Re: output one bar at a time (midi and png)

[Ted Walther]

Beautiful, thank you.  Is there a way to make the MIDI output go to a
separate file for each page of output?

On Fri, 18 Jan 2019 at 10:16, Valentin Villenave 
wrote:

> On 1/18/19, Ted Walther  wrote:
> > Is there some simple way I can have lilypond put each bar (and its
> > corresponding midi) into separate files?  Then I can use standard
> software
> > to join them together.
>
> You could do that… or LilyPond can do it for you:
>
> http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline-page-breaking
>
> Cheers,
> V.
>
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Re: Appoggiatura before barline

[Valentin Villenave]

On 1/18/19, Thomas Morley  wrote:
> you could try to use David K's cheat:

Neat! I’ve added it to the LSR, and also tagged it as doc:
http://lsr.di.unimi.it/LSR/Item?id=1083

V.

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Re: select a note in a chord

[Valentin Villenave]

On 1/18/19, David Kastrup  wrote:
> Music functions share the same namespace as all other Scheme functions
> and variables

OK, perhaps a better name would be \dropNote then (much like \hideNotes etc.).

Anyway, I like these functions (thanks to both of you guys) and I
wonder if they could be made part of the default distribution?

Just in case, I’ve drafted a proposal here:
https://sourceforge.net/p/testlilyissues/issues/5464/
http://codereview.appspot.com/365840043

Cheers,
V.

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Re: Italic/Bold Text Font Not Showing

[nagymusic]

It seems to be working if the font is downloaded from  Font Squirrel
  . I suppose the font
configuration has changed in most recent updated on Github and Google.



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Italic/Bold Text Font Not Showing

[nagymusic]

When  Spectral
  
font is set as roman text font, the italics and bold are not showing; the
regular roman is.

The font works just fine on Linux machine, but not on Windows. In fact, I
used to be able to use Spectral font on an older Windows computer without
problems. Would anyone be willing to test this and offer advice?

Thank you!

\version "2.19.82"

\paper  {
  #(define fonts
(make-pango-font-tree "Spectral"
  "Nimbus Sans,Nimbus Sans L"
  "Luxi Mono"
  (/ staff-height pt 20)))
}

\relative c'{
  c1-\markup \italic {
roman,
\sans sans,
\typewriter typewriter. }
}




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Re: Coloring notes played on black piano key AND coloring accidental and key signature notes with different colors

[Barbara Mroczek]

I don't see any answer, so here are my two cents.
Here you can find snippet, that colors note heads depending on their
pitch and name:
http://lilypond.org/doc/v2.12/input/lsr/lilypond-snippets/Pitches#Color
ing-notes-depending-on-their-pitch
All you need to do is modify the list associating pitches (names) with
colors. Pitches are described using ly:make-pitch, which description
you will find here:
http://lilypond.org/doc/v2.18/Documentation/internals/scheme-functions
As I understand, you want all pitches from key signature blue and the
rest of non-natural pitches red.
Hth,
Basia
On pią, 2019-01-11 at 13:08 +0100, Pierre-Emile LHUILLIER wrote:
> Dear all,
>  
> Could you help me achieving the following objectives :
>  
> 1)  In a piano staff, I would like to color (in blue) the notes
> that are played on the black piano keys
> And if possible :
> 2)  I would like to color differently the note that are played on
> a black piano keys because of the key signature (in blue) from the
> notes that are played on black piano keys because of accidentals (in
> red)
>  
> Best regards
> 
> Pierre-Emile
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Re: Appoggiatura before barline

[Andrew Bernard]

Hi Harm,

Thanks. I tend to adjust rest positions manually anyway, so that's not an
issue for me personally. With a bar full of notes it also usually looks
pretty good.

Andrew


On Sat, 19 Jan 2019 at 12:20, Thomas Morley 
wrote:

>
> Spacing is a little off. The R1 is not really centered:
>
>
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Ligatures, lyrics, and other arcana

[Mark Probert]

Hi, again.

I'm getting out of my depth here but is it possible
to set lyrics to mensural ligatures? I can't seem to
get the following to work.

Also, following the example [1] I don't seem to be
able to get the ligature-flexa to work (2.19.82/OSX).
I've tried quite a few flexa-widths but nothing seems
to work...

TIA  .. mark.

[1] 
http://lilypond.org/doc/v2.18/Documentation/notation/typesetting-mensural-music#white-mensural-ligatures

---
chant = \relative c { \clef bass 
\set Score.timing = ##f
\set Score.defaultBarType = "-"

\[ c\maxima b\longa a\maxima \] 
\[ c\maxima
   \override NoteHead.ligature-flexa = ##t
   \once \override NoteHead.flexa-width = #10
   f,\longa \]
\[ c'\maxima a\maxima \]
}
verba = \lyricmode { 4 2 4  4 2  4 4 }

\score {
  \new Staff <<
\new Voice  = "melody" \chant 
\new Lyrics = "one"   \lyricsto melody \verba 
  >>
  \layout { 
\context { \Staff
   \remove "Time_signature_engraver"
   \override NoteHead.style = #'baroque
}
\context { \Voice
\remove "Ligature_bracket_engraver"
\consists "Mensural_ligature_engraver"
}
  }
}
---
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Re: Maxima...

[Mark Probert]

Bockett wrote:
> 
> I'm not sure there is a modern version of a maxima, as there
> is of a breve or a long.  
>
Sure. According to Groves it was pretty much dead by the end
of the 17th C. 

> 
> Lilypond provides a perfectly reasonable way to notate
> a maxima for any foreseeable purpose.  That should suffice.
> 
It does, as previously noted.

> 
> Be grateful for what you have--it's an amazing package!
> And be grateful to the folk who maintain and extend it.
> 
Agreed. However, being a newbie to this package, when I 
have a problem, or a perceived problem, I can either ask
on this forum or not. My post is about a non-intuitive 
feature--Why the rest and not the note?--that is not clearly
documented ("If you need a maxima/large use Baroque note heads,
there is no maxima notes in the standard set"). 

Thanks for the chat!




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Re: Appoggiatura before barline

[Thomas Morley]

Am Sa., 19. Jan. 2019 um 02:03 Uhr schrieb Andrew Bernard
:
>
> Hi Harm,
>
> I have been using this heavily thanks to David K for a very long time. 
> Although it may be a cheat, it works just fine. I see no drawbacks. What is 
> the downside here?

Hi Andrew,

Spacing is a little off. The R1 is not really centered:

  {
R1
\appoggiatura { \bar "" d''8 \bar "|" } c''4 r2.
  }
That's what I remember directly, not sure whether there is more.


Cheers,
  Harm

>
> Andrew
>
>
> On Sat, 19 Jan 2019 at 07:15, Thomas Morley  wrote:
>>
>>
>> you could try to use David K's cheat:
>>
>> {
>>   R1
>>   %% default
>>   \appoggiatura d''8 c''4 r2.
>>   %% cheated
>>   \appoggiatura { \bar "" d''8 \bar "|" } c''4 r2.
>> }
>>
>> It has it's own drawbacks, though.
>>
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Re: Appoggiatura before barline

[Andrew Bernard]

I should add that this works for grace notes also, which is actually what I
use the technique for.

Andrew
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Re: Appoggiatura before barline

[Andrew Bernard]

Hi Harm,

I have been using this heavily thanks to David K for a very long time.
Although it may be a cheat, it works just fine. I see no drawbacks. What is
the downside here?

Andrew


On Sat, 19 Jan 2019 at 07:15, Thomas Morley 
wrote:

>
> you could try to use David K's cheat:
>
> {
>   R1
>   %% default
>   \appoggiatura d''8 c''4 r2.
>   %% cheated
>   \appoggiatura { \bar "" d''8 \bar "|" } c''4 r2.
> }
>
> It has it's own drawbacks, though.
>
>
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Re: Maxima...

[Bockett Hunter]

Hi Mark,

Having given the matter a little more thought:

I'm not sure there *is* a modern version of a maxima, as there
is of a breve or a long.  A good reason for the lacuna is that
there isn't much--or any--need for one, save for historical or pedagogical
reasons.  I don't have quick access to a good university library
any more to look up the standard notational references.

The more reasonable approach is to assume that there is no
"modern" notation for maxima, and to just use the Baroque/Renaissance
equivalent.  That is perfectly appropriate for foreseeable use.
Moreover, the modern breve and long notations are really
ugly--why use them?

Lilypond provides a perfectly reasonable way to notate
a maxima for any foreseeable purpose.  That should suffice.

There is a secondary question: How does Lilypond deal with
duplex maximae and longae rests in perfect maximodus and modus?
I haven't explored the former; I think the latter is not dealt with
correctly.
The issues are encountered rarely, and one
cannot expect volunteer Lilypond mavens to deal with them.
And it is always possible to force a glyph.

Be grateful for what you have--it's an amazing package!
And be grateful to the folk who maintain and extend it.

Bockett Hunter


On Fri, Jan 18, 2019 at 6:04 PM Mark Probert  wrote:

> Bockett wrote:
> >
> > But you're right--If I delete
> >   \override NoteHead #'style = #'neomensural
> > I don't get anything for the maxima note.
> >
> Right. This seems incorrect behavior. Having a hole just
> doesn't seem the right thing to do...
>
> For reference:
>
> ---
> chant = \relative c { \clef bass
>   e\maxima r\maxima
>   \override NoteHead.style = #'baroque
>   e\maxima r\maxima
>   \override NoteHead.style = #'neomensural
>   e\maxima r\maxima
>   \override NoteHead.style = #'petrucci
>   e\maxima r\maxima
> }
> verba = \lyricmode { Standard Baroque Neomensural Petrucci }
>
> \score {
>   \new Staff <<
> \new Voice = "melody" \chant
> \new Lyrics = "one" \lyricsto melody \verba
>   >>
>   \layout {
> \context {
>   \Staff
>   \remove "Time_signature_engraver"
>   \remove "Bar_engraver"
> }
>   }
> ---
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Re: Maxima...

[Mark Probert]

Bockett wrote:
> 
> But you're right--If I delete
>   \override NoteHead #'style = #'neomensural
> I don't get anything for the maxima note.
> 
Right. This seems incorrect behavior. Having a hole just
doesn't seem the right thing to do...

For reference:

---
chant = \relative c { \clef bass 
  e\maxima r\maxima 
  \override NoteHead.style = #'baroque
  e\maxima r\maxima 
  \override NoteHead.style = #'neomensural
  e\maxima r\maxima 
  \override NoteHead.style = #'petrucci
  e\maxima r\maxima 
}
verba = \lyricmode { Standard Baroque Neomensural Petrucci }

\score {
  \new Staff <<
\new Voice = "melody" \chant 
\new Lyrics = "one" \lyricsto melody \verba 
  >>
  \layout { 
\context {
  \Staff
  \remove "Time_signature_engraver"
  \remove "Bar_engraver"
}
  }
---
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Re: Maxima...

[Bockett Hunter]

The r\maxima is documented in paragraph 1.2.2 of the Notation Guide.  It
works for me, see below.
It is, of course, not right in perfect mode, with three breves to the long,
in which case each long rest should fill three spaces.

  \score {
\relative c'' {
  \set Score.timing = ##f
  \set Score.defaultBarType = "empty"
  \override NoteHead #'style = #'neomensural
  \override Staff.TimeSignature #'style = #'neomensural
  \clef "petrucci-g"
g1.  g2 \[ a\breve  g\breve c\breve b\longa \]
g1.  g2 \[ a\breve  g\breve d'\breve c\longa \]
  \break
g1.  g2 \[ g'\breve e\breve c\breve b\breve a\longa.\]
r\maxima
f'1. f2 \[ e\breve  c\breve d\breve c\maxima \]
}


  \layout {
\context {
 \Voice
  \remove Ligature_bracket_engraver
  \consists Mensural_ligature_engraver
  }
}
  }


On Fri, Jan 18, 2019 at 3:16 PM Mark Probert  wrote:

>
> Hi, all.
>
> In the project I'm working on, I've hit a need for a maxima (hooray!).
> Okay, it is -real- music, more pedagogic, but what the heck! It's a
> maxima!
>
> However, oddly (to me), the standard noteheads support a maxima rest,
> but not a maxima note. To get the notes, I need to slip into the
> Baroque, and there is some oblique reference to this in the
> documentation.
>
> Personally, I'm not sure why this is so. Any thoughts?
>
>  .. mark.
>
> ---
> \version "2.19.82"
>
> chant = \relative c { \clef bass e\maxima r\maxima e\longa r\longa }
> verba = \lyricmode { Large Long  }
>
> \score {
>   \new Staff <<
> \new Voice = "melody" \chant
> \new Lyrics = "one" \lyricsto melody \verba
>   >>
>   \layout {
> \context {
>   \Staff
>   \override NoteHead.style = #'baroque
>   \remove "Time_signature_engraver"
>   \remove "Bar_engraver"
> }
>   }
> }
> ---
>
>
>
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Re: Maxima...

[Bockett Hunter]

Whoops--mistake on what I sent.

Replace the line
f'1. f2 \[ e\breve  c\breve d\breve c\maxima \]
with
f'1. f2 e\breve  c\breve d\breve c\maxima

to get the maxima rest with the maxima notehead later.
By the way, I much prefer the Petrucci style note heads
for breves, longs, and maximas.  They're simply easier to read.

But you're right--If I delete
  \override NoteHead #'style = #'neomensural
I don't get anything for the maxima note.

On Fri, Jan 18, 2019 at 4:14 PM Bockett Hunter 
wrote:

> The r\maxima is documented in paragraph 1.2.2 of the Notation Guide.  It
> works for me, see below.
> It is, of course, not right in perfect mode, with three breves to the long,
> in which case each long rest should fill three spaces.
>
>   \score {
> \relative c'' {
>   \set Score.timing = ##f
>   \set Score.defaultBarType = "empty"
>   \override NoteHead #'style = #'neomensural
>   \override Staff.TimeSignature #'style = #'neomensural
>   \clef "petrucci-g"
> g1.  g2 \[ a\breve  g\breve c\breve b\longa \]
> g1.  g2 \[ a\breve  g\breve d'\breve c\longa \]
>   \break
> g1.  g2 \[ g'\breve e\breve c\breve b\breve a\longa.\]
> r\maxima
> f'1. f2 \[ e\breve  c\breve d\breve c\maxima \]
> }
>
>
>   \layout {
> \context {
>  \Voice
>   \remove Ligature_bracket_engraver
>   \consists Mensural_ligature_engraver
>   }
> }
>   }
>
>
> On Fri, Jan 18, 2019 at 3:16 PM Mark Probert  wrote:
>
>>
>> Hi, all.
>>
>> In the project I'm working on, I've hit a need for a maxima (hooray!).
>> Okay, it is -real- music, more pedagogic, but what the heck! It's a
>> maxima!
>>
>> However, oddly (to me), the standard noteheads support a maxima rest,
>> but not a maxima note. To get the notes, I need to slip into the
>> Baroque, and there is some oblique reference to this in the
>> documentation.
>>
>> Personally, I'm not sure why this is so. Any thoughts?
>>
>>  .. mark.
>>
>> ---
>> \version "2.19.82"
>>
>> chant = \relative c { \clef bass e\maxima r\maxima e\longa r\longa }
>> verba = \lyricmode { Large Long  }
>>
>> \score {
>>   \new Staff <<
>> \new Voice = "melody" \chant
>> \new Lyrics = "one" \lyricsto melody \verba
>>   >>
>>   \layout {
>> \context {
>>   \Staff
>>   \override NoteHead.style = #'baroque
>>   \remove "Time_signature_engraver"
>>   \remove "Bar_engraver"
>> }
>>   }
>> }
>> ---
>>
>>
>>
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Re: How to define some context statements

[Thomas Morley]

Am Fr., 18. Jan. 2019 um 11:01 Uhr schrieb Werner Arnhold
:
>
> Dear list,
>
> I often need to have Midi output with different volume or instruments in
> some voices. Here an example:
>
> \version "2.18.2"
>
> global = {
>   \key c \major
>   \time 4/4
> }
>
> soprannoten = \relative c'' {
>   g e e2 f4 d d2
> }
>
> altnoten = \relative c'' {
>   c2 g g2 b4 f
> }
>
> \score {
>   \new ChoirStaff <<
> \new Staff <<
>   \set Staff.instrumentName = #"Sopran"
>   \new Voice = "sopran" <<
> \set midiInstrument = #"flute"
> \global
> \soprannoten
>   >>
> >>
> \new Staff <<
>   \set Staff.instrumentName = #"Alt"
>   \new Voice = "alt" <<
> \set midiInstrument = #"violin"
> \global
> \altnoten
>   >>
> >>
>   >>
>   \layout{}
>   \midi{
> \tempo 4 = 80
>   \context {
> \Staff
> \remove "Staff_performer"
>   }
>   \context {
> \Voice
> \consists "Staff_performer"
>   }
>   }
> }
>
> This works fine. Now I tried to separate the "\context" parts in the
> midi section like
>
> verschiedene_stimmen = {
>   \context \Staff \remove "Staff_performer"
>   \context \Voice \consists "Staff_performer"
> }
>
> score {
> .
> .
> .
>   \midi{
> \verschiedene_stimmen
>   }
> }
>
> Lilypond complains about unvalid escape sequence "\Staff" at the Place
> of the definition, unexpected "\remove" and so on. That happens even if
> I do not call the defined macro in the midi section.
>
> What will be the reason and how can I make it better. I intend to
> collect such often used constructs in a separate file.
>
> Thanks in advance!
>
> Werner

Hi Werner,

looking at your example, there is no need to move "Staff_performer" at all.
Just set midiInstrument in Staff, You could do so with \set Staff.midiInstrument
But this is done better in \with { ... }, otherwise it may happen you
meet issue 34 in some cases. Same for instrumentName.

Only if you have more than one Voice per Staff moving
"Staff_performer" would make sense.

To store the settings in a callable variable you could do:

\version "2.18.2"

soprannoten = \relative c'' {
  g e e2 f4 d d2
}

altnoten = \relative c'' {
  c2 g g2 b4 f
}

verschiedene_stimmen_midi = \midi {
  \context { \Staff \remove "Staff_performer" }
  \context { \Voice \consists "Staff_performer" }
}

\score {
  \new ChoirStaff <<
\new Staff <<
  \new Voice = "sopran" \with { midiInstrument = #"flute" }
{ \voiceOne \soprannoten }
  \new Voice = "alt" \with { midiInstrument = #"violin" }
{ \voiceTwo \altnoten }
>>
  >>
  \layout{}
  \midi {
\verschiedene_stimmen_midi
%% needs to be called after 'verschiedene_stimmen_midi'
\tempo 4 = 80
  }
}

HTH,
  Harm

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Maxima...

[Mark Probert]

Hi, all.

In the project I'm working on, I've hit a need for a maxima (hooray!). 
Okay, it is -real- music, more pedagogic, but what the heck! It's a 
maxima!

However, oddly (to me), the standard noteheads support a maxima rest, 
but not a maxima note. To get the notes, I need to slip into the 
Baroque, and there is some oblique reference to this in the 
documentation.

Personally, I'm not sure why this is so. Any thoughts?

 .. mark.

---
\version "2.19.82"

chant = \relative c { \clef bass e\maxima r\maxima e\longa r\longa }
verba = \lyricmode { Large Long  }

\score {
  \new Staff <<
\new Voice = "melody" \chant 
\new Lyrics = "one" \lyricsto melody \verba 
  >>
  \layout { 
\context {
  \Staff
  \override NoteHead.style = #'baroque
  \remove "Time_signature_engraver"
  \remove "Bar_engraver"
}
  }
}
---



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Re: Appoggiatura before barline

[Thomas Morley]

Am Fr., 18. Jan. 2019 um 19:14 Uhr schrieb Urs Liska :
>
> Is there any convenient and semantically acceptable way of engraving an
> appoggiatura (or other grace notes) *before* the barline? I know that
> usually one is pointed to \afterGrace to achieve something like that but
> that seems semantically problematic. I produced the attached image using
> a bunch of extra-offset overrides and a drastic \shape - which is
> inconvenient.
>
> Thanks for any ideas.
> Urs

Hi Urs,

you could try to use David K's cheat:

{
  R1
  %% default
  \appoggiatura d''8 c''4 r2.
  %% cheated
  \appoggiatura { \bar "" d''8 \bar "|" } c''4 r2.
}

It has it's own drawbacks, though.


Cheers,
  Harm

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Re: output one bar at a time (midi and png)

[Valentin Villenave]

On 1/18/19, Ted Walther  wrote:
> Is there some simple way I can have lilypond put each bar (and its
> corresponding midi) into separate files?  Then I can use standard software
> to join them together.

You could do that… or LilyPond can do it for you:
http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline-page-breaking

Cheers,
V.

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Appoggiatura before barline

[Urs Liska]

Is there any convenient and semantically acceptable way of engraving an 
appoggiatura (or other grace notes) *before* the barline? I know that 
usually one is pointed to \afterGrace to achieve something like that but 
that seems semantically problematic. I produced the attached image using 
a bunch of extra-offset overrides and a drastic \shape - which is 
inconvenient.


Thanks for any ideas.
Urs

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Re: Powerchord

[Valentin Villenave]

On 1/18/19, Oliver Nicolson  wrote:
> Fantastic, thank you so much.

Greetings,
Perhaps you’d be interested to know that everything Kieren mentioned
may be done just using the \powerChords shortcut… And besides, in the
next LilyPond release this won’t even be required, as c:5 will always
display a "5" by default.

Cheers,
V.

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Re: Tie minimum length

[David Kastrup]

David Kastrup  writes:

> Andrew Bernard  writes:

[...]

>> Is this a mistake in the manual for the name?
>
> Yes and no.
>
> dak@lola:/usr/local/tmp/lilypond$ git grep min-length
> Documentation/included/font-table.ly:   (define (min-length lst n)
> Documentation/included/font-table.ly:(1+ (min-length (cdr lst) (1- n)
> Documentation/included/font-table.ly: (let* ((n (min-length names 2))
> Documentation/misc/ChangeLog-2.10:  sliding score for min-length.
> lily/tie-details.cc:  min_length_ = get_real_detail ("min-length", 1.0);
> lily/tie-details.cc: min_length_penalty_factor_ = get_real_detail
> ("min-length-penalty-factor", 1.0);
> lily/tie.cc:   "@item min-length\n"
> lily/tie.cc:   "@item min-length-penalty-factor\n"
> lily/tie.cc:   " @code{min-length}.\n"
> scm/define-grobs.scm:(min-length-penalty-factor . 26)
>
> Part of the code uses it but it is not properly defined.  It's not as
> much a "mistake in the manual" as completely broken code.

Ah, Trevor explained it.  I should have looked more carefully: my
statement is wrong.

-- 
David Kastrup

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Re: Tie minimum length

[Trevor]

Andrew, you wrote 18/01/2019 14:19:08
Subject: Tie minimum length


The NR for 2.19.82 in section 3.2.128 'tie interface' states:

I think you mean the IR.


min-length
If the tie is shorter than this amount (in staff-spaces) an 
increasingly large length penalty is incurred.


But if I use this an error is thrown. Using minimum-length works fine.

warning: cannot find property type-check for `min-length' 
(backend-type?). perhaps a typing error?


warning: skipping assignment

Is this a mistake in the manual for the name?


No. min-length is a property in the details list.  It must be set like 
this:


  \override Tie.details.min-length = ...

However, it doesn't do what you expect - it merely feeds into the length 
penalty.


To specify a minimum length for the tie you should use minimum-length, 
as you discovered.

This is defined in the spanner-interface, used by Tie.

Trevor


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Re: Tie minimum length

[David Kastrup]

Andrew Bernard  writes:

> The NR for 2.19.82 in section 3.2.128 'tie interface' states:
>
> min-length
> If the tie is shorter than this amount (in staff-spaces) an increasingly
> large length penalty is incurred.
>
> But if I use this an error is thrown. Using minimum-length works fine.
>
> warning: cannot find property type-check for `min-length' (backend-type?).
> perhaps a typing error?
>
> warning: skipping assignment
>
>
>
> Is this a mistake in the manual for the name?

Yes and no.

dak@lola:/usr/local/tmp/lilypond$ git grep min-length
Documentation/included/font-table.ly:   (define (min-length lst n)
Documentation/included/font-table.ly:(1+ (min-length (cdr lst) (1- n)
Documentation/included/font-table.ly: (let* ((n (min-length names 2))
Documentation/misc/ChangeLog-2.10:  sliding score for min-length.
lily/tie-details.cc:  min_length_ = get_real_detail ("min-length", 1.0);
lily/tie-details.cc:  min_length_penalty_factor_ = get_real_detail 
("min-length-penalty-factor", 1.0);
lily/tie.cc:   "@item min-length\n"
lily/tie.cc:   "@item min-length-penalty-factor\n"
lily/tie.cc:   " @code{min-length}.\n"
scm/define-grobs.scm:(min-length-penalty-factor . 26)

Part of the code uses it but it is not properly defined.  It's not as
much a "mistake in the manual" as completely broken code.

-- 
David Kastrup

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Re: Powerchord

[Oliver Nicolson]

Fantastic, thank you so much.

And sorry everyone for the spam - I thought my email/list config was wrong
and my mails were not getting through.

On Fri, 18 Jan 2019, 14:37 Kieren MacMillan  Hi Oliver,
>
> > Is there any way in lilypond to display a chord name of the form "C5",
> which commonly denotes a power chord without the 3rd?
>
> Here’s one way:
>
> %%%  SNIPPET BEGINS
> \version "2.19.80"
>
> customChordExceptions = {
> -\markup { "5" }
> }
>
> newChordExceptionList = #(append
> (sequential-music-to-chord-exceptions customChordExceptions #t)
> ignatzekExceptions)
>
>
> \layout {
>   \context {
> \Score
> chordNameExceptions = #newChordExceptionList
>   }
> }
>
> somechords = \chordmode { c1:7 c1:5 }
>
> <<
>   \new ChordNames \somechords
>   \new Staff \somechords
> >>
> %%%  SNIPPET ENDS
>
> Hope that helps!
> Kieren.
>
> p.s. I received 5 copies of your post, sent at slightly different times.
> If you post to the list, and don’t see your post right away, please wait
> some time before posting again.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
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Re: Powerchord

[Kieren MacMillan]

Hi Oliver,

> Is there any way in lilypond to display a chord name of the form "C5", which 
> commonly denotes a power chord without the 3rd?

Here’s one way:

%%%  SNIPPET BEGINS
\version "2.19.80"

customChordExceptions = {
-\markup { "5" }
}

newChordExceptionList = #(append
(sequential-music-to-chord-exceptions customChordExceptions #t)
ignatzekExceptions)


\layout {
  \context {
\Score
chordNameExceptions = #newChordExceptionList
  }
}

somechords = \chordmode { c1:7 c1:5 }

<<
  \new ChordNames \somechords
  \new Staff \somechords
>>
%%%  SNIPPET ENDS

Hope that helps!
Kieren.

p.s. I received 5 copies of your post, sent at slightly different times. If you 
post to the list, and don’t see your post right away, please wait some time 
before posting again.


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


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Powerchord

[Oliver Nicolson]

Hi,

Is there any way in lilypond to display a chord name of the form "C5",
which commonly denotes a power chord without the 3rd?

Would be much appreciated!

Thanks
Ollie
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output one bar at a time (midi and png)

[Ted Walther]

I have some pieces that take a minute or two to play.  I'd like to make
them into youtube videos so people can see the notes and lyrics while
hearing the midi file.

Is there some simple way I can have lilypond put each bar (and its
corresponding midi) into separate files?  Then I can use standard software
to join them together.

And if I could output two bars at a time, that would allow a nice scrolling
effect.

I guess I'm looking for something karaoke like, or that would let me
generate the output of karaoke type files.  The music is all old and out of
copyright.

Ted
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Power chord display name

[Oliver Nicolson]

Hi,

Is there any way in lilypond to display a chord name of the form "C5",
which commonly denotes a power chord without the 3rd?

Would be much appreciated!

Thanks
Ollie
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Power chord symbols

[Oliver Nicolson]

Hi,

Is there any way in lily pond to display a chord name of the form "C5",
which commonly denotes a power chord without the 3rd?

Would be much appreciated!

Thanks
Ollie
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Power chord chord symbol

[Oliver Nicolson]

Hi,

Is there any way in lilypond to display a chord name of the form "C5",
which commonly denotes a power chord without the 3rd?

Would be much appreciated!

Thanks
Ollie
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Tie minimum length

[Andrew Bernard]

The NR for 2.19.82 in section 3.2.128 'tie interface' states:

min-length
If the tie is shorter than this amount (in staff-spaces) an increasingly
large length penalty is incurred.

But if I use this an error is thrown. Using minimum-length works fine.

warning: cannot find property type-check for `min-length' (backend-type?).
perhaps a typing error?

warning: skipping assignment



Is this a mistake in the manual for the name?

Andrew
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Re: select a note in a chord

[David Kastrup]

Davide Bonetti  writes:

> Great!
> Everything very interesting.
> In this case, drop is a lilypond music function, so I assume it will
> not interfere with slri (but I don't know what slri is)

(srfi srfi-1), not slri, sorry for messing this up.  It is a standard
module of Scheme for list processing and is by default imported into
LilyPond.  Defining a shadowing binding is not the best idea since it
may be used by other LilyPond code.

Music functions share the same namespace as all other Scheme functions
and variables (markup commands are a bit more complicated).  Indeed,
with 2.19 you can call music functions as if they were Scheme functions.

-- 
David Kastrup

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Re: select a note in a chord

[Davide Bonetti]

Great!
Everything very interesting.
In this case, drop is a lilypond music function, so I assume it will not 
interfere with slri (but I don't know what slri is) 

Cheers
D. 



Il 18 gennaio 2019 01:21:31 CET, David Kastrup  ha scritto:
>David Kastrup  writes:
>
>> Valentin Villenave  writes:
>>
>>> On 1/18/19, David Kastrup  wrote:
 This is not really an issue for string-manipulation.
>>>
>>> Agreed. Nevertheless, I was pleasantly surprised to see that
>>> ly:parser-include-string could accept an incomplete expression.
>>> (Previously, ly:parser-parse-string would have been much less
>flexible
>>> here.)
>>>
 Let's rather do this in a sane manner:
>>>
>>> Indeed, a named "let" loop is clearly the preferred way to go!
>>>
>>> That being said, I still wonder if there’d be any way of making it
>>> work with either iota or make-list without having to go through
>string
>>> manipulations. (It would remove the need for a loop with an
>>> incremented counter.)
>>
>> You can use something like
>> (fold (if (negative? num) drop rise)
>>   music
>>   (make-list (abs num) 1))
>>
>> but I don't like creating lists for the sake of controlling loop
>size.
>
>By the way: `drop' is a function imported from (slri slri-1) and it's
>probably not a good idea to redefine it.
>
>-- 
>David Kastrup

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Re: edition-engraver and \cadenzaOn

[Urs Liska]

Hi Jan-Peter,

Am 18.01.19 um 14:09 schrieb Jan-Peter Voigt:

Hi Urs,

happy new year!



thanks and dito!




This is on my agenda for quite some time. It will be possible and I have
an idea how to make it possible, but ...
I try to push the priority a little bit.



That would be great.
It's just one case right now, but it's in a project where the main input 
files are explicit part of the edition, so I'm really hard-pressed to 
move *all* tweaking to an include file.


Urs



Jan-Peter

Am 18.01.19 um 14:04 schrieb Urs Liska:

Hey all,

it seems that after \cadenzaOn all events have the same "zero" moment -
which makes sense, given that \cadenzOn completely suppresses all Timing
consideration.

So is there *any* chance to addres specific notes or slurs or whatever
that occur at some point in the cadenza?

Urs


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Re: edition-engraver and \cadenzaOn

[Jan-Peter Voigt]

Hi Urs,

happy new year!

This is on my agenda for quite some time. It will be possible and I have
an idea how to make it possible, but ...
I try to push the priority a little bit.

Jan-Peter

Am 18.01.19 um 14:04 schrieb Urs Liska:
> Hey all,
> 
> it seems that after \cadenzaOn all events have the same "zero" moment -
> which makes sense, given that \cadenzOn completely suppresses all Timing
> consideration.
> 
> So is there *any* chance to addres specific notes or slurs or whatever
> that occur at some point in the cadenza?
> 
> Urs
> 
> 
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edition-engraver and \cadenzaOn

[Urs Liska]

Hey all,

it seems that after \cadenzaOn all events have the same "zero" moment - 
which makes sense, given that \cadenzOn completely suppresses all Timing 
consideration.


So is there *any* chance to addres specific notes or slurs or whatever 
that occur at some point in the cadenza?


Urs


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Re: Springs and rods

[Trevor]

Andrew Bernard wrote 18/01/2019 04:33:12
Subject: Springs and rods


Yet another annoying question about documentation from me.

After figuring out how to make a glissando longer, and discovering this 
in the NR under the spanner interface:


minimum-length (dimension, in staff space)
Try to make a spanner at least this long, normally in the horizontal 
direction. This requires an appropriate callback for the 
springs-and-rods property. If added to a Tie, this sets the minimum 
distance between noteheads.


I can only ask and I think reasonably where is this mystical 
springs-and-rods mechanism explained? Why does one need to do this:


  \override Glissando #'minimum-length = #4
  \override Glissando #'springs-and-rods = 
#ly:spanner::set-spacing-rods
This is acknowledged to be sub-optimal. AIUI, it stems from the multiple 
uses
of the 'minimum-length property. It is used in several interfaces, 
including

lyric-hyphen, multi-measure-rest, etc, as well as spanner. Some of these
require the additional override to work correctly; others don't. The 
solution
would be to separate out the two types of use of the 'minimum-length 
property
into two separate properties, one incorporating set-spacing-rods, but 
the
difficulties involved in doing that seem severe as it's at least 6 years 
since this
was discussed as an issue. I don't understand what the  complexities are 
- maybe

one of the devs could explain further. But in the expectation this would
eventually be fixed (and so the need for documentation  obviated) it has 
never

been documented properly.

Trevor


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How to define some context statements

[Werner Arnhold]

Dear list,

I often need to have Midi output with different volume or instruments in
some voices. Here an example:

\version "2.18.2"

global = {
  \key c \major
  \time 4/4
}

soprannoten = \relative c'' {
  g e e2 f4 d d2
}

altnoten = \relative c'' {
  c2 g g2 b4 f
}

\score {
  \new ChoirStaff <<
\new Staff <<
  \set Staff.instrumentName = #"Sopran"
  \new Voice = "sopran" <<
\set midiInstrument = #"flute"
\global
\soprannoten
  >>
>>
\new Staff <<
  \set Staff.instrumentName = #"Alt"
  \new Voice = "alt" <<
\set midiInstrument = #"violin"
\global
\altnoten
  >>
>>
  >>
  \layout{}
  \midi{
\tempo 4 = 80
  \context {
\Staff
\remove "Staff_performer"
  }
  \context {
\Voice
\consists "Staff_performer"
  }
  }
}

This works fine. Now I tried to separate the "\context" parts in the
midi section like

verschiedene_stimmen = {
  \context \Staff \remove "Staff_performer"
  \context \Voice \consists "Staff_performer"
}

score {
.
.
.
  \midi{
\verschiedene_stimmen
  }
}

Lilypond complains about unvalid escape sequence "\Staff" at the Place
of the definition, unexpected "\remove" and so on. That happens even if
I do not call the defined macro in the midi section.

What will be the reason and how can I make it better. I intend to
collect such often used constructs in a separate file.

Thanks in advance!

Werner


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