Re: translations in new LilyPond website [WAS: Re: New LilyPond website]

[Federico Bruni]

Il giorno mar 14 feb 2017 alle 7:50, Graham Percival 
 ha scritto:

I would be very surprised if LilyPond ever switched to Blended --
that would be increasing our technical debt, not reducing it.  If
we switched from texinfo to a different static website generator,
I suspect it would be pelican, gitbook, or hugo -- existing
projects with thousands of users and a thriving developer
community.


I have the same feeling about it, but I didn't want to sound 
discouraging.
(I have some experience with hugo: it has an active and helping 
community)



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Re: translations in new LilyPond website [WAS: Re: New LilyPond website]

[Graham Percival]

On Mon, Feb 13, 2017 at 05:04:07PM +0100, Federico Bruni wrote:
> Il giorno gio 9 feb 2017 alle 0:11, John Roper  ha
> scritto:
> >Ok, you can see the most current version of my design on
> >http://jmroper.com/lilypond
> >
> >I am keeping the source for the website in
> >https://github.com/johnroper100/LilyPond-Web-Redesign
> 
> Before adding fancy stuff (such as embedded lilybin), I suggest that you
> provide a website that satisfies all the basic requirements. One of these -
> probably the most complex - is the translations. Do you have an idea already
> of how to manage it?

+1.  This, absolutely.  In addition to translations, I'd also like
to see an actual separation of content and templates.  In other
words, there should not be any files which contain website text
and html tags.


Also, I want to be clear so that there's no misunderstandings:
Doing the above does not mean that LilyPond will switch to a
different website generation method.  Doing the above only means
that we can begin to evaluate the technical merits of such a
change.

I would be very surprised if LilyPond ever switched to Blended --
that would be increasing our technical debt, not reducing it.  If
we switched from texinfo to a different static website generator,
I suspect it would be pelican, gitbook, or hugo -- existing
projects with thousands of users and a thriving developer
community.


I wish that I could sound less discouraging.  I think that there
are some interesting ideas in your latest webpage, and it would
not be hard to implement them within the current texinfo
framework.

- Graham

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Re: Help coding two different voices in the same bar

[SoundsFromSound]

Aldo wrote
> Hello, I am starting now coding in Lilypond and I am trying to learn using
> old scores that I have at home.
> I found a particular bar that I can not code, no matter what I try.
> Any help will be greatly appreciated.
> Look at this picture, at the second bar...
 
> 
> thanks!
> A.

Hello,

Welcome to LilyPond! :)

First off, the learning and notation manuals cover pretty much everything
you'll need to know about engraving beautiful music! It's a fantastic
documentation collection, I think.

What you are asking is about basic voices and that is covered here, for
example:

http://lilypond.org/doc/v2.19/Documentation/learning/explicitly-instantiating-voices

However, it's important to pay attention to the version of LilyPond you are
using.

Which are you on, 2.18 or 2.19? or something older?

Also, there are a lot of LilyPond tutorial videos here:
https://bit.ly/bcl-lilypond
These video tutorials cover a wide range of topics and is aimed at helping
beginners like yourself get up and running! (including how to notate
separate voices in measures like you are asking about).

Voice contexts can be created manually inside a << >> block to create
polyphonic music, using \voiceOne … \voiceFour to indicate the required
directions of stems, slurs, etc.

Hope this helps! 

Ben




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Re: Double time signature when there are grace notes

[David Kastrup]

Simon Albrecht  writes:

> On 13.02.2017 18:35, Michael Rivers wrote:
>> I guess it must be incredibly difficult to solve or it would
>> have been solved by now.
>
> Very recently, David Kastrup wrote about having made like half a dozen
> attempts that didn’t work out. And he’s definitely the most capable
> programmer and the one with the most understanding of LilyPond’s
> intestines that we have.

Oh, that doesn't mean that it's hard.  It's just not obvious.  I am
pretty confident that transferring the "grace fixup" approach from
sequential music to simultaneous music would likely do the trick in some
manner.  There are just several problems:

a) grace fixup is precalculated in sequential music which is a mistake
for several reasons and does not transfer well to simultaneous music.
b) the consequences of stuff going wrong with grace fixups in
simultaneous music are more dire than in sequential music.
c) several callbacks for music start/length behave somewhat quirky in
connection with grace music and one would need to straighten this out to
avoid case b) kicking in with a vengeance.

That's why I said that I don't consider this a good student project:
it's hit or miss.  Miss does not cause any progress, hit will likely be
not all that spectacular with regard to the actual coding work getting
done.

It's not likely "incredibly difficult".  Just elusive.  I am pretty sure
that whatever solution might eventually be done will be of the "so why
was this so hard?" variety.

-- 
David Kastrup

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Re: Flat slurs

[Abraham Lee]

On Mon, Feb 13, 2017 at 1:16 PM, Urs Liska  wrote:
>
> Yes, I'd definitely like to see that. How did you manage to get the
> seamless "thick" line?
>

Ok. You asked for it... ;-)

I did it by completely redefining the stencil completely using a markup
path. The path has a line thickness and a shape thickness, similar to how
slurs are created. See below for full code and examples (works with 2.18.2
and newer, from my tests).

%<-

\version "2.18.2"

#(define (general-flattened-curve points thickness line-thickness ratio)
  "The four points passed to this function are as follows:
   - p0: left-most real control point location (x,y)
   - p1: left-curve-width, left-curve-rise
   - p2: right-curve-width, right-curve-rise
   - p3: right-most real control point location (x,y)

   For Ties, p1 rise and p2 rise should be the same, as should p0y and p3y"
  (let* ((p0 (car points))
 (p1 (cadr points))
 (p2 (caddr points))
 (p3 (cadddr points))
 (halfthick (/ thickness 2))

 (p00x (car p0))
 (p33x (car p3))
 (p11x (+ p00x (car p1)))
 (p22x (- p33x (car p2)))
 (p10x (+ p00x (* (- p11x p00x) (expt (- 1 ratio) 2
 (p01x (+ p00x (* (- p10x p00x) ratio)))
 (p23x (- p33x (* (- p33x p22x) (expt (- 1 ratio) 2
 (p32x (+ p23x (* (- p33x p23x) (- 1 ratio
 (p34x p32x)
 (p43x p23x)
 (p44x p22x)
 (p55x p11x)
 (p50x p10x)
 (p05x p01x)

 (p00y (cdr p0))
 (p11y (- (cdr p1) halfthick))
 (p22y (- (cdr p2) halfthick))
 (p33y (cdr p3))
 (p10y p11y)
 (p23y p11y)
 (p01y (+ p00y (* (- p11y p00y) ratio)))
 (p32y (+ p33y (* (- p22y p33y) ratio)))
 (p44y (+ p22y thickness))
 (p55y (+ p11y thickness))
 (p43y p44y)
 (p34y (+ p33y (* (- p44y p33y) ratio)))
 (p05y (+ p00y (* (- p55y p00y) ratio)))
 (p50y p55y)
)
(markup
  (#:override (cons 'filled #t)
(#:path line-thickness
  (list (list 'moveto p00x p00y)
(list 'curveto p01x p01y p10x p10y p11x p11y)
(list 'lineto p22x p22y)
(list 'curveto p23x p23y p32x p32y p33x p33y)
(list 'curveto p34x p34y p43x p43y p44x p44y)
(list 'lineto p55x p55y)
(list 'curveto p50x p50y p05x p05y p00x p00y)
(list 'closepath)
  )
)
  )
)
  )
)

#(define ((flattened-slur start-y left-height left-width right-width
right-height) grob)
  ;; outer let to trigger suicide
  (let ((stil (ly:slur::print grob)))
(if (grob::is-live? grob)
(let* ((layout (ly:grob-layout grob))
   (optical-thinner 0.8)
   (def-line-thickness (ly:output-def-lookup layout
'line-thickness))
   (line-thickness
 (* def-line-thickness (ly:grob-property grob
'line-thickness 0.8)))
   (thickness
 (* optical-thinner
   (* def-line-thickness (ly:grob-property grob 'thickness
1.2
   (ratio (ly:grob-property grob 'ratio))
   (dir (ly:grob-property grob 'direction))
   (xex (ly:stencil-extent stil X))
   (yex (ly:stencil-extent stil Y))
   (lenx (interval-length xex))
   (leny (interval-length yex))
   (lenratio (/ left-width (+ left-width right-width)))
   (1-lenratio (1- lenratio))
   (left-tip-width (min left-width (* lenx lenratio)))
   (right-tip-width (min right-width (* lenx (- 1 lenratio
   (left-tip-height (+ start-y left-height))
   (right-tip-height (- left-tip-height right-height))
   (xtrans (car xex))
   (ytrans (if (> dir 0)(car yex) (cdr yex)))
   (cpts (list
 (cons 0 (* dir start-y))
 (cons left-tip-width (* dir left-tip-height))
 (cons right-tip-width (* dir left-tip-height))
 (cons lenx (* dir right-tip-height
   (newstil
 (grob-interpret-markup grob
   (general-flattened-curve cpts thickness line-thickness
ratio)))
  )
  (ly:stencil-translate newstil (cons xtrans ytrans)))
stil)))

#(define ((flattened-tie tip-width height) grob)
  ;; outer let to trigger suicide
  (let ((stil (ly:tie::print grob)))
(if (grob::is-live? grob)
(let* ((layout (ly:grob-layout grob))
   (optical-thinner 0.8)
   (def-line-thickness (ly:output-def-lookup layout
'line-thickness))
   (line-thickness
 (* def-line-thickness (ly:grob-property grob
'line-thickness 0.8)))
   (thickness
 (* optical-thinner
   (* def-line-thickness 

Re: Double time signature when there are grace notes

[Simon Albrecht]

On 13.02.2017 18:35, Michael Rivers wrote:

I guess it must be incredibly difficult to solve or it would
have been solved by now.


Very recently, David Kastrup wrote about having made like half a dozen 
attempts that didn’t work out. And he’s definitely the most capable 
programmer and the one with the most understanding of LilyPond’s 
intestines that we have.


Best, Simon

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Baritone and treble clef

[Simon Albrecht]

On 13.02.2017 17:43, Kieren MacMillan wrote:

The piece I am setting can be sung by a baritone or by a mezzo-soprano.
  In the score, therefore, there are 2 vocal staves, one for each of the
alternative voices.  The staves contain identical music apart from an
octave diffence in pitch and different clefs.

Aside: Have you thought about just having one staff, and putting the clef 
modifier (i.e., subscript 8) in parentheses?


I agree. Baritones have no trouble whatsoever singing from treble clef. 
I’d not even bother to put the clef modifier there, because it’s 
self-explanatory if you write ‘Mezzosoprano or baritone’. But that may 
be from my personal dislike of \clef "treble_8". Historically, when 
people started notating tenors with treble clefs, it was transposing 
notation, the whole ‘octavated clef’ idea being in this case a 
misconception. (advanced piano notation being a different issue)


Best, Simon



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Re: Flat slurs

[Urs Liska]

Am 13.02.2017 um 18:30 schrieb Abraham Lee:
> On Mon, Feb 13, 2017 at 8:50 AM, tisimst  > wrote:
>
> Urs, et al,
>
> On Mon, Feb 13, 2017 at 8:22 AM, Kieren MacMillan-2 [via Lilypond]
> <[hidden email]
> > wrote:
>
> Hi Urs,
>
> > This is a more real-world (but not too fine-tuned) example
> where it's
> > clear that flat slurs can save lots of vertical space.
>
> Lovely work! Thank you for your ongoing efforts in this area.
>
>
> Agreed. This is great. I also cobbled together my own Scheme code
> a while back for doing flat ties/slurs, but my flat slurs are far
> from automagic.
>

"My" slurs aren't automatic either. In fact they are special cases of
multi-segment slurs which of course have to be defined manually
(although the interface for this is pretty robust).

> This should be ok since they aren't the most commonly used slur
> shape, but it makes me curious, Urs, what it takes to designate
> the proper shape in your code?
>

Basically you define right and left anchor points, an angle and a ratio
(ratio is the relative distance between the outer control points as
compared to the distance of the end points), then you can add an
arbitrary number of inflection points with a few properties each. The
syntax is a \with {} clause where each inflection is added as an alist
property.
A flat slur is a slur with two inflection points where the second one is
defined to have an angle of 0, which means that the left hand control
point points directly to the previous inflection.
You can see the code here:
https://github.com/openlilylib/snippets/blob/master/notation-snippets/shaping-bezier-curves/flat-compound-slur-example.ly



> I am happy to share my code if anyone is interested.
>

Yes, I'd definitely like to see that. How did you manage to get the
seamless "thick" line?

> I created it at the request of Dimitris Marinakis, so he may have
> some real-world examples of how he used it.
>
> @Urs: One thing I've learned while doing all my typography work is
> that the flat slurs will look too thick if they use the same
> thickness value as normal slurs. This is because curved shapes
> look thinner than flat shapes and a normal slur only achieves its
> 'thickness at its mid-way point and nowhere else. It's an optical
> illusion, but one the eye definitely notices. In my code I use a
> simple thinning scale factor and it seems to do the trick.
>

It should be fairly simple to include that - if I write a wrapper
function for "flat ties/slurs". As said ATM this is a special case of a
multi-segment slur, so the user would simply have to change thickness
themselves.

>
> Here are a couple of examples of using flat ties and flat slurs and
> how they can be configured. They utilize Slur grob properties as much
> as possible, so properties such as 'thickness and 'ratio are used in
> my functions.

'ratio is something I indeed wanted to add.
Nice exmaples

Best
Urs

>
> Best,
> Abraham 
>
>
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Re: Flat slurs

[Urs Liska]

Am 13.02.2017 um 15:51 schrieb David Kastrup:
>> This is a more real-world (but not too fine-tuned) example where it's
>> clear that flat slurs can save lots of vertical space.
> Butt-ugly.  There really is no need to almost touch the first and last
> note when the slur passes other notes with lots more clearance anyway.
>
> This example would really better be done by much less overall curveage.

As hinted I didn't bother beautifying this very much. In particular I
didn't bother changing the anchor points from what Lily decided for the
regular slur.

The examples from Durand and Henle
https://cloud.ursliska.de/index.php/s/r9Qhl6xzEkgQdSG
https://cloud.ursliska.de/index.php/s/4Yo75DclklXWaC8
show the use case for flat slurs better.

Henle (done with Finale) doesn't have flat slurs so the staves are
unnecessarily pushed apart

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Re: Flat slurs

[Abraham Lee]

On Mon, Feb 13, 2017 at 8:50 AM, tisimst  wrote:

> Urs, et al,
>
> On Mon, Feb 13, 2017 at 8:22 AM, Kieren MacMillan-2 [via Lilypond] <[hidden
> email] > wrote:
>
>> Hi Urs,
>>
>> > This is a more real-world (but not too fine-tuned) example where it's
>> > clear that flat slurs can save lots of vertical space.
>>
>> Lovely work! Thank you for your ongoing efforts in this area.
>>
>
> Agreed. This is great. I also cobbled together my own Scheme code a while
> back for doing flat ties/slurs, but my flat slurs are far from automagic.
> This should be ok since they aren't the most commonly used slur shape, but
> it makes me curious, Urs, what it takes to designate the proper shape in
> your code? I am happy to share my code if anyone is interested. I created
> it at the request of Dimitris Marinakis, so he may have some real-world
> examples of how he used it.
>
> @Urs: One thing I've learned while doing all my typography work is that
> the flat slurs will look too thick if they use the same thickness value as
> normal slurs. This is because curved shapes look thinner than flat shapes
> and a normal slur only achieves its 'thickness at its mid-way point and
> nowhere else. It's an optical illusion, but one the eye definitely notices.
> In my code I use a simple thinning scale factor and it seems to do the
> trick.
>

Here are a couple of examples of using flat ties and flat slurs and how
they can be configured. They utilize Slur grob properties as much as
possible, so properties such as 'thickness and 'ratio are used in my
functions.

Best,
Abraham


flat-ties.pdf
Description: Adobe PDF document


flat-slurs.pdf
Description: Adobe PDF document
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Re: ghostscript fails on pdf generation

[David Wright]

On Sun 12 Feb 2017 at 21:17:54 (+0100), N. Andrew Walsh wrote:
> >
> > The import of my post was to raise the question of whether the parts
> > of your LP system are incompatible and, if so, whether that was
> > brought about by the source of your LP system (which would probably
> > affect many people) or just a problem in your own setup.
> 
> 
> Well, the best I can do is say that I downloaded the most recent tarball
> into ~/[$lilypond-dir], ran /[$lilypond-dir]/bin/uninstall-lilypond, and
> then installed the new tarball with 'sh lilypond-2.19.54-1.linux-64.sh
> --prefix [$lilypond-dir]/'. (there's actually another option I remember
> having as part of the tarball install, but I can neither remember it nor
> find it in the console buffer or under --help).
> 
> That should have installed a self-contained Lily install, yes? And I would
> repeat here the addendum I made to my first message: I was able to use
> lilypond-2.19.52 without error mid-January, and was unable to do so after
> updating some packages (including ghostscript). But if Lily is using her
> own internal invocation of ghostscript, that shouldn't even matter, right?
> So I'm not sure wherein the problem lies.

The closest I got to tracking down this error was to find out why gs
stopped with error 256. It does appear that people who link it with
the missing PDF file are missing the point. I've run 2.19.49 the
correct way, 2.19.49 the incorrect way (circumventing LD_LIBRARY_PATH),
and 2.18.2 the incorrect way. The first and the last both succeed. The
middle one fails, apparently because it runs the wrong gs interpreter.
It tries to initialise with the correct file
/home/david/lilypond-2.19.49-1/lilypond/usr/share/ghostscript/9.15/Resource/Init/gs_init.ps
but then writes a 73 character string to file descriptor 1 which
starts with:
"gs: Interpreter revision (905) d"
and will continue "oes not match gs_init.ps revision (915).\n".

So if the middle run was running my Debian-installed gs 9.05, it would be
happy to initialise with /usr/share/ghostscript/9.05/Resource/Init/gs_init.ps
that contains:

✂ ✂ ✂ ✂ ✂

% Interpreter library version number
% NOTE: the interpreter code requires that the first non-comment token
% in this file be an integer, and that it match the compiled-in
% version!
905

% Check the interpreter revision.
dup revision ne
 { (gs: Interpreter revision \() print revision 10 string cvs print
   (\) does not match gs_init.ps revision \() print 10 string cvs print
   (\).\n) print flush //null 1 .quit
 }
if pop

✂ ✂ ✂ ✂ ✂

So why is the failing version running gs 9.05 instead of the correct
version 9.15? Here's where the water gets murky and I get out of my
depth. The main difference I can see is:

Soon after:
execve("/home/david/lilypond-/lilypond/usr/bin/../bin/gs"

the failing version for some reason unexpectedly opens /etc/ld.so.cache
within which it finds the strings:

libgs.so.9
/usr/lib/libgs.so.9

so it opens /usr/lib/libgs.so.9, which is a Debian wheezy file; wrong
version, ghostscript_9.05~dfsg-6.3+deb7u4.

So the problem may boil down to having a Debian version of gs with the
same *major* version number that's cached in /etc/ld.so.cache. But
what I can't work out is why /etc/ld.so.cache is consulted so early
after gs starts in only the failing run. Both the other runs only open
it when searching for libc.so.6, which comes after finding libgs.so.9.

Or, put the other way round, why does the third run (which circumvents
LD_LIBRARY_PATH like the second) not consult /etc/ld.so.cache earlier?
OK, it won't find libgs.so.8 in it and get thrown off course, but it
doesn't even look. Perhaps some other change in the environment has
already occurred that affects 2.19.49 but not 2.18.2.

So to track this problem down, I think you either have to be familiar
with the libraries involved and how LP determines which to open and
when, or spend a lot of time examining the output of
$ strace -f //lilypond ...
Therein might be the answer as to why such failures happen even with
the correct LD_LIBRARY_PATH.

Cheers,
David.

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Re: Double time signature when there are grace notes

[Michael Rivers]

"This looks like it should be the standard behaviour of Lilypond. Can
anybody tell how the chances are of integrating this into off-the-shelf
Lilypond?  Would be really convenient."



Finding out about this bug and how to work around it is almost a rite of
passage for Lilypond users. I know absolutely nothing about the inner
workings, but I guess it must be incredibly difficult to solve or it would
have been solved by now.



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Re: Arranging lyrics between 2 staves

[Kieren MacMillan]

Hi David,

> That seems to work perfectly.

Glad to hear it.

> I'll experiment a bit with the 2 VerticalAxisGroup settings, to see if
> I can understand the effect each of them has, for my greater understanding!

Excellent.

Speaking of greater understanding… Here is a version in which I use variables — 
if there really are no differences in pitches (only octaves), this approach 
(which I actually recommend in every piece!) might save you some effort and 
make your code far more easily maintained:

\version "2.19.48"
\language "english"

\layout {
\context {
\Lyrics
\override VerticalAxisGroup.staff-affinity = #CENTER
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #1.5
}
}

the_notes = {
g2 g a1 g2 g a1
\bar  "|."
}

the_lyrics = \lyricmode {
Words just right! Words just right!
}

\new StaffGroup <<
\new Staff
\new Voice = "upper" { \clef "bass" \the_notes  }
\new Lyrics \lyricsto "upper" \the_lyrics
\new Staff = "lower" { \clef "bass" \transpose c c, \the_notes }
>>

Best,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Arranging lyrics between 2 staves

[David Sumbler]

On Mon, 2017-02-13 at 11:43 -0500, Kieren MacMillan wrote:
> Hi David,
> 
> > 
> > The piece I am setting can be sung by a baritone or by a mezzo-
> > soprano. 
> >  In the score, therefore, there are 2 vocal staves, one for each of
> > the
> > alternative voices.  The staves contain identical music apart from
> > an
> > octave diffence in pitch and different clefs.
> Aside: Have you thought about just having one staff, and putting the
> clef modifier (i.e., subscript 8) in parentheses?

That would be a possibility, I suppose, but as the piece was originally
for baritone, notated therefore in bass clef, I would prefer to keep
that notation intact.

> > It seems sensible to print the words only once, mid-way between the
> > 2
> > staves.  But if the words are aligned to the notes in the upper
> > stave
> > they appear too high.  If they are aligned to the music in the
> > lower
> > stave the result is more acceptable, although the words are perhaps
> > a
> > little lower than one would wish.
> You need to set the #'staff-affinity (and, optionally, adjust the
> spacing parameters). For example:
> 
> \version "2.19.48"
> \language "english"
> 
> \layout {
>   \context {
> \Lyrics
> \override VerticalAxisGroup.staff-affinity = #CENTER
> \override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding 
> = #1.5
>   }
> }
> 
> \new StaffGroup <<
>   \new Staff
> \new Voice = "upper" { \clef "bass" g2 g a1 g2 g a1 \bar  "|." }
>   \new Lyrics \lyricsto "upper" { Words just right! Words just right!
> }
>   \new Staff = "lower" { \clef "bass" a,2 a, g,1 a,2 a, g,1 }
> > 
> > > 
> > > 
> Hope that helps!
> Kieren.

Help?  It certainly does.  That seems to work perfectly.  Nevertheless,
I'll experiment a bit with the 2 VerticalAxisGroup settings, to see if
I can understand the effect each of them has, for my greater
understanding!

Thank you so much for your quick reply and a complete solution.

David

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Re: Arranging lyrics between 2 staves

[Kieren MacMillan]

Hi David,

> The piece I am setting can be sung by a baritone or by a mezzo-soprano. 
>  In the score, therefore, there are 2 vocal staves, one for each of the
> alternative voices.  The staves contain identical music apart from an
> octave diffence in pitch and different clefs.

Aside: Have you thought about just having one staff, and putting the clef 
modifier (i.e., subscript 8) in parentheses?

> It seems sensible to print the words only once, mid-way between the 2
> staves.  But if the words are aligned to the notes in the upper stave
> they appear too high.  If they are aligned to the music in the lower
> stave the result is more acceptable, although the words are perhaps a
> little lower than one would wish.

You need to set the #'staff-affinity (and, optionally, adjust the spacing 
parameters). For example:

\version "2.19.48"
\language "english"

\layout {
  \context {
\Lyrics
\override VerticalAxisGroup.staff-affinity = #CENTER
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = #1.5
  }
}

\new StaffGroup <<
  \new Staff
\new Voice = "upper" { \clef "bass" g2 g a1 g2 g a1 \bar  "|." }
  \new Lyrics \lyricsto "upper" { Words just right! Words just right! }
  \new Staff = "lower" { \clef "bass" a,2 a, g,1 a,2 a, g,1 }
>>

Hope that helps!
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Arranging lyrics between 2 staves

[David Sumbler]

The piece I am setting can be sung by a baritone or by a mezzo-soprano. 
 In the score, therefore, there are 2 vocal staves, one for each of the
alternative voices.  The staves contain identical music apart from an
octave diffence in pitch and different clefs.

It seems sensible to print the words only once, mid-way between the 2
staves.  But if the words are aligned to the notes in the upper stave
they appear too high.  If they are aligned to the music in the lower
stave the result is more acceptable, although the words are perhaps a
little lower than one would wish.

This is illustrated in the following example, where intentionally no
notes or clefs extend beyond the stave.

%%
\version "2.19.48"

%%%\language "english"

\new StaffGroup <<
  \new Staff {
\new Voice = "upper" {
  \clef "bass" g2 g a1 } g2 g a1 \bar  "|." }
  \new Lyrics {
\lyricsto "upper" { Words too high! } }
  \new Staff = "lower" {
\clef "bass" a,2 a, g,1 \new Voice = "low" { a,2 a, g,1 } }
  \new Lyrics \with { alignAboveContext = "lower" } {
\lyricsto "low" { Words too low? }
  }
>>
%%

Incidentally, I find similar problems with positioning dynamics between
the staves of a piano score.

The easy solution for me would be to use the second method, i.e.
aligning the words to the lower stave.  But there is a complication: 2
of the 6 songs in the piece are in Welsh, and I want to provide a
metrical English translation for singers who cannot or do not wish to
sing in Welsh.  My original idea was that I could attach the original
words to the upper stave, and the translation (in italics) to the
lower.  This would neatly have solved the spacing problem if only
Lilypond would arrange things symmetrically.

How can the exact vertical positioning of words (or dynamics) between 2
staves be controlled so that neither stave appears to be favoured?

David

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translations in new LilyPond website [WAS: Re: New LilyPond website]

[Federico Bruni]

Il giorno gio 9 feb 2017 alle 0:11, John Roper  
ha scritto:
Ok, you can see the most current version of my design on 
http://jmroper.com/lilypond


I am keeping the source for the website in 
https://github.com/johnroper100/LilyPond-Web-Redesign




Hi John

Before adding fancy stuff (such as embedded lilybin), I suggest that 
you provide a website that satisfies all the basic requirements. One of 
these - probably the most complex - is the translations. Do you have an 
idea already of how to manage it?





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Re: Different spacings indifferent staves

[Alexander Kobel]

Hi Pierre,

On 2017-02-13 10:57, Les Éditions Valmajour - pg wrote:
> Hello co-listers,
> 
> does anyone know if there a way to apply different horizontal spacings to 
> different staves, whithin the same bar?
> 
> In the attached example, the stemless notes are 16ths. I would like the 
> stemless notes to be strictly evenly spaced, [...]

How about using \override Score.SpacingSpanner.strict-note-spacing = ##t (see 
Notation reference, sec. 4.5.5)?
You might want to add a \newSpacingSection between b-. and c-. (so before the 
first note after \bar "|."), in case you want to acknowledge the barline in the 
spacing.


HTH,
Alexander

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Re: LilyBin embedded [WAS: New LilyPond website]

[Federico Bruni]

Il giorno lun 13 feb 2017 alle 8:59, David Kastrup  ha 
scritto:

John Roper  writes:


 For this to work can someone tell me if it is possible to embed
 lilybin? If not I am not going to bother to try.


Maybe crosscheck with the lilybin site owner?  I seem to vaguely
remember that we don't link to it from the current LilyPond page 
because

the site owner was worried about his traffic/hosting limits.

Embedding lilybin would seem like even more of a traffic generator.
Make no mistake: offering that facility would be nice, I am just not
sure that the current hoster is prepared to deal with it.




I think that the problem was solved when Scott Miller offered a new 
server for LilyBin:

https://plus.google.com/+ScottMiller1/posts/e4bAEUjvw36

I hope that Scott read this thread and can confirm (can't find his 
personal email right now).





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Re: Flat slurs

[tisimst]

Urs, et al,

On Mon, Feb 13, 2017 at 8:22 AM, Kieren MacMillan-2 [via Lilypond] <
ml-node+s1069038n200067...@n5.nabble.com> wrote:

> Hi Urs,
>
> > This is a more real-world (but not too fine-tuned) example where it's
> > clear that flat slurs can save lots of vertical space.
>
> Lovely work! Thank you for your ongoing efforts in this area.
>

Agreed. This is great. I also cobbled together my own Scheme code a while
back for doing flat ties/slurs, but my flat slurs are far from automagic.
This should be ok since they aren't the most commonly used slur shape, but
it makes me curious, Urs, what it takes to designate the proper shape in
your code? I am happy to share my code if anyone is interested. I created
it at the request of Dimitris Marinakis, so he may have some real-world
examples of how he used it.

@Urs: One thing I've learned while doing all my typography work is that the
flat slurs will look too thick if they use the same thickness value as
normal slurs. This is because curved shapes look thinner than flat shapes
and a normal slur only achieves its 'thickness at its mid-way point and
nowhere else. It's an optical illusion, but one the eye definitely notices.
In my code I use a simple thinning scale factor and it seems to do the
trick.

Best,
Abraham




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Re: chord names

[Klaus Blum]

Hi Joram, 

Klaus Blum wrote
> In chord-name.scm, there is a function ...

forget about my last post. 

It's about changing 

-
(define (accidental->markup alteration)
  "Return accidental markup for ALTERATION."
  (if (= alteration 0)
  (make-line-markup (list empty-markup))
  (conditional-kern-before
   (alteration->text-accidental-markup alteration)
   (= alteration FLAT) 0.094725)))
-

to

-
(define (accidental->markup alteration)
  "Return accidental markup for ALTERATION."
  (make-smaller-markup
  (if (= alteration 0)
  (make-line-markup (list empty-markup))
  (conditional-kern-before
   (alteration->text-accidental-markup alteration)
   (= alteration FLAT) 0.094725
-

Cheers again, 
Klaus



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Re: chord names

[Klaus Blum]

Hi Joram, 

Noeck wrote
> Can I also make the accidentals in the superscript
> smaller or shift them?

there is no function to be redefined, such as chordRootNamer or
chordNoteNamer. Defining lots of exceptions won't be funny either. 

In chord-name.scm, there is a function 

---
(define-public (alteration->text-accidental-markup alteration)
   (make-raise-markup
(if (= alteration FLAT)
0.3
0.6)
(make-musicglyph-markup
 (assoc-get alteration standard-alteration-glyph-name-alist ""
---

that you could replace by

---
(define-public (alteration->text-accidental-markup alteration)
  (make-smaller-markup
   (make-raise-markup
(if (= alteration FLAT)
0.3
0.6)
(make-musicglyph-markup
 (assoc-get alteration standard-alteration-glyph-name-alist "")
---

but I don't know how to tweak that without changing your whole LP
installation.

Cheers, 
Klaus





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Re: ghostscript fails on pdf generation

[David Wright]

On Sun 12 Feb 2017 at 21:03:01 (+), Wols Lists wrote:
> On 12/02/17 19:59, David Wright wrote:
> > In the case cited from June, the OP was using an odd system (eg it
> > used # as a *user* prompt) whose tar couldn't create symlinks when
> > it unpacked an archive (permissions messages); they had to be
> > created manually.
> 
> I don't know when it started happening - maybe a year ago? - but I
> suddenly found I couldn't symlink files. And I couldn't find anything
> about it on the net, but as far as I have been able to make out ...
> 
> You need "rw" permissions on somebody else's files if you want to create
> a hard link.
> 
> It seems daft to me that you need "w" permissions, and I haven't
> experimented deeply with it, but if I have access to a file, why
> shouldn't I be able to create a link to it?

Because it's a security risk. Geriatric unixers might wonder why their
suid scripts no longer work: similar reasons.

https://lwn.net/Articles/502621/

> I don't know how tar unpacking works particularly, but if it unpacks a
> file, gives away ownership, and then tries to link to it, that could be
> why that problem happened.

One is always at the mercy of what is reported, but the OP was able to
create all the correct symlinks themselves as the same user. Suspicion
fell on tar because of entries in the change log. One can't help
wondering about the admin of a system that sets # as the user prompt.

Cheers,
David.

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Re: Flat slurs

[Kieren MacMillan]

Hi Urs,

> This is a more real-world (but not too fine-tuned) example where it's
> clear that flat slurs can save lots of vertical space.

Lovely work! Thank you for your ongoing efforts in this area.

Best,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Flat slurs

[David Kastrup]

Urs Liska  writes:

> Am 13.02.2017 um 12:25 schrieb Urs Liska:
>> Hi all,
>>
>> today I stumbled over some code in LilyPond's code base that creates a
>> bezier sandwich in Scheme. From this I was able to create a function
>> that creates opening and closing half sandwiches and connect them with
>> straight line beziers.
>>
>> With this function (in notation-snippets/shaping-bezier-curves in
>> https://github.com/openlilylib/snippets) it is now possible to draw real
>> flat slurs (see attachment). When I initially worked on multi-segment
>> slurs they suffered from being thinned out at each inflection point.
>>
>> There will be some room for improvements and syntactic sugar (e.g. to
>> simplify flat slurs or easily produce symmetric ones), but I'm already
>> extremely happy with this?
>>
>> Best
>> Urs
>
> This is a more real-world (but not too fine-tuned) example where it's
> clear that flat slurs can save lots of vertical space.

Butt-ugly.  There really is no need to almost touch the first and last
note when the slur passes other notes with lots more clearance anyway.

This example would really better be done by much less overall curveage.

-- 
David Kastrup

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Re: Flat slurs

[Urs Liska]

Am 13.02.2017 um 15:00 schrieb Urs Liska:
> Am 13.02.2017 um 12:25 schrieb Urs Liska:
>> Hi all,
>>
>> today I stumbled over some code in LilyPond's code base that creates a
>> bezier sandwich in Scheme. From this I was able to create a function
>> that creates opening and closing half sandwiches and connect them with
>> straight line beziers.
>>
>> With this function (in notation-snippets/shaping-bezier-curves in
>> https://github.com/openlilylib/snippets) it is now possible to draw real
>> flat slurs (see attachment). When I initially worked on multi-segment
>> slurs they suffered from being thinned out at each inflection point.
>>
>> There will be some room for improvements and syntactic sugar (e.g. to
>> simplify flat slurs or easily produce symmetric ones), but I'm already
>> extremely happy with this?
>>
>> Best
>> Urs
> This is a more real-world (but not too fine-tuned) example where it's
> clear that flat slurs can save lots of vertical space.

And a last one for today, fixing the poor drawing of the half-sandwich

-- 
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Different spacings indifferent staves

[Les Éditions Valmajour - pg]

Hello co-listers,

does anyone know if there a way to apply different horizontal spacings 
to different staves, whithin the same bar?


In the attached example, the stemless notes are 16ths. I would like the 
stemless notes to be strictly evenly spaced, regardless to what is 
written in the piano part. I have the feeling that it can be easily set, 
but I can't figure out how.


Thank you all!

Pierre

\version "2.18.2"

galoubet = \relative c'' {
  \override Staff.Beam.stencil = ##f
  \override Staff.Stem.stencil = ##f
  \override Staff.Flag.stencil = ##f
  %\override Staff.SpacingSpanner.uniform-stretching = ##t
  %\set Score.proportionalNotationDuration = #(ly:make-moment 1/64)
  \set Staff.whichBar = ".|:" g16-. 
  \unset Staff.whichBar a-. cis-. fis,-. bes-. f-. b-. g-. bes-. fis-. b-. a-. f-. cis'-. b-. fis-. a-. bes-. g-. f-. cis'-. g-. b-. bes-. fis-. cis'-. a-. f-. \once \set Staff.whichBar = ":..:" 
  c'-.-\markup \italic "simile" bes-. des-. d-. e-. b-. c-. b-. e-. cis-. d-. bes-. b-. d-. c-. es-. e-. cis-. bes-. \once \set Staff.whichBar = ":..:"
}

global = {
  \set Staff.markFormatter = #format-mark-box-letters
  \omit Staff.TimeSignature
  \tweak X-offset #3 \tempo Calme
  \time 7/4
  s1. s4 \bar "!" \break
  \time 19/16
  s1 s8. \bar "!" \break
  \time 9/8
  s4.*3
}

pianoMD = \relative c''{
}

pianoMG = \relative c'' {
  s2 s8 \once \set PianoStaff.whichBar = ".|:" 
  %\shape #'((0 . -2) (-1 . 2) (1.5 . 2.5) (0 . -2)) Slur
  fis32[ _(  b d \change Staff = "MD" \ottava #1 fis gis b e b gis fis \ottava #0 \change Staff = "MG" d b]) \once \set PianoStaff.whichBar = ":|."  s2. 
  \once \set PianoStaff.whichBar = ".|:" cis,32[(-\markup \italic "simile" g' b! \change Staff = "MD" e fis g bes g fis e \change Staff = "MG" b! g]) \once \set PianoStaff.whichBar = ":|." s8 s2 s8.
}

galoubettbPartMouvementJ = \new PianoStaff \with {
  fontSize = #-4
  \override StaffSymbol #'staff-space = #(magstep -4)
  \accidentalStyle neo-modern
}
<<
  \new Staff \with {
\remove "Bar_number_engraver"
  }
  <<
\galoubet
\global
  >>
  \new Dynamics = "galoubetDYN" {
%\galoubetDYN
  }  
>>

pianoPartMouvementJ = \new PianoStaff \with {
  %instrumentName = \markup { \override #'(font-name . "Sanford") "Piano" }
  extraNatural = ##f
  \accidentalStyle neo-modern
}
<<
  \set PianoStaff.connectArpeggios = ##t
  \new Staff = "MD" {
<<
  \global
  \pianoMD
>>
  }
  \new Dynamics = "pianoDYN" {
%\pianoDYN
  }
  \new Staff = "MG" \with {
\remove "Metronome_mark_engraver"
\remove "Mark_engraver"
\remove "Bar_number_engraver"
  }
  <<
\global 
\pianoMG
  >>
  \new Dynamics = "pianoPED" {
%\pianoPED
  }  
>>

\score {
  <<
\keepWithTag solofullscore
\removeWithTag pnofullscore
\removeWithTag solopartsep
\galoubettbPartMouvementJ
  
\keepWithTag pnofullscore
\removeWithTag solofullscore
\removeWithTag solopartsep
\pianoPartMouvementJ
  >> 
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Re: Flat slurs

[Urs Liska]

Am 13.02.2017 um 12:25 schrieb Urs Liska:
> Hi all,
>
> today I stumbled over some code in LilyPond's code base that creates a
> bezier sandwich in Scheme. From this I was able to create a function
> that creates opening and closing half sandwiches and connect them with
> straight line beziers.
>
> With this function (in notation-snippets/shaping-bezier-curves in
> https://github.com/openlilylib/snippets) it is now possible to draw real
> flat slurs (see attachment). When I initially worked on multi-segment
> slurs they suffered from being thinned out at each inflection point.
>
> There will be some room for improvements and syntactic sugar (e.g. to
> simplify flat slurs or easily produce symmetric ones), but I'm already
> extremely happy with this?
>
> Best
> Urs

This is a more real-world (but not too fine-tuned) example where it's
clear that flat slurs can save lots of vertical space.

-- 
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https://openlilylib.org
http://lilypondblog.org

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Re: adding common guitar chords

[Federico Bruni]

Il giorno dom 12 feb 2017 alle 22:16, Julien Cubizolles 
 ha scritto:
Hello list, I'm very new to lilypond so please forgive me if what I'm 
asking is obvious but I needed to type some chords commonly used on a 
guitar: for instance a g major chord using all 6 chords would be 
played with fingers at frets 355433 (from the bass). In chord mode, I 
could only achieve it with the following --8<---cut 
here---start->8--- \chordmode {\set 
TabStaff.minimumFret = #2 \set TabStaff.restrainOpenStrings = ##t 
g,,4:16.8.10.12.15^3.7.9.11.13} --8<---cut 
here---end--->8--- That's a lot to type for 
something so common. Is there a way to define such a chord and name 
it (with the "full" suffix for example) so that in chordmode one 
could use g:full, c:full and so on ? Maybe there is already a snippet 
for it but I couldn't find it so far. Thanks for your help,


Hi Julien

This is another (simpler) way. I've commented with % what is not needed:

\version "2.19.54"
%\include "predefined-guitar-fretboards.ly"

myChords = \relative {
 \set minimumFret = #3
 1
}

<<
 \new ChordNames {
   \chordmode { g1 }
 }
 \new FretBoards {
   %\set FretBoards.minimumFret = #3
   \myChords
 }
 \new TabStaff {
   %\set TabStaff.minimumFret = #3
   \myChords
 }
>>





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Flat slurs

[Urs Liska]

Hi all,

today I stumbled over some code in LilyPond's code base that creates a
bezier sandwich in Scheme. From this I was able to create a function
that creates opening and closing half sandwiches and connect them with
straight line beziers.

With this function (in notation-snippets/shaping-bezier-curves in
https://github.com/openlilylib/snippets) it is now possible to draw real
flat slurs (see attachment). When I initially worked on multi-segment
slurs they suffered from being thinned out at each inflection point.

There will be some room for improvements and syntactic sugar (e.g. to
simplify flat slurs or easily produce symmetric ones), but I'm already
extremely happy with this?

Best
Urs

-- 
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https://openlilylib.org
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flat-compound-slur-example.pdf
Description: Adobe PDF document
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Re: chord names

[Noeck]

Hi Klaus,

this worked now beautifully and I tweaked it a bit to my liking.
One more question: Can I also make the accidentals in the superscript
smaller or shift them? Like in

\chords { c:13- }

Best,
Joram

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Re: adding common guitar chords

[David Kastrup]

Klaus Blum  writes:

> Hi Julien, 
>
> Julien Cubizolles wrote
>> Is there a way to define
>> such a chord and name it (with the "full" suffix for example) so that in
>> chordmode one could use g:full, c:full and so on ? 
>
> you can define your chord by assembling the six "real" pitches:
>
> % --
> g_full = #(define-music-function (parser location) ()
> #{
>   
> #})
>
> {
>   \new TabStaff {
> \chordmode {
>   g1 \g_full g
> }
>   }
> }
> % --

We have the required information in predefined fretboards.  Maybe we
should have a general function for substituting chords with the
predefined shapes rather than only do that as part of fretboard display.

-- 
David Kastrup

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Re: adding common guitar chords

[Klaus Blum]

Hi Julien, 

Julien Cubizolles wrote
> Is there a way to define
> such a chord and name it (with the "full" suffix for example) so that in
> chordmode one could use g:full, c:full and so on ? 

you can define your chord by assembling the six "real" pitches:

% --
g_full = #(define-music-function (parser location) ()
#{
  
#})

{
  \new TabStaff {
\chordmode {
  g1 \g_full g
}
  }
}
% --

Cheers, 
Klaus




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adding common guitar chords

[Julien Cubizolles]

Hello list, I'm very new to lilypond so please forgive me if what I'm
asking is obvious but I needed to type some chords commonly used on a
guitar: for instance a g major chord using all 6 chords would be played
with fingers at frets 355433 (from the bass). In chord mode, I could
only achieve it with the following

--8<---cut here---start->8---
\chordmode {\set TabStaff.minimumFret = #2
\set TabStaff.restrainOpenStrings = ##t
g,,4:16.8.10.12.15^3.7.9.11.13}
--8<---cut here---end--->8---

That's a lot to type for something so common. Is there a way to define
such a chord and name it (with the "full" suffix for example) so that in
chordmode one could use g:full, c:full and so on ? Maybe there is
already a snippet for it but I couldn't find it so far.

Thanks for your help,

Julien.


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Re: Getting a property from *antoher* grob in callback

[Urs Liska]

Am 13.02.2017 um 10:24 schrieb Thomas Morley:
> 2017-02-13 10:18 GMT+01:00 Urs Liska :
>> Hi all,
>>
>> I'm creating a stencil (Slur) for compound slurs. WIthin that function
>> (define-event-function) I'd like to access a property from a certain
>> grob and don't know how to do that.
>>
>> I need to determine the thickness of a line through the grob property
>> 'thickness. But a slur's thickness (which I can retrieve) is taken as a
>> factor of Staff.StaffSymbol.thickness. So in order to match the line
>> thickness with that of regular slurs I need to access that StaffSymbol's
>> property.
>>
>> How can I access a grob property if I don't have the actual grob
>> available (i.e. the reverse of \override)?
>>
>> TIA
>> Urs
>
> Hi Urs,
>
> I don't understand the problem entirely. But from IR
> "
> Function: ly:staff-symbol-line-thickness grob
>
> Returns the current staff-line thickness in the staff associated with
> grob, expressed as a multiple of the current staff-space height.
> "
>
> Does it already help?

I'll have to get my function to the state where it properly uses it, but
I have the impression this gives me what I need.
Sorry for not having found it myself.

Urs

PS: This looks like we'll have multi-segment slurs *without* the
thinning at inflection points. Which implies that it will be possible to
print *proper* flat slurs :-)

> Cheers,
>   Harm

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Re: Getting a property from *antoher* grob in callback

[Thomas Morley]

2017-02-13 10:18 GMT+01:00 Urs Liska :
> Hi all,
>
> I'm creating a stencil (Slur) for compound slurs. WIthin that function
> (define-event-function) I'd like to access a property from a certain
> grob and don't know how to do that.
>
> I need to determine the thickness of a line through the grob property
> 'thickness. But a slur's thickness (which I can retrieve) is taken as a
> factor of Staff.StaffSymbol.thickness. So in order to match the line
> thickness with that of regular slurs I need to access that StaffSymbol's
> property.
>
> How can I access a grob property if I don't have the actual grob
> available (i.e. the reverse of \override)?
>
> TIA
> Urs


Hi Urs,

I don't understand the problem entirely. But from IR
"
Function: ly:staff-symbol-line-thickness grob

Returns the current staff-line thickness in the staff associated with
grob, expressed as a multiple of the current staff-space height.
"

Does it already help?

Cheers,
  Harm

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Getting a property from *antoher* grob in callback

[Urs Liska]

Hi all,

I'm creating a stencil (Slur) for compound slurs. WIthin that function
(define-event-function) I'd like to access a property from a certain
grob and don't know how to do that.

I need to determine the thickness of a line through the grob property
'thickness. But a slur's thickness (which I can retrieve) is taken as a
factor of Staff.StaffSymbol.thickness. So in order to match the line
thickness with that of regular slurs I need to access that StaffSymbol's
property.

How can I access a grob property if I don't have the actual grob
available (i.e. the reverse of \override)?

TIA
Urs


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http://lilypondblog.org


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Re: New LilyPond website

[David Kastrup]

John Roper  writes:

> For this to work can someone tell me if it is possible to embed
> lilybin? If not I am not going to bother to try.

Maybe crosscheck with the lilybin site owner?  I seem to vaguely
remember that we don't link to it from the current LilyPond page because
the site owner was worried about his traffic/hosting limits.

Embedding lilybin would seem like even more of a traffic generator.
Make no mistake: offering that facility would be nice, I am just not
sure that the current hoster is prepared to deal with it.

-- 
David Kastrup

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