
>>> which checks the range
>> 2) many programmers view code style in a highly personal,
>> quasi-religious manner.
> ...
>> ...Han-Wen and Jan have different views...
Foe me its a matter of blocking the whitespace to to present the code in a
way that makes it easier to understand. This is not easy to do with any
automated
> Yes, that suffice if you are looking for text.
> But if you are looking for function and class definition, reference,
> exception throwing places, macro expansion as tooltip etc. There are a
> lot of things a good development environment must do for effective work.
XCode does a good job for me
> As does M-x grep RET in Emacs. And it's variants like M-x grep-find RET
> and similar. But Emacs can also navigate using tags tables, which is
> more direct and makes it easier to find definitions.
XCode keeps a table of symbols for all compiled files in the project,
users can select the test
> Why do you think 99% of MS Word users are aware of only 1% of its
> features?
Autocad might be a better point of comparison.
As to Word, I have been responsible for informal teaching of its use in
computer labs, with clients that were on deadlines, many of whom had no
patience to learn things
>
>> I'm talking about developer tools. For example, some months ago I
>> got the advice to use "grep" to browse LilyPond source code.
>
> BTW, have you found something better?
for those working on a mac, XCode and BBEdit have grep-like facilities as
well as project-wide search capabilities that
>>> To the best of my knowledge, nobody is working on the snow leopard
>>> issue, so if you're at all interested, please do so.
Snow leopard is getting pounded in the cocoa forums, too buggy for
development use (typical for an apple .0 release). Maybe better wait for
a patch release (or two).
> it would be nicer if Lilypond itself could centre the digits
>> around the 2nd and 4th lines of the stave in the case
>> where they're smaller than 2*staff_spacing
>
> Be sure to consider non-5-line staff situations.
Character glyph could be raised above the baseline using a seperate coding
poi
On Wed, Sep 2, 2009, Trevor Daniels said:
>> I've found that church modes are not translated
>> ... Ionian, Dorian etc ...
No need to translate them from Latin/greek into vernacular; just make sure
there are entries in the glossary for untranslated terms.
--
Dana Emery
> Am Montag, 24. August 2009 20:23:01 schrieb Reinhold Kainhofer:
> Oh, I also wanted to attach a sample including this breve style, but
> forgot.
> It's attached now.
The semibreve and minim note heads for the neomensural seem too small,
compared to the breve and long. Were they reduced, or do
On Mon, Aug 24, 2009, Reinhold Kainhofer said:
> Regarding the single- vs. double-line breve: I have not yet found a reference
> to the single-line breve. Only the double-lined breve can be found
> practically
> everywhere:
> http://de.wikipedia.org/wiki/Brevis
> http://en.wikipedia.org/wiki/D
On Fri, Aug 14, 2009, Mark Polesky said:
>> If all \foo were right-associative it would be easy to read them. Is it
>> possible to make monadic operators right-associative so as to end this
>> confusion? Yes, i realize this could have a nasty impact; if done at all
>> it would mean devising a
On Thu, Aug 13, 2009, Graham Percival said:
> On Thu, Aug 13, 2009 at 09:28:02AM +0200, Marc Hohl wrote:
>> I mean, we code and read music from left to right, so
>> it seems nore natural to me to have the command changing
>> the behaviour of a note in front of it.
Some like postscript and HP ca
On Wed, Aug 12, 2009, Trevor Daniels said:
> function like all music functions is a prefix
> operator. Applied to a sequence of notes like
>
> \xNote { e f }
>
> it's fine, but
>
> c d\xNote e f
> < g \xNote c f >
Conventions aside (...like all music functions...), my preference would be
f
On Wed, Aug 5, 2009, Carl Sorensen said:
>
>
>
> On 8/5/09 7:22 AM, "Trevor Daniels" wrote:
>
>>>
>>> In the meantime, we can move forward on tablature.
>>>
>>> As I see it, the current decision causes problems only if we were
>>> to change
>>> to xHead in the future and eliminate deadNote
On Mon, Jul 27, 2009, Graham Percival said:
> let's do it.
I got busy and left off tracking this thread a while back, agree with you
completely, simple, no-brainer to convert present sources.
Having done that, there is one issue remaining, getting the standard
disclaimer(s) into new sources.
T
On Wed, Jul 22, 2009, David Kastrup said:
> writes:
>
>> On Wed, Jul 22, 2009, Trevor Daniels said:
> There are instrument-dependent "thresholds of pain" involved: singers'
> clefs will just not change in midpiece. ...
actually, speaking as a singer with decades experience, they do change f
On Wed, Jul 22, 2009, Trevor Daniels said:
>> Anyway, I think that it would make a lot more sense if the staff
>> were determined by the "average" pitch of the chord. And, I think
>> I've solved this in the attached patch.
What would make the most sense is to consider the range of the intended
i
> If this were strictly a tablature issue, I'd say keep it at "dead notes",
> since that is the guitar term.
but what of citterns, ukes, banjoes and other modern plucked instruments
who would (do) use tablature notation?
BTW, its been several decades since I was actively consulting tutors on
cl
On Sat, Jul 18, 2009, Hans Aberg said:
> ask them to provide proof that you were the
> clicker.
can we afford to pay the legal fees associated with the asking of that
question in court?
Why waste time debateing? find a willing tadpole and turn them loose.
--
Dana Emery
__
On Fri, Jul 17, 2009, Mark Polesky said:
>
> Is this something to address?
Depends on how much value is placed on the copyrights, and the legal
validity of gnu's viewpoint (which I am not disputing, I have no
particular knowledge of copyright law). At issue is the prospect of
someone winning
On Sun, Apr 19, 2009, Richard Schoeller said:
> One common approach when combining a right-to-left language with
> left-to-right musical notation is to render each syllable of the lyrics
> right-to-left but have the overall flow of the music left-to-right. I
> haven't tried this with any of t
Dumb question, some (perverse?) writing systems are contrary to western
music notation, assuming we allow full unicode lyrics, how does one set
hebrew or arabic lyrics to western music?
Only way I can think of is to (have the user) transliterate phonetically
into the roman alphabet, as in -
hav
On Thu, Apr 9, 2009, Jan Nieuwenhuizen said:
> No, but that's why I propose to first start our Zebra group and
> figure out coding standards. It's about time we got some, no?
coding standards, yes. But as to animals, we probably should contact
O'Reilly publicatinos and ask to be assigned one,
On Thu, Apr 9, 2009, Graham Percival said:
> I can see it now: CARBON-BASED LIFEFORM WITH A RELATIVELY SHORT
> LIFESPAN ON THE COSMIC SCALE/LilyPond.
Apple deprecated Carbon development some years back.
My vote is BBEdit.
Lots of programming editors offer syntax coloration and formatting for
On Wed, Apr 8, 2009, Mark Polesky said:
Would reducing ps excess reduce compilation
> time? Or would the difference be negligible?
PS code is not usually compiled, it is transmitted, parsed, and executed.
Adobes manuals make it clear that the defined operators are deliberatly
given long spelle
On Tue, Apr 7, 2009, Mark Polesky said:
> Short version: I made some changes to output-ps.scm
> that can safely reduce the file size of ps files. In
> a simple experiment, I was able to reduce non-binary
> ps-code by up to 10%.
PS code is notorious for being voluminous. Most of the time the st
On Tue, Apr 7, 2009, Patrick McCarty said:
>> Is there an easy way to address this?
use a programming editor. tabs were invented at a time when fixed-width
was the norm, high-speed printers and teletypes had no other way to put
ink on paper. back then, the tab stops were 8 chars apart.
Progr
On Tue, Apr 7, 2009, Peter Chubb said:
> Here's my rough try at the three entries:
kudos Mr Chubb, trust the son of a son of a scoundrel...
I like em all, but as usual, i do have a couple of quibbles.
> Notes like a, b, c etc., describe a relationship between themselves,
> not an absolute pi
On Tue, Apr 7, 2009, "Anthony W. Youngman"
said:
>>So do we care what reference concert pitch uses? Does it matter if it's
>>A=440, or A=445, or A=450?
>
> It does matter that the reference is accurate.
it also matters that the 'Standard' is not always observed; especially for
the music of Moz
On Tue, Apr 7, 2009, Hans Aberg said:
> On 7 Apr 2009, at 08:18, Peter Chubb wrote:
> it is transposed twice in opposite
> directions: first by the composer who writes the sheet music
actually, the composer usually scribbles all the music in score at pitch
and leaves part copying (with appro
On Mon, Apr 6, 2009, "Anthony W. Youngman"
said:
> Sounds good.
one down? !!!
> I think it's your use of "informally adopted" that jars - it implies
> that they've ignored the Standard, when the standard didn't even exist
> at the time.
didnt have any one particular standard in mind; when o
On Sun, Apr 5, 2009, "Anthony W. Youngman"
said:
> Okay, we've got more feedback (isn't this fun :-).
welcome to electronic commiteedom :-)
> 1.64 Concert pitch
>
> The convention (standardised by ISO 16) that A above middle C represents
> the note at 440 Hertz. This is commonly notated by t
On Sun, Apr 5, 2009, Mats Bengtsson said:
> A flute playing friend of mine once demonstrated what happens if you
> drink a bear
LOL
I envision Brutus sitting on a keg, playing the flute and passing gas from
both ends.
SKOAL!
--
Dana Emery
___
> I think a problem with those sections is that they mix several
> different concepts in a jumble.
yes.
Dont have the OED handy, this library is very small and lacks a copy, but
the dictionary in my mac and the larger one from the shelf both give
narrow definitions for the entry 'concert pitch'
On Sat, Apr 4, 2009, "Anthony W. Youngman"
said:
> Okay, I think I can modify this to a definitive version now ...
sorry for my tactless reply earlier, I should have checked the present
text rather than assume you were quoting it.
>>>1.64 concert pitch
>>>
>>>The pitch at which the piano and ot
On Fri, Apr 3, 2009, "Anthony W. Youngman"
said:
> Sorry, reading this was painful
agreed.
> 1.64 concert pitch
Ensembles must agree on a temperament and a pitch standard if they are to
be tuned agreeably. Equal temperament is usual for the full orchestra
with winds, piano, and strings which
On Sat, Mar 7, 2009, Valentin Villenave said:
> 2009/3/7 :
>
>> The reason for left-going flags as well as shape is to give the musician
>> multiple clues. Â The length of the leftgoing flag should be short, shorter
>> than a note heads width should be fine.
>
> Er, could anyone give me a PNG
On Fri, Mar 6, 2009, Ricdude said:
> Valentin Villenave gmail.com> writes:
> The effect I'm going for is similar to the following, only the "flags" on the
> half notes should be connected to the stems, go to the right, and probably be
> a
> little shorter in length...
line weight will be w
On Wed, Mar 4, 2009, Valentin Villenave said:
> Ian, Dana, and others: if I may, perhaps this would be the appropriate
> time for some scanned samples of ancient or modern scores
> demonstrating this use...
Sorry, no scanner available except by hire, which I cant afford just now;
I have peruse
Historical lute tablature notation had a number of issues to deal with
when it came to indication of rhythm. Remember that this was the late
renaissance, at a time when the notation was being simplified (see Thomas
Morley, _A Plain and Easy Introductiuon to Practical Music_.
A Composer then had a
On Mon, Feb 2, 2009, Han-Wen Nienhuys said:
> I stopped doing sponsored work on LilyPond. I'm forwarding your
> message to the lilypond-devel forum. Maybe you can someone there can
> help you.
MS Word, and might even be supported in more robust desktop publishing
software such as Quarkexpress,
On Tue, Jan 6, 2009, Trevor Daniels said:
> The names are case-insensitive, and they cannot be
> used as directory names or the first part of a
> filename (the bit before the dot).
please note, in DOS (and many of its contemporary file systems), what
users think of as the filename is not actua
On Thu, Dec 18, 2008, Graham Breed said:
> 2008/12/19 Hans Aberg :
Maybe there's a distinction between a "keyboard map" and "input
method" here.
definately.
Keyboard maps eat multiple keystrokes in a declared sequence intending to
emit the encoding of one glyph; all done transparently as you
On Thu, Dec 18, 2008, Hans Aberg said:
> On 18 Dec 2008, at 20:40, wrote:
>> Unicode is a good solution for recording the result internally
> Right. So the best one can hope for is a series of keyboard maps that
> perhaps unify groups of characters, that those that so like may use.
The issu
On Thu, Dec 18, 2008, Hans Aberg said:
> If you want to fit all the world languages into one keyboard map, you
> might join the Unicode list; there are more than 10 characters
> available.
Unicode is a good solution for recording the result internally, but as far
as I know keyboard layou
On Mon, Dec 15, 2008, Francisco Vila said:
> I have a question for the few developers that in some degree do
> understand the source code and are able to hack it, fix bugs,
> implement new features, etc.
>
> Is the code properly commented, so that (thinking on the future) new
> people can learn
While browsing the introductory docs I noticed that in those showing 'us'
vs 'them' vs 'Henle' thin bars were same line thickness as staff lines in
'us' and 'them', but slightly thicker in 'Henle'. Perhaps some discussion
would strengthen our claims.
--
Dana Emery
___
On Sat, Dec 13, 2008, Dan Eble said:
> I have a hymnal that uses a single thick bar line at a mid-measure
> line break that coincides with the end of a line of the poem.
I would have expected a hymnal to have been typeset, not engraved; far too
much work and lower profit in it to be using engr
On Fri, Dec 12, 2008, Reinhold Kainhofer said:
> Should we change \bar "." to create a single
> thick barline for reasons of consistency and instead add a new
> bar line style \bar "dot" to create a single dot as a bar line?
newbies dumb Q - will the switch impact extant user files?
is there
On Thu, Dec 11, 2008, "Carl D. Sorensen" said:
>> // preface, 4 row german tab, glyphs detailed...
>> // hidden time signature common (often ommited, but used)
>> // ? hidden key signature c (tab lacks key sigs)
>>
>> {1 {5,d,n,J}}
>> {2 {n}}
>> {2 {4}}
>> {5 {d,n,J}}
>> {5 {4,h,A}}
>
German tabs origins are, like all the forms, obscured by time.
It is reputed to have been invented by Conrad Pauman, mid fifteenth
century, as a way to record music for short-necked lutes having 5 courses.
The notation was extended for lutes having 6 or more courses and more
frets, and we have l
On Tue, Dec 9, 2008, "Carl D. Sorensen" <[EMAIL PROTECTED]> said:
> On 12/9/08 4:37 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
> You're confusing users with developers. Code and data structures are
> developer-only items.
yes, but the data structures my code needs are tablature-oriented, not
st
> But LilyPond already has an extensive code and data structures base. To use
> data structures or code that are not compatible with the LilyPond paradigm
> is not wise.
What is wise is to bow to the users expectations, not twist their mind.
User of tablature is thinking of where to put the fing
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