dirs = ['ancient','chords','connecting','contemporary','expressive','education','guitar','parts','pitch','repeats','scheme','spacing','staff','text','vocal','other','non-music','engravers','instrument-specific']
notsafe=[]
-notconvert=[]
try:
in_dir = sys.argv[1]
print
print
-print "List of files that could not be automatically updated printed",
-print "in not-converted.txt: CHECK MANUALLY!"
-print
print "Unsafe files printed in lsr-unsafe.txt: CHECK MANUALLY!"
print " xargs git-diff < lsr-unsafe.txt"
print
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR!
+\version "2.11.23"
+
+\header { texidoc = "
+Chord names are generated from a list pitches. The functions which
+construct these names can be customised. Here are shown Jazz chords,
+following Ignatzek (pp. 17-18, 1995) and an alternative Jazz chord
+notation.
+
+
+Chords following Banter (1987) can also be printed from this snippet,
+but are turned off for brevity.
+
+
+
+" }
+
+chs = \transpose c' c'
+{
+ <c e g>1
+ <c es g>% m = minor triad
+ <c e gis>
+ <c es ges> \break
+ <c e g bes>
+ <c es g bes>
+ <c e g b> % triangle = maj
+ <c es ges beses>
+ <c es ges b> \break
+ <c e gis bes>
+ <c es g b>
+ <c e gis b>
+ <c es ges bes>\break
+ <c e g a> % 6 = major triad with added sixth
+ <c es g a> % m6 = minor triad with added sixth
+ <c e g bes d'>
+ <c es g bes d'> \break
+ <c es g bes d' f' a' >
+ <c es g bes d' f' >
+ <c es ges bes d' >
+ <c e g bes des' > \break
+ <c e g bes dis'>
+ <c e g bes d' f'>
+ <c e g bes d' fis'>
+ <c e g bes d' f' a'>\break
+ <c e g bes d' fis' as'>
+ <c e gis bes dis'>
+ <c e g bes dis' fis'>
+ <c e g bes d' f' as'>\break
+ <c e g bes des' f' as'>
+ <c e g bes d' fis'>
+ <c e g b d'>
+ <c e g bes d' f' as'>\break
+ <c e g bes des' f' as'>
+ <c e g bes des' f' a'>
+ <c e g b d'>
+ <c e g b d' f' a'>\break
+ <c e g b d' fis'>
+ <c e g bes des' f ' a'>
+ <c f g>
+ <c f g bes>\break
+ <c f g bes d'>
+ <c e g d'> % add9
+ <c es g f'>
+}
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% alternate Jazz notation
+
+efullmusicJazzAlt =
+{
+ <c e gis>1-\markup { "+" }
+ <c e g b>-\markup { \normal-size-super
+ % \override #'(font-family . math) "N" }
+ \override #'(font-family . math) "M" }
+ %%c:3.5.7 = \markup { \override #'(font-family . math) "M" }
+ %%c:3.5.7 = \markup { \normal-size-super "maj7" }
+
+ <c es ges>-\markup { \super "o" } % should be $\circ$ ?
+ <c es ges bes>-\markup { \super \combine "o" "/" }
+ <c es ges beses>-\markup { \super "o7" }
+}
+
+efullJazzAlt = #(sequential-music-to-chord-exceptions efullmusicJazzAlt #f)
+
+epartialmusicJazzAlt = {
+ <c d>1-\markup { \normal-size-super "2" }
+ <c es>-\markup { "m" }
+ <c f>-\markup { \normal-size-super "sus4" }
+ <c g>-\markup { \normal-size-super "5" }
+
+ %% TODO, partial exceptions
+ <c es f>-\markup { "m" }-\markup { \normal-size-super "sus4" }
+ <c d es>-\markup { "m" }-\markup { \normal-size-super "sus2" }
+}
+
+epartialJazzAlt = #(sequential-music-to-chord-exceptions epartialmusicJazzAlt #f)
+
+jazzAltProperties = \sequential {
+ \set majorSevenSymbol = #whiteTriangleMarkup
+ \set chordNameSeparator = #(make-simple-markup "/")
+ \set chordNameExceptionsFull = #efullJazzAlt
+ \set chordNameExceptionsPartial = #epartialJazzAlt
+ \set chordNameFunction = #jazz-chord-names
+}
+
+banterProperties = \sequential {
+ \set chordNameFunction = #banter-chord-names
+}
+
+\score{
+ <<
+ \new ChordNames {
+ \set ChordNames.instrumentName = #"Ignatzek (default)"
+ \set ChordNames.shortInstrumentName = #"Def"
+ \chs
+ }
+
+ \new ChordNames {
+ \jazzAltProperties
+ \set ChordNames.instrumentName = #"Alternative"
+ \set ChordNames.shortInstrumentName = #"Alt"
+ \chs
+ }
+
+%{
+
+ %% This is the Banter (1987) style. It gives exceedingly
+ %% verbose (wide) names, making the output file take up to 4 pages.
+ %% (FIXME: how big is is now?)
+ %% Turned off by default.
+
+ %% FIXME: use smaller font for Banter (or remove some esoteric
+ %% chords).
+
+ \new ChordNames {
+ \banterProperties
+ \set ChordNames.instrumentName = #"Banter"
+ \set ChordNames.shortInstrumentName = #"Ban"
+ \chs
+ }
+%}
+
+ \new Staff \transpose c c' { \chs }
+ >>
+ \layout {
+ indent = 3.\cm
+ \context {
+ \ChordNames
+ \consists Instrument_name_engraver
+ }
+ }
+}
+
+
--- /dev/null
+%% Do not edit this file; it is auto-generated from LSR!
+\header {
+ texidoc = "Clipping snippets from a finished score
+
+Notes:
+
+@itemize @bullet
+@item If system starts and ends are included, they include extents of the System grob, eg. instrument names.
+@item Grace notes at the end point of the region are not included
+@item Regions can span multiple systems. In this case, multiple EPS files are generated.
+@end itemize
+
+This file needs to be run separately with @code{-dclip-systems}; the
+collated-files.html of the regression test does not adequately show
+the results.
+
+The result will be files named
+@file{@var{base}-from-@var{start}-to-@var{end}[-@var{count}].eps}.
+"
+
+}
+
+\version "2.11.23"
+
+#(ly:set-option 'clip-systems)
+
+#(set! output-count 1)
+
+origScore = \score{
+ \relative {
+ \set Staff.instrumentName = #"bla"
+ c1
+ d
+ \grace c16
+ e1
+ \key d\major
+
+ f
+ \break \clef bass
+ g,
+ fis
+ }
+}
+
+\book {
+ \score {
+ \origScore
+ \layout {
+
+ %% each clip-region is a (START . END) pair
+ %% where both are rhythmic-locations.
+
+ %% (make-rhythmic-locations BAR-NUMBER NUM DEN)
+ %% means NUM/DEN whole-notes into bar numbered BAR-NUMBER
+
+ clip-regions
+ = #(list
+ (cons
+ (make-rhythmic-location 2 0 1)
+ (make-rhythmic-location 4 0 1))
+
+ (cons
+ (make-rhythmic-location 0 0 1)
+ (make-rhythmic-location 4 0 1))
+
+ (cons
+ (make-rhythmic-location 0 0 1)
+ (make-rhythmic-location 6 0 1))
+ )
+ }
+ }
+}
+
+#(set! output-count 0)
+#(ly:set-option 'clip-systems #f)
+
+\book {
+ \score { \origScore }
+ \markup { \bold \fontsize #6 clips }
+ \score {
+ \lyrics {
+ \markup { from-2.0.1-to-4.0.1-clip.eps }
+ \markup { \epsfile #X #30.0 #(format #f "~a-1-from-2.0.1-to-4.0.1-clip.eps" (ly:parser-output-name parser)) }
+ }
+ }
+}
projects / lilypond.git / commitdiff