Re: time signature is printed after first bar line

[Malte Meyn]

Am 20.09.2016 um 17:28 schrieb Roderick Mackenzie:

I am still trying to print bagpipe tunes with Lilypond, with a repeat
bar at the start of each part. I am almost there; my only problem now
is that the time signature is printed after the first bar line (the
repeat bar line).

How do I get the time signature to print before the first bar line?


Just use a newer version of LilyPond ;)

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Re: Initial clef change in piano score

[Malte Meyn]

Am 15.09.2016 um 21:46 schrieb Simon Albrecht:

if in a piano score the right hand begins in bass clef, it is customary
to write a treble clef first and change to bass clef after the time
signature, presumably to draw more attention. Is there any more elegant
way than this kind of fake in LilyPond?


http://lsr.di.unimi.it/LSR/Item?id=792
http://lsr.di.unimi.it/LSR/Item?id=956

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Re: Please help with Lilypond calling Scheme

[Malte Meyn]

Am 20.09.2016 um 19:12 schrieb PMA:

(define (colorNote n)
  (cond ((eq? (- n) 1) 'red )
((eq? (- n) 2) 'blue)))


This returns the symbol 'red or the symbol 'blue, not the constant named 
red (value (1.0 0.0 0.0)) or the constant named blue.



\override NoteHead.font-size = #offset  % This line works.


Here you use # to switch from LilyPond to Scheme so you can use the 
Scheme variable offset.



\override NoteHead.color = #(colorNote #offset) % *ERRORS*.


Here the first # switches to Scheme so the second # isn’t necessary anymore.

Slightly off-topic: your colorNote function is more complicated than 
necessary. (eq? (- n) 1) can be simplified to (eq? n -1) and I would 
recommend to use case instead of cond and eq?.


%%%

\version "2.18.2"

#(define (colorNote n)
  (case n
((-1) red)
((-2) blue)
(else '(
% the else case isn’t really necessary here but it prevents warnings or 
% errors if colorNote (or FS) is called with another value like 5

% (see example below)

FS =
#(define-music-function (parser location offset) (number?)
   #{
 \override NoteHead.font-size = #offset
 \override NoteHead.color = #(colorNote offset)
   #})

% example usage
{
  \FS -1 c' d' \FS -2 e' f' \FS 5 g' a'
}

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Re: moving notes in cue-voice must not influence dot after notehead in main voice

[Malte Meyn]

Am 16.09.2016 um 13:37 schrieb Knut Petersen:

Hi everybody!

I used

  <<
   \new Voice {\voiceTwo e'4. 8 4}
   \new CueVoice { \voiceOne
  \override NoteColumn.force-hshift = 0.4a,4.
  \override NoteColumn.force-hshift = 1.2  8
  \override NoteColumn.force-hshift = 0.4 h4}
  >>

Any ideas?



Could you please provide a MWE? Your E is M but not W; it misses a 
\language, a \new Staff, probably a \relative and maybe a \clef. And 
it’s unclear why the lower voice is \voiceOne and the upper \voiceTwo, 
this causes the collision but is it really necessary?


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Re: \abs-(font)size for \epsfile

[Malte Meyn]

Am 16.09.2016 um 11:53 schrieb Pierre Perol-Schneider:

Hi Malte,

Here is an old thread regarding a similar demand:
http://lilypond.1069038.n5.nabble.com/Absolute-size-for-epsfile-i-e-independent-of-global-staff-size-td161872.html

HTH,
Pierre


Thanks Pierre for the hint and Marc for the solution I found in this 
thread. This approach also works for other things like baseline-skip 
overrides, probably I’ll make some other similar commands. It would be 
nice though to have an easier method to make whole markups 
“absolute-sized”, maybe something like


\markup \absolute {
  [everything inside behaves as if global staff size
   was the default 20pt]
}

or

\markup \absolute #16 {
  [everything inside behaves as if global staff size
   was 16pt]
}

with an optional argument or \default for #20.

Here my pt-based (instead of mm-based) abs-epsfile and abs-baseline-skip 
commands, maybe they are of interest for someone.


%

\version "2.19.47"

% based on epsfile-mm by Marc Hohl
% http://lists.gnu.org/archive/html/lilypond-user/2014-04/msg00632.html
#(define-markup-command
  (abs-epsfile layout props axis size file-name)
  (number? number? string?)
  (let* ((output-scale (ly:output-def-lookup layout 'output-scale))
 (scaled-size-mm (/ size output-scale))
 (scaled-size (* scaled-size-mm (/ 25.4 72.27
(if (ly:get-option 'safe)
(interpret-markup layout props "not allowed in safe")
(eps-file->stencil axis scaled-size file-name

#(define-markup-command
  (abs-baseline-skip layout props skip m)
  (number? markup?)
  (let* ((output-scale (ly:output-def-lookup layout 'output-scale))
 (scaled-skip-mm (/ skip output-scale))
 (scaled-skip (* scaled-skip-mm (/ 25.4 72.27
(interpret-markup layout props
  (markup #:override (cons 'baseline-skip scaled-skip) m

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Re: Keep alive together - call for use cases

[Malte Meyn]

Am 18.08.2016 um 15:10 schrieb David Kastrup:

Malte Meyn <lilyp...@maltemeyn.de> writes:


Am 18.08.2016 um 14:16 schrieb Mark Knoop:

Could you both take a look at this and see (a) if it helps, and (b)
what else needs to be achieved.


I didn’t read the whole thread but how to deal with different clefs?
For example, in a choir a tenor is notated with \clef "treble_8" but a
tenor/bass combined staff with \clef "bass". This case isn’t a problem
because lilypond uses the clef of the bass voice (two \clef events at
the same time, second one is used). But maybe there are cases where
you would want have the clef of the upper voice (f. e. horns in
octaves, one in treble, one in bass clef, combined in treble clef with
ledger lines for the lower horn)?


So?  The whole point of the layers is that you (more or less fully)
prepare both a split and a combined version and LilyPond then picks the
right layer.  Split and combined layer don't need to have the same
source and/or overrides: you can use an alto clef for the combined
version and violin/bass clefs for the split version if you want to.

Of course you will _largely_ want to share the same source, and tags,
variables, and parallel music expressions will help with that.


Hmja, so weit hätt ich mal denken können …

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Re: Keep alive together - call for use cases

[Malte Meyn]

Am 18.08.2016 um 14:16 schrieb Mark Knoop:

Could you both take a look at this and see (a) if it helps, and (b)
what else needs to be achieved.


I didn’t read the whole thread but how to deal with different clefs? For 
example, in a choir a tenor is notated with \clef "treble_8" but a 
tenor/bass combined staff with \clef "bass". This case isn’t a problem 
because lilypond uses the clef of the bass voice (two \clef events at 
the same time, second one is used). But maybe there are cases where you 
would want have the clef of the upper voice (f. e. horns in octaves, one 
in treble, one in bass clef, combined in treble clef with ledger lines 
for the lower horn)?


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Re: Dynamic marks and vertical space

[Malte Meyn]

Am 27.08.2016 um 01:24 schrieb Timofey Misarenkov:

(DynamicText.extra-offset can help to move, but
vertical space waste remains the same. And using same approach to move
\p and hairpin do not helps either.)


extra-offset only moves the visual appearance of a grob but doesn’t 
affect spacing so if you move the ff left spacing will be as if you 
hadn’t moved it.



So, the question is: how to make \ff to appear at the left of s ?


Instead of extra-offset, use X-offset and Y-offset (in this case, 
X-offset is sufficient). Are you sure it’s a "ff" and a "p" (separated) 
and not a "ffp" (combined)? Because there is no \ffp command in 
LilyPond, you can create one:

  ffp = #(make-dynamic-script "ffp")
Or use make-dynamic-script directly (see below).

If you start the hairpin directly at the ffp, it’s start will move to 
the left together with the ffp (remember: X-offset affects spacing ;)). 
To avoid that, just increase it’s bound-padding.



\version "2.18.2"

\score {
  \new GrandStaff <<
\new Staff = "up"  \relative c' {
  \clef treble
  4-> \repeat unfold 12 {16-.}
}

\new Dynamics = "dynamics" {
  % this moves the ffp to the left
  \once \override DynamicText.X-offset = -4.5
  % this increases the gap between ffp and start of hairpin
  \once \override Hairpin.bound-padding = 2.5
  s2...-#(make-dynamic-script "ffp")\< s16\! |
}

\new Staff = "down" \relative c, {
  \clef bass
  4-> \repeat unfold 12 {16-.}
}
  >>
  \layout {}
}


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Re: Switching to drummode and back

[Malte Meyn]

Am 26.08.2016 um 11:40 schrieb Malte Meyn:

\version "2.18.2"

\new Staff \with {
  \accepts DrumStaff
} {
  \repeat unfold 8 {e''8}
  \drums {


I forgot
\once \omit DrumStaff.TimeSignature
here.


hh4. r4. hh4
% else an additional clef would be printed
\once \omit DrumStaff.Clef
  }
  \clef bass d1
}


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Re: Switching to drummode and back

[Malte Meyn]

Am 26.08.2016 um 11:32 schrieb Sven Hillebrand:



\version "2.18.2"
{
   \repeat unfold 8 {e''8}
   \drummode { \clef percussion
  hh4. r4. hh4.  }
   \clef bass d1
}

Is there a way to make it look like the original in the attachment?


Displaying percussion music in \drummode needs a DrumStaff instead of a 
Staff but “normal” notes need a Staff. So you have to create a DrumStaff 
(either \new DrumStaff \drummode or by using the shorthand \drums). Now 
this will of course print an *extra* DrumStaff below the staff. This is 
because Staff contexts accept Voice contexts and some others by default 
but not other Staffs or DrumStaffs (a staff in a staff generally makes 
not much sense). This can be changed in the \with block:


\version "2.18.2"

\new Staff \with {
  \accepts DrumStaff
} {
  \repeat unfold 8 {e''8}
  \drums {
hh4. r4. hh4
% else an additional clef would be printed
\once \omit DrumStaff.Clef
  }
  \clef bass d1
}

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Re: Alternative bar numbering [0.18571]

[Malte Meyn]

Pleae always reply to the list (at least as CC) so others can see when 
your problem is solved or new questions arise ;)


Am 25.08.2016 um 22:39 schrieb Pastor Neubauer:

Is there any way to not have the first line indent?


Yes: replace line 10 (“indent = #10”) by “indent = #0”. You can also 
omit the #, i. e. “indent = 0” is sufficient.



And to remove the
numbers above the staff (measure numbers)?


Yes: Put “\omit Score.BarNumber” at the beginning of the music (there 
are other ways but this is probably the simplest for your use case). Of 
course you won’t need “\set Score.alternativeNumberingStyle = #'numbers” 
anymore (this changes the numbering but there are no numbers ;)).



I would also like to put a little
more vertical space between the lines of music.


Try “system-system-spacing.basic-distance = 15” in the \paper block. You 
can experiment with different values.


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Re: Alternative bar numbering [0.18571]

[Malte Meyn]

Oh, and because you mentioned time savers: You don’t have to write the 
duration of every note. If you don’t write the duration the last 
duration is repeated.


So
  c4 d4 e4 r4 f8 e8 f4
is the same as
  c4 d e r f8 e f4

Am 25.08.2016 um 23:00 schrieb Malte Meyn:

Pleae always reply to the list (at least as CC) so others can see when
your problem is solved or new questions arise ;)

Am 25.08.2016 um 22:39 schrieb Pastor Neubauer:

Is there any way to not have the first line indent?


Yes: replace line 10 (“indent = #10”) by “indent = #0”. You can also
omit the #, i. e. “indent = 0” is sufficient.


And to remove the
numbers above the staff (measure numbers)?


Yes: Put “\omit Score.BarNumber” at the beginning of the music (there
are other ways but this is probably the simplest for your use case). Of
course you won’t need “\set Score.alternativeNumberingStyle = #'numbers”
anymore (this changes the numbering but there are no numbers ;)).


I would also like to put a little
more vertical space between the lines of music.


Try “system-system-spacing.basic-distance = 15” in the \paper block. You
can experiment with different values.

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Re: Alternative bar numbering [0.18571]

[Malte Meyn]

Am 25.08.2016 um 21:12 schrieb Pastor Neubauer:

I am not using  score blocks. I never really trained in on Lilypond, just sort 
of started finding what worked so I am going line by line using addlyrics. I 
know I have had some difficulties that could be worked out if I used more 
“formal” methods.


There are no explicit \score blocks but every \relative creates a score 
implicitely in this case.


You should have only one score per piece, not one score per line; 
LilyPond does good line breaking for you (and if you’re not satisfied 
you can help by using \break, \noBreak or setting the system-count, i. 
e. the total number of systems LilyPond should print, in the \paper block).


Attached you find the whole piece in one score. I put everything in one 
\relative and two \addlyrics blocks. Also, for better code readability, 
I put a line break after every measure and deleted all the unnecessary 
things like extra \bar commands or unused settings in the \layout block.


Also I replaced \laissezVibrer and \repeatTie by ~, added a r2 to 
measure 12, and changed r1 (whole measure rest) to R1 (this makes it 
centered).
\version "2.18.2"

#(set-global-staff-size 17.82)

\paper {
  #(set-paper-size "letter")
}

\layout {
  indent = #10
  left-margin = #20
  line-width = #185
}

\header {
  title = "Cornerstone"
  copyright = \markup \center-column {
"Words and music by Lenny LeBlanc |Paul Baloche"
\line { \char ##x00A9 "1999 Integrity’s Hosanna! Music | LenSongs Publishing." }
"Used by permission. CCLI License # 11090669"
  }
}


\relative c' {
  \key c \major
  \compressFullBarRests
  \override MultiMeasureRest.expand-limit = #2
  \set beamExceptions = #'() % this saves a lot of manual beams in this example
  \set Score.alternativeNumberingStyle = #'numbers
  R1*6
  \repeat volta 2 {
r8 c8 e8 g8 g4 r8 c,8
d8 e8 e4 r2
r8 f8 f8 a8 a4 r8 e8
e8 d8 d4~ d8 r8 r4
r8 c8 e8 g8 g4 r8 c,8
d8 e8 e4 r2
r8 f8 f8 e8 d8. e16 d4~
  }
  \alternative {
{
  d16 c8 c16~ c2.
  R1
}
{ d16\repeatTie c8 c16~ c2 r4 }
  }
  r2 e4 d4
  c4 r4 f4 e4
  d4 r4 e4 d4
  c4. c16 c16 f4~f16 e8 d16~
  d4 r4 e4 g4
  c,4 r4 f4 e4
  d4 r4 e4 d4
  c2. r4
  R1
  r8 c8 e8 g8 g4 r8 c,8
  d8 e8 e4 r2
  r8 f8 f8 a8 a4 r8 e8
  e8 d8 d4~ d8 r8 r4
  r8 c8 e8 g8 g4 r8 c,8
  d8 e8 e4 r2
  r8 f8 f8 e8 d8. e16 d4~
  d16 c8 c16~ c2.
  \bar "||"
  r8 f'8 f8 e8 d8. e16 d4~
  d16 c8 c16~ c2.
  r2 e4 d4
  \repeat volta 3 {
c4 r4 f4 e4
d4 r4 e4 d4
c4. c16 c16 f4~ f16 e8 d16~
d4 r4 e4 g4
c,4 r4 f4 e4
  }
  \alternative {
{
  d4 r4 e4 d4
  c2. r4
  r2 e4 d8( c8)
  e8( d32 c32 c16~ c4) r2
  r2 e4 d4
  f4.( e8~ e4. d8~
  d8) r8 r4 e4 d4
}
{
  d4 r4 e4 d4
  c2 r2
  r2 e4 d4
}
{
  d4 r4 e4 d4
  c2. r4
  R1*3^\markup { \tiny \italic { to verse 3 } }
}
  }
}
\addlyrics {
  \set stanza = "1." My hope is built on noth -- ing less, than Je -- sus’ blood and
  right -- eous -- ness I dare not trust the sweet -- est frame,
  bu whol -- ly trust in Je -- sus’ Name. - sus’ Name.
  Christ a -- lone. Corn -- er -- stone. Weak made strong in the Sav -- ior’s love.
  Through the storm, He is Lord. Lord of all.
  \set stanza = "2." When dark -- ness seems to hide His face, I rest on His un -- chang -- ing grace.
  In ev -- ’ry high and storm -- y gale, my an -- chor holds with -- in the veil.
  My an -- chor holds with -- in the veil. Christ a -- lone. Corn -- er-
  stone. Weak made strong in the Sav -- ior’s love. Through the storm, He is Lord. Lord of all. He is Lord. __ Lord of all. __ Christ a- Lord. Lord of all. Christ a- Lord. Lord of all.
}
\addlyrics {
  \repeat unfold 58 _ % skip 58 syllables
  \set stanza = #"3." When He shall come with trump -- et sound, oh may I then in Him be found.
  Dressed in His righ -- eous -- ness a -- lone. Fault -- less to stand be -- fore the throne.
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Re: crossStaff beaming not connecting both staves

[Malte Meyn]

Am 27.09.2016 um 23:05 schrieb Ryan Michael:

The problem is the stem does not connect the two staves. Here is the
complete piece:


Are you serious? 290 lines of code producing a three page score? Please 
always give a minimal working example and include a version statement.


This time I made an example for you but don’t expect users to dig 
through such a huge code to find something that can be demonstrated in 8 
lines (including version statement):


\version "2.19.47"

\new PianoStaff \with {
  \consists #Span_stem_engraver
} <<
  \new Staff { a\harmonic }
  \new Staff { \crossStaff a }
>>

This looks like a Span_stem_engraver bug to me: The NoteHeads don’t 
share a stem because of the different note head styles (two regular note 
heads → ok, two harmonic note heads → ok, example above → fail). This is 
neither a general chord problem nor a HarmonicEvent problem:

{  }
works fine and
\override NoteHead.style = #'harmonic a
fails the same way
a\harmonic
does.

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Re: crossStaff beaming not connecting both staves

[Malte Meyn]

Am 28.09.2016 um 00:01 schrieb Malte Meyn:


\version "2.19.47"

\new PianoStaff \with {
  \consists #Span_stem_engraver
} <<
  \new Staff { a\harmonic }
  \new Staff { \crossStaff a }




This looks like a Span_stem_engraver bug to me: The NoteHeads don’t
share a stem because of the different note head styles (two regular note
heads → ok, two harmonic note heads → ok, example above → fail). This is
neither a general chord problem nor a HarmonicEvent problem:
{  }
works fine and
\override NoteHead.style = #'harmonic a
fails the same way
a\harmonic
does.


I found a workaround: you can print the harmonic note heads twice; once 
with default style but hidden and once with #'harmonic style. The span 
stems will connect to the hidden note heads. I \omitted some things that 
would otherwise be printed twice, maybe you’ll need here some more.


\version "2.19.47"

\new PianoStaff \with {
  \consists #Span_stem_engraver
} <<
  \new Staff {
<<
  {
\hide NoteHead
a16 b c' d'
  }
  \new Voice {
\override NoteHead.style = #'harmonic
\override NoteColumn.ignore-collision = ##t
\omit Stem
\omit Beam
\omit Flag
\omit Dots
a16 b c' d'
  }
>>
  }
  \new Staff {
\autoBeamOff
\crossStaff {
  a16 b c' d'
}
  }
>>

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Re: Grob name for part combine texts?

[Malte Meyn]

Am 28.09.2016 um 11:03 schrieb Simon Albrecht:

I need to tweak (offset) the text(s) produced by the partcombiner, e.g.
"Solo"  What grob do I need to tweak?


CombineTextScript (found in the list at the bottom of 
http://lilypond.org/doc/v2.18/Documentation/internals/text_002dinterface)


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Re: Pitched Trill Collision

[Malte Meyn]

Am 30.09.2016 um 15:47 schrieb dtsmarin:

How can I move the pitched trill note so that the ledger lines aren't
connected?


Try using a version ≤ 2.19.40.


This shouldn't happen at all. You have to change the engraving rules for
this specific notation.


This is a bug which was introduced between 2.19.40 and 2.19.42, probably 
by commit b184142c; the commit message says “Merge overlapping ledger 
data before producing ledger stencils so we only produce one stencil for 
each ledger line.”


Here a minimal example:

\version "2.19.42"
\pitchedTrill a''\startTrillSpan a''

I’ll CC this to the bug list.

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Re: Pitched Trill Collision

[Malte Meyn]

Am 30.09.2016 um 19:56 schrieb dtsmarin:

Unfortunately I can't downgrade to an older version because some files won't
compile at all.


Which features of 2.19.41–48 do need? Maybe there’s an alternative so 
you can use 2.19.40.


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Re: Pitched Trill Collision

[Malte Meyn]

Am 01.10.2016 um 18:39 schrieb Paul:

Thanks for the bug report.  I posted a comment on the issue here:
https://sourceforge.net/p/testlilyissues/issues/4979/#b111


This comment says:


When two ledger lines are at the same vertical position, in the same note 
column, (as I assume is probably the case with a pitched trill note?) we 
apparently can't just assume that they overlap horizontally (as is most often 
the case with chords). We will have to check whether they overlap horizontally 
or not before merging them.


There are other cases where notes in the same note column are 
horizontally far away from each other, see f. e. 
http://lsr.di.unimi.it/LSR/Item?id=505 so this is not a 
pitchedTrill-only problem ;)


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Re: need help

[Malte Meyn]

Am 06.11.2016 um 11:25 schrieb David Sumbler:

How do I find out what changes have been made between (for instance)
2.19.48 and 2.19.49?


You could read the commit messages in the git log: 
http://git.savannah.gnu.org/cgit/lilypond.git/log/


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Re: Jazz Chord Symbols

[Malte Meyn]

Am 06.11.2016 um 15:41 schrieb jasonsilver:

This is great- but how do I use it for sharp notes in chords?

For example, I get how to do something like c:1.2.3.5 but don't know how to
a chord like Cmin7#5


I don’t find the message you answered to but maybe you are looking for 
something like this?


\version "2.18.2"

\new ChordNames \chordmode {
  c:m7.5+
  c:1.3-.5+.7
}

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Re: basic question regarding \drummode

[Malte Meyn]

Am 04.11.2016 um 23:15 schrieb Tobin Chodos:

What's the best way to handle a percussion part that has a lot of
pitched and un-pitched material?


You could have a “pitched” Staff accept not only “pitched” Voices but 
also DrumVoices:


\version "2.18.2"

\new Staff \with {
  \accepts DrumVoice
} \relative {
  c' d e f
  \new DrumVoice \drummode {
bd hh sn hh
  }
  g a b c
}

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Re: need help

[Malte Meyn]

Am 04.11.2016 um 22:11 schrieb Peter Lavetti:

Processing `/Users/peterlavetti/Desktop/Untitled.ly'
Parsing...
/Users/peterlavetti/Desktop/Untitled.ly:1: warning: no \version statement 
found, please add

\version "2.18.2"

for future compatibility
Success: compilation successfully completed

No PDF ever pops up. Nothing else happens.


According to the log this ly file doesn’t produce a PDF, maybe it has 
only definitions but no actual music in it? Try this one, it should 
output a PDF with a single staff containing a whole middle c:


\version "2.18.2"
{ c'1 }

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Re: Adding a barline at the start of a new line

[Malte Meyn]

Am 09.11.2016 um 22:27 schrieb Malte Meyn:

  c'1 c c c \bar "|" \break


Oh, of course you don’t need \bar "|" here as "|" is the default barline 
type.


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Re: Adding a barline at the start of a new line

[Malte Meyn]

Am 09.11.2016 um 21:50 schrieb hbezemer:

I want  LP to create a barline at the beginning of every new line, but
so far I can't find the right way to do so.


You can use the define-bar-line command. It takes four arguments:
1. name/default barline
2. barline at end of line
3. barline at begin of line
4. SpanBar (barline between two staves)

\version "2.18.2"

#(define-bar-line "|" "|" "|" "|")
#(define-bar-line "||" "||" "||" "||")

\relative {
  \override Staff.Clef.break-visibility = #all-invisible
  \override Staff.KeySignature.break-visibility = #all-invisible
  \key g \major
  c'1 c c c \bar "|" \break
  c c c c \bar "||" \break
  c c c c
}

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Re: Adding a barline at the start of a new line

[Malte Meyn]

Am 09.11.2016 um 22:27 schrieb Malte Meyn:

#(define-bar-line "|" "|" "|" "|")
#(define-bar-line "||" "||" "||" "||")


You might also want
#(define-bar-line ":|." ":|." "|" " |.")
and maybe others.

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Re: ties in volta / alternatives

[Malte Meyn]

Am 23.10.2016 um 10:11 schrieb bart deruyter:

I was wondering if this issue really isn't solved yet after 6 years. If so,
I can't find anything in the documentation, or I must have missed it.


This is issue 2884: https://sourceforge.net/p/testlilyissues/issues/2884/

It really isn’t solved and these problems are discussed what feels like 
every two weeks on this list. It would be very nice to find a solution 
for 2.20 or 2.22. If I have time around Christmas I’ll try to start to 
make some contributions to LilyPond, maybe I’ll have some ideas for this.


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Re: Server error?

[Malte Meyn]

Am 19.10.2016 um 18:59 schrieb Jan-Peter Voigt:

http://lsr.di.unimi.it/LSR/Search

This annoying dead-link came somehow, somewhere into the net ...



This link hasn’t always been dead: Some years ago the computer science 
department of the University of Milano changed it’s name/abbreviation 
from DSI to DI; they changed the subdomain (now di.unimi.it) as well.


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Re: Alternative subtleties

[Malte Meyn]

Am 28.11.2016 um 08:44 schrieb Menu Jacques:

Hello folks,

I’ve always used \alternative with a list of bracketed elements, and just found 
that example in the Notation Reference:
[…]
% to be compared with this:
{
  \accidentalStyle modern
  \time 2/4
  \repeat volta 2 {
c'2
  }
  \alternative {
{
  cis'
  \forget c'
}
  }
}

I’m afraid I didn’t read the doc well enough…


What is your question? Maybe you want the following?

  \alternative {
{
  cis'
}
{
  \forget c'
}
  }

\alternative doesn’t need two bracketed elements but two music 
expressions. “cis'” is one, “\forget c'” is one but if you need to group 
several music events this is done by << >> or { }: “{ cis' \forget c' }” 
is also only one music expression.


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Re: PianoStaff.shortinstrumentName

[Malte Meyn]

Am 28.11.2016 um 10:20 schrieb Robert Blackstone:

 \set PianoStaff.shortinstrumentName = "B. C."


It has to be shortInstrumentName (with a capital I).

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Re: Setting the number for \mark \default

[Malte Meyn]

Am 16.11.2016 um 08:08 schrieb Johan Vromans:

Still as someone familiar with ASCII control codes, I would expect #20 to
yield T, not U. But that's because the 'I' is missing in the sequence.


This is because LilyPond uses #format-mark-letters as default 
(“letters”: A to Z but without I, “alphabet”: complete A to Z). So if 
you want an I just \set markFormatter = #format-mark-alphabet.


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Re: alternative notehead style breaks cross-staff stem

[Malte Meyn]

Am 13.11.2016 um 15:45 schrieb Urs Liska:

I'm trying to build something like similar to an automated harmonic
display on two staves, and it seems that alternative note head styles
break the cross staff stems:

Is this known (at least not said in the NR)? Is there a way around this
issue?


I found the same bug in september but it seems like I didn’t report it …

http://lists.gnu.org/archive/html/lilypond-user/2016-09/msg00698.html

I posted a quick-and-dirty workaround in that thread.

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Re: Setting the number for \mark \default

[Malte Meyn]

Am 14.11.2016 um 09:52 schrieb Mojca Miklavec:

I'm using \markDefault from the following code for marking parts of music:

stdMarkFormat = {
  \set Score.markFormatter = #format-mark-box-letters
}
markDefault = {
  \stdMarkFormat
  \mark \default
}


Why do you use these functions? A \set is effective until the end of the 
score unless it is preceded by \once.


So you don’t have to set the markFormatter every time you use \mark #8 
or \mark \default and there is no need for extra functions like 
\markDefault:


\relative {
  \set Score.markFormatter = #format-mark-box-letters
  c'4 d e f \mark \default
  g a b c \mark #8
  b a g f \mark \default
  e d c2
}

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Re: beams in treble and bass staff

[Malte Meyn]

Am 14.01.2017 um 11:07 schrieb Gianmaria Lari:
> Novice question. Attached it's a small music fragment from an harpe
> score. How can I write it using lilypond?

You have to name your staffs and then use the \change command.

\version "2.19.53"

\new PianoStaff <<
  \new Staff = "upper" \relative {
\time 6/8
g''4.( f8 e d)
  }
  \new Staff = "lower" \relative {
c'16_( d f g
\change Staff = "upper"
b d)
\change Staff = "lower"
r4 r8
  }
>>

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Re: Faking a time signature

[Malte Meyn]

Am 13.01.2017 um 14:29 schrieb Menu Jacques:
> Hello folks,
> 
> In a Canzon by Gabrieli, we have 4/2 time written as slashed C:
> 

\time sets timeSignatureFraction and measureLength. So you can either
use time and set one of these context properties or you set both of them
and don’t need \time:

\version "2.19.53"

{
  \time 4/2
  \set Staff.timeSignatureFraction = 2/2
  b2 b b b
}
% or
{
  \time 2/2
  \set Score.measureLength = #(ly:make-moment 4/2)
  b2 b b b
}
% or
{
  \set Staff.timeSignatureFraction = 2/2
  \set Score.measureLength = #(ly:make-moment 4/2)
  b2 b b b
}

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Re: Find out denominator of current time signature

[Malte Meyn]

Am 11.01.2017 um 14:00 schrieb Thomas Weber:
> Dear all,
> 
> I wonder how I can create a duration that is so to say exactly one time
> signature denominator long (e.g. an eigth in 6/8, a quarter in 4/4
> etc.).  I thought something like this would work:

You can get the duration from the context property timeSignatureFraction
or baseMoment:

%
\version "2.19.53"

{
  \time 12/8
  \applyContext
  #(lambda (context)
 (display (ly:context-property
context
'baseMoment)))
%'timeSignatureFraction)))
}
%

I don’t know how you can make a music function that uses this and
returns music. \applyContext #(lambda (context) (make-music …)) has no
visible output. But maybe it’s a start.

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Re: Removing Barlines

[Malte Meyn]

Am 14.01.2017 um 18:16 schrieb Amir Teymuri:
> i am a new lilypond user. How can i hide / remove barlines completely?
> When i set \override Score.BarLine in each upper and lower staffes of a
> piano staff only the line on the systems will be overriden but not the
> line between upper and lower systems. Attached is how it lookes like
> and my code.

It looks like you have no bars and no time signature in this piece. So
you don’t want to have break possibilities only at bar lines. There are
two options (see code example below):

1. use barAlways = ##t which sets a bar line after every single note.
2. use \cadenzaOn and \bar"" where you want to allow a line breaks.

I saw that you use <> for chords. This works but there is a
shorter way: 8 (note that the duration belongs after the > because
it’s for the whole chord). << >> is usually used for polyphony.

%
\version "2.18.2"

% for line break possibilities everywhere use
% barAlways and empty bar lines:

\new Score \with {
  barAlways = ##t
  defaultBarType = ""
  \omit BarNumber
  \omit TimeSignature
} {
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
}

% for only manual break possibilities use
% \cadenzaOn and manual empty bars:

\new Score \with {
  \omit TimeSignature
} {
  \cadenzaOn
  b b b b b b b b b b b b b b b b b b
  b b b b b b b\bar"" b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
  b b b b b b b b b b\bar"" b b b b\bar"" b b b b
  b b b b b b\bar"" b b b b b b b b b b b b
  b\bar"" b b b b b b b b b b b b b b b b b
  b b b b\bar"" b b b b b b b b b b b b b b
  b b b b b b b b b b b b b b b b b b
}

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Re: How to merge two scores into one?

[Malte Meyn]

Am 05.01.2017 um 22:45 schrieb Jeff Epstein:
> I'm not understanding how to merge two scores into one. The song just 
> continues, but it's a different section with a different voice configuration. 
> The first section has a single voice, the second has two. The only way I can 
> figure it out so far is to print out two scores. Is there a way to merge 
> these into a single score, so the song continues on the same line? Thanks.

It looks like \RemovesEmptyStaves and friends are what you are looking
for: This command removes staves which contain only rests from the score
so you can have two staves all the time but fill the verse of the lower
staff with rests. In LilyPond 2.18 you might need an extra \override.
The code below shows how the command is used.

\version "2.18.2"

\header {
  title = "How to hide empty staves"
}

melodyTop = \relative {
  \clef treble
  \key c \major
  \time 4/4
  c'8 d e f g a b4
  \break
  c8 b a g f e d4
  \break
  c d e f g a b c
  \break
  R1*2
}

melodyBottom = \relative {
  \clef bass
  \key c \major
  \time 4/4
  R1
  c'2 f,2
  R1*2
  c1 c2 c
}

lyricsTop = \lyricmode {
  do re mi fa so la ti
  do ti la so fa me re
  so -- lo so -- lo so -- lo so -- lo
}

lyricsBottom = \lyricmode {
  do fa
  bass so -- lo
}

\score {
  <<
\new Voice = "top" { \autoBeamOff \melodyTop }
\new Lyrics \lyricsto "top" \lyricsTop
\new Voice = "bottom" { \autoBeamOff \melodyBottom }
\new Lyrics \lyricsto "bottom" \lyricsBottom
%% might be easier:
%{
{ \autoBeamOff \melodyTop }
\addlyrics \lyricsTop
{ \autoBeamOff \melodyBottom }
\addlyrics \lyricsBottom
%}
  >>
  \layout {
\context {
  \Staff
  %% LilyPond 2.18
  %% removes empty staves (but not in the first line)
  \RemoveEmptyStaves
  %% removes empty staves in the first line
  \override VerticalAxisGroup.remove-first = ##t
  %% LilyPond 2.19
  %% removes empty staves everywhere;
  %% \RemoveEmptyStaves still exists in 2.19
  %\RemoveAllEmptyStaves
}
  }
}

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Re: Changing midi-tempo within score

[Malte Meyn]

Am 07.01.2017 um 23:34 schrieb UCas:
> I am able to set midi-tempo in my header-file with
> 
> \midi {
>   \context {
> \Score tempoWholesPerMinute = #(ly:make-moment miditempo 4)
>   }
> }
> 
> but how can I change this tempo within the score?

\set Score.tempoWholesPerMinute = #(ly:make-moment 120 4)

anywhere in the score.

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Re: Problem with partcombine and shape notes

[Malte Meyn]

Am 31.12.2016 um 11:55 schrieb Phil Holmes:

I think it's documented in
http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#automatic-part-combining


You’re right. (I didn’t notice that my browser chose the german 
translation which hasn’t included this change yet.) However it would be 
nice to have it in the Changes.html too.


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Re: Problem with partcombine and shape notes

[Malte Meyn]

Am 31.12.2016 um 10:57 schrieb Malte Meyn:

By the way: what’s this optional \partcombine argument introduced in
2.19? I haven’t found any documentation.


Found it. It’s an two year old addition that has been documented only in 
appendix A.18 of the NR (which seems to be generated directly from the 
code). IMO this should be documented in section 1.5.2 of the NR and in 
the Changes as well.


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Re: Problem with partcombine and shape notes

[Malte Meyn]

Am 30.12.2016 um 07:27 schrieb Bumby Hymnal:

I've run into a problem with using \partcombine while using
\aikenHeads.  The problem is that under certain circumstances the aiken
shape note heads are not used in the output of \partcombine.  The
strange thing is that it sometimes works.


\aikenHeads is a shorthand for \set shapeNoteStyles = ##(do re miMirror 
fa sol la ti) which affects only the current Voice context. \partcombine 
uses sometimes one and sometimes two voices so it’s not always the same 
Voice context. This means that only the notes that have the same voice 
assignment as the first notes are in the same Voice context(s).


This is not an \aikenHeads problem but all Voice-only \overrides and 
\sets show the same behaviour, so here’s some other examples and a solution:


%%% BEGIN

\version "2.19.49"

\markup "original problem, two short examples"

\partcombine #'(2 . 12)
{ \aikenHeads c' d' e' f' }
{ \aikenHeads a  d' c' f' }
\partcombine #'(2 . 12)
{ \aikenHeads f' e' d' c' }
{ \aikenHeads f' c' d' a  }

\markup "not an \aikenHead problem but a “Voice-only \set or \override” 
problem"


\partcombine #'(2 . 12)
{ \override NoteHead.color = #blue c' d' e' f' }
{ \override NoteHead.color = #blue a  d' c' f' }
\partcombine #'(2 . 12)
{ \override NoteHead.color = #blue f' e' d' c' }
{ \override NoteHead.color = #blue f' c' d' a  }

\markup "\overrides on Staff level"

\partcombine #'(2 . 12)
{ \override Staff.NoteHead.color = #blue c' d' e' f' }
{ \override Staff.NoteHead.color = #blue a  d' c' f' }
\partcombine #'(2 . 12)
{ \override Staff.NoteHead.color = #blue f' e' d' c' }
{ \override Staff.NoteHead.color = #blue f' c' d' a  }

\markup "solution: add “Staff.” to the definition of \aikenHeads (from 
property-init.ly)"


staffAikenHeads = \set Staff.shapeNoteStyles = ##(do re miMirror fa sol 
la ti)


\partcombine #'(2 . 12)
{ \staffAikenHeads c' d' e' f' }
{ \staffAikenHeads a  d' c' f' }
\partcombine #'(2 . 12)
{ \staffAikenHeads f' e' d' c' }
{ \staffAikenHeads f' c' d' a  }

\markup "or, if you use \aikenHeads everywhere, put the \aikenHeads into 
a \layout block:"


% This is commented out because it would affect also the scores above.
%{
\layout {
  \context {
\Staff
\aikenHeads
  }
}
%}

\partcombine #'(2 . 12)
{ c' d' e' f' }
{ a  d' c' f' }
\partcombine #'(2 . 12)
{ f' e' d' c' }
{ f' c' d' a  }

%%% END

By the way: what’s this optional \partcombine argument introduced in 
2.19? I haven’t found any documentation.


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\relative { \time 3/4 a' d b c2 \bar "|." }

[Malte Meyn]

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Re: French tablature?

[Malte Meyn]

Am 29.12.2016 um 23:15 schrieb Alasdair McAndrew:

Is it likely that Lilypond will provide such tablature at some stage?
Currently, if I want to typeset tablature, I need to use different
software.


LilyPond already supports this type of tablature: You have to set the 
tablatureFormat to #fret-letter-tablature, set a string tuning including 
bass strings, and maybe change the default fret labels to not include j.


The rhythm can be added in a separate RhythmicStaff; maybe one could 
extract it somehow from the music using a music function (might be 
tricky with polyphonic music) but of course it can also be done by hand.


\version "2.19.53"

% maybe this could be automatically extracted from mel?
rh = {
  4*3 8*2 4. 8*5 4*2 8*4 16*4 8. 16 8*2 4 2*2 1
}

mel = \relative {
  a,,4 b c d8 e f4. g8
  a b c d e4 f g8
  a b c d16 e f g
  a8. b16 c8 cis d4
  d,2 d, d,1
}

\score {
  <<
\new RhythmicStaff \rh
\new TabStaff \mel
\new Staff { \clef "treble_8" \mel }
  >>
  \layout {
\context {
  \TabStaff
  tablatureFormat = #fret-letter-tablature-format
  stringTunings = \stringTuning 
  additionalBassStrings = \stringTuning 
  % don’t use j as a fret label:
  %fretLabels = #'("a" "b" "c" "d" "e" "f" "g" "h" "i" "k")
}
\context {
  \RhythmicStaff
  \override StaffSymbol.line-count = 0
  \autoBeamOff
  \remove Bar_engraver
  \override VerticalAxisGroup.staff-staff-spacing.basic-distance = 6
  % you might want
  % 1. no time signature:
  %\remove Time_signature_engraver
  % 2. straight flags:
  %\override Flag.stencil = #old-straight-flag
  % 3. other note head shape or no note heads:
  %\override NoteHead.style = #'petrucci
  %\omit NoteHead
}
  }
}

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Re: French tablature?

[Malte Meyn]

Am 30.12.2016 um 05:16 schrieb Alasdair McAndrew:

Many thanks!  I didn't know about RhythmicStaff.  Is this all possible
in version 2.18.2 (which I'm using)?


Not everything is possible: the additionalBassStrings property has been 
added in 2.19; so 2.18.2 won’t support this.



/home/Lilypond/tabTest.ly:5:4: error: syntax error, unexpected UNSIGNED
4*3 8*2 4. 8*5 4*2 8*4 16*4 8. 16 8*2 4 2*2 1


2.19 supports durations without pitch; in 2.18 this would have to be 
c4*3 c8*2 c4. c8*5 (with arbitrary pitch; Rhythmic staff doesn’t care 
about the pitch)



Maybe version 2.18.2 requires a little extra tweaking.  Again, thank you
very much.


If you don’t need bass strings here is the solution for 2.18.2:


\version "2.18.2"

% maybe this could be automatically extracted from mel?
rh = {
  c8*4 c4*2 c8*4 c16*4 c8. c16 c8*2 c4 c2 c1
}

mel = \relative {
  a,8 b c d e4 f g8
  a b c d16 e f g
  a8. b16 c8 cis d4
  d,2 d,1
}

\score {
  <<
\new RhythmicStaff \rh
\new TabStaff \mel
\new Staff { \clef "treble_8" \mel }
  >>
  \layout {
\context {
  \TabStaff
  tablatureFormat = #fret-letter-tablature-format
  stringTunings = \stringTuning 
  % don’t use j as a fret label:
  %fretLabels = #'("a" "b" "c" "d" "e" "f" "g" "h" "i" "k")
}
\context {
  \RhythmicStaff
  \override StaffSymbol.line-count = 0
  \autoBeamOff
  \remove Bar_engraver
  \override VerticalAxisGroup.staff-staff-spacing.basic-distance = 6
  % you might want
  % 1. no time signature:
  %\remove Time_signature_engraver
  % 2. straight flags:
  %\override Flag.stencil = #old-straight-flag
  % 3. other note head shape or no note heads:
  %\override NoteHead.style = #'petrucci
  %\omit NoteHead
}
  }
}

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Re: French tablature?

[Malte Meyn]

Am 30.12.2016 um 09:09 schrieb Alasdair McAndrew:

I tried it without the RhythmicStaff, just to see what the tablature
looks like.  However, the tablature is written on the lines, rather than
between them.  I suppose this could be tweaked by moving all the letters
up by half the distance between lines, but it would be nice to have this
done automatically.


I would strongly recommend to use version 2.19 not only because of the 
bass string support (I don’t know whether you need it) but because of a 
better letter positioning. In 2.18.2 the letters are positioned around 
their vertical center instead of the base line so the “d” sits lower 
than the “a” and “c”; see attachment.


Then you can add the following code to the \layout-\context-\TabStaff 
block (f. e. after setting tablatureFormat):


  \override TabNoteHead.before-line-breaking =
#(lambda (grob)
  (ly:grob-set-property! grob 'Y-offset
(+  (ly:grob-property grob 'Y-offset) 0.5)))

This moves the letters 0.5 staff spaces up from their original position. 
This code works also in 2.18.2 but it won’t fix the misalignment.


Attached you’ll find the original and the tweaked versions for both 
2.18.2 and 2.19.53.
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Re: French tablature?

[Malte Meyn]

Am 30.12.2016 um 09:27 schrieb Malte Meyn:

Then you can add the following code to the \layout-\context-\TabStaff
block (f. e. after setting tablatureFormat):

  \override TabNoteHead.before-line-breaking =
#(lambda (grob)
  (ly:grob-set-property! grob 'Y-offset
(+  (ly:grob-property grob 'Y-offset) 0.5)))


I just noticed that this naturally moves also the bass strings. If you 
want to have them at their original position (with some space between 
them and the TabStaff) you’ll need a small change to this; see the code 
below.


\version "2.19.53"

% maybe this could be automatically extracted from mel?
rh = {
  4*3 8*2 4. 8*5 4*2 8*4 16*4 8. 16 8*2 4 2*2 1
}

mel = \relative {
  a,,4 b c d8 e f4. g8
  a b c d e4 f g8
  a b c d16 e f g
  a8. b16 c8 cis d4
  d,2 d, d,1
}

\score {
  <<
\new RhythmicStaff \rh
\new TabStaff \mel
\new Staff { \clef "treble_8" \mel }
  >>
  \layout {
\context {
  \TabStaff
  tablatureFormat = #fret-letter-tablature-format
  \override TabNoteHead.before-line-breaking =
  #(lambda (grob)
 (if (not (< (ly:grob-property grob 'Y-offset) -4))
 (ly:grob-set-property! grob 'Y-offset
   (+  (ly:grob-property grob 'Y-offset) 0.5
  stringTunings = \stringTuning <a, d f a d' f'>
  additionalBassStrings = \stringTuning <a,, b,, c, d, e, f, g,>
  % don’t use j as a fret label:
  fretLabels = #'("a" "b" "c" "d" "e" "f" "g" "h" "i" "k")
}
\context {
  \RhythmicStaff
  \override StaffSymbol.line-count = 0
  \autoBeamOff
  \remove Bar_engraver
  \override VerticalAxisGroup.staff-staff-spacing.basic-distance = 7
  % you might want
  % 1. no time signature:
  \remove Time_signature_engraver
  % 2. straight flags:
  %\override Flag.stencil = #old-straight-flag
  % 3. other note head shape or no note heads:
  \override NoteHead.style = #'petrucci
  %\omit NoteHead
}
  }
}
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Re: Strange error

[Malte Meyn]

Am 18.12.2016 um 18:03 schrieb Br. Samuel Springuel:

When I compile the following snippet I get an error under 2.19.53 that
wasn't there under 2.18.2:

\version "2.19.53"

timeless = \with {
\remove "Time_signature_engraver" }

\new Staff \with {
\remove "Time_signature_engraver" }
{ c' }

\new Staff \timeless
{ c' }


Try an additional \with:

\new Staff \with \timeless { c' }

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Re: Change augmentation dot size

[Malte Meyn]

Am 23.12.2016 um 17:19 schrieb liang seng:

My questions is, is there a way to change the size of augmentation dots to make 
it bigger or smaller?


Yes, there is:

\version "2.18.2"
{
  c'4.
  \override Dots.font-size = 3
  c'
}

The default font-size is 0, negative values give smaller dots, positive 
values bigger dots.


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Re: tweak the position of arpeggio

[Malte Meyn]

Am 22.03.2017 um 08:50 schrieb Jinsong Zhao:
> In the following code, you may see the arpeggio is far away the notes.
> My question is how to make it close to the notes? Thanks in advance.

How about

  \once \override PianoStaff.Arpeggio.padding = -1

?

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The End. [Was: Parallel Square Premusic]

[Malte Meyn]

Am 22.03.2017 um 11:07 schrieb Urs Liska:
> Indeed, I think those last remarks of the OP seem to be bringing this
> discussion to an end. Otherwise we might end up engaging in something
> like the infamous "maclaren" episode ...

I think we can agree on this.

One good thing happened in this thread: I remembered that I don’t find
LilyPond’s grace handling perfect and would like to discuss this. I’ll
start a new thread as soon as I have some sketches or real world examples.

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Re: LSR down?

[Malte Meyn]

Am 26.03.2017 um 07:21 schrieb Andrew Bernard:
> Is LSR down for others?

Not for me: http://lsr.di.unimi.it/LSR/Search (Probably you know already
that dsi.unimi.it changed to di.unimi.it some years ago; but there are
old links pointing to the old domain in mail archives etc.)

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Re: LSR down?

[Malte Meyn]

Another reason to repeal daylight saving time in the EU :D

Am 26.03.2017 um 08:51 schrieb caag...@gmail.com:
> It's down for me. http://lsr.di.unimi.it/LSR/Snippet?id=1007 says
> something about timezones (CEST in unrecognized). While the search page
> works, the results are empty.
> 
> On 03/26/17 08:48, Malte Meyn wrote:
>>
>>
>> Am 26.03.2017 um 07:21 schrieb Andrew Bernard:
>>> Is LSR down for others?
>>
>> Not for me: http://lsr.di.unimi.it/LSR/Search (Probably you know already
>> that dsi.unimi.it changed to di.unimi.it some years ago; but there are
>> old links pointing to the old domain in mail archives etc.)
>>
>> ___
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> 
> ___
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Re: Make dots in repeat barline smaller

[Malte Meyn]

Am 26.03.2017 um 09:13 schrieb Andrew Bernard:
> When using a smaller staff size than the default, how do you make the
> double dots in a repeat barline smaller also?
These dots come from the music font, so try

\override Staff.Barline.font-size = 6

(negative values for smaller than default)

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Re: Is it possible \quoteDuring from a different position?

[Malte Meyn]

Am 25.03.2017 um 02:23 schrieb caag...@gmail.com:
> For example, quoting the start of the music when you are a few measures in?

You could use several \addQuotes. But this needs one for every shift, so
maybe it’s not the best solution.

\version "2.19.56"

foo = \relative {
  c' d e f
  g2 g
  a4 a a a
  g1
}
\addQuote foo \foo
\addQuote shiftfoo { s1*2 \foo }

<<
  \new Staff \foo
  \new Staff {
\quoteDuring foo s1*2
\quoteDuring shiftfoo s
  }
>>

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Re: LSR down?

[Malte Meyn]

Am 27.03.2017 um 02:30 schrieb Andrew Bernard:
> LSR still down as at 0030 UTC here in Australia.
> 
> Andrew

No time zone problems here so http://lsr.di.unimi.it/LSR/Snippet?id=1007
shows up correctly but the search gives no results:
http://lsr.di.unimi.it/LSR/Search?q=notehead

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Re: Unclear doc?

[Malte Meyn]

Am 29.03.2017 um 08:41 schrieb Menu Jacques:
> Hello folks,
> 
> In appendix A.17 of the LPNR v2.19.57, what doest the « No setting… »
> sentence mean?
> 
> alternativeNumberingStyle (symbol)
> The style of an alternative’s bar numbers. Can be numbers for going back
> to the same number or numbers-with-letters for going back to the same
> number with letter suffixes. *No setting will not go back in
> measure-number time*.

No setting means either “there is no setting” or “it’s set to #'()”.

\version "2.19.56"

music = {
  \repeat volta 3 R1*2
  \alternative {
R
R
R
  }
  R
}

\layout {
  \context {
\Score
\override BarNumber.break-visibility = #end-of-line-invisible
  }
}

\new Score \music

\new Score \with {
  alternativeNumberingStyle = #'numbers
} \music

\new Score \with {
  alternativeNumberingStyle = #'numbers-with-letters
} \music

\new Score \with {
  alternativeNumberingStyle = #'numbers-with-letters
} {
  \music
  \set Score.alternativeNumberingStyle = #'()
  \music
}

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Re: Unexpected Stem behaviour

[Malte Meyn]

Hi Gerard,

please try to make minimal examples that are easier to understand
(http://lilypond.org/tiny-examples.html). These long lines and tons of
{} and <<>> aren’t easy to read.

Am 31.03.2017 um 11:55 schrieb Gerard:
> 1. The stems in red do not match the coding, length should be 8 in stead
> of 4

I tried to find any code that has to do with stem length for five
minutes but didn’t see that there was none because of missing line
breaks etc.

After these five minutes I realised that you meant that the note
duration isn’t represented by the stem/flag (flag is missing) instead of
an uncorrect stem length.

If you don’t use \hideNotes you can see what causes the missing flag:
The eigth notes are beamed together with the preceding transparent 32nd
notes. They have a (transparent) beam so no flag is set. You can use
\noBeam here to prevent beaming from and to this note:

8\noBeam

> 2. The tie on the red note seems to precede the note, not to follow it
> to the next.

The tie is attached to the note head you attached it to—but this note
head is transparent. If you don’t use \hideNotes you can see that. The
two note heads are printed side by side to prevent collision; you can
turn that off by using

(\once) \override NoteColumn.ignore-collision = ##t

> Any suggestions are welcome.

General suggestion: If you use transparent “fake” voices to create such
complicated polyphony, don’t make them transparent until all spacing
etc. is done and then, as a last step, insert \once \hideNotes,
\hideNotes and \unHideNotes.

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Re: Unexpected Stem behaviour

[Malte Meyn]

Am 31.03.2017 um 12:27 schrieb Malte Meyn:
> The tie is attached to the note head you attached it to—but this note
> head is transparent. If you don’t use \hideNotes you can see that. The
> two note heads are printed side by side to prevent collision; you can
> turn that off by using
> 
>   (\once) \override NoteColumn.ignore-collision = ##t

But don’t forget to turn the collision prevention back on again:

\revert NoteColumn.ignore-collision

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Re: How to force script (articulation custom function) inside staff ?

[Malte Meyn]

Am 31.03.2017 um 11:48 schrieb Les Éditions Valmajour - pg:
> Dear list members,
> I have to use lots of dots and dashes in a score, so I found a snippet
>  to apply an articulation
> (staccato) function to a long passage. I tried to adapt it for another
> articulation, the one I need (portato, = dot + dash)
> It works well, except the positioning: it remains outside the Staff.
> I would like to get the same positioning behavior than the default
> articulation (inside the staff)

Portato is something different than staccato plus tenuto in LilyPond:

\score {
  <<
\new Staff \with {
  instrumentName = "default -.--"
} \relative c'' {
  g8-.-- a-.-- b-.-- c-.--\downbow
  d-.-- c-.-- b-.-- a-.--\upbow
}
\new Staff \with {
  instrumentName = "default -_"
} \relative c'' {
  g8-_ a-_ b-_ c-_\downbow
  d-_ c-_ b-_ a-_\upbow
}
  >>
}

The portato (-_) is *one* single symbol instead of two separate ones
(dash + dot). This single symbol has no space to got inside the staff so
your function won’t work as expected.

You could try adding the dashes and the dots separately (define
addTenuto which adds "tenuto" instead of "portato"):

\new Staff \with { instrumentName = "+ \addStacc + \addTenuto" }
\relative c' {
  \addTenuto { \addStacc { g'8 a b c\downbow d c b a\upbow } }
}

But IMHO that looks bad because of different spacing between dash and
dot depending on whether they are inside the staff or outside.

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Re: inconsistent bar number placement

[Malte Meyn]

Am 17.03.2017 um 21:47 schrieb Juan Cristóbal Cerrillo:
> the barnumber in measures 5, 6, 9 and 10 in the following example are placed 
> so differently as the other bar numbers.

Cannot reproduce any inconsistencies. Are you sure you’re using LilyPond
2.18.2?

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Re: Partial

[Malte Meyn]

Am 17.03.2017 um 21:08 schrieb Joseph Austin:
> First of all, although I did not see it in the documentation, 
> the form \partial DUR*NUM, such as \partial 8*5, seems to work, where NUM is 
> an integer multiplying DUR.
> This seems to be sufficient to accommodate any arbitrary anacrusis,
> (except possibly partial tuplets, but I'm not sure such rhythms occur in 
> practice).

Section 1.2.3 of the notation reference says that \partial takes a
duration as an argument. Section 1.2.1 describes what a duration can
look like (so I don’t think \partial’s capabilities are undocumented):
Not only powers of 2 but also \breve, \longa, \maxima, dotted durations
and scaled durations. You can scale a duration not only by integer
factors but also by fractions and even multiple factors are allowed.

So “upbeat/anacrusis of three notes of a dotted-sixteenth quintuplet”
can be written as

\partial 16.*4/5*3

> Also, durations specified with dots also work, e.g  \partial 4..

There is an example at section 1.2.3 which uses “\partial 4.”

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Re: inconsistent bar number placement

[Malte Meyn]

Am 17.03.2017 um 22:54 schrieb Juan Cristóbal Cerrillo:
> Yes, my version is 2.18.2
> This is what the top of page 3 looks like with ragged-right and
> ragged-bottom ##t

The code you posted doesn’t contain these settings.

> Are you not seeing the same?

No, even if I add

\paper {
  ragged-right = ##t
  ragged-bottom = ##t
}

to your code there’s no problem. You should provide code that actually
produces the output you describe, else it’ll be difficult to help ;)

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Re: What can Premusic do that others can't?

[Malte Meyn]

Am 20.03.2017 um 22:48 schrieb have@anti.capital:
> These are the first measures of Beethoven's Fifth in premusic.

This is missing tempo, fermatas and dynamics.

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Re: Parallel Square Premusic

[Malte Meyn]

Am 20.03.2017 um 02:11 schrieb have@anti.capital:
> I have invented an extremely robust and perfectly extensible plaintext file 
> format called Parallel Squares.
This sounds very promising, let’s do a partial fact check.

> premusic (I use this word to describe instructions for how to play music, […])
Look mom, I invented a word! Besides of that: You cannot play from those
scores as they are huge.

> []ly  
> Hap___birth___Hap___birth___Hap___birth___..._Hap___birth_
> []ly  
> _-py___-day-py___-day-py___-day___...__-py___-day_
> []ly  
> __to__you!__to__you!__dear_to__you!___
This isn’t readable.

> []pi  
> D4--||--D4D4||A3--A3--||--A3A3||D4--D4--||--D4D4||G4--G4--||--D4D4||D4
> []pi  
> B3--||--B3B3||F#--F#--||--F#F#||B3--B3--||--B3B3||E3--E3--||--B3C4||B3
> []pi  
> G2--G3--||G2G3G3||D2--D3--D3--||D2D3D3||G2--G3--G3--||G2G3G3||C2--C3--C3--||G2G3F#||G3G2--
This seems to be how you do chords. So for Liszt piano music you need 16
lines of text instead of two or four as in traditional notation?

> This allows for exponentially many more useful symbols than there are keys on 
> a keyboard.
Not exponentially. Quadratically. And not every possible combination is
also useful.

> Only measures with many fast notes need many squares - a whole note measure 
> could very well be just ||da||.
1 | 2... 32 (LilyPond)
vs.
||d||daad|| (PSP)
This is one fast note, not many.

> Sharps and flats may be obtained by lowercasing the letter for a flat or, for 
> example, "D%" for "D5 sharp". (Look at your keyboard!)
Are you serious? No double accidentals (you called the format “perfectly
extensible” if I remember correctly), flats and sharps are totally
differently coded, and you depend on a f***ing keyboard layout? This is
as far from robust as the format is from being a standard that people
will use (I’m sorry to say that because you put much work and thoughts
in it but I cannot imagine any musician using this).

> I am fairly comfortably able to compose PSPremusic in a simple text editor, 
> but it's not optimized for the purpose. […]
Throughout the thread you mention notepad.exe several times. But here we
see that this isn’t realistic at all. Other languages like LilyPond are
realistically handled with in a simple text editor (ok, syntax
highlighting is nice but most editors have that). And they have the
advantage that you can have the corresponding traditional notation in
another window (f. e. as a PDF).

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Re: What can Premusic do that others can't?

[Malte Meyn]

Am 21.03.2017 um 06:46 schrieb have@anti.capital:
> A composer who uses an irrational tuplet is a composer who is going out of 
> his way to exclude his music from comfortable notation. 
Oh, I think that these irrational tuplets are comfortable to write easy
to understand if you use traditional notation.

> I'm not too concerned about that corner case of corner cases and am frankly 
> honored you have to dig so deep to try and break my format.
If you’re interested I’ll do a quick search and find some more music by
not-cornercase-composers that breaks your format.

> But in any case, there's precisely nothing to stop you from approximating as 
> far as you want, with an explanatory comment appended if needed.
So here is the point where your format is readable neither for humans
nor for computers.

> Nor am I concerned if my plaintext file format is not as comfortable in 
> terminal editors as it is in the GUI text editors that everyone has and most 
> people use.
So the most powerful terminal editors like vim and emacs just aren’t
good enough for your genius format? Sad but probably their fault. Oh
wait: It’s not the choice of editor that makes these files uncomfortable
to handle with.

> I note that Ctrl-U (view source) renders it perfectly in Firefox. Is anyone 
> going to see a .premusic file online, save it, navigate to that location in 
> terminal, and be dismayed that the code is a little wide for their 
> unmaximized Emacs?
Yes, there are people that’ll do exactly this. (Ok, I prefer vim but
that’s not the point here.)

> If wraps become a necessity, then - fine! I'll make a wrap character. ;;
Ahaha, you thought you could do a complete score in just one line? I’ll
be happy to see your version of “Eine Alpensinfonie” by Richard Strauss.
I can imagine some text editors crashing on that. Maybe they won’t crash
if you insert line breaks but then you’ll need a very durable mouse wheel.

> - Original Message - Subject: Re: What can Premusic do that 
> others can't?
> From: "Werner LEMBERG" 
> Date: 3/21/17 12:19 am
> To: have@anti.capital
> Cc: lilypond-user@gnu.org
> 
>  You might create a description of your syntax on, say, github, also
>  setting up a mailing list to which interested people can subscribe.

For this description to be perfectly well-defined/unambiguous you’ll
need a masochist who loves formal languages/grammars, at least if some
day a computer program should be able to read these scores. And you’ll
want that because no human can do so.

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Re: What can Premusic do that others can't?

[Malte Meyn]

Am 20.03.2017 um 22:48 schrieb have@anti.capital:
> MusicXML […] but it is an unwise solution here.
As you mentioned several times, you’re not a programmer so probably
others know a little better about how to store music in a way that
programs can easily read.

> ABC […] lacks the perfect and intuitive vertical extensibility of Premusic.
PSP might be relatively easy to describe/define. But not intuitive
(think of D# for D sharp 3, which should be D§ on a german and Dℓ on a
neo keyboard layout).

> Extensibility speaks for itself. […] Every column of squares can be 
> elaborated on by putting more information above it.
So for double sharps/flats:

[]ac   +   -
[]pi  G#G#G3g3g3

Very clever.

> It looks to be compatible with even the most complicated music. It's very 
> easy to read and compose […]
No (see David’s tuplet example), no and no.

> I have invented the perfect plaintext file format for premusic.
“Perfect” is a strong word but I’m sure you perfectly know what you’re
talking about.

> Before you dismiss my format, […] I implore you to at least try composing in 
> a text editor.
I do it all the time: Frescobaldi is the editor of my choice.

So now that I’ve ranted about things that others have thought about more
than me I feel a bit sorry. I’ll try not to do so again.

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Re: Scaled grace

[Malte Meyn]

Am 21.03.2017 um 11:44 schrieb Malte Meyn:
> Or if you don’t want variants for all \grace variants (i. e. \grace,
> \slashedGrace, \appoggiatura, \acciaccatura, \afterGrace), just make a
> function that takes a music expression and scales it to 1. Maybe this
> could also be nice for cadenza-like things in real time notes (if you
> combine it with \newSpacingSection or a duration argument):
> 
> […]

scaleToLength =
#(define-music-function (dur mus) (ly:duration? ly:music?)
   (let* ((real-len (ly:music-length mus))
  (mom (ly:duration-length dur))
  (ratio-mom (ly:moment-div mom real-len))
  (ratio (cons (ly:moment-main-numerator ratio-mom)
   (ly:moment-main-denominator ratio-mom
 #{
   \scaleDurations #ratio #mus
 #}))

% from Chopin’s Nocturne op. 15 No. 2
\new PianoStaff <<
  \new Staff \relative {
\time 2/4
\key fis \major
\teeny
\scaleToLength 2 {
  b'8([ ais b) ais( a gis) a( gis a) gis( g fis) g( fis g)
  fis\( f e eis fis eis dis( eis fis) ais( gis eis fis dis gis)\)]
}
  }
  \new Staff \relative {
\clef bass
\key fis \major
<< { s8 d4 } \\ { fis,8( d'  cis,) } >>
  }
>>

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Re: Scaled grace

[Malte Meyn]

Am 21.03.2017 um 11:04 schrieb Urs Liska:
> 
> 
> Am 21.03.2017 um 10:46 schrieb Malte Meyn:
>> (By the way: I think that the way LilyPond handles it (using “grace” and
>> “real time”) is pretty good but not perfect. \grace only needs grace
>> time but \afterGrace needs real time for vertical alignment (but not for
>> input of the notes)—it would be nice to have 1. \grace before barlines
>> and 2. grace/afterGrace notes that are vertically aligned indepentently
>> from real time notes if you don’t want them between the real notes. And
>> maybe 3. some function that helps to align f. e. 7 grace notes in the
>> right and 6 in the left hand without having to scale them by hand -> a
>> function that takes notes and scales them so that they get a given total
>> length. Maybe if I find some time I’ll make some sketches that
>> illustrate 2. and pseudo code that illustrates 3.)
> 
> 
> Something like this?

Yes. I would prefer a duration (\scaledGrace 4) over a rational number
{\scaledGrace 1/4) but that’s easy to change:

scaledGrace =
#(define-music-function (dur mus) (ly:duration? ly:music?)
  (let* ((real-len (ly:music-length mus))
 (mom (ly:duration-length dur))
 (ratio-mom (ly:moment-div mom real-len))
 (ratio (cons (ly:moment-main-numerator ratio-mom)
  (ly:moment-main-denominator ratio-mom
#{
  \grace \scaleDurations #ratio #mus
#}))

Or you just assume that if you really want to synchronize graces in this
way all graces in all voices start at the same time. (I think that’s
probable. If you don’t have simultaneously starting graces they probably
are notated in a way that needs no scaling, therefore \grace is
sufficient.) Then you could use a default value of 1:

scaledGrace =
#(define-music-function (mus) (ly:music?)
  (let* ((real-len (ly:music-length mus))
 (ratio (cons (ly:moment-main-denominator real-len)
  (ly:moment-main-numerator real-len
#{
  \grace \scaleDurations #ratio #mus
#}))

Or if you don’t want variants for all \grace variants (i. e. \grace,
\slashedGrace, \appoggiatura, \acciaccatura, \afterGrace), just make a
function that takes a music expression and scales it to 1. Maybe this
could also be nice for cadenza-like things in real time notes (if you
combine it with \newSpacingSection or a duration argument):

\version "2.19.56"

autoScale =
#(define-music-function (mus) (ly:music?)
   (let* ((real-len (ly:music-length mus))
  (ratio (cons (ly:moment-main-denominator real-len)
   (ly:moment-main-numerator real-len
 #{
   \scaleDurations #ratio #mus
 #}))

{
  <<
{
  c''2
  \grace \autoScale {
c''16 [ d'' e'' ]
  }
  f''2
}
\\
{
  c'2
  \appoggiatura \autoScale {
c'16 b c' d' e'
  }
  f'2
}
  >>
}

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Re: What can Premusic do that others can't?

[Malte Meyn]

Am 21.03.2017 um 10:18 schrieb Hans Åberg:
> 
>> On 21 Mar 2017, at 00:40, Werner LEMBERG  wrote:
>>
>>> As an example of what David is mentioning, have a look at the attached
>>> png image (taken from Chopin's prelude op. 28/24) and try to notate
>>> this.
>>
>> Oops, wrong image.  Here's the right one.
> 
> The whole piece, with score, is at:
>   https://www.youtube.com/watch?v=nIsCvQPOdcM

Nice, I think I know what I’ll study next after my piano exam.

Apart from that this brings to me the question how grace notes which
don’t really take any time at all are compatible with Vac’s dadadada
rhythm notation.

(By the way: I think that the way LilyPond handles it (using “grace” and
“real time”) is pretty good but not perfect. \grace only needs grace
time but \afterGrace needs real time for vertical alignment (but not for
input of the notes)—it would be nice to have 1. \grace before barlines
and 2. grace/afterGrace notes that are vertically aligned indepentently
from real time notes if you don’t want them between the real notes. And
maybe 3. some function that helps to align f. e. 7 grace notes in the
right and 6 in the left hand without having to scale them by hand -> a
function that takes notes and scales them so that they get a given total
length. Maybe if I find some time I’ll make some sketches that
illustrate 2. and pseudo code that illustrates 3.)

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Re: MIssing semi-sharp, semi-flat , sesqui-sharp, and sesqui-flat names in some languages in LPNR 2.19.56

[Malte Meyn]

Am 20.03.2017 um 11:38 schrieb Menu Jacques:
> I’ve noticed that only the following languages:
> 
>   nederlands deutsch english espanol or espa~nol français italiano 
> portugues
> 
> are mentioned at page 9 regarding:
> 
>   semi-sharp semi-flat sesqui-sharp sesqui-flat
> 
> accidentals.
> 
> How does one write them in catalan, norsk, suomi, svenska and flaams?

Quarter tone names aren’t defined for these languages in the file
scm/define-note-names.scm.

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Re: Parallel Square Premusic

[Malte Meyn]

Please always reply to the messages you are actually quoting/referring
to so mail clients and archives put the mails in the thread in correct
order.

Am 22.03.2017 um 02:10 schrieb have@anti.capital:
> I'm not sure how the octave of a pitch is ambiguous?? Scientific pitch 
> notation is pretty well defined...
Hm … I don’t know either what the person you are referring to meant
because your mail is lacking the context described above. But I told you
about how D# for D sharp 5 is far from robust because in other keyboard
layouts numbers+shift give different results:

US layout: #
Dvorak layout: (
UK layout: £ (not present in ASCII)
German layout: § (not in ASCII)
neo layout: ℓ (neither in ASCII nor in the Latin-1 ASCII extension)
French layout: needs shift to reach the numbers so instead of shift just
use no shift and get "

Sadly there was no answer how you want to handle this problem.

> Please explain what you mean by 'markup'?
I don’t know which the original message you replied to is but “markups”
in LilyPond are all kinds of texts attached to music like “dolce”,
“ritardando”, “molto espressivo”, “arco”, “V. S.”, …

> I don't see any particularly compelling reason to demand inclusion of 
> artifacts of sheet music such as the grouping of beams, when a rendering 
> program could easily determine the most typical grouping.
Have you played much classical music? Beam grouping often is used to show

1. Accents/heavy times/downbeats/beat grouping (I’m not sure about the
correct English term) in meters like 5/8, 8/8 (look f. e. at Bartók).
5/8 can be 2+3 or 3+2. And it can change in every measure.

2. Syncopations and shifted meter (look f. e. at Schumann).

3. (Often—but not always—in combination with double stems) an additional
voice made from a selection of many small notes in another voice (look
f. e. at Chopin or many other romantic piano composers).

> Unless you think we'll run out of square characters?
Let’s make a quick calculation: There are 46 printable ASCII characters
plus the space. So you have 47²=2209 possible “square characters”.
That’s less than “characters” in the chinese “alphabet” so not enough
for all purposes. Now to be fair look only at music: Maybe you don’t
need that many different characters for music encoding and even less
because you have different contexts. But many combinations of two random
characters don’t make sense, sometimes you need some redundancy to keep
something readable/understandable (even or computers!).

> It is a new project and I want to discuss it with people before afterthoughts 
> such as these are decided upon. The framework is solid, and like it or not, 
> this will proceed to become the plaintext music format.
You want to discuss but “like it or not: it’s perfect and will become
*the* standard”? That sounds very contradictory to me and to be honest
also a little bit megalomaniac/narcissistic.

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Re: new to this list - converting from Noteworthy Composer

[Malte Meyn]

Am 22.03.2017 um 09:52 schrieb Guido van Harten:
> Hi,
> 
> I think I am new to this list. A few years ago I tried Lilypond to
> create my music files. It failed, but I do not remember why.
> 
> As of today I will give it a new try. Now I am starting of my current
> music notation software, Noteworthy Composer.
> I think the converting utility nwc2ly is not part of the lilypond
> software, but may be anyone can help me.
> 
> I tried to convert a simple music file, created in Noteworthy Composer
> 2.75, to Lilypond.
> Is this forum also for discussing about nwc2ly?
> 
> Regards,
> Guido

It seems that nwc2ly is rarely discussed here; the last thread is from
2013:
http://lists.gnu.org/archive/cgi-bin/namazu.cgi?query=nwc2ly=Search%21=lilypond-user=20=normal=date%3Alate
But I’d give it a try, maybe there are some nwc2ly users out there or
other people can help with more general things.

You could also search the archives for “noteworthy”; maybe some people
use other ways to convert.

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Re: Converting a large project from 2.18 to 2.19: what to expect?

[Malte Meyn]

Am 05.04.2017 um 09:15 schrieb Shevek:
> In terms of Scheme changes, how does this affect compatibility with snippets
> written on 2.16 or 2.18?

Most notable change is the change in definition of music function changes:

#(define-music-function (parser location arg1 arg2) (type1? type2?) …)

becomes

#(define-music-function (arg1 arg2) (type1? type2?) …)

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Re: Specify output directory *in* the file

[Malte Meyn]

Am 05.04.2017 um 11:19 schrieb Urs Liska:
> Hi all,
> 
> is it possible to specify an output directory from within the LilyPond
> file without going through the hoops of ly:book-process?
> 
> TIA
> Urs

How about \bookOutputName? This works with absolute paths like

  \bookOutputName "/home/malte/foo" (output to /home/malte/foo.pdf)

and with relative paths too. You don’t need an explicit \book {} block.

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Re: "natural width" of a measure

[Malte Meyn]

Am 11.04.2017 um 20:36 schrieb Urs Liska:
> So, is there any moment in the compilation process where the natural,
> unstretched length of a measure can be calculated? It doesn't have to be
> an easily-read property and can involve calculation, but actually the x
> position of the barlines would be an easy target - *if* there's this
> magic moment in the compilation pipeline ;-)

Maybe you could experiment with the ly:one-line-breaking?

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Re: German User Forum down

[Malte Meyn]

Am 01.04.2017 um 06:51 schrieb Manuela Gößnitzer:
> Hi,
> 
> does anybody know anything about the German forum? The page is down since
> yesterday, the site says "End of life". I am really sad because this forum
> is very valuable for me,
> greetings
> Manuela

Hi Manuela,

fugenkomponist from the german forum here. I hope this is an april
fools’ joke ;) But if not:

I hope lomtas (the admin) will give us a chance to archive the threads.
Some years ago he said he cannot transfer the admin access to someone
else because of data privacy issues so if he really wants or has to
close it we would have to start a new forum.

These privacy issues would only apply to user data but not for the
public threads so archiving the threads should be ok.

If this forum comes to an end I would like to start a new one. We could
ask lomtas to sell/transfer the domain lilypondforum.de directly to one
of us. And hosting a forum shouldn’t be that expensive (I know a german
hoster with pay-what-you-want, very good support and very much freedom)
and maybe committed users like harm6, chf, you, me and some others could
share the costs. The old forum then could be found at a subdomain
archiv.lilypondforum.de.

Viele Grüße
Malte

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Re: German User Forum down

[Malte Meyn]

Am 01.04.2017 um 10:42 schrieb Manuela:
> Hi Malte,
> 
> I really do hope this is a joke (not a good one), if not, we can get a
> backup of our threads. I would participate in the costs of a new forum,
> greetings,
> Manuela

Maybe it’s not a joke but also not the end of the forum. Might be a
server or forum software problem. But I think lomtas’s hoster has a backup.

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Re: Slurs within chords, within tuplets -- seem to be ignored (without warnings!)

[Malte Meyn]

Am 12.04.2017 um 11:17 schrieb Phil Holmes:
> Without actually trying this out, it seems to me that the reason is
> likely to be that your slur markings are inside chord notation.  Try
> putting them outside the chords and see if that helps.

You’re right (slurs work but not phrasing slurs; also your comment on
tininess) but for this use case it’s probably better to
\set doubleSlurs = ##t
instead of using slurs and phrasing slurs.

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Re: Incipit default notehead.style

[Malte Meyn]

Am 05.04.2017 um 20:06 schrieb Johannes Roeßler:
> Hi,
> 
> I'd like to have an incipit with modern notation styles in 2.19 - but
> what ever I do - I get neomensural noteheads./
> /I tried to place \override NoteHead.style = #'default or \override
> Staff.NoteHead.style = #'default several places,
> without success.
> 
> Any hints?
> 
> Cheers, Joei

The incipit isn’t printed on a Staff but a MensuralStaff context so you
should try

\override MensuralStaff.NoteHead.style = …

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Re: lilypond errors on a guitar minor sixth chord

[Malte Meyn]

Am 15.04.2017 um 02:36 schrieb Stan Mulder:
> Thanks for the clarification on the reply-all. I wasn't sure what to do.
> Is there some place on the web were I can see other discussions?

There are several archives, f. e.

http://lists.gnu.org/archive/html/lilypond-user/ (this is the mailing
lists’ own archive on gnu.org)
http://lilypond.1069038.n5.nabble.com/
http://www.mail-archive.com/lilypond-user@gnu.org/

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Re: Last number on a score; but this is the first in the next one...

[Malte Meyn]

Am 15.04.2017 um 15:40 schrieb Son_V:
>> And a solution
> 
> Sorry but I wasn't able to find it, surely, my fault. I tried some of your
> code without success. I'm using version "2.18.2" on Linux.

Maybe try all code, not some code ;)

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Re: Last number on a score; but this is the first in the next one...

[Malte Meyn]

Am 15.04.2017 um 15:47 schrieb Son_V:
>> \override Score.BarNumber.break-visibility = #end-of-line-invisible 
> 
> Thanks! That was successful.
> 
> But I'm still in doubt of what should be the correct way.

There is no single correct way. In classical music traditionally you
have bar numbers only at the beginning of each line; that’s why
#begin-of-line-visible is LilyPond’s default. Film scores often have bar
numbers at every measure. IIRC the don’t set a number on the last bar
line. So this would be #end-of-line-invisible.

Some publishers set bar numbers every now and then (f. e. every 5 or 10
measures in classical music or at significant places every 4 to 20
measures in film scores) but modern editions of classical music don’t do
that any more (at least, I haven’t seen such an edition yet).

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Re: flip clef at end of line only

[Malte Meyn]

Am 15.04.2017 um 17:32 schrieb Marc Hohl:
> Hi list,
> 
> I am working on a little piece that's played as written;
> after that, the musician has to turn the page upside down and play the
> resulting notes.
> 
> I managed to get the clef displayed at the beginning and the end of each
> line, and I can flip the clef ;-)
> 
> Unfortunately, overriding the Clef.stencil at the end of the line
> changes the apperance for the clef in the next line, too.

You need before-line-breaking here so you can use the function
ly:item-break-dir:


\override Clef.before-line-breaking =
#(lambda (grob)
   (if (equal? (ly:item-break-dir grob) LEFT)
   (ly:grob-set-property! grob 'stencil
 (lambda (grobb)
   (grob-interpret-markup grobb
 #{ \markup \translate #'(0 . 2) \flip \musicglyph
#"clefs.G" #})

I added the translate in the markup to bring the clef to the correct
vertical position.

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Re: Last number on a score; but this is the first in the next one...

[Malte Meyn]

Am 15.04.2017 um 13:54 schrieb Son_V:
> Hi all, Lilypond (using \override Score.BarNumber #'break-visibility = #'#(#t
> #t #t) ) writes at the end of a score, the number of the next beam, that is
> written at the beginning of the subsequent score; and it writes at the end
> of the last score the number that should be at the beginning of an
> inexistent next score.
> Now I don't have at hand "Beyond bars", so I can't say if it's a correct
> behaviour or not. But it seems strange to me IMHO.

It’s strange indeed, but it’s also exactly what you asked for by setting
break-visibility to #'#(#t #t #t) or it’s shortcut #all-visible.

Try
  \override Score.BarNumber.break-visibility = #'#(#f #t #t)
or the shortcut
  \override Score.BarNumber.break-visibility = #end-of-line-invisible
instead.

And concerning Kieren’s comment about patches: This is not LilyPond’s
mistake. And if you turn off the very last bar number even if bar
numbers are set to #all-visible that would be very confusing.

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Re: Forcing a downward line at the end of a second time bar marking

[Malte Meyn]

Am 13.04.2017 um 12:13 schrieb Richard Shann:
> can the second time bar be made to look like the first time bar, being
> "finished off" with a downward verstical stroke at the double barline?

This is done automagically for some bar types like "|." and ":|." but
not for "||". But I cannot find where in the Code this decision is made
so I don’t know which property to change.

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Re: Tuplet bracket

[Malte Meyn]

Am 14.04.2017 um 06:45 schrieb Andrew Bernard:
> Hi Michiel,
> 
> Use shorten-pait to taste.
> 
>   %\once \override TupletBracket.positions = #'(3.1 . 3.4)
>   \once \override TupletBracket.shorten-pair = #'(0 . 0.5)

Shouldn’t this be #'(0.2 . 0) or similar but not #'(0 . 0.5) if you want
to shorten it at the left edge?

Alternatively, instead of shortening the tuplet bracket, you could move
the notes by inserting

\once \override Score.NoteColumn.X-offset = 0.6

(try different values) at this place.

>   \tuplet 3/2 {
> r32 \clef treble
> \once \override Slur.positions = #'(-1 . 1)
> f'^(-[ f')]
>   }
>   %\once \override TupletBracket.positions = #'(3.4 . 3.4)
>   \tuplet 3/2 { r32 r \clef bass \stemNeutral  }
> 
> Andrew

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Minimal examples (was: Last number on a score; but this is the first in the next one...)

[Malte Meyn]

Am 15.04.2017 um 14:30 schrieb Son_V:
> I'm not able to make a truly "minimum example", that's what I could do:

I’ll show you how this can be simplified.

> \version "2.18.2"
> \header {
>   }
You don’t need an empty \header, \paper, \layout, … block.
> PartPOneVoiceOne =  \relative a' {
>   \override Score.BarNumber #'break-visibility = #'#(#t #t #t)
>   \clef "treble" \key c \major \numericTimeSignature\time 4/4 a1 | % 2
Clef, key, time signature style don’t have anything to do with your
problem. Omit them.
>   a1 a1 a1 a1 a1 a1 a1 a1 a1 a1 a1 a1 a1 | % 3 
Try less notes, and if you want multiple lines of music with little
input, try R1*20 or \repeat unfold 20 a1 or something like that. Apart
from that your comments are neither bar nor line numbers so why are they
there?
>   b1 | % 4
>   c1 \bar "|."
You don’t need that bar line.
> }
> \score {
You don’t need a score block if there is only one score in your lilypond
file.
>   <<
You don’t need these outermost << >> because there is only one Staff.
> \new Staff <<
>   \set Staff.instrumentName = "Piano"
>   \set Staff.shortInstrumentName = "Pno."
Instrument names have nothing to do with your problem.
>   \context Staff <<
> \context Voice = "PartPOneVoiceOne" { \PartPOneVoiceOne }
You are already in a Staff context, why state that explicitely again?
And why name your Voice if you don’t have \change commands or \lyricsto
or something similar?
>   >>
> >>
>   >>
These << >> aren’t necessary if there are no things happening in
parallel (multiple voices, staves, …).
>   \layout {}
You don’t need that unless you have some content in this \layout block
or an additional \midi block.
>   }

This gives the following almost-minimal example:

%%% BEGIN
\version "2.18.2"

PartPOneVoiceOne =  \relative a' {
  \override Score.BarNumber.break-visibility = #'#(#t #t #t)
  R1*20
}

\new Staff \PartPOneVoiceOne
%%% END

Why almost minimal? Because you don’t need the \new Staff (a staff
created anyway) and your example is so small that you don’t need a
variable definition and usage. Oh, and of course without notes you don’t
need \relative. So here comes a truly minimal working example:

%%% BEGIN
\version "2.18.2"

{
  \override Score.BarNumber.break-visibility = #'#(#t #t #t)
  R1*20
}
%%% END

Why not omit the version number making this even smaller? Because nobody
has to ask which version you use then :)

Of course it’s not a problem to have a small example that’s not truly
minimal. But your example had 22 lines, mine has 6 (if you count empty
lines) and in so few lines you don’t first have to find out which lines
are relevant for the problem and which are not.

HTH
Malte

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Re: Key signatures repeated on every staff

[Malte Meyn]

Am 15.04.2017 um 16:41 schrieb Son_V:
> I dare to try a minimal example! :-)
> But I hope it's self-explaining.

\version "2.18.2"

{
\key d \major
R1*20
}

That’s not too hard ;)

But yes, it’s self-explaining this time.

> On my scores, the key signature appears on every beginning of a staff.

Not only on yours.

> I wonder if it's right or if it SHOULD be avoided. In the latter case, what
> should I do?

May I ask how much sheet music you have seen so far? All (!) classical
sheet music repeats key signature at every line. And many editions of
pop/jazz/… do that also. Generally you can be sure that at such basic
questions (and many/most advanced questions also) LilyPond’s default
behaviour is correct. In cases where there are several possibilities,
LilyPond follows rules for classical music from the 19th century.

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Re: flip clef at end of line only

[Malte Meyn]

Am 15.04.2017 um 21:34 schrieb Marc Hohl:
> Thanks a lot! Just for clarification: after-line-breaking seems to work
> here, too – is there a special reason to use before-line-breaking?

No. I thought I had tried it with after-line-breaking first without
success but maybe I made another mistake.

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Re: \repeatTie on a single note in a chord

[Malte Meyn]

Am 09.03.2017 um 17:07 schrieb Mojca Miklavec:
> How can one add "\repeatTie" that only works on a single note in a chord?
> 
> Example where I would only want to add the tie just to "f":
> 
[…]
>   2 \repeatTie r4 |

I think

2

should do what you want. But there’s no visible output (although the
RepeatTieEvent is present in the f’s 'articulations); I think that’s a bug.

You can fake the desired result by placing all three ties at the same spot:

\once \override RepeatTieColumn.tie-configuration =
#`((-4 . ,DOWN) (-4 . ,DOWN) (-4 . ,DOWN))
2\repeatTie

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Re: \repeatTie on a single note in a chord

[Malte Meyn]

Am 09.03.2017 um 17:35 schrieb Mojca Miklavec:
> Should I file a bug report?

I think so. Minimal example could look like this (I use \displayMusic to
show that the RepeatTieEvent is there):

\version "2.19.56"

\displayMusic 

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Re: \repeatTie on a single note in a chord

[Malte Meyn]

Am 09.03.2017 um 22:25 schrieb Thomas Morley:
> 
> Another possibility to fake it:
> 
> {
>   \override LaissezVibrerTie.head-direction = #RIGHT
>   < b d'^\laissezVibrer >
> }

This looks like the source of the bug should be easily found.
LaissezVibrerTies and RepeatTies are basically the same thing except for
the names and directions, aren’t they?

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Re: Klammern und verkleinerte Noten

[Malte Meyn]

Am 09.03.2017 um 09:59 schrieb Bernhard Kleine:
> The problem is with the spacing of the grace notes. Being not a
> programmer I do not find enough information in the 2.9.56 manual to do
> it by myself: The spacing of parentheses to the graces and the distance
> of the grace notes to the notes they are gracing seem not large enough.
> Thanks for your patience, Bernhard

Why don’t you use regular notes instead of grace notes? Just change the
\partial 4 to \partial 4., delete all \grace commands, and put empty
syllables in the lyrics (see code below). And then parenthesize only one
voice in every staff. font-size changes the size of the parentheses,
padding pushes the parentheses further away from the note head (to avoid
collisions with flags) and extra-offset moves them to the right (because
there is no flag at the left side) and down (to get them around tenor
*and* bass).

I used \magnifyMusic #(magstep -3) to make the notes smaller. You could
also use \once \teeny (or similar) but this doesn’t change the stem
lengths and IMO small notes with long stems look weird.

%%%
soprano = \relative c' {
  \once \override ParenthesesItem.font-size = 3
  \once \override ParenthesesItem.padding = 0.5
  \once \override ParenthesesItem.extra-offset = #'(0.25 . 0)
  \global
  \magnifyMusic #(magstep -3) \parenthesize f8 f8 g |
  a2~ a8 a  \bar "|."
}
alto= \relative c' {
  \global
  \magnifyMusic #(magstep -3) f8 f8 f |
}
tenor   = \relative c' {
  \once \override ParenthesesItem.font-size = 6
  \once \override ParenthesesItem.padding = 0.5
  \once \override ParenthesesItem.extra-offset = #'(0.25 . -0.5)
  \global
  \magnifyMusic #(magstep -3) \parenthesize a8 a8 b |
}
bass= \relative c  {
  \global
  \magnifyMusic #(magstep -3) f8 f8 f |
  f2~ f8 f
}

verseOne = \lyricmode {
  \set stanza = "1." _ Lie -- be ist die Macht des Him -- mels.
}
verseTwo = \lyricmode {
  \set stanza = "2." _ Fehlt die
}
verseThree = \lyricmode {
  \set stanza = "3."  Die Lieb' ist
}
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Re: Problem with bar numbers

[Malte Meyn]

Am 14.03.2017 um 09:11 schrieb Don Gingrich:
> OK, I'll start by saying that I'm doing some things that
> are wrong as far as musical purists are concerned,
> but there *is* a reason.
> 
> […]
> 
> So it breaks the rules of music theory, but there is
> a reason.

If I understand correctly: No, it doesn’t break the rules of music
theory. It’s totally correct (and almost always a must-have!) to have
the last bar shortened by the length of the anacrusis.

> space  that is unwanted. So I've been using
> \partial and copping the warnings since it looks 
> better. (It's just the "programmer" in me that doesn't
> like code that "compiles" with warnings.)

Maybe you should use a newer (“unstable”/development version); 2.19.xx
allows \partial after the start of a piece and handles bar numbers
correctly. The development versions aren’t unstable in the sense that
they will crash or damage your input files or something similarly bad
but only that there is a new version every two (?) weeks; of course you
don’t have to always use the very latest version but only upgrade if you
want to use new features.

> The other problem is that the bar numbers get 
> screwed up with these anacrusii that aren't supposed
> to be there.

I don’t think LilyPond does anything wrong here. Anacruses aren’t
counted as bars. Maybe you don’t want the two alternatives counted as
two bars? This can be prevented by

\set Score.alternativeNumberingStyle = #'numbers

(you might prefer … = #'numbers-with-letters).

> If it were up to me, I'd re-number at the start of each tune,
> but I'm working to someone else's preferred appearance
> which he achieves with Finale. I'm getting close but 
> the bar numbers are defeating me. I tried getting 
> a number on every bar. and thought that I had the 
> correct command in:
> 
>  \set Score.barNumberVisibility = #(every-nth-bar-number-visible 1)
> 
> But I still only get numbers at the left side of the staff.

Try

\override Score.BarNumber.break-visibility = #end-of-line-invisible

instead.

Put both of the commands above in a \layout block outside of the
\scores; then they’ll affect (or effect? I don’t know) all scores:

\layout {
  \context {
\Score
\override BarNumber.break-visibility = #end-of-line-invisible
alternativeNumberingStyle = #'numbers-with-letters
  }
}

The \score blocks then simply look like this (after removing unneeded
contexts and stuff):

\score {
  <<
\new ChordNames \PartOneChords
\new Staff \PartOne
  >>
  \layout { }
  \midi { }
}


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Re: Problem with bar numbers

[Malte Meyn]

Am 14.03.2017 um 11:35 schrieb David Kastrup:
>> Maybe you should use a newer (“unstable”/development version); 2.19.xx
>> allows \partial after the start of a piece and handles bar numbers
>> correctly. The development versions aren’t unstable in the sense that
>> they will crash or damage your input files or something similarly bad
>> but only that there is a new version every two (?) weeks; of course
>> you don’t have to always use the very latest version but only upgrade
>> if you want to use new features.
> 
> Uh, development versions most certainly _can_ crash and we had several
> ones that did under fairly normal circumstances.  Using development
> versions you should be prepared to upgrade with some regularity.

Well, they *can*, my generalization wasn’t totally correct. But I think
it’s mostly safe to use them if you want these new features; I’ve used
several 2.19.xx versions in the past three years and had only two
crashes which also occured in 2.18 when I lacked RAM for the page
breaking of huge scores ;)

So yes, sometimes you might have to upgrade but for most use cases it
won’t be necessary to upgrade very often.

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Re: Problem with bar numbers

[Malte Meyn]

Am 14.03.2017 um 11:30 schrieb Andrew Bernard:
> I had a look into this for Don. The partial after a repeat throws a new
> bar number, although it should not. Is there a way to control this, or
> is it a defect?

I don’t really understand what you mean. Which LilyPond version did you
use? Which repeat do you refer to?

In 2.18.2 bar 9 and 24 are counted twice (use \override
Score.BarNumber.break-visibility = #end-of-line-invisible to reproduce);
that is fixed in 2.19.56.

I don’t see a new bar number where the old should be used.

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Re: Starting with Lilypond - First Error

[Malte Meyn]

Am 13.03.2017 um 22:04 schrieb David Kastrup:
> Scoutladen - Ralph Fröhlich  writes:
> 
>> Hi everybody,
>>
>> I try to use Lilypond in our Mediawiki for collection songs for group
>> of children (like boyscouts...).
>>
>> Try to set up the first song with a given .ly I get the first
>> errors. The code of affen.ly seams to be correct, and I try to google
>> for the error-messages. But I didn't find any help
>>
>> If you have anny idea?
>>
>> Best regards
>> Ralph
>>
>> Errors
>>
>> Processing `.../file.ly'
>> Parsing...
>> .../file.ly:27:1: error: Spurious expression in \score
> 
> file.ly is not affen.ly and the error messages as well as the line
> numbers do not correspond with what you posted.
> 
> In the posted affen.ly there is not even a \score written.
> 

If you add the line

\score {

directly before the #(set-global-staff-size 14) you’ll get this error
message—but only if you use LilyPond 2.19.xx; versions 2.18.2 and
earlier (like the 2.12.3 in Ralph’s \version statement) only say

“error: syntax error, unexpected SCM_TOKEN, expecting \header

  #(set-global-staff-size 14)”

So please, Ralph, give us the correct and complete file and state the
LilyPond version you are actually using.

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Re: function/macro for "on the fly" dynamics+text

[Malte Meyn]

Am 04.03.2017 um 22:59 schrieb Kieren MacMillan:
> Many scores use dynamics like “pp sub.” or “f dolce” etc. In order to build 
> such a grob as a DynamicText, I use the following:
> […] 
> 1. I have to define a macro for every single combination in every score. For 
> ppSub and the like, which will be used often, that’s not so bad… but it’s a 
> pain for something like “f, as ridiculously loud as physically possible”, 
> which I will hopefully only use once. ;)
> 
> 3. I need a different make-music function for something like “subPP” (i.e., 
> where the order of dynamic and text is reversed).
> 
> 4. I need a different make-music function when it’s simply a text (e.g., 
> “cresc. poco a poco”).

Do you know the \dynamic function from openlilylib? You can find it at
openlilylib/input-shorthands/easy-custom-dynamics and it is used as follows:

{
  c\p
  d\dynamic "p" % or \dynamic p (same output as \p)
  e\dynamic "p e dolce"
  f\dynamic "più p"
  g\dynamic "cresc. poco a poco"
}

The function builds a markup where every word containing *only* p, f, m,
s, z, r (f. e. sffz) is printed in dynamic letters and every other word
(f. e. poco) is printed in normal-text italics. And it supports
underscores for spaces as I just noticed so you could omit the "":

{
  % all of the following have the same output
  f\dynamic "più p"
  f\dynamic "più_p"
  f\dynamic più_p
}

> 2. I have to manually try-and-errorize the self-alignment-X and hspace 
> value(s) for each dynamic I define this way. Graham’s original 
> make-dynamic-extra function tried to handle this issue, but the X-offset 
> tweak made it impossible to reset post-hoc (e.g. when using the 
> edition-engraver), so I had to stop using it.

I’m not sure about self-alignment-X behaviour but for long dynamics like
"p" at start of measure (colliding with bar line) or "p dolce e
espressivo" usually setting self-alignment-X to #LEFT and X-offset to 0
works for me.

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Re: placement of clef before break

[Malte Meyn]

Am 08.03.2017 um 08:43 schrieb Juan Cristóbal Cerrillo:
> In the following example, I would like to be able to place the clef after the 
> repeat barline, and the time signature in parenthesis.

Time signature in parentheses: http://lsr.di.unimi.it/LSR/Item?id=734

For the order of Grobs at the line break there is
BreakAlignment.break-align-orders, it’s three lists (or vectors?) of
symbols you can override:

\once \override Score.BreakAlignment.break-align-orders =
##(
   ;; end of line
   (left-edge cue-end-clef ambitus breathing-sign
 cue-clef staff-bar clef
 key-cancellation key-signature time-signature custos)
   ;; unbroken
   (left-edge cue-end-clef ambitus breathing-sign
 clef cue-clef staff-bar
 key-cancellation key-signature time-signature custos)
   ;; begin of line
   (left-edge ambitus breathing-sign clef
 key-cancellation key-signature time-signature staff-bar
cue-clef custos))

I took the original list from scm/define-grobs.scm and moved the “clef”
entry in the first sublist to behind staff-bar.

In your case you don’t really need the complete list for a \once
\override because you don’t have ambitus, breathing-sign, key-signature
etc. So the following is sufficient:

\once \override Score.BreakAlignment.break-align-orders =
##((left-edge staff-bar clef time-signature)
   ()
   (left-edge clef time-signature))

I don’t know why (bug?) but the clef before the break isn’t really
nicely positioned so one has to override X-offset to correct this:

\once \override Staff.Clef.before-line-breaking =
#(lambda (grob)
   (if (and (ly:item? grob)
(equal? (ly:item-break-dir grob) LEFT))
 (ly:grob-set-property! grob 'X-offset 1)))

(I used before-line-breaking here because the override shall only move
the clef before the break.)

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