Re: Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Thanks! Actually somehow I never used screen splitting.. now trying it out,
and it means you have basically \parallelmusic without drawbacks, that's
really cool. Also with folding Frescobaldi provides, you can hide stuff you
already completed. I guess you can even split to 4 when working on 4 voices
and then use another Frescobaldi window just to see preview of the score.
I'll try that approach next time.

Pozdrawiam,
Krzysztof Gutowski

2017-02-21 11:18 GMT+01:00 Federico Bruni <f...@inventati.org>:

> Il giorno mar 21 feb 2017 alle 10:40, kmg <krzysztof.kolor...@gmail.com>
> ha scritto:
>
>> I started to like \pararellmusic, because you can go one measure at a
>> time, instead of of putting bunch of voices and going back and forth. On
>> the other hand, it seems like it's limited and you have to restate your
>> note lengths every time, also some nested slurs can be a problem sometimes.
>> But it seems like the most clean approach for typesetting something like
>> baroque sonata for the piano..
>>
>>
> Frescobaldi allows to split the editor pane vertically, so you can work on
> multiple voices (each in a different variable) without having to scroll up
> and down. This is what I use to do on 2 voices guitar pieces (what I
> usually typeset).
>
>
>> Last thing - I saw some putting barchecks in the beginning of the line
>> (including the very first bar). Are you doing it like that too?
>>
>
> No, I don't.
> In general I use one line per measure; each measure ends with a barcheck.
> If the measure is long, I let Frescobaldi wrap lines (View>Wrap lines).
> If the measure contains tweaks or overrides, I nest them using two spaces.
> Even though using Frescobaldi format tool makes this nesting disappear; so
> you have to be careful (and use version control like git). See these two
> discussions:
> https://github.com/wbsoft/frescobaldi/issues/573
> https://github.com/wbsoft/frescobaldi/issues/437
>
>
>
>
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Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Hey,

As I'm recently starting to type more and more in Lily and browsing some
scores on Mutopia Project to see how others are doing it, I wonder how you
- proffessionals - are approaching it? Does it depends on the type of the
score?

I started to like \pararellmusic, because you can go one measure at a time,
instead of of putting bunch of voices and going back and forth. On the
other hand, it seems like it's limited and you have to restate your note
lengths every time, also some nested slurs can be a problem sometimes. But
it seems like the most clean approach for typesetting something like
baroque sonata for the piano..

I did the same with the score where right hand had only once voice most of
the time, still I'm yet to see someone else using it - seems like many
people just use /new Voice and write them separately.

Last thing - I saw some putting barchecks in the beginning of the line
(including the very first bar). Are you doing it like that too? Maybe
someone could share a snippet from some good quality and complex piano
score? Honestly, almost every score I saw on Mutopia Project unfortunately
doesn't look too great, but maybe I'm tripping. Anyway, I'd like to see how
people with deadlines and efficient workflow are managing this - assuming
this is even a thing with LilyPond...

Thanks in advance guys.


Pozdrawiam,
Krzysztof Gutowski
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Also, thanks Urs! For some reason I saw your response only when checking
out the lists directly, it was not in my mailbox. Honestly I also like the
idea of one voice at a time better, and Frescobaldi helps with seeing it
consistently (as you guys pointed out). Before I saw only "|" at the
beginning in some files, but your "| % bar " is so cool, I'll definitely
try to use that (as the lines are sometimes so long you can't really find
that mark easily). Specifying durations every time is something I'll try
out too, kinda got used to it by using parallel input anyway. Thanks again.

Pozdrawiam,
Krzysztof Gutowski

2017-02-21 12:19 GMT+01:00 kmg <krzysztof.kolor...@gmail.com>:

> Thanks! Actually somehow I never used screen splitting.. now trying it
> out, and it means you have basically \parallelmusic without drawbacks,
> that's really cool. Also with folding Frescobaldi provides, you can hide
> stuff you already completed. I guess you can even split to 4 when working
> on 4 voices and then use another Frescobaldi window just to see preview of
> the score. I'll try that approach next time.
>
> Pozdrawiam,
> Krzysztof Gutowski
>
> 2017-02-21 11:18 GMT+01:00 Federico Bruni <f...@inventati.org>:
>
>> Il giorno mar 21 feb 2017 alle 10:40, kmg <krzysztof.kolor...@gmail.com>
>> ha scritto:
>>
>>> I started to like \pararellmusic, because you can go one measure at a
>>> time, instead of of putting bunch of voices and going back and forth. On
>>> the other hand, it seems like it's limited and you have to restate your
>>> note lengths every time, also some nested slurs can be a problem sometimes.
>>> But it seems like the most clean approach for typesetting something like
>>> baroque sonata for the piano..
>>>
>>>
>> Frescobaldi allows to split the editor pane vertically, so you can work
>> on multiple voices (each in a different variable) without having to scroll
>> up and down. This is what I use to do on 2 voices guitar pieces (what I
>> usually typeset).
>>
>>
>>> Last thing - I saw some putting barchecks in the beginning of the line
>>> (including the very first bar). Are you doing it like that too?
>>>
>>
>> No, I don't.
>> In general I use one line per measure; each measure ends with a barcheck.
>> If the measure is long, I let Frescobaldi wrap lines (View>Wrap lines).
>> If the measure contains tweaks or overrides, I nest them using two
>> spaces. Even though using Frescobaldi format tool makes this nesting
>> disappear; so you have to be careful (and use version control like git).
>> See these two discussions:
>> https://github.com/wbsoft/frescobaldi/issues/573
>> https://github.com/wbsoft/frescobaldi/issues/437
>>
>>
>>
>>
>
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Re: Your favourite/most efficient methods of inputting scores (piano)?

[kmg]

Karl, Urs, thanks for your repositories, definitely interesting stuff
there. I'm kinda overwhelmed by all your includes and multiple files +
scheme stuff, but I can appreciate the organisation of larger works and
will maybe try it out little by little, even for smaller works. LilyPond
Manuals are great, but seeing some live application is totally different
story!

Pozdrawiam,
Krzysztof Gutowski

2017-02-21 12:29 GMT+01:00 kmg <krzysztof.kolor...@gmail.com>:

> Also, thanks Urs! For some reason I saw your response only when checking
> out the lists directly, it was not in my mailbox. Honestly I also like the
> idea of one voice at a time better, and Frescobaldi helps with seeing it
> consistently (as you guys pointed out). Before I saw only "|" at the
> beginning in some files, but your "| % bar " is so cool, I'll definitely
> try to use that (as the lines are sometimes so long you can't really find
> that mark easily). Specifying durations every time is something I'll try
> out too, kinda got used to it by using parallel input anyway. Thanks again.
>
> Pozdrawiam,
> Krzysztof Gutowski
>
> 2017-02-21 12:19 GMT+01:00 kmg <krzysztof.kolor...@gmail.com>:
>
>> Thanks! Actually somehow I never used screen splitting.. now trying it
>> out, and it means you have basically \parallelmusic without drawbacks,
>> that's really cool. Also with folding Frescobaldi provides, you can hide
>> stuff you already completed. I guess you can even split to 4 when working
>> on 4 voices and then use another Frescobaldi window just to see preview of
>> the score. I'll try that approach next time.
>>
>> Pozdrawiam,
>> Krzysztof Gutowski
>>
>> 2017-02-21 11:18 GMT+01:00 Federico Bruni <f...@inventati.org>:
>>
>>> Il giorno mar 21 feb 2017 alle 10:40, kmg <krzysztof.kolor...@gmail.com>
>>> ha scritto:
>>>
>>>> I started to like \pararellmusic, because you can go one measure at a
>>>> time, instead of of putting bunch of voices and going back and forth. On
>>>> the other hand, it seems like it's limited and you have to restate your
>>>> note lengths every time, also some nested slurs can be a problem sometimes.
>>>> But it seems like the most clean approach for typesetting something like
>>>> baroque sonata for the piano..
>>>>
>>>>
>>> Frescobaldi allows to split the editor pane vertically, so you can work
>>> on multiple voices (each in a different variable) without having to scroll
>>> up and down. This is what I use to do on 2 voices guitar pieces (what I
>>> usually typeset).
>>>
>>>
>>>> Last thing - I saw some putting barchecks in the beginning of the line
>>>> (including the very first bar). Are you doing it like that too?
>>>>
>>>
>>> No, I don't.
>>> In general I use one line per measure; each measure ends with a barcheck.
>>> If the measure is long, I let Frescobaldi wrap lines (View>Wrap lines).
>>> If the measure contains tweaks or overrides, I nest them using two
>>> spaces. Even though using Frescobaldi format tool makes this nesting
>>> disappear; so you have to be careful (and use version control like git).
>>> See these two discussions:
>>> https://github.com/wbsoft/frescobaldi/issues/573
>>> https://github.com/wbsoft/frescobaldi/issues/437
>>>
>>>
>>>
>>>
>>
>
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Coda for piano without breaking the line?

[kmg]

Hey, I'm having a problem with inserting a coda in the piano setting. I
used available coda snippet, but I want to insert the piano bracket as well
(so it looks like fresh piano staff near the end of the line), not sure how
to do this. Stopping and starting staff just prints clefs, can you just
print this piano bracket 'on demand' (along with the straight line just
before the clefs, like it's in the beginning of each piano system)? Any
directions appreciated, and here's how it looks right now -
http://i.imgur.com/lCFsBTi.png. Thanks in advance :)

Fragment of the code you see on the screenshot:

(...)

q8 q q q q r r4 |
  \cadenzaOn
  \stopStaff
  \repeat unfold 3 {
  s1
  \bar ""
}
% Resume bar count and show staff lines again
 \startStaff
   \cadenzaOff
   \once \override Staff.KeySignature.break-visibility =
#end-of-line-invisible
   \once \override Staff.Clef.break-visibility = #end-of-line-invisible
   as1

(Same code is used for both hands)

Pozdrawiam,
Krzysztof Gutowski
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Horizontal alingment of lyrics hyphens?

[kmg]

Hey guys, I recently discovered Lily and I like it a lot. For practice
purposes I decided to engrave some old psalm and lyrics look bad. From what
I read, hyphens are always centered between sylabes, so my question: is
there a way to avoid them getting into barlines, or align them in verses?

Anyway, thanks in advance and cheers :)

Srceenshot and my project file in the attachment



Pozdrawiam,
Krzysztof Gutowski
\version "2.19.48"

\language "deutsch"

\header	{
  title = ""
  subtitle = ""
}  

global = {
  \time 4/4
  \tempo "Vivo" 4=120
  \key b\major
}

sopran = \relative c'' {
  \global
  \repeat volta 2 {
  a4 a b4. a8 |
  g4 g a r8 a |
  g4  f f e |
  \time 2/4
  f2 } | \break
  a4 a |
  \time 4/4
  a8 b c4 c b |
  c a d8 c c4 |
  c h c2 |
  a4 a a g8 a |
  b a16 b a8 g a4 a |
  g f f e |
  f1\fermata \bar "|."
  
}

alt = \relative c' {
  \global
  f4 f d8 (e) f4 |
  e8 (f4) e8 f4 r8 f |
  d4 c d c8 (b) |
  a2 | 
  a4 d |
  c c a' g8 (f) |
  e4 d d e8 (f) |
  g4. (f8) e2 |
  c4 c c c |
  f f f4. e8 |
  d4 c d c8 (b) |
  a1\fermata
}

tenor = \relative c' {
  \global
  c4 c d4. c8 |
  c4. b8 a4 r8 c |
  b4 a g g |
  f2 |
  c'4 f |
  f e f d |
  c f f e |
  d d c2 |
  f4 f f e |
  d d c c |
  b a g g |
  f1\fermata
}

bas = \relative c {
  \global
  f4 f b,4. f8 |
  c'4 c f, r8 f |
  g4 a b c |
  f,2 |
  f'4 d8 e |
  f g a4 f g |
  c, d b c |
  g g c2 |
  f,4 f' f c |
  d4. e8 f4 f, |
  g a b c |
  f,1\fermata
}

sopranJeden = \lyricmode {
  \set stanza = "1."
  Nie -- ście chwa -- łę 
  mo -- ca -- rze, Pa --
  nu moc -- niej -- sze -- mu,
  
}

sopranDwa = \lyricmode {
  
  Nie -- ście chwa -- łę 
  kró -- lo -- wie, Kró --
  lo -- wi  więt -- sze -- mu,
  
}

sopranTrzy = \lyricmode {
  \set stanza = "2."
  Głos Pań -- ski deszcz -- e -- le -- je,
  głos Pań -- ski grom sro -- gi
  
}

sopranCztery = \lyricmode {
  I o -- kru -- tne po -- bu -- dza
  na po -- wie -- trzu dro -- gi
  
}

\score {
  \new StaffGroup
  <<
\new Staff \with {
  midiInstrument = "choir aahs"
  instrumentName = \markup \center-column { S }}
   \new Voice = "sopran" { \voiceOne \sopran }
  \new Lyrics << \lyricsto "sopran" \sopranJeden
  \new Lyrics {
\lyricsto "sopran" \sopranDwa  
  }
  \new Lyrics {
\lyricsto "sopran" \sopranTrzy  
  }
  \new Lyrics {
\lyricsto "sopran" \sopranCztery 
  }
  >>
 %\new Lyrics \lyricsto "sopran" \verseTwo
 %\new Lyrics \lyricsto "sopran" \verseThree
\new Staff = "alt" \with {
  midiInstrument = "choir aahs"
  instrumentName = \markup \center-column { A }}
  \new Voice = "alt" { \voiceOne \alt }
  \new Lyrics << \lyricsto "alt" \sopranJeden
 \new Lyrics {
\lyricsto "alt" \sopranDwa  
  }
  \new Lyrics {
\lyricsto "alt" \sopranTrzy  
  }
  \new Lyrics {
\lyricsto "alt" \sopranCztery 
  }
  >>

 %\new Lyrics \lyricsto "alt" \verseTwo
 %\new Lyrics \lyricsto "alt" \verseThree
\new Staff = "tenor" \with {
  \clef tenorG
  midiInstrument = "choir aahs"
  instrumentName = \markup \center-column { T }}
  \new Voice = "tenor" { \voiceOne \tenor }
 %\new Lyrics \lyricsto "tenor" \verseOne
 %\new Lyrics \lyricsto "tenor" \verseTwo
 %\new Lyrics \lyricsto "tenor" \verseThree
\new Staff = "bas" \with {
  \override Staff.BarLine.tip = #'auto
  \clef bass
  midiInstrument = "choir aahs"
  instrumentName = \markup \center-column { B }}
  \new Voice = "bas" { \voiceOne \bas }
 %\new Lyrics \lyricsto "bas" \verseOne
 %\new Lyrics \lyricsto "bas" \verseTwo
 %\new Lyrics \lyricsto "bas" \verseThree

  >>
  \layout {
\context {
  \Score
  \override SpacingSpanner.spacing-increment = # 1.4
  %\override LyricHyphen.to-barline = ##t
  %\override Score.SpacingSpanner.strict-note-spacing = ##t
  %\override SpacingSpanner.uniform-stretching = ##t
}
  \override LyricText.font-size = #-1.5
  \override StanzaNumber.font-size = #-2 }
  \midi { }
}

  
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Hidden Dynamics staves taking up vertical space

[kmg]

I'm sorry, I can't figure out MWE for this, because it seems specific for
my score now. I tried replicating it by having empty dynamics/piano
material, but in the new score it doesn't seem to generate extra space...
So first, the issue: by adding two dynamics contexts (one between the piano
staffs, one below, for pedaling), the hidden staffs seem to generate extra
vertical space. First page: http://i.imgur.com/goOiYCW.png ; Second page:
http://i.imgur.com/KDX4IQF.png . When I disable both dynamics lines, it
looks like this: http://i.imgur.com/0QSUDE8.png . Note how just having
dynamics makes the gap betweeen  trumpet so huge.. one not really good
workaround I found is to use \override
VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #-0.2 on the
middle dynamics, but it applies to the whole score, can't be set
temporarily, and dynamics are not spaced correctly later on. So, here is
the code for those two pages (again sorry, couldn't replicate it by having
piano staff+dynamics with multi rests; also uncomment %\override
VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #-0.2 to see the
'workaround' difference).


\version "2.19.51"


%\include "mtf-cadence.ily"
\language "deutsch"
\paper {
  %system-system-spacing.basic-distance = #8
  %systems-per-page = 5
  %bottom-margin = 0
  indent = 22
  print-first-page-number = ##t
  first-page-number = ##t
  print-page-number = ##t
}
\header {
  title = \markup { \vspace #6 "PREMIERE PIECE" }
  subtitle = \markup { \vspace #2 \tiny "POUR TROMPETTE ET PIANO" }
  composer = \markup { \vspace #1 "J. Deprez" }
  tagline = ##f
}
global = {
  \key b \major
  \numericTimeSignature
  \time 3/4

}

trumpetBb = \relative c'' {
  \transposition b
  % Music follows here.
  \once \override Score.MetronomeMark.font-size = #-2
  \tempo  4=108
  c4~  c8 g16 g c8 d |
  g f16 g e4 \tuplet 3/2 { d8 e c } |
  g'2 r4 |
  c,4~\p c8 g16 g c8 d |
  g f16 g e4 \tuplet 3/2 { d8 e c } |
  fis(->-\markup { \italic "cresc." } g~ g4) r8 c, |
  dis->( e~ e4) r8 h |
  c--([ dis)] e--([ fis)] g--([ e)] |
  c4\f\<~ c8 g16 g c8 g |
  c4\ff\<~ c8 g16 g c8 g |
  \once \override Staff.TimeSignature.break-visibility = ##(#f #f #t)
  \time 3/4
  c2.*2/20 \fff \stopStaff
  s1*3/4*10
  s1*3/4*3
  s1*3/32
  s1*3/4*5
  s2.*18/20 |
  \startStaff
  \once \override Score.MetronomeMark.font-size = #-2
  \tempo "Tempo" 4=108
  c4\f~ c8 g16 g c8[ d] |
  g f16( g) e4 r8 c |
  f e16( f) d8[( c] h c) |
  d2 g,4 |
  c4~ c8 g16 g c8[ d] |
  g f16( g) e4 c |
  a f' a,8( c) |
  h--( c d2) |





}

up = \relative c'' {

  % Music follows here.
 \once \override Score.KeySignature.X-offset = #-4
 \global
  R1*3/4*10
  \cadenzaOn
  \small
  \autochange
  \relative {
  \stemDown
  \shape #'((0 . 3) (10 . 3) (-10 . 3) (0 . 3)) PhrasingSlur
  des,32\([ es ges as b!]
  \stemUp des[ es ges as b]
  \stemDown des[ es ges as b]
  \stemUp des[ es ges as b]
  \stemDown \ottava #1 des[ es ges as b]
  \stemUp 
  \stemDown b[ as ges es des]
  \stemUp \ottava #0 b[ as ges es des]
  \stemDown b[ as ges es des]
  \stemUp b[ as ges es des]
  \stemDown b[ as ges es des]\) |
  \bar "|" \break |
  \cadenzaOff }
  \cadenzaOn
  \autochange es'
  \relative {
  \set Score.currentBarNumber = #12
  \override Score.Accidental.transparent = ##t
  \shape #'((0 . -4) (0 . 1) (-1 . 1) (0 . 0)) Slur
  b,,([ f' b] \stemUp f'[  g])
  \shape #'((0 . -2) (2 . 0) (-2 . 0) (0 . 0)) Slur
  \stemDown f([ b d] \stemUp f[  g])
  \shape #'((0 . -4) (1 . 1) (-2 . 1) (0 . -1)) Slur
  \stemDown f([ b d] \stemUp f[  g])
  \ottava #1
  \stemDown  f([ b d] f[  g])
  \cadenzaOff }
  \slurNeutral
  \tieNeutral
  \bar "|" \break
  \ottava #0
  \stemNeutral
  \normalsize
  \set Score.currentBarNumber = #13
   b'4~ \stemUp b8 f16 f \stemUp \once \slurUp b8( c) |
  \override Score.Accidental.transparent = ##f
  \stemNeutral f e16( f) d4~ \stemUp d8 b |
  \stemDown es d16( es) c4~ \stemUp c8 b |
  \stemDown
  \shape #'((0 . -1) (0 . 0) (0 . 0) (0 . 0)) Slur
  a4(~ \stemUp a8 b16 h c4) |
  \stemNeutral
  b4~ \stemUp b8 f16 f \stemUp \once \slurUp b8( c) |
  \slurNeutral
  \tieUp
  \slurUp
  f2~f8. e32( f) |
  f2~ f8( e16  f) |
  f2.\fermata |
  \tempo "Marcato" 4=108
  \stemNeutral
  \tieNeutral
  \slurNeutral
  4. 16 q 8  |
   16  4. 8 |
   16  4. \once \stemUp8 |
  \tuplet 3/2 4 {
8 } |
  4. 16 q 8  |
  4. 16  q8 16 
|
  4. 16  q8 16  |
  4. 16  q8 16  | \break
  2 4 |
  2 4 |
  2 4 |
  \tuplet 3/2 4 {
8    } |
  \ottava #1 2-> \ottava #0  4 |
  2 4 |
  8 16  8  4 |
  4 q8  4 | \break








}




down = \relative c' {
  \global
  R1*3/4*10
  R1*3/4*3
  R1*3/32

\tuplet 3/2 4 {
\stemDown
\shape #'((0 . 2) (0 . 5) (-1 . 0) (-0.2 . -0.5)) Slur
b,,8( f' b d f b \stemDown \change Staff = "up" d f b) |
\shape #'((0 . 1.5) (1 . 5) (-4 . 0) (-0.4 . -0.6)) Slur
\change Staff = "down" d,,,( a' d f a d  \change Staff = "up" f a d) |
\shape #'((0 . 2) (0 . 5) 

Getting rid of extra space at the break of the line [time signature change]?

[kmg]

What is going on guys,

Thanks for your recent help, now I'm digging LilyPond more and more, but
after searching in the manuals/snippets, I couldn't find how to fix this:

http://i.imgur.com/L5YCxnv.png

In this case time signature is stated in the beginning, when instrument
starts solo. Then I manually re-introduce it again when piano starts it's
part, so it doesn't start without signature (as previous bars of the piano
are empty and hidden). Is there any way to shift the barline before the
break, so it appears as normal (since time signature is invisible anyway)?
I tried to change X-extent/padding of a grob, but it could only increase
this space or not change it, even when I used negative values. Here's my
code for this time signature change, just in case:

\version "2.19.50"
...
\once \override Staff.TimeSignature.break-visibility = ##(#f #f #t)
  \time 3/4
  c2.*2/20 \fff |

Thanks for assistance :)


Pozdrawiam,
Krzysztof Gutowski
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Re: Getting rid of extra space at the break of the line [time signature change]?

[kmg]

Thanks, that looks good. However, is there a way to enable it again if
needed? This trick is only needed in the beginning of the piece, not
throughout the whole score. If it can be only changed globally, then I'll
deal with the extra space I guess. Curious though if it's possible to do it
only once in selected staff. At any rate, thanks for help, I didn't know
that putting same stuff into \layout instead of part, makes magic ;)

Pozdrawiam,
Krzysztof Gutowski

2016-11-22 12:14 GMT+01:00 Andrew Bernard :

> Hi Krzystof,
>
>
>
> Is this what you require (based on the MWE you sent me personally)?
>
>
>
> If so, it’s a matter of putting things in the right logical structural
> place.
>
>
>
> Andrew
>
>
>
>
>
>
>
> == snip
>
> \version "2.19.50"
>
> \language "deutsch"
>
>
>
>
>
> global = {
>
>   \key b \major
>
>   \numericTimeSignature
>
>   \time 3/4
>
> }
>
>
>
> trumpetBb = \relative c'' {
>
>   \transposition b
>
>   c4\f\<~ c8 g16 g c8 g |
>
>   c4\ff\<~ c8 g16 g c8 g | \break
>
>   c2.*2/20 \fff
>
> }
>
>
>
> up = \relative c'' {
>
>   \global
>
>   s1*3/4*2
>
>   \time 3/4
>
>   des,32
>
> }
>
>
>
> trumpetBbPart = \new Staff \with {
>
>   instrumentName = "Trumpet in Bb"
>
>   midiInstrument = "trumpet"
>
>   \magnifyStaff #3/4
>
> }
>
> \trumpetBb
>
>
>
> pianoPart = \new PianoStaff \with {
>
>   instrumentName = "Piano"
>
> } <<
>
>   \new Staff = "up" { \up }
>
> >>
>
>
>
> \score {
>
>   <<
>
> \trumpetBbPart
>
> \pianoPart
>
>   >>
>
>   \layout {
>
> \context {
>
>   \Staff
>
>   \RemoveEmptyStaves
>
>   \override TimeSignature.break-visibility = ##(#f #f #t)
>
> }
>
>
>
> \context {
>
>   \Score
>
>
>
>   \override VerticalAxisGroup.remove-first = ##t
>
>
>
> }
>
>   }
>
>   \midi { }
>
> }
>
> == snip
>
>
>
>
>
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Hiding the staff generates weird straight line

[kmg]

Hey, I tried for some time now to make my score as I want it, but I'm out
of ideas. Issue: http://i.imgur.com/xXJ73J3.png - you can see the straight
line at the end of the first system and the next one is properly showing my
extra staff. However, this straight line seems to act as if there was
invisible extra staff in the first system, affecting the layout (there is a
bigger visual gap), code I used for extra staff:

\paper {
system-system-spacing = #'(( basic-distance . 18))
}

extra = \relative c {
 \override Staff.TimeSignature.transparent = ##t
  \override Staff.KeySignature.transparent = ##t
  \override Staff.Clef.transparent =  ##t % to make it disappear, because
up until now it's not needed

  \stopStaff
  \key c\minor
  \clef bass


  s1*12 s1 |
   \override Staff.TimeSignature.transparent = ##f
  \override Staff.KeySignature.transparent = ##f
  \override Staff.Clef.transparent =  ##f
  \startStaff

  s1

%then the music follows

Tried it now differently by using page-count = #3 instead of system-system
spacing, but still: http://i.imgur.com/qzgeQD7.png

Layout isn't affected much, but this straight line is still there. Those
three staffs are within PianoStaff, if that helps.

Any tips appreciated, thank you.


Pozdrawiam,
Krzysztof Gutowski
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Re: Yet another out of page issue

[kmg]

Thank you, it works. After some testing it turned out that you need to
include \bar "" somewhere. Without it, longer cadenza will go outside of
the page, also using a \break in this case seems to be a mistake too.

Here is your fix in action: http://i.imgur.com/QyTwSNF.png - can't hide
accidentals in the second part of the cadenza, since it's treated as a
single bar, even if I start a new one. When I try to \override
Staff.Accidental to transparent, it seems to work only for a couple of
notes, then it shows natural cancellation. No biggie though, I can leave it
like that.

Thank you again, and sorry for not replying to all. I'm new to the list,
but I'll do it from now on!

Pozdrawiam,
Krzysztof Gutowski

2016-11-19 23:43 GMT+01:00 Thomas Morley <thomasmorle...@gmail.com>:

> Please always click reply all, to keep the discussion on the list
>
> 2016-11-19 23:26 GMT+01:00 kmg <krzysztof.kolor...@gmail.com>:
> > To follow up, this is exactly what I want to do:
> > http://i.imgur.com/fcgXnok.png
> >
> > Pozdrawiam,
> > Krzysztof Gutowski
> >
> > 2016-11-19 23:16 GMT+01:00 kmg <krzysztof.kolor...@gmail.com>:
> >>
> >> Hi Thomas,
> >>
> >> I know about putting \bar "" to insert a barline inside\after cadenza.
> >> Issue is, the notes are going 'beyond the page' instead of appearing in
> the
> >> next system. I wrote more notes than visible and they're just gone,
> which
> >> could be the issue if there are failed barchecks, but it shouldn't be
> the
> >> case here.
> >>
> >> To make myself more clear (I apologize):
> >>
> >> 1. Lilypond doesn't create a new system to fit the piano notes, they are
> >> just lost (you can see literally half of the notehead cut off in the
> >> screenshot I provided)
> >> 2. In the trumpet part, staff is hidden after a whole measure, which is
> >> kinda streched - would be better to have this staff hidden much earlier,
> >> thus closer to the note.
> >>
> >> Sorry for confusion!
> >>
> >>
> >> Pozdrawiam,
> >> Krzysztof Gutowski
> >>
> >> 2016-11-19 23:10 GMT+01:00 Thomas Morley <thomasmorle...@gmail.com>:
>
> >>> Hi Krzysztof ,
> >>>
> >>> I didn't understand what you finaly want to achieve, though:
> >>>
> >>> (1) Cadenza:
> >>> A cadenza is _never_ broken automatically you need to put in a
> >>> bar-line, which may be \bar "" together with the \break.
> >>>
> >>> (2) InstrumentName/indent.
> >>> You have to manually set the indent in \paper according to the length
> >>> of the InstrumentName
> >>>
> >>> Cheers,
> >>>   Harm
>
>
>
> The code below works for me. Note the setting for indent, shortening
> the note-value for the trumpet (if it is what you want) and \bar ""
>
>
> \version "2.19.50"
> \language "deutsch"
> %\include "mtf-cadence.ily"
>
> \paper { indent = 22 }
>
> global = {
>   \key b \major
>   \numericTimeSignature
>   \time 3/4
>   \tempo 4=108
> }
>
> trumpetBb = \relative c'' {
>   \transposition b
>   c2.*1/20 \fff
> }
>
> up = \relative c'' {
>   \global
>   \override Score.SpacingSpanner.packed-spacing = ##t
>   \cadenzaOn
>   \autochange {
>   \relative {
>   \stemDown des,32[ es ges as b!]
>   \stemUp des[ es ges as b]
>   \stemDown des[ es ges as b]
>   \stemUp des[ es ges as b]
>   \stemDown \ottava #1 des[ es ges as b]
>   \stemUp 
>   \bar ""
>   \stemDown b[ as ges es des]
>   \stemUp \ottava #0 b[ as ges es des]
>   \stemDown b[ as ges es des]
>   \stemUp b[ as ges es des]
>   \stemDown b[ as ges es des]
>   b[ f' b] \stemUp f'[  g]
>   \cadenzaOff
>}
>   }
> }
>
> down = \relative c' {
>   \global
> }
>
> trumpetBbPart = \new Staff \with {
>   instrumentName = "Trumpet in Bb"
>   midiInstrument = "trumpet"
>  }
>\trumpetBb
>
> pianoPart = \new PianoStaff \with {
>   instrumentName = "Piano"
> } <<
>   \new Staff = "up" \with {
> midiInstrument = "acoustic grand"
>   } \up
>   \new Staff = "down" \with {
> midiInstrument = "acoustic grand"
>   } { \clef bass \down }
> >>
>
> \score {
>   <<
> \trumpetBbPart
> \pianoPart
>   >>
>   \layout {
> \context {
> \Staff \RemoveEmptyStaves
>   }
>\context {
> \Score
> \override VerticalAxisGroup.remove-first = ##t
>}
> }
>   \midi { }
> }
>
>
> Cheers,
>   Harm
>
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Yet another out of page issue

[kmg]

I had this problem before, where music just went out of the page. It turned
out that some of the bar checks failed. But here it shouldn't be the case,
as I'm using bar checks and the place where it breaks is under cadenza
anyway. For the sake of simplicity I skipped the beginning. It supposed to
be like this: trumpet starts solo - in time; piano starts its cadenza
together with last note of trumpet solo. The cadenza is written on 2
systems, then on the 3rd system piano reverts back to metric music. Both
this example and my full score, where I just make bunch of multi rests and
hide the bars, seems to be broken. Trumpet name seems to be cut out too,
not sure why.

Here's the snippet (it looks in Frescobaldi like this:
http://i.imgur.com/a6pglmM.png)

\version "2.19.50"
\language "deutsch"
\include "mtf-cadence.ily"


global = {
  \key b \major
  \numericTimeSignature
  \time 3/4
  \tempo 4=108
}

trumpetBb = \relative c'' {
  \transposition b
  c2.\fff |
}

up = \relative c'' {
  \global
  \cadenzaOn
  \autochange {
  \relative {
  \stemDown des,32[ es ges as b!]
  \stemUp des[ es ges as b]
  \stemDown des[ es ges as b]
  \stemUp des[ es ges as b]
  \stemDown \ottava #1 des[ es ges as b]
  \stemUp 
  \stemDown b[ as ges es des]
  \stemUp \ottava #0 b[ as ges es des]
  \stemDown b[ as ges es des]
  \stemUp b[ as ges es des]
  \stemDown b[ as ges es des]
  b[ f' b] \stemUp f'[  g]
  \cadenzaOff
   }
  }
}





down = \relative c' {
  \global
}

trumpetBbPart = \new Staff \with {
  instrumentName = "Trumpet in Bb"
  midiInstrument = "trumpet"
 }
   \trumpetBb

pianoPart = \new PianoStaff \with {
  instrumentName = "Piano"
} <<
  \new Staff = "up" \with {
midiInstrument = "acoustic grand"
  } \up
  \new Staff = "down" \with {
midiInstrument = "acoustic grand"
  } { \clef bass \down }
>>

\score {
  <<
\trumpetBbPart
\pianoPart
  >>
  \layout {
\context {
\Staff \RemoveEmptyStaves
  }
   \context {
\Score
\override VerticalAxisGroup.remove-first = ##t
   }
}
  \midi { }
}

Also, in the original score the trumpet staff lines are cut right after the
last note, but here since it's technically together with piano, it looks
weird. Am I approaching this wrong? None of the trumpet notes are
technically cadenza, but it shares musical time with the start of the piano
cadenza, if it makes any sense.

Anyway sorry if it turns out it's something stupid, but I couldn't find
snippets tackling similar issue. And as usual, thanks for any help.


Pozdrawiam,
Krzysztof Gutowski
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Can't login to lists.gnu..

[kmg]

Hey guys, rather unusual stuff happening..

I want to edit my list options (don't want every new thread into my
mailbox). I have my password cached in the browser and I'm getting
'authentication failed' error every time I try to login. When trying to
reset password, I'm getting info that it should be sent if I'm the list
user.. but yea, no mail about the password, checked the spam folder too.
Also tried to unsubscribe, and strangely it doesn't work. It's not possible
that if I'm really unsubbed, I'm getting messages, right?

So, is there a chance that someone could mail me new password? Not sure
what to do.

Thanks and sorry for trouble,

Pozdrawiam,
Krzysztof Gutowski
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Custom parenthesize ignoring Staves?

[kmg]

Hey, I'm working on re-typing some educational notes and I'm wondering if
maybe someone had this problem and also came up with some Scheme to deal
with this.

http://i.imgur.com/T7z8Ty7.png - this is the source;

http://i.imgur.com/IGocUKW.png - this is what I came up with (nevermind
wrong notes)

So, I'm basically using #parch scheme which I luckily found on german
Lilypond forums (sadly seems to be down now).. scheme for it is the
following:

parch =  #(define-music-function (parser location gap) (number?)
#{
   \once \override Arpeggio.stencil = #(lambda (grob)
 (ly:stencil-add
   (ly:arpeggio::brew-chord-slur grob)
   (ly:stencil-translate-axis
 (ly:stencil-rotate (ly:arpeggio::brew-chord-slur grob) 180 0 0)
 gap X)))
   \once \override Arpeggio.X-extent = #(lambda (grob)
 (ly:stencil-extent (ly:arpeggio::brew-chord-slur grob) X))
   \once \override Arpeggio.positions = #(lambda (grob)
 (interval-widen (ly:arpeggio::calc-positions grob) 1.5))
   $(make-music 'EventChord 'elements (list (make-music 'ArpeggioEvent)))
#})

// usage: \parch #

which I kinda made work by doing the chord on d# note with greater range,
but with the upper note hidden, so the parenthese is not too small.
However, if I make the chord with super low note, staff will stretch and
it's not working.

I've been thinking, would there be an easy way to do this? I already use
handy Scheme for Box markup (http://lsr.di.unimi.it/LSR/Item?id=953). I
think it's superior in the sense that you can place it basically anywhere
and offset it like you want it. So there are no problems with having to do
some gimmicks to make it work.

Thought that chords will be trickier, but it seems that using harmony
scheme from Repository and doing \center-column in \figuremode with markups
does the job nicely.

I sometimes wonder if it should be that tricky (I mean, having to learn
Scheme to do some things).. but then, I wonder if such thing would be
doable at all in other notation programs. .

Anyway, thanks for your input guys and.. Happy Easter!


Pozdrawiam,
Krzysztof Gutowski
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Re: Custom parenthesize ignoring Staves?

[kmg]

Wow, this is perfect, thank you so much! http://i.imgur.com/pqHVtXr.png -
looks so nice.

Definitely saving this, so I never lose it!

Pozdrawiam,
Krzysztof Gutowski

2017-04-16 14:25 GMT+02:00 Thomas Morley <thomasmorle...@gmail.com>:

> Hi Krzysztof ,
>
> 2017-04-15 20:11 GMT+02:00 kmg <krzysztof.kolor...@gmail.com>:
> > Hey, I'm working on re-typing some educational notes and I'm wondering if
> > maybe someone had this problem and also came up with some Scheme to deal
> > with this.
> >
> > http://i.imgur.com/T7z8Ty7.png - this is the source;
> >
> > http://i.imgur.com/IGocUKW.png - this is what I came up with (nevermind
> > wrong notes)
> >
> > So, I'm basically using #parch scheme which I luckily found on german
> > Lilypond forums (sadly seems to be down now)..
>
> I'm pretty furious about that ...
>
> > scheme for it is the
> > following:
> >
> > parch =  #(define-music-function (parser location gap) (number?)
> > #{
> >\once \override Arpeggio.stencil = #(lambda (grob)
> >  (ly:stencil-add
> >(ly:arpeggio::brew-chord-slur grob)
> >(ly:stencil-translate-axis
> >  (ly:stencil-rotate (ly:arpeggio::brew-chord-slur grob) 180 0 0)
> >  gap X)))
> >\once \override Arpeggio.X-extent = #(lambda (grob)
> >  (ly:stencil-extent (ly:arpeggio::brew-chord-slur grob) X))
> >\once \override Arpeggio.positions = #(lambda (grob)
> >  (interval-widen (ly:arpeggio::calc-positions grob) 1.5))
> >$(make-music 'EventChord 'elements (list (make-music 'ArpeggioEvent)))
> > #})
> >
> > // usage: \parch #
> >
> > which I kinda made work by doing the chord on d# note with greater range,
> > but with the upper note hidden, so the parenthese is not too small.
> However,
> > if I make the chord with super low note, staff will stretch and it's not
> > working.
> >
> > I've been thinking, would there be an easy way to do this? I already use
> > handy Scheme for Box markup (http://lsr.di.unimi.it/LSR/Item?id=953). I
> > think it's superior in the sense that you can place it basically anywhere
> > and offset it like you want it. So there are no problems with having to
> do
> > some gimmicks to make it work.
> >
> > Thought that chords will be trickier, but it seems that using harmony
> scheme
> > from Repository and doing \center-column in \figuremode with markups does
> > the job nicely.
> >
> > I sometimes wonder if it should be that tricky (I mean, having to learn
> > Scheme to do some things).. but then, I wonder if such thing would be
> doable
> > at all in other notation programs. .
> >
> > Anyway, thanks for your input guys and.. Happy Easter!
> >
> >
> > Pozdrawiam,
> > Krzysztof Gutowski
>
>
> How about below (Hijacking GridPoint and GridLine)?
>
> Usage should be clear from doc-string/comments/example. If not, ask back.
>
> \version "2.19.56"
>
> parentheses =
> #(define-music-function (shorten-pair padding dir)
>   ((pair? '(0 . 0)) number? ly:dir?)
>   "@var{dir} sets the opening/closing direction of the parentheses.
>   @var{padding} moves the parentheses in X-axis direction, recognized by
> the
>   spacing-engine.  See limitations below, though.
>   The optional @var{shorten-pair} may be used to adjust the parentheses in
>   Y-axis direction.
>   The final parentheses will cover all Staffs of the current system.
>   Limitation:
>   Accidentals, dots, etc are not taken into account.
>   To avoid collisions adjusting @var{padding} neds to be done manually."
>   #{
> \once \override Staff.GridPoint.X-offset = $padding
> \once\override Score.GridLine.shorten-pair = $shorten-pair
> \once \override Score.GridLine.stencil =
>   #(lambda (grob)
> (let* ((stil (ly:grid-line-interface::print grob))
>(stil-y-ext (ly:stencil-extent stil Y))
>(thick (ly:grob-property grob 'thickness 0.1))
>;; hijacking shorten-pair
>(shorten-pair (ly:grob-property grob 'shorten-pair '(0 .
> 0)))
>;; GridLine goes from the middle of top to bottom staff
>;; Thus we extend it by 2 (the default staff-space) and add
> a
>;; little extra over-shoot, i.e 0.5.
>;; The new parentheses starts at '(- dir) in X-axis
> direction to
>;; avoid collisions with preceding grobs
>;; The values are tweakable via overrides for
>;; Score.GridLine.shorten-pair.
>;; TODO get staff-space from 

Re: Using italic font for TextScript messes up \dynamic display

[kmg]

http://lilypondblog.org/category/using-lilypond/advanced/scheme-tutorials/
- also found this.

I wasn't aware it's right there in the manuals.. maybe because it's listed
under 'infrequent'. Thank you!

Pozdrawiam,
Krzysztof Gutowski

2017-03-04 1:13 GMT+01:00 Simon Albrecht <simon.albre...@mail.de>:

> Am 04.03.2017 um 01:00 schrieb kmg:
>
>> As an additional request, could you recommend some starting points for
>> Scheme learning?
>>
>
> First, there’s LilyPond’s own Extending Manual, which covers some of the
> more pertinent basics.
> Then there’s the Guile Reference Manual and R5RS. The latter can also give
> you an impression of some general basics, the former covers the actual
> Scheme implementation used by LilyPond (be sure to find the 1.8 version!)
> and is very useful to look up functions using its Procedure Index.
> And once you’ve got a bit of a grip on the basics there’s the very useful
> way of reading the user list, and studying code on openlilylib and LSR and
> in LilyPond’s own codebase.
> However, there’s no real beginner-friendly, systematic introduction that
> would meet more requirements than the Extending Manual already does. Urs
> Liska made an attempt on a Git Book on the topic, which he has linked to on
> the list (sorry, I can’t come up with the link myself right now).
>
> Best, Simon
>
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Re: Using italic font for TextScript messes up \dynamic display

[kmg]

Well, I thought I was clear enough in my message, but I tend to
overcomplicate things I guess. The issue was, I couldn't really post more
code, because it was my font issue, so it couldn't be replicated on any
LilyPond installation (because it works as intended when using default
font).

Your magical scheme code fixed the issue though, so thank you (you
understood my intentions perfectly)! (I wish I knew more about this, there
doesn't seem to be much information about Scheme in LilyPond).

As an additional request, could you recommend some starting points for
Scheme learning? I want to come up with such solutions myself.. I feel that
already powerful LilyPond would become the ultimate engraving machine when
one masters the Scheme.

In any case, thanks again, I'll save this code for all of my future
projects.



Pozdrawiam,
Krzysztof Gutowski

2017-03-03 23:18 GMT+01:00 Thomas Morley <thomasmorle...@gmail.com>:

> 2017-03-03 3:43 GMT+01:00 kmg <krzysztof.kolor...@gmail.com>:
> > I'm using custom font of which I have only regular italic variant; while
> it
> > makes expression text look good, it also makes dynamics made in \markup
> > appear like they were typed in this font instead with my music font.
> >
> >
> > MWE (somewhat):
> >
> > \version "2.19.55"
> > ...
> > c\sfz-\markup { \italic "cresc." } %works
> > c-\markup { \dynamic "sfz" \italic "cresc." } %sfz is displayed in
> > TextScript font instead of music font
> > ...
> >
> > How it looks like; left = \dynamic in \markup, right = note\dynamic -
> > http://i.imgur.com/N0QodeO.png
> >
> > Is there a way to set it so \dynamics will display actual glyph from my
> > music font? If you're wondering about the font, I bought it, so I'm kinda
> > limited to only regular italic variant; besides - if it's rendering the
> > TextScript font anyway, it would look bad when paired with actual music
> font
> > dynamic glyph... which is weird, because it ~should~ render music font
> > always, right? When using default TextScript font, it works perfectly,
> so I
> > assume there's a problem having only one variant of the this font
> (regular
> > italics).
> >
> > As a workaround I'm using #(make-dynamic-script) when using combined
> > dynamics, or \musicglyph; it's troublesome to adjust following text every
> > time and messing with overrides though. Also, \musicglyph is nice for
> single
> > letter + text, but it fails when doing combined dynamics. Found out that
> > using \markup { \dynamic p \override #'(font-name . "font") \italic
> "text" }
> > works too, but it would've been great if it worked out of the box. Thanks
> > for your suggestions guys.
> >
> > Pozdrawiam,
> > Krzysztof Gutowski
>
>
> Hi Krzysztof,
>
> I've no good idea what works for you under which circumstances and
> what you really want.
> This may be a language issue. As a non-native speaker myself I tend to
> put in my posts compilable, (and where needed) commented code,
> demonstrating the problem.
> In other words, I'd prefer less descripting text but more code ;)
>
> That said, if I guess your intends correctly the following may help:
>
> #(define-markup-command (dynamic layout props arg)
>   (markup?)
>   (interpret-markup
>layout
>(prepend-alist-chain 'font-name #f
>  (prepend-alist-chain 'font-encoding 'fetaText props)) arg))
>
> {
>   \override TextScript.font-name = "Purisa"
>   c\sfz-\markup { \italic "cresc." }
>   c-\markup { \dynamic  "sfz" \italic "cresc." }
> }
>
> Cheers,
>   Harm
>
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Using italic font for TextScript messes up \dynamic display

[kmg]

I'm using custom font of which I have only regular italic variant; while it
makes expression text look good, it also makes dynamics made in \markup
appear like they were typed in this font instead with my music font.


MWE (somewhat):

\version "2.19.55"
...
c\sfz-\markup { \italic "cresc." } %works
c-\markup { \dynamic "sfz" \italic "cresc." } %sfz is displayed in
TextScript font instead of music font
...

How it looks like; left = \dynamic in \markup, right = note\dynamic -
http://i.imgur.com/N0QodeO.png

Is there a way to set it so \dynamics will display actual glyph from my
music font? If you're wondering about the font, I bought it, so I'm kinda
limited to only regular italic variant; besides - if it's rendering the
TextScript font anyway, it would look bad when paired with actual music
font dynamic glyph... which is weird, because it ~should~ render music font
always, right? When using default TextScript font, it works perfectly, so I
assume there's a problem having only one variant of the this font (regular
italics).

As a workaround I'm using #(make-dynamic-script) when using combined
dynamics, or \musicglyph; it's troublesome to adjust following text every
time and messing with overrides though. Also, \musicglyph is nice for
single letter + text, but it fails when doing combined dynamics. Found out
that using \markup { \dynamic p \override #'(font-name . "font") \italic
"text" } works too, but it would've been great if it worked out of the box.
Thanks for your suggestions guys.

Pozdrawiam,
Krzysztof Gutowski
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