Hello,
On 23 September 2012 12:34, Marc Hohl wrote:
> Am 23.09.2012 13:01, schrieb James:
>>
>> Hello,
>>
>> On 23 September 2012 09:34, Janek Warchoł
>> wrote:
>>>
>>> On Fri, Sep 21, 2012 at 3:37 PM, David Kastrup wrote:
Janek Warchoł writes:
> However, the idea of creatin
Hello,
On 23 September 2012 09:34, Janek Warchoł wrote:
> On Fri, Sep 21, 2012 at 3:37 PM, David Kastrup wrote:
>> Janek Warchoł writes:
>>
>>> However, the idea of creating another shortcut (p seems to be a good
>>> name) appeals to me. I would design p to repeat chords as well as
>>> pitches
On Mon, Sep 24, 2012 at 3:23 PM, David Kastrup wrote:
> Janek Warchoł writes:
>> Now i'm *totally* puzzled. What do you mean by "programs"? Do you
>> mean that allowing standalone durations, like c2 d 4 4 => c2 d2 d4 d4,
>
> The first 4 in there is not standalone, so c2 d 4 4 => c2 d4 d4 and
>
Janek Warchoł writes:
> On Sun, Sep 23, 2012 at 2:03 PM, David Kastrup wrote:
>
>>> good point. So, i still think that we shouldn't allow "c2 4 4"
>>> despite some really nice benefits it could bring us.
>>
>> Well, it won't affect previously valid programs.
>
> Now i'm *totally* puzzled. What
On Sun, Sep 23, 2012 at 2:03 PM, David Kastrup wrote:
> Janek Warchoł writes:
>>
>>> For something like RhythmicStaff where pitches get squashed anyway,
>>> it might come in handy. It would _not_, however, repeat chords,
>>> since you can't magically change a NoteEvent to an EventChord without
>
Marc Hohl writes:
> Ok, that's another possibility – *if* we could use variable names like
> em7, c7b5 and store chords in that, this would be even better, but
> this yields to yet another big amount of philosophical mails ;-)
It would make more sense to improve the configurability of chord
nota
Marc Hohl writes:
> Am 23.09.2012 14:40, schrieb James:
>>
>> From a novice's point of view q on the face of it is handy, but handy
>> in the sense that some of the LSR hacks are handy, it just seems so
>> unlike/inconsistent with any of the other commands we use in LP. I
>> don't personally have
Am 23.09.2012 14:40, schrieb James:
Hello,
[...]
This construct doesn't allow for mixing single notes with
chords.
I see. Hmm...yes that's awkward.
There are instruments and music styles which greatly
benefit from having 'q' available, whereas others don't,
I write a lot of music for guitar
Werner LEMBERG writes:
>>> So, i still think that we shouldn't allow "c2 4 4" despite some
>>> really nice benefits it could bring us.
>>
>> Well, it won't affect previously valid programs. And it would have
>> some nice side effects, including
>>
>> c4~ | 1~ | 2.
>>
>> with or without bar ch
>> So, i still think that we shouldn't allow "c2 4 4" despite some
>> really nice benefits it could bring us.
>
> Well, it won't affect previously valid programs. And it would have
> some nice side effects, including
>
> c4~ | 1~ | 2.
>
> with or without bar checks or spaces, and reasonably st
Janek Warchoł writes:
>>> An example which shows that when you have shortcuts you don't even
>>> need functions for automated manipulation:
>>>
>>> bong = { q16 q q q q16 q8. }
>>> { 2 \bong 2 \bong 2 \bong }
>>
>> But bong does not include the original chord of the sequence.
>
> Is it bad that
Am 23.09.2012 13:01, schrieb James:
Hello,
On 23 September 2012 09:34, Janek Warchoł wrote:
On Fri, Sep 21, 2012 at 3:37 PM, David Kastrup wrote:
Janek Warchoł writes:
However, the idea of creating another shortcut (p seems to be a good
name) appeals to me. I would design p to repeat cho
On Fri, Sep 21, 2012 at 3:37 PM, David Kastrup wrote:
> Janek Warchoł writes:
>
>> However, the idea of creating another shortcut (p seems to be a good
>> name) appeals to me. I would design p to repeat chords as well as
>> pitches.
>
> When writing c q p, what does p repeat and why?
i'd say t
Janek Warchoł writes:
> However, the idea of creating another shortcut (p seems to be a good
> name) appeals to me. I would design p to repeat chords as well as
> pitches.
When writing c q p, what does p repeat and why? How will it be
represented in music lists so that the usual manipulations
Hi all,
there's a lot of emails in this thread so i'll post a general reply.
First, i was puzzled myself that q only repeats chords. I didn't know
that it was intentional (missed the discussion, sorry) and i was going
to suggest to change this behaviour myself.
I understand Marc's argument abou
Gilles writes:
>> You noticed yourself that this does not work well with chords, but it
>> also does not play overly well with \relative if you write \av c' for
>> example.
>
> In the \samePitch function, i try to play with the property
> 'to-relative-callback. It seems to work also here but of c
You noticed yourself that this does not work well with chords, but it
also does not play overly well with \relative if you write \av c' for
example.
In the \samePitch function, i try to play with the property
'to-relative-callback. It seems to work also here but of course, it is
heavier -:( (
Francisco Vila writes:
> 2012/9/21 David Kastrup :
>> There is no concept of "concatenation" involved here. Spaces are not
>> significant between separate syntactic elements. Not even in lyrics.
>> If you write
>> xxx="text"
>> then \lyricmode{\xxx\xxx} and \lyricmode { \xxx \xxx } are both
>>
Graham Percival writes:
> I'm particularly asking about making every note into a chord
> because that would make David's favorite <> construct a *lot* more
> consistent. At the moment, we have
> no note at a time unit: <>
> single note at a time unit: c'4
> multiple notes at a time unit: 4
- Original Message -
From: "Graham Percival"
To: "Nicolas Sceaux"
Cc: "David Kastrup" ;
Sent: Thursday, September 20, 2012 7:01 PM
Subject: Re: Possible feature request for 'q' shorthand or tie syntax
On Thu, Sep 20, 2012 at 07:45:41PM +
2012/9/21 David Kastrup :
> There is no concept of "concatenation" involved here. Spaces are not
> significant between separate syntactic elements. Not even in lyrics.
> If you write
> xxx="text"
> then \lyricmode{\xxx\xxx} and \lyricmode { \xxx \xxx } are both
> equivalent to \lyricmode { text t
Werner LEMBERG writes:
>> You could have also written
>>
>> \displayLilyMusic \transpose ges fis { ... }
>>
>> on the passage, then cut and paste the output back into your file if
>> you really wanted the _input_ to be changed.
>
> Nice trick!
Well, it does not preserve spacing (it would be an
> You could have also written
>
> \displayLilyMusic \transpose ges fis { ... }
>
> on the passage, then cut and paste the output back into your file if
> you really wanted the _input_ to be changed.
Nice trick!
Werner
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Jim Long writes:
> On Fri, Sep 21, 2012 at 01:32:57AM +0200, David Kastrup wrote:
>>
>> Pitches can also be put into a variable, like
>> tonic=f
>>
>> { \tonic 2 }
>>
>> So you want to force writing \tonic2 as well, I assume? We can also
>> place them into variables. Few minutes ago, someone
On Fri, Sep 21, 2012 at 01:32:57AM +0200, David Kastrup wrote:
>
> Pitches can also be put into a variable, like
> tonic=f
>
> { \tonic 2 }
>
> So you want to force writing \tonic2 as well, I assume? We can also
> place them into variables. Few minutes ago, someone else proposed a
> function
>
Jim Long writes:
> On Thu, Sep 20, 2012 at 09:55:35PM +0200, David Kastrup wrote:
>>
>> > But if stand-alone durations (like a '4' standing by itself)
>> > could inherit the previous pitch (somewhat symmetric to how a
>> > stand-alone pitch inherits the previous duration), one could
>> > write:
Gilles writes:
>> av = #(define-music-function (parser location x) (ly:music?)
>> #{
>>\changePitch \samePitch { c8 ~ c4 } $x
>> #})
>
> But of course, for this example, this will work without any added file :-)
>
> av = #(define-music-function (parser location x) (ly:pitch?)
> #{
>$
On Thu, Sep 20, 2012 at 09:55:35PM +0200, David Kastrup wrote:
>
> > But if stand-alone durations (like a '4' standing by itself)
> > could inherit the previous pitch (somewhat symmetric to how a
> > stand-alone pitch inherits the previous duration), one could
> > write:
> >
> > c1 ~ | 4 cis dis c
But of course, for this example, this will work without any added file
av = #(define-music-function (parser location x) (ly:pitch?)
#{
$x 8 ~ $x 4
#})
... but it will fail with chords
[ ly:pitch? return false of course, for ]
\new Staff \relative c' {
c4. \av f4 % error
}
av = #(define-music-function (parser location x) (ly:music?)
#{
\changePitch \samePitch { c8 ~ c4 } $x
#})
But of course, for this example, this will work without any added file :-)
av = #(define-music-function (parser location x) (ly:pitch?)
#{
$x 8 ~ $x 4
#})
\new Staff \relati
Le Thu, 20 Sep 2012 12:46:14 +0200, Stefan Thomas
a écrit:
\include "changepitch.ly"
AV = { c8 c4 }
av = #(define-music-function (parser location x) (ly:music?)
#{
\context Voice << { \changePitch \AV { $x $x } } { s8 ~ s8 } >>
#})
\new Staff \relative c' {
c4. \av es f4 fis4 \av fis g
Jim Long writes:
> On Thu, Sep 20, 2012 at 01:12:29PM +0200, David Kastrup wrote:
>> Jim Long writes:
>>
>> > For that matter, it would be nice (though I suspect more
>> > syntactically problematic) for subsequent notes in ties to only
>> > require a duration, since by definition the pitch has
Graham Percival writes:
> On Thu, Sep 20, 2012 at 07:45:41PM +0200, Nicolas Sceaux wrote:
>>
>> Le 20 sept. 2012 à 19:21, Graham Percival a écrit :
>>
>> >> A single note name is not that much longer to type than q. If it is
>> >> really important to you, place the single note in a chord:
>> >
On Thu, Sep 20, 2012 at 11:01:59AM -0700, Graham Percival wrote:
>
> If c'4 was actually a shortcut for 4, then we could have a
> consistent notion that every time unit in every voice is a chord;
> that chord may contain 0, 1, or many notes.
I too see the elegance in your idea, but understand Mar
On Sep 20, 2012, at 8:16 PM, Marc Hohl wrote:
> Am 20.09.2012 20:01, schrieb Graham Percival:
>> On Thu, Sep 20, 2012 at 07:45:41PM +0200, Nicolas Sceaux wrote:
>>> Le 20 sept. 2012 à 19:21, Graham Percival a écrit :
>>>
> A single note name is not that much longer to type than q. If it is
On Thu, Sep 20, 2012 at 01:12:29PM +0200, David Kastrup wrote:
> Jim Long writes:
>
> > A humble suggestion
> >
> > Please educate me if there is already a way to do this, but it
> > appears that 'q' as a shorthand for the repetition of the
> > previous note(s) only works for chords. It woul
Am 20.09.2012 20:01, schrieb Graham Percival:
On Thu, Sep 20, 2012 at 07:45:41PM +0200, Nicolas Sceaux wrote:
Le 20 sept. 2012 à 19:21, Graham Percival a écrit :
A single note name is not that much longer to type than q. If it is
really important to you, place the single note in a chord:
is
On Thu, Sep 20, 2012 at 07:45:41PM +0200, Nicolas Sceaux wrote:
>
> Le 20 sept. 2012 à 19:21, Graham Percival a écrit :
>
> >> A single note name is not that much longer to type than q. If it is
> >> really important to you, place the single note in a chord:
> >> is perfectly repeatable by q.
>
Le 20 sept. 2012 à 19:21, Graham Percival a écrit :
> On Wed, Sep 19, 2012 at 11:56:02PM +0200, David Kastrup wrote:
>> Jim Long writes:
>>
>>> Please educate me if there is already a way to do this, but it
>>> appears that 'q' as a shorthand for the repetition of the
>>> previous note(s) only
On Wed, Sep 19, 2012 at 11:56:02PM +0200, David Kastrup wrote:
> Jim Long writes:
>
> > Please educate me if there is already a way to do this, but it
> > appears that 'q' as a shorthand for the repetition of the
> > previous note(s) only works for chords. It would be handy if it
> > worked for
Jim Long writes:
> A humble suggestion
>
> Please educate me if there is already a way to do this, but it
> appears that 'q' as a shorthand for the repetition of the
> previous note(s) only works for chords. It would be handy if it
> worked for single notes also, specifically in ties.
>
>
Dear Jim,
I don't like writing lots of ties too. And I use the following solution,
which works fine for me.
\include "changepitch.ly"
AV = { c8 c4 }
av = #(define-music-function (parser location x) (ly:music?)
#{
\context Voice << { \changePitch \AV { $x $x } } { s8 ~ s8 } >>
>>> is perfectly repeatable by q.
>>
>> Do we have this in the docs?
>
> I don't think explicitly, but why wouldn't it work?.
Whether it works is not the question, but rather that people don't
have this in mind while looking for a repetition possibility of a
single note. Even I, being quite we
Werner LEMBERG writes:
>> is perfectly repeatable by q.
>
> Do we have this in the docs?
I don't think explicitly, but why wouldn't it work?. <>, by the way, is
not repeatable since q4 would not exactly make a lot of sense.
--
David Kastrup
___
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> is perfectly repeatable by q.
Do we have this in the docs?
Werner
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Jim Long writes:
> A humble suggestion
>
> Please educate me if there is already a way to do this, but it
> appears that 'q' as a shorthand for the repetition of the
> previous note(s) only works for chords. It would be handy if it
> worked for single notes also, specifically in ties.
A sin
A humble suggestion
Please educate me if there is already a way to do this, but it
appears that 'q' as a shorthand for the repetition of the
previous note(s) only works for chords. It would be handy if it
worked for single notes also, specifically in ties.
\time 12/8
\partial 8
aes8
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