Re: spacing of gracenote beams

[Amy McGlothlin]

Hi Andrew

Thanks for that info. It’s a little aggravating because I feel it distracts 
from the really great looking engraving that is otherwise produced.  I also 
think it’s probably something not many people run into as most classical music 
gracenoting is diatonic and adjacent notes. 

I’ll give the function a try. At least now I know it’s not something I was 
overlooking. 

Hopefully this is something that can be revisited. 

Amy

Sent from my iPhone

> On May 16, 2018, at 7:22 PM, Andrew Bernard  wrote:
> 
> Hi Amy,
> 
> You are not alone. My biggest - probably my only - gripe with lilypond is the 
> uneven spacing of gracenote beams. I have attempted for a long time to solve 
> this, or at least work around it, to no avail.
> 
> There's a function David Nalesnik wrote called \spaceStemsEvenly, but it is 
> very hit and miss (no disrespect to David - I think it's a deep lilypond 
> issue).
> 
> Bringing this up is good. Perhaps our colleagues have a solution nowadays? Or 
> could this be added as an issue to address in future releases?
> 
> Andrew
> 

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Re: Solution to have repeats with upbeat and different alternatives??

[Andrew Bernard]

Hi Steve,

Opus 31 has only three Sonatas, not four. What work are you referring to?

Dare I say, don't you just have an extra note in the last second
alternative? Perhaps if I could find the Allegretto you are referring to it
would help see what you are actually asking. Let us know which Sonata.

Andrew
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Re: spacing of gracenote beams

[Andrew Bernard]

Hi Amy,

You are not alone. My biggest - probably my only - gripe with lilypond is
the uneven spacing of gracenote beams. I have attempted for a long time to
solve this, or at least work around it, to no avail.

There's a function David Nalesnik wrote called \spaceStemsEvenly, but it is
very hit and miss (no disrespect to David - I think it's a deep lilypond
issue).

Bringing this up is good. Perhaps our colleagues have a solution nowadays?
Or could this be added as an issue to address in future releases?

Andrew
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Re: tremolo

[Ursus]

Joram,

Your solution did work. I had to change the hights around, but it looks
exactly as the original.

Thanks



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Beam.gap-count

[Noeck]

Hi,

am I right, that setting Beam.gap-count is the way to turn this style of
tremolos on?

Why is it the number of gaps and not the number of beams connected to
the stems that can be set? For different note durations, wouldn't it be
more consistent to set that? I mean, isn't the style that usually either
that one beam is connected and the others have a gap or all are
disconnected. But with gap-count I have to set the gap-count for each
duration of a single tremolo note separately.

Or am I missing something?

\version "2.19.80"

{
  \override Beam.gap-count = 2
  \repeat tremolo 8 { a32 a' }
  <>^"  !"
  \repeat tremolo 4 { a16 a' }
  <>^"ok"
  \override Beam.gap-count = 1
  \repeat tremolo 4 { a16 a' }
}

Cheers,
Joram

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Re: tremolo

[Noeck]

Dear Ursus,

this is how I would write it:

\version "2.19.80"

{
  \clef bass
  \key a \major
  \time 12/8

  \set tieWaitForNote = ##t
  \override Beam.gap-count = 2
  \repeat tremolo 12 {a,,32\fermata ~ a,\fermata ~ }
  8 r r r4 r8
  \bar "|."
}

You need 12 repetitions (12 times a 1/32 note is 3/8 or 4. and two 4.
are a dotted half note as you want here).

The beam gap is certainly optional (you can delete this line).

Best,
Joram

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spacing of gracenote beams

[Amy McGlothlin]

Hello

I'm currently working on an engraving project that involves the use of
bagpipes.  I am using the bagpipe.ly include.  When using multipe
gracenotes, the spacing of the stems within the beaming is not always
even.  The first note with three gracenotes looks the way I want. The
second you can see the spacing is not equal. This seems to only occur when
the note interval between the gracenotes is very large as in the second
example. Is there something I can adjust to make the spacing of the stems
of the gracenotes equal in this case?


 \include "bagpipe.ly"
 {
 \hideKeySignature
  \time 6/8
 \dble e4 a8 \grip a4 g8
}

Thanks in advance

Amy
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Solution to have repeats with upbeat and different alternatives??

[steve]

Howdy!

 What is the solution to having repeats with upbeats and different
alternatives?
 As in Beethoven's opus 31 no4 the "Allegretto"

  This is the best that I can get with lilypond. There is a
extraneous bar in the last
second alternative of the last repeat???

https://ln.sync.com/dl/2d42a9350/ukfaa7s8-rpenm7ne-xqxv7mpk-x99vbzbw

  thanx - steve


test.ly ***


 \version "2.18.2"

music = \relative c''
{
\time 3/4

\partial 4 a8 a |
a4 a a |

\repeat volta2
{
  b4 b b | b4 b b |
}
\alternative {
{ b4 b b | }
{ c4 c }
}

\repeat volta 2
{
\partial 4 d8 d | d4 d d |
}
\alternative {
{ d4 d }
{ e4 e4 e4 }
}
}

\score { \music }





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tremolo

[Ursus]

Trying to recreate this snippet. f-clef (bass), 12/8, A-major.
I tried:
 \repeat tremolo 6 {a32\fermata a'\fermata} 8 r r r4 r8

Which failed. Then tried all combinations that could lead to the correct
tremolo. I haven't even arrived at trying to ad the ties. Any help would be
much appreciated

 



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Re: 5/4 full measure rest

[Simon Albrecht]

On 16.05.2018 10:11, Menu Jacques wrote:

I’m not sure about R1*5/4


With R, it’s completely irrelevant how you write the duration.
R1*5/4*2
would be my favourite, but the following behave the same in every respect:
R4*10
R16*40
R\breve*5/4
Just to illustrate the concept.

Best, Simon

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Re: Maintaining font-size regardless of staff-size

[David Kastrup]

David Sumbler  writes:

> At the moment I define variables for formatting title, composer etc. at
> the start of a score separately for each staff-size that I use.
>
> A simple question: is there a way of getting the same layout and font-
> sizes for the opening headings of, say, a part with 20-point staves and
> a full score with 16-point staves without having to define the layout
> twice?
>
> Using \abs-fontsize does not work, because the horizontal spacing is
> still affected by the global staff size.

Can you show how you are using \abs-fontsize ?

-- 
David Kastrup

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Maintaining font-size regardless of staff-size

[David Sumbler]

At the moment I define variables for formatting title, composer etc. at
the start of a score separately for each staff-size that I use.

A simple question: is there a way of getting the same layout and font-
sizes for the opening headings of, say, a part with 20-point staves and
a full score with 16-point staves without having to define the layout
twice?

Using \abs-fontsize does not work, because the horizontal spacing is
still affected by the global staff size.

David

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Re: Is there a way to generate a QR code inside a \markup block?

[Jan-Peter Voigt]

Hi Vinicius,

I did it once. I am on Linux so it is straightforward to install 
imagemagick, qrencode, potrace and idn. These are used to create an 
EPS-file to include in the markup. If you on a different OS with other 
tools to create the EPS then you have to adjust the commands.
The base idea is to trigger creation of an EPS, include that as an 
EPS-stencil and then (optionally) remove the temporary EPS-file.


HTH
Jan-Peter



Am 16.05.2018 um 07:55 schrieb Vinicius Mascarenhas:

Hi everybody,

I’m making a huge manual for my group with dozens of pages full of QR codes 
pointing to examples on YouTube and whatnot. For the time being I’m inserting 
them via \epsfile, but then I have to generate, properly name and organize each 
one beforehand. It takes much longer than actually finding the links I need.

Is there by any chance a command or function to generate a code by directly 
pasting the link as a parameter?

Thanks in advance,
Vinicius
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\version "2.19.80"

#(define-markup-command (qr-code layout props str size idn)(string? number? boolean?)
   "create QR-Code markup from  with width . Use IDN for international domain names.
It needs qrencode, imagemagick convert, potrace and optionally idn commands installed in PATH."
  (let ((tmp (format "~A-~2A.eps" (strftime "%Y%m%d%H%M%S" (localtime (current-time))) (random 100)))
(qr-stencil (interpret-markup layout props (markup #:with-color red #:filled-box (cons 0 size) (cons 0 size) 0.7)))
(quali (chain-assoc-get 'qr-quality props "L")))
(if (symbol? str)(let ((tmp (chain-assoc-get str props #f)))
   (if tmp (set! str tmp
(system (format (if idn
"echo \"~A\" | idn --quiet | qrencode -o - -m 0 -l ~A | convert PNG:- BMP:- | potrace -a -1 -o \"~A\""
"echo \"~A\" | qrencode -o - -m 0 -l ~A | convert PNG:- BMP:- | potrace -a -1 -o \"~A\"")
  str quali tmp))
(set! qr-stencil (eps-file->stencil X size tmp))
(system (format "rm -v \"~A\"" tmp))
qr-stencil
))

\markup { \qr-code #"https://www.lilypond.org/; #50 ##f }
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Is there a way to generate a QR code inside a \markup block?

[Vinicius Mascarenhas]

Hi everybody,

I’m making a huge manual for my group with dozens of pages full of QR codes 
pointing to examples on YouTube and whatnot. For the time being I’m inserting 
them via \epsfile, but then I have to generate, properly name and organize each 
one beforehand. It takes much longer than actually finding the links I need.

Is there by any chance a command or function to generate a code by directly 
pasting the link as a parameter?

Thanks in advance,
Vinicius
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Re: 5/4 full measure rest

[Jacques Menu Muzhic]

Hello Joram, Orm and Karim,

Thanks, it’s clear now!

JM

> Le 16 mai 2018 à 10:35, Orm Finnendahl 
>  a écrit :
> 
> Am Mittwoch, den 16. Mai 2018 um 10:11:30 Uhr (+0200) schrieb Menu Jacques:
>> Hello folks,
>> 
>> What is the best way to write such a length, that cannot be written with 
>> dots?
>> 
>> I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:
> 
> as a general rule: If a full measure rest is positioned in the center
> of the bar, it will *always* be written as a whole rest completely
> independent of the time signature. In case you want to spell out the
> rests, they should not be written as full measure rests and are
> postitioned aligned vertically to their respective beat. This is
> common practise and the way it's expected by musicians.
> 
> --
> Orm
> 
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Re: 5/4 full measure rest

[Orm Finnendahl]

Am Mittwoch, den 16. Mai 2018 um 10:11:30 Uhr (+0200) schrieb Menu Jacques:
> Hello folks,
> 
> What is the best way to write such a length, that cannot be written with dots?
> 
> I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:

as a general rule: If a full measure rest is positioned in the center
of the bar, it will *always* be written as a whole rest completely
independent of the time signature. In case you want to spell out the
rests, they should not be written as full measure rests and are
postitioned aligned vertically to their respective beat. This is
common practise and the way it's expected by musicians.

--
Orm

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Re: 5/4 full measure rest

[Karim Haddad]

Dear Jacques,

I personally use R4*5 and this works as supposed to.
Hope this helps.

best
K


On Wed, May 16, 2018 at 04:11:42AM -0400, lilypond-user-requ...@gnu.org wrote:
> 
> --
> 
> Message: 4
> Date: Wed, 16 May 2018 10:11:30 +0200
> From: Menu Jacques <imj-...@bluewin.ch>
> To: Lilypond-User Mailing List <lilypond-user@gnu.org>
> Cc: Menu Jacques <imj-...@bluewin.ch>
> Subject: 5/4 full measure rest
> Message-ID: <bb851e57-134e-4c93-82d1-467039889...@bluewin.ch>
> Content-Type: text/plain; charset="utf-8"
> 
> Hello folks,
> 
> What is the best way to write such a length, that cannot be written with dots?
> 
> I?m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:
> 
> \version "2.19.80"
> 
> \relative {
>   \time 5/4
>   <<
> \new Voice {
>   a' b c d e |
> }
> 
> \new Voice {
>   R1 R4 |
> }
> 
> \new Voice {
>   R1*5/4 |
> }
>   >>
> }
> 
> 
> produces the following error:
> 
>  Starting lilypond 2.19.80 [Untitled (5)]...
> Processing 
> `/var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T/frescobaldi-nx6e_mso/tmp_p48ina4/document.ly'
> Parsing...
> Interpreting music...
> /var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T/frescobaldi-nx6e_mso/tmp_p48ina4/document.ly:11:7:
>  warning: barcheck failed at: 1
>   
>   R1 R4 |
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems...
> Layout output to 
> `/var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T//lilypond-KrWnOv'...
> Converting to `document.pdf'...
> Deleting 
> `/var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T//lilypond-KrWnOv'...
> Success: compilation successfully completed
> Completed successfully in 0.7 ?.
> 
> Thanks for your help!
> 
> JM
> 
> -- next part --
> An HTML attachment was scrubbed...
> URL: 
> <http://lists.gnu.org/archive/html/lilypond-user/attachments/20180516/c8e00ccd/attachment.html>
> -- next part --
> A non-text attachment was scrubbed...
> Name: PastedGraphic-2.tiff
> Type: image/tiff
> Size: 10224 bytes
> Desc: not available
> URL: 
> <http://lists.gnu.org/archive/html/lilypond-user/attachments/20180516/c8e00ccd/attachment.tiff>
> 
> --
> 
> Subject: Digest Footer
> 
> ___
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> 
> --
> 
> End of lilypond-user Digest, Vol 186, Issue 69
> **

-- 
Karim Haddad



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Re: 5/4 full measure rest

[Noeck]

Dear Jacques,

> I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:

R1*5/4 is just fine.

>   R1 R4 |

R1 means fill the duration of a whole note with a full measure rest.
Naturally after a full measure rest, the measure should end. But here it
does not. Therefore the bar check error.

>   R1*5/4 |

This way the duration of 5/4 is filled with full-measure rests (one) and
that matches the time signature. You can even fill several measures:

R1*5/4*2

fills 2 measures of your 5/4 measures.

Cheers,
Joram

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5/4 full measure rest

[Menu Jacques]

Hello folks,

What is the best way to write such a length, that cannot be written with dots?

I’m not sure about R1*5/4, and I thought R1 R4 would be OK for that, but:

\version "2.19.80"

\relative {
  \time 5/4
  <<
\new Voice {
  a' b c d e |
}

\new Voice {
  R1 R4 |
}

\new Voice {
  R1*5/4 |
}
  >>
}


produces the following error:

 Starting lilypond 2.19.80 [Untitled (5)]...
Processing 
`/var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T/frescobaldi-nx6e_mso/tmp_p48ina4/document.ly'
Parsing...
Interpreting music...
/var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T/frescobaldi-nx6e_mso/tmp_p48ina4/document.ly:11:7:
 warning: barcheck failed at: 1
  
  R1 R4 |
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to 
`/var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T//lilypond-KrWnOv'...
Converting to `document.pdf'...
Deleting `/var/folders/jc/xrpy67_x6_vcjfzpzds_9_6mgn/T//lilypond-KrWnOv'...
Success: compilation successfully completed
Completed successfully in 0.7 ».

Thanks for your help!

JM

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Re: Re: split { {a b} {c' d'} {e' f'} } in multiple expression

[Simon Albrecht]

> On 16 May 2018 at 09:04, Gianmaria Lari  wrote:
> 
> 
> 
> I forgot something. For me, a very difficult thing using scheme with lilypond 
> is correctly open/close the brackets. It's is extremely easy get lost and 
> error messages don't help that much. I imagine Frescobaldi is not the correct 
> editor for that.?

Personally, I find Frescobaldi quite sufficient for my admittedly intermittent 
use of Scheme.  Code formatting is essential, so the rules at 
http://community.schemewiki.org/?scheme-style are a must. And after all, 
Frescobaldi does highlight matching braces and the autoindent algorithm mostly 
does the right thing also with writing Scheme code.

HTH,
Simon

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Re: split { {a b} {c' d'} {e' f'} } in multiple expression

[Gianmaria Lari]

On 16 May 2018 at 09:04, Gianmaria Lari  wrote:

>
>
> On 16 May 2018 at 02:23, Andrew Bernard  wrote:
>
>> Hi Gianmaria,
>>
>> From your posts I suspect you may find a use for Abjad. Have you looked
>> into it?
>>
>> Just a suggestion.
>>
>> Andrew
>>
>>
> Ciao Andrew,
>
> your suggestion is welcome! I had a look to Abjad when I discovered
> Lilypond, maybe a couple years ago and told myself I would have a better
> look in the future. Probably now it could be a good time.
>
> But anyway, I would also like to know the basic of lilypond/scheme
> interaction It is true that until today I simply asked how to solve my
> (small?) problem but my long term plan is to learn it :)
>
> In my opinion Scheme is not that difficult, and especially not difficult
> if you know a bit of programming.
> Lilypond is, always in my opinion, a bit harder but I guess that's because
> standard music notation is inherently something complex.
> Mixing Lilypond with scheme is something that I didn't yet grasp. Anytime
> I tried to read the documentation I was discouraged. and gave up. But
> for sure I didn't put enough time on it.
>
> Thank you Andrew!
> g.
>

I forgot something. For me, a very difficult thing using scheme with
lilypond is correctly open/close the brackets. It's is extremely easy get
lost and error messages don't help that much. I imagine Frescobaldi is not
the correct editor for that.?
It looks a stupid thing, but when you learn something these details are an
important setback.

g.
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Re: split { {a b} {c' d'} {e' f'} } in multiple expression

[Gianmaria Lari]

On 16 May 2018 at 02:23, Andrew Bernard  wrote:

> Hi Gianmaria,
>
> From your posts I suspect you may find a use for Abjad. Have you looked
> into it?
>
> Just a suggestion.
>
> Andrew
>
>
Ciao Andrew,

your suggestion is welcome! I had a look to Abjad when I discovered
Lilypond, maybe a couple years ago and told myself I would have a better
look in the future. Probably now it could be a good time.

But anyway, I would also like to know the basic of lilypond/scheme
interaction It is true that until today I simply asked how to solve my
(small?) problem but my long term plan is to learn it :)

In my opinion Scheme is not that difficult, and especially not difficult if
you know a bit of programming.
Lilypond is, always in my opinion, a bit harder but I guess that's because
standard music notation is inherently something complex.
Mixing Lilypond with scheme is something that I didn't yet grasp. Anytime I
tried to read the documentation I was discouraged. and gave up. But for
sure I didn't put enough time on it.

Thank you Andrew!
g.
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