Re: cannot shift position of voice in polyphony; problem with harmonic

[Tom Cloyd]

On 05/19/2013 01:46 AM, David Kastrup wrote:
> Tom Cloyd <address@hidden> writes:
>
> > > On 05/18/2013 09:17 PM, David Kastrup wrote:
> > > > Tom Cloyd <address@hidden> writes:
> > > >
> > > > > [3] I have requested that the be high "b" display as a natural
> > > > > harmonic, which it does. But the other voices are also display
> > > > > harmonic noteheads, which makes no sense and is also simply wrong. I
> > > > > don't see an error in my source. The " \once \override Staff.NoteHead
> > > > > #'style = #'harmonic-mixed" should only affect the voice it's in.
> > > > Why then override Staff.NoteHead rather than Voice.NoteHead?
> > Thanks you, David.
> >
> > To answer your question - because my ignorance of Lilypond is vast,
> > and I've been away from ly for a long time. It shows.
> I'm afraid that isn't all.  After all, you explicitly specify "Staff"
> rather than "Voice".  Why would you do that without realizing it?  And
> the only answer that makes much sense is that the whole phrase is
> carefully rehearsed gobbledygook without inherent meaning to you.  We
> need a Ben Yehuda...  Though there _is_ some work being done regarding
> simplifying the language.
You're right. Most of it IS nonsense to me. I have programmed computers 
for literally decades, but always as a sideline. I currently work in 
Ruby - every now and again. I'd love to dive into Lilypond's 
"internals", not to mention the base language (except that C stuff - 
ain't goin' there!), BUT, there simply isn't time.

In the case of the "Staff" versus "Voice", I was borrowing a snippet 
from a previous source code file of mine. The snippet did exactly what I 
wanted, so I was shocked to see that it doesn't work in my current 
context. (I now need to figure out why it worked with this earlier 
source file - perhaps due to its using an earlier version of ly?)

I finished first draft engraving of a 32 bar composition yesterday. I 
already had about 3 hours into it. I invested another 9, to get that 
draft, and I have yet to get fingerings into it. Part of the problem is 
that I've been away from ly for quite a while, part is that it's 3 part 
polyphony all the way through, with within-voice polyphony at a number 
of points, and a good part is that I've never been all that secure with 
ly. I have to look up a significant amount of stuff. Wouldn't be the 
case if I worked with it regularly, but I do have a life.

I have a template I've developed (and much of it is borrowed from Kulp), 
and ways of working that help me "get it done". It still is a major 
chunk of time. If the result wasn't so useful and rewarding, I'd not do 
this. Would just stay with hand written scores, which aren't that bad 
and are far far quicker to produce.

I've begun using Frescobaldi - the link between the PDF output and the 
source code is so totally useful that once I saw it (about a week ago), 
I was hooked. A great working environment, all in all. Still, it's all 
costly.

I'm grateful for your committed and enthusiastic work on ly, most of 
which I probably am unaware of. I wish I could give back to the 
wonderful community of users which have given me so much, but at the 
moment I have next to nothing to give. In the relatively near future, 
that may change. My first act would be to send you some support, because 
it would get magnified many times by your work.

Thanks for your comments and help and all-around intelligence. Very 
useful to all of us!

Tom

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Tom Cloyd, MS MA
Cedar City / St. George, Utah, U.S.A: (435) 272-3332
<< address@hidden >> (email) << TomCloyd.com >> (website)
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