Re: Quarter tone sharp symbol in font

[Werner LEMBERG]

>> I was in fact using markup, so this answer is excellent, and I
>> eventually found \semisharp. But it actually came up when I wanted
>> to use a semisharp in a text document, and I was surprised to find
>> that although defined as Unicode 1D132, no font that I can find has
>> a glyph at that code point.
> 
> I wish I knew how emacs performs its glyph substitution. My sampler
> file gives up at 2b20 (white pentagon), but when I typed in 1d132 and
> 1d133, it certainly had a go, but was let down somewhat by the screen
> resolution.

In Emacs, move the cursor to the interesting character, then press

  C-u C-x =

to see the current character's information.  For example, I get the
font

  -Free-Musica-normal-normal-normal-*-18-*-*-*-*-0-iso10646-1

for character U+1D132 (since I haven't a special font setup for Emacs,
it takes a loong time on my GNU/Linux box until this glyph gets
displayed – this is probably a bug in the Emacs version I use).

If I now say

  fc-list -v | less

I can search for `Musica', and I get font
`/usr/share/fonts/truetype/Musica.ttf' as the result.

Another solution to search for fonts that contain musical glyphs in
the U+1D1xx range is to say

  fc-list -v | grep -50 01d1: | less

If you see many `f's in the `01d1:' line chances are high that musical
glyphs are covered.  Such fonts could then be set up in Emacs for
covering the Unicode block.  On my box I additionally get `Symbola',
`Noto Sans Symbols', and `Ostrich Sans Bold' (the last one is a fake,
containing empty glyphs instead).


Werner
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Re: Configuration Point & Click

[David Wright]

On Wed 20 Feb 2019 at 10:51:31 (-0700), foxfanfare wrote:
> Hi everybody,
> 
> I didn't take the time to update the thread earlier because of intense
> working, but I wanted to write a little more about the issue and the
> solution that worked. I hope this could help some people who wants to make a
> working environment for LP between VIM and zathura. BTW everything seems to
> work "out of the box" with gvim, things get more complicated with vim.

Had you told us why vim is essential, as opposed to gvim?

> The solution of using vim in servermode was right, I just didn't configure
> it well between, remote and server-mode... So here's what I put in my
> .vimrc:
> 
>   export EDITOR="vim"
>   export LYEDITOR="vim --servername LP --remote-tab-silent '+call
> cursor(%(line)s, %(column)s)' %(file)s && wmctrl -a LP && exit"
> 
> This solution needs to edit lilypond files in a named vim instance (here
> LP), that's why I use --remote-tab-silent in order to open new files without
> errors in the same instance. I also installed wmctrl in order to focus the
> ly file after clicking on the link in the PDF.

Does that warp the mouse to the vim window? (I'm not familiar with i3.)

> In usr/share/vim/vimfiles/ftplugin/lilypond.vim
> 
> "   view pdf with zathura 
> map   :!zathura "%<.pdf" &:!wmctrl -a LP
> 
> This opens the PDF and then focus the original file.
> 
> The .ly file must be called the servername LP then.

Is this just opening the appropriate PDF when you press F6 in vim?

> For those using file
> browser ranger, here's the line I've added to automate things:
> 
> ext ly = vim --servername LP --remote-tab-silent "$@"

What does it automate in the file manager? Opening the .ly file in
vim, or opening the .pdf in zathura?

> And the the result in action.
>  

Here, you're double-clicking on a note and vim moves its cursor
to the corresponding "b", right?

> There's still a lot of things to configure, but now Point & Click is working
> as expected. The only little "problem" I couldn't solve, is that when
> calling lilypond-invoke-editor, it returns a little message with the current
> LilyPond version. And this message appears in the vim file which is a bit
> annoying... You can see this in the screenshot. I have to refresh the
> terminal in vim (ctrl+l) in order to get rid of this message and wasn't able
> to find the solution for this. I don't know if there is a way to call
> lilypond-invoke-editor silently? If someone has an idea I would be
> interested!

Well, the problem is that you seem to have deliberately set things up
to work that way. I've managed to replicate your problem by:

Start zathura in an xterm, using & to make it run in the background so
that I get a bash prompt. Zathura runs in its own window.

$ EDITOR=gvim zathura windmills.pdf &

Now run vim as a server in the xterm itself, not in a separate
window (which is what gvim would do).

$ vim --servername GVIM windmills.ly

Now double click on a note. This calls lilypond-invoke-editor and,
as best I can tell, that writes "lilypond-invoke-editor (GNU LilyPond) 2.18.2"
onto standard error of wherever zathura was run from. But zathura
was started from the same xterm in which you're running vim, so
that's where the message is sent.

Now I'm not sure why you need to start vim in the same xterm that
started zathura. The idea behind having --servername names is to
register the name so that any other process in the X session can
find it by that name. (I'm assuming that a VC or another X session
would be out of scope, but I don't actually know the mechanism
that's working away behind the scenes.)

If i3, which I believe has a tree of windows, is forcing some
relationship between where vim and zathura are started, then one
solution might be to start zathura in xterm A, then start
another xterm B from A, then run vim in xterm B. Put xterm B
side by side with zathura. Hide, shrink or occlude xterm A as
it's not needed for anything except being the parent of both
xterm B and zathura (and receiving those annoying messages).

Cheers,
David.

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Re: Custom upbow and downbow markings

[Andrew Bernard]

Hello All,

Continuing my investigations here, with reference to the list archive:

https://lists.gnu.org/archive/html/lilypond-user/2015-04/msg00118.html

I have tried making a custom articulation, rather than a text markup, and
of course, all the alignment issues are solved. MWE below.

I will now transform my question. I have copied this code idea rather
blindly with little understanding. Where is there any tutorial or reference
information on extending lilypond to create new articulations?

Would a sampler like this be a good addition to LSR to help others out in
the future?

Andrew

%=
\version "2.19.82"

upbowMarkup =
\markup
\override #'(filled . #t)
\path #0.01
#'((moveto 0 1.3)
   (lineto 0.25 1.3)
   (lineto 0.57 0.46)
   (lineto 0.9 1.3)
   (lineto 1 1.3)
   (lineto 0.5 0)
   (lineto 0 1.3)
   (closepath))

% define new articulation
#(append! default-script-alist
   (list
`("upbow-acb"
   . (
   (text . ,#{ \markup \upbowMarkup #})
   (stencil . ,ly:text-interface::print)
   ; any other properties
   (toward-stem-shift-in-column . 0.0)
   (padding . 0.30)
   (avoid-slur . around)
   ;(script-priority . 100)
   (direction . ,UP)
   

upbowAcb = #(make-articulation "upbow-acb")

treble = {
  \time 2/4
  \override Stem.length = #18
  \override StringNumber.script-priority = #4000
  a''4^.\1\downbow
  a8^.^\upbowAcb\2
  s8

  \override StringNumber.script-priority = #0
  a''4\1\upbowAcb
  a8^.\2\upbowAcb
  s8
  \bar "."
}

\score {
  \new Staff { \treble }
  \layout {}
}

%=



On Thu, 21 Feb 2019 at 14:32, Andrew Bernard 
wrote:

> Is my problem that this is a markup and not a proper articulation?
>
>
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Re: Quarter tone sharp symbol in font

[David Wright]

On Thu 21 Feb 2019 at 13:22:27 (+1100), Andrew Bernard wrote:
> I was in fact using markup, so this answer is excellent, and I eventually
> found \semisharp. But it actually came up when I wanted to use a semisharp
> in a text document, and I was surprised to find that although defined as
> Unicode 1D132, no font that I can find has a glyph at that code point.

I wish I knew how emacs performs its glyph substitution. My sampler
file gives up at 2b20 (white pentagon), but when I typed in 1d132 and
1d133, it certainly had a go, but was let down somewhat by the screen
resolution.

Cheers,
David.
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Re: Custom upbow and downbow markings

[Andrew Bernard]

Is my problem that this is a markup and not a proper articulation?
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Re: Quarter tone sharp symbol in font

[Andrew Bernard]

Hi Abraham,

I was in fact using markup, so this answer is excellent, and I eventually
found \semisharp. But it actually came up when I wanted to use a semisharp
in a text document, and I was surprised to find that although defined as
Unicode 1D132, no font that I can find has a glyph at that code point.

Andrew


On Thu, 21 Feb 2019 at 07:14, Abraham Lee 
wrote:

>
> It is useful to note that you can access any music glyph by name, as
> explained here:
>
> http://lilypond.org/doc/v2.19/Documentation/notation/the-emmentaler-font
>
>
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Re: CueVoice Font

[Aaron Hill]

On 2019-02-20 5:52 pm, Ben wrote:

I didn't know that about ligatures, thanks! Now it makes more sense.

Do you know if it's possible to make a 'global' CueVoice font change
via \context, or do I need to continue doing it manually / setup a
variable, but still outside a \context?

i.e. \markup *{ \override #'(font-name . "Minion Pro")*


Yes, but it is a little trickier than you would imagine.  Consider:


\version "2.19.82"
\layout { \context { \CueVoice \override TextScript.font-name = 
#"Roboto" } }

\new Staff {
  \new Voice { a'4^"a" b'^\markup \bold "b" }
  \new CueVoice { c''4^"c" d''^\markup \bold "d" }
}


This changes the font-name for TextScripts that appear in a CueVoice.  
Notice that the TextScripts in the Voice are unaffected.  But also note 
that the \bold markup command did not work for "d".  This is because 
font-name takes precedence over font-family.  Please review a post [1] I 
made a month back.


[1]: 
https://lists.gnu.org/archive/html/lilypond-user/2019-01/msg00723.html


We can do better by overriding font-family, not font-name.  Consider:


\version "2.19.82"
\paper { #(define fonts (set-global-fonts #:sans "Roboto")) }
\layout { \context { \CueVoice \override TextScript.font-family = #'sans 
} }

\new Staff {
  \new Voice { a'4^"a" b'^\markup \bold "b" }
  \new CueVoice { c''4^"c" d''^\markup \bold "d" }
}


Here we have redefined the "sans" font-family to be "Roboto" and then 
instructed all TextScripts within CueVoices to use that family.  This 
affects the change we want and still allows \bold and \italic to work.  
And again, the TextScripts in the Voice are not changed.


It should be noted that defining fonts within the \paper block is 
generally the right way to set fonts in a score, so you should consider 
that option first.  But for one-off font changes, a simple font-name 
override should be fine.


The post I mentioned above [1] also includes an example of defining your 
own custom font-family, which can be helpful if you need more than one 
"roman" or "sans" font.  It should be easy enough to define a "romanII", 
for instance.



-- Aaron Hill

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Re: Custom upbow and downbow markings

[Andrew Bernard]

More work on this. I have made a first approximation to this more boldened
upbow using markup paths. I am happy with this, but there is something
missing. We use a lot of extended stems (eccentric yes, but that's how the
style is for this work). For my new upbow something goes wrong with the
vertical alignment of the bowing mark and accents on the long stems. The
normal way to do this of course looks fine. There's some concept here I am
missing.

Andrew

%==
\version "2.19.82"

upbowNew =
#(define-event-function ()()
   #{
 ^\markup {
   %\with-dimensions #'(0 . 1) #'(1.3 . 0)
   \override #'(filled . #t)
   \path #0.01
   #'((moveto 0 1.3)
  (lineto 0.25 1.3)
  (lineto 0.57 0.46)
  (lineto 0.9 1.3)
  (lineto 1 1.3)
  (lineto 0.5 0)
  (lineto 0 1.3)
  (closepath))
 }
   #})

treble = {
  \time 2/4
  \override Stem.length = #18
  \override StringNumber.script-priority = #4000
  a''4^.\1\downbow
  a8^.^\upbowNew\2
  s8

  \override StringNumber.script-priority = #0
  a''4\1\downbow
  a8^.\upbow\2
  s8
  \bar "."
}

\score {
  \new Staff {
\treble
  }

  \layout {}
}

%==
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Re: CueVoice Font

[Ben]

On 2/20/2019 7:18 PM, Aaron Hill wrote:

On 2019-02-20 3:32 pm, Ben wrote:
I've attached an image showing the "fl" looking a bit squished to my 
eyes. :)


"fl" (fl) is a ligature in many fonts.  Therefore, what you are seeing 
as tighter kerning is most likely a single glyph representing both 
characters.


You could try something like \concat { "f" \hspace #0 "l" } which 
should typeset an "f" and an "l" without the ligature, using the 
normal kerning for the individual letters.  The \hspace is needed 
otherwise LilyPond would combine the strings causing the ligature to 
still occur.


-- Aaron Hill




Aaron,

I didn't know that about ligatures, thanks! Now it makes more sense.

Do you know if it's possible to make a 'global' CueVoice font change via 
\context, or do I need to continue doing it manually / setup a variable, 
but still outside a \context?


i.e. \markup *{ \override #'(font-name . "Minion Pro")*

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Re: Configuration Point & Click

[Aaron Hill]

On 2019-02-20 3:58 pm, Valentin Villenave wrote:

On 2/20/19, foxfanfare  wrote:

And the the result in action.



This is completely off-topic, but: what’s that tiling environment
you’re using? It looks neat! Is that pseudo-transparency or
compositing? (I used to be a ratpoison user, but I switched to sway
for the past few years.)


If I had to guess, this is "i3" or probably "i3-gaps".

-- Aaron Hill

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Re: CueVoice Font

[Aaron Hill]

On 2019-02-20 3:32 pm, Ben wrote:
I've attached an image showing the "fl" looking a bit squished to my 
eyes. :)


"fl" (fl) is a ligature in many fonts.  Therefore, what you are seeing as 
tighter kerning is most likely a single glyph representing both 
characters.


You could try something like \concat { "f" \hspace #0 "l" } which should 
typeset an "f" and an "l" without the ligature, using the normal kerning 
for the individual letters.  The \hspace is needed otherwise LilyPond 
would combine the strings causing the ligature to still occur.


-- Aaron Hill

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Re: Configuration Point & Click

[Valentin Villenave]

On 2/20/19, foxfanfare  wrote:
> And the the result in action.
> 

This is completely off-topic, but: what’s that tiling environment
you’re using? It looks neat! Is that pseudo-transparency or
compositing? (I used to be a ratpoison user, but I switched to sway
for the past few years.)

By the way, if you speak French, feel free to join our dedicated ML if
you haven’t:
https://lists.gnu.org/mailman/listinfo/lilypond-user-fr
(we’re also setting up casual `LilyPond Café’ meetings in Paris
starting in a few weeks).

Cheers,
V.

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CueVoice Font

[Ben]

Hi all,

Is there a "better" way to change the CueVoice font family / kerning 
other than manually via markup? I thought it would be a sort of:


\context {
    \CueVoice
 \override ...
  }

...but I haven't found a way to adjust the kerning and/or font family. 
Have I missed something?


I don't use a lot of cues, but in an upcoming project there will be a 
lot more so I was curious moving forward.


Thanks for any guidance on this!

I've attached an image showing the "fl" looking a bit squished to my 
eyes. :)


=== this is what I've been using for a while now, which works just fine 
manually ===


{
  c4 r4 r2 \compressFullBarRests R1*12

  \new CueVoice {c8^\markup *{ \override #'(font-name . "Minion Pro") 
"fl." }*[ d e g]  }

  f2
}

etc.


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Re: Configuration Point & Click

[edes]

el 2019-02-20 a las 10:51 foxfanfare escribió:

> Does someone knows how to configure vim in order to have the access of
> the whole LP syntax and make suggestions like in frescobaldi?

it's fairly easy to have basic completion, you just need to define a
dictionary for lilypond.

http://vim.wikia.com/wiki/Dictionary_completions
http://vimdoc.sourceforge.net/htmldoc/options.html#%27dictionary%27

here's a simple guide, using python as an example:

https://www.simplified.guide/vim/enable-python-auto-complete

the difficult part would be, i guess, to have a complete list of lilypond
words...

i believe, however, that autocompletion in frescobaldi is much more
complex and seems to be context-dependent.



--

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Re: SV: Lilypond slurs do not transfer to midi output

[Martin Tarenskeen]

On Wed, 20 Feb 2019, Even Thorbergsen wrote:


Thank you for your answer.
Actually, I have tried this, but cannot make it work.
Here is an example of what I have tried, the format is imo not easily grasped:



Hi Even,

You can find the solution in the P.S. of my previous answer. You are using 
slurs but what you really want are ties. Use ~ to tie two notes. For 
example: not h(h4) but h~h4


--

MT

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Re: Quarter tone sharp symbol in font

[Abraham Lee]

Andrew,

On Wed, Feb 20, 2019 at 1:53 AM Andrew Bernard 
wrote:

> Thank you Pierre. That also solves my problem in my code where these is
> too much space between the letter and the semisharp.
>
> Appreciated!
>
> Andrew
>
>
> On Wed, 20 Feb 2019 at 19:14, Pierre Perol-Schneider <
> pierre.schneider.pa...@gmail.com> wrote:
>
>>
>> How about:
>>
>> {
>>   dih4
>>   ^\markup\concat\vcenter { "D" \hspace #.2 \semisharp }
>> }
>>
>
It is useful to note that you can access any music glyph by name, as
explained here:

http://lilypond.org/doc/v2.19/Documentation/notation/the-emmentaler-font

In your case, this is done with the following:

\markup { \musicglyph "accidentals.sharp.slashslash.stem" }

It's arguably shorter to just use the pre-constructed \semisharp syntax,
but there isn't a shortcut for everything, so accessing them by name is
always an option.

Best,
Abraham

Best,
Abraham
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Re: Creating custom articulation using regular text font

[Abraham Lee]

Hi, Urs!

On Wed, Feb 20, 2019 at 10:41 AM Urs Liska  wrote:

> Hi Jan-Peter,
>
> thank you very much, this was exactly what I needed!
> And your solution came *exactly* in the moment when I had to decide
> whether I should skip the three affected snippets instead of including
> them in the upcoming set for review :-)
>
> Best
> Urs
>
> Am 20.02.19 um 18:25 schrieb Jan-Peter Voigt:
> > Hi Urs,
> >
> > in an articulation event the font is emmentaler and not a normal one.
> > So in the trill-list part you have to switch back to normal text with
> > \markup \normal-text "T"
>

To expound further upon what Jan-Peter pointed out, the real culprit here
is that the 'font-encoding property is rightfully set to 'fetaMusic, but
since none of the fonts tied to this encoding have "T" in it, thus the
failure. To have it print characters from a text font, the encoding must be
changed to 'latin1 instead, as a bare minimum. \normal-text does this under
the covers in addition to setting some other useful font properties (i.e.,
font-family = roman, font-shape = upright, font-series = medium), but just
thought I'd share *why* this works for posterity.

Best,
Abraham
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SV: Lilypond slurs do not transfer to midi output

[Even Thorbergsen]

Hello David,

Thank you for your answer.
Actually, I have tried this, but cannot make it work.
Here is an example of what I have tried, the format is imo not easily grasped:

\version "2.18.2"
\include "deutsch.ly"
\include "articulate.ly"

#(set-global-staff-size 25)

\header {
  title = \markup \bold \italic "Waking Up at UJ - Euphonium Solo"
  composer  = "Dario Cecchini"
  enteredby = "Even Thorbergsen"
  piece = ""
}

voiceconsts = {
  \key c \major
  \time 4/4
  %\clef "treble"
  \numericTimeSignature
  \compressFullBarRests
  \tempo "Vivace " 4=140
}

Euphonium =  \relative c'
  {
  \key d \major
  \time 4/4
  \tempo "Vivace " 4=140
   r4 r8. f16 fis a h8 d8. h16
   d8. d16 r4 r8. f,16 fis a h8
   f8. d16 r4 r r16
   d'16 c h
   (h4) r16
   g16 a h(h4) r4
   r2 h8 a h c
   d4 (d8.) h16 r4 r8 fis'16 e
   d4 fis8. h,16 (h8) r16 fis16 h8 a
   gis4 h8. e16 (e4) e16 es d c
   cis4 a8. e16 (e4) r16 fis16 a8
   d8. d16 r4 a16 c d8 f r16 a,
   d8. d16 r4 r8. d16 a'8 gis16 g
   (g2) f16 d h8 d e16 d
   (d8.) h16 (h4) r4 h16 d e8
   fis8 r r h, fis'4 e8. dis16
   (dis4) fis8. h,16 r8. fis16 h8 a
   gis8. h16 r16 d16 r fis e8 d cis e16 d   
  }
  
Verk =
<<
  \new  Staff
{
   \set Staff.midiInstrument = "trombone"
   \set Staff.instrumentName = \markup \center-column { "Euphonium" }
   {\Euphonium}
   }  
>>
\book {
  \score {
   \Verk
   \layout{}   
  }
}

\score {
  \unfoldRepeats \articulate
\Verk
\layout {}
  \midi {}
}

Regards,
Even

-Opprinnelig melding-
Fra: David Nalesnik  
Sendt: 20. februar 2019 16:05
Til: Even Thorbergsen 
Kopi: lilypond-user 
Emne: Re: Lilypond slurs do not transfer to midi output

Hi Even,
On Wed, Feb 20, 2019 at 8:06 AM Even Thorbergsen 
 wrote:
>
> Hello Lilypond users,
>
>
>
> I cannot manage to have the use of slurs do any impact on the midi 
> representation of Lilypond scores.
>
> I guess there is a solution to this?
>

LilyPond's MIDI output is fairly rudimentary, though you will get more musical 
results using the articulate script:
http://lilypond.org/doc/v2.18/Documentation/notation/the-articulate-script

Hope this helps,
David Nalesnik


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Re: Ordering of Script glyphs

[Lukas-Fabian Moser]

Am 20.02.19 um 13:52 schrieb Andrew Bernard:
Is there any way to instruct lilypond to always place accents above a 
note first, and then blowing marks? They are all Scripts. I am fully 
aware of LSR 447 and 965 but I have thousands and I don't want to 
\tweak each one. LSR 255 does not seem to apply, for some reason. If I 
specify string number before or after upbow or downbow it makes no 
difference, and seems to vary in a manner that looks to me random, 
sometimes one way, sometimes the next. I want to achieve a consistent 
style: accents - bowing - string number vertically stacked.


(In my tests, accents are put nearer to the note heads than bowing 
marks, as you desire... but maybe that's sheer luck.)


You might redefine your bowings and accents:

upbow = -\tweak script-priority [some-number] \upbow

accent = -\tweak script-priority [some-number] \accent
dashLarger = \accent

Redefining dashLarger seems to be necessary in order to let -> reflect 
the new definition. Of course, this has to be repeated for staccato 
/etc//./, but only once.


I'm not quite sure what you mean by string numbers - Roman numbers 
indicating I, II, III, IV? Are these text-scripts?


Lukas

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Re: Configuration Point & Click

[foxfanfare]

Hi everybody,

I didn't take the time to update the thread earlier because of intense
working, but I wanted to write a little more about the issue and the
solution that worked. I hope this could help some people who wants to make a
working environment for LP between VIM and zathura. BTW everything seems to
work "out of the box" with gvim, things get more complicated with vim.

The solution of using vim in servermode was right, I just didn't configure
it well between, remote and server-mode... So here's what I put in my
.vimrc:

  export EDITOR="vim"
  export LYEDITOR="vim --servername LP --remote-tab-silent '+call
cursor(%(line)s, %(column)s)' %(file)s && wmctrl -a LP && exit"

This solution needs to edit lilypond files in a named vim instance (here
LP), that's why I use --remote-tab-silent in order to open new files without
errors in the same instance. I also installed wmctrl in order to focus the
ly file after clicking on the link in the PDF.

In usr/share/vim/vimfiles/ftplugin/lilypond.vim

"   view pdf with zathura 
map   :!zathura "%<.pdf" &:!wmctrl -a LP

This opens the PDF and then focus the original file.

The .ly file must be called the servername LP then. For those using file
browser ranger, here's the line I've added to automate things:

ext ly = vim --servername LP --remote-tab-silent "$@"

And the the result in action.
 
 
There's still a lot of things to configure, but now Point & Click is working
as expected. The only little "problem" I couldn't solve, is that when
calling lilypond-invoke-editor, it returns a little message with the current
LilyPond version. And this message appears in the vim file which is a bit
annoying... You can see this in the screenshot. I have to refresh the
terminal in vim (ctrl+l) in order to get rid of this message and wasn't able
to find the solution for this. I don't know if there is a way to call
lilypond-invoke-editor silently? If someone has an idea I would be
interested!

I also still have to figure how to use correctly the auto-completion. In
lilypond.vim it is set with a shortcut (ctrl+n), but this works only with
words that are already written in the file... Does someone knows how to
configure vim in order to have the access of the whole LP syntax and make
suggestions like in frescobaldi?



--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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Re: Notation for string portamento

[Robin Bannister]

Um, sorry, I got sidetracked.

This is more like your use case:

{ r4 \jib 50 c'4 r4 \jib 50 c''4  < \jib 50 g' \jib 50 d'' >1 }


Cheers,
Robin

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Re: Creating custom articulation using regular text font

[Urs Liska]

Hi Jan-Peter,

thank you very much, this was exactly what I needed!
And your solution came *exactly* in the moment when I had to decide 
whether I should skip the three affected snippets instead of including 
them in the upcoming set for review :-)


Best
Urs

Am 20.02.19 um 18:25 schrieb Jan-Peter Voigt:

Hi Urs,

in an articulation event the font is emmentaler and not a normal one.
So in the trill-list part you have to switch back to normal text with
\markup \normal-text "T"

HTH
Jan-Peter

Am 20.02.19 um 17:23 schrieb Urs Liska:

Hi,

I haven't got any further, but ...

Am 20.02.19 um 11:53 schrieb Urs Liska:

I'm trying to create an articulation printing a glyph from the
"regular" text font.

...


I moved all the relevant code into an MWE, which might trigger more
ideas than the abstract excerpt I originally posted.

The problem is that I can create a custom articulation using a stencil
made from \markup \musicglyph "something" but not from \markup "Something".

I'd be really thankful about any push in the right direction, since I
have no clue as to where even start searching.

Best
Urs

\version "2.19.82"

% The "asterisk" *does* work properly
#(define asterisk-list
`("asterisk"
   . ((stencil . ,ly:text-interface::print)
  (text . ,#{ \markup \musicglyph "pedal.*" #})
  ; any other properties
  (padding . 0.5)
  (avoid-slur . around)
  (direction . ,DOWN)
  (script-priority . 125)
  )))

% The "trill" fails, complaining in a programming error that it "Cannot get a text 
stencil from this font"
#(define trill-list
`("trill"
   . ((stencil . ,ly:text-interface::print)
  (text . ,#{ \markup "T" #})
  ; any other properties
  (padding . 0.5)
  (avoid-slur . around)
  (direction . ,DOWN)
  (script-priority . 75)
  )))

%% A macro setting the lists from above in the copy of `default-script-alist´
%% For now, every new script has to be inserted in a single run.
%% TODO
%% Probably better to do simpler list processing with append, cons etc
#(define-macro (set-my-script-alist! ls-1 ls-2)
"Creates a new key-value-pair, taken from ls-2, in ls-1"
`(set! ,ls-1
   (if (and (pair? ,ls-2) (pair? (cadr ,ls-2)))
   (assoc-set! ,ls-1 (car ,ls-2) (cdr ,ls-2))
   (begin
(ly:warning (_"Unsuitable list\n\t~a \n\tdetected, ignoring. ") 
,ls-2)
,ls-1

#(set-my-script-alist! default-script-alist asterisk-list)
#(set-my-script-alist! default-script-alist trill-list)

\layout {
   \context {
 \Score
 scriptDefinitions = #default-script-alist
   }
}

asterisk-artic = #(make-articulation "asterisk")
trill-artic = #(make-articulation "trill")



tt =
#(define-event-function ()()
#{
  -\trill-artic
#})

asterisk =
#(define-event-function ()()
  #{
-\tweak font-size 0
-\asterisk-artic
  #})


\relative {
   c'' \asterisk
   c \tt
}


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Re: Creating custom articulation using regular text font

[Jan-Peter Voigt]

Hi Urs,

in an articulation event the font is emmentaler and not a normal one.
So in the trill-list part you have to switch back to normal text with
\markup \normal-text "T"

HTH
Jan-Peter

Am 20.02.19 um 17:23 schrieb Urs Liska:
> Hi,
> 
> I haven't got any further, but ...
> 
> Am 20.02.19 um 11:53 schrieb Urs Liska:
>>
>> I'm trying to create an articulation printing a glyph from the
>> "regular" text font.
>>
>> ...
> 
> 
> I moved all the relevant code into an MWE, which might trigger more
> ideas than the abstract excerpt I originally posted.
> 
> The problem is that I can create a custom articulation using a stencil
> made from \markup \musicglyph "something" but not from \markup "Something".
> 
> I'd be really thankful about any push in the right direction, since I
> have no clue as to where even start searching.
> 
> Best
> Urs
> 
> \version "2.19.82"
> 
> % The "asterisk" *does* work properly
> #(define asterisk-list
>`("asterisk"
>   . ((stencil . ,ly:text-interface::print)
>  (text . ,#{ \markup \musicglyph "pedal.*" #})
>  ; any other properties
>  (padding . 0.5)
>  (avoid-slur . around)
>  (direction . ,DOWN)
>  (script-priority . 125)
>  )))
> 
> % The "trill" fails, complaining in a programming error that it "Cannot get a 
> text stencil from this font"
> #(define trill-list
>`("trill"
>   . ((stencil . ,ly:text-interface::print)
>  (text . ,#{ \markup "T" #})
>  ; any other properties
>  (padding . 0.5)
>  (avoid-slur . around)
>  (direction . ,DOWN)
>  (script-priority . 75)
>  )))
> 
> %% A macro setting the lists from above in the copy of `default-script-alist´
> %% For now, every new script has to be inserted in a single run.
> %% TODO
> %% Probably better to do simpler list processing with append, cons etc
> #(define-macro (set-my-script-alist! ls-1 ls-2)
>"Creates a new key-value-pair, taken from ls-2, in ls-1"
>`(set! ,ls-1
>   (if (and (pair? ,ls-2) (pair? (cadr ,ls-2)))
>   (assoc-set! ,ls-1 (car ,ls-2) (cdr ,ls-2))
>   (begin
>(ly:warning (_"Unsuitable list\n\t~a \n\tdetected, ignoring. 
> ") ,ls-2)
>,ls-1
> 
> #(set-my-script-alist! default-script-alist asterisk-list)
> #(set-my-script-alist! default-script-alist trill-list)
> 
> \layout {
>   \context {
> \Score
> scriptDefinitions = #default-script-alist
>   }
> }
> 
> asterisk-artic = #(make-articulation "asterisk")
> trill-artic = #(make-articulation "trill")
> 
> 
> 
> tt =
> #(define-event-function ()()
>#{
>  -\trill-artic
>#})
> 
> asterisk =
> #(define-event-function ()()
>  #{
>-\tweak font-size 0
>-\asterisk-artic
>  #})
> 
> 
> \relative {
>   c'' \asterisk
>   c \tt
> }
> 
> 
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> 


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Re: Contexts affected by \override and \overrideProperty

[David Kastrup]

David Kastrup  writes:

> Urs Liska  writes:
>
>> Can someone explain to me why \overrideProperty Staff.BarLine.color
>> #red colors the barlines in *all* staves while \override
>> Staff.BarLine.color = #red only affects the current Staff context?
>
> Because the respective engraver is only active at Score level and
> overrides the properties in _all_ contexts of the given type.

Ok, things are more complicated than that.  The respective events are
listened in at Score level.  When a grob is acknowledged, it is
acknowledged in all contexts of the right type in suitable relation to
the source engraver of the grob.  The end result is independent from
whatever context was current at the time the apply-output-event was
generated.

Making it dependent requires either having the Output_property_engraver
at all levels (as it had been before) which makes the current context be
reflected in just which of the various engravers is getting called, or
some support by the respective iterator (which does have a notion of
current context).

I lean towards calling the entire redesign a "thinko".  Unfortunately,
there have been significant irreversible convert-ly rules involved.  So
I need to figure out how to go from here.

-- 
David Kastrup

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Re: Creating custom articulation using regular text font

[Urs Liska]

Hi,

I haven't got any further, but ...

Am 20.02.19 um 11:53 schrieb Urs Liska:


I'm trying to create an articulation printing a glyph from the 
"regular" text font.


...



I moved all the relevant code into an MWE, which might trigger more 
ideas than the abstract excerpt I originally posted.


The problem is that I can create a custom articulation using a stencil 
made from \markup \musicglyph "something" but not from \markup "Something".


I'd be really thankful about any push in the right direction, since I 
have no clue as to where even start searching.


Best
Urs

\version "2.19.82"

% The "asterisk" *does* work properly
#(define asterisk-list
   `("asterisk"
  . ((stencil . ,ly:text-interface::print)
 (text . ,#{ \markup \musicglyph "pedal.*" #})
 ; any other properties
 (padding . 0.5)
 (avoid-slur . around)
 (direction . ,DOWN)
 (script-priority . 125)
 )))

% The "trill" fails, complaining in a programming error that it "Cannot get a text 
stencil from this font"
#(define trill-list
   `("trill"
  . ((stencil . ,ly:text-interface::print)
 (text . ,#{ \markup "T" #})
 ; any other properties
 (padding . 0.5)
 (avoid-slur . around)
 (direction . ,DOWN)
 (script-priority . 75)
 )))

%% A macro setting the lists from above in the copy of `default-script-alist´
%% For now, every new script has to be inserted in a single run.
%% TODO
%% Probably better to do simpler list processing with append, cons etc
#(define-macro (set-my-script-alist! ls-1 ls-2)
   "Creates a new key-value-pair, taken from ls-2, in ls-1"
   `(set! ,ls-1
  (if (and (pair? ,ls-2) (pair? (cadr ,ls-2)))
  (assoc-set! ,ls-1 (car ,ls-2) (cdr ,ls-2))
  (begin
   (ly:warning (_"Unsuitable list\n\t~a \n\tdetected, ignoring. ") 
,ls-2)
   ,ls-1

#(set-my-script-alist! default-script-alist asterisk-list)
#(set-my-script-alist! default-script-alist trill-list)

\layout {
  \context {
\Score
scriptDefinitions = #default-script-alist
  }
}

asterisk-artic = #(make-articulation "asterisk")
trill-artic = #(make-articulation "trill")



tt =
#(define-event-function ()()
   #{
 -\trill-artic
   #})

asterisk =
#(define-event-function ()()
 #{
   -\tweak font-size 0
   -\asterisk-artic
 #})


\relative {
  c'' \asterisk
  c \tt
}

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Custom upbow and downbow markings

[Andrew Bernard]

For my work, the default upbow and downbow markings are OK, and standard,
yes I know, but we want something more along the gutsier style of Boosey &
Hawkes, as for example in the Bartok String Quartet 3, image attached. The
upbow is much more masculine, and italicized compared to the spindly thin
lilypond.

What is the way to go about making my own substitutes? Do I use markup
paths, similar to what Urs was asking some time ago here:

https://lists.gnu.org/archive/html/lilypond-user/2018-09/msg00465.html

Or has this problem already been solved somewhere?

Andrew
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Re: Lilypond slurs do not transfer to midi output

[Gilles]

Hi.

On Wed, 20 Feb 2019 11:37:26 +0100, Even Thorbergsen wrote:

Hello Lilypond users,



I cannot manage to have the use of slurs do any impact on the midi
representation of Lilypond scores.

I guess there is a solution to this?


http://lilypond.org/doc/v2.18/Documentation/notation/the-articulate-script

HTH,
Gilles





Best regards,

Even Thorbergsen

Norwegian amateur musician



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Re: modern-straight and flat- flags too thick and too spaced apart

[edes]

el 2019-02-19 a las 22:05 Thomas Morley escribió:

> You could even do:
> 
> #(define-public (my-flag grob)
>   ((straight-flag 0.4 1 -70 3 -70 3) grob))
> 
> {
>   \override Flag.stencil = #my-flag
>   a'8
>   b'
> }
> %% or
> {
>   \override Flag.stencil =
> #(lambda (grob) ((straight-flag 0.4 1 -70 3 0 3) grob))
>   a'8
>   b'
> }
> 

that's brilliant, thank you.



--


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Re: Notation for string portamento

[Robin Bannister]

 Andrew Bernard wrote:


Thanks for this. I came up with the same thing. But, my score is very
tight, and grace notes take up space and tend to push positioning around.



You want a straight bendBefore.
My bends use glyphs, and repeatGliss uses \grace.

But starting from Nathan's version of scoop
http://lists.gnu.org/archive/html/lilypond-user/2014-01/msg01191.html
I've cobbled together something polar in the attached jib.ly.

It doesn't push anything around, but it may collide.


Cheers,
Robin
\version "2.18.2"

% maybe for string portamento 
% 'jib' as on a tower crane
  
 % draw a single sloping straight line pointing through ensuing notehead 
 % SLOPE is degrees above/below horizontal; +/- = rising/sinking
 % the line lies between FAR and NEAR, distances from the notehead centre
 % distance units are half staff-spaces
 #(define ((jibSt slope far near) grob)
  (ly:stencil-add
(ly:note-head::print grob)
(grob-interpret-markup grob
  (markup #:translate (cons (- 0.5  0)  0)  ; approx notehead centre 
  #:rotate (- slope 180) 
  #:with-dimensions '(0 . 0) '(0 . 0)
  #:translate (cons (/ near 2)  0)
  #:draw-line (cons (/ (- far near) 2) 0) 
  

jib = 
#(define-music-function (parser location slope far near mus) 
   (number? (number? 7) (number? 2) ly:music?)
  #{
\tweak #'stencil #(jibSt slope far near) $mus
  #}
  ) % usage: \jib 30  or  \jib 30 5  or  \jib 60 5 1.5



{ c'4 \jib 40 5 g'4 c'4 \jib 50 c''4 c'4  \jib 65 10 4 g''4  \jib -60 10 c'4 }
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Ordering of Script glyphs

[Andrew Bernard]

Is there any way to instruct lilypond to always place accents above a note
first, and then blowing marks? They are all Scripts. I am fully aware of
LSR 447 and 965 but I have thousands and I don't want to \tweak each one.
LSR 255 does not seem to apply, for some reason. If I specify string number
before or after upbow or downbow it makes no difference, and seems to vary
in a manner that looks to me random, sometimes one way, sometimes the next.
I want to achieve a consistent style: accents - bowing - string number
vertically stacked.

Andrew
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Re: Lilypond slurs do not transfer to midi output

[David Nalesnik]

Hi Even,
On Wed, Feb 20, 2019 at 8:06 AM Even Thorbergsen
 wrote:
>
> Hello Lilypond users,
>
>
>
> I cannot manage to have the use of slurs do any impact on the midi 
> representation of Lilypond scores.
>
> I guess there is a solution to this?
>

LilyPond's MIDI output is fairly rudimentary, though you will get more
musical results using the articulate script:
http://lilypond.org/doc/v2.18/Documentation/notation/the-articulate-script

Hope this helps,
David Nalesnik

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Re: Lilypond slurs do not transfer to midi output

[Martin Tarenskeen]

On Wed, 20 Feb 2019, Even Thorbergsen wrote:


Hello Lilypond users,

I cannot manage to have the use of slurs do any impact on the midi 
representation of Lilypond scores.
I guess there is a solution to this?


For a better MIDI interpretation of slurs you could try to 
include articulate.ly



http://lilypond.org/doc/v2.18/Documentation/notation/the-articulate-script

P.S.

I hope you already know the difference between a slur:
{ c( d) }
and a tie:
{ c ~ c }


--

MT


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Lilypond slurs do not transfer to midi output

[Even Thorbergsen]

Hello Lilypond users,

 

I cannot manage to have the use of slurs do any impact on the midi
representation of Lilypond scores.

I guess there is a solution to this?

 

Best regards,

Even Thorbergsen

Norwegian amateur musician

 

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Re: Flipping fingering and TextScript

[Urs Liska]

Hi Aaron,

thank you for taking the time to investigate this. Pretty interesting 
results, although they don't really help me in my case. There must be 
something fishy buried in my libraries because (as my previous example 
showed) I can't even flip the elements anymore even when I'm hardcoding 
the \tweaks of *both* outside-staff-priority properties.


Maybe the issue "goes away" by itself if I change the implementation to 
a custom articulation (if I manage ...) - which is something I had 
considered anyway to have different alignment (center the element 
horizontally over the notehead).


Urs

Am 19.02.19 um 23:20 schrieb Aaron Hill:
I dug into the code a bit because I was curious why the following does 
not place the TextScript below the Fingering:



    b'1 ^1 -\tweak outside-staff-priority #-1000 ^"a"


It turns out that Fingerings have no default value for 
outside-staff-priority, as would be specified within 
define-grobs.scm.  They do however have a script-priority of 100 which 
is lower than 200, the value for TextScripts.  This means by default 
Fingerings should appear closer to the note in a column.


Looking at script-column.cc, the behavior appears to be to first sort 
all scripts in a column according to their script-priority. Once items 
are ordered by script-priority, they are then reordered according to 
outside-staff-priority.  When two items share the same priority, the 
latter one is incremented.  (script-priority is incremented by 1, and 
outside-staff-priority is incremented by 0.1 instead.)


When an item has no outside-staff-priority, it inherits the value of 
the item before it in the column.  And importantly, "before" is 
determined by the ordering after sorting by script-priority.  If there 
is no such item, then its value is left unset.  As such, my snippet 
above fails because an unset priority always sorts to the beginning of 
the list.


One solution is to explicitly define a suitable default 
outside-staff-priority for Fingerings.  This would prevent any unset 
values from skewing the sorting.


Alternately, you could opt to \tweak the outside-staff-priority of the 
Fingering instead, noting the default for TextScripts is 450. However, 
it feels a little backwards having to \tweak a different object to the 
one you are trying to position.


Setting the script-priority of a Fingering to a value higher than the 
one for TextScripts would change the default ordering of scripts in a 
column.  Since a TextScript, which has an outside-staff-priority, 
appears earlier in the column, Fingerings would have a value to inherit.


Here is a snippet showing some of this behavior:


\version "2.19.82"

#(define ((print-properties props) grob)
  (define (lookup-prop prop)
    (cons prop (ly:grob-property grob prop 'unset)))
  (let ((text (object->string (map lookup-prop props
    (grob-interpret-markup grob #{ \markup
  \normal-text \normalsize \tiny #text #} )))

\paper { indent = 0 ragged-right = ##t }
\layout { \context { \Voice
  \override Fingering.stencil = #(print-properties
    '(text script-priority outside-staff-priority))
  \override TextScript.stencil = #(print-properties
    '(text script-priority outside-staff-priority))
  \override TextScript.self-alignment-X = #0 } }

\markup \typewriter \bold "^1 ^2"
{ b'1 ^1 ^2 }
\markup \vspace #1
\markup \typewriter \bold "-\\tweak outside-staff-priority #100 ^1 ^2"
{ b'1 -\tweak outside-staff-priority #100 ^1 ^2 }
\markup \vspace #1
\markup \typewriter \bold "^\"a\" ^\"b\""
{ b'1 ^"a" ^"b" }
\markup \vspace #1
\markup \typewriter \bold "-\\tweak outside-staff-priority #500 ^\"a\" 
^\"b\""

{ b'1 -\tweak outside-staff-priority #500 ^"a" ^"b" }
\markup \vspace #1
\markup \typewriter \bold "^1 ^\"a\""
{ b'1 ^1 ^"a" }
\markup \vspace #1
\markup \typewriter \bold "-\\tweak script-priority #300 ^1 ^\"a\""
{ b'1 -\tweak script-priority #300 ^1 ^"a" }


-- Aaron Hill

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Creating custom articulation using regular text font

[Urs Liska]

I'm trying to create an articulation printing a glyph from the "regular" 
text font.


Copying from this (working) script definition list:

#(define asterisk-list
   `("asterisk"
  . ((stencil . ,ly:text-interface::print)
 (text . ,#{ \markup \musicglyph "pedal.*" #})
 ; any other properties
 (padding . 0.5)
 (avoid-slur . around)
 (direction . ,DOWN)
 (script-priority . 125)
 )))

I came up with the following:

#(define trill-list
   `("trill"
  . ((stencil . ,ly:text-interface::print)
 (text . ,#{ \markup "T" #})
 ; any other properties
 (padding . 0.5)
 (avoid-slur . around)
 (direction . ,DOWN)
 (script-priority . 75)
 )))

But when I integrate this and compile a file I get no output for the 
articulation and instead an error message, saying


programming error: Cannot get a text stencil from this font

I don't quite see why \markup "T" doesn't successfully create a stencil 
where in a comparable place \markup \musicglyph ... does.


Any suggestions what I could do about it?

Thanks Urs

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Re: Notation for string portamento

[Thomas Morley]

Am Mi., 20. Feb. 2019 um 04:22 Uhr schrieb Andrew Bernard
:
>
> Hi Ralph,
>
> Thanks for this. I came up with the same thing. But, my score is very tight, 
> and grace notes take up space and tend to push positioning around. I was 
> hoping there may be a solution with some sort of note head engraver for 
> putting accents on notes. I think Nicholas Sceaux did something like this for 
> Baroque ornaments. But I have never been able to fathom how to code new 
> engravers. High time I learned. Any pointers, anyone?
>
> Andrew

Hi Andrew,

it's possible to use the code by Nicholas Sceaux.
Though, I'd need some more info. Look at the attached image. The red
line is created by Nicolas' code (with some changes).
For now I placed it via extra-offset. To do this in a more automagic
way: where should it be per default?
- before a (possible) arpeggio
- between (possible) arpeggio and (possible) accidentals.
- between (possible) accidentals and note-head
- what about other objects to the left of the note-head, p.e.
fingerings, string-numbers, probably parenthesized note-heads


Cheers,
  Harm
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Re: Quarter tone sharp symbol in font

[Andrew Bernard]

Thank you Pierre. That also solves my problem in my code where these is too
much space between the letter and the semisharp.

Appreciated!

Andrew


On Wed, 20 Feb 2019 at 19:14, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

>
> How about:
>
> {
>   dih4
>   ^\markup\concat\vcenter { "D" \hspace #.2 \semisharp }
> }
>
>
>
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Re: Quarter tone sharp symbol in font

[Pierre Perol-Schneider]

Hi Andrew,
How about:

{
  dih4
  ^\markup\concat\vcenter { "D" \hspace #.2 \semisharp }
}

Cheers,
Pierre

Le mer. 20 févr. 2019 à 07:30, Andrew Bernard  a
écrit :

> OK. I am using it in markup. I found \semisharp, which answers the
> question.
>
> Now, how to align the semisharp higher here:
>
> {
>   dih4
>   ^\markup { "D"\semisharp }
> }
>
> Andrew
>
>
> On Wed, 20 Feb 2019 at 17:22, Andrew Bernard 
> wrote:
>
>> I need to use the quarter tone sharp symbol in text. Does anybody know of
>> any font that supports this? The Unicode is 1D132.
>>
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