Re: Need some guidance from a Lilypond Scheme expert
2012/6/11 Matthew Probst matt...@yak.org:
I understand the Scheme language at intermediate level, but am not adept at
processing Lilypond data structures.
I'm looking into Snippet 465:
http://lsr.dsi.unimi.it/LSR/Item?id=465
I have the following in my Lilypond code, for typesetting a common guitar
strum pattern:
rhtOne = #(rhythm-template #{ s16 s16 r8 s16 #} )
\relative c' { r4 \rhtOne f a d1 r2 }
This works fine. However, this does not:
rhtOne = #(rhythm-template #{ s16 s16 r8 s16 #} )
Dnine = { \relative c' { f a d1 } }
\relative c' { r4 \rhtOne \Dnine r2 }
The problem is that the snippet constructs a single chord event to apply the
rythm to, by walking down the 'elements property of the first parameter, and
collecting their pitches into a list with (map):
http://pastebin.com/tSm1tw65
The data structure this sees from my first Lilypond example is like this:
http://pastebin.com/Tx8qhz6u
However, the data structure created by my second Lilypond example looks more
like this:
http://pastebin.com/FuCRHDyK
In the first example, it sees an 'EventChord, so we properly fetch a list of
all its children's 'pitch properties. In the second example, it's
'SequentialMusic, not an 'EventChord. What I want to do is walk down the
data structure and find the first EventChord or NoteEvent.
That doesn't seem too hard, actually. Need to define a function
first-non-sequence, and conditionally drill farther into the data structure
until I find the first non-sequence. Understanding that this is pseudocode
instead of proper syntax, I'd need to do something roughly like the
following:
http://pastebin.com/3eNNYjHE
Also have to potentially recurse farther into nested levels of
'SequentialMusic or down each item in the 'elements list, I am comfortable
fleshing it out to that level.
What I'm wondering, is what (if any) Lilypond scheme function do I use to
determine the type of a music data structure? I could certainly just say
(car mus) but I'm wondering if there's a function I should use for the sake
of encapsulation. I see that one can get properties of a music element with
(ly:music-property mus 'SYMBOL), the existing snippet code grabs the
'elements list using (ly:music-property mus 'elements).
try (ly:music-property mus 'name) I think that does it?
Jakob.
If it's just a matter of use (car mus) and comparing the symbol against a
given list of options, fine, I just don't know if I'm going the right way.
I've been looking at the docs for several days now, and have done so at
several times in the past, and I'm just not quickly finding what I need.
My goal is to finally immerse myself into the Scheme side of Lilypond, and
start implementing some fixes to the various rhythm-pitch template snippets
that I've been wishing for, instead of complaining.
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Re:
You could try to install QJackctl, which is designed to control the jack audio server, but also lets you control alsa midi connections. Then start rumor, and on the qjackctl interface, click Connect and select the alsa tab. You should then see some midi ports (ideally, an output from your keyboard controller and and input to rumor, that you can then manually connect) (note that you can do the same thing via the command-line aconnect, if you are into that sort of thing...) Hope that helps... Jakob 2012/6/10 Stefan Thomas kontrapunktste...@googlemail.com: Dear community, I have the following problem, which is more a problem with rumor and linux than with lilypond. When I type rumor --oss I get Can not open /dev/sequencer When I just type rumor I get ALSA port connection error; do it manually using `aconnect' and it doesn't react von midi-input. What can I do now to get it working? ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
tie-accent collision
Good evening
In the example below, the tie collides with the accent. It looks a
little messy, is it intentional?
\version 2.15.40
\new Staff {
f''8.-~f''16-
}
Jakob.
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Re: Automatic setting custom bar lines
13. feb. 2012 01.54 skrev Thomas Morley thomasmorle...@googlemail.com:
Hi again,
perhaps you may want to use:
\version 2.14.2
%\version 2.15.29
CustomDefaultBarLineEngraver =
#(lambda (context)
(let ((glyph |))
`((acknowledgers
(bar-line-interface .
,(lambda (engraver grob source-engraver)
(if (equal? glyph (ly:grob-property grob 'glyph))
(set! (ly:grob-property grob 'bar-extent) '(0 . 2))
#f)))
\new Staff \relative c'' {
% If you don't want to put it in \layout use it like:
c1 \bar c1 c c \bar :|: \break
c1 c1 \bar || c c \bar :|: \break
\repeat volta 2 {
c1 c1 c c \bar :|: } \break
c1 \bar :|S|: c1 \bar S c \bar |.
}
\layout {
\context {
\Staff
\consists #CustomDefaultBarLineEngraver
}
}
This is my very first custom-scheme-engraver. I'd appreciate if
someone more experienced could have a look on it.
This is very nice! A while ago I was trying to shorten every _other_
bar line shorter, but couldn't figure out how to do it automatically.
With your technique it's easy to extract the bar number from
context:
CustomOtherBarLineEngraver =
#(lambda (context)
(let ((glyph |))
`((acknowledgers
(bar-line-interface .
,(lambda (engraver grob source-engraver)
(let ((oddbar (remainder (ly:context-property context
'currentBarNumber) 2)))
(if (and (eq? oddbar 0)
(equal? glyph (ly:grob-property grob 'glyph)))
(set! (ly:grob-property grob 'bar-extent) '(-1 . 1))
#f
I suppose the code could be parameterized in order to make it more
generally useful...
Cheers
Jakob.
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Re: override TupletNumber . Custom text
Sigh.. This is a bit confusing..
9. feb. 2012 23.45 skrev Pavel Roskin pro...@gnu.org:
On Thu, 9 Feb 2012 22:53:09 +0100
jakob lund jakob.be...@gmail.com wrote:
9. feb. 2012 22.12 skrev Pavel Roskin pro...@gnu.org:
It's weird indeed. If Default_bar_line_engraver is placed above
Timing_translator, then the beats are correct.
You mean placed below? ... I'll go to sleep Now!
I mean placed above. This produces wrong output (3 beats in the first
measure):
\score {
\new Staff \with {
\consists Timing_translator
\consists Default_bar_line_engraver
}
\new Voice \repeat unfold 8 { d'4 }
\layout {}
}
But this is OK (4 beats everywhere):
\score {
\new Staff \with {
\consists Default_bar_line_engraver
\consists Timing_translator
}
\new Voice \repeat unfold 8 { d'4 }
\layout {}
}
If you add
\context { \Score \remove Timing_translator }
to your \layout in both of the above snippets, the reverse situation occurs.
It seems to me that the normal thing would be to remove it; somehow
it seems logical that the barline engraver would use the info
generated by the timing translator to decide where to place barlines,
so the barline engraver should be last.
I'm *guessing* that if not explicitly removed from Score, there will
be TWO Timing_translators going in parallel, creating some sort of
race condition?!
Taking the example from the docs and commenting out \remove
Timing_translator also messes things up.
Thanks for pointing that out... I made a comment there suggesting a
text to update the docs, it should be in there :-)
Yes, it would be more useful to post our insights in the bug tracker if
we can add something valuable to the discussion.
Right now I'm not sure that I *do* have anything valuable to add, at
least not in terms of writing a concise description of the situation
for putting in the documentation :-/ (though I still think there ought
to be one)
--
Regards,
Pavel Roskin
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Re: the word LilyPond
9. feb. 2012 17.21 skrev Helge Kruse helge.kruse-nos...@gmx.net: Am 09.02.2012 12:45, schrieb Francisco Vila: Files attached. I dislike the binocles at the right hand side. I like those ;-) Helge ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: override TupletNumber . Custom text
9. feb. 2012 19.25 skrev Pavel Roskin pro...@gnu.org:
On Thu, 9 Feb 2012 17:15:50 +0100
Nils l...@nilsgey.de wrote:
Hello,
I like to work with full tuplet numbers because it makes it clear
which version of quintuplet is meant (2:5 or 4:5).
Since I don't like errors, however 'traditional' they may have
become, I would like to change the 3:2 of a triplet in a more
correct 2/3.
How can I get this format into
\override TupletNumber #'text = [...] %old:
#tuplet-number::calc-fraction-text
The original function is defined in scm/output-lib.scm, and can be
modified easily:
correctFraction = #(lambda (grob)
(let ((ev (event-cause grob)))
(format #f ~a/~a
(ly:event-property ev 'numerator)
(ly:event-property ev 'denominator
{
\override TupletNumber #'text = \correctFraction
\times 2/3 { c'4 e' g' }
}
Jakob
{
\override TupletNumber #'text = \markup { 2/3 }
\times 2/3 { c'4 e' g' }
}
--
Regards,
Pavel Roskin
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Re: override TupletNumber . Custom text
9. feb. 2012 21.13 skrev Nils l...@nilsgey.de: On Thu, 9 Feb 2012 19:50:24 +0100 jakob lund jakob.be...@gmail.com wrote: 9. feb. 2012 19.25 skrev Pavel Roskin pro...@gnu.org: On Thu, 9 Feb 2012 17:15:50 +0100 Nils l...@nilsgey.de wrote: Hello, I like to work with full tuplet numbers because it makes it clear which version of quintuplet is meant (2:5 or 4:5). Since I don't like errors, however 'traditional' they may have become, I would like to change the 3:2 of a triplet in a more correct 2/3. How can I get this format into \override TupletNumber #'text = [...] %old: #tuplet-number::calc-fraction-text The original function is defined in scm/output-lib.scm, and can be modified easily: Thank you two very much. Finally there is no mistunderstanding anymore when seeing something like this: http://lily.sytes.net/v2k2ju/1 All very well. However, in that example, the first bar appears to be only four beats, and the cause seems to be the Default_bar_line_engraver Isn't that wierd? The same happens here: http://lily.sytes.net/wi55ub/1 Is it some sort of bug or am I too long past my bedtime :-/ That is one neat web app btw! Jakob Nils ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: duration and pitch in a function
2011/12/9 Matthew Collett m_coll...@ihug.co.nz: On 9/12/2011, at 2:27 pm, David Kastrup wrote: On 8/12/2011, at 10:48 pm, David Kastrup wrote: Please, *never*, *never*, *never* send a courtesy copy of a public answer as a private mail when answering on a mailing list unless you have been _explicitly_ asked to provide such a copy. Normally I'd agree with you, but in fairness to Paolo I observe that this is the only mailing list I am or ever have been a member of in which the default behaviour is to reply to the sender (only) rather than to the list. I have in consequence more than once unintentionally sent a separate courtesy copy message. You arae confusing a _separate_ courtesy copy, namely one for which the _only_ recipient in the headers is the person you are replying to, with _including_ the intended recipient in the list of recipients of the _same_ mail. No, I am not: a separate message is what I said, and what I meant. Because the list reply defaults to the sender _only_, unless I remember explicitly to choose Reply All (which I otherwise rarely use) any message I mean to send to the list goes instead to just the individual. I then have to send a separate copy to the list (only), making my first reply retrospectively and unintentionally a courtesy copy. The last occasion that happened was just yesterday. And as I said, I do not have this problem with any other mailing list. +1 .. Sorry Matt, I did it again... Jakob. Best wishes, Matthew ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Wiring up a complex song
this
\voiceOne \global \Sa \Sb means that those three parts overlap,
as you say...
I'm guessing what you want is
\new Staff = women
\new Voice \global
\new Voice = S {\Sa \Sb }
}
\context Lyrics \lyricsto S { \womena \womenc }
\context Lyrics \lyricsto S { \womenb }
I've completely not tested it and may be wrong but you could try...
Jakob.
2011/12/7 Dirkjan Ochtman dirk...@ochtman.nl:
On Wed, Dec 7, 2011 at 21:48, Matthew Collett m_coll...@ihug.co.nz wrote:
Try:
\new Lyrics \lyricsto S { \womena \womenc }
\new Lyrics \lyricsto S { \womenb }
Assuming the variables with the notes and words are correctly defined, I
think the only change needed is to the \lyricsto expressions, as indicated.
Thanks for the suggestion, that seems sensible. It doesn't seem to do
the trick, however. I now have (simplified to):
\score {
\new ChoirStaff
\new Staff = women
\new Voice = S {
\voiceOne \global \Sa \Sb
}
\context Lyrics \lyricsto S { \womena \womenb }
\context Lyrics \lyricsto S \womenc
}
But this seems to overlap the \Sa and \Sb melodic parts. It also
starts out with the \womena lyrics, then proceeds to overlap with one
syllable from \womenb, which then takes over. So it's not that close
yet.
Cheers,
Dirkjan
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Re: How to shift music up/down a semi tone without changing key signature
You could use \relative for the first entry step... like this
Music = \relative c' {
a b c d | a b c d |
}
\score {
\key d \major
\Music
\transpose d des \Music
}
-- Jakob
2011/11/27 James pkx1...@gmail.com:
Ole,
On 27 November 2011 01:05, ole m...@oleschmidt.info wrote:
a b c d | /transpose c b, { a b c d }
or do I misunderstand it completely?
ole
No you didn't :) Thank you for responding to what seemed a _very_ basic
question.
What I should have said was
Take a _lilypond file_ , for example
%%%
\version 2.14.1
Music = {
\key d \major
a b c d | a b c d |
}
\score {
\relative c ' { \Music }
}
%%%
It's because of the \relative I think; the Notation Reference does actually
talk about this - I don't think of 'transposing' without thinking about the
changing of the key signature, which I don't want to do. Hence I didn't even
think to use \transpose!
So it seems I have to define the transposition within the 'Music' expression
itself:
Music = {
\key d \major
\transpose b c { a b c d | a b c d | a b c d }
}
Which keeps the key signature and does indeed shift the notes, great!
But then I cannot (seem to) use \relative and this becomes absolute octave
entry exercise.
Unless I have misread the NR?
James
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Is this a bug or am I doing it wrong?
Hello list
I am setting up a lead sheat with chord names. At one point there is a
descending bassline over a minor chord, and I'd like to display
something like:
Gm/f#/f/e
i.e. don't repeat the Gm with each new bass note.
To do this, I have
#(define (empty-namer pitch lower?) (make-simple-markup ))
rootless = {
\once \set chordRootNamer = #empty-namer
}
and then
g:m \rootless g:/fis \rootless g:/f \rootless g:/e
(I know these are actually major chords, but it produces the display I want).
Now the problem is that when I use \germanChords, then after I used
the above trick, \germanChords is no longer in effect.
Minimal working example (for 2.14.2) would be
#(define (empty-namer pitch lower?) (make-simple-markup ))
rootless = {
\once \set chordRootNamer = #empty-namer
}
\score {
\new ChordNames {
\germanChords
\chordmode{
b:m
\once \set chordRootNamer = #empty-namer
b:/a
b:m
}
}
}
---
the first b:m will be Hm, the second will be Bm.
I'd like to know if this is a bug, if yes, is it documented,
otherwise, how to report it :-)
Cheers
Jakob.
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Re: Help with Section Sequence
Hola 2011/4/16 Javier Ruiz-Alma jav...@ruiz-alma.com: - Original Message - From: Javier Ruiz-Alma To: LilyPond User Group Sent: Friday, April 15, 2011 9:50 AM Subject: Help with Section Sequence Hi All, Please check the attached sample PDF and reply if I need to change way these sections should be performed. This will help me build a correct MIDI block and play this as intended. The sequence shown sounds a bit weird to me when I listen to the MIDI and I suspect I'm just not reading this correctly. Thanks, Javier 2011/4/15 Phil Holmes: That's how I would perform it. -- Phil Holmes Hi Phil I may be wrong, but: I don't think the MIDI output includes the repetitions, so the MIDI will just play sec A, sec B, sec C of this example As far as I know, you have to use \repeat unfold to get repetitions in the MIDI. Regards Jakob. Hi Jakob, The command \unfoldRepeats will do this. http://lilypond.org/doc/v2.12/Documentation/user/lilypond/Repeats-in-MIDI Attached is the .ly file I created for this snippet. Javier Ooh nice, didn't know that one. And in fact, I think I now understand what your original question was. To notate the performance sequence you describe, the annotation at the end should be D.S. al fine (D.C. means da capo, from the top, while D.S., dal segno, means from the sign) Also, the segno mark shouldn't be printed over the last bar line. Finally, I'm purty sure that the custom is to print the word fine in lowercase italics, and above the system. Hopefully I'm not making a fool of myself here by stating the obvious... Cheers Jakob. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Help with Section Sequence
Hi Phil I may be wrong, but: I don't think the MIDI output includes the repetitions, so the MIDI will just play sec A, sec B, sec C of this example As far as I know, you have to use \repeat unfold to get repetitions in the MIDI. Regards Jakob. 2011/4/15 Phil Holmes m...@philholmes.net: That's how I would perform it. -- Phil Holmes - Original Message - From: Javier Ruiz-Alma To: LilyPond User Group Sent: Friday, April 15, 2011 9:50 AM Subject: Help with Section Sequence Hi All, Please check the attached sample PDF and reply if I need to change way these sections should be performed. This will help me build a correct MIDI block and play this as intended. The sequence shown sounds a bit weird to me when I listen to the MIDI and I suspect I'm just not reading this correctly. Thanks, Javier ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: How to do jazz-style bar repeats
Hola
Now, I am not sure how to actually use this in a file. I tried just using
\include in my file and putting the \inlineMMRN R2.*4 where I want it to
appear. I ended up with 3/4 time, five empty bars with rehearsal marks at
the top of the score, followed by a repeat and six bars with the desired
indication of four bars to be repeated, followed by another repeat. And the
bars where I want the effect to render didn't. Obviously that was not as you
intended it to be used!
R2. is a full bar rest in 3/4 time (a dotted 2/4 rest that is). For
4/4 you just use R1, and multiply with the number of bars, like in
R1*8 for 8 bars.
There's still a problem though -- look at this example
#(define (whiteunder grob) (grob-interpret-markup grob
(markup #:vcenter #:whiteout #:pad-x 1 (ly:grob-property grob 'text
inlineMMRN = {
\once \override Score.MultiMeasureRest #'layer = #-2
\once \override Score.MultiMeasureRestNumber #'layer = #-1
\once \override Score.MultiMeasureRestNumber #'Y-offset = #0
\once \override Score.MultiMeasureRestNumber #'stencil = #whiteunder
}
solos = {
\override Score.MultiMeasureRest #'minimum-length = #20
\bar |:
\inlineMMRN R1*4
\inlineMMRN R1*4
\bar :|
}
{
\new ChordNames \chordmode {
s1
a1*4:m7
b:m7-5
}
\new Staff {
\time 4/4
s1
\set Score.markFormatter = #format-mark-box-alphabet
\set Score.skipBars = ##t
\override MultiMeasureRest #'expand-limit = 1
\solos
}
}
How can we center the chord symbols above the inlineMMR's?
Also: Does anybody know how to produce the `fat bracketed' repeat bars
often used in jazz (example in the Real Book exerpt attached to Tim's
first mail in this thread)?
Jakob.
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Re: error in predefined chord diagram?
2011/2/6 Carl Sorensen c_soren...@byu.edu: I've put together a proposed set of dim and dim7 fretboards. You can download it at https://sites.google.com/site/cdslilypond/docs/display-dim-fretboards.pdf?a ttredirects=0d=1 There's an error in there, the G dim doesn't have a G in it (it should be the same as Gb dim shifted up a fret) Jakob. or view it at https://sites.google.com/site/cdslilypond/docs/display-dim-fretboards.pdf Please comment. Thanks, Carl ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: expressive marks inside slurs
2011/1/26 Paul Scott waterho...@ultrasw.com:
On 01/25/2011 01:48 PM, James Lowe wrote:
Paul
-Original Message-
From: Paul Scottwaterho...@ultrasw.com
Date: Tue, 25 Jan 2011 11:36:23 -0700
To: lilypond-user@gnu.orglilypond-user@gnu.org
Subject: expressive marks inside slurs
2.13.46:
I've been searching the documentation and the web for a while trying to
get accents, etc. inside slurs.
1. What draws accents, turns, etc.?
http://lilypond.org/doc/v2.13/Documentation/notation/expressive-marks-attac
hed-to-notes
To get them 'inside' slurs see a few paragraphs down
'Controlling the vertical ordering of scripts'
You need to set the priority of the relevant mark - the example should
give you the hints.
Ok. Since a slur doesn't seem to be a script I went back to trying:
\override Slur #'outside-staff-priority = #-1
after putting it nearer the relevant music code it did move the expressive
marks inside but the vertical spacing increased drastically and produced the
strange result shown by the code below. Why aren't the accents and portatos
the same distance from the noteheads as the staccato marks are? They seem
to follow the curve of the slur.
Thanks for your help so far. I had read that part of the documentation and
it didn't seem to make sense since it talked about scripts.
I'm not sure why/what happens, but try
\new Staff \with {
\consists Script_engraver
}
\new Voice \with {
\remove Script_engraver
} {
\override Slur #'outside-staff-priority = #1
c''4-_( c''-_ c''-_ c''-_) c''4-( c''- c''-. c''-.)
c''4-_( c''-_ c''-_ c''-_) c''4-( c''- c''-. c''-.)
}
(and then if you remove the override it becomes weird...)
Jakob.
I would still like to know where in the Internals Reference I can find the
tweakable properties of accents, etc.
Thanks,
Paul
\version 2.13.46
{
c''4-_( c''-_ c''-_ c''-_) c''4-( c''- c''-. c''-.)
c''4-_( c''-_ c''-_ c''-_) c''4-( c''- c''-. c''-.)
\break
\override Slur #'outside-staff-priority = #-1
c''4-_( c''-_ c''-_ c''-_) c''4-( c''- c''-. c''-.)
c''4-_( c''-_ c''-_ c''-_) c''4-( c''- c''-. c''-.)
}
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Re: Extender style
Hi customizing these extenders seems like a reasonable feature... Should a bug- or feature request entry be created ? Jakob. 2011/1/24 Marc Hohl m...@hohlart.de: Am 24.01.2011 21:24, schrieb Marc Hohl: [...] With text spanners, customized dashed lines are easily created. Oops, you needed dotted lines, not dashed ones ... sorry, I have no clue at the moment. HTH, Marc Thanks, Robert www.bostonsing.org http://www.bostonsing.org ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using lyrics in a markup
Hi
2011/1/23 jakob lund jakob.be...@gmail.com:
2011/1/23 Jan-Peter Voigt jp.vo...@gmx.de:
Hello and thank you Jakob, hello list,
this piece is a great work. It compiles well in 2.13(.47 lilybuntu) and adds
a very useful function to lily!
The .ly is attached again, because I think it is good to have it on the
devel-list.
I would like to add it to LSR to have it in the main distro once. But it
doesn't compile in 2.12(.3) stable, so it can't be uploaded right now.
What else should we do now?
Lilypond 2.12 complains about these lines:
...
#(define-markup-command (verse layout props lyrics) (ly:music?)
#:properties ((display-nl #f)
(make-line make-justify-markup))
...
by the way: Is this #:properties(()) notation a new functionality in 2.13? I
haven't seen it before?
You're probably right about the #:properties syntax -- it should be
easy enough to swap make-line and display-nl with their default values
(make-justify-markup resp. #f) in the macro code to make it compile in
2.12 (which I don't have installed so I'm not gonna test it) ... ?
I realized I had 2.12 installed as well.. After removing the
#:properties stuff and adding { } to \addlyrics, the new version
compiles in both 2.12 and 2.13 (the markup looks better in the 2.12
version though; seems that in 2.13, the lines are a little too close?)
Cheers Jakob.
% \version 2.13
#(define linebreakindicator \\)
% \nl command that inserts the placeholder event into a lyrics
nl = #(make-music 'LineBreakEvent)
%% Function to extract strings from lyrics.
%
#(define (lyrics-list lyrics)
Return only syllables and hyphens from @code{lyrics}.
(if (ly:music? lyrics)
(cond
((eq? (ly:music-property lyrics 'name) 'LyricEvent)
(ly:music-property lyrics 'text))
((eq? (ly:music-property lyrics 'name) 'HyphenEvent)
(list --))
((eq? (ly:music-property lyrics 'name) 'LineBreakEvent)
(list linebreakindicator))
(else (let ((elt (ly:music-property lyrics 'element))
(elts (ly:music-property lyrics 'elements)))
(if (ly:music? elt)
(lyrics-list elt)
(if (null? elts)
'()
(map (lambda(x)
(lyrics-list x))
elts)
)
'()))
#(define (flatten-nonmarkup-list x)
Unnest list, but don't flatten markup constructs!
(cond ((null? x) '())
((not (pair? x)) (list x))
(else (append (if (markup? (car x))
(list (car x))
(flatten-nonmarkup-list (car x)))
(flatten-nonmarkup-list (cdr x))
#(define (reduce-hyphens text)
(let eat ((wd (car text)) (wds (cdr text)))
(cond
((null? wds) (list wd))
((and (equal? -- (car wds)) (not (null? (cdr wds
(eat (markup #:concat (wd (cadr wds)))
(cddr wds)))
(else (cons (markup wd) (eat (car wds) (cdr wds)))
#(define (split-on predicate? l)
(let loop ((h '()) (r l))
(cond
((null? r)
(if (null? h) h (list (reverse h
((predicate? (car r))
(if (null? h)
(loop h (cdr r))
(cons (reverse h) (loop '() (cdr r)
(else
(loop (cons (car r) h) (cdr r))
#(define-markup-command (verse layout props lyrics) (ly:music?)
; #:properties ((display-nl #f)
;(make-line make-justify-markup))
Verse command that marks up a column of \\nl-separated lines
(let* (
;; The first three associations replace the two commented
;; lines above in a (presumably?) 2.12-compatible way...
(property (lambda (key default)
(let ((a (assoc key (apply append props
(if (-bool a) (cdr a) default
(display-nl (property 'display-nl #f))
(make-line (property 'make-line make-justify-markup))
(split-cond? (lambda (a)
(and (not display-nl)
(equal? a linebreakindicator
(list-of-lines (map
(lambda (l) (make-line (reduce-hyphens l)))
(split-on split-cond? (flatten-nonmarkup-list (lyrics-list lyrics)
)
(interpret-markup layout props (make-column-markup list-of-lines)))
)
test = \lyricmode{
Du lil -- le \markup \italic fis -- \markup \italic ker \nl
Du \markup \italic lil -- \markup \italic le fis -- ker }
%{
\new Voice = mel \relative c'' { \partial 4. g8 a g e c r4 r8 g' a g | f d}
\new Lyrics \lyricsto mel \test
Re: Using lyrics in a markup
Hi
2011/1/24 Jan-Peter Voigt jp.vo...@gmx.de:
Hi Jakob, hello list,
I was about to answer with my 2.12-version ;-)
It is essentially like your version (using let and assoc props ...) but
yours is open for override extension ...
Why? The only difference (AFAICT) is that you did the clever thing and
used chain-assoc-get instead of reinventing the wheel like I did... I
oughtta have guessed there was already a function to do that :-)
another question: This snippet is mostly your work, but I posted it to LSR
with my name. Shall I add a text:
created by Jakob Lund or something similar?
No, never mind... And in fact, Marc wrote the first bit, if you look
up the thread :-)
Cheers
Jakob.
Now its posted to LSR and has to be approved.
Best regards and cheers!
Jan-Peter
On 24.01.2011 10:35, jakob lund wrote:
Hi
...
I realized I had 2.12 installed as well.. After removing the
#:properties stuff and adding { } to \addlyrics, the new version
compiles in both 2.12 and 2.13 (the markup looks better in the 2.12
version though; seems that in 2.13, the lines are a little too close?)
Cheers Jakob.
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Re: Using lyrics in a markup
oops, forgot to reply to list (sorry about the extra spam Jan-Peter)
2011/1/23 jakob lund jakob.be...@gmail.com:
Hi again
After fiddling some more with this, I came up with a simple solution.
Instead of a string, a LineBreakEvent is inserted into the lyric --
neither \lyricmode or \addlyrics complain about this, and the events
doesn't seem to appear in the music output. This removes the need for
the filter function.
The lyrics-list function then recognizes the placeholders and
replaces them with occurrences of the indicator string, which the
verse command then uses to split the lines.
It seems to work well, try it out.
2011/1/21 Jan-Peter Voigt jp.vo...@gmx.de:
Hello again,
so you would have to check (pseudo-scheme):
...
(if (and (string? x)(string=? x
someIndicatorStringNooneWouldEverUseInARealLyric))
(introduceNewLine ...))
There is no \linebreak or equivalent command in \markup, so what
happens is that the list of syllables is cut at every occurrence of
the indicator string, producing a list of lists. Then, a markup
function is mapped over this list of lists, producing a list of
markups; the resulting list of markups is then passed to
make-column-markup, which produces the line breaks :-)
:-)
Jakob.
...
and this would probably be done in the (reduce-hyphens text)-method/function.
If this works one could define a variable with the lyrics including the
newlines. Then use it filtered with \lyricsto and markedup with \verse.
Best regards,
Jan-Peter.
Am 20.01.2011 um 16:35 schrieb jakob lund:
2011/1/20 Jan-Peter Voigt jp.vo...@gmx.de:
What do you think of allowing to define a additional line break
character,
for example ¶, which could be filtered out within \lyricsmode, and used
as a
newline in the \verse?
Thats a good idea!
So your input will look like
\override Lyrics #'ignore-chars= #'(¶) % this is pseudo code!
I guess this would mean that the Lyrics context would have to filter
out the ¶ as it goes. A simpler version of the same idea could be
nl = \lyricmode { someIndicatorStringNooneWouldEverUseInARealLyric }
and then use
words = \lyricmode { Toch -- ter \nl Zi -- on }
then add a filter (a music function that calls music-filter) to use
with addlyrics, like this
\addlyrics \removeLineBreakIndicators \words
and then update the \verse macro to produce a new line for every
occurence of the indicator.
that should be doable...
Jakob.
\version 2.13
#(define linebreakindicator \\)
% \nl command that inserts the placeholder event into a lyrics
nl = #(make-music 'LineBreakEvent)
%% Function to extract strings from lyrics.
%
#(define (lyrics-list lyrics)
Return only syllables and hyphens from @code{lyrics}.
(if (ly:music? lyrics)
(cond
((eq? (ly:music-property lyrics 'name) 'LyricEvent)
(ly:music-property lyrics 'text))
((eq? (ly:music-property lyrics 'name) 'HyphenEvent)
(list --))
((eq? (ly:music-property lyrics 'name) 'LineBreakEvent)
(list linebreakindicator))
(else (let ((elt (ly:music-property lyrics 'element))
(elts (ly:music-property lyrics 'elements)))
(if (ly:music? elt)
(lyrics-list elt)
(if (null? elts)
'()
(map (lambda(x)
(lyrics-list x))
elts)
)
'()))
#(define (flatten-nonmarkup-list x)
Unnest list, but don't flatten markup constructs!
(cond ((null? x) '())
((not (pair? x)) (list x))
(else (append (if (markup? (car x))
(list (car x))
(flatten-nonmarkup-list (car x)))
(flatten-nonmarkup-list (cdr x))
#(define (reduce-hyphens text)
(let eat ((wd (car text)) (wds (cdr text)))
(cond
((null? wds) (list wd))
((and (equal? -- (car wds)) (not (null? (cdr wds
(eat (markup #:concat (wd (cadr wds)))
(cddr wds)))
(else (cons (markup wd) (eat (car wds) (cdr wds)))
#(define (split-on predicate? l)
(let loop ((h '()) (r l))
(cond
((null? r)
(if (null? h) h (list (reverse h
((predicate? (car r))
(if (null? h)
(loop h (cdr r))
(cons (reverse h) (loop '() (cdr r)
(else
(loop (cons (car r) h) (cdr r))
#(define-markup-command (verse layout props lyrics) (ly:music?)
#:properties ((display-nl #f)
(make-line make-justify-markup))
Verse command that marks up a column of \\nl-separated
Re: Using lyrics in a markup
2011/1/23 Jan-Peter Voigt jp.vo...@gmx.de: Hello and thank you Jakob, hello list, this piece is a great work. It compiles well in 2.13(.47 lilybuntu) and adds a very useful function to lily! The .ly is attached again, because I think it is good to have it on the devel-list. I would like to add it to LSR to have it in the main distro once. But it doesn't compile in 2.12(.3) stable, so it can't be uploaded right now. What else should we do now? Lilypond 2.12 complains about these lines: ... #(define-markup-command (verse layout props lyrics) (ly:music?) #:properties ((display-nl #f) (make-line make-justify-markup)) ... by the way: Is this #:properties(()) notation a new functionality in 2.13? I haven't seen it before? You're probably right about the #:properties syntax -- it should be easy enough to swap make-line and display-nl with their default values (make-justify-markup resp. #f) in the macro code to make it compile in 2.12 (which I don't have installed so I'm not gonna test it) ... ? And is there a tutorial on all those comma- and accent-notations like in \override #`(make-line . ,make-wordwrap-markup) ? I haven't found it in my scheme-tutorials. I think it's mostly connected to macro definitions, as a shortcut to insert references into lists. If you write \override #'(make-line . make-wordwrap-markup) you get en error: Wrong type to apply: make-wordwrap-markup because then the value of the property is set to the SYMBOL make-wordwrap-markup rather than FUNCTION referred to by that symbol. As far as I know, `(make-line . ,make-wordwrap-markup) is the same as (cons 'make-line make-wordwrap-markup), just like '(this that the-other) is the same as (list 'this 'that 'the-other). The backtick ` is called quasiquote an the comma is unquote. Btw in that last comment in the file, it should read \verse #words instead of \verse \words of course, please correct that if you put it on LSR Regards Jakob. Best regards, Jan-Peter. Am 23.01.2011 um 14:15 schrieb jakob lund: oops, forgot to reply to list (sorry about the extra spam Jan-Peter) I don't mind ;-) 2011/1/23 jakob lund jakob.be...@gmail.com: Hi again After fiddling some more with this, I came up with a simple solution. Instead of a string, a LineBreakEvent is inserted into the lyric -- neither \lyricmode or \addlyrics complain about this, and the events doesn't seem to appear in the music output. This removes the need for the filter function. The lyrics-list function then recognizes the placeholders and replaces them with occurrences of the indicator string, which the verse command then uses to split the lines. It seems to work well, try it out. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Using lyrics in a markup
2011/1/19 Jan-Peter Voigt jp.vo...@gmx.de:
Hello scheme-gurus,
nr. 744 is bookmarked ;-)
There's one more thing. I tried the verse-command and it works nicely, but
it will wrap lines:
say you have a stanza like this
--snip--
strI = \lyricmode
{
\set stanza = 1.
Toch -- ter Zi -- on, freu -- e dich,
jauch -- ze laut, Je -- ru -- sa -- lem.
Sieh, __ dein Kö -- nig kommt zu dir,
ja, __ er kommt, der Frie -- de -- fürst.
Toch -- ter Zi -- on, freu -- e dich,
jauch -- ze laut, Je -- ru -- sa -- lem.
}
\markup \column{ \wordwrap { \verse #strI } }
\markuplines \justified-lines { \verse #strI }
--snip--
it will not wrap lines but cross the page margin. Do have an idea how to
deal with that?
That's a good point.. After experimenting a bit I think that replacing
make-line-markup with make-justify-markup in the macro definition (the
define-markup-command part) does what you want.
However, I am guessing that the desired output is actually
Tochter Zion, freue dich,
jauchze laut, Jerusalem.
Sieh, dein König kommt zu dir,
ja, er kommt, der Friedefürst.
Tochter Zion, freue dich,
jauchze laut, Jerusalem.
rather than
Tochter Zion, freue dich, jauchze laut, Jerusalem. Sieh, dein König
kommt zu dir, ja, er kommt, der Friedefürst. Tochter Zion, freue dich,
jauchze laut, Jerusalem.
where the line breaking depends on column width, font size etc.? I
can't think of way to control the line breaks, except to enter each
line individually, like
strIa = \lyricmode { Toch -- ter Zi -- on, freu -- e dich, }
strIb = \lyricmode { jauch -- ze laut, Je -- ru -- sa -- lem.}
strIc = \lyricmode { Sieh, __ dein Kö -- nig kommt zu dir, }
strId = \lyricmode { ja, __ er kommt, der Frie -- de -- fürst. }
.. etc, and then eventually
\markup \column { \verse #strIa \verse #strIb \verse #strIc \verse #strId }
Regards
-- Jakob.
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Re: Using lyrics in a markup
2011/1/18 Marc Hohl m...@hohlart.de:
Am 18.01.2011 18:56, schrieb Graham Percival:
On Tue, Jan 18, 2011 at 05:24:11PM +0100, Marc Hohl wrote:
These functions should be bundled in a snippet, or perhaps included in
the
lilypond distribution?
Start by adding it to LSR.
Done.
http://lsr.dsi.unimi.it/LSR/Snippet?id=744
Great... I managed to create a \markup macro in order to make it
easier to use. I chose the name \verse for the macro because I thought
it would be nice with a short name if you're going to type it multiple
times, e.g. to handle line breaks, like the example.
Cheers, Jakob.
#(define-markup-command (verse layout props lyrics) (ly:music?)
Transform a \\lyricmode lyric into a \\markup \\line
(interpret-markup layout props
(make-line-markup (reduce-hyphens (flatten-nonmarkup-list
(lyrics-list lyrics))
#(define (lyrics-list lyrics)
Return only syllables and hyphens from @code{lyrics}.
(if (ly:music? lyrics)
(if (memq (ly:music-property lyrics 'name) '(LyricEvent
HyphenEvent))
(begin (if (eq? (ly:music-property lyrics 'name) 'LyricEvent)
(list (ly:music-property lyrics 'text))
(list --)))
(let ((elt (ly:music-property lyrics 'element))
(elts (ly:music-property lyrics 'elements)))
(if (ly:music? elt)
(lyrics-list elt)
(if (null? elts)
'()
(map (lambda(x)
(lyrics-list x))
elts)
'()))
#(define (flatten-nonmarkup-list x)
Unnest list, but don't flatten markup constructs!
(cond ((null? x) '())
((not (pair? x)) (list x))
(else (append (if (markup? (car x))
(list (car x))
(flatten-nonmarkup-list (car x)))
(flatten-nonmarkup-list (cdr x))
#(define (reduce-hyphens text)
(let eat ((wd (car text)) (wds (cdr text)))
(cond
((null? wds) (list wd))
((and (equal? -- (car wds)) (not (null? (cdr wds
(eat (markup #:concat (wd (cadr wds)))
(cddr wds)))
(else (cons wd (eat (car wds) (cdr wds)))
%%
wordsOne = \lyricmode { This is my ex -- \markup { \italic am } -- ple text. }
wordsTwo = \lyricmode { Here goes the se -- cond line then. }
melody = \relative c' { c4 d e f | g a c2 }
\new Voice { \melody \melody }
\addlyrics { \words \wordsTwo }
\markup \column{ \verse #words \verse #wordsTwo }
Regards,
Marc
Cheers,
- Graham
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Re: Using lyrics in a markup
2011/1/18 Marc Hohl m...@hohlart.de:
Am 15.01.2011 21:51, schrieb Neil Puttock:
On 15 January 2011 19:01, Marc Hohlm...@hohlart.de wrote:
Now I wonder whether it is possible to create a kind of text book by
including the lyrics in a markup, perhaps with a scheme function which
replaces the -- by .
Is it possible to store the text in a variable?
[...]
For simplicity I've ignored hyphens, but it shouldn't be too difficult
to add them (or use their position in the list of strings to restore
the hyphenated words).
This is what I got so far:
\version 2.13.46
words = \lyricmode { This is my ex -- am -- ple text }
#(define (lyrics-list lyrics)
Return a flat list containing all syllables and hyphens from
@code{lyrics}.
(let ((extracted-list
(if (ly:music? lyrics)
(if (memq (ly:music-property lyrics 'name) '(LyricEvent
HyphenEvent))
(begin (if (eq? (ly:music-property lyrics 'name)
'LyricEvent)
(list (ly:music-property lyrics 'text))
(list --)))
(let ((elt (ly:music-property lyrics 'element))
(elts (ly:music-property lyrics 'elements)))
(if (ly:music? elt)
(lyrics-list elt)
(if (null? elts)
'()
(map (lambda(x)
(lyrics-list x))
elts)
'(
(flatten-list extracted-list)))
text = #(lyrics-list words)
melody = \relative c' { c4 d e f | g a c2 }
\new Voice { \melody }
\addlyrics { \words }
#(markup* (make-line-markup text))
The function liyrics-list extracts the syllables and the hyphens.
Cool!
The second part (eliminating the hyphens in the list and concatenate the
surrounding
syllables) seems a bit harder, but I try to find a solution.
That's a nice scheme exercise... The following would work (but not if
there are consecutive hyphens)
#(define (reduce-hyphens text)
;; Define initial first-word 'wd' and remaining-words 'wds'
(let eat ((wd (car text)) (wds (cdr text)))
(cond
;; Last syllable reached: Terminate recursion
((null? wds) (list wd))
((and (equal? -- (car wds)) (not (null? (cdr wds
;; The first remaining word is a hyphen AND there
is a syllable after that
;; Concatenate that syllable onto wd, and recurse
(eat (string-concatenate (list wd (cadr wds))) (cddr wds)))
;; Not a hyphen, just use wd as the first word on
the list, and then recurse.
(else (cons wd (eat (car wds) (cdr wds)))
#(define (lyrics-text lyrics) (reduce-hyphens (lyrics-list lyrics)))
text = #(lyrics-text words)
Cheers
Jakob.
Regards,
Marc
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Re: Using lyrics in a markup
2011/1/18 Jan-Peter Voigt jp.vo...@gmx.de:
Hello List,
this is a very cool snippet! I also thought of trying this excersize ...
perhaps tomorrow ;-)
I think it should be posted to LSR!
There is one thing I tried: If you have markups in your lyrics:
words = \lyricmode { This is my ex -- am -- ple \markup { \italic text } }
this function will fail.
Perhaps someone is willing to play this scheme-game a bit further?
Sure... You have to play the game, right?
To allow markups, we have to use (markup #:concat ( . . )) instead of
string-concatenate. The flatten-list function also has to be adjusted
to leave the markups intact.
There is no need to call flatten-list from inside the recursion in
lyrics-list. It probably doesn't do any harm in this case, but I
wonder if the original function (extract-named-music) is ever used on
any `heavy' nested music structures, because if so, it might be a good
idea to redefine it? (Theoretically, calling flatten-list from inside
the recursion may result in N^2 calls to flatten-list when returning N
elements from extract-named-music...)
#(define (lyrics-list lyrics)
Return only syllables and hyphens from @code{lyrics}.
(if (ly:music? lyrics)
(if (memq (ly:music-property lyrics 'name) '(LyricEvent
HyphenEvent))
(begin (if (eq? (ly:music-property lyrics 'name) 'LyricEvent)
(list (ly:music-property lyrics 'text))
(list --)))
(let ((elt (ly:music-property lyrics 'element))
(elts (ly:music-property lyrics 'elements)))
(if (ly:music? elt)
(lyrics-list elt)
(if (null? elts)
'()
(map (lambda(x)
(lyrics-list x))
elts)
'()))
#(define (flatten-nonmarkup-list x)
Unnest list, but don't flatten markup constructs!
(cond ((null? x) '())
((not (pair? x)) (list x))
(else (append (if (markup? (car x))
(list (car x))
(flatten-nonmarkup-list (car x)))
(flatten-nonmarkup-list (cdr x))
#(define (reduce-hyphens text)
;; Define initial first-word 'wd' and remaining-words 'wds'
(let eat ((wd (car text)) (wds (cdr text)))
(cond
;; Last syllable reached: Terminate recursion
((null? wds) (list wd))
((and (equal? -- (car wds)) (not (null? (cdr wds
;; The next word is a hyphen AND there is a
syllable after that hyphen
;; Concatenate the syllable after the hyphen onto
wd, and recurse
(eat (markup #:concat ((markup wd) (markup (cadr wds
(cddr wds)))
;; Not a hyphen, just use wd as the first word on
the list, and then recurse.
(else (cons wd (eat (car wds) (cdr wds)))
#(define (lyrics-text lyrics)
(reduce-hyphens (flatten-nonmarkup-list (lyrics-list lyrics
snip
Jakob
Best regards,
Jan-Peter
On 18.01.2011 12:56, jakob lund wrote:
2011/1/18 Marc Hohlm...@hohlart.de:
Am 15.01.2011 21:51, schrieb Neil Puttock:
On 15 January 2011 19:01, Marc Hohlm...@hohlart.de wrote:
Now I wonder whether it is possible to create a kind of text book by
including the lyrics in a markup, perhaps with a scheme function which
replaces the -- by .
Is it possible to store the text in a variable?
[...]
For simplicity I've ignored hyphens, but it shouldn't be too difficult
to add them (or use their position in the list of strings to restore
the hyphenated words).
This is what I got so far:
\version 2.13.46
words = \lyricmode { This is my ex -- am -- ple text }
#(define (lyrics-list lyrics)
Return a flat list containing all syllables and hyphens from
@code{lyrics}.
(let ((extracted-list
(if (ly:music? lyrics)
(if (memq (ly:music-property lyrics 'name) '(LyricEvent
HyphenEvent))
(begin (if (eq? (ly:music-property lyrics 'name)
'LyricEvent)
(list (ly:music-property lyrics 'text))
(list --)))
(let ((elt (ly:music-property lyrics 'element))
(elts (ly:music-property lyrics 'elements)))
(if (ly:music? elt)
(lyrics-list elt)
(if (null? elts)
'()
(map (lambda(x)
(lyrics-list x))
elts)
'(
(flatten-list extracted-list)))
text = #(lyrics-list words)
melody = \relative c' { c4 d e f | g a c2 }
\new Voice { \melody }
\addlyrics { \words }
#(markup* (make-line-markup
Re: How to do simple arithmetic on bar numbers?
2011/1/16 James Lowe james.l...@datacore.com:
Hello,
-Original Message-
From: Graham King lilyp...@tremagi.org.uk
Date: Sun, 16 Jan 2011 21:11:25 +
To: lilypond-user@gnu.org lilypond-user@gnu.org
Subject: How to do simple arithmetic on bar numbers?
I'm preparing a modern-notation edition of a piece of choral renaissance
polyphony, in which the maxima at the end of each section is notated as
a neomensural \maxima*n/m (where, for each part, n,m are chosen to
cause all the parts to end the section together).
Example lilypond code and the result are attached.
Bar-numbering is attached to the top part in the score so, when that
part's maxima starts early and other parts are still moving, the other
parts sometimes have extra bars of music. As a result, I have to
reset the bar numbering manually afterwards (see line 27 of the example
attached):
\set Staff.currentBarNumber = #4
Rather than specifying a static bar number, how could the following
pseudocode be programmed?
\set Staff.currentBarNumber = Staff.currentBarNumber + x
where, in this example, x = 1
As you can tell, I'm not a Scheme programmer! Thanks for any help you
can offer.
-
I'm not a scheme programmer either but we do have a snippet
http://lsr.dsi.unimi.it/LSR/Snippet?id=333
That might give you some clues.
I am also guessing that you could use a similar method that we document
for 'Upbeats' (see Notation Reference) where we can use
\set Timing.measurePosition blahblahblah (instead of \partial X)
to denote a position in a single measure but for your specific case use
\set Timing.internalBarNumber or \set Timing.currentlBarNumber somehow.
Look in the Internal reference for Timing_translator.
I'm throwing these ideas out so that if you cannot figure something out,
someone else more knowledgeable that I in the internals might.
James
the same thing that the snippet does, but only for bar number, and
with a parameter (the number to add, in case it isn't 1) could look
like this
addtobarnumber = #(define-music-function (P L m) (integer?)
#{
\applyContext
#(lambda (voice)
(let ((staff (ly:context-property-where-defined voice 'currentBarNumber))
(n (ly:context-property voice 'currentBarNumber)))
(ly:context-set-property! staff 'currentBarNumber
(+ $m n
#})
%% example
{ \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
\key c \major
c''1
c'1
\addtobarnumber #3
c''1
c'1
}
I don't know how it will work but try it out.
Jakob
internalBarNumber
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Re: Spurious Repeat Symbol
Hi Ted
You don't want the \repeat info inside the lyrics, just remove it:
words = \lyricmode {
do re mi fa
do re me
fa sol
}
Jakob.
2011/1/9 Ted Stanion ibn...@gmail.com:
How can I get rid of the extra repeat symbol in this example? I'm sure it is
caused by the rest at the beginning of the repeat. I've tried hiding an
extra note along with a skip, but I can't figure out how to do this and get
the rest back.
Ted
%%% Begin example.
\version 2.12.0
melody = \relative c' {
c4 d e f
\repeat volta 2 {
r c d e
} \alternative {
{ f1 }
{ g1 }
}
}
words = \lyricmode {
do re mi fa
\repeat volta 2
{
do re me
} \alternative {
{ fa } { sol }
}
}
\score {
\new Staff { \melody }
\addlyrics { \words }
}
%%% End example.
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quoteDuring at the beginning of voice doesn't work
In the example below, the quoted note doesn't get printed
if the (otherwise useless) line marked %workaround% is
removed. Is this a (known?) bug, or am I making a mistake
Jakob
-
\version 2.13.44
altoPart = { c''4 }
\addQuote alto \altoPart
tenorPart = {
s1*0 % workaround %
\quoteDuring #alto { s4 }
a'
}
{
\tenorPart
}
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Re: Staff change in piano music - a general approach?
2010/12/31 Phil Holmes m...@philholmes.net:
Strictly, the ignore-collision override doesn't just suppress warnings - it
stops LilyPond trying to avoid them. Shane has given you one option for
avoiding the double flag in your final note. An alternative would be to use
\once \override Stem #'length = #n to adjust the stem lengths. Another
option would be to typeset the final alto note as voiceTwo, to make its stem
face downwards.
As Shane has said, I'm not sure there's a general solution, because what you
want isn't something that's generally done - effectively to make chords out
of different voices.
--
Phil Holmes
- Original Message - From: Tobias Braun
tob...@braun-oberkochen.de
To: Phil Holmes m...@philholmes.net
Cc: LilyPond User Group lilypond-user@gnu.org
Sent: Friday, December 31, 2010 2:46 AM
Subject: Re: Staff change in piano music - a general approach?
Yes, you perfectly understood me. But using chords is totally impractical
for me as I already have the individual voices as LilyPond code.
I tried as you described below and I'm getting a little closer. However,
there are still some problems, one of which you can see in the attached
example: the final chord consisting of two eighth notes actually looks like
a sixteenth note chord.
\override NoteColumn #'ignore-collision = ##t
is just to suppress the collision warnings, right?
Regards,
Tobias
% example
\version 2.12.3
global = {
\clef treble
\time 2/2
\key g \dorian
}
soprano = \relative c''' {
\voiceOne
g4 g d4. e8 |
}
alto = \relative c'' {
\voiceOne
b4 c b4. c8 |
}
tenor = \relative c'' {
\voiceTwo
g4 g g2 |
}
\score {
\new Staff
\global
\override NoteColumn #'ignore-collision = ##t
\new Voice { \soprano }
\new Voice { \alto }
\new Voice { \tenor }
}
I'm probably missing something here, but in your example it seems that
\score {
\new Staff
\global
\new Voice \soprano \alto
\new Voice \tenor
}
does what you want ?
Sorry if I'm being completely ignorant...
Jakob.
Am 30.12.2010 um 11:21 schrieb Phil Holmes:
Just checking - you can obviously do what you want from a presentation
perspective, since you've provided an example that looks like it came from
LilyPond. I presume you did this using chords, but you want to avoid using
chords in your application?
The way I would do this would be to use:
\override NoteColumn #'ignore-collision = ##t
and then set the alto and soprano parts in voiceOne, and the tenor part in
voiceTwo. You do not need to set these for the duration of the piece, so
when you cross the tenor part to the other stave, you can put the command
\voiceTwo in the alto part and it will now be set into the second voice. You
can also set \voiceOne for the tenor part. You may also want to do:
\override NoteColumn #'ignore-collision = ##f
at the same point.
Let us know how you get on.
--
Phil Holmes
- Original Message - From: Tobias Braun
tob...@braun-oberkochen.de
To: Phil Holmes m...@philholmes.net
Cc: tob...@braun-abstatt.de; LilyPond User Group
lilypond-user@gnu.org
Sent: Thursday, December 30, 2010 1:50 AM
Subject: Re: Staff change in piano music - a general approach?
Sorry about the reply all thing, I forgot that.
I wasn't aware I was sending an HTML e-mail, sorry. That must have been my
webmail client.
What I actually want to achieve is to have it look as uncluttered as
possible. It should be easy to read when playing it on the piano. I'd
basically like to merge all three voices into as few stems as possible. E.g.
the notes of the first beat in measure 1 which basically form a chord
consisting of three notes of the same duration played at the same time
should appear as stacked, not next to each other. There is no need to be
able to distinguish the individual voices.
As this is kind of hard to describe, please have a look at the attached
PDF. I guess I'd prefer the first measure to look like Variant 1, but
Variant 2 would be acceptable as well. (I achieved this sample PDF through
chord syntax, which is not of much use to me as I already have the
individual voices in continuous form.)
Regards,
Tobias
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Re: Can't use NoteNames twice in score block ??
2010/12/23 Michael Ellis michael.f.el...@gmail.com:
I'm clearly Scheme challenged. I've spent several hours trying different
variations of the following.
#(define (note? x)
(eq? 'EventChord (ly:music-property x 'name)))
#(define notesOnly
;; Remove anything that is not a note.
(define-music-function (parser location music) (ly:music?)
(music-filter (lambda (x) (if (note? x) x #f) ) music)))
If I run different versions \notesOnly on music containing notes plus other
things, I get either everything passing through unchanged or everything
removed. What's the right way to construct a music filter that returns
only the pitch-carrying elements?
You have to permit more types of music, that act as containers, as
well as the actual 'NoteEvent objects:
#(define (filterEvent event)
(let ((name (ly:music-property event 'name)))
(or
(eq? name 'EventChord)
(eq? name 'NoteEvent)
(eq? name 'RelativeOctaveMusic)
(eq? name 'SequentialMusic
onlynotes = #(define-music-function (P L M) (ly:music?)
(music-filter filterEvent M))
{ %\displayMusic
\onlynotes
\relative c'' { \key a \major cis d16 } }
-
the \displayMusic command is only for debugging your function - if
your music disappears you uncomment it and comment out \onlynotes, so
you get a text representation of the unfiltered music. For example,
adding \relative c'' caused the music to be wrapped in a
'RelativeOctaveMusic
Jakob.
Cheers,
Mike
On Wed, Dec 22, 2010 at 2:14 PM, Michael Ellis michael.f.el...@gmail.com
wrote:
Thanks, Carl. This looks promising ...
Cheers,
Mike
On Wed, Dec 22, 2010 at 10:46 AM, Carl Sorensen c_soren...@byu.edu
wrote:
On 12/22/10 8:08 AM, Michael Ellis michael.f.el...@gmail.com wrote:
Putting this together with your workaround produces the code and output
shown
below. This works quite well. So the issue I'm wrestling with now is
whether
it's feasible to automate the editing of 400+ files to separate the
clef and
instrument names from the notation, detect the original key, and
rewrite the
score block to produce the desired results.
Thanks again for your help and any suggestions for how proceed with the
automation are more than welcome.
You might try using music-filter to help you. Since you already have
blocks
by voice, you could filter the full block to keep only EventChords (every
note, whether or not it's in a chord, is in an EventChord) and used the
filtered music for your NoteNames context.
Note that I haven't tried this, and won't have time to try it today.
You can see an example of how Valentin has done this here:
http://repo.or.cz/w/opus_libre.git/blob/HEAD:/lib/libdynamic.scm#l58
HTH,
Carl
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Re: Can't use NoteNames twice in score block ??
2010/12/23 Michael Ellis michael.f.el...@gmail.com:
Thanks, Jakob! I didn't understand that a music-filter acts recursively on
containers and their contents. I had some vague notion that it simply
passed or rejected elements at the top level of a list. Your example is
what I needed. For my purposes I needed to add RestEvent and
TransposedMusic to the list of types but that was a logical extension once I
saw the pattern.
#(define (filterEvent event)
(let ((name (ly:music-property event 'name)))
(or
(eq? name 'EventChord)
(eq? name 'NoteEvent)
(eq? name 'RestEvent)
(eq? name 'RelativeOctaveMusic)
(eq? name 'TransposedMusic)
(eq? name 'SequentialMusic
With this, I can now create multiple staff scores with solfege symbols under
each staff. The only problem remaining is that the page layout is
apparently not taking into account the extra vertical space needed for the
solfege text, so I get incomplete systems at the bottom of the page. The
layout has no problems if I remove the NoteNames contexts that generate the
solfege.
that sounds strange -- from what you write, it sounds like a problem
with the NoteNames context rather than with what you feed into it...
Can you give a simple example where that happens? Have you tried if
something simple like
\context NoteNames { \repeat unfold 40 c'4 }
can provoke the same problem?
Do I need to add some other types to my filter or is this another problem
altogether?
Cheers,
Mike
On Thu, Dec 23, 2010 at 5:15 AM, jakob lund jakob.be...@gmail.com wrote:
#(define (filterEvent event)
(let ((name (ly:music-property event 'name)))
(or
(eq? name 'EventChord)
(eq? name 'NoteEvent)
(eq? name 'RelativeOctaveMusic)
(eq? name 'SequentialMusic
onlynotes = #(define-music-function (P L M) (ly:music?)
(music-filter filterEvent M))
{ %\displayMusic
\onlynotes
\relative c'' { \key a \major cis d16 } }
-
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Re: how to write a scheme function to override glissando properties
I
2010/12/19 Marc Hohl m...@hohlart.de:
Am 16.12.2010 17:04, schrieb Patrick Schmidt:
[...]
Hi Marc,
thanks for your solution but I'm still trying to find out what's wrong
with the scheme function I posted. I discussed the need for this function
with Carl and he gave me some advice:
http://www.mail-archive.com/lilypond-devel@gnu.org/msg32745.html.
It might be impossible to find a general set of values for staves and tab
staves. If I don't succeed I learned something about writing scheme
functions, at least. Maybe you can spot the mistake in the function?
Hm, I don't know what's wrong - I tried something like
slide =
#(define-music-function (parser location len thick beg end) (number? number?
ly:music? ly:music?)
#{
\once \override Glissando #'minimum-length = $len
\once \override Glissando #'thickness = $thick
\once \override Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods
$beg \glissando $end
#})
myMusic = \relative c' {
\slide #10 #5 a4 b4\3
}
\score {
\new Staff {
\new Voice {
\clef treble_8
\myMusic
}
}
\new TabStaff {
\new TabVoice {
\myMusic
}
}
}
and that doesn't work either. I don't understand why ...
I think what happens is that the start note, passed to your function,
is already wrapped up in an object. \glissando is meant for use with a
single note, rather than with a music object.
You can use scheme to add the `start glissando' property to the object though:
\version 2.13.40
slide = #(define-music-function (parser location length startnote)
(number? ly:music?)
#{
\once\override Voice.Glissando #'minimum-length = $length
\once\override Voice.Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods
#(begin
(set! (ly:music-property $startnote 'elements)
(cons (make-music (quote GlissandoEvent))
(ly:music-property $startnote 'elements)
))
(ly:export $startnote))
#})
{ \slide #7 a'' e'' }
this page contains a similar example
http://lilypond.org/doc/v2.13/Documentation/extending/adding-articulation-to-notes-_0028example_0029
Jakob
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Re: nested variables in scheme
2010/12/16 Rob Canning r...@goto10.org:
David Kastrup said :
r...@goto10.org writes:
beza #0.4
feeding into something like this: (which doesn't work)
beza = #(define-music-function (parser location thickness) (number?)
#{
\bezier #'( 0.1 1.0 0.15 1.0 $number )
#})
What happens if you write $thickness instead?
here is a simplified version of the problem and the lilypond error:
hpRot = #(define-music-function (parser location rot) (list?)
#{
\once \override Hairpin #'rotation = $rot
#})
fooBar = #(define-music-function (parser location zabadoo) (number?)
#{
{ a b c d \hpRot #'($zabadoo 0 1) s2^\ s s s \! }
#})
\fooBar #3
Drawing systems.../usr/share/lilypond/2.12.2/scm/layout-page-layout.scm:53:9:
In
procedure ly:system-print in expression (ly:system-print sys):
/usr/share/lilypond/2.12.2/scm/layout-page-layout.scm:53:9: Wrong type
(expecting real number): lilyvartmpc
from what i can guess the variable is not being evaluated but instead being
passed as lilyvartmpc ...
in that case, try
try #(list $zabadoo 0 1) instead of #'($zabadoo 0 1)
... I havent tested it myself though...
thanks
rob
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Re: ChordName Font [was: lilypond cameo]
2010/12/14 Marc Hohl m...@hohlart.de: Am 14.12.2010 19:38, schrieb Graham Percival: Jean-Pierre G writes that the font is free to use, but he doesn't leave a contact mail address on the page (or I have overlooked it - my french is very rusty) so it is difficult to ask him... You did, in fact it is there: jpc...@gmail.com Jakob. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Adding Staves
if you create more staves inside , they run in parallel for the
length of the piece, rather than starting after one another. Maybe you
need something like this? (you still have to fix the alignment
properly)
\score {
\new Staff { \oneTwo \three \four }
\addlyrics { \verseOne \verseThree \verseFour}
\addlyrics { \verseTwo }
\layout {
indent = 0.0
\context {
\Score
\remove Bar_number_engraver
}
}
}
Jakob
2010/12/6 Br. Athanasius Pelletier athp...@gmail.com:
Apologies! I need help I think, straightening out the \score block because
it's not coming out how I want it to. First off, I want the staff with
verse one and two to be separate from three and four which each have their
own music. I am not understanding how to to that from the documentation.
-- Forwarded message --
From: James Bailey derhindem...@googlemail.com
Date: Mon, Dec 6, 2010 at 2:13 PM
Subject: Re: Adding Staves
To: Br. Athanasius Pelletier athp...@gmail.com
Cc: lilypond-user@gnu.org
On Dec 6, 2010, at 7:31 PM, Br. Athanasius Pelletier wrote:
I fixed up the input, there were alot of errors before. I am not sure
about the use of and in the \score section.
Verses one and two have the same music but three and four each have
different music.
What exactly is your question?
I fixed up the input, there were alot of errors before. I am not sure
about the use of and in the \score section.
Verses one and two have the same music but three and four each have
different music.
\version 2.13.35
\include english.ly
\header {
subtitle = Peace Prayer of St. Francis
composer = Sebastian Temple
% Remove default LilyPond tagline
tagline = ##f
}
\paper {
#(set-paper-size letter)
}
global = {
\key c \major
\time 2/2
}
oneTwo = \relative c'' {
\global
\dynamicUp
\repeat volta 2 {
r4 e,4 e e e e f g e1 ( e2)
r4 g,4 e' e e e e e f g d1 ( d2)
r4 g,4 f' f f f f f g a f1 ( f2)
r4 g,4 f' f f f e2 d }
%\repeat volta 2
\alternative { {e1 ( e)} { e1 ( e2) } }
}
three = \relative c'' {
\global
\dynamicUp
r4 c,4 a a a a a a f b c f1 ( f2)
r4 g4 f f f f f f g a e2 ( f g)
r4 c4 c a a a r4 a a b c g1 ( g2)
r4 e4 e d2 d4 fs4 a a g fs g2 ( a b1)
}
four = \relative c'' {
\global
\dynamicUp
r4 e,4 e e e e f g e1 ( e2)
r4 g,4 e' e e e e e f g d4 d2.( d2)
r4 g,4 f' f f f f f g a f1 ( f2)
r4 g4 g f f f f f f8 f e4 d c1
}
verseOne = \lyricmode {
\set stanza = 1.
Make me a chan -- nel of your peace. __
Where there is hat -- red, let me bring your love. __
Where there is in -- ju -- ry, your par -- don, Lord. __
And where there's doubt, true faith in you. __
}
verseTwo = \lyricmode {
\set stanza = 2.
Make me a chan -- nel of your peace. __
Where there's de -- spair in life, let me bring hope __
Where there is darkness \skip 4 \skip 4 \skip 4 on -- ly light, __
And where there's sad -- ness, ev -- er \skip 1 joy. __
}
verseThree = \lyricmode {
\set stanza = 3.
O Mas -- ter, grant that I may nev -- er seek __
So much to be con -- soled as to con -- sole. __
To be un -- der -- stood as to un -- der -- stand. __
To be loved, as to love, with all my soul. __
}
verseFour = \lyricmode {
\set stanza = 4.
Make me a chan -- nel of your peace. __
It is in par -- don -- ing that we are par -- doned. __
In giv -- ing to all men that we re -- ceive, --
And in dy -- ing that we're bor to e -- ter -- nal life.
}
\score {
\new Staff { \oneTwo }
\addlyrics { \verseOne }
\addlyrics { \verseTwo }
\new Staff { \three }
\addlyrics { \verseThree }
\new Staff { \four }
\addlyrics { \verseFour }
\layout {
indent = 0.0
\context {
\Score
\remove Bar_number_engraver
}
}
}
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Re: How to print 2 rehearsal marks above and below same bar line
Hi
I've been trying to do something like that
my conclusion was that I couldn't because adding two marks to the same
bar line would just cause one of them to be deleted.
there is an example here that circumvents this by adding an invisible bar line:
http://www.kainhofer.com/~lilypond/Documentation/snippets/expressive-marks.html#creating-simultaneous-rehearsal-marks
Jakob.
2010/11/29 James Lowe james.l...@datacore.com:
Hello,
Consider these two 'contrived' examples
--
\version 2.13.40
\relative c'' {
c4 c8 c c4 bes | a2 a \bar ||
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
\once \override Score.RehearsalMark #'self-alignment-X = #RIGHT
\once \override Score.RehearsalMark #'direction = #DOWN
\mark \markup { \small \bold \italic Fine.}
f4 f8 f f4 f | g2 g4 g |
}
\relative c'' {
c4 c8 c c4 bes | a2 a \bar ||
\mark #1
f4 f8 f f4 f | g2 g4 g |
}
--
In the first {} example the 'fine.' is aligned with the bar line and in the
second the \mark is also aligned on the same bar line, I'd like to be able to
have a single system with the fine. 'text' \mark and a 'rehearsal mark' \mark
below and above respectively. I say this example is contrived because this
would be a nice *and simple* method (for me anyway) generally to align items
without having to worry about \tweaking each time I ever transpose or add
more bars/notes.
While I realise I could 'tweak' a markup and move it horizontally, the
align/break-visibility alignment method is a nice way of aligning to a given
bar without trial and error and using \mark 'rehearsal.mark' is very simple.
While we have an LSR example
http://lsr.dsi.unimi.it/LSR/Item?id=10
This uses two staves. Using a \\ construct with just explicit \marks
doesn't seem to work, and I wondered if this was possible?
I hope that makes sense.
James
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Re: Lyric tie
Hi
you can change the font for a single character in \markup:
\addlyrics {
Buon gior --
\markup\concat{no \override #'(font-name . DejaVu Sans Bold){‿} al}
mon -- do.
}
(I tested with DejaVu Sans Bold because I'm not sure if the other
one exists on my computer)
Jakob.
2010/11/23 Francisco Vila paconet@gmail.com:
2010/11/22 Federico Bruni fedel...@gmail.com:
Il giorno lun, 22/11/2010 alle 22.46 +0100, Francisco Vila ha scritto:
\addlyrics {
\override LyricText #'font-name = #DejaVuLGC
Buon gior -- no~al mon -- do.
}
Thank you, that works, but I like the default font for the lyrics and
I'd prefer to change only that of the lyric tie if necessary.
What about using the undertie directly in your (utf-8) source file?
Buon gior -- no‿al mon -- do.
Does it look better?
Unfortunately not, see image. I think this produces the same output
as the usual '~'. Do you know a way of figuring out which font does a
glyph of the PDF belong to?
--
Francisco Vila. Badajoz (Spain)
www.paconet.org , www.csmbadajoz.com
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Re: how to get half-bar used in Bach Music?
Ok here's another ugly hack:
example
#(define __x 1)
{
\override Staff . BarLine #'bar-size = #(lambda (G) (set! __x (1+
__x)) (+ 2 (* 2 (modulo __x 2
\relative c'' { c1 c c c c }
}
/example
It's ugly because it uses a `global' variable __x to count the bars
and set the bar size to 2 only after an odd number of bars. It screws
up if you try to use it with more staffs.
If someone who knows the inner workings of scheme in Lilypond reads
this, I would like to know
how to properly access the current bar number in the callback!???
Jakob.
2010/11/22 Alexander Kobel n...@a-kobel.de:
[ with cc to lilypond-user; please keep the discussions on the mailing list,
others might have the same problems and can find the solutions in the
mailing list archives ]
On 2010-11-22 12:38, Martin Kemp wrote:
I've just been struggling with this too. All else having failed, I faked
it by using an invisible bar line and adding:
\once \override TextScript #'extra-offset = #'(-1 . 3.5) c8_\markup {
\musicglyph #rests.M2mensural }
Woah, that's some ugly hack...
Again, I don't see the need for this - I just tested the following, and it
works just perfect for me (use \halfBar to make a real bar line at the end
of a measure appear smaller, and \halfAddBar to insert a fake barline of
half the usual extent). If it doesn't in your setting, could you give a
small compiling example to show the problem?
halfBar = \once \override Staff . BarLine #'bar-size = #2
halfAddBar = { \halfBar \bar | }
\relative c' {
c4 c \halfAddBar c c \halfBar |
c c c c |
}
Cheers,
Alexander
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Re: Howto have the number of volte printed out above an end-repeat bar?
I've been messing with the same idea, and after reading this thread I came up with something similar but a little different. I posted it on my blog here http://krimskrams.dk/node/3 ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
music function
Hi
I have two questions that I hope someone here can answer.
I have something like this
\repeat volta 4 { ... music ... }
There are no alternative endings, so the number 4 doesn't show up in the output.
I would like the text ×4 to appear below the closing repeat mark
(dotted bar line). Is there already a way
to do that? (there ought to be but I can't seem to find it...)
Using \mark is no good, because I already have a mark on that bar
line. Thus far I came up with:
repeatTimes = #(define-music-function (parser location r) (integer?)
#{
\bar
\once \override Score.TimeSignature #'stencil = ##f
\time 1/32
s32-\markup{\concat{ $(markup (number-string r)) × } }
\once \override Score.TimeSignature #'stencil = ##f
\time 4/4
#})
(the technique is adapted from the snippet titled Creating
simultaneous rehearsal marks
from the lilypond documentation.) So now I write
\repeat volta 4 { ... music ... \repeatTimes #4 }
which gives sort of the desired result. My second question is: Can I,
perhaps using the 'parser' argument, access
(a) the `current time signature' (so I can get rid of the
hard-coded 4/4 at the end) and
(b) the argument to `\repeat volta' (so I won't have to supply the
argument #4, which is redundant 'cause I already put `volta 4') ?
Regards
Jakob Lund.
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Re: transposition question
why not just \transpose es des instead of es cis? (say if you're transposing from e-flat?) Jakob. 2010/11/17 Christopher Meredith chmered...@gmail.com: On Wed, Nov 17, 2010 at 1:21 PM, Alex Jones akj...@gmail.com wrote: I am using lilypond for a transposition solution. Unfortunately, when doing the transposition, the shift is to keys where it would make sense to write the notation in the enharmonic key. E.g. the new key is c-sharp major and it would be nicer to actually write it in d-flat major, is there a way to tell lilypond to use the enharmonic key in this circumstance? Thanks! Sure, just transpose it to des instead of cis and set the key accordingly. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
Re: Inserting comments into the log file
Hi Paul Not sure about the log file, but you can print to the standard output like this: #(display ...some text...) (space after display is mandatory) Jakob. ___ lilypond-user mailing list lilypond-user@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-user
