Re: Custom woodwind-diagram

[Mike Solomon]

Bravo! Great work!Yeah, none of that stuff is imported. Easy to do so though. 
Don't hesitate to make a pull request with your new diagram!


Sent from my Samsung Galaxy smartphone.
 Original message From: Sven Axelsson <sven.axels...@gmail.com> 
Date: 11/22/17  6:59 PM  (GMT+02:00) To: Mike Solomon <m...@mikesolomon.org> 
Cc: lilypond-user@gnu.org Subject: Re: Custom woodwind-diagram 
On 21 November 2017 at 18:38, Mike Solomon <m...@mikesolomon.org> wrote:
Hey there!
I created the diagrams eons ago and I agree that the implementation is really 
difficult to understand. I'm sorry for that. Can you send me a photo of what 
you're trying to typeset? I'll see if I can help you out.
 I just want to thank Mike Solomon for his hints off-list. I managed to get 
something I'm happy with by adding my instrument directly 
todisplay-woodwind-diagrams.scm. When putting the additions in its own file 
however, I did not manage to resolve all dependencies. I would have thought 
that I could just use what was already defined, but maybe the woodwind diagram 
support functions are not exported for outside use. Anyways, this is fine for 
now.
 
-- 
Sven Axelsson
++[>++>+++>++>++
><<<<<-]>.+..>+.>+.<<-.>>+.>.<<.
+++.>-.<<++.>>.<++.>>>++.<<<<.>>.<.

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Re: Custom woodwind-diagram

[Mike Solomon]

Hey there!
I created the diagrams eons ago and I agree that the implementation is really 
difficult to understand. I'm sorry for that. Can you send me a photo of what 
you're trying to typeset? I'll see if I can help you out.
Cheers,~Mike


Sent from my Samsung Galaxy smartphone.
 Original message From: SoundsFromSound 
 Date: 11/21/17  6:49 PM  (GMT+02:00) To: 
lilypond-user@gnu.org Subject: Re: Custom woodwind-diagram 
Sven Axelsson-3 wrote
> Hello list.
> 
> I would like to create fingering instructions for an eight hole wind
> instrument. 
> 
> I have not really tried to do anything yet - the woodwind diagrams look
> terribly complicated to customize. There was talk about including
> fingering
> for recorders on the list some time ago
> -- 
> Sven Axelsson
> https://lists.gnu.org/mailman/listinfo/lilypond-user

Hello Sven,

Two things:

First, as you mentioned, here is an older thread that has some good
information about recorder fingerings...
http://lilypond.1069038.n5.nabble.com/recorder-fingering-chart-td28375.html

Second, what version of LilyPond are you using?

Here is some documentation from 2.19 that also could help you, perhaps?
http://lilypond.org/doc/v2.19/Documentation/snippets/winds#winds-recorder-fingering-chart




-
composer | sound designer | asmr artist 
--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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Re: Neapolitan chords & al.

[Mike Solomon]

hm, my answer is a bit out of lilypond scope, but if I understand your question 
correctly, you want to understand what these chords are?

they are three different pre-dominant chords that are taught to American 
undergrads in a sophomore theory course.

in E major:
Italian = C E A#
French = C E F# A#
German = C E G A#
Tristan = C D# F# A#

in all of them, the C and A# in theory want to fan out to B (the dominant).  
This is, of course, in theory - Wagner’s use of the Tristan chord, which he 
clearly named his opera after, has the A# moving down to A, or the 7th of the 
dominant (I’m transposing to fit w/ the example above).  Wagner obviously did 
not pay much attention during his sophomore music theory course…

~Mike
On 13 September 2017 at 11.20.51, Menu Jacques (imj-...@bluewin.ch) wrote:

Hello folks,

MusicXML supports neapolitan, italian, german, french and tristan chords, i.e.:



C

Neapolitan


I’ve found information about neapolitan, but nothing about the others.

What is the structure of those?

Thanks!

JM


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Re: Need help with tuplets on my first score

[Mike Solomon]

Hey Liam,

Welcome to LilyPond!

Unfortunately, I cannot help you out because your request lacks a few key 
elements. A couple suggestions:

1) In order to get help faster, please send the list a minimal example of what 
you are trying to accomplish in the .ly file.  The picture is excellent, but 
the .ly file should be confined only to the excerpt that you would like help 
with.

2) The file you have sent does not compile because of a matching bracket error 
(the 5/1 tuples is never closed).  Before sending anything out to the list, 
please make sure that it compiles.

All the best,
~Mike


On 15 July 2017 at 22.04.27, Liam Umbs (lumb...@gmail.com) wrote:

For my first score, I am transcribing Chopin’s Waltz in A Minor, and I am 
having trouble with the tuplets in measure 22.  
The ly file is how mine looks, and the picture is how it should look. Also 
confusing to me is the ottava I’m not quite sure how to do both without one 
messing the other one up. As I said, I am new to Lilypond and Frescobaldi so I 
am still getting used to it but I am very pleased so far compared to other 
music engraves such as musescore.  

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Re: Polymetric forcing break

[Mike Solomon]

Hey Karim!
I had the same problem a couple years ago and I solved it with a custom 
voice-level engraver - can't find any of that, but that's your best bet as 
it'll automate a lot of the tedium of manually putting in markups.
~Mike
Sent from my Samsung Galaxy smartphone.
 Original message From: Karim Haddad  
Date: 3/24/17  8:47 PM  (GMT+02:00) To: Simon Albrecht  
Cc: lilypond-user@gnu.org Subject: Re: Polymetric forcing break 
Thank both of you,

But unfortunately, this doesn't work in every case. By the way \remove 
"Forbid_line_break_engraver" is already in the example i have sent. It works 
for some cases (rare ones i presume), and don't for most.

You should check out the 2 breaks in the example. The first doesn't work. The 
second yes.
I need it to force breaking since i am using 4 polyphonic voices where there 
are seldom concording rests, and even less bars that ends together.

And yes i moved it on staff level in order to have independant mesure numbers. 
If i remove mesure numbers i can remove the "Timing_translator" and the breaks 
works just fine. So my problem is simple, i need to have measure numbers for 
each voice running independently , and i need to force breaks in order to see 
all the score.

If this is not possible in lilypond using measure numbers, i think i will do it 
as markup maybe it is simpler. ;-)


And thanx for your help. I appreciate it.
Good typestting !

Karim

On Fri, Mar 24, 2017 at 07:18:34PM +0100, Simon Albrecht wrote:
> Am 24.03.2017 um 19:02 schrieb Richard Shann:
> > On Fri, 2017-03-24 at 18:56 +0100, Simon Albrecht wrote:
> > > Am 24.03.2017 um 18:23 schrieb Karim Haddad:
> > > > I have a issue with forced breaks using polymetric music.
> > > In order for \break to be effective, you need a barline (in all
> > > staves,
> > > IIRC)
> > I think there is never a need to put a barline in more than one staff -
> > barlines apply to the musical momemnt IIUC.
> 
> Iff the respective engraver lives in the Score context. However, for his
> polymetric music Karim will have moved it to Staff level, I presume.
> 
> Best, Simon

-- 
Karim Haddad

email   : karim.had...@ircam.fr
webpage : http://karim.haddad.free.fr

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Re: Is there an online / hosted version of Lilypond?

[Mike Solomon]

\clef "treble_8"
Happy ponding!~Mike


Sent from my Samsung Galaxy smartphone.
 Original message From: Mark Klenk  Date: 
1/31/17  6:54 PM  (GMT+01:00) To: Pierre Perol-Schneider 
 Cc: lilypond-user  
Subject: Re: Is there an online / hosted version of Lilypond? 
I am just learning Lilypond for the first time, and it seems quite powerful 
although not at all intuitive.
Thankfully, lilybin.com (v2.18.2) tells me *where* my errors are although it 
requires some trial and error to fix.
Having said that, it's really good - midi and pdf generation, and having the 
spec be text is great (portability, future proofing).
One problem I could not figure out is how to specify a suboctave treble clef 
(the one with the little '8' below it). I tried \clef french, \clef GG, to no 
avail.
Any thoughts?
Mark.
On Mon, Jan 30, 2017 at 12:12 PM, Mark Klenk  wrote:
super - thank you!
On Mon, Jan 30, 2017 at 12:05 PM, Pierre Perol-Schneider 
 wrote:
Hi Mark,
Here you go: http://lilybin.com/

Cheers,
Pierre

2017-01-30 19:53 GMT+01:00 Mark Klenk :
(disclaimer: this is my first post)
I am running on a Chromebook and thus don't have access to build/run Lilypond 
on a Mac/Windows/Linux machine.
I'm not looking for a full-fledged online IDE, just a way to submit a Lilypond 
spec/file and get the generated PDF.
Are there any hosted / online versions of Lilypond that do this?
Mark.

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Re: Accidental in brackets

[Mike Solomon]

Hey!

Total hack, but if you check out scm/stencil.scm, you’ll see how parentheses 
are made…

(define-public (parenthesize-stencil
                stencil half-thickness width angularity padding)
  "Add parentheses around @var{stencil}, returning a new stencil."
  (let* ((y-extent (ly:stencil-extent stencil Y))
         (lp (make-parenthesis-stencil
              y-extent half-thickness (- width) angularity))
         (rp (make-parenthesis-stencil
              y-extent half-thickness width angularity)))
    (set! stencil (ly:stencil-combine-at-edge stencil X LEFT lp padding))
    (set! stencil (ly:stencil-combine-at-edge stencil X RIGHT rp padding))
    stencil))

So it looks like you can substitute in make-connected-path-stencil for 
make-parenthesis-stencil, using sensible parameters for the connected path 
based on the y extent and the width.

~Mike


On 5 December 2016 at 16.46.16, Urs Liska (u...@openlilylib.org) wrote:

Hi all,  

I don't seem to find the right thing, neither in the docs, the LSR nor  
the list archive. I need to put square brackets around some accidentals  
in order to differentiate them from default parentheses.  

I don't find the way to create the respective stencil for this.  

It has to be possible to do that \once, and I assume I'll run into the  
situation where I will need both round and square ones within a chord.  

Any help available?  

Thanks  
Urs  


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Re: New LilyPond website

[Mike Solomon]

On 30 November 2016 at 17.34.33, Paul (p...@paulwmorris.com) wrote:

On 11/30/2016 09:19 AM, John Roper wrote:  

> I added a small shadow to the boxes, and I fixed some coloring of  
> links. You may have to force-refresh the page to see the changes (CTRL  
> + F5)  

Hi John, Overall, I like it and I think it's an improvement over what  
we currently have. The responsive design for smaller screens is a big  
improvement. There are some minor adjustments that I might suggest, but  
no show stoppers. I'll just mention a couple things at this point.  

I like the sans-serif. Verdana and Tahoma are sans fonts designed for  
screens (rather than print) that are widely installed on different  
OSes. There may be others. So it might be worth trying these instead  
of Arial which was designed for print.  

I actually liked your earlier version (with the flatter look) better  
than the one with the drop shadows. To me the shadows make the page  
look more asymmetrical and boxy in a distracting way. (Just one opinion.)  

I've put up some screenshots to make it possible to compare those two  
versions:  

http://clairnote.org/ lilypond-screenshots/  

(Just remove the two spaces in the URL, added here to prevent  
crawling/indexing by search engine bots.)  

When you get a chance it would be interesting to see how other pages  
would look. And eventually I assume we'd want to convert your HTML to  
texinfo to integrate with the current setup.  

Thanks again for your work on this,  
-Paul  


What great work!  Let me know if you need any help, John, making a branch off 
of the main branch that can be formulated into a pull request.  That is 
probably the best way to get concrete input.

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Re: request for help: huge score

[Mike Solomon]

On 23 November 2016 at 12.31.24, Thomas Morley (thomasmorle...@gmail.com) wrote:

Hi all, 

currently there's some ongoing heavy work to make LilyPond work with guilev2. 

I'd like to test the current state with a huge score, something like 
an entire sinfony or the like. 
I don't have a huge score of this kind at hand. 
May I ask if somebody could send me one? 
It should compile with a recent devel-version to ensure comparabilty. 

A huge score may be too much for an attachment on the list. 
Please try zipped or a private mail. 

Thanks, 
Harm 


https://github.com/horndude77/open-scores
not sure about the recent devel version part, but convert-ly should work on 
most of the simple ones.
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RE: try except in lilypond

[Mike Solomon]

One thing I've used in the past for this sort of thing are Scheme functions, 
specifically file-exists? .
https://www.gnu.org/software/mit-scheme/documentation/mit-scheme-ref/File-Manipulation.html
Another solution is to use some sort of top-level compilation script in bash or 
python, which is how i manage style sheets for large scores (I generate 
temporary ly files on the fly).
Happy hacking!~Mike

Sent from my Samsung Galaxy smartphone.
 Original message From: Noeck  Date: 
11/19/16  11:50 AM  (GMT+02:00) To: lilypond-user  
Subject: try except in lilypond 
Hi,

is there something like try ... except in lilypond. What I want to
achieve is some failure tolerance in ly files. I want to load some fonts
or include files and if they don't exist, it should just be skipped
without stopping the compilation (perhaps a warning could be printed).

Is that possible? I think I remember that some 'if then else' syntax is
not available. This thing probably even less.

Best,
Joram


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Re: Stepping down and moving on

[Mike Solomon]

+1 many times over.
Thank you for your excellent, creative, and vital work in helping LilyPond 
become the world’s best and most stable digital music engraver.

Best of luck!
~Mike


On 10 November 2016 at 13.23.24, Kieren MacMillan 
(kieren_macmil...@sympatico.ca) wrote:

Dear David,

Congratulations on the new position! I hope it brings you great personal 
satisfaction and financial security.

Your programming and code-shepherding efforts in the ‘Pond have been nearly 
miraculous, and the codebase is immeasurably better for you having been on the 
team. Thank you so much for everything you did to make Lilypond better for 
everyone, users and developers alike.

Sincerely,
Kieren.


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


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Re: visual structure vs musical structure

[Mike Solomon]

> On Apr 9, 2016, at 2:34 AM, Gianmaria Lari  wrote:
> 
> I have a music score like this:
> 
> a a a a
> b b b b
> c c c c
> r1
> a a a a
> b b b b
> c c c c
> 
> 
> 
> Then it would be nice to create a variable
> 
> fragment = 
> {
> a a a a
> b b b b
> c c c c
> }
> 
> and write the score in the following way:
> 
> \fragment
> r1
> \fragment
> 
> 
> 
> This is perfect but sometimes I need to format the score like this:
> 
> a a a a
> b b b b
> c c c c
> r1 
> a a a a
> b b b b \pagebreak
> c c c c
> 
> How I should structure the lilypond source code in this case where the visual 
> structure and the musical structure does not match? For the music structure I 
> would like to create the variable fragment, but for the visual structure this 
> does not work. What should I do?

Dear Gianmaria,

Have a look at 
http://lilypond.org/doc/v2.16/Documentation/notation/different-editions-from-one-source.en.html
 

 - it presents several ways of going about this, all of which are quite useful.

Cheers,
MS

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Re: HELP: Trill line without 'tr' written before it

[Mike Solomon]

> On 16 Mar 2016, at 13:38, David Kastrup <d...@gnu.org> wrote:
> 
> Simon Albrecht <simon.albre...@mail.de> writes:
> 
>> On 16.03.2016 11:42, Mike Solomon wrote:
>>> \once \override TrillSpanner #'bound-details #'left #'text = ##f % this is 
>>> how
>> 
>> IIUC this syntax is being disallowed at the moment and 2.20 will only
>> allow the (very convenient) dot-separated list syntax
>> \once\override TrillSpanner bound-details.left.text = ##f
> 
> All of the following will likely remain allowed for 2.20:
> 
> \once \override TrillSpanner.bound-details.left.text = ##f
> % recommended form as of 2.18 as it is simplest
> 
> \once \override TrillSpanner #'(bound-details left text) = ##f
> % recommended form as of 2.12, complementing the corresponding \revert
> % but rarely actually used.  Its non-use encouraged a lot
> % of non-working code in the manner of
> % \revert TrillSpanner #'bound-details #'left #'text
> 
> \once \override TrillSpanner bound-details.left.text = ##f
> % completely equivalent form using dotted list syntax.  Why bother?
> 
> A number of other more obscure variants will work equally well.  But the
> version written by Mike is slated to go.
> 

Ah, cool, good to know - I have a style sheet that dates from the Stone Age 
that I haven’t done convert-ly on.  I’ll run it now!
~Mike


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Re: HELP: Trill line without 'tr' written before it

[Mike Solomon]

> On 16 Mar 2016, at 11:21, George  wrote:
> 
> 
> (I'd like the zig-zag line to appear directly
> after the note head, with no extra text, 
> just the line.)

\version "2.18.2"
\new DrumStaff \with {
 instrumentName = #"Güiro "
 shortInstrumentName = #"Guir. "
}
{
 \stopStaff
 \override Staff.StaffSymbol.line-count = #1
 \startStaff
 \override NoteHead.style = #'cross
 r4
\once \override TrillSpanner #'bound-details #'left #'text = ##f % this is how
c4\startTrillSpan e8\stopTrillSpan c8 c4 |
}

Cheers,
MS
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Re: I'm not smart enough to figure out the math for this.

[Mike Solomon]

> On 08 Mar 2016, at 22:00, Michael Rivers  wrote:
> 
> I'm trying to make a snippet for students with intentional mistakes for them
> to correct. I want the time signature to say 4/3, but for the music to
> actually be in 3/4. Should I use "scaleDurations", and what should the ratio
> be? Or is there a better way to do this?
> 
> \version "2.19.24"
> 
> \relative c' { \time 4/3 
>   c4 c c | c c c } 
> 

\relative c' {
  \time 4/3
  a4*16/9 a4*16/9 a4*16/9 | 
}

16/9 comes from first scaling quarter notes to 4/3 (so that 4 would fit in a 
bar of 4/3) and then scaling again by 4/3 so that 3 would fit in a bar (like 
triplets).

Cheers,
MS
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RE: lyp - a Package Manager for Lilypond

[Mike Solomon]

Congratulations!This is a wonderful accomplishment and I am looking forward to 
getting some of my packages in good shale and contributing them. Do you have a 
contributor's guide yet?
Cheers,MS


Sent from my Samsung Galaxy smartphone. Original message From: 
Sharon Rosner  Date: 28/01/2016  11:52 PM  (GMT+02:00) To: 
lilypond-user@gnu.org Subject: lyp - a Package Manager for Lilypond 
Hello all,

I'd like to announce lyp - a package manager for Lilypond:

   https://github.com/noteflakes/lyp   

I started writing lyp a couple of months ago, as a result of discussions Urs
Liska, Matteo Ceccarello and me were having a on how to go about
implementing a package manager for Lilypond. Here's an overview:

lyp does two things: install and manage packages of Lilypond code; and
install and manage multiple versions of Lilypond. It currently works on
Linux and Mac OSX. Support for Windows is coming. lyp offers the following
functionality:

- Install and use versioned packages from git repositories (see below).
- Automatically install sub-dependencies.
- Support for version constraints (e.g. >=0.1.2, ~>0.1.0, a.k.a pessimistic
constraint)
- Resolve dependency trees of arbitrary depth.
- Automatically install custom fonts included in packages, automatically
patch Lilypond versions prior to 2.19.12 in order to support using custom
fonts.
- Run package test files.
- Easily install and switch between different versions of Lilypond using a
single command.

In addition, there's:

-  lyp-index   , a semi-official
index for packages, mapping canonical names to git URLs.
- an assert package, which provides scheme procedures for assertion which
can be used for testing a package, or indeed any Lilypond code (see below).

Currently, of course, there doesn't exist much in the way of actual
packages. But you can have a look at two packages which are already usable,
*with tests*:

-  assert    - a package providing
assertion functionality for scheme code. This package also includes a test
file demonstrating usage of the assert:* procedures.
-  roman-numerals    - a
fork of David Nalesnik's work on roman numerals for harmonic analysis.

(both of these packages also show how lyp can be integrated into a project's
build process in order to automatically install Lilypond and run test files
- in this case on travis-ci.)

The goal of lyp is to facilitate code sharing and reuse in the Lilypond
community, to encourage cooperation on Lilypond-related projects, and above
all to make life easier for Lilypond users. It does so by both offering a
simple, cross-platform solution for installing Lilypond, and by offering
tools for sharing Lilypond code such as testing, publishing, and installing
packages.

I believe lyp can make a real difference in how the Lilypond community
shares code. I welcome all questions, remarks and suggestions. What follows
is a brief technical discussion of the main points which I think demand
explanation. Please note that lyp is still under heavy development, so
things might change drastically in the near future.

*Packages*

A package is any git repository that contains at least one file called
package.ly, which serves as the entry point for the package. The package can
include other Lilypond scheme files, as well as fonts which are installed
automatically into any installed version of Lilypond.

Packages can be referenced in input files by using the \require command,
which is automatically defined by lyp when invoking Lilypond. Packages can
be versioned, and can be referenced using version constraints (e.g. \require
"openlilylib>=1.0.0").

Packages can be referenced either using a partially- or fully-qualified git
URL, a github id, or a canonical name (provided they are registered in the 
lyp-index   ).

Packages can also depend on other packages, creating dependency trees of
arbitrary depth. lyp takes care of resolving the dependency tree for a given
input file, selecting the correct version to use for each dependency.
Packages are versioned using git tags.

Installing a package is as simple as:

    lyp install assert
  
lyp takes care of cloning the package's repository, searching for the
correct version to use (in this case the highest version). lyp can also
install a package from local files, for development purposes.

*Installing Lilypond*

lyp provides a command for installing arbitrary versions of lilypond. For
example:

    lyp install lilypond@2.19.13
    # or
    lyp install lilypond@stable # install the latest stable version
  
Versions are installed in separate directories under ~/.lyp/lilyponds. For
invocation see below.

*Package loading*

lyp provides its own Lilypond binary, which does the following:

- Select the correct version of Lilypond to use (based on 

RE: Algorithm for calculating slur shape

[Mike Solomon]

None of it is published but all of it is in the C++ source code and is pretty 
clear!
Cheers,MS


Sent from my Samsung Galaxy smartphone. Original message From: 
Michael Kassler  Date: 22/01/2016  12:49 AM  
(GMT+02:00) To: lilypond-user@gnu.org Subject: Algorithm for calculating slur 
shape 
I am a user of the Guido music notation system. I believe that Lilypond has 
developed an algorithm for calculating slur shape given parameters such as 
the (x,y) positions of notes in a passage to be slurred, the number of notes 
in such a passage, etc. Have the details of any such algorithm been 
published? If so, how can I obtain a copy?

Thanks in advance.


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Re: different margins for footer and music

[Mike Solomon]

> On Jan 14, 2016, at 10:27 PM, Robin Bannister <r...@dataway.ch> wrote:
> 
> Mike Solomon wrote:
> 
>> I’d like to place page numbers to the left and right of the music’s margin
> 
> How about duping \fill-line?
> 
> evenHeaderMarkup = \markup \fill-line {
>  \with-dimensions #'(6 . 8) #'(0 . 0)
>  \fromproperty #'page:page-number-string
>  \fromproperty #'header:title
>  \with-dimensions #'(-8 . -6) #'(0 . 0)
>  \fromproperty #'page:page-number-string
> }
> 
> 
> Cheers,
> Robin
> 

Works like a charm! Thanks!
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different margins for footer and music

[Mike Solomon]

Hey all,

Is it possible to have different margins for the footer and for the music in 
LilyPond?  I’d like to place page numbers to the left and right of the music’s 
margin but they seem to be flush with the music’s margin no matter what markup 
hacking I try.

Cheers,
MS
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best solution for book making with multiple scores and multiple titles but w/o page breaks between pieces

[Mike Solomon]

Hey all!

\bookpart forces a page break between pieces in a suite, which I don’t want, 
but otherwise I like how it prints robust titles for each work.
Is there a way to do everything that \bookpart does minus the page breaks?  I 
can create top-level markups instead of using the \header, but it’d be less 
work to just use the \header.

Cheers,
MS
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warning for duplicate definitions

[Mike Solomon]

Hey all,

I’m combining several documents into a large book tonight and I am positive 
that I have:

legato = \markup \italic “legato”

in at least 10 documents.  I’d like to consolidate these into a style sheet but 
I’m worried that I’ll miss some, so it’d be useful to issue a warning for 
duplicate definitions in case I miss some.  Is this possible?

Cheers,
MS
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Lilypond takes up vertical space for empty staves

[Mike Solomon]

Hey all,

In the sort-of-minimal example below, Lily is taking up staff space on the 
first and second system when she shouldn’t.  Is there any way to get her to not 
account for the empty staves instead of leaving that space?

Cheers,
MS

*

\version "2.17.0"

marksLollipop = {
 \time 5/6
 \tempo "With urgency" 4=200
 s2. s4*1/3 | \break
 \time 9/20
 \bar ".|:" s4 s4*4/5 | \bar ":|."  \break 
 \time 5/8
 s4. 
 s4 | 
 \time 4/4
 s1 | 
 \time 4/4
 s1 | 
 \time 1/32
 s32
 \time 4/4
 % wish to welcome you, to
 % munchkin land
 s1 \bar "|."
}

sopranoLollipop = \relative c''' { \autoBeamOff
 a2. r4*1/3 |
 a4 r4*4/5
 a4. 
 a4 | 
 a1 |
 \noBreak
 r2.. b64 r32. r16 |
 \noBreak
 s32
 s1
}

mezzoLollipop = \relative c''' { \autoBeamOff
 a2. r4*1/3 | % we represent the lollipop guild
 a4 r4*4/5 % the lollipop guild
 a4. % the lollipop 
 a4 | % guild
 a1 | % and in the name of the
 \noBreak
 r2.. b64 r32. r16 |
 \noBreak
 s32
 s1
}

ossiaOne = \relative  c'' {
 \stopStaff
 s2. s4*1/3 | % we represent the lollipop guild
 s4 s4*4/5 % the lollipop guild
 s4. % the lollipop 
 s4 | % guild
 s1 | % and in the name of the
 \startStaff
 \noBreak
 r2..^"OSSIA" b64 r32. r16 |
 \stopStaff
 \noBreak
 s32
 s1
}

ossiaTwo = \relative  c'' {
 \stopStaff
 s2. s4*1/3 | % we represent the lollipop guild
 s4 s4*4/5 % the lollipop guild
 s4. % the lollipop 
 s4 | % guild
 s1 | % and in the name of the
 \startStaff
 r2.^"OSSIA'S OSSIA" b64 r8... |
 \stopStaff
 s32
 s1
}

%%% SCORE

\score {
 \new ChoirStaff <<
   \new Staff \with { instrumentName = \dortyName %shortInstrumentName = #"M."
} <<
 \new Voice = "sopranoLollipop" { << { \numericTimeSignature
   \sopranoLollipop
 } {
   \marksLollipop
 } {
   \nothing
 }>> }
>> 
\new StaffGroup \with { \override SystemStartBracket.stencil = ##f }  <<
   \new Staff = "ossiaTwo" \with {
   \remove "Time_signature_engraver"
   \hide Clef
   fontSize = #-3
   \override StaffSymbol.staff-space = #(magstep -3)
   \override StaffSymbol.thickness = #(magstep -3)
 }
 { \ossiaTwo }
   \new Staff = "ossia" \with {
   \remove "Time_signature_engraver"
   \hide Clef
   fontSize = #-3
   \override StaffSymbol.staff-space = #(magstep -3)
   \override StaffSymbol.thickness = #(magstep -3)
 }
 { \ossiaOne }

   \new Staff = "mezzy" \with { instrumentName = \ttoName %shortInstrumentName 
= #"E."
} <<
 \new Voice = "mezzoLollipop" { << { \numericTimeSignature
   \mezzoLollipop
 } {
   \nothing
 } >> }
>> 
>> 
>> 
 \layout {
\context {
\Staff
 \override VerticalAxisGroup.remove-first = ##t
 }
 }
}



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Re: Lilypond takes up vertical space for empty staves

[Mike Solomon]

Answered my own question - the problem in the real example came from using 
spacer rests instead of multi-measure rests.
Sorry for the noise!
~Mike

> On Jan 4, 2016, at 6:12 PM, Mike Solomon <m...@mikesolomon.org> wrote:
> 
> Hey all,
> 
> In the sort-of-minimal example below, Lily is taking up staff space on the 
> first and second system when she shouldn’t.  Is there any way to get her to 
> not account for the empty staves instead of leaving that space?
> 
> Cheers,
> MS
> 
> *
> 
> \version "2.17.0"
> 
> marksLollipop = {
> \time 5/6
> \tempo "With urgency" 4=200
> s2. s4*1/3 | \break
> \time 9/20
> \bar ".|:" s4 s4*4/5 | \bar ":|."  \break 
> \time 5/8
> s4. 
> s4 | 
> \time 4/4
> s1 | 
> \time 4/4
> s1 | 
> \time 1/32
> s32
> \time 4/4
> % wish to welcome you, to
> % munchkin land
> s1 \bar "|."
> }
> 
> sopranoLollipop = \relative c''' { \autoBeamOff
> a2. r4*1/3 |
> a4 r4*4/5
> a4. 
> a4 | 
> a1 |
> \noBreak
> r2.. b64 r32. r16 |
> \noBreak
> s32
> s1
> }
> 
> mezzoLollipop = \relative c''' { \autoBeamOff
> a2. r4*1/3 | % we represent the lollipop guild
> a4 r4*4/5 % the lollipop guild
> a4. % the lollipop 
> a4 | % guild
> a1 | % and in the name of the
> \noBreak
> r2.. b64 r32. r16 |
> \noBreak
> s32
> s1
> }
> 
> ossiaOne = \relative  c'' {
> \stopStaff
> s2. s4*1/3 | % we represent the lollipop guild
> s4 s4*4/5 % the lollipop guild
> s4. % the lollipop 
> s4 | % guild
> s1 | % and in the name of the
> \startStaff
> \noBreak
> r2..^"OSSIA" b64 r32. r16 |
> \stopStaff
> \noBreak
> s32
> s1
> }
> 
> ossiaTwo = \relative  c'' {
> \stopStaff
> s2. s4*1/3 | % we represent the lollipop guild
> s4 s4*4/5 % the lollipop guild
> s4. % the lollipop 
> s4 | % guild
> s1 | % and in the name of the
> \startStaff
> r2.^"OSSIA'S OSSIA" b64 r8... |
> \stopStaff
> s32
> s1
> }
> 
> %%% SCORE
> 
> \score {
> \new ChoirStaff <<
>   \new Staff \with { instrumentName = \dortyName %shortInstrumentName = #"M."
> } <<
> \new Voice = "sopranoLollipop" { << { \numericTimeSignature
>   \sopranoLollipop
> } {
>   \marksLollipop
> } {
>   \nothing
> }>> }
>>> 
> \new StaffGroup \with { \override SystemStartBracket.stencil = ##f }  <<
>   \new Staff = "ossiaTwo" \with {
>   \remove "Time_signature_engraver"
>   \hide Clef
>   fontSize = #-3
>   \override StaffSymbol.staff-space = #(magstep -3)
>   \override StaffSymbol.thickness = #(magstep -3)
> }
> { \ossiaTwo }
>   \new Staff = "ossia" \with {
>   \remove "Time_signature_engraver"
>   \hide Clef
>   fontSize = #-3
>   \override StaffSymbol.staff-space = #(magstep -3)
>   \override StaffSymbol.thickness = #(magstep -3)
> }
> { \ossiaOne }
> 
>   \new Staff = "mezzy" \with { instrumentName = \ttoName %shortInstrumentName 
> = #"E."
> } <<
> \new Voice = "mezzoLollipop" { << { \numericTimeSignature
>   \mezzoLollipop
> } {
>   \nothing
> } >> }
>>> 
>>> 
>>> 
> \layout {
> \context {
> \Staff
> \override VerticalAxisGroup.remove-first = ##t
> }
> }
> }
> 
> 
> 
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RE: unpacking a list

[Mike Solomon]

Check out:
http://stackoverflow.com/questions/28753729/how-to-manually-flatten-a-list-in-racket-scheme
Cheers, ~Mike

Sent from my Samsung Galaxy smartphone. Original message From: 
Urs Liska  Date: 28/11/2015  10:24 AM  (GMT+02:00) To: 
lilypond-user  Subject: unpacking a list 
Hi all,

I don't seem to find a way to "unpack" a list. I think I won't explain
the background, but basically what I need is that
    (list (list 1 2 3) 4)
becomes
    (list 1 2 3 4)

This is a mock-up of my real code:

#(define (func-a)
   (list 1 2 3))

#(define (func-b)
   (list
    (func-a)
    4))

#(display (func-b))

What I need is that the call to (func-a) doesn't evaluate to a list but
to its elements.
I have "solved" it by actually using something like
    (append (func-a) (list f4))
but I think that's not really clean. I'd prefer directly "unpacking" the
list in situ.

Any suggestions?

TIA
Urs


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weird fill-line behavior

[Mike Solomon]

Hey all,

Any suggestions how to get even spacing in the example below?
It is bunching up in all sorts of unpredictable ways...

Cheers,
~Mike

\version "2.19.30"

#(set-default-paper-size "a4" 'landscape)
#(set-global-staff-size 15.15)
themeA = {
  \time 3/4
  c4 d e |
  f e d |
  c2 r4 |
}

themeB = {
  c4 d e |
  f e d |
  c2 r4 |
}

themeC = {
  c2 c4 |
  c'2 c'4 |
  a2 a4 |
  b2 b4 |
  c'4 c' c' |
  c' b a |
  g2. |
}

themeD = {
  g4 g g |
  g g e' |
  f f f |
  f f d' |
  d dis e |
  f e d |
  g2. |
}

themes = {
  \themeA
  \themeB
  \themeC
  \themeD
}

lyr = \lyricmode { Fol -- low the yel -- low brick road. Fol -- low the yel -- 
low brick road. 
Fol -- low fol -- low fol -- low fol -- low fol -- low the yel -- low brick 
road.
Fol -- low the yel -- low brick, fol -- low the yel -- low brick,
fol -- low the yel -- low brick road
} 
\markup \fill-line {
  \column {
"Wysr"
\score { << \new Staff \new Voice = "foo" { \clef bass \transpose c e, 
\themes } \new Lyrics \lyricsto "foo" \lyr >> \layout { line-width = #50 } }
  }
  \column {
"Wysr"
\score { << \new Staff \new Voice = "foo" { \clef bass \transpose c e, 
\themes } \new Lyrics \lyricsto "foo" \lyr >> \layout { line-width = #50 } }
  }
  \column {
"Wysr"
\score { << \new Staff \new Voice = "foo" { \clef bass \transpose c e, 
\themes } \new Lyrics \lyricsto "foo" \lyr >> \layout { line-width = #50 } }
  }
  \column {
"Wysr"
\score { << \new Staff \new Voice = "foo" { \clef bass \transpose c e, 
\themes } \new Lyrics \lyricsto "foo" \lyr >> \layout { line-width = #50 } }
  }
  \column {
"Wysr"
\score { << \new Staff \new Voice = "foo" { \clef bass \transpose c e, 
\themes } \new Lyrics \lyricsto "foo" \lyr >> \layout { line-width = #50 } }
  }
}
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Re: weird fill-line behavior

[Mike Solomon]

On Nov 25, 2015, at 9:49 PM, Noeck  wrote:
> 
> Hi Mike,
> 
> I replaced \fill-line with \justify-line and it looks much better.
> 
> This is mentioned in the change log:
> http://lilypond.org/doc/v2.19/Documentation/changes/index.html
> It looks like it causes the space between columns to be equal instead of
> the centres. This is only available since some 2.19 version.
> 
> Cheers,
> Joram
> 
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> 

rock - thanks!
~Mike


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giant font size doesn't increase stem size

[Mike Solomon]

Hey all,

If I do something like

\once \set fontSize = #10 d8 

I get a gigantic flag and note but no (visible) change in the stem.  Is there a 
command that will get the stem bigger too?
I’m on the latest dev version.

Thanks!

Cheers,
MS
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syntactic equivalent for if __name__ == '__main__' in lilypond

[Mike Solomon]

Hey all,

I’m developing a score where I’m including a lot of smaller .ily files into a 
bigger one and I often want to compile these .ily files by themselves.  
Currently, I’m following the pattern of creating a new .ly file for the 
individual compilation, but that results in jostling between files and 
sometimes I get lost in the workflow.  Is there a pattern à la python 
equivalent to something like.

%% foo.ily

foo = \relative c’ {
  a4 b c d
}

if __name__ == ‘__main__’
  \new Staff \foo

Cheers,
MS
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Re: vertical kerning problem

[Mike Solomon]

> On Sep 12, 2015, at 1:06 PM, Thomas Morley <thomasmorle...@gmail.com> wrote:
> 
> 2015-09-11 15:31 GMT+02:00 Mike Solomon <m...@mikesolomon.org>:
>> Hey all,
>> 
>> I have a nasty vertical kerning issue where the mezzo forte above the 
>> tenor’s “off” is sandwiched between the lyrics “Oz.” and “to” in the alto.  
>> Does anyone know how to force the dynamics (and therefore the tenor staff) 
>> below the lyrics in this case?
>> 
>> Cheers,
>> MS
> 
> 
> 
> Hi Mike,
> 
> an example-code would have been nice ;)
> 
> Though, maybe one of the attached codes works for you.
> 
> (For whatever ever reason I'm not able to c/p code from jEdit into
> gmail anymore)
> 
> Cheers,
>  Harm
> 

Hey Harm,

Thanks for the tips!  Looking forward to trying them out - will let you know 
how I fare.

Cheers,
MS
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vertical kerning problem

[Mike Solomon]

Hey all,

I have a nasty vertical kerning issue where the mezzo forte above the tenor’s 
“off” is sandwiched between the lyrics “Oz.” and “to” in the alto.  Does anyone 
know how to force the dynamics (and therefore the tenor staff) below the lyrics 
in this case?

Cheers,
MS


PastedGraphic-2.pdf
Description: Adobe PDF document
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interesting implementation detail of \partcombine

[Mike Solomon]

I just realized that when one uses spacer rests instead of full-measure rests 
in a voice that is being part combined, if there are full-measure rests in the 
other voice, those rests will be shifted up.
Not a biggie, but perhaps it should be documented if it is intended behavior or 
fixed to work like full-measure rests if intended behavior.  What do people 
think?

Cheers,
MS

foo = {
  R1 |
  R1 |
  a''1 |
}

bar = {
  s1 |
  s1 |
  f''1 |
}

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Re: Analysis brackets with text [was: how to get notes without tails?]

[Mike Solomon]

My go-to solution (which is hackish) has been to create a tuplet over spacer 
rests and change the tuplet number text. 
Cheers,MS


Sent from my Samsung device

 Original message 
From: Paul Morris p...@paulwmorris.com 
Date: 31/08/2015  05:32  (GMT+02:00) 
To: David Nalesnik david.nales...@gmail.com 
Cc: lilypond-user Mailinglist lilypond-user@gnu.org 
Subject: Re: Analysis brackets with text [was: how to get notes without tails?] 

Hi David,

That’s great that markups already work (I should have tried it before assuming 
they didn’t).  The plan for HorizontalBracketText sounds even better.  

Thanks again,
-Paul


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Re: LilyJAZZ

[Mike Solomon]

 On Aug 23, 2015, at 2:56 PM, BB bb-543...@telecolumbus.net wrote:
 
 I tried LilyJAZZ as it was published (about 2013 ?) but never got it to run 
 properly. 
 http://lilypondblog.org/2013/09/lilypond-and-lilyjazz/ 
 http://lilypondblog.org/2013/09/lilypond-and-lilyjazz/
 
 My actual atempts with a testcode from
 http://lists.gnu.org/archive/html/lilypond-user/2013-03/msg00647.html 
 http://lists.gnu.org/archive/html/lilypond-user/2013-03/msg00647.html
 (and other example codes) end with an error. 
 
 Warnung: Kasten
 mit negativen Ausmaßen wird nicht gezeichnet, 0.18 mal -0.04.
 Layout nach
 »/tmp/lilypond-IOz59S« ausgeben...
 Programmierfehler:
 FreeType-Fehler: SFNT font table missing
 Fortsetzung,
 die Daumen drücken
 Konvertierung
 nach »JazzTest.pdf«...
 Warnung: »(gs
 -q -dSAFER -dDEVICEWIDTHPOINTS=595.28
 -dDEVICEHEIGHTPOINTS=841.89 -dCompatibilityLevel=1.4 -dNOPAUSE
 -dBATCH -r1200 -sDEVICE=pdfwrite -sOutputFile=JazzTest.pdf
 -c.setpdfwrite -f/tmp/lilypond-IOz59S)« gescheitert (256)
 
   
 
 
   
 Despite the error message I get a midi-file. (Not with the example above 
 without any midi.) But I do get an empty pdf. Maybe because of SFNT font 
 table missing ? There seem to be a font problem? 
 
 Does anybody sucessful use LilyJAZZ? 
 
 Regards

Have you tried with the version on http://fonts.openlilylib.org/ 
http://fonts.openlilylib.org/ ?

Cheers,
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Re: Flat - with 2 number

[Mike Solomon]

 On Aug 8, 2015, at 7:55 PM, Server Acim ser...@acim.name.tr wrote:
 
 Hello,
 I want to ask you a very important question.
 
 Turkish Music is divide two kinds in it inside.
 One of is Turkish Classical Music. Its roots are based of Ottoman Impire. 
 And MAKAM word is based some series. The title of makams are changed 
 according to its note that where the serie is begined and ended.
 
 The second sub-genre of Turkish Music as an general title, is Turkish Folk 
 Music. This is the public's music that are coming from many eras. During the 
 Turkish Classical Music is performing at the serailles, the folk music of 
 Turkish folk people were singing their folk songs in villages and towns of 
 Turkey.
 
 So, the segah koma(a littile bit lower than flat) sound is used in the key 
 signature with normal flat sign but added a 2 number above it. We(The 
 Turkish musician who uses LilyPond for engraving an Turkish Folk Song) need 
 this sign for using it at the engraving project of a Turkish Folk Song.
 
 I am adding an attachment that includes this flat sign with number 2 in its 
 key signature. This is taken from the Turkish Folk Song Archive of Turkey 
 Radio and Television (TRT) Corporation.
 
 This is a very urgent matter. I need to have the solutiong as quick as 
 possible.
 
 How can you help me?
 
 Thank you. Bye.
 -- 
 Server ACİM
 - Besteci (Composer)
 - İnönü Üniversitesi Öğretim Üyesi (Full Professor of Music Composition at 
 Inonu Universitesi - Malatya - TURKEY)
 - Linux Mint Kullanıcısı ve Destekçisi (Linux Mint User and Supporter)

Dear Server,

There is currently no easy way to do this, as the current key signature layout 
algorithms use glyphs as a fundamental unit.
That means that you either need to:

1) create your own glyph (moderately difficult)
2) rewrite the logic of the algorithm in Scheme, at which point you can make a 
composite stencil of a flat sign and the number two.

#2 is, in a crunch, likely your best bet.  I remember someone a while back 
wrote custom scheme code to layout key signatures but I forget who and when - 
searching online isn’t helping much, so perhaps the person who wrote the code 
is reading the thread and could respond?

Cheers,
~MS
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RE: TextScript extra-offset in Scheme

[Mike Solomon]

Not in front of my computer, but off the top of my head, there are staff 
-padding and use - skyline properties for the text script. You can play around 
with making these ##f in addition to outside staff priority and see if that 
helps get you closer to what you're after.
Cheers,MS


Sent from my Samsung device

 Original message 
From: Andrew Bernard andrew.bern...@gmail.com 
Date: 05/08/2015  13:47  (GMT+02:00) 
To: lilypond-user Mailinglist lilypond-user@gnu.org 
Subject: TextScript extra-offset in Scheme 

Greetings Ponderers,
I am doing some work with some custom slur drawing for grace notes, for various 
(way too complicated to explain here) reasons. I need to position these graphic 
marks very precisely, and very close to the notehead. I am using Scheme 
functions to draw my paths, and producing a markup function to use in the 
music. The issue I am having is that for each mark, and I have hundreds, I need 
to adjust the TextScript offset to get them positioned for a good appearance, 
using
\once \override TextScript.extra-offset = #’(0 . -5)
for example.
What I am asking is how to adjust the TextScript.extra-offset inside 
define-markup-command code. I have simplified the code to the bare minimum, so 
it is somewhat artificial, but hopefully it is clear what I am attempting. How 
can I have complete control over the positioning to the offset of the line in 
this example? I can’t get it to cross into the staff lines, even when I 
globally set outside-staff-priority to ##f. Translating the stencil in the 
Scheme does not seem to be adequate.
\version 2.19.24
#(define-markup-command (graphic layout props dest offset)   (pair? pair?)   
(let* ((stil           (interpret-markup layout props             (markup 
#:draw-line dest     (ly:stencil-translate stil offset)))

treble = \relative c'' {  \clef treble  \time 1/4
  c  \grace {    \stemDown    %\override TextScript.outside-staff-priority = 
##f    bes8^\markup \graphic #'(2 . 2) #'(0 . -3)  }  bes4 a c}
\score {  \new Staff { \treble }  \layout { }}

Andrew






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workaround for a lyrics bug

[Mike Solomon]

Hey all,

I’ve posted a bug to the bug list about notes clumping after lyrics, but as I’m 
on a tight schedule with this one piece, I’m also posting it to the list in 
hopes that someone has seen this bug and knows of a workaround:

%{
  A terminal lyric in the ossia staff causes notes to skip a measure and then 
bundle up in the subsequent one.
  To see the problem, comment the indicated line in and out.
%}

\version 2.19.15
someMusic = \relative c, {
  \clef bass
  a4 a a a
  
\new Staff \with {alignAboveContext=realBass }
  \new Voice = tempBassVoice {
\clef bass
a4 a a a |
a a a a 
R1
}
\new Lyrics \with { alignAboveContext=realBass } \lyricsto 
tempBassVoice {
  \lyricmode {
foo bar foo bar foo bar foo
%%% COMMENT THE LINE BELOW IN AND OUT TO SEE PROBLEM
bar
  }}
  \relative c, {
 a4 a a a
 a a a a
 a a a a 
  } 
  a a a a 
  a a a a
}

\score {
\new Staff = realBass 
  \new Voice = someMusic {
\someMusic
  } 
}


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Re: Specifying a different number of systems on pg 1 ?

[Mike Solomon]

On 23 Jun 2015, at 02:05, Larry Kent kentla...@gmail.com wrote:
 
 My apologies..I'm sure I've seen this in the documentation or on this 
 list somewhere, but today when I actually need this, I can't find a way to do 
 this.
 
 I want to have 3 systems per page, except only 2 systems on the first page.
 
 Thanks in advance for a pointer.
 
 LKent
 Tampa FL

I don’t know of an easy way to do this without using explicit page breaks - is 
that possible in your case?

Cheers,
MS
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Re: [AFIM.INFO] TENOR 2015: First International Conference on New Technologies for Music Notation and Representation

[Mike Solomon]

Hey all,

Just a note that I’ll be there too for a gig with the ensemble 101 at 5:40 at 
the Ircam on the 29th that will be presenting some algorithmic composition 
methods I use to sketch ideas with LilyPond.
I’ll also be chairing the Thursday morning session.
Looking forward to seeing whoever is going!

~Mike
 On 30 Apr 2015, at 20:49, Trevor Bača trevorb...@gmail.com wrote:
 
 Hi,
 
 I'll be there reading a paper about Abjad coauthored with Josiah Oberholtzer, 
 Jeff Treviño and Victor Adán. Jeff will be there with me to help present (but 
 Josiah and Victor will be staying in the US during the conference). I think 
 we're presenting at 10:20 am on Saturday (May 30) at the Maison de la 
 Recherche. Anyone who's in Paris that weekend should mail and perhaps we 
 could meet for coffee before or after.
 
 The paper we put together on Abjad is modeled in part on Han-Wen and Jan's 
 introductory LilyPond paper they presented in Firenze years ago. LilyPond 
 (and Python) are what have made Abjad possible for many years now. And so 
 it's a pleasure to finally acknowledge the fact in an academic setting.
 
 Looking forward to perhaps meeting some new faces in Paris.
 
 Trevor.
 
 On Wed, Apr 22, 2015 at 8:09 AM, Paul Morris p...@paulwmorris.com 
 mailto:p...@paulwmorris.com wrote:
 Anyone planning on attending this conference in Paris at the end of May?  I
 see a couple of LilyPonders on the program, Trevor Bača and Mike Solomon,
 and Daniel Spreadbury will be presenting on the SMuFL font standard.
 
 -Paul
 
 
 
 anders.vinjar wrote
  Topics:
 Fwd: [AFIM.INFO http://afim.info/] TENOR 2015: First International 
  Conference on New
  Technologies for Music Notation and Representation
 
 
  Début du message réexpédié :
 
  De: Pierre Couprie (Paris4) lt;
 
  pierre.couprie@
 
  gt;
  Objet: [AFIM.INFO http://afim.info/] TENOR 2015: First International 
  Conference on New
  Technologies for Music Notation and Representation
  Date: 27 octobre 2014 13:50:00 UTC+1
  À:
 
  afim.info@
 
 
  TENOR 2015
  First International Conference on New Technologies for Music Notation and
  Representation
 
  Call for papers
 
  Paris, France, 29-30 May 2015
  University of Paris-Sorbonne / Ircam
 
  The first International Conference on New Technologies for Music Notation
  and Representation is dedicated to issues in theoretical and applied
  research and development in Music Notation and Representation, with a
  strong focus on computer tools and applications, as well as a tight
  connection to music creation.
 
  Until very recently, the support provided by the computer music to the
  field of symbolic notation remained fairly conventional. However, recent
  developments indicate that the field of tools for musical notation is now
  moving towards new forms of representation. Moreover, musical notation,
  transcription, sonic visualization, and musical representation are often
  associated in the fields of musical analysis, ethnology, and acoustics.
  The aim of this conference is to explore all of recent mutations of
  notation and representation in all domains of music.
 
  Topics of interest
 
  Musical creation
   • Notation in electronic and electroacoustic music
   • Notations for interactive music
   • Notation for sound installations
   • Notation for the multimedia and mixed arts
   • Live coding
 
  Musical notation
   • Innovative computer applications for music notation
   • Languages for music notation
   • Gesture notation
   • Notation and mobile devices
   • Exchange formats for music notation
   • Online tools and languages for music notation and representation
 
  Analysis, notation  pieces studies
   • Analysis of contemporary notations
   • Semiotic of new notation forms
   • Ontology of the notation of interactive music
   • Data mining, music notation corpus, databases
 
  Representation, transcription
   • Sound visualization
   • Interactive representation
   • Transcription in ethnomusicology and representation of non-written
  musics
   • Non-western or ancient music trans-notation
   • Representation and transcription in acoustic ecology and sound
  landscape
   • Optical music recognition
 
  Listening, teaching
   • Listening guides
   • Live and offline annotation
   • Notations for music pedagogy
 
  Submission
 
  Information  submission: http://tenor2015.tenor-conference.org 
  http://tenor2015.tenor-conference.org/.
  Deadline for papers submission: January 15, 2015.
 
  With the collaboration of:
 
  Institut de Recherche en Musicologie, CNRS UMR 8223
  Université Paris-Sorbonne
  Ircam
  LAM, Lutheries - Acoustique - Musique, UPMC
  GRAME, Centre national de création musicale, Lyon
  AFIM, Association Française d'Informatique Musicale
 
 
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Re: Use of Stackoverflow for Question/Answer forum

[Mike Solomon]

 On Dec 22, 2014, at 11:14 PM, Rob Torop r...@aya.yale.edu wrote:
 
 Mike, I like the idea.   The ability to have some formatting is good (e.g. to 
 highlight code fragments) and being able to search is nice. Of course the key 
 thing is to have the people who know lilypond really well using it too :-)  
 (that excludes me!)
 
 On Mon Dec 22 2014 at 4:08:18 PM Mike Kilmer m...@madhappy.com 
 mailto:m...@madhappy.com wrote:
 Hi and Happy Holidays all.
 
 I had posted a few initial lilypond questions on StackOverflow.com 
 http://stackoverflow.com/ and received some good responses.
 
 I’ve found S.O. to be a very user-friendly format for coding questions and 
 answers (in terms of ease of posting and reading code/syntax) and am curious 
 that the lilypond community isn’t making more use of it.
 
 I welcome your thoughts.
 
 Mike
 
 
 Michael Kilmer
 Media Zoo 
 Music, Theater, Multimedia and Web Development
 i...@mzoo.org mailto:i...@mzoo.org
 201-679-4168
 www.mZoo.org http://www.mzoo.org/www.m 
 http://www.indiegogo.com/Joysadhappy.com 
 http://adhappy.com/www.explorepensacolahistory.com 
 http://www.explorepensacolahistory.com/
 www.rivka.com http://www.rivka.com/

Check out stackexchange when you get a chance - it is made by the same company 
that makes stackoverflow and is likely a better forum for lilypond related 
exchange.

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Re: hairpin Y-offset

[Mike Solomon]

 On Nov 29, 2014, at 9:30 PM, bobr...@centrum.is wrote:
 
 I want to place a hairpin inside the staff.  I have found that I can move 
 hairpins vertically with:
 
 \override Hairpin.Y-offset = #'n
 
 ...but this will only allow me to move them farther from the staff and will 
 not allow them to move into the staff.  I have not managed to find an example 
 of this.
 
 Help?
 
 David

\relative c''’ {
  % stops outside staff placement
  \override DynamicLineSpanner.outside-staff-priority = ##f
  % also stops outside staff placement in a different interface
  \override DynamicLineSpanner.staff-padding = ##f
  a\ b c d\!
}

%Cheers,
%MS
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tremolo as post event

[Mike Solomon]

Hey all,

Is there any way to create a tremolo as a post event?
I’m doing an arrangement for string quartet of a vocal piece and, at certain 
moments, I’d like to use tremolos.  So, for example,

{
c2
}

would become

{
  c2:32
}

Rather than doing:

{
  \tag #’vocal { c2 } \tag #’strings { c2:32 }
}

I’d like to do:

{
  c2\trem #32
}

and then define the function \trem differently in different files so that it 
appears in one and not the other.

As a stop gap solution I’m overriding the tremolo stencil to be ##f, but 
something about that seems unsatisfactory…

Cheers,
MS
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null post event

[Mike Solomon]

Hey all,

Is there a sort of null post event?  The following doesn’t work

foo = #(define-event-function (parser location) ())

{
  c\-.\foo d
}

I’d like for foo to do nothing but still function as a post event.

Cheers,
MS
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hairpin aesthetics

[Mike Solomon]

Hey all,

When typesetting:

snip
\version 2.19.15


\relative c'' {
  \time 2/4
  cis8\ ( bisis ) fis'\ ( e ) |
  d2\! |
}
/snip

the second hairpin seems really short compared to the first. My guessing is 
that whatever gap is put between the hairpins is tacked onto the start of the 
second instead of evenly distributed between the two.

Does anyone have examples from the literature with cases like this?  Is the 
second hairpin really shifted that far over?

Cheers,
MS
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Re: Programming question

[Mike Solomon]

 On Nov 23, 2014, at 10:21 PM, Jay Vara j...@diljun.com wrote:
 
 Given that NoteNames are really a type of lyrics, is it possible to have a 
 function that just takes music and returns a text string that is a lyric.
 
 For example:
 
 music  = \relative c' { c4 d e f g a b c }
 
 notenameLyric = \NoteNameToLyric \music
 
 would make
 
 notenameLyric = c d e f g a b c
 
 so that we can write
 
 \newLyric \lyricmode \notenameLyric
 
 I understand that such a function would probably map the music and extract 
 the 'text from it and concatenate it to get the result. Not yet successful in 
 getting it to work.

Cool idea!  You’re thinking is exactly how I’d do it.
I'd copy and paste the naturalizeMusic function from the doc and adapt it to 
return a list of pitch classes from the music.
Then, you can flatten the returned list (if need be) and do a map on the list 
with a lambda function that takes a numeric pitch class and returns a markup 
with a note name.

Cheers,
MS
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Re: Slur and tuplet bracket colliding

[Mike Solomon]

 On Nov 16, 2014, at 7:29 PM, Patrick Hubers stomper...@gmail.com wrote:
 
 Hi,
 
 I'm having a situation where slurs and tuplet brackets are colliding. The 
 strange thing is that the slur is placed closer to the notes when no tuplet 
 is present, but with the tuplet the slur is placed higher from the notes, 
 ending up in a collision location. 
 
 Is there a way to have the slur drawn close to the notes, even when the 
 tuplet is present? Is this slur placement intended behaviour or a bug?
 
 Minimal sample (left slur is problematic, right slur is ok):
 
 melody = \relative c'' {
 \tuplet 3/2 { c,2( b'4) } r2
 c,4( b') r2
 }
 
 dhiiecbb.png
 
 Thanks in advance!
 Patrick Hubers

Try:

\relative c'' {
  \once \override TupletNumber.avoid-slur = #'ignore
  \tuplet 3/2 { c,2( b'4) } r2
  c,4( b') r2
}

LilyPond will usually try to place the slur outside of a tuplet number, but in 
certain cases (like this one) the output is nicer when avoid-slur is set to 
ignore.

Cheers,
MS
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indicating same lyric for long stretches of notes

[Mike Solomon]

Hey all,

I’m working on a vocal project where the bass sings a lot of walking bass 
interspersed with lyrics.

I’d like to put a symbol under each walking bass note (doesn’t matter what it 
is - call it  for now).

The thing is that there are gigantic stretches of walking bass where sometimes 
I’ll add an 8th note here or there and it is getting annoying to remember where 
I need to add an extra  here and there.  What would be infinitely easier is a 
syntax like:

bassVoice = \relative c, {
c4\walkingBassOn e g a |
bes a g e |
c e g a |
bes a\walkingBassOff g8 g e4 |
f4\walkingBassOn a c d |
ees d c a\walkingBassOff | % ….
}

bassLyrics = lyricmode {
\set walkingBassSymbol = #”
Li — ly — Pond
}

To get a result equivalent to:

bassVoice = \relative c, {
c4\walkingBassOn e g a |
bes a g e |
c e g a |
bes a\walkingBassOff g8 g e4 |
f4\walkingBassOn a c d |
ees d c a\walkingBassOff | % ….
}

bassLyrics = lyricmode {
   
 
Li — ly — Pond
   
}

The UI can of course be different - whatever it is, just something that spares 
me from having to remember to unfold the right number of ampersands for long 
stretches of walking base.

Cheers,
MS
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Re: Where is \staff-space defined?

[Mike Solomon]

 On Nov 11, 2014, at 9:19 AM, Werner LEMBERG w...@gnu.org wrote:
 
 
 I looked up the source code, but I couldn't find the definition of
 `\staff-space'...
 
 BTW, there isn't an index entry for it.
 
 
Werner

I’m not sure what ‘\staff-space’ is. I know the meaning of ‘staff-space’ 
(without the slash), though.  Is that what you meant?

Cheers,
MS
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Re: Combining Multimeasure rests

[Mike Solomon]

 On Nov 11, 2014, at 10:29 AM, Urs Liska u...@openlilylib.org wrote:
 
 No idea anybody?
 
 I think I can narrow down the question even more:
 
 Running the attached file gives
 
 
 (make-music (quote Music))
 
   
 
   on the command line. So what I need seems to be a test that
   returns true if passed the above Scheme construct.
 
   I'm not completely sure if that will bring me forward, but I do
   hope so ...
 
 
 
 
   Best
 
   Urs

This is possible with a custom Scheme function but not currently part of 
LilyPond.
It is, however, part of abjad if you want to go down that route - 
abjad.mbrsi.org It has a pretty complete LilyPond parser and can do all sorts 
of cool merging stuff.

Cheers,
MS

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Re: Where is \staff-space defined?

[Mike Solomon]

On Nov 11, 2014, at 10:07 PM, Werner LEMBERG w...@gnu.org wrote:
 
 
 It seems suspicious.  What happens is that in paper-defaults-init.ly,
 there is a line:
 
  %% ugh. hard coded?
  #(layout-set-absolute-staff-size (* 20.0 pt))
 
 The comment says it all :-) Not that I am not guilty of hardcoding…
 no stones are thrown…
 
 What's the problem?  `paper-defaults-init.ly' sets up the default
 value, 20pt.  Admittedly, the comment is irritating, and I wonder why
 it is there…
 

I’m guessing it’s because all the other values in the vile (mm, in, pt) are
in variables whereas the 20.0 is not in a variable but rather hardcoded
as an argument to the function.

 Jump to paper.scm, where we have:
 
 layout-set-absolute-staff-size
 
 that calls:
 
 layout-set-absolute-staff-size-in-module
 
 which sets staff-space as the staff height / 4.
 
 Yes, this *is* hard-coded, by definition.
 
 So beyond the hard coding of 20.0, there is a further layer of
 (uncommented) hard-coditude that assumes we have 4 spaces in the
 staff.
 
 You are not suggesting to change that, do you?  That way madness
 lies...

A cm will always be a cm, but the staff space as defined here will change if 
its tabs vs traditional staff notation.
It’s just a bit misleading.

I’m not opposed to having this, but perhaps it’d be worth to change the name to 
\five-line-staff-space?

Cheers,
MS
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Re: midi tempo

[Mike Solomon]

 On Nov 9, 2014, at 7:19 PM, Noeck noeck.marb...@gmx.de wrote:
 
 Hi,
 
 I would like to specify a different tempo for the pdf and the midi
 output. I’ve read
 http://www.lilypond.org/doc/v2.18/Documentation/notation/displaying-rhythms.html#metronome-marks
 
 But I found only how to specify it for both, or for one of them. What I
 want is like:
 \tempo Allegro 4 = 100
 which should show up as »Allegro«
 and the midi should be played as with 100 bpm.
 
 I tried
 
 \version 2.18.2
 {
  \tempo Allegro
  \once \set Score.tempoHideNote = ##t
  \tempo 4 = 100
  a
 }


% sets different visual and midi tempo indications
\version 2.18.2
{
 \tempo Allegro
 \once \set Score.tempoHideNote = ##t
 \set Score.tempoWholesPerMinute = #(ly:make-moment 100 4 0 0)
 a  
}

%Cheers,
%MS
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Re: midi tempo

[Mike Solomon]

 On Nov 9, 2014, at 7:38 PM, Noeck noeck.marb...@gmx.de wrote:
 
 Hi Mike,
 
 \version 2.18.2
 {
 \tempo Allegro
 \once \set Score.tempoHideNote = ##t
 \set Score.tempoWholesPerMinute = #(ly:make-moment 100 4 0 0)
 a  
 }
 
 Thanks! That’s what I was looking for. I do not need this line then, do I?
  \once \set Score.tempoHideNote = ##t
 
 Cheers,
 Joram

You do - otherwise, there will be the printed note at the tempo indicated with 
\tempo and the midi at the tempo indicated via tempoWholesPerMinute.

Cheers,
MS
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Re: midi tempo

[Mike Solomon]

 On Nov 9, 2014, at 7:53 PM, Noeck noeck.marb...@gmx.de wrote:
 
 Hi
 
 You do - otherwise, there will be the printed note at the tempo indicated 
 with \tempo and the midi at the tempo indicated via tempoWholesPerMinute.
 
 You mean, it would then show up like if I wrote:
 \tempo Allegro 4 = 100
 ?
 I tried it with 2.18.2 and 2.19.8 and it only prints Allegro.
 
 Joram

%Ah, sorry, got it.

\version 2.18.2
{
 \tempo “Allegro” % no need for hiding the note if you don’t put an explicit 
numerical indication
 \set Score.tempoWholesPerMinute = #(ly:make-moment 100 4 0 0)
 a
}

%Cheers
%MS
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Re: Leigh Verlag Blog Launched!

[Mike Solomon]

 On Nov 7, 2014, at 11:21 AM, Abraham Lee tisimst.lilyp...@gmail.com wrote:
 
 Fellow LilyPonders,
 
 I just thought I'd mention that I have started a new blog (not meant to 
 compete in any way with lilypondblog.org http://www.lilypondblog.org/, of 
 course, which I follow regularly)! There I plan to share information relating 
 to music engraving in general, LilyPond tips  tricks I discover, and 
 information relating to past, current, and future music and text fonts I am 
 creating. It can be found at leighverlag.blogspot.com 
 http://leighverlag.blogspot.com/. I have absolutely no expectation for 
 anyone to follow my rantings on a regular basis, but you may find some 
 interesting or maybe even useful information there from time to time.
 
 Happy Engraving!
 -Abraham

This is great stuff - thanks for sharing it!
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Re: General newbie query: Creating and displaying dynamic scores using Lilypond?

[Mike Solomon]

On Nov 6, 2014, at 4:57 PM, Alice Eldridge ali...@sussex.ac.uk wrote:
 
 Dear Lilypond list, 
 
 We are plotting a networked score system, where each part can be updated 
 dynamically from a central controller. In the simplest case, this would be a 
 set score, with a means to indicate the current bar, as an ensemble plays - 
 this might be a vertical line scrolling through, a change in font colour etc. 
 This would then be displayed on a tablet.
 
 Lily pond seems like it might be a nice starting point to develop something 
 like this - can anyone advise: Is this something which could be developed 
 using the API as a starting point??
 
 Many thanks in advance. 
 
 ---
 Dr Alice Eldridge
 Music Informatics
 Chichester 2 2r209
 Department of Informatics and Engineering
  
 ali...@sussex.ac.uk mailto:ali...@sussex.ac.uk
 +44 (0) 1273 87 7267

Hey Alice,

If you are not set on using LilyPond, Guido is made exactly for this sort of 
thing.
guido.grame.fr
With API calls available to recuperate the placement of objects.
Otherwise, if you want to use LilyPond, I have a project with a couple other 
people in the works to make this possible, but it will take a bit of time.

Cheers,
~Mike

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Re: ties over voices, again

[Mike Solomon]

 On Nov 3, 2014, at 8:15 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote:
 
 Hello,
  
 In a response to my query about creating ties over explicit voices, Mike 
 Solomon (thank you!) provided the following:
 \layout {
 \context { \Voice \remove Tie_engraver }
 \context { \Staff \consists Tie_engraver }
 }
  
 This provided the desired ties in one staff of a Piano Staff, yet draw some 
 unwanted (though explainable) ones in the other.
 Can these commands be altered or relocated to affect only one staff, and not 
 the other, of a Piano staff?
  
 Thank you for your kind attention.
  
 Mark

You can create custom contexts that derive from Staff - one with this tie trick 
and one without.
http://lilypond.org/doc/v2.19/Documentation/notation/defining-new-contexts 
http://lilypond.org/doc/v2.19/Documentation/notation/defining-new-contexts

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Re: Ties across voices

[Mike Solomon]

 On Nov 2, 2014, at 4:24 PM, Mark Stephen Mrotek carsonm...@ca.rr.com wrote:
 
 Hello,
  
 As far as I know, which is certainly minimal, ties cannot be input across 
 voices as in
 
 \new Voice \relative c' { \voiceOne }
 \new Voice \relative c' { \voiceTwo }
   .
  
 How could I achieve ties as in the attached example?
  
 Thank you for your kind attention.
  
 Mark

Try:

  \layout {
\context { \Voice \remove Tie_engraver }
\context { \Staff \consists Tie_engraver }
  }

Doesn’t always work perfectly…

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Re: possible bug: \change Staff and beam collision

[Mike Solomon]

 On Nov 2, 2014, at 8:40 PM, Gilberto Agostinho gilbertohasn...@gmail.com 
 wrote:
 
 Hello all,
 
 Please have a look on the following code:
 
 \version 2.19.15
 
 \new PianoStaff 
  \new Staff = up {
\override Score.Beam.damping = 3
\stemUp a'8 
\ottava #1 a'''
\ottava #0 a' 
a,
  }
  \new Staff = down {
\clef bass
s2 
  }
 
 
 \new PianoStaff 
  \new Staff = up {
\override Score.Beam.damping = 3
\stemUp a'8 
\ottava #1 a'''
\ottava #0 a' 
\change Staff = down a,
  }
  \new Staff = down {
\clef bass
s2 
  }
 
 
 Which produces:
 
 http://lilypond.1069038.n5.nabble.com/file/n168324/11.png 
 
 As you can see, without changing staff the ottava position is high enough
 not to collide with the beam, but when changing staff the ottava position
 gets lower (!) and collides with the beam. Anyone know any workaround for
 this problem?
 
 Best,
 Gilberto
 

This is a persistent issue in LilyPond development - there was some work on it 
in course a couple years ago that has since been put on hold but I hope to pick 
it back up one day.

The gist of the problem (and others like it) is that, because the beam is cross 
staff, the layout engine does not know where it will be placed because it does 
not know how far apart vertically the notes are until final page spacing is 
done.  That means that all objects that depend on the beam for placement (such 
as the ottava) ignore it when being placed and, as a result, you get collisions.

I know that Keith has several cross-staff-related workarounds in his piano 
scores.  Sorry I can’t be of more help, but it is not an easy issue.

Cheers,
MS
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Re: possible bug: \change Staff and beam collision

[Mike Solomon]

 On Nov 2, 2014, at 8:40 PM, Gilberto Agostinho gilbertohasn...@gmail.com 
 wrote:
 
 Hello all,
 
 Please have a look on the following code:
 
 \version 2.19.15
 
 \new PianoStaff 
 \new Staff = up {
   \override Score.Beam.damping = 3
   \stemUp a'8 
   \ottava #1 a'''
   \ottava #0 a' 
   a,
 }
 \new Staff = down {
   \clef bass
   s2 
 }
 
 
 \new PianoStaff 
 \new Staff = up {
   \override Score.Beam.damping = 3
   \stemUp a'8 
   \ottava #1 a'''
   \ottava #0 a' 
   \change Staff = down a,
 }
 \new Staff = down {
   \clef bass
   s2 
 }
 
 
 Which produces:
 
 http://lilypond.1069038.n5.nabble.com/file/n168324/11.png 
 
 As you can see, without changing staff the ottava position is high enough
 not to collide with the beam, but when changing staff the ottava position
 gets lower (!) and collides with the beam. Anyone know any workaround for
 this problem?
 
 Best,
 Gilberto
 

This is a persistent issue in LilyPond development - there was some work on it 
in course a couple years ago that has since been put on hold but I hope to pick 
it back up one day.

The gist of the problem (and others like it) is that, because the beam is cross 
staff, the layout engine does not know where it will be placed because it does 
not know how far apart vertically the notes are until final page spacing is 
done.  That means that all objects that depend on the beam for placement (such 
as the ottava) ignore it when being placed and, as a result, you get collisions.

I know that Keith has several cross-staff-related workarounds in his piano 
scores.  Sorry I can’t be of more help, but it is not an easy issue.

Cheers,
MS
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Re: possible bug: \change Staff and beam collision

[Mike Solomon]

 On Nov 2, 2014, at 8:40 PM, Gilberto Agostinho gilbertohasn...@gmail.com 
 wrote:
 
 Hello all,
 
 Please have a look on the following code:
 
 \version 2.19.15
 
 \new PianoStaff 
 \new Staff = up {
  \override Score.Beam.damping = 3
  \stemUp a'8 
  \ottava #1 a'''
  \ottava #0 a' 
  a,
 }
 \new Staff = down {
  \clef bass
  s2 
 }
 
 
 \new PianoStaff 
 \new Staff = up {
  \override Score.Beam.damping = 3
  \stemUp a'8 
  \ottava #1 a'''
  \ottava #0 a' 
  \change Staff = down a,
 }
 \new Staff = down {
  \clef bass
  s2 
 }
 
 
 Which produces:
 
 http://lilypond.1069038.n5.nabble.com/file/n168324/11.png 
 
 As you can see, without changing staff the ottava position is high enough
 not to collide with the beam, but when changing staff the ottava position
 gets lower (!) and collides with the beam. Anyone know any workaround for
 this problem?
 
 Best,
 Gilberto
 

This is a persistent issue in LilyPond development - there was some work on it 
in course a couple years ago that has since been put on hold but I hope to pick 
it back up one day.

The gist of the problem (and others like it) is that, because the beam is cross 
staff, the layout engine does not know where it will be placed because it does 
not know how far apart vertically the notes are until final page spacing is 
done.  That means that all objects that depend on the beam for placement (such 
as the ottava) ignore it when being placed and, as a result, you get collisions.

I know that Keith has several cross-staff-related workarounds in his piano 
scores.  Sorry I can’t be of more help, but it is not an easy issue.

Cheers,
MS
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Re: Mac OSX 10.10 (Yosemite) and LilyPond compatibility?

[Mike Solomon]

 On Oct 20, 2014, at 10:21 PM, Paul Morris p...@paulwmorris.com wrote:
 
 Anyone happen to know if there are any compatibility problems with LilyPond
 or Frescobaldi on the new Mac OSX 10.10 (Yosemite)?  
 
 I have no reason to expect that there would be, but it would be nice to know
 before upgrading.
 
 Thanks in advance,
 -Paul
 


Just updated today and no problems.

Cheers,
MS
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ties between enharmonic pitches

[Mike Solomon]

Hey all,

I recently stumbled across this old thread from 2002 about ties between 
enharmonic pitches:

http://osdir.com/ml/gnu.lilypond.general/2002-12/msg00176.html

I am typesetting a piece where the successive chords are:

dis ais’ cisis fis bis ~ % (D#m maj7 #15)
e g d’ fis b  %(Em9)

The above is pseudocode - the actual piece is across 5 staves and voices.

I have seen the suggestion to slur the cisis and the d, but something about 
that feels unsatisfactory.  However, if that is the most common way in real 
scores, I will do it.  What are current opinons on this topic? Meaning, what is 
considered the best way to show this and what is the most elegant way to do 
that in LilyPond?

Cheers,
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Re: Completion heads engraver

[Mike Solomon]

On Oct 14, 2014, at 1:25 AM, Noeck noeck.marb...@gmx.de wrote:

 Hi Mike,
 
 could it be that you just had a typo in your example (engravaer instead
 of engraver) and additional brackets?
 
 This works for me:
 
 \version 2.18.2
 
 \score {
 
 \new Staff
  \new Voice \with {
\remove Note_heads_engraver
\consists Completion_heads_engraver
  } \relative c'' {
\time 2/4
a1*5/8 a a a
  }
  \new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
  }
 
 }
 
 \score {
 
 \new Staff
  \new Voice \relative c'' {
\time 2/4
a1*5/8 a a a
  }
  \new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a
  }
 
 \layout { \context { \Voice \remove Note_heads_engraver
  \consists Completion_heads_engraver }
 }
 
 }
 
 I put the \layout in the score to not affect the first score.
 For me, they yield the same result as you wanted.
 
 Cheers,
 Joram
 
 
 Am 14.10.2014 um 00:17 schrieb Mike Solomon:
 \score {
 
 \new Staff {
  \new Voice \with {
\remove Note_heads_engravaer
\consists Completion_heads_engraver
  } \relative c'' {
\time 2/4
a1*5/8 a a a
  } }
  \new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a 
  }
 
 }
 
 }
 
 \score {
 
 \new Staff {
  \new Voice \relative c'' {
\time 2/4
a1*5/8 a a a
  }
 }
  \new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a 
  }
 
 }
 \layout { \context { \Voice \remove Note_heads_engraver
  \consists Completion_heads_engraver }
 }}
 

That must be it - I had two typos in two unrelated places in my maximal example 
that I managed to transfer, without even copying and pasting, to my minimal 
example.
Need to sleep more…

Cheers,
MS
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Completion heads engraver

[Mike Solomon]

Does anyone know how to get the completion heads engraver assigned to one voice 
to play nicely with fractional values? Compare the two scores below:

\score {

\new Staff {
  \new Voice \with {
\remove Note_heads_engravaer
\consists Completion_heads_engraver
  } \relative c'' {
\time 2/4
a1*5/8 a a a
  } }
  \new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a 
  }

}

}

\score {

\new Staff {
  \new Voice \relative c'' {
\time 2/4
a1*5/8 a a a
  }
}
  \new Staff \new Voice \relative c'' {
\time 2/4
a4 a a a a a 
  }

}
\layout { \context { \Voice \remove Note_heads_engraver
  \consists Completion_heads_engraver }
}}


I’d like the two scores to yield the result of the second one while being able 
to consists and remove engravers on a voice-by-voice basis.

Cheers,
MS
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Re: Contemporary Music Notation

[Mike Solomon]

On Oct 12, 2014, at 3:06 PM, Piaras Hoban phoba...@googlemail.com wrote:

 Hi all,
 
 I'm a bit late to the party here but hope I can contribute something.
 
 About two years ago I made the switch to using Lilypond exclusively as I was 
 getting tired of exporting pdfs with basic music notation and overlaying 
 graphics in Illustrator or some such. This was a real pain when doing parts 
 or making even the smallest of changes. Since then I've used lilypond for a 
 lot of pieces, all of which have some idiosyncratic notational devices. 
 There's very little I haven't been able to implement successfully in lilypond 
 (really just 1 thing that still evades me... customised barlines aligning 
 with first beat of a measure...).
 
 I thought it might be interesting for those wondering what's possible in 
 lilypond to see some examples from the field. I've put together a page 
 collating those things I've done in the past year or so. Many of these 
 notational devices seem to be fairly standardized nowadays; or at least the 
 symbols appear consistently, even if the interpretation of their meaning can 
 vary a lot. 
 
 It would be great to develop a contemporary notation library for lilypond 
 making these notations readily available to any user, I'm not sure what that 
 would involve but I know it could be a major selling point for lilypond in 
 the contemporary music world.
 
 For completeness sake here's index of what you see in the linked PDF 
 (naturally eveything you see here is generated using lilypond alone):
 
 1) Split-stem chords/clusters
 2) Stemmed glissando
 3) Bezier glissando w/arrowhead
 4) Variable width bezier glissando
 5) Vibrato with variable/random period and slope
 6) Interruptive polyphony
 7) Lachenmann pressed bow
 8) Billone beat notation
 9) Pencil line emulation (after Charlie Sdraulig)
 10) Sciarrino style jet-whistle
 11) Woodwind fingering staff
 12) Carin Levine style flute multiphonics
 13) Klavierstuck X proof-of-concept
 14) Sciarrino tremolo (with bezier hairpins)
 15) Stockhausen cluster-glissando
 16) Notation from a work of my own for violin
 
 Hope this might be illuminating for others; lilypond is great for this kind 
 of stuff.
 
 best wishes,
 
 piaras hoban
 
 ​
  notation_sampler.pdf
 ​
 
 On 12 October 2014 06:22, SoundsFromSound soundsfromso...@gmail.com wrote:
 Urs Liska wrote
  Am 09.10.2014 06:31, schrieb Marco Bagolin:
  The notation contemporary music is so diverse, I know.
  I wonder if actually Lilypond has commands for drawing graphic
  symbols, as line circle, curve, square, circle, etc...
 
  A nice thing about LilyPond's approach is that once you have invented
  something you can make it available as a command so it can easily be
  reused. You can also make such commands process arguments so they can be
  versatile and context-dependent.
  As an example have a look at the attached image. This is what someone on
  the list (Piaras Hoban) came up with when I asked for a function to
  write a stemmed glissando notation. The underlying function is quite
  complicated but you can use it by simply writing
 
  \stemmedGlissando #'(15 . #f) c'4
 
  to tell LilyPond that the next glissando will have 15 stems and no (the
  #f) trailing grace note to indicate the target note.
 
  Stemmed-glissando.png (34K)
  lt;http://lilypond.1069038.n5.nabble.com/attachment/167377/0/Stemmed-glissando.pnggt;
 
 Urs,
 
 Is there more information on that stemmed gliss function? I'd be interested
 to read more on that for LilyPond. Thanks!
 
 Ben
 
 

Incredible!!
If you can, please post the sources on openlilylib.org.  This is remarkable 
work that will be undoubtedly be of use to many people.

All the best,
~Mike

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Re: Hairpin inside slur?

[Mike Solomon]

On Jul 27, 2014, at 10:18 PM, pls p.l.schm...@gmx.de wrote:

 Hey all,
 
 today I experimented with hairpins inside slurs and encountered a strange 
 phenomenon: 
 
 \version 2.19.11
 
 exOne = { 
   \override Slur.height-limit = 20
   \override DynamicLineSpanner #'outside-staff-priority = ##f  
   c'32 ( g'32 ^\ c''32 g''32\! a''32 ^\ g''32 e''32\! g'32 )   
 }
 
 exTwo = { 
   \override Slur.height-limit = 20
   \override DynamicLineSpanner #'outside-staff-priority = ##f  
   e32 (  g32_\ b32 c'32\! d'32_\ c'32  g32\! e32 )
 }
 
 {
   \exOne 
 }
 
 {
   \exTwo 
 }
 
 hairpins-inside-slurs.png
 
 The second example works as expected.  I’m running out of ideas why the 
 hairpins can’t be moved inside the slur in the first example.  Am I missing 
 something?
 
 Thanks for your help!
 
 patrick
 On 26.07.2014, at 22:29, Abel Cheung abelche...@gmail.com wrote:
 
 On Sat, Jul 26, 2014 at 11:54 PM, Thomas Morley
 thomasmorle...@gmail.com wrote:
 Currently hairpin is always placed outside slurs. What controls their
 vertial priority?
 
  \override DynamicLineSpanner #'outside-staff-priority = ##f
 
 Silly me, I've been keep trying zero and negative values. Thanks a lot.
 
 Abel
 
 
 
 
  \music
  \break
  \override Hairpin.extra-offset = #'(0 . 3)
  \music
 }
 
 --
 Abel Cheung
 
 HTH,
  Harm
 
 


The slur is ignoring the hairpin and vice versa, so the lack of an intersection 
in the second example is serendipitous and not the result of any collision 
avoidance mechanism.

Currently, in addition to note-heads and stems, slurs avoid what are called 
“extra-objects”.  These objects are hard-coded into the Slur engraver and are 
things like tuplet numbers, scripts, and fingerings.  Hairpins and 
DynamicLineSpanners are currently not in this category.

So unfortunately it is currently not possible in the way you’re aiming for.

But, there is one possibility worth studying:

exOne = {
  \override Slur.height-limit = 20
  \override DynamicLineSpanner #'outside-staff-priority = #20
  \override Slur #'outside-staff-priority = #21
  c'32 ( g'32 ^\ c''32 g''32\! a''32 ^\ g''32 e''32\! g'32 )   
}

{
  \exOne
}

If you go with this, I'd recommend thinning out the girth of the hairpin, as a 
slur that high is a bit of an eyesore IMO.

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Re: cross-staff bug?

[Mike Solomon]

On Jul 25, 2014, at 6:19 PM, David Nalesnik david.nales...@gmail.com wrote:

 Hi,
 
 Attempting to put dynamics above cross-staff notes using the code below leads 
 to some awful collisions.  I've recast my example in three ways, to no avail.
 
 In the first example, besides the collisions, the final stem is reversed and 
 I get a number of programming errors:  Grob direction requested while 
 calculation in progress.  (See attached for image.)
 
 The second still has collisions and throws the programming error My 
 pure_y_common is a VerticalAlignment, which might contain several staves.
 
 The third throws no errors, but the collisions are still there.
 
 I could of course use overrides to move objects out of the way, but I'd much 
 rather learn that I'm doing something wrong, recast the example, and let 
 LilyPond handle placement for me.
 
 (To the suggestion that I simply put the dynamics below rather than above: 
 this won't always work in the piece I'm engraving.)
 
 Thanks,
 David
 
 %%
 \version 2.19.10
 
 up = \change Staff = up
 dn = \change Staff = down
 
 \new PianoStaff 
   \new Staff = up {
   s8*7^\p^\ s8^\f
   }
   \new Staff = down {
 e'8[( \up b' \dn g' \up d'' \dn b' \up f'' \dn d'' \up 
 a''\marcato\fermata])
   }
 
 
 \new PianoStaff 
   \new Staff = up {
 s1
   }
   \new Staff = down {
 e'8[(^\p^\ \up b' \dn g' \up d'' \dn b' \up f'' \dn d'' \up 
 a''\marcato\fermata^\f])
   }
 
 
 \new PianoStaff 
   \new Dynamics {
 s8*7^\p^\ s8\f
   }
   \new Staff = up {
 s1
   }
   \new Staff = down {
 e'8[( \up b' \dn g' \up d'' \dn b' \up f'' \dn d'' \up 
 a''\marcato\fermata])
   }
 
 
 

Unfortunately, I don’t think that there is anything you can do.

Cross-staff objects in LilyPond are a major area in need of improvement.  
Several cases like this were fixed by a patch a couple years ago, but the patch 
was reverted because it caused more problems than it fixed.

I don’t think there is a sane workaround yet for this sorta thing (meaning 
something that doesn’t require extra-y-offset), although I’d be interested to 
see if people have found workarounds.

Cheers,
MS


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Re: Proportional-Notation Durations

[Mike Solomon]

On Jul 24, 2014, at 9:08 PM, PMA peterarmstr...@aya.yale.edu wrote:

 PMA wrote:
 Thomas Morley wrote:
 2014-07-09 0:24 GMT+02:00 PMApeterarmstr...@aya.yale.edu:
 Hi List.
 
 I'm looking for a LilyPond way to specify note duration
 in a Proportional Notation context using exactly _one_
 stemless notehead type.
 
 Perhaps the first option is a mid-level horizontal line
 extending distance-X from the notehead. (The space
 following would indicate silence.)
 
 But I want ask: has anyone done this instead with the
 _hairpin_ -- attached to a note-head via pitch params,
 tapered to a param-specified length, and filled?
 

I’ve seen this done with glissandi.
It is possible with any spanner, but glissandi are easier in that they are 
already associated with note heads.

Cheers,
MS

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Re: notation rule question

[Mike Solomon]

On Jul 23, 2014, at 3:19 PM, David Kastrup d...@gnu.org wrote:

 Karol Majewski karo...@wp.pl writes:
 
 Thanks David, but you answered an old question :)
 
 My current question is related to:
 
 
 c4 c8 c8~ c4 c4
 
 vs
 
 c4 c8 c4. c4
 
 Jazzers would pick #1, Baroque composers #2.
 

I don’t recall seeing c4 c8 c4. c4 in any scores - I’d be curious to see who 
would use that and why.  The only use case I can think of off the cuff is a 
compound 3/8 + 5/8 time signature.  Otherwise, I think my brain would glitch if 
I didn’t see the beginning of the 2nd beat in common time, irrespective of the 
style.

Cheers,
MS
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Re: notation rule question

[Mike Solomon]

On Jul 23, 2014, at 3:51 PM, David Kastrup d...@gnu.org wrote:

 Mike Solomon m...@mikesolomon.org writes:
 
 On Jul 23, 2014, at 3:19 PM, David Kastrup d...@gnu.org wrote:
 
 Karol Majewski karo...@wp.pl writes:
 
 Thanks David, but you answered an old question :)
 
 My current question is related to:
 
 
 c4 c8 c8~ c4 c4
 
 vs
 
 c4 c8 c4. c4
 
 Jazzers would pick #1, Baroque composers #2.
 
 
 I don’t recall seeing c4 c8 c4. c4 in any scores - I’d be curious to
 see who would use that and why.  The only use case I can think of off
 the cuff is a compound 3/8 + 5/8 time signature.  Otherwise, I think
 my brain would glitch if I didn’t see the beginning of the 2nd beat in
 common time, irrespective of the style.
 
 Baroque and Renaissance stuff often does not even heed the bar line
 regarding note lengths, and, as opposed to modern music, putting
 excessive metric stresses to off-beat notes ruins the subtleties.

This is true.  In the example you sent at rehearsal B, the feel is 3/4 
alternating with 6/8.  This is a common convention in Renaissance dance music.  
As a result, the measure at B has a 3 feel and is written as such whereas the 
second measure has a 6/8 feel and has a dotted quarter.

What I was talking about in the previous e-mail was common time - I can’t think 
of a piece I’ve seen that uses the convention Karol was talking about.

 A
 device quite often employed (and partly restricted to some voices) is
 that of the hemiola.  Often with Bach it is not readily apparent in the
 notation, but it emerges when you use the normal word stresses on
 syllables.

I’ve never seen a hemiola in 4/4 - the most frequent use of it I’ve seen is in 
3/8 in Händel’s music.

 
 Here are fragments from Dowland's The Earl of Essex his Galliard (and
 yes, getting this flowing nicely was a bit of a challenge for me even
 though I only had to play the violin).  The point here is not that you
 can claim one measure is this way, another is that, and those are
 actually a hemiola.  The whole fun is with the ambiguity.  Using more
 ties than absolutely necessary distracts from that by overemphasizing
 the beats.

I completely agree - that is one of the interesting aspects of this music.
My response was purely based on the 4/4 time in the question, but you’re right 
that pieces in 3 often play on rhythmic ambiguity.

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Re: notation rule question

[Mike Solomon]

On Jul 23, 2014, at 6:25 PM, Phil Holmes m...@philholmes.net wrote:

 - Original Message - From: Mike Solomon
 
 I’ve never seen a hemiola in 4/4 - the most frequent use of it I’ve seen is 
 in 3/8 in Händel’s music.
 
 Something of a cheat, but check out Sea Fever, by John Ireland - the 
 penultimate bar in each verse?
 

’tis cheating - I vote for taking away one point from John Ireland for 
violating the “Thou shalt not write a 12/8 piece in 4/4 unless said 12/8 piece 
is consistently swung and you are using the two eighths equals triplet quarter 
triplet 8th” commandment.

Cheers,
MS
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Re: Lilypond as a library

[Mike Solomon]

On Jun 7, 2014, at 10:43 PM, Mauren Berti mauren.be...@gmail.com wrote:

 Hello!
 
 I am writing a software as my graduation project which captures audio and 
 generates a .ly file. I'd like to embed Lilypond as a library in my software, 
 so that it can generate the .pdf file directly, but was not able to find a 
 library-like compilation of Lilypond. Is there such a thing?
 
 Thanks in advance!
 Mauren.
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Dear Maruen,

You may want to check out Guido, which is (as far as I know) the only 
embeddable music engraving library:

http://sourceforge.net/p/guidolib

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Re: lilypond and multithreading

[Mike Solomon]

On Jun 4, 2014, at 10:51 AM, Orm Finnendahl orm.finnend...@hfmdk-frankfurt.de 
wrote:

 Hi,
 
 rendering a score on an i7-2640M with the option -djob-count=2
 shows 100% cpu load only on one thread of one of the two cores while
 rendering. 
 
 Is there some way or a recommended technique of setting up lilypond to
 better distribute the load? Or does lilypond have to get compiled with
 special compile options in order to take full advantage of
 multithreading?
 
 --
 Orm

Just a shout out to Orm that I’m working on a research project now for 
multi-threading in musical engraving via openmp - lemme know if that is of 
interest and I can send you some stuff.

Cheers,
MS
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Re: Locating X/Y positions of staves and bars in PNG output

[Mike Solomon]

On Apr 21, 2014, at 1:17 AM, David Hinkle dra...@gmail.com wrote:

 I'm working on a new GPL web application designed to help new people learn to 
 sing using the new FFT capabilities of HTML5.  (Git hub links below if you're 
 interested).
 
 I'd like to use Lilypond to generate scores for display in the app.  In order 
 to show the user the feedback about where they're singing I'd like to 
 superimpose that feedback on the score, but I need to know the X/Y positions 
 of the bars and staves.
 
 I'm willing to go so far as to modify Lilypond to export this information 
 when it generates an PNG but I'd like to ask the list first if they have any 
 other ideas, and if not, maybe they could point me to the best place to start 
 tinkering with Lilypond source to get the information exported.
 
 My Proof of concept:
 https://github.com/drachs/singingPractice
 
 A live example of precisely identifying the frequency of a tone and 
 displaying it on a staff.  Blue line is the precise frequency based on a 
 curve fit of the FFT, red bars are fft output.   White lines are bass and 
 treble clef staff lines.  (Staff lines are spread further out as the 
 frequency gets higher
 
 https://rawgit.com/drachs/singingPractice/2d53330f77122a435063b57dd5322418851510a4/notedisplay.html

LilyPond may not be the best tool to do what you want.

For short examples, check out the GUIDO server.

http://guidoeditor.grame.fr

It sends scores to a server in realtime and recuperates either a canvas or a 
png (http://guidoeditor.grame.fr/png.html).  The public API has methods that 
generate what are called 
Time2GraphicMap, which give you this type of XY information.

GUIDO is available at http://sourceforge.net/p/guidolib/code/ci/master/tree/.

For LilyPond, I’d recommend using the SVG to get data about where things are 
placed globally.

Cheers,
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Re: flag and accidental too snug

[Mike Solomon]

On Apr 17, 2014, at 7:52 PM, Pierre Perol-Schneider 
pierre.schneider.pa...@gmail.com wrote:

 2014-04-16 16:29 GMT+02:00 Mike Solomon m...@mikesolomon.org:
 Hey all,
 
 Hi Mike,
  
 In the fourth staff of the attached PNG, the sharp of the E-sharp is 
 dangerously flirty with the flag of the D-natural. Is there a sort of skyline 
 padding one can add to flags or accidentals to give them more breathing room?
 
 Here are two basic solutions:
 
 \version 2.18.2
 \relative c''
 {
   \key b \major
   \override Score.TimeSignature.stencil = ##f
   \tuplet 5/4 { 
 ais8 b e4 d8*1/2 s % This one's bad !
   }
   \tuplet 5/4 {
 % maybe better :
 \once\override Staff.AccidentalPlacement.padding = #-.05
 eis,8 fis cis'8.[ bis]
   }
 }
 
 HTH,
 ~Pierre

Padding’s the winner!  Many thanks.

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swung and straight at the same time

[Mike Solomon]

Hey LilyPonders,

I am trying to output MIDIs of a piece where I have swung and straight parts 
going on at the same time.  I have a little function I use that changes the 
entire piece to swung by varying the tempo, but that won’t work here.  What I 
need is something that will act directly on notes, multiplying all off-beat 
eighth notes by 2/3 and all on-beat eighth notes by 4/3. This’d require a music 
function that knows where in a measure notes fall, which’d require a two-pass 
mechanism - one that counts notes and another that applies transformations to 
counted notes.  Before I spend a day writing the thing, does anyone have one I 
could use?

Cheers,
MS
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Re: swung and straight at the same time

[Mike Solomon]

On Apr 10, 2014, at 9:22 PM, Marc Hohl m...@hohlart.de wrote:

 Am 10.04.2014 15:30, schrieb Mike Solomon:
 Hey LilyPonders,
 
 Hi Mike,
 
 did you have a look at
 
 http://code.google.com/p/lilypond/issues/detail?id=687
 
 There were some files posted in the comments that may be of some use.
 
 HTH,
 
 Marc
 

Now THAT’s what I’m talking about!  This should be bundled with LilyPond - 
easy, painless and does the trick.

Cheers,
MS
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Re: the next step?

[Mike Solomon]

On Apr 4, 2014, at 10:33 PM, b...@wolfcomposer.com wrote:

 Dear All, 
 
 A friend of mine asked a few questions about a pipe-organ piece i'd written 
 that was performed recently.  i ended up making two sheets of examples for 
 him, one with a table of canons in two voices, the other in four. 
 
 When i started making these, i thought of arranging them in two columns on a 
 single page.  To keep the numbers readable, i decided against this.  However, 
 i remain curious.  Is it possible to divide a page into columns?  i know that 
 text can be arranged into columns, and the Internals mention a PaperColumn 
 and its appropriate engravers and contexts.  Having read the sections on page 
 and score layout, i couldn't find anything that explicitly addressed this 
 problem.  i am working (still?!) in 2.14.2, so the next step just might be an 
 update. 
 
 If anybody wants to listen, i'd be honored.  The organist is Amelia Javorina. 
  i apologize for the audience noise, but it's the best that could be done 
 given the circumstances. 
 
 Thanks, All, and please take care. 
 bill

I recently typeset a piece like this - it required a lot of manual trickery, 
but it is doable if you use a top-level markup and the \fill-line command.  A 
recent command was also added by David N. that helps with this (see 
https://code.google.com/p/lilypond/issues/detail?id=3860).

It is not automated, so it is a pain, but it comes out looking very nice - you 
just have to manually do new markups for new pages.

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Re: Generating Interest in LilyPond through Kickstarter

[Mike Solomon]

On Mar 22, 2014, at 4:21 AM, Paul Tannous ptann...@hotmail.com wrote:

 Lilyponders,
 
 I am considering starting a Kickstarter project to engrave a major choral 
 work in LilyPond that is in the public domain. The idea is to raise funds 
 to pay for the LilyPond engraving, proofreading, contributor premiums, etc.
 
 The LilyPond source would then be put into the public domain. Rather than 
 make PDFs available, the LilyPond source could be put on a web site with 
 the URL for LilyPond. Anyone wanting a printed copy, could download and 
 install LilyPond if they didn't have it already. The idea would be to 
 generate interest in LilyPond.
 
 Premiums for contributors could be PDFs of some of the parts of the 
 engraved choral work or even the whole score for large contributors. From 
 what I've seen of Kickstarter, typically the smallest premium that is 
 attractive enough to generate contributions is a T-Shirt. So, this could be 
 one of our premiums. If you have ideas for other premiums, they would be 
 appreciated.
 
 If this project is successful, other projects for different works could be 
 started. A successful project might spawn imitators making even more 
 LilyPond source works available.
 
 I have talked to several choir directors about what to use for a first 
 project. Handel's 'Messiah' was suggested by all of them. I am aware of 
 Nicolas Sceaux's fine work in engraving 'Messiah', but the choir directors 
 who spoke with me prefer to use a different version for their performances.
 
 All comments regarding this project will be appreciated.
 
 Thank you,
 Paul Tannous
 

Sounds like a great idea!
Make sure to e-mail choir directors across the US to see what may interest them 
- even if they cannot contribute financially to the project, it will have more 
chances of success if you have concerts lined up to which donors can go, a 
recording that they can receive, a program in which their name appears, etc..

All the best and good luck!

Cheers,
MS
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Re: Oskar Fried: the Big Bang

[Mike Solomon]

On Mar 11, 2014, at 12:24 PM, Francisco Vila paconet@gmail.com wrote:

 2014-03-11 12:07 GMT+01:00 Urs Liska u...@openlilylib.org:
 Hi all,
 
 Janek and I have made some fuzz recently about that secret March 11, and
 now's the time to disclose the great news:
 
 Our edition of Oskar Fried's songs was elected BEST EDITION 2014 by the
 German Music Publishers' Association, and we'll receive the award at the
 Frankfurt Musikmesse on Friday!
 
 :-) :-) :-)
 
 
 WowWowWow!! Congratulations!!
 And in addition, this is a very good advertisment for LilyPond.
 

Truly wonderful news!

I’m very happy for you on all of those fronts (award, new publishing house, 
making know-how free, etc.).

A very heartfelt congratulations to both of you!!

~Mike
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Re: Pitch name change in the middle of a score

[Mike Solomon]

On Mar 7, 2014, at 3:25 PM, Phil Holmes m...@philholmes.net wrote:

 I don't think many users use this feature, so you may not get help with it.  
 It might help if you explain what you're trying to do: there might be another 
 way.
 
 --
 Phil Holmes
  
  
 - Original Message -
 From: guoguocuozuoduo
 To: lilypond-user@gnu.org
 Sent: Friday, March 07, 2014 4:56 AM
 Subject: Pitch name change in the middle of a score
 
 Hi all,
  
 I would like to know how I can change the pitch name input during the middle 
 of a score (it is to be used by only one Staff).
  
 For example, I would like to change this
  
 pitchnamesBagpipe = #`( 
 (G . ,(ly:make-pitch 0 4 NATURAL))
 (a . ,(ly:make-pitch 0 5 NATURAL))
 (b . ,(ly:make-pitch 0 6 NATURAL))
 (c . ,(ly:make-pitch 1 0 SHARP))
 (cflat . ,(ly:make-pitch 1 0 FLAT))
 (d . ,(ly:make-pitch 1 1 NATURAL))
 (e . ,(ly:make-pitch 1 2 NATURAL))
 (f . ,(ly:make-pitch 1 3 SHARP))
 (fflat . ,(ly:make-pitch 1 3 FLAT))
 (g . ,(ly:make-pitch 1 4 NATURAL))
 (gflat . ,(ly:make-pitch 1 4 FLAT))
 (A . ,(ly:make-pitch 1 5 NATURAL))
 (B . ,(ly:make-pitch 1 6 NATURAL))
 (C . ,(ly:make-pitch 2 0 SHARP))
 )
 pitchnames = \pitchnamesBagpipe
 #(ly:parser-set-note-names parser pitchnames)
  
 to this:
  
 pitchnamesBreton = #`(
 (G . ,(ly:make-pitch -1 5 FLAT))
 (a . ,(ly:make-pitch -1 6 FLAT))
 (b . ,(ly:make-pitch 0 0 NATURAL))
 (c . ,(ly:make-pitch 0 1 NATURAL))
 (cflat . ,(ly:make-pitch 0 1 FLAT))
 (d . ,(ly:make-pitch 0 2 FLAT))
 (e . ,(ly:make-pitch 0 3 NATURAL))
 (f . ,(ly:make-pitch 0 4 NATURAL))
 (fflat . ,(ly:make-pitch 0 4 FLAT))
 (g . ,(ly:make-pitch 0 5 FLAT))
 (gflat . ,(ly:make-pitch 0 5 DOUBLE-FLAT))
 (A . ,(ly:make-pitch 0 6 FLAT))
 (B . ,(ly:make-pitch 1 0 NATURAL))
 (C . ,(ly:make-pitch 1 1 NATURAL))
 )
 pitchnames = \pitchnamesBreton
 #(ly:parser-set-note-names parser pitchnames)
  
 \with did not work.
  
 A reply would be much appreciated.
  
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When in doubt, hack the naturalMusic function to do any fancy pitch shiftery.
It has been of immense utility to me on innumerable occasions.

http://www.lilypond.org/doc/v2.18/Documentation/notation/changing-multiple-pitches#transpose

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Re: \fill-line while respecting natural widths

[Mike Solomon]

On Feb 8, 2014, at 10:24 AM, Ed Gordijn ed.klari...@gmail.com wrote:

 Hi David,
 
 See the attached.  (I just changed a line or two of the definition of 
 \fill-line from scm/define-markup-commands.scm.) Hopefully this gives you 
 what you want!
 
 --David
 
 
 That's interesting, see the result of the two markups:
 
 \version 2.18.0
 
 \markup \fill-line {
   This line has got even spaces, or is it a bit different?
 }
 \markup \fill-line-two {
   And this line has different spacing, it uses word length!
 }
 
 Is this a bug in the original \fill-line? 

It’s a feature - \fill-line evenly distributes the centers of objects along a 
line irrespective of their widths.

Cheers,
MS

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\fill-line while respecting natural widths

[Mike Solomon]

Hey all

If I have

\markup \fill-line {
foo br hi
}

The line will be filled irrespective of the widths of the elements, meaning
that the middle element will always be on the center of the page.

Is there a way to do this such that the space between elements is

(line_length - (elt_0_length + elt_1_length + … + el_tn_length)) / (n - 1)

Cheers,
MS
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Re: \fill-line while respecting natural widths

[Mike Solomon]

On Feb 8, 2014, at 1:18 AM, David Nalesnik david.nales...@gmail.com wrote:

 Hi Mike,
 
 See the attached.  (I just changed a line or two of the definition of 
 \fill-line from scm/define-markup-commands.scm.) Hopefully this gives you 
 what you want!
 
 --David
 fill-line-variant.ly

Great work!

Thanks for taking the time to do this.

I’ve posted on-line a PDF of how I use it. By spacing top-level markups
this way, we get nice columns : 
http://mikesolomon.org/lilypond/davidNSolution.pdf

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Re: Generating random notes

[Mike Solomon]

On Jan 13, 2014, at 12:38 PM, Philip Rhoades p...@pricom.com.au wrote:

 People,
 
 I am doing my own Alternative Notation for Classical Guitar and with a lot of 
 help from Paul Morris am making good progress.  I was about to write a little 
 Ruby script to generate random notes (400 == 100 bars) within different 
 ranges to practise jumping around the fretboard but it occurred to me that I 
 might be able to do this in Scheme - which would help further the cause of 
 learning for Lilypond.  Is this a sensible thing to do or should I just do it 
 with ruby and plug the results into a .ly file?
 
 Thanks,
 
 Phil.

It can be done in Scheme, but I find that it’s better to do it in a scripting 
language (I use Python).  abjad (http://abjad.mbrsi.org/) is great for that 
sorta thing.
Generating human readable .ly syntax is valuable to spot errors, and 
creating/manipulating events in Scheme is annoying.

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Re: how close are we to having an addAt or insertAt feature?

[Mike Solomon]

On Jan 14, 2014, at 1:03 AM, Kieren MacMillan kieren_macmil...@sympatico.ca 
wrote:

 Hello all,
 
 What would be involved in developing a feature to add notes or tweaks at an 
 arbitrary moment within a music expression?
 
 e.g.
 
global = \repeat unfold 100 s1
music = \addAt (4 3/8) \global \once \override RehearsalMark.extra-offset 
 #’(-1 . 0)
 
 where (4 3/8) means “in the fourth measure, at the moment of the 3rd eighth 
 note”
 
 This would allow “perfect” separation of content from presentation — a very 
 welcome thing to my mind.
 
 Thanks,
 Kieren.

I agree that this’d be great.

A Scheme function can unfold repeats (we’d need one for absolute mode and one 
for relative), and a Scheme function can comb through music of arbitrary length 
and attach things to it, so we’re about a half-day’s work away from a hack that 
doesn’t involve iterators.

If we’re gonna touch the C++ iterators, it’ll require more design strategy and 
will take more time.

Cheers,
MS
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Fwd: Start creating with Finale 2014 today

[Mike Solomon]

Begin forwarded message:

 From: Finale makemu...@email.makemusic.com
 Subject: Start creating with Finale 2014 today
 Date: January 7, 2014 at 5:14:27 PM GMT+2
 To: mike...@stanfordalumni.org
 Reply-To: Finale 
 support-b6k8aa6a2hmr65au18v5mb91thh...@email.makemusic.com
 
 
 Finale 2014 includes many improvements to make your notation look world-class 
 in less time, and much more. Check out the New Tools in Finale 2014 video.
 
 With faster workflow, notation enhancements, backward and forward 
 compatibility, more Garritan sounds, and improvements to its core, we've 
 invested in Finale to support your pursuit of perfection, tomorrow and beyond.
 
   
 Own the future today for only $139.95
 
   
 Join the conversation: #ownthefuture
 
 Questions? Contact customer support at www.finalemusic.com/support
   
 7615 Golden Triangle Drive, Suite M Eden Prairie, MN 55344-3848
 We respect your privacy, to unsubscribe click here.
 

Best slogan ever!
Those of you with twitter accounts should start tweeting w/ #ownthefuture!

Cheers,
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Re: Survey: Git (G)UIs

[Mike Solomon]

On Jan 6, 2014, at 2:53 PM, Urs Liska u...@openlilylib.org wrote:

 Hi all Git users,
 
 I'd like to make a survey on how you are working with Git.
 
 Do you use the command line exclusively, or a GUI (which one(s))?
 Or a GUI for certain tasks and the command line for others?

I have never used a GUI for git, save browsing on github’s website before 
checking out a repo.
I belabor under the probably false assumption that GUIs are slow, buggy, 
indirect and often aesthetically unpleasing.

Cheers,
MS
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Re: ANN: python-ly 0.1 (the ly tool)

[Mike Solomon]

On Jan 7, 2014, at 8:31 AM, Wilbert Berendsen wbs...@xs4all.nl wrote:

 Hi all,
 
 a first release of the command-line ly tool with the Python ly library is out:
 
 Url: https://pypi.python.org/pypi/python-ly/

WAY cool - many thanks!
Took it for a spin and I see a noticeable improvement in several files.
In general, as the hackishness of the file increases, the more difficulty the 
script has beautifying it.

I’d love to help you extend the script to do two things that I need for my 
projects:
-) pretty scheme and music functions
-) certain spacing conventions based on rules (that could be elaborated in 
python)

Lemme know if that’s of interest.

Cheers,
MS
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tremolo placement in crimped staves

[Mike Solomon]

Hey all,

I’m working on a piece where staff space is used to indicate intervals.

In a staff where the distance between lines is halved, I need to double stem 
lengths (which are calculated in staff spaces) so that stems are comfortably 
readable.

However, tremolos are shifted up on these stems compared to their usual 
placement.  Is there any not-too-hackish way to bump the tremolo down to an 
aesthetically nicer place?

\version 2.19.0

{
\override Staff.StaffSymbol.staff-space = #0.5
\override Stem.details.lengths = #'(7.0 7.0 7.0 8.5 10.0 12.0)
g'4:32
}

Cheers,
MS
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Re: tremolo placement in crimped staves

[Mike Solomon]

On Jan 3, 2014, at 10:23 AM, Valentin Villenave valen...@villenave.net wrote:

 On Fri, Jan 3, 2014 at 9:01 AM, Mike Solomon m...@mikesolomon.org wrote:
 However, tremolos are shifted up on these stems compared to their usual 
 placement.  Is there any not-too-hackish way to bump the tremolo down to an 
 aesthetically nicer place?
 
 I assume this is the sort of thing you’d refer to as hackish?
 http://lsr.dsi.unimi.it/LSR/Snippet?id=374
 
 (Then: I’ve got nothin’ :-)
 

I think a better option would be a Y-offset function for the tremolo that put 
it farther down the stem - how far down I’m not sure…

~Mike


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Re: calling all opera/musical engravers

[Mike Solomon]

On Dec 16, 2013, at 11:59 PM, Kieren MacMillan kieren_macmil...@sympatico.ca 
wrote:

 Hello all!
 
 I would love to hear from anyone who has engraved a full opera or musical 
 (with at least vocal score plus full score) in Lilypond.
 
 Specifically:
 1. Is lilypond-book the only sane way to do it?

I don’t use LilyPond book for my stage works - just the prefaces.

 2. What functions/extensions/tricks did you use to bend Lily to your will?

Lots - nothing unanswerable by this list if you have questions.

 3. What pitfalls are to be watched for (and hopefully avoided)?

Make sure to separate out content and layout info as much as possible.

 4. What limitations cannot [currently] be overcome?

I have a piece where several characters are singing in different 
time-signatures freely and they switch at certain cues.  It requires floating 
bits of music to appear all over the page, and LilyPond is not really designed 
for that.  I wound up typesetting the individual bits and importing them into 
inkscape for the layout.  This type of layout is not crazy enough to warrant 
doing outside of LilyPond - there should be a way to line up floating staves 
based on anchors.  There are lots of ways to go about this, but the one I’m 
most excited about would be making markups more object oriented and then 
creating spacing engines that line up markups based on anchors.

Cheers,
MS


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Re: Increasing space for lyrics for one part of a verse

[Mike Solomon]

On Dec 17, 2013, at 8:42 AM, bombcar lilyp...@bombcar.com wrote:

 Hello,
 
 This is the shortest example I can make (I've removed the part of the verse
 that doesn't collide with notes and left only the part that shows the
 issue):
 
 altoMusic = \relative c' {
  r4 f2( bes4 |
  bes8[ a8 g8 f8] g8[ f8] ees4) |
  r4  f8([ ees8] d4 g4 |
  g8[ f8 ees8 d8] ees8[ d8] c4) |
 
  r4 d8([ c8] bes4 ees4 |
  c8[ d8 ees8]) d8 c4 f4 |
  f4 ees4 c4 f4 |
  f2 f2 \bar ||
 }
 
 verseOne = \lyricmode {
  Glo --  ri --  a,  ho --  san --  na  in  ex --  cel --  sis!
 }
 
 \score {
  
\new Staff = women 
  \new Voice = altos {
\voiceTwo
\altoMusic 
  }
 
\new Lyrics \lyricsto altos \verseOne
 
 }
 
 

The score looks good - are you looking to add more padding between the lyrics 
and the staff?

Cheers,
MS
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Re: Increasing space for lyrics for one part of a verse

[Mike Solomon]

On Dec 17, 2013, at 8:52 AM, bombcar lilyp...@bombcar.com wrote:

 Yes. It's hard to see in that short example; I've uploaded the entire file
 and PDF here:
 
 http://schnecke.bombcar.com/random/dingdongmerrilyonhigh.ly
 http://schnecke.bombcar.com/random/dingdongmerrilyonhigh.pdf
 
 As you can see the verses are fine; the refrain has a slur run into the
 dashes.
 
 -tom
 

There is a file 3verse.ly that needs to be included to compile.

Cheers,
MS

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Re: notation for double-time?

[Mike Solomon]

On Dec 14, 2013, at 1:41 PM, Xavier Noria f...@hashref.com wrote:

 Not specific to Lilypond but hope you don't mind the question, I have looked 
 for this in online music notation glossaries without success.
 
 I am transcribing a jazz ballad, and I am told the player thinks the solo in 
 double-time and I should reflect that switching to 8ths rather than 16ths.
 
 Is there a notation to mark you need to read the score that way from some bar 
 on? and then back to normal tempo at some later bar? (I am transcribing the 
 score of one single player, no need to sync with other instruments.)

I’d do two things:

switch to cut time : \time 2/2
put a tempo indication sixteenth note = 8th note : \tempo \mark \markup \line { 
\note #”16” #UP = \note #”8” #UP }

The reverse when you go back.

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Re: notation for double-time?

[Mike Solomon]

On Dec 14, 2013, at 2:16 PM, Mike Solomon m...@mikesolomon.org wrote:

 On Dec 14, 2013, at 1:41 PM, Xavier Noria f...@hashref.com wrote:
 
 Not specific to Lilypond but hope you don't mind the question, I have looked 
 for this in online music notation glossaries without success.
 
 I am transcribing a jazz ballad, and I am told the player thinks the solo in 
 double-time and I should reflect that switching to 8ths rather than 16ths.
 
 Is there a notation to mark you need to read the score that way from some 
 bar on? and then back to normal tempo at some later bar? (I am transcribing 
 the score of one single player, no need to sync with other instruments.)
 
 I’d do two things:
 
 switch to cut time : \time 2/2
 put a tempo indication sixteenth note = 8th note : \tempo \mark \markup \line 
 { \note #”16” #UP = \note #”8” #UP }
 
 The reverse when you go back.
 
 Cheers,
 MS

Sorry, should be :
\tempo \markup \line { \note #”16” #UP = \note #”8” #UP }

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Re: How to count the number of notes in a .ly file? (David Kastrup)

[Mike Solomon]

On Dec 11, 2013, at 8:47 PM, Jan Rosseel j...@rosseel.com wrote:

 From: Urs Liska u...@openlilylib.org
 
 I repeat my (corrected) suggestion which could be a workaround at
 least.
 
 If you can use Frescobaldi from Git you can pull and checkout the
 accounting branch (not statistics) of my Frescobaldi fork on
 https://github.com/uliska/frescobaldi. (Ah no, you don't necessarily
 need
 Git, you can also download a ZIP file of any branch from Github) This
 allows
 you to copy a rudimentary statistic to clipboard on a file basis (the
 open
 document). This contains a line
 
 XX | Note
 
 which you could grep or something like this to get your numbers.
 
 Very hacky but _could_ work if the number of files is not too big.
 
 HTH
 Urs
 
 
 I'll give that a try after our launch. It would be a good feature to
 have in Frescobaldi. It's a common feature in a word processor, and also
 belongs in a tool like Frescobaldi. 
 
 For my purpose (score split over many files) David's suggestion likely
 works better. I assume the Frescobaldi hack  only counts the notes in
 the file that is open? Or does it follow the includes (recursively)?

You can set
\override NoteHead.id = #”foobar”
then, if your file is foo.ly, invoke
lilypond -dbackend=svg foo.ly
this will create foo.svg. Then,
perl -ne '$x+=s/foobar//g;END{print $x,\n;}’ foo.svg
will give you the number of notes.

Cheers,
MS
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Re: lilypond.org Pondings

[Mike Solomon]

On Dec 10, 2013, at 8:03 AM, Mike Solomon m...@mikesolomon.org wrote:

 On Dec 10, 2013, at 12:20 AM, Janek Warchoł janek.lilyp...@gmail.com wrote:
 
 2013/12/7 Urs Liska u...@openlilylib.org:
 Mike, are you still responsible for this or how will new Pondings be
 included?
 
 Pondings can be added by anyone who has push access (and if someone
 without it makes a patch, having it pushed by someone should be a
 no-brainer).  David is adding one now:
 http://code.google.com/p/lilypond/issues/detail?id=3712 and i think it
 would be generally good if everyone felt responsible for pondings.
 
 It would be nice to drop three sentences in the CG about pondings
 (probably in chapter about website).
 I'd do it myself, but i already have too much to do :/
 
 best,
 Janek
 
 There probably should be an easier way to submit these things, as it is truly 
 a no-brainer.
 The only difficult step is substituting all special characters with HTML 
 codes, which is doable on a number of conversion sites.
 

Thinking out loud, perhaps one solution would be a web-based submission 
mechanism, not unlike OpenLilyLib.

Cheers
MS

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survey on multiple development versions

[Mike Solomon]

Hey all,

I recently e-mailed the development list about multiple concurrent development 
versions and I’d like to ask users, especially those currently using the 
development version, to take the time to respond to a question regarding the 
proposal.

If lilypond.org were to propose multiple development versions (say 5 instead of 
1), each offering a different set of experimental features (including the 
canonical development version), and if lilypond.org offered information on 
which versions were in need of testing by what types of users, would you be 
interested in helping out by doing some typesetting with these alternative 
versions?

Cheers,
MS
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Re: survey on multiple development versions

[Mike Solomon]

On Dec 10, 2013, at 3:41 PM, Carl Peterson carlopeter...@gmail.com wrote:

 On Tue, Dec 10, 2013 at 8:23 AM, Mike Solomon m...@mikesolomon.org wrote:
 Hey all,
 
 I recently e-mailed the development list about multiple concurrent 
 development versions and I’d like to ask users, especially those currently 
 using the development version, to take the time to respond to a question 
 regarding the proposal.
 
 If lilypond.org were to propose multiple development versions (say 5 instead 
 of 1), each offering a different set of experimental features (including the 
 canonical development version), and if lilypond.org offered information on 
 which versions were in need of testing by what types of users, would you be 
 interested in helping out by doing some typesetting with these alternative 
 versions?
 
 The problem I see is an issue of mixing and matching. What if there is a 
 feature I want to use on Development Version A and one I want to use on 
 Development Version B, within the same score?

The idea is that the canonical version will pick up all inclusion-worthy 
features a few weeks / months after the experimental versions.  It is true that 
it’s annoying to wait, but the current state of things is for these features 
either to not exist at all or exist at a much later date.  I think that the 
scenario you describe above, while frustrating, is preferential to the current 
state of things.

 I also foresee a multiplication of the issues regarding who is using what 
 version on this list, as in:
 
 Today:
 
 A: I have this problem. I am using version 2.17.3
 B: We fixed this problem in 2.17.23
 
 With multiple versions:
 
 A: I have this problem. I am using version 2.19.A.3
 B: This was fixed on version 2.19.B
 A: Okay, that fixed that, now I have this problem.
 C: This was fixed on version 2.19.C
 A: I'm confused. How do I fix both of these problems?”

The versions are always “branched off of canonical development, like so:

canonical development
|— A
|— B
|— C

Think of canonical development as a foundation for A, B and C. This means that 
any bugs fixed in the canonical version will be fixed in the experimental one 
unless the experiments are so experimental that they break everything, which 
we’d obviously try to avoid.  Conversely, a problem in branch A will never be 
fixed in just branch B - it will first be fixed in A and then applied to all of 
the branches (or it will persist in all the branches if no one catches it).

Let’s assume that canonical devel is at 2.19.23.  You are using 2.19.3.A.  It 
would go as follows:

A: I have this problem. I am using version 2.19.3.A”

an appropriate response would be either:

“This was fixed with version 2.19.23.”
or “This was fixed with version 2.19.23.A”
but never “This was fixed with version 2.19.23.B

It is true, though, that attentiveness to versioning would become important for 
testers and responders alike.

Cheers,
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Re: survey on multiple development versions

[Mike Solomon]

On Dec 10, 2013, at 5:07 PM, Phil Holmes m...@philholmes.net wrote:

 
 - Original Message - From: Mike Solomon m...@mikesolomon.org
 To: LilyPond Users lilypond-user@gnu.org
 Sent: Tuesday, December 10, 2013 1:23 PM
 Subject: survey on multiple development versions
 
 
 Hey all,
 
 I recently e-mailed the development list about multiple concurrent 
 development versions and I’d like to ask users, especially those currently 
 using the development version, to take the time to respond to a question 
 regarding the proposal.
 
 If lilypond.org were to propose multiple development versions (say 5 instead 
 of 1), each offering a different set of experimental features (including the 
 canonical development version), and if lilypond.org offered information on 
 which versions were in need of testing by what types of users, would you be 
 interested in helping out by doing some typesetting with these alternative 
 versions?
 
 Cheers,
 MS
 ___
 
 It seems to be fixing a problem we don't have.  What would be the benefit?

Currently, LilyPond development is down from the level it was 2-3 years ago in 
terms of people proposing ambitious improvements (medieval music, footnotes, 
page breaking algorithms, etc.) with the exception of David’s work.  I think 
that at least part of the reason for this is because of difficulties 
integrating large projects into the main branch.

 It might make more sense to think about improved ways of creating stable 
 releases during a continuing development cycle.


What you say above is a more general way to state the program.  Generally, we 
need to figure out how can we have a robust continuous development cycle 
benefiting from multiple players while continuing to create stable releases.  
The survey I’m sending out is trying to gage one way that user participation 
may help in this - it is certainly not the only way.

Cheers,
MS
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