Re: How to hide or remove the bars connecting an ossia staff to the right hand staff

Hello Joe, It should work fine if you add this to the \with - statement of your ossia staff: \override BarLine.allow-span-bar = ##f Best, Robert Am 27/01/16 um 01:53 schrieb Joseph N. Srednicki: Hello: I am engraving an organ piece in which I want to add an ossia staff above a measure to

RE: alternative problem in repetition

Marcos, Just as I have found very, very often. Mark From: tdy.p...@gmail.com [mailto:tdy.p...@gmail.com] On Behalf Of tdy lists Sent: Tuesday, January 26, 2016 5:33 PM To: Mark Stephen Mrotek Cc: Lilypond List Subject: Re: alternative problem in repetition Thats why I love these l

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 11:12 AM, Chris Yate wrote: > > Yes, you're probably right. > > Though whatever you choose would have to be: > > 1) equally easy to read in all keys (which is demonstrably NOT the case for > traditional notation) > 2) easy to manage when key changes > 3) make it easy to

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 12:01 PM, Sharon Rosner wrote: > > So you see, it's quite a straight-forward a technique. Yes, accidental > translation can be tricky, but with practice it becomes second nature. And > again, 300 years ago it was considered a basic skill for any musician worth > his salt, it

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 11:24 AM, David Kastrup wrote: > > "in-key"? Hmmm, yeah, that works and is clear. I think I’ll start using that. Thanks, -Paul ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-

Re: alternative problem in repetition

Thats why I love these list! Theres always people with the right sight! My fault! I never notice the \\ resault of a copy/paste block Thanks again! Marcos 2016-01-26 21:32 GMT-03:00 Mark Stephen Mrotek : > Marcos, > > > > The format for alternative is: > > > > \alternative { {%here first alterna

How to hide or remove the bars connecting an ossia staff to the right hand staff

Hello: I am engraving an organ piece in which I want to add an ossia staff above a measure to indicate how to perform an ornament. I can make the ossia staff appear; however, I cannot determine how to hide or remove the bar lines that connect the ossia staff to the staff for the right hand.

RE: alternative problem in repetition

Marcos, The format for alternative is: \alternative { {%here first alternative} {%here second alternative}} Any voice splitting would happen within each alternative. Mark From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gn

Re: proportional horizontal space in accelerando and ritardando

Thanks!! On 26-01-2016 19:12, Pierre Perol-Schneider wrote: Oops my fault. So here it goes: \version "2.19.35" \relative c'' { \set Score.proportionalNotationDuration = #(ly:make-moment 1/40) \override Beam.grow-direction = #RIGHT \featherDurations #(ly:make-moment 2/3) { e32[ \ove

Re: proportional horizontal space in accelerando and ritardando

On 26-01-2016 18:48, Malte Meyn wrote: This is already implemented; see section 1.2.4 of the notation reference (this is called “feathered beams”). You are right. I guess after 4 hours of music editing my brain went on strike ___ lilypond-user mai

Re: ugly french-beaming hack messes with lyrics

On 26.01.2016 14:33, N. Andrew Walsh wrote: ah, now I see why I wasn't using something like your example. Look at what happens when the last note is raised a fourth: \version "2.19.35" << \relative c'' { c4 d f \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-len

Re: simplifying chromatic scale notation

> On 26 Jan 2016, at 18:01, Sharon Rosner wrote: > So you see, it's quite a straight-forward a technique. Yes, accidental > translation can be tricky, but with practice it becomes second nature. And > again, 300 years ago it was considered a basic skill for any musician worth > his salt, it's ju

Re: simplifying chromatic scale notation

> On 26 Jan 2016, at 18:01, Sharon Rosner wrote: > So you see, it's quite a straight-forward a technique. Yes, accidental > translation can be tricky, but with practice it becomes second nature. And > again, 300 years ago it was considered a basic skill for any musician worth > his salt, it's ju

Re: proportional horizontal space in accelerando and ritardando

Oops my fault. So here it goes: \version "2.19.35" \relative c'' { \set Score.proportionalNotationDuration = #(ly:make-moment 1/40) \override Beam.grow-direction = #RIGHT \featherDurations #(ly:make-moment 2/3) { e32[ \override NoteHead.transparent = ##t e e e e e e e e e e e e e

Re: proportional horizontal space in accelerando and ritardando

Hi Caio, Hi Malte, Well there's something strange here: proportional duration seems to work in one feather direction only: \version "2.19.35" \relative c'' { \set Score.proportionalNotationDuration = #(ly:make-moment 1/40) \override Beam.grow-direction = #RIGHT \featherDurations #(ly:make-

Re: simplifying chromatic scale notation

> > You could say the same about tablature. Obviously, it has its place. > > Even Bach wrote stuff for lute tablature. > ... > There are some lute tablatures of Bach's works for lute, namely for > BWV 995, 997, 1000. > But for some of them it's sure Bach didn't wrote the tablature > himself, for o

Re: proportional horizontal space in accelerando and ritardando

Am 26.01.2016 um 21:19 schrieb Caio Giovaneti de Barros:: > > http://www.music.indiana.edu/departments/academic/composition/style-guide/images/newimages/featherEX.gif > > > What do you think would be the best way to implement this in Lilypond? > This is already implemented; see section 1.2.4

Re: Font of accidentals changes after line break

Am 26.01.2016 um 21:36 schrieb Robert Schmaus: > I guess the missing fonts are to be found on > https://fonts.openlilylib.org ... which seems to be currently > unavailable, alas. Your guess is correct; “currently” has been a few days or weeks now. I’ll send them to you off-list. ___

Re: Font of accidentals changes after line break

Hi Abraham, Ah, that explains it indeed! You're right of course. I guess the missing fonts are to be found on https://fonts.openlilylib.org ... which seems to be currently unavailable, alas. But I'll check back, and see if I can get them. I understand, there's also more information on how to

Re: simplifying chromatic scale notation

2016-01-26 13:40 GMT+01:00 David Kastrup : > Chris Yate writes: > >> Wow. Clairnote looks like an incredibly stupid idea, and a grand >> disservice to any poor child who you teach to read it. Simplified >> notation is not a lot better. >> >> Unless they spend their lives playing on their own at h

Re: Rests in Dynamics context

That's nice! It can be very useful for writing instructions for the players. Adding the rest and dots engravers to the Dynamics context was the solution of choice for me, though. On 26-01-2016 18:15, Thomas Morley wrote: For the record, we have a rest-markup-command. https://sourceforge.ne

proportional horizontal space in accelerando and ritardando

Here's a problem more or less common in contemporary music notation (and very common in contemporary me, right now) In some pieces of music it's common to reflect accelerandos and ritardandos by proportionally increasing and decreasing (respectively) the distance between notes. Here is an ex

Re: Rests in Dynamics context

2016-01-26 17:49 GMT+01:00 Caio Giovaneti de Barros : > So far the only way I could think of is to add the rest as a markup, but (1) > this doesn't write the rest in the middle and (2) there is no way to > differentiate a whole note rest and a half note rest: For the record, we have a rest-markup

Re: Font of accidentals changes after line break

Robert, Let me see if I can clarify the confusion going on here. You are using the LilyJAZZ font files/stylesheets that were originally published by Torsten Hämmerle. You are using them correctly, but the stencil overrides found in the stylesheet don't account for everything. Some stencils are cre

Re: Non-traditional key signature with double sharps/flats?

Am 26.01.2016 um 20:51 schrieb Brian Voyer: > I'm looking for something like the standard syntax for defining a scale, > but I need the ability to have double sharps and flats. > synthetic = #`((0 . ,NATURAL) (1 . ,SHARPSHARP) (2 . ,SHARP) > (3 . ,NATURAL) (4 . ,FLAT) (5 . ,FLAT) (6 . ,FLATF

Non-traditional key signature with double sharps/flats?

Hi everyone, I'm currently working with a synthetic scale with a doubly augmented second, and I want to show the synthetic key signature in the score. The problem is, starting on C, I have the next note a doubly augmented second up, a Dx. I'm looking for something like the standard syntax for d

Re: Font of accidentals changes after line break

Hi Malte, sorry for the late reply - I wasn't at my computer after my mail yesterday. But yes, that's where the fonts are. The path is not quite the same as I work on a Mac, but I guess /Applications/Lilypond/v19/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf counts as "same

Re: alternative problem in repetition

try again... David provides one possibility, and here is another. You have one alternative, but it appears you intend to create two voices. the << >> brackets are missing. \alternative { << { a2. } \\ { a2.~ | a2 r4 } >> } ___ li

Re: alternative problem in repetition

You don’t need the \\ between the two alternative blocks: \alternative { { a2. } { a2.~ | a2 r4 } } —Steven From: on behalf of Marcos Press Date: Tuesday, January 26, 2016 at 9:35 AM To: Lilypond List Subject: alternative problem in repetition Hi list!, Can anyone try these and t

Re: alternative problem in repetition

> On Jan 26, 2016, at 11:35 AM, Marcos Press wrote: > > Hi list!, > Can anyone try these and tell me why does lilypond eliminate the second > alternative? > My output said that there are more \alternatives than repetitions, but thats > not true. > > \version "2.18.2" > > \relative a'' { > \

Re: alternative problem in repetition

On Tue 26 Jan 2016 at 14:35:32 (-0300), Marcos Press wrote: > Hi list!, > Can anyone try these and tell me why does lilypond eliminate the second > alternative? > My output said that there are more \alternatives than repetitions, but thats > not true. >  \alternative { >   { a2. } >  \\

alternative problem in repetition

Hi list!, Can anyone try these and tell me why does lilypond eliminate the second alternative? My output said that there are more \alternatives than repetitions, but thats not true. \version "2.18.2" \relative a'' { \time 6/8 \repeat volta 2 { << { a8-.-- g-.-- r r4 fis8-.-- | fis8-.-- e-.

Re: Rests in Dynamics context

Just a little addendum, I'm just tested this: If you want dotted rests, you need to include "Dots_engraver" and "Dot_column_engraver": \new PianoStaff << \new Staff { s4 e'4 s2 e'4 } \new Dynamics \with { \consists "Rest_engraver" \consists "Dots_engraver" \consists "Dot_column_engraver"

Re: Rests in Dynamics context

Am 26.01.2016 um 18:01 schrieb Caio Giovaneti de Barros: > I think that's it. You saved me again, Pierre! Yes, definitely better than my suggestion. And semantically more appropriate. > > On 26-01-2016 14:57, Pierre Perol-Schneider wrote: >> \new PianoStaff << >> \new Staff { s4 e'4 s2 e'4 }

Re: simplifying chromatic scale notation

> Hmmm… Seems like this primarily works for music without accidentals. Does it really work when you > have a lot of accidentals? Of course this practice is made for tonal music, but I've known musicians who could sight read and transpose entire scores. It's just a question of having the chops.

Re: Rests in Dynamics context

On 26-01-2016 14:56, Urs Liska wrote: I don't think so. But you can try using a regular Staff and adjust it by hiding/omitting everything you don't want: Yes, i like this idea, but it still takes too much space, that's why I thought about using the Dynamics context. The ideal solution w

Re: Rests in Dynamics context

I think that's it. You saved me again, Pierre! On 26-01-2016 14:57, Pierre Perol-Schneider wrote: \new PianoStaff << \new Staff { s4 e'4 s2 e'4 } \new Dynamics \with { \consists "Rest_engraver" } { r4 s4 r2 s4 r1 } \new Staff { \clef F s4 c s2 c4 } >> ___

Re: Rests in Dynamics context

Hi Caio, Here's a simple way: \version "2.19.35" \new PianoStaff << \new Staff { s4 e'4 s2 e'4 } \new Dynamics \with { \consists "Rest_engraver" } { r4 s4 r2 s4 r1 } \new Staff { \clef F s4 c s2 c4 } >> Cheers, Pierre 2016-01-26 17:49 GMT+01:00 Caio Giovaneti de Barros : > Is t

Re: Rests in Dynamics context

Am 26.01.2016 um 17:49 schrieb Caio Giovaneti de Barros: > Is there a way to write rests in the Dynamics context? (or something > like it) I don't think so. But you can try using a regular Staff and adjust it by hiding/omitting everything you don't want: \score { \new PianoStaff << \new

Rests in Dynamics context

Is there a way to write rests in the Dynamics context? (or something like it) I'm engraving a piece for piano in which there are rests used by both staves. It would be much cleaner for the musician to read some of the rests between staves (same as dynamics in the Dynamics context). So far th

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 4:49 AM, musicus wrote: > > I really admire the effort and courage of alternative notation systems, but I > cannot see a reasonable improvement in this case. I don't think it's a good > idea to remove all great advantages, which our standard notation system has. > IMO, th

Re: simplifying chromatic scale notation

Kieren MacMillan writes: > Hi all, > >>> I don’t know that there's any term that’s the complement to > “accidental notes” (besides writing out “notes in the key”). > > Most people I know use “diatonic” — though it’s inaccurate a lot of the time. > > What about “signatured”? =) "in-key"? -- Da

Re: simplifying chromatic scale notation

Hi all, >> I don’t know that there's any term that’s the complement to “accidental >> notes” (besides writing out “notes in the key”). Most people I know use “diatonic” — though it’s inaccurate a lot of the time. What about “signatured”? =) Best, Kieren. Kie

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 8:18 AM, Sharon Rosner wrote: > > Of all alternative systems discussed on this thread, the only one which is > really appropriate for transposition is the "Lines a Whole Step Apart" > system (http://musicnotation.org/systems/gallery/). There it is just a > matter of moving t

Re: simplifying chromatic scale notation

On 26 January 2016 at 16:02, Paul Morris wrote: > On Jan 26, 2016, at 7:35 AM, Chris Yate wrote: > > As it is, when I mark up confusing music I sometimes use an upside-down > "V" to indicate semitones, "=" to indicate 'same note' and a square bracket > (like upside down "|__|") between notes to

Re: Square note head style

On 25-01-2016 19:18, Pierre Perol-Schneider wrote: Hi Caio, How about: Thanks Pierre, that's it! ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user

Re: Square note head style

On 26-01-2016 02:06, Bockett Hunter wrote: Are you trying to set mensural notation? If so, \override Voice.NoteHead #'style = #'neomensural will do what you want. Actually, no. I'm using it in a contemporary piece to indicate to stroke the piano strings with a pick. I need a real square,

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 7:45 AM, David Kastrup wrote: > > Sharon Rosner writes: > >> But seriously, I see no reason to change a system which works so well >> for so many different kinds of music. All these alternative systems, I >> don't see what advantage they offer. On the contrary, there are m

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 7:35 AM, Chris Yate wrote: > > As it is, when I mark up confusing music I sometimes use an upside-down "V" > to indicate semitones, "=" to indicate 'same note' and a square bracket (like > upside down "|__|") between notes to indicate a tone. This is occasionally > useful

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 5:40 AM, Chris Yate wrote: > > Unless they spend their lives playing on their own at home, musicians have > eventually to play with other people who will have learnt a method of > notation that's been good for 400 years. Yikes, it’s not that grim. One can always: 1. Lea

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 4:35 AM, David Kastrup wrote: > > CBA player here. The problem I see is more one that such "even > notation" doesn't match well with our standard tonalities. Play a C > major scale. Now do an accompaniment in "Küchenmädchenterzen", namely > just play the same melody a thi

Re: simplifying chromatic scale notation

Am 26.01.2016 um 16:58 schrieb Paul Morris: >> On Jan 26, 2016, at 5:35 AM, Chris Yate > > wrote: >> >> BTW, is there a standard term for non-accidental notes? You >> would think it would be “natural notes” but sometimes natural >> notes are also accidenta

Re: simplifying chromatic scale notation

> On Jan 26, 2016, at 5:35 AM, Chris Yate wrote: > > BTW, is there a standard term for non-accidental notes? You would think it > would be “natural notes” but sometimes natural notes are also accidental > notes. > > In a chromatic scale, what are the accidental notes? They're certainly NOT >

Re: simplifying chromatic scale notation

Kieren MacMillan writes: > Hi musicus, > >> Of course a good musician needs to focus on every detail, but only >> the "bad" ones neglect the bigger context. The key is to focus on >> the "right" thing, which is in many cases NOT every single note of >> an chromatic scale, IMO. > > I agree, 100%.

Re: simplifying chromatic scale notation

Hi musicus, > Of course a good musician needs to focus on every detail, but only the "bad" > ones neglect the bigger context. The key is to focus on the "right" thing, > which is in many cases NOT every single note of an chromatic scale, IMO. I agree, 100%. > It was never my intention to quest

Re: simplifying chromatic scale notation

Hi Sharon, > I see no reason to change a system which works so well for so > many different kinds of music. All these alternative systems, I don't see > what advantage they offer. On the contrary, there are many downsides - > they're unsuitable for keyboards, unsuitable for tonal music, unsuitable

Re: ugly french-beaming hack messes with lyrics

Hi Simon, ah, now I see why I wasn't using something like your example. Look at what happens when the last note is raised a fourth: \version "2.19.35" << \relative c'' { c4 d f \override Stem.stemlet-length = #0.5 \override Stem.details.beamed-lengths = #'(5) r8.[ b16] } \ad

Re: simplifying chromatic scale notation

> "make transposition harder"? Of all the disadvantages to attribute to equally-spaced notation systems, > this one seems like an unlikely candidate. It's one of their redeeming > features. Of all alternative systems discussed on this thread, the only one which is really appropriate for transpo

Re: Henle app

Am 26.01.2016 um 14:11 schrieb Kieren MacMillan: > Hi Andrew (et al.), > >> I would hazard a guess that the sizing is handled by rendering SVG – the >> whole point of which is that is is scalable and resizeable – output from >> whatever engraving program Henle uses. I doubt that the app is doin

Re: Henle app

Hi Andrew (et al.), > I would hazard a guess that the sizing is handled by rendering SVG – the > whole point of which is that is is scalable and resizeable – output from > whatever engraving program Henle uses. I doubt that the app is doing > engraving on the fly. Well, they claim: • y

Re: simplifying chromatic scale notation

Am 26.01.2016 um 13:57 schrieb Sharon Rosner: >> Of course a good musician needs to focus on every detail, but only the > "bad" ones neglect the bigger >> context. > What like Florence Foster Jenkins-type bigger context? > >> The key is to focus on the "right" thing, which is in many cases NOT e

Re: simplifying chromatic scale notation

> Of course a good musician needs to focus on every detail, but only the "bad" ones neglect the bigger > context. What like Florence Foster Jenkins-type bigger context? > The key is to focus on the "right" thing, which is in many cases NOT every > single note of an > chromatic scale, IMO. So w

Re: simplifying chromatic scale notation

Sharon Rosner writes: > But seriously, I see no reason to change a system which works so well > for so many different kinds of music. All these alternative systems, I > don't see what advantage they offer. On the contrary, there are many > downsides - they're unsuitable for keyboards, Piano keyb

Re: simplifying chromatic scale notation

Chris Yate writes: > Wow. Clairnote looks like an incredibly stupid idea, and a grand > disservice to any poor child who you teach to read it. Simplified > notation is not a lot better. > > Unless they spend their lives playing on their own at home, musicians > have eventually to play with other

Re: simplifying chromatic scale notation

Dear Sharon, "This last bit made me laugh out loud. Well I guess some musicians do not really feel like focusing on every single note. The good ones do though." I'd like to contradict on this one. Of course a good musician needs to focus on every detail, but only the "bad" ones neglect the

Re: simplifying chromatic scale notation

On 26 January 2016 at 12:25, musicus wrote: > *"1. I like to know where exactly I am at a given time."* > > Of course there are always some "key positions", which can help to > organize yourself while playing (or remembering/ learning etc.). > Nevertheless I do think that it is important to reduc

Re: simplifying chromatic scale notation

On 26 January 2016 at 12:06, Sharon Rosner wrote: > > But seriously, I see no reason to change a system which works so well for > so > many different kinds of music. All these alternative systems, I don't see > what advantage they offer. On the contrary, there are many downsides - > they're unsui

Re: simplifying chromatic scale notation

> I just struggled with studying a complex music piece and thought that all the chromatic lines are horrible > to read in standard notation. and later > Maybe there is a problem for some instruments to find the right pitch > (especially for those with pitch > perfect), but i don't think that th

Re: simplifying chromatic scale notation

Wow. Clairnote looks like an incredibly stupid idea, and a grand disservice to any poor child who you teach to read it. Simplified notation is not a lot better. Unless they spend their lives playing on their own at home, musicians have eventually to play with other people who will have learnt a m

Re: simplifying chromatic scale notation

On 26 January 2016 at 05:35, Paul Morris wrote: > > One idea would be to use triangle shapes for the accidental notes to > better clarify their relation to the “natural” or rather in-the-key, > non-accidental, notes. Like a diatonic-staff version of Reed’s Twinline: > http://musicnotation.org/sy

Re: simplifying chromatic scale notation

Dear Paul, I really admire the effort and courage of alternative notation systems, but I cannot see a reasonable improvement in this case. I don't think it's a good idea to remove all great advantages, which our standard notation system has. IMO, there are only a few problems to be solved - c

Re: simplifying chromatic scale notation

Malte Meyn writes: > Am 25.01.2016 um 22:19 schrieb musicus: >> >> See attached. Comments, suggestions are very welcome ;) >> > > I see some problems for pianists: > > 1. I like to know where exactly I am at a given time. For example I’d > like to know “c sharp on second beat” or “thumb on e sh