Re: Small caps not working in bookTitleMarkup?

[Malte Meyn]

Am 29.10.2017 um 15:50 schrieb Patrick Hubers:

Hi,

I'm trying to create titles in small caps by modifying the 
bookTitleMarkup in my stylesheet. For some reason, all font modifiers 
(\bold, \italic etc.) seem to work, except for \caps or \smallCaps.


[…]

Am I doing something wrong, have I missed something in the docs or did I 
encounter a bug?


Could you please give a minimal example code?

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Re: Small caps not working in bookTitleMarkup?

[Malte Meyn]

Am 29.10.2017 um 16:41 schrieb Malte Meyn:



Am 29.10.2017 um 15:50 schrieb Patrick Hubers:

Hi,

I'm trying to create titles in small caps by modifying the 
bookTitleMarkup in my stylesheet. For some reason, all font modifiers 
(\bold, \italic etc.) seem to work, except for \caps or \smallCaps.


[…]

Am I doing something wrong, have I missed something in the docs or did 
I encounter a bug?


Could you please give a minimal example code?


I just found out that this is a know bug: 
https://sourceforge.net/p/testlilyissues/issues/1482/ There you can also 
find a workaround.


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Re: How to end a melisma

[Malte Meyn]

Am 01.11.2017 um 01:19 schrieb Simon Albrecht:

The correct way would be

Music = \relative c'' {
   c4 d e f\melisma
   c d e f\melismaEnd
   r d e f
   c d e f
}


Ok, obviously that’s more correct than my solution. I didn’t know these 
commands, nice to learn something new about LilyPond every now and then :)


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Re: \RemoveEmptyStaves removes Dynamics context

[Malte Meyn]

Am 06.05.2018 um 22:35 schrieb Thomas Weber:

Can anybody help me with keeping the dynamics alive?  Many thanks!

[…]

\layout {
   \context {
     \Score


Replace \Score by \Staff here.


     \RemoveEmptyStaves
     \override VerticalAxisGroup.remove-first = ##t
   }
}


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Re: DynamicText.X-offset in StaffGroups

[Malte Meyn]

Am 05.05.2018 um 10:32 schrieb Thomas Weber:

when I compile the below example with 2.18.2, I get the output that I want - the 
"pp" below the staff is offset as expected. When I compile with 2.19.54, more 
unnecessary space is created after the barline to avoid that the dynamic crosses below 
the barline.  (See attached images.)

Is this a bug or a feature?  It only happens in StaffGroups.  This might make 
sense to avoid barlines within the StaffGroup, but not below the StaffGroup.


I think that’s a buggy feature: You’re right, this is to avoid 
collisions with SpanBars (the bar lines between staves) but of course 
there is no SpanBar above the highest or below the lowest Staff in a 
StaffGroup.


Have a look at the output of the following code in both versions to compare.

\score {
  <<
\time 2/4
\new StaffGroup <<
  \new Staff \partcombine \violinIIa \violinIIb
  \new Staff \partcombine \violinIIa \violinIIb
>>
  >>
}


P.S.: From which git branch can I compile the current state of 2.19?  The 
download links for the compiled binaries are broken: 
http://lilypond.org/development.html#Download-4

Three possibilities:

1. You can find all binaries, even those for 2.19.81, at 
http://lilypond.org/downloads/binaries/


2. If you really want to compile the latest 2.19 (i. e. 2.19.81): That’s 
already a prerelease for 2.20.0 so it’s in the stable/2.20 branch. Since 
the release of 2.19.81 some things have been added to that branch, but 
it’s only documentation/translation work.


3. If you want to compile the most recent code: That’s the master 
branch; if I’m not mistaken, 2.21.0 (the first development version for 
2.22) will be released from that branch shortly after the 2.20.0 release.


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Re: DynamicText.X-offset in StaffGroups

[Malte Meyn]

Am 05.05.2018 um 11:10 schrieb Malte Meyn:


I think that’s a buggy feature: You’re right, this is to avoid 
collisions with SpanBars (the bar lines between staves) but of course 
there is no SpanBar above the highest or below the lowest Staff in a 
StaffGroup.


It has been added in 2.19.0 as fix to issue 621 
(https://sourceforge.net/p/testlilyissues/issues/621/), see commit 
9edf3715 
(https://git.savannah.gnu.org/cgit/lilypond.git/commit/?id=9edf3715c2b2cca09785dcd015724ad3c29cba8a). 
As a workaround for your use case I would suggest to


• either don’t use a StaffGroup if you only have one Staff
• or \override DynamicText.extra-spacing-width = #empty-interval for the 
lowest Staff in a StaffGroup.


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Re: Release schedule for 2.20

[Malte Meyn]

Am 09.05.2018 um 11:16 schrieb David Kastrup:

Aaron Hill  writes:


Hi folks,

It would seem the release of version 2.20 must be nearing, but I have
not found anything published about the release schedule for the
project.


There isn't one.


[CC-ing to lilypond-devel]

I know that you don’t like that sort of questions because “Das Gras 
wächst nicht schneller, wenn man daran zieht.”*


But an increasing number of questions asked in forums or on the lists 
can be answered by “compile current master or wait for 2.21.0”. And a 
huge number of answers requires at least 2.19.xx but people 
understandably don’t want to install an “unstable” version.


Since the first prerelease seven months have passed, people wonder 
whether 2.20.0 will happen in a few weeks, a few months or even longer 
in the future.


Don’t get me wrong: We can be very happy to have such a committed 
project leader. But maybe also the other developers should join forces to


1. find out what blocks the release of 2.20.0
2. concentrate on that instead of new features.

Personally, I don’t know about 1. That’s why I added new features 
instead. At the moment I don’t have the time to that too but I would be 
happy if I could help to bring 2.20.0 out.


* “Grass doesn’t grow faster when you pull it.”

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Re: Fwd: Compile crashing... help!

[Malte Meyn]

Am 09.05.2018 um 15:16 schrieb Ben:
I also ran into your issue by compiling "SG_complete_DE.ly" on my 
Windows 10 machine. 32GB RAM. Newest i7 build.

So, there is some consistency...I see the same errors you do.

However, I compiled your project successfully (and quite fast) on my 
Linux Mint laptop, 2GB RAM, old thinkpad. Took about 3 minutes total.


Old thinkpad with Linux (Manjaro) here too, 4GB RAM, no success because 
of too little memory.


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lyluatex: inline vertical alignment of

[Malte Meyn]

Hi list,

the lyluatex manual 
(https://github.com/jperon/lyluatex/releases/download/v1.0-beta/lyluatex.pdf) 
says at p. 8 about vertical alignment of inline snippets:


“Note: The alignment works with the edges of the image file, there is no 
notion of an ‘optical’ center or aligning with the staff lines.”


Would it be possible to get such an alignment and how hard would that be 
to achieve?


The reason why I’m asking: I made a markup command that takes a string 
like "/DD-7-9>_5>" and makes a nice functional analysis symbol from 
that. I would like to use these symbols also in the text in my LaTeX 
document without having to code an extra solution for LaTeX. But the 
baseline of the text in LaTeX and the baseline of the LilyPond markup 
don’t match. Using a simple offset wouldn’t be enough because the 
symbols don’t always extend down the same amount.


Any ideas, hints or solutions? I would be willing to contribute to a 
possible lyluatex feature.


Cheers,
Malte

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lyluatex: vertical alignment of inline snippets

[Malte Meyn]

Just replying to fix the subject.

Am 10.05.2018 um 14:31 schrieb Malte Meyn:

Hi list,

the lyluatex manual 
(https://github.com/jperon/lyluatex/releases/download/v1.0-beta/lyluatex.pdf) 
says at p. 8 about vertical alignment of inline snippets:


“Note: The alignment works with the edges of the image file, there is no 
notion of an ‘optical’ center or aligning with the staff lines.”


Would it be possible to get such an alignment and how hard would that be 
to achieve?


The reason why I’m asking: I made a markup command that takes a string 
like "/DD-7-9>_5>" and makes a nice functional analysis symbol from 
that. I would like to use these symbols also in the text in my LaTeX 
document without having to code an extra solution for LaTeX. But the 
baseline of the text in LaTeX and the baseline of the LilyPond markup 
don’t match. Using a simple offset wouldn’t be enough because the 
symbols don’t always extend down the same amount.


Any ideas, hints or solutions? I would be willing to contribute to a 
possible lyluatex feature.


Cheers,
Malte


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Re: Frescobaldi font size preferences

[Malte Meyn]

Am 11.05.2018 um 10:22 schrieb Andrew Bernard:

Is there a way to set the font size of the lilypond log window to what one
desires? I am unable to find this setting.


Yes, the settings can be found at Edit→Preferences→Tools.

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Re: lyluatex: inline vertical alignment of

[Malte Meyn]

Am 10.05.2018 um 15:07 schrieb Urs Liska:

Hi Malte,

don't know why my previous post got scrambled


I don’t know either; my Thunderbird doesn’t show the text in HTML view 
but in plaintext view it’s fine.


The problem is that in a cropped image we don't have a clue as to where 
the staff symbol is located vertically.
However, we *can* determine these values in LilyPond, if we find out the 
highest and lowest Y-extent values throughout the first system (we 
expect single-system scores only for inline inclusion).
A Scheme function could do that calculation and write it to an auxiliary 
file. From there we can go on towards a solution in lyluatex.


It should be possible, yes. Somewhere in LilyPond there is some code 
which makes skylines ;)



If you could investigate this I'd be happy to work on that.
Urs


I’ll give it a try.

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Re: Frescobaldi font size preferences

[Malte Meyn]

Am 11.05.2018 um 11:33 schrieb Malte Meyn:



Am 11.05.2018 um 11:29 schrieb Andrew Bernard:

HI Malte,

Frescobaldi 3.0.0 on Ubuntu 16.04. The font changes, but not the size. 
[But

thanks for the tip - I never found that setting before.]

Could this be a bug? The font size can be changed in the editor window 
OK.


Can reproduce (Frescobaldi 3.0.0 too), seems to be a bug. The changed 
font size is present in the config file but it has no visible effect.


Bug report: https://github.com/wbsoft/frescobaldi/issues/1066

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Re: lyluatex: inline vertical alignment of

[Malte Meyn]

Am 11.05.2018 um 11:16 schrieb Malte Meyn:
I found a way to do this for scores but not for toplevel markups. It’s 
not even a complicated calculation: just let 
VerticalAxisGroup.after-line-breaking print it’s Y-extent.


Oops, forgot about scores with multiple staves … And I’d thought that 
VerticalAxisGroup lived in Score.


I tried to print the Y-offset too but it seems like 
ly:hara-kiri-group-spanner::force-hara-kiri-callback doesn’t only get 
the offset but set it so asking for it


(ly:grob-property grob 'Y-extent)

has a side-effect: It shifts the next staff (see code below). I’ll have 
a closer look and come back when I find something better.


%

\version "2.19.81"

\layout {
  \override Score.VerticalAxisGroup.after-line-breaking =
  #(lambda (grob)
 (let ((extent (ly:grob-property grob 'Y-extent))
   (offset (ly:grob-property grob 'Y-offset)))
   (print "~a ~a\n" extent offset)))
}

<< \new Staff a \new Staff g >>

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Re: Frescobaldi font size preferences

[Malte Meyn]

Am 11.05.2018 um 11:29 schrieb Andrew Bernard:

HI Malte,

Frescobaldi 3.0.0 on Ubuntu 16.04. The font changes, but not the size. [But
thanks for the tip - I never found that setting before.]

Could this be a bug? The font size can be changed in the editor window OK.


Can reproduce (Frescobaldi 3.0.0 too), seems to be a bug. The changed 
font size is present in the config file but it has no visible effect.


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Re: lyluatex: inline vertical alignment of

[Malte Meyn]

Am 11.05.2018 um 10:21 schrieb Malte Meyn:



Am 10.05.2018 um 15:07 schrieb Urs Liska:

Hi Malte,

don't know why my previous post got scrambled


I don’t know either; my Thunderbird doesn’t show the text in HTML view 
but in plaintext view it’s fine.


The problem is that in a cropped image we don't have a clue as to 
where the staff symbol is located vertically.
However, we *can* determine these values in LilyPond, if we find out 
the highest and lowest Y-extent values throughout the first system (we 
expect single-system scores only for inline inclusion).
A Scheme function could do that calculation and write it to an 
auxiliary file. From there we can go on towards a solution in lyluatex.


It should be possible, yes. Somewhere in LilyPond there is some code 
which makes skylines ;)


I found a way to do this for scores but not for toplevel markups. It’s 
not even a complicated calculation: just let 
VerticalAxisGroup.after-line-breaking print it’s Y-extent. Does this 
already help? I don’t know how much of this should be done in LilyPond 
and Lua/LuaLaTeX …


%

\version "2.19.81"

\layout {
  \override Score.VerticalAxisGroup.after-line-breaking =
  #(lambda (grob)
 (let ((extent (ly:grob-property grob 'Y-extent)))
   (display extent)
   (newline)))
}

markupScore =
#(define-scheme-function (mrkp) (markup?)
   #{
 \score {
   <>-#mrkp
   \layout {
 \context {
   \Staff
   \remove Clef_engraver
   \remove Time_signature_engraver
   \remove Staff_symbol_engraver
   \override TextScript.Y-offset = 0
 }
   }
 }
   #})

{ f }

{ f' }

{ \clef alto g }

\new RhythmicStaff c1

\markupScore "A"
\markupScore \markup "A"
\markupScore \markup \column { "A" "A" }
\markupScore \markup \general-align #Y #DOWN \column { "A" "A" }

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Re: Center text over measure

[Malte Meyn]

Am 11.05.2018 um 17:39 schrieb Urs Liska:

Hi all,

somehow I have the feeling this is a stupid question, but I'm unable to 
find the solution.


Is there a convenient and semantically clean way to center a markup 
above/below a measure?


I need a solution that doesn't rely on separate contexts (e.g. a 
Dynamics context above the staff). What *would* be acceptable is a 
Scheme function that calculates the actual width of the measure and does 
the centering from that. But since that would probably only be possible 
in a after-line-breaking callback it would seem quite dirty to move 
around a markup at that point.


Any suggestions?
Thanks
Urs


MultiMeasureRestText above an invisible MMR? Or have a look at the code 
that positions those grobs and adapt ;) Another grob that is centered: 
PercentRepeat.


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Re: Tempo & Markup

[Malte Meyn]

Am 04.05.2018 um 13:34 schrieb foxfanfare:
Is it possible to change the default command "2 = 76-84" so it will take 
my own markup preferences?


Looks like I should get issue 5215 done soon 
(https://sourceforge.net/p/testlilyissues/issues/5215/). I haven’t had 
much time for LilyPond the last few weeks, hopefully it gets better soon.


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Re: fingering notation alternative

[Malte Meyn]

Am 05.05.2018 um 16:33 schrieb Gianmaria Lari:

This is more a notation question than a lilypond question.

Does exist a standard fingering notation to indicate that a note can be 
played for example with 2 or 3?


I agree with David and Ralph: put them on top of each other or at 
oppisite sides of the staff. The latter might not always be possible or 
reasonable, italic numbers can help here. See also 
https://sourceforge.net/p/testlilyissues/issues/5074/


In some rare cases, I’ve seen both fingerings separated by a horizontal 
line, especially in piano music, where there are multiple fingers at the 
same time, f. e.


5 4 5 4 3
1 2 1 2 1
-
5 4 3 5 4
3 2 1 3 2

for descending thirds.

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Re: concatenating notes with a music expression

[Malte Meyn]

Am 15.05.2018 um 10:27 schrieb Gianmaria Lari:

Thank you Gilles I have yet a problem, how can engrave the foo
generated list in a score?


You should make a music-function:

\version "2.19.81"

foo =
#(define-music-function (seq1 seq2) (ly:music? ly:music?)
   (make-sequential-music
(map (lambda (note)
   (make-sequential-music
(cons note (ly:music-property seq2 'elements
  (ly:music-property seq1 'elements

seqI = { c b a }
seqII = { f g }

\foo \seqI \seqII

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Re: Intervals between various B pitches

[Malte Meyn]

Am 20.05.2018 um 11:45 schrieb Menu Jacques:

Hello folks,

Working on intervals, I bump into this question.

How is the right column below to be filled?

Downward interval between B## and:

B#:augmented unison or minor second?
B: major second or ...?
Bb:minor third or ...?
Bbb:   major third or ...?

Thanks for your help!


All of these are unisons:

B♯–B♯♯: augmented unison
B–B♯♯: double augmented unison
B♭–B♯♯: triple augmented unison
B♭♭–B♯♯: quadruple augmented unison

A pitch consists of three parts:

1. (I don’t know how it’s called correctly, maybe “diatonic name” or 
something similar?): The “B” part in “B♯♯”

2. an accidental: the “♯♯”
3. the octave: the “4” in “B♯♯4”

Only part 1 and 3 decide whether you have a unison, second, third, fourth, …

But why would someone use such extreme intervals as B♭♭–B♯♯? The only 
reason I can think of is temperaments of more than 12 pitches per octave.


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Re: Adding stuff to included files without affecting source.

[Malte Meyn]

Am 20.05.2018 um 21:00 schrieb crimsonsunr...@protonmail.com:

Currently using the latest stable version.

The subject pretty much says it. I'm dealing with a score in which parts are 
combined as voices on single staves, but the conductor score has text that's 
only relevant to the conductior and should not be included in the instrument 
part scores, like indications on a flute/piccolo score indicating which voice 
is which instrument, when the instruments are in divisi and so on on specific 
measures. Is there any way to add these small modifications only on the 
conductor score file without having them on the source files used to construct 
the conductor score?


Do you know \partcombine and friends? 
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices#automatic-part-combining


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Re: [OT] Search for Morgensterns Galgenlieder for choir

[Malte Meyn]

Am 10.06.2018 um 16:59 schrieb shane:
Why is the ghost voraciously eating the table 
cloth? Or am I misunderstanding the title?


It’s about handkerchiefs, not table cloths. The poem is a humourous (is 
that how you spell it?) explanation for losing them every now and then.


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Re: Problem with arpeggio's

[Malte Meyn]

Hi Robert,

please always try to give a minimal example. This could look like this:

%
\version "2.19.81"

\new PianoStaff <<
  \new Staff \with {
connectArpeggios = ##t
  } <<
{
  a''2\arpeggio
} \\ {
  \arpeggio
}
  >>
  \new Staff {
\arpeggio
  }
>>
%

Note that I used { } \\ { } for polyphony here. You should do this too 
or use \voiceOne and \voiceTwo instead of \stemUp and \stemDown, because 
\voiceXXX changes not only stem directions but also other stuff in 
polyphony.


Am 08.06.2018 um 13:46 schrieb Robert Blackstone:
2 The testsnippet  does produce the arpeggio's but I do not know how to 
connect the arpeggio's in the individual staves staff without connecting 
them across the staves. I played with the various " \set 
Staff.connectArpeggios"-options in the snippett but none of them gave me 
the desired result.
As one can see at the Internals Reference 
(http://lilypond.org/doc/v2.19/Documentation/internals/arpeggio_005fengraver) 
the Arpeggio_engraver lives in Voice contexts. That’s why arpeggios 
don’t span multiple voices as a default behaviour.


You could move that engraver to Staff context. But that would lead to 
two problems/questions:


1. Now *all* arpeggios in the Staff span *all* voices. You probably 
don’t want that in most cases.
2. What about that connectArpeggios thing? There seems to be an engraver 
at PianoStaff level that listens to that property and connects “Voice 
arpeggios” to “PianoStaff arpeggios”.


Indeed there is such an engraver: The Span_arpeggio_engraver, see 
Internals Reference 
(http://lilypond.org/doc/v2.19/Documentation/internals/span_005farpeggio_005fengraver). 
There you’ll see that it lives in PianoStaff contexts. That’s why 
\set-ting Staff.connectArpeggios has no effect in the snippet above. But 
you can add this engraver to Staff level too: Just add the line


\consists Span_arpeggio_engraver

before

connectArpeggios = ##t

in the \with block in the code above.

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Re: Batch-apply tremolo markings? (Frescobaldi)

[Malte Meyn]

Am 04.06.2018 um 19:46 schrieb Ben:
but I wonder if it's possible to write a simple function to basically 
'turn on add :32 tremolo to notes until turned off' - that would keep 
the code much cleaner, although I know it's somewhat limited in it's 
usability. But, just brainstorming here.


How about the following code? Works only for single notes, not for 
chords; but that could be changed.


\version "2.19.81"

addTremolos =
#(define-music-function (number music) (integer? ly:music?)
   (music-map
(lambda (mus)
  (if (eq? 'NoteEvent
   (ly:music-property mus 'name))
  (let ((art (ly:music-property mus 'articulations '(
(ly:music-set-property!
 mus
 'articulations
 (cons
  (make-music
   'TremoloEvent
   'tremolo-type number)
  art
  mus)
music))


\addTremolos 16 {
  b r a
}



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Re: avoid orphan

[Malte Meyn]

Am 20.06.2018 um 10:15 schrieb Gianmaria Lari:

I have a code similar to this

\version "2.19.81"
\markup "Etude"
{a b c' d'}

\markup "Etude"
{a b c' d'}
[.]

Is there any way to keep the markup and score together?


What do you mean by “together”?

And have you considered to use \header { piece = "Etude" } ?

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Re: How to write a training sign (Übungszeichen) before any note?

[Malte Meyn]

Am 21.06.2018 um 08:26 schrieb Bernhard Kleine:

Could you please help me with that?


What is a training sign? Could you post an image of your desired output?

Are you looking for the \mark command?

\mark \default
or
\mark "A"

Ich habe auch den Begriff „Übungszeichen“ noch nicht gehört.

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Re: Note pitches missing in some languages

[Malte Meyn]

Am 03.05.2018 um 09:54 schrieb Menu Jacques:

Hello,

It seems there are no names in Svenska and some other languages for sequiflat 
and sesquisharp pitches.

Will that be added when triple accidentals are introduced?

Thanks for your help!

JM


I don’t think that Torsten is planning to do so but I’m forwarding this 
to the bug-list as an enhancement request.


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Re: Intervals enharmony question

[Malte Meyn]

Am 30.04.2018 um 22:11 schrieb Hans Åberg:




On 30 Apr 2018, at 21:47, Malte Meyn <lilyp...@maltemeyn.de> wrote:

Am 30.04.2018 um 21:32 schrieb Hans Åberg:

One has to adapt the pitch on every note played, and the reference is typically 
the string section, which in turn is tuned in Pythagorean,


Many string players tune their perfect fifths a bit small so that they’re near 
to equal temperament (700 ct) or even smaller instead of just (702 ct).


So how do they tune their violins?


Tune a fifth perfectly just and then make it a little bit smaller. This 
of course needs experience so that it’s only 2 ct smaller.



And why would an orchestra do this: it increases the beats in the chords.


It increases beats only in the fifths of open strings. All other fifths 
and other intervals in general can be adjusted by the players. And it’s 
nicer to have a 400 ct third C–E than 408 ct as a starting point for 
such adjustments.



but can adapt into 5-limit Just Intonation if the music played follows the 
Traditional Harmony rules.


They could, yes. But I think that most intonation in choir and orchestra is not 
just intonation but more or less an approximation; for example leading notes 
are often played higher than just because they have more of the leading 
character then. And just intonation has other problems that make it impractical.


It is adaptive JI: If pivoting the chord sequence C F Dm G C, it slips a 
syntonic comma. So the orchestra must slide the pitch somewhere. Sounds 
terrible on music like organs, though.


That’s one of the problems I had in mind. There are other reasons why 
just intonation, even adaptive JI isn’t really an option and is not what 
orchestras use to play: for example, enharmonic equivalents in 
modulation (like  = ) cannot really be intonated 
perfectly just.



That becomes more difficult in distant keys.


Why should it? Just intonation works in every key.


Because there is no reference to the Pythagorean notes.


I’m not sure what you’re talking about here: What are these Pythagorean 
notes? Pythagorean tuning means using only perfect fifths, that’s not 
just intonation.


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Re: Another Figured Bass problem

[Malte Meyn]

Am 30.04.2018 um 10:42 schrieb Robert Blackstone:

Dear all,

In the Lilypond documentation it is shown how to stack BC figures, but I 
have not been able to find how to put a figure in the second row with 
nothing above it.

In my score I get:
but what I need is:


I got this result by entering \  before the number, like < \  3+ >, and 
erasing the \ in the pdf.

Doable but maybe not worthy of LilyPond.

Is there a better method?


You could use a transparent number:

\version "2.19.81"

space = \markup \tiny \number \transparent 5

<<
  { 4 4 4 4 4 4 }
  \figures {
<5 4>
<5 3>
<\markup \tiny \number 5 3>
<\markup \tiny \number \transparent 5 3>
<5 4>
<\space 3>
  }
>>

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Re: Intervals enharmony question

[Malte Meyn]

Am 30.04.2018 um 21:32 schrieb Hans Åberg:

One has to adapt the pitch on every note played, and the reference is typically 
the string section, which in turn is tuned in Pythagorean,


Many string players tune their perfect fifths a bit small so that 
they’re near to equal temperament (700 ct) or even smaller instead of 
just (702 ct).



but can adapt into 5-limit Just Intonation if the music played follows the 
Traditional Harmony rules.


They could, yes. But I think that most intonation in choir and orchestra 
is not just intonation but more or less an approximation; for example 
leading notes are often played higher than just because they have more 
of the leading character then. And just intonation has other problems 
that make it impractical.



That becomes more difficult in distant keys.


Why should it? Just intonation works in every key.

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Re: Intervals enharmony question

[Malte Meyn]

Am 30.04.2018 um 15:50 schrieb Hans Åberg:

But orchestral instruments depart from Pythagorean tuning, not E12, so they are 
not equivalent, differing by a comma of about 20 cents.


Which orchestral instruments do you refer to? All instruments that I 
know good enough use equal temperament or a good approximation. I don’t 
know an orchestral instrument that has different ways to play E♭ and D♯ …


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Re: Piano Left Hand Alone

[Malte Meyn]

Am 23.10.2017 um 06:11 schrieb Rohan Srinivasan:

How would I go about engraving a piece for piano left hand solo?


Hi Rohan,

that’s a very unspecific question; what do you want to know? Piano for 
left hand solo isn’t very much different from piano for two hands. Some 
hints though:


• If you have sometimes one and sometimes two staves don’t use 
PianoStaff but GrandStaff (you could also remove the 
Keep_align_together_engraver, but this is the only difference between 
PianoStaff and GrandStaff). Then you can use \RemoveEmptyStaves or (in 
2.19.xx) \RemoveAllEmptyStaves.


• Name your staves (f. e. \new Staff = "upper") and use the \change 
command when you need it.


Cheers,
Malte

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Re: Piano Left Hand Alone

[Malte Meyn]

There is a category of music including piano left hand:

http://imslp.org/wiki/Category:Scores_featuring_the_piano_left_hand

Am 23.10.2017 um 08:39 schrieb Mark Stephen Mrotek:

Rohan,

For examples of published works for left hand alone, look at the 
Petrucci Library, imslp.org.


Mark

*From:*lilypond-user 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] *On Behalf 
Of *Rohan Srinivasan

*Sent:* Sunday, October 22, 2017 9:12 PM
*To:* lilypond-user@gnu.org
*Subject:* Piano Left Hand Alone

How would I go about engraving a piece for piano left hand solo?

Thanks,



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Re: Rhythmic clusters (i.e. *not* \makeClusters)

[Malte Meyn]

Am 28.10.2017 um 10:01 schrieb David Kastrup:

James Harkins  writes:


That other question...

I would like to notate some clusters, but articulated: blocks instead
of notes, but showing repeated, re-articulated blocks.

\makeClusters doesn't do it. Even if I put a "s"kip in between, it
still connects them into one massive gesture. Plus, I need rhythmic
notation.


\chordmode { \makeClusters g4 \omit r4 \makeClusters c2 }

Makes two separate clusters here.  I agree that this isn't optimal.



Another sub-optimal solution can be found here: 
http://lilypondblog.org/2014/04/using-special-characters-from-smufl-fonts/


Maybe one could make a function that takes a chord and builds a stencil 
of correct height?


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Re: fixed vertical spacing within staff-group

[Malte Meyn]

Hi Eby,

I cannot see the problem. To me it looks as if it worked as expected. I 
won’t dig further into that because your file is more than 350 lines of 
code.


Please always keep things on-list.

Am 30.12.2017 um 17:49 schrieb Eby Mani:

Hi Malte, I'm working on BWV1016 for Violin and Organ, the output is transposed 
to F Maj. Do let me know how to set fixed vertical spacing for staff-group. 
Please reply thru the lilypond user list and do not share the file on the list. 
Thanks.


On Fri, 29/12/17, Malte Meyn <lilyp...@maltemeyn.de> wrote:
  \override
  StaffGrouper.staff-staff-spacing.padding = #-inf.0
  \override
  StaffGrouper.staff-staff-spacing.stretchability = 0
  \override
  StaffGrouper.staff-staff-spacing.basic-distance = 10
  \override
  StaffGrouper.staff-staff-spacing.minimum-distance = 10


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Re: No Time Signature

[Malte Meyn]

Am 27.12.2017 um 16:54 schrieb nokel81:

Hello, is there a way so that lilypond treats an entire staff as a single bar
and just break the notes where it is best? I want to do this with stem-less
notes for modern chant.


How about this?

\version "2.19.80"

\relative {
  \omit Staff.TimeSignature
  \cadenzaOn
  \set Score.barAlways = ##t
  \set Score.defaultBarType = ""
  \omit Stem
  \repeat unfold 7 { c'4 d e f g a b c b a g f e d }
}

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Re: Staff Group Bracket

[Malte Meyn]

Am 27.12.2017 um 20:59 schrieb Johannes Roeßler:

Hi,

is it possible (ok, its Lilypond, let me rephrase that... HOW is it 
possible) to tweek the distance of the staff-group bracket from the 
staff lines? (See attachment for clarification)


Cheers Joei


\version "2.19.80"

\new StaffGroup \with {
  \override SystemStartBracket.padding = 5
} <<
  \new Staff R1
  \new Staff R1
>>


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Re: Dynmaic size

[Malte Meyn]

Am 27.12.2017 um 20:57 schrieb Johannes Roeßler:


So I found this: (Its scheme? right?)
ep = #(make-dynamic-script (markup #:dynamic "p" ))
- but I have no idea how to integrate the size here.


You can use #:huge and friends or #:fontsize as seen below. Or you 
switch to “non-scheme lilypond markup mode”:


\version "2.19.80"

ep = #(make-dynamic-script
   #{
 \markup \huge "p"
   #})

eep = #(make-dynamic-script
(markup
 #:huge "p"))

eeep = #(make-dynamic-script
 (markup
  #:fontsize 5 "p"))

{ r\p r\ep r\eep r\eeep }

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Re: fixed vertical spacing within staff-group

[Malte Meyn]

Am 29.12.2017 um 05:30 schrieb Eby Mani:

Hi,

How to set fixed vertical spacing within staff-group ?.


Hi,

please always give a minimal working (and compilable) code example that 
shows what you are doing currently.



I have tried the following in \layout { \context } section. Vertical spacing 
keep on varying if there are beams, ledger lines or cross-staff notation. Even 
tried with padding=#0. Without the StaffGrouper, spacing is somewhat ok(but i 
feel little more spacing is required), except the cross-staff part.

\override StaffGrouper.staff-staff-spacing.padding = #2
\override StaffGrouper.staff-staff-spacing.basic-distance = #6


Have a look at http://joramberger.de/files/LilypondSpacing.pdf Because 
you didn’t provide code, I cannot test, but I think, something like the 
following might work:


\override StaffGrouper.staff-staff-spacing.padding = #-inf.0
\override StaffGrouper.staff-staff-spacing.stretchability = 0
\override StaffGrouper.staff-staff-spacing.basic-distance = 10
\override StaffGrouper.staff-staff-spacing.minimum-distance = 10

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Re: Lining up the word "subito"

[Malte Meyn]

Am 23.12.2017 um 10:17 schrieb Malte Meyn:


\version "2.19.65"
\include "english.ly"


A small, slightly off-topic remark on these lines: Instead of \including 
the file english.ly the standard way of setting the note name language 
now (since version 2.14) is using the language command:


\language "english"

\including the file does exactly the same but the file is only there for 
backwards-compatibility (see 
http://lilypond.org/doc/v2.14/Documentation/changes/).


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Re: Lining up the word "subito"

[Malte Meyn]

Am 23.12.2017 um 10:10 schrieb Andrew Bernard:


Also, with respect, when asking for help on the list people usually 
provide an MWE, a minimum working example. For a case like this just a 
note or two would suffice. If you give an MWE it is a lot easier for 
people to help out, as they don't have to scan through large amounts of 
stuff that is irrelevant to the question in hand.


I agree. But it’s (almost) Christmas and I have nothing else to do, so 
here is a small (not really minimal, but this size would be ok IMO to 
show the spacing problem with downwards stems etc.) example which 
contains a possible solution. I aligned the p to the hairpin and put the 
sub. above. For understanding you can delete (or change the values of) 
the \override, \with-dimensions, \text, and \medium commands.


\version "2.19.65"
\include "english.ly"

subP =
#(make-dynamic-script
  #{
\markup
% this decreases the vertical space between sub. and p
\override #'(baseline-skip . 1.5)
% this changes the behaviour of the following line
\override #`(direction . ,UP)
% dir-column is used to align the p to the cresc. and put the sub. 
above

\dir-column {
   % this is already in \dynamic mode because of make-dynamic-script
  p
  % this makes the sub. take less horizontal space so that the
  % cresc. hairpin is extended left below the sub. to reach the p
  \with-dimensions #'(0 . 0.5) #'(0 . 1.5)
  % \text reverts \dynamic, \medium reverts \bold
  \text \medium "sub."
}
  #})

\relative {
  <<
{
  \tuplet 3/2 8 { bf16 d' f a,, cs' fs } r4
} \\ {
  bf,,8\subP\< a g4\f
}
  >>
}

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Re: getting paid for an include (I offer)

[Malte Meyn]

Am 23.12.2017 um 20:38 schrieb Ali Cuota:

Excuse me, the New German Tabulatur is my topic.
https://de.wikipedia.org/wiki/Tabulatur#Neue_deutsche_Orgeltabulatur


Hi, I would be interested maybe; coincidentally I’m just now reading 
Willi Apel’s book on notation and the next chapter I’ll read is about 
the old and the new German organ tab.


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Re: change regular/staccato/staccatissimo midi duration 2.19.80

[Malte Meyn]

Am 25.12.2017 um 14:22 schrieb Gianmaria Lari:

This code generate some 'regular', staccato and staccatissimo notes:

\version "2.19.80"
\score {
   \fixed c' {c8 d e-. f-. g-! a-! r4}
   \midi{}
   \layout {}
}


Is there any way to change the default duration of 'regular', staccato 
and staccatissimo notes?


Have a look at the definition of staccato in the file script-init.ly:

staccato = #(make-articulation "staccato"
 'midi-length
 (lambda (len context)
   (moment-min (ly:moment-mul len (ly:make-moment 1/2))
   (seconds->moment 1/2 context)))
 'midi-extra-velocity 4)

Maybe this can be copied and changed?

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Re: Changing the car or cdr of a pair

[Malte Meyn]

Am 25.12.2017 um 17:48 schrieb Menu Jacques:

The edge-height pair can be given a value with:

\once \override Staff.LigatureBracket.edge-height = #'(0 . +0.7)

but how can I change only one of the members of the pair, leaving the other one 
as it is?


There are two options: Either use the \offset command (if you want to 
add a number to one of the members) or \override before-line-breaking 
(if you want to replace one of the members without depending on the 
original value). Both options can be seen in the following code (have a 
close look to the exact output for difference).


\version "2.19.80"

{
  % this takes the original values and adds 0 to left and 3 to right
  \once \offset edge-height #'(0 . 3) LigatureBracket
  \[ c'1 d' \]

  % this takes the originale value for left and sets 3 (not 3+original) 
for right

  \once \override LigatureBracket.before-line-breaking =
  #(lambda (grob)
 (let* ((orig-height (ly:grob-property grob 'edge-height))
(orig-left (car orig-height)))
   (ly:grob-set-property! grob 'edge-height (cons orig-left 3
  \[ c'1 d' \]
}

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Re: Left-handed fretboard?

[Malte Meyn]

Am 18.01.2018 um 14:09 schrieb Torsten Hämmerle:

Ah, yes, when in landscape mode, setting a negative string-distance makes the
whole diagram flip below the baseline.

Oh dear, another effect (in general):
capo numbers and other objects that should be placed in the margin of the
diagram.
When setting a negative string-distance, they flip inside the diagram.

Probably we should extend issue 5264 to all negative string-number problems.


Maybe it would be better not to support negative string-distance but add 
a property that inverts the string order (or maybe extend the 
orientation property).


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Re: Long syllable vs. span bar

[Malte Meyn]

Am 19.01.2018 um 17:29 schrieb Torsten Hämmerle:

Probably the easiest way to achieve this is just to use *ChoirStaff* and add
the Span_bar_engraver to get the bar lines.
That way, Lyrics will nonchalantly cross the bar lines as if they weren't
there and by setting the whiteout property, you're there.
Nice. Maybe one should \override Lyrics.LyricText.layer and 
ChoirStaff.SpanBar.layer so that ties etc. aren’t covered by the whiteout.


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Re: \set TabStaff.minimumFret = #x

[Malte Meyn]

Am 21.01.2018 um 14:57 schrieb bb:

I use

   \set TabStaff.minimumFret = #7
   \set TabStaff.restrainOpenStrings = ##t

[…]

Is there any possibility to throw an exception for a single note or a 
group of notes?


How about \once \unset TabStaff.minimumFret ?

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Re: Transcriber title

[Malte Meyn]

Am 22.01.2018 um 06:49 schrieb Brian Barker:

   arranger = \markup {
     \column {
   \fill-line { " " "Arranger: Jacob Collier" }
   \fill-line { " " "Transcriber: Álvaro Cáceres Muñoz" }
     }
   }


More simple solution for the same effect (but maybe with less side 
effects in case there is some other header on the left side):


  arranger = \markup \right-column {
"Arranger: Jacob Collier"
"Transcriber: Álvaro Cáceres Muñoz"
  }

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Re: turning a blind eye to dotted note

[Malte Meyn]

Am 29.01.2018 um 10:53 schrieb Blöchl Bernhard:
In my limited knowledge of music I think that bar is wrong because of 
the dotted 8th note?


Regards


%\version "2.19.80"
\version "2.18.20"
mus = \relative c'' {
d4  cis8  c8  b8. ais8  a  gis
}
<<
   \new Voice \mus




LilyPond does the right thing here. Depending on what you want to 
achieve you might consider using bar checks, \cadenzaOn, or the 
Completion_heads_engraver.


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Re: quetion about slur in the "<< .... \\ .....>>"

[Malte Meyn]

Am 30.01.2018 um 09:01 schrieb mosea chen:

Hi,
     I found it difficult to engrave the staff as the fingure:
内嵌图片 1

the "slur" just does not work.
The source is as follows:

\version "2.19.80"
{
     \clef bass
     \time 3/4
     fis-2 ( e-1 d-2|
     <<
         { r4 ) e4 a8 ( g8  |}
         \\
         { a,2. |  }
     >>
     fis4 ) r4 r4
}


I would change this to


\version "2.19.80"
{
 \clef bass
 \time 3/4
 fis-2 ( e-1 d-2|
 <<
 { r4 ) e4 a8 ( g8  | \oneVoice fis4) }
 \\
 { a,2. |  }
 >>
 r4 r4
}

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Re: Extract pitch and duration from ly:music

[Malte Meyn]

Am 21.02.2018 um 15:44 schrieb Malte Meyn:



Am 21.02.2018 um 15:40 schrieb Joshua Stutter:

[…]

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note$dur #})

and create notes from pitches and durations within #{ #}. I explained 
that, to the best of my knowledge, this is not possible and new notes 
must be constructed within Scheme and cannot be concatenated like this.

That’s not true, you simply need a space between $note and $dur:

\version "2.19.81"

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note $dur #})

\fun c' 4


Oh, I forgot to say: This doesn’t work with 2.18.2 so you’re partially 
right. I should’ve seen that: in 2.19.81 you wouldn’t need parser and 
location anymore.


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Re: Very small rhythmic values

[Malte Meyn]

Am 20.02.2018 um 16:57 schrieb Malte Meyn:


it’s possible with beamed notes but not (yet) for rests and flagged 
notes because there are no rest/flag glyphs in the font for these note 
durations. But they could be added …


Update: I made a patch that adds these glyphs but that will take some 
time to get released. (It needs review, probably some changes, and then 
it might be contained in the 2.21.0 release.)


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Re: Extract pitch and duration from ly:music

[Malte Meyn]

Am 21.02.2018 um 15:46 schrieb Malte Meyn:
Oh, I forgot to say: This doesn’t work with 2.18.2 so you’re partially 
right.


And again I made a mistake: It *does* work but only if you surround the 
pitch by ##{ #}


\version "2.18.2"

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note $dur #})

\fun ##{c'#} 4

Sorry for the mess.

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Re: Three simultaneous slurs

[Malte Meyn]

Am 21.02.2018 um 15:18 schrieb David Kastrup:

Marc Hohl  writes:


Oh sorry, it looks lie a tie between b-flat and b-flat


With a syncopated rhythm adding up to a simple on-beat amount?  That
would be quite curious for a tie.


But it’s quite common to have something like 4~ 8 instead of 4. …

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Re: Extract pitch and duration from ly:music

[Malte Meyn]

Am 21.02.2018 um 15:40 schrieb Joshua Stutter:

[…]

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note$dur #})

and create notes from pitches and durations within #{ #}. I explained 
that, to the best of my knowledge, this is not possible and new notes 
must be constructed within Scheme and cannot be concatenated like this.

That’s not true, you simply need a space between $note and $dur:

\version "2.19.81"

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note $dur #})

\fun c' 4

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Re: Very small rhythmic values

[Malte Meyn]

Am 20.02.2018 um 12:04 schrieb Amir Teymuri:

Hello,

is a 128 the smallest possible rhythmic value one can write in Lilypond 
or is there a way to write even shorter values (e.g. 256 or even smaller)?


Thanks in advance,

- - - - - - - - - - -
ateymur...@gmail.com


Hi Amir,

it’s possible with beamed notes but not (yet) for rests and flagged 
notes because there are no rest/flag glyphs in the font for these note 
durations. But they could be added … See also the thread you started at 
the German-speaking user forum.


Cheers,
Malte

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Re: Bad tie position

[Malte Meyn]

Am 19.02.2018 um 15:42 schrieb Ethan Sue:

\clef bass
b16 b b8 b b16 b16 ~ b4 a8 b


Tie looks like a bump.


Cannot reproduce (2.18.2, 2.19.81).

That’s why we need *compilable* minimal examples.

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Re: TAB-problem

[Malte Meyn]

Am 28.12.2017 um 15:22 schrieb Malte Meyn:
Set the clef stencil to ##f (\omit is a shorthand for that) and only set 
the stencil for the first occurence.


As I realised some seconds after sending the message, this isn’t enough 
if you want to have the clef at the beginning of each line. Then you 
should use explicitClefVisibility instead:


%%
\version "2.19.65"

D-Dorian =  \relative {
  \clef "bass_8"
  c1
  \clef "treble_8"
  c
  \break
  \clef "bass_8"
  c
  \break
  c
}

<<
  \new Staff { \D-Dorian }
  \new TabStaff \with {
\omit ClefModifier
\override Clef.text = "cleftext"
\override Clef.stencil = #ly:text-interface::print
explicitClefVisibility = #begin-of-line-visible
  } {
\D-Dorian
  }
>>

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Re: TAB-problem

[Malte Meyn]

Am 28.12.2017 um 14:21 schrieb bb:

I attach an example code. (Sorry, my skills are just not developed
enough to shorten the code essential.)


Here is a much smaller example. It’s not minimal but near. How to build 
such an example? Well, just leave everything out that has nothing to do 
with the problem. In your case that is:


• layout things like set-global-staff-size or indent = 0
• complicated music (triplets, rests, extra barlines)
• \tabFullNotation
• instrument tweaks (stringTunings, minimumFret etc.)
• transpositions (btw the clefs should do that correctly)
• complicated markup for the clef

How to find out what things aren’t necessary? Just delete them and see 
if the problem persists.


The following example contains also a possible solution: Set the clef 
stencil to ##f (\omit is a shorthand for that) and only set the stencil 
for the first occurence.


%%
\version "2.19.65"

D-Dorian =  \relative {
  \clef "bass_8"
  c1
  \clef "treble_8"
  c
  \clef "bass_8"
  c
}

<<
  \new Staff { \D-Dorian }
  \new TabStaff \with {
\omit Clef
\omit ClefModifier
\override Clef.text = "cleftext"
  } {
\once \override TabStaff.Clef.stencil = #ly:text-interface::print
\D-Dorian
  }
>>

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Re: TAB-problem

[Malte Meyn]

Am 28.12.2017 um 15:54 schrieb bb:

Thank you for answering. Your code has exactly the problem I wanted to
overcome. There is a "cleftext"  every time the clef changes!


No it has not. Have a close look: I do

\omit Clef
\once \override Clef.stencil

You do

\override Clef.stencil

That’s different.

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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 17:11 schrieb Wols Lists:

On 28/12/17 16:07, Malte Meyn wrote:

Have a look at the PDF in the post linked above: The function can do
both uppercase (AA) and mixedcase (Aa) (but not yet lowercase (aa)).


Sorry, I did look, but obviously missed it ... :-(


No problem ;)

Mixed-case (Aa) can be found in the Breitkopf & Härtel editions of 
Tchaikovsky’s symphonies, f. e. 
http://petrucci.mus.auth.gr/imglnks/usimg/a/ae/IMSLP38803-PMLP02739-Tchaikovsky-Op64.Timpani.pdf


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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 16:03 schrieb Jérôme Plût:

1. I am typesetting some music which is in 2/1, and mark using a cut
time signature. How is it possible with Lilypond to put a ℂ symbol for
a 2/1 time ? (see attachment, line 1)


  \time 2/1
  \set Score.timeSignatureFraction = 2/2


2. In virtually all orchestra scores I play the alphabetic marks skip
the letter J. However format-mark-box-letters skips the letter I. So
at each rehearsal this confuses all my colleagues. Since they are
obviously slow to learn that I == J, does there exist a simple way to
make a format-mark-box-letters that uses I instead of J, or should I
start scheming something out of of make-markalphabet-markup?
(see attachment, line 2)


I made a generic mark formatting function that can do that, I just have 
to find it, give me some minutes ;)


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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 16:34 schrieb Malte Meyn:



Am 28.12.2017 um 16:03 schrieb Jérôme Plût:

1. I am typesetting some music which is in 2/1, and mark using a cut
time signature. How is it possible with Lilypond to put a ℂ symbol for
a 2/1 time ? (see attachment, line 1)


   \time 2/1
   \set Score.timeSignatureFraction = 2/2


2. In virtually all orchestra scores I play the alphabetic marks skip
the letter J. However format-mark-box-letters skips the letter I. So
at each rehearsal this confuses all my colleagues. Since they are
obviously slow to learn that I == J, does there exist a simple way to
make a format-mark-box-letters that uses I instead of J, or should I
start scheming something out of of make-markalphabet-markup?
(see attachment, line 2)


I made a generic mark formatting function that can do that, I just have 
to find it, give me some minutes ;)


https://lists.gnu.org/archive/html/lilypond-user/2016-05/msg00156.html

If you (or someone else) like it, I’ll follow Harm’s suggestion in the 
quoted post and make a patch for discussion.


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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 16:57 schrieb Wols Lists:

My reaction would be to take your version, and rewrite all the others to
call it. That way you don't break existing code, but you simplify lily
itself in that there is just one function.


That’s what I would do too. I just have to figure out, which functions 
have to be put in which files. The current functions and markup-commands 
are spread across translation-functions.scm and define-markup-commands.scm.



Oh, and by the way, to throw yet another variation into the mix, in the
(very few) scores I've seen that go past Z, they all go AA, BB, and not
Aa, Bb.


Have a look at the PDF in the post linked above: The function can do 
both uppercase (AA) and mixedcase (Aa) (but not yet lowercase (aa)).


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Re: Changing the car or cdr of a pair

[Malte Meyn]

Am 25.12.2017 um 19:01 schrieb David Kastrup:

David Kastrup  writes:

\once \override Staff.LigatureBracket.edge-height =
#(grob-transformer 'edge-height
   (lambda (grob original)
(cons 0.3 (cdr original

For example.


Malte's suggestion to use \offset does something similar internally and
employs a nicer user interface.



If you want to add something to the original value(s), \offset is 
easier, yes. But if you want to use absolute values, using 
grob-transformer instead of before-line-breaking is easier so I would 
prefer your suggestion in that case:


My suggested solution

\once \override LigatureBracket.before-line-breaking =
  #(lambda (grob)
 (let* ((orig-height (ly:grob-property grob 'edge-height))
(orig-left (car orig-height)))
   (ly:grob-set-property! grob 'edge-height (cons orig-left 3

has the same effect as this variant of your simpler solution:

\once \override LigatureBracket.edge-height =
  #(grob-transformer 'edge-height
 (lambda (grob original)
   (cons (car original) 3)))


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Re: Guitar palm mutes - almost done

[Malte Meyn]

Am 31.12.2017 um 17:20 schrieb Neo Anderson:
1. How to change the look of the extender lines (dashes)? I'd like them 
to be more dense or compact. The following -\tweaks with various values 
won't make a difference.

     -\tweak bound-details.dash-fraction #0
     -\tweak bound-details.dash-period #0


You’re almost there: omit the bound-details, i. e.

-\tweak dash-fraction #0
-\tweak dash-period #0


2. The following code, which sets both variables on the same "line",
     \override TextScript.staff-padding = #6
creates a padding for both text in a variable ("PM") and any other text 
attached to a note ("Aaa").
How to integrate the code into the said variable, so that the padding 
won't affect the text attached to notes? I tried

     \override #'(staff-padding . 6)
but it doesn't do anything.


PM = -\tweak staff-padding #6
 _\markup  {
   \tiny \fontsize #-1 \halign #-0.5 "P.M."
 }

and then use it as d\PM instead of d_\PM

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Re: Rehearsal Mark after PageBreaking

[Malte Meyn]

Am 01.08.2018 um 14:10 schrieb Karim Haddad:

Hello list,

I am finalizing an orchestra score and have this problem i don't know how to 
resolve :

When a Page break occurs on a rehearsal mark, the mark is printed befor the 
page turn. How can i force it to be :

Are you sure that it’s *before* the page turn?


a) printed AFTER the page turn
b) printed on both BEFORE and AFTER the page turn.

Searched in the snippets for such case didn't find any..


a) \override Score.RehearsalMark.break-visibility = #end-of-line-invisible
b) \override Score.RehearsalMark.break-visibility = #all-visible

But a) should be the default. What you describe above seems to be

c) \override Score.RehearsalMark.break-visibility = #begin-of-line-invisible

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Re: Making slurs more visible

[Malte Meyn]

Am 10.08.2018 um 21:42 schrieb Galen Menzel:

Hi all,

I have a score in which the following measure renders nicely when only 
the piano line is given:


However, when the vocal line is also given, the slurs above the 
bass-clef g eighth notes become very hard to see:


Presumably the vocal line alters the spacing of the bass-clef notes, 
putting enough space between them that lilypond decides to use smaller 
ties that fit between the note heads, rather than larger ties that span 
the tops of the note heads. But in this case I find the smaller ties 
look worse. Is there a simple way to direct lilypond to use the larger 
ties here?


Slightly off-topic but maybe helpful:

I would not notate the left hand rhythm as

4. 8~ 8 8~ 8 8

but as

4. 8~ 8 4 8

That’s easier to read for the player.

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Re: tuplet error

[Malte Meyn]

Am 24.08.18 um 05:58 schrieb Craig Dabelstein:
In the following MWE I get this error: /omitting tuplet bracket with 
neither left nor right bound/


The compilation is fine. Anything I should do about this error?


Yes.


   \tuplet 3/2 4 {
     g2.:8
     a2.:8
     bf2.:8
     bf2.:8
   }


You ask LilyPond to divide these two measures into eight quarter-length 
tuplets (the 4 in \tuplet 3/2 4), but the single notes are longer 
(2.*2/3 = 2, not 4). It should be \tuplet 3/2 2 instead.


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Re: Intervalic Chord Names

[Malte Meyn]

Am 28.08.18 um 15:29 schrieb Tom Swan:

Sorry for duplication but my previous try didn't seem to go through.)


It came through; it just seems like it was overlooked by many.


I need some help figuring out how to change chord names (C, F, G) into 
intervals such as (I, IV, V). The short example below displays a timing diagram 
for a melodic line, but I would also like to display the chords C7, F7 as 
generic intervals I7 IV7. Manually setting the text would okay -- I'm not 
looking for some kind of automatic translation, although that would be neat. I 
know I can do this with markup, but I do not want to add markup statements to 
noteValues! Do I need to set chordRootNamer somehow? Or is there another 
solution? Thanks for any advice.


Setting chordRootNamer probably is the easiest way, yes. I took the 
original definition of note-name->markup (which is the default 
chordRootNamer) from the file scm/chord-name.scm and modified it to use 
the roman numerals I to VII instead of letters C to B:


%
\layout {
  \context {
\ChordNames
chordRootNamer =
#(lambda (pitch lowercase?)
   (make-simple-markup
(vector-ref #("I" "II" "III" "IV" "V" "VI" "VII")
  (ly:pitch-notename pitch
  }
}
%

Of course you can use that in a \with block instead of a layout-context 
block; or just \set chordRootNamer = … somewhere else ;)


Do you need lowercase numbers (i to vii) too? And how about accidentals?

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Re: Intervalic Chord Names

[Malte Meyn]

Am 28.08.18 um 18:57 schrieb Jacques Menu Muzhic:

Do I guess it right that you’d like tonality-relative numbers, i.e. V7 for A7 
in D major?


That’s indeed probable. There are two possibilities what to do about that:

1. Get the tonic from the key signature as it is done in these snippets: 
http://lsr.di.unimi.it/LSR/Search?q=tonic

2. Use \transpose to transpose the chords to C.

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Re: Hairpin.to-barline doesn't always work

[Malte Meyn]

Am 21.07.2018 um 08:55 schrieb Thomas Morley:

Afaik, we do so to follow the usual type-setting-rules.
I could be wrong here, though. I don't own Gould


Gould states that the to-barline default ##t is correct *but* in places 
where the first beat of the next bar is far from the bar line (f. e. 
time signature changes) it should be ##f.
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Re: Boxed Markup as a Whole?

[Malte Meyn]

Am 14.07.2018 um 02:26 schrieb Ben:
I am stumped on how to enclose these markup noteheads in one box around 
them all? I can only seem to get them individually boxed. In the past, I 
have only had to box text markup before, and that's about it. So I can't 
figure out how to box marked-up notes as one unit. (see attached)


Try
  \markup \box \concat { [notes] }
or
  \markup \box \line { [notes] }

Also, how can I beam these eighth notes together in the markup? Is this 
possible?


This needs a \score in the \markup.

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Re: Boxed Markup as a Whole?

[Malte Meyn]

Am 14.07.2018 um 13:41 schrieb Ben:
Also, how can I beam these eighth notes together in the markup? Is 
this possible?


This needs a \score in the \markup.



I don't understand, where is the score needed for these beams in the box?


See Klaus’ answer for a code example. (You can \remove 
Staff_symbol_engraver too instead of using \stopStaff.)


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Re: Vertical alignent in dynamics staff

[Malte Meyn]

Am 30.08.18 um 20:02 schrieb ptoye:

I seem to have solved it by tweaking the Y-offset. But it's a bit odd: if I
change the offset by 0.0 it moves the text position up - I'd have thought it
should be unchanged. Also, it doesn't matter if I use ^ or _ to position the
text if I tweak the offset.

Now, if only the internals manual gave the unit used by Y-offset it would
save experimentation.


The default is not a fixed value but a procedure that computes the value 
depending on other grobs 
(http://lilypond.org/doc/v2.19/Documentation/internals/textscript). This 
means that you cannot know the exact value. But you can use the \offset 
command to change a value relatively to its (possibly unknown) default 
value 
(http://lilypond.org/doc/v2.19/Documentation/notation/the-offset-command).


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Re: Offset PedalMarking

[Malte Meyn]

Am 05.09.18 um 10:53 schrieb foxfanfare:


I found in the configuration file how the sustainOn/Off works:

sustainOn = #(make-span-event 'SustainEvent START)
sustainOff = #(make-span-event 'SustainEvent STOP)

I think it would be possible to add an offset for the sustainOn shortcut but
I didn't manage to find the solution...


You can add a tweak to the definition of sustainOn:

\version "2.19.82"

sustainOn =
#(define-event-function () ()
   #{
 -\tweak X-offset 3
 -#(make-span-event 'SustainEvent START)
   #})

{
  b4\sustainOn 4 4 4
  b4\sustainOff 4 4 4
}

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Re: Weird gap between staff lines and ending bar line

[Malte Meyn]

Am 07.09.18 um 02:52 schrieb Simon Albrecht:

Hello everybody,

has anybody came across something like this? It’s a score for piano and 
chorus, where in the last system all chorus staves are removed, and now 
I’ve noticed that at the end the staff lines don’t go all the way to the 
final bar line. This looks the same in Frescobaldi’s built-in PDF viewer 
and in Evince.


I don’t really have an idea how that might come about and I’m inclined 
to save myself the trouble and just apply extra-offset to the bar line. 
I’ll probably have to go the stony path of minimal example creation… but 
maybe someone has already debugged a similar case.


Best, Simon


I bet you’re using \magnifyStaff for the choir.

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lilyglyphs barlines

[Malte Meyn]

Hi list,

is there any barline support in the lilyglyphs package that I don’t know 
of? For now I use 턇\kern-2.8pt턆 (using glyphs from the Vollkorn font) 
for a double repeat because Unicode doesn’t include a double repeat but 
that’s not optimal.


Cheers,
Malte

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Re: lilyglyphs barlines

[Malte Meyn]

Sorry for that, I accidentally used the wrong mail address and didn’t 
expect that this mail would come to the list 33 minutes later ;)


Am 31.08.18 um 14:38 schrieb Malte Meyn:

Hi list,

is there any barline support in the lilyglyphs package that I don’t know 
of? For now I use 턇\kern-2.8pt턆 (using glyphs from the Vollkorn font) 
for a double repeat because Unicode doesn’t include a double repeat but 
that’s not optimal.


Cheers,
Malte

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lilyglyphs barlines

[Malte Meyn]

Hi list,

is there any barline support in the lilyglyphs package that I don’t know 
of? For now I use 턇\kern-2.8pt턆 (using glyphs from the Vollkorn font) 
for a double repeat because Unicode doesn’t include a double repeat but 
that’s not optimal.


Cheers,
Malte

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Re: Spacing issue with magnifyStaff

[Malte Meyn]

Am 05.09.18 um 05:57 schrieb Simon Albrecht:

On 03.09.2018 18:35, Malte Meyn wrote:

\layout {
  \context {
    \Staff
    \name "SmallStaff"
    \alias "Staff"
    fontSize = #(magnification->font-size 4/7)
    \override StaffSymbol.staff-space = #4/<
  }
  \context {
    \Score
    \accepts "SmallStaff"
  }
  \context {
    \StaffGroup
    \accepts "SmallStaff"
  }
  %% add more of these blocks with \accept if you need 


Better: use
\layout {
   \inherit-acceptability "SmallStaff" "Staff"
}
:-)

Best, Simon



Wow, that’s cool. Like foxfanfare, also for me there’s lots of things to 
learn :)


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Re: Accidentals and Ledger Lines

[Malte Meyn]

[Forwarding to bug-lilypond]

Hi foxfanfare,

Am 05.09.18 um 11:07 schrieb foxfanfare:

As you can see, the ledger line of the note containing the accidental is
shortned as expected, but the other aren't and you can see here the natural
appears too close.


that’s true, neighbouring ledger lines should be shortened in some 
cases. LilyPond’s documentation advertises the ledger line shortening 
(http://lilypond.org/doc/v2.18/Documentation/essay/engraving-details#ledger-lines), 
IMHO that’s a good reason why it should really work ;)



I can fix this by moving the accidental with \once \override
Accidental.X-offset = #-1.25, see:

accidentals2.JPG


But this tweak has to be done every time... My question is: is it possible
to add more padding between ledger lines and accidentals? I tried many
combinations but nothing worked so far...


Of course you could use \override instead of \once \override but of 
course that’s not optimal, therefore I’m forwarding this to the bug 
list. The following code shows in which cases also a neighbouring ledger 
line should be shortened and where there are ledger lines that are 
shortened but shouldn’t be.


%
\version "2.19.82"
<<
  \new Staff \relative c''' {
\set Score.extraNatural = ##f
ceses feses % feses: no need for shortening
ceseh feseh % feseh: no need for shortening
ces fes % fes:   no need for shortening
ceh feh % ok
c! f!   % both: more shortening needed
cih fih % ok
cis fis % ok
cisih fisih % ok
cisis fisis % ok
  }
  \new Staff \relative {
aeses eeses % ok
aeseh eeseh % ok
as es   % ok
aeh eeh % both:  more shortening needed
a! e!   % a: more shortening needed
aih eih % aih:   more shortening needed
ais eis % ais:   more shortening needed
aisih eisih % aisih: more shortening needed
aisis eisis % ok
  }
>>
%

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Re: Extending a blank staff.

[Malte Meyn]

Am 09.07.2018 um 21:09 schrieb Hwaen Ch'uqi:

I have found snippets that produce a series of blank systems, each
system naturally spreading across the page. How can I do this for a
single system?


\paper {
  ragged-right = ##f
}

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Re: general-align problem with 2.21.0

[Malte Meyn]

Am 12.07.2018 um 07:33 schrieb Menu Jacques:

/tmp/frescobaldi-_MMpyy/tmpsaOidZ/document.ly:9:68: error: wrong type for argument 1.  
Expecting duration, found "4."
  "Allegretto vivace"\smaller \general-align #Y #DOWN \note
#"4." #UP


It’s not a general-align problem but a change for \note. It accepts now 
a duration, not a string for the duration. So you should write

\note 4. #UP
instead of
\note #"4." #UP
in 2.21.0.

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Re: Empty Staves & Overriding Sequences

[Malte Meyn]

Am 24.01.2018 um 02:58 schrieb joedavnport:
Q1. Is there a way to create (and show) an empty stave in a score, 
rather than creating {s1 s1 s1} spaces?


You can write s1*3 instead of s1 s1 s1 ;)

Q2. Sometimes I want to omit a phrasing for certain files (e.g. showing 
repeat marks), instead of showing the variation for a repeated phrase, 
or section. Feel free to share if this seems more or less integriful 
(music wise) but for the most part I'm wondering if it can be done 
beside phrases ordered within a single variable.


Have a look at the \tag command and its friends \keepWithTag, 
\removeWithTag and (if you use LilyPond 2.19.xx) \tagGroup. See section 
3.3.2 of the notation reference:


2.18.2 
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html
2.19.80 
http://lilypond.org/doc/v2.19/Documentation/notation/different-editions-from-one-source.html


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Re: Rests vs spacers style question

[Malte Meyn]

Am 24.01.2018 um 07:28 schrieb Menu Jacques:

Hello folks,

P_POne_Staff_One_Voice_Two below contains rests which may seem to be 
make the score more difficult to read that spacers.


Apart for single voice staves where rests are necessary, is there a 
best-practise style for multivoice staves?


This depends on several things:

1. Are the rhythmical positions clear without rests? If not, use them.

2. Who will play or sing that?
• Two voices/instruments from one staff? ⇒ use rests.
• One instrument that usually plays only one note at a time but can do 
more (i. e. strings)? ⇒ only use polyphony and rests if it’s a real 
polyphony (f. e. a fugue)
• One instrument that usually plays several notes at a time (i. e. 
plucked or keyboard instruments)? ⇒ Depends on whether you really want 
polyphony or chords.


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Re: Left-handed fretboard?

[Malte Meyn]

Am 17.01.2018 um 22:59 schrieb Thomas Morley:

2018-01-17 22:36 GMT+01:00 David Kastrup :

Thomas Morley  writes:



Should we document it as is or introduce a details.subproperty setting
string-distance negative?


Left-handed diagrams are peculiar enough that if there is a reasonably
simple expedient to get them, we should likely document that (and put it
in the index, of course), maybe with a quoted snippet.  If it seems to
work well enough...



For now I opened
https://sourceforge.net/p/testlilyissues/issues/5263/
so it gets not forgotten.
I've currently not the time to do it, might be better in a few weeks.


There’s not only issue 5264 but another problem with string-distance = 
-1: the vertical alignment (maybe also in \markup fretboards?).


\version "2.19.80"
\include "predefined-guitar-fretboards.ly"

\new FretBoards \with {
  \override FretBoard.fret-diagram-details.orientation = #'landscape
} \chordmode {
  c
  \override FretBoard.fret-diagram-details.string-distance = #-1
  c
}

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Re: odd marcato placement

[Malte Meyn]

Am 18.01.2018 um 05:58 schrieb Shane Brandes:

The following code produces what looks to me as an an unanticipated
result as the second two marcato marks are slightly elevated. I fixed
it with a Script.extra-offset but still wonder if this is some odd
edge case.

\version "2.18.2"


\new Staff \relative c' {

\tuplet 6/4  {
  8 ^^ [8 ^^
 8 ^^ 8 ^^
 ^^ ] }
}


This is a bug that has been fixed in 2.19.xx so you could just use 
2.19.80 instead of 2.18.2.


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Re: Cover page

[Malte Meyn]

Am 11.09.18 um 17:50 schrieb foxfanfare:

- Is Latex a good replacement for Word? What manager you'd recommend to use?


If you want a replacement similar to MS Word, use LibreOffice instead.

But LaTeX is good in another way: It’s text based and WYGIWYM like 
LilyPond. And there is lyluatex, a package that makes including LilyPond 
scores into LaTeX documents very easy.


What do you mean by “manager”? What OS are you using?


- Would it be possible (or at least "convenient") to use LilyPond to make
everything (front page, ToC, Preface, etc... ?)
- Is it possible to import Inskape files in LP for the cover?


You can use pdftk to concatenate several pdf files.

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Re: How to write this note from chaconne?

[Malte Meyn]

Am 08.03.2018 um 02:01 schrieb Simon Albrecht:

On 08.03.2018 01:39, Edmundo Carmona Antoranz wrote:

So I asked
around[1] and apparently it's a "harmonic delay" or a prolongation...


There is no reason whatsoever for any fancy words. It’s just a dotted 
note with the dot written at the rhythmic position where it actually 
happens.
I’ve never seen any realisation of this in LilyPond – would be good to 
have an LSR snippet.


There is a thread at the German user forum: 
https://archiv.lilypondforum.de/index.php/topic,1789.0.html
I don’t have time to read it and explain in English but maybe Simon or 
Harm (who was involved in this thread) can help?


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Re: Build error. MergeFonts: Can't find font: feta11.pfb

[Malte Meyn]

Am 11.03.2018 um 01:01 schrieb Lucas Werkmeister:

Hi everyone,

I’m getting the following error message when trying to build LilyPond 
from git (specifically, building the AUR lilypond-git package).


[…]

The requested file, feta11.pfb, does not exist


I have a similar problem after installing a new system (Manjaro, which 
uses the AUR too) on my laptop:


[…]
Invoking "t1asm parmesan-noteheads14.pt1 parmesan-noteheads14.pfb"...
mf2pt1: You'll need either to install t1utils and rerun mf2pt1 or find 
another way to convert parmesan-noteheads14.pt1 to parmesan-noteheads14.pfb

[…]

t1utils (including t1asm) are installed in the correct version, so I 
don’t know why it doesn’t do its job …


Forwarding this to the developer list.

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Re: Absolute temporal positioning of mm-rests

[Malte Meyn]

Am 09.03.2018 um 11:45 schrieb Arttu Punkkinen:


I was wondering, if there is a way to specify a multimeasure rest which 
length is only relatively defined so that it ends at predetermined bar 
number?


I often find myself needing to adjust or add material between 
multimeasure rests, which currently need manual adjustment to keep 
alignment.


Not for bar numbers but for “anchors” that can be placed in a separate 
music expression, you could use the code below. You find the file 
alignTo.ily attached. This is a modified version of the file posted 
here: http://lists.gnu.org/archive/html/lilypond-user/2015-07/msg00235.html


The following commands are defined:
• \anchor, to be used as
\anchor "anchorname"
• \until, to be used as
s \until "anchorname"
or
R \until "anchorname"
or even
f \until "anchorname"
The latter for long notes is probably useful only if you use the 
Completion_heads_engraver.

• \quoteUntil, to be used as
\quoteUntil "instrument" "anchorname"
Here you have to use \alignTo in the \addQuote command for correct results.
• \alignTo and \useAndAlignTo, to be used as
\alignTo \anchormusic \music
The former only makes use of the anchors, the latter also uses the music 
of \anchormusic (f. e. key signature changes).


Thanks to the original authors!

%%%

\version "2.19.81"

\include "alignTo.ily"

global = {
  \key es \major
  s1*3
  \anchor "1st theme"
  \time 3/4
  s2.*8
  \anchor "mid"
  s2.*4
  \anchor "coda"
  \tempo "Coda"
  s2. \bar "|."
}

flute = \relative {
  R \until "1st theme"
  es'4 f g as bes c d2.
  s \until "mid"
  es4 d c bes as g f es f es2.
}
\addQuote "flute" \alignTo \global \flute

clarinet = \relative {
  \transposition bes
  c'1
  R \until "mid"
  es4 f g as bes c
  \quoteUntil "flute" "coda"
  es2.
}
\addQuote "clarinet" \alignTo \global \clarinet

\new StaffGroup <<
  \new Staff \useAndAlignTo \global \flute
  \new Staff \transpose bes c' \useAndAlignTo \global \clarinet
>>
\version "2.19.25"

#(define anchor-color blue)

% slightly modified/improved version of
% alignTo from 
http://lists.gnu.org/archive/html/lilypond-user/2015-07/msg00235.html
alignTo =
#(define-music-function (conductor music) (ly:music? ly:music?)
   "Lengthen any note or rest in the sequence MUSIC just before each tag
that matches a tag in the sequence CONDUCTOR, so that the tags occur
at the same times from to the beginnings of MUSIC and CONDUCTOR."
   (define (find-sequence music)
 (or (fold-some-music
  (lambda (x) (music-is-of-type? x 'sequential-music))
  (lambda (x e1) (or e1 ; use the first nonempty sequence
 (let ((es (ly:music-property x 'elements)))
   (if (null? es) #f es
  #f
  music)
 (begin
  (ly:input-warning (ly:music-property music 'origin)
"alignTo: cannot find sequential music")
  '(
   (let loop ((aligner (find-sequence conductor))
  (alignee (find-sequence music))
  (time-left (ly:music-length conductor)))
 (case (length alignee)
   ((0) music)
   ((1) music)
   (else
(let* ((a (first alignee)) ; music that might be lengthened,
(b (second alignee)) ; if this music is tagged
; if a has an until property, add this to tag (which is b’s 
tags)
(tag (if (not (null? (ly:music-property a 'until)))
 (cons (ly:music-property a 'until)
   (ly:music-property b 'tags))
 (ly:music-property b 'tags)))
(tail (and (not (null? tag))
   (find-tail
(lambda (x)
  (not (null? (lset-intersection
   eq? tag
   (ly:music-property x 'tags)
aligner
  (if tail
  (let ((tail-length (ly:music-length
  (make-sequential-music tail
(if (ly:moment>
   #})

anchor =
#(define-music-function (text) (string?)
   (if (ly:get-option 'point-and-click)
   #{
 \tag #(string->symbol text)
 \single \override RehearsalMark.self-alignment-X = #LEFT
 \mark \markup \with-color #anchor-color #text
   #}
   #{
 \tag #(string->symbol text) s1*0
   #}))

until =
#(define-music-function (anchor) (string?)
   #{
 \tag #(string->symbol anchor) s1*0
   #})

% don’t redefine quoteUntil if advancedQuote.ily was included before
% because of different transposition behaviour
#(if (not (defined? 'quoteUntil))
 (define quoteUntil
   (define-music-function (what anchor) (string? string?)
 (make-music 'QuoteMusic
   'until (string->symbol anchor)
   'quoted-music-name 

Re: Für Kurzentschlossene: Plätze im Linuxbus Ruhr nach Chemnitz!

[Malte Meyn]

Am 08.03.2018 um 23:24 schrieb Carl Sorensen:

I ran this through Google Translate, and it mostly worked well.  Except it named Harm as 
"Grief", which brought me a smile.

I think the German “Harm” is similar to “harm” in English ;)
(see also “harmlos” = “harmless”)

On topic:
Ich hab sowohl Freitagabend als auch den kompletten Sonntag verplant, 
bin also leider nicht dabei.


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Re: Cross-staff chords question

[Malte Meyn]

Am 07.04.2018 um 10:51 schrieb Menu Jacques:
I’m no pianist though: is this OK for a keyboard player, or is Finale’s 
output: […] better, and if so, how can I obtain the cross-staves stems this way?


What is better depends on whether it should be played with one hand or 
two. Please always give a minimal code example, not this way too much 
generated code.


\version "2.19.81"

\new PianoStaff \with {
  \consists #Span_stem_engraver
} <<
  \new Staff = "top" \relative {
s1
s4 \crossStaff { \stemDown \autoBeamOff c'8  }
  }
  \new Staff = "bot" \relative {
\clef bass
a8 \change Staff = "top" e' \change Staff = "bot" a, \change Staff 
= "top" e'

c' e, \change Staff = "bot" a, \change Staff = "top" b'
\stemDown
\change Staff = "bot"  \change Staff = "top"  
\change Staff = "bot"  g'

  }
>>

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Re: Articulation sign in Haydn

[Malte Meyn]

Am 05.04.2018 um 20:48 schrieb Lukas-Fabian Moser:

Can I help in any way?


You could review my proposed changes at 
https://codereview.appspot.com/340660043


You don’t need to compile or review the code itself, just have a look at 
the PDF I attached here: 
https://sourceforge.net/p/testlilyissues/issues/3128/


I’m not sure whether the stem of the \slashturn is long enough and 
whether the \haydnturn should be bolder/thicker or more or less curly.


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Re: Corrected: Beaming in LilyPond

[Malte Meyn]

Am 07.04.2018 um 22:44 schrieb Filip May'r:

Hello, I'm sending my response in an attachment.


Best,


Filip


Why don’t you write a regular e-mail but send a Word document that is 
classified as junk by my mail program?



The God’s words are a tool to defend one’s arguments. Opinions are changing and 
fleeting in time, and so are the quotes of men. But the Word of God stands fast 
for all generations, places, and times. It is written in the Psalms: […]


It’s weird how one can rely on the Word of God to discuss about 
everything including nick names on the internet …



Furthermore, music and talents are a gift of God […]
Nope. And also I don’t have to be religious just because I like Bach’s 
music and Bach was religious.


Please don’t get me wrong: I’m neither religious nor atheist. I just 
don’t care much about religion. And I don’t have anything against 
religious people. But could you please keep such off-topic things off 
this list?


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Re: {SPAM 02.4} Re: Repeating \markup commands

[Malte Meyn]

Am 08.04.2018 um 20:13 schrieb David Sumbler:

\version "2.19.81"
nar = ^\markup \whiteout \pad-markup #2 \etc

Unfortunately the above produces "syntax error, unexpected \etc"
The older version works fine.


That’s because that’s a very recent change that hasn’t been released yet 
so “\version "2.19.81"” isn’t correct.


In current master it works. That means that it’ll be available for you 
in 2.21.0 or perhaps 2.19.82/2.20.0.



It would be nice to get the newer version to work, because in principle
this type of syntax should make it much easier for me to create my own
functions in future instead of bothering the list so often.  But so far
I haven't been able to get it to work even after trying quite a lot of
small changes (purely on a "trial and error" basis


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Re: Articulation sign in Haydn

[Malte Meyn]

Am 04.04.2018 um 23:23 schrieb Noeck:


I see at least three options:
1. Use a \turn or \mordent
2. Use the symbol from Bravura (there is something like \smuflglyph
"ornamentHaydn" if you use openlilylib)
3. Create your own symbol from existing glyphs like:
   { d'^\markup \combine \huge "~" \teeny \translate #'(0.35 . 0.2) "|" }


I see another option:
4. Add this ornament to Feta.

SMuFL is a good argument for that, if we want to support it some day. 
Would you, Lukas, be willing to wait for 2.21.0 and use that or compile 
your own LilyPond? Then I’d try to add such a glyph to Feta in the next 
few weeks.


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Re: Tremolo repeats and groups of notes

[Malte Meyn]

Am 12.04.2018 um 11:24 schrieb Marco Bagolin:

I solved the second question using your proposal of code.

I did not solved the first question.


Have you tried overriding the slope?

And have you read my recommendation? Probably it would be possible to 
bring the StemTremolos nearer to the note heads but it would be 
complicated and it would be against common notation practice.


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