Re: Unterminated Crescendo Issue

[tisimst]

Hi, Ivan!

On Mon, Aug 28, 2017 at 12:38 PM, Ivan Kuznetsov [via Lilypond] <
ml+s1069038n205320...@n5.nabble.com> wrote:

> Mark Stephen Mrotek <[hidden email]
> > wrote:
> >
> > Perhaps you could code a second voice with spacers and place the
> beginning
> > and ending of the hairpin exactly.
>
> I have tried using an extra voice with spacers but have yet to
> come up with a solution.
>

Instead of this:


<<
  { 8  8\< }
  \\
  {  f,4 }
>>


Do this:


<<
  { \voiceOne 8  8\< }
  \new Voice { \voiceTwo f,4 }
>>
\oneVoice


Hope that helps,
Abraham




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Re: Marking up titles - font-name and italics

[tisimst]

On Thu, Aug 24, 2017 at 11:36 PM, Daniel Cory [via Lilypond] <
ml+s1069038n205250...@n5.nabble.com> wrote:

>
> Wow, you both really helped me there. I understand what is going on behind
> the scenes. I will have to try that when I get a chance. I also have a
> follow up question. Is there a way to adjust a text's tracking or kearning?
>

I'm afraid there's not a built-in way of changing these manually at the
moment. You're not the only one who has wished for this ability, though.

Best,
Abraham




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Re: Marking up titles - font-name and italics

[tisimst]

Hi, Daniel!

On Thu, Aug 24, 2017 at 9:17 PM, Daniel Cory [via Lilypond] <
ml+s1069038n205248...@n5.nabble.com> wrote:

> Hello,
>
> I have what seems to be a rather simple problem. I am trying to format the
> font of my piece title. I can change it to italics, and I can change the
> font name, but I just can't seem to do both. Please keep in mind that I am
> extremely new to lilypond, so I may be missing something simple, but here
> is my code.
>
> \header {
>
>title = \markup {
>   \override #'(font-name . "Arial")
>   \italic
>   {This is a test}
>
>}
> }
>
> I thought that maybe it was the braces around my text so I took them out,
> I've tried putting quotes around, I've tried changing the order of my
> markup. I just can't seem to do both font-name and another markup. Could
> someone please tell me what I'm doing wrong?
>

Here's what's going on. When you override 'font-name, you are very
specifically changing the font to the one file who's internal name is
"Arial". In other words, it doesn't tell LilyPond that there are other
variants (like Italic, Bold, and Bold-Italic), just the exact one you
specify. That is why nothing seems to happen when you use \italic here. If
LilyPond doesn't think a italic/bold/whatever font variant is there, it
falls back to the regular variant.

So, what is to be done? In order for \italic, \bold, etc. to work in a
markup, what you need to do as add Arial as a font-family. The easiest way
is to set it as one of the main global text fonts, like 'sans. If you are
using 2.18, then use make-pango-font-tree, as described here:

http://lilypond.org/doc/v2.18/Documentation/notation/fonts#entire-document-fonts

make-pango-font-tree takes three inputs in this order: a roman (or serif)
font, a sans-serif font, and typewriter (or monospace) font. So, all you
need to do is make sure that you put "Arial" as the second input. Then, in
the markup you can do

title = \markup { \sans \italic "This is a test" }

and it will display in the correct form you expected.

Hope that helps,
Abraham




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Re: Having a hard time with vertical spacing?

[tisimst]

Hi, Molly!

On Mon, Aug 7, 2017 at 9:49 AM, Molly Preston [via Lilypond] <
ml+s1069038n204907...@n5.nabble.com> wrote:

> I'm unclear as to how to make more room between staves when it's in one
> instrument in a part.
>
> I tried
>
>
> \layout {
>
> \context
> { \Staff
>
> \override VerticalAxisGroup.default-staff-staff-spacing.basic-distance = 
> #10
>
> }
>
> }
>
> However, I think this is just between two separate staves that aren't 
> grouped. Is there a way to separate between staves in a part?
>
>
You are correct, that only affects the distance between staves within the
same system. For inter-system spacing, the setting you're looking for is in
the \paper block. If you look at the NR section on the \paper block, in the
"Flexible vertical spacing \paper variables" subsection, and scroll down a
bit, you'll see a list of different variables that control how all the
different kinds of elements are spaced relative to each other on the page,
depending on what is there. In your case, the variable you're looking for
is 'system-system-spacing (i.e., the distance between two systems in the
same score), which you'd set using the same properties (e.g., basic-distance,
padding, etc.) like this:

\paper {
  system-system-spacing.basic-distance = #10
}

Of course, adjust to taste.

For your reference, the full default settings are:

system-system-spacing = #'((basic-distance . 12)
   (minimum-distance . 8)
   (padding . 1)
   (stretchability . 60))


HTH,
Abraham




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Re: weird Accidental spacing/padding issue

[tisimst]

On Thu, Aug 3, 2017 at 11:06 AM, Kieren MacMillan [via Lilypond] <
ml+s1069038n204846...@n5.nabble.com> wrote:

> > I hoped it wasn't a font problem.
>
> Me, too.  =)
> Glad it wasn't.
>

Then, again, if it was a font problem, at least we'd know it wasn't LP's
fault and I could better address the issue myself. Sorry XD

- Abraham




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Re: weird Accidental spacing/padding issue

[tisimst]

On Thu, Aug 3, 2017 at 7:12 AM, Kieren MacMillan [via Lilypond] <
ml+s1069038n204842...@n5.nabble.com> wrote:

> No.
>
> > Does this happen when you use Emmentaler for the music font?
>
> Yes. (Aside: Switching back to it to test that reminded me how much I love
> Cadence!)
>

Thanks! I hoped it wasn't a font problem.


> > I looked at the internals section and there is the 'extra-spacing-width
> property that is set to '(-0.2 . 0) by default. Not sure if setting that to
> '(0 . 0) would change it, but maybe. Not sure when it changed, exactly, but
> some time between when the 'parent-alignment-... properties were added and
> now.
>
> Adding
>
> \override AccidentalPlacement.right-padding = #0
> \override Accidental.extra-spacing-width = #'(0.3 . 0)
> \override Accidental.extra-offset = #'(-0.05 . 0)
>
> to my score seems to bring it closer to what I would expect to be "default
> spacing". I'm uncomfortable that I don't know what the real root problem
> is… but at least I can get on with engraving!
>

Yikes! That's an undesirable set of overrides. Tolerable, but undesirable.
Would be good to get to the bottom of what's really causing the extra space.

Best,
Abraham




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Re: scaling "normal text" font size inside dynamic

[tisimst]

On Thu, Aug 3, 2017 at 6:45 AM, Kieren MacMillan-2 [via Lilypond] <
ml+s1069038n204841...@n5.nabble.com> wrote:

> > Just put \larger before \normal-text and it will respond to the
> 'font-size property, but be at a larger point size than the rest of it.
>
> But the scaling factor is different depending on the font (x-height, etc.)
> — so don't I have to do that *inside* each function, and therefore
> duplicate each function in every stylesheet with a different font? I was
> hoping there was a more elegant solution…
>

This is the unfortunate reality about fonts. I once tried to find a way by
first making a non-printed markup of only the "x" character, getting its
Y-extent, then scaling based on that, but I was never successful. Maybe
someone else will have a better idea for you, aside from adding another
input parameter for to pass in to the 'fontsize markup macro.

Best,
Abraham




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Re: weird Accidental spacing/padding issue

[tisimst]

Hi, Kieren!

On Wed, Aug 2, 2017 at 9:13 PM, Kieren MacMillan [via Lilypond] <
ml+s1069038n204835...@n5.nabble.com> wrote:

> Hello all,
>
> I've gone back to update an old score, and I'm finding that all the
> accidentals seem to have extra padding on the left-hand side, despite the
> fact that I can't seem to find any such tweak/override in the chain of
> files. Here is the default Lilypond output of a measure:
> and here's what I'm seeing in my score:
>
> Both were compiled using the same binary (2.19.64) on Mac OS X — the first
> image is from a clean file (all code "local", no \includes), the second
> from my actual score file (containing a large number of \includes,
> stylesheets, etc.).
>
> 1. What reason(s) might this be happening *other* than an explicit
> tweak/override somewhere in the file-chain?
>
> 2. Is there a way of debugging which would identify the culprit (which I
> can't seem to find)? For example, can I print out the list of Accidental
> properties next to each accidental, like you can with spacing properties?
>

Here's a guess, the only other obvious thing I can think of. Is there
something in another staff that is causing the offset? Does this happen
when you use Emmentaler for the music font?

I looked at the internals section and there is the 'extra-spacing-width
property that is set to '(-0.2 . 0) by default. Not sure if setting that to
'(0 . 0) would change it, but maybe. Not sure when it changed, exactly, but
some time between when the 'parent-alignment-... properties were added and
now.

HTH,
Abraham




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Re: scaling "normal text" font size inside dynamic

[tisimst]

Hi, Kieren!

On Wed, Aug 2, 2017 at 7:39 PM, Kieren MacMillan [via Lilypond] <
ml+s1069038n204834...@n5.nabble.com> wrote:

> Hello,
>
> Is there any way to change the font size of the "normal text" portion of
> mixed dynamic markings, independently from the font size of the dynamic
> portion? For example, in
>
>p dolce
>
> I'd like to increase the size of 'dolce' without increasing the size of
> the 'p'. I am using various functions to knit together dynamics and text,
> and I have various stylesheets (which use different fonts), so I'd rather
> not have to hard-code the scaling into each function and duplicate every
> function in each stylesheet.
>

Just put \larger before \normal-text and it will respond to the 'font-size
property, but be at a larger point size than the rest of it.

HTH,
Abraham




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Re: multi-system phrase mark shaping

[tisimst]

Hi, Reilly!

On Tue, Jul 25, 2017 at 11:09 AM, Reilly Farrell [via Lilypond] <
ml+s1069038n20465...@n5.nabble.com> wrote:

> Hi All,
>
> I've been noticing that the usual solution for adjusting the shape of a
> phrase mark:
>
> \shape #'((0 . 0) (0.5 . 1.0) (0.5 . 1.0) (0 . 0)) PhrasingSlur
>
> ...doesn't seem to apply to instances in which phrase marks extend across
> multiple systems.  At best I can find ways to modify the first half of the
> phrase mark at the end of one system, but not the second half at the
> beginning of the other.
>
> I need the ability to modify both in order to fix collision issues.  Is
> there a trick to modifying an entire multi-system phrase mark?
>

Indeed there is. Just extend the initial list to be a list of two lists (or
more, depending on how many systems the phrasing slur spans through), one
for each segment:

\shape #'(((0 . 0) (0.5 . 1.0) (0.5 . 1.0) (0 . 0))
  ((0 . 0) (0 . 0) (0 . 0) (0 . 0))) PhrasingSlur

HTH,
Abraham




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Re: [ANN] LilyQuick 0.94beta - Quick note Lilypond entry using MIDI for Linux

[tisimst]

Hi, Vaughan!

On Tue, Jun 27, 2017 at 12:28 AM, Vaughan McAlley [via Lilypond] <
ml+s1069038n204148...@n5.nabble.com> wrote:

> Greetings,
>
> I’m pleased to announce LilyQuick 0.94beta. The main new feature is that
> it counts rhythms as you go and automatically enters bar checks. Also, some
> settings have been made reachable from within LilyQuick rather than just
> the settings file.
>
> You can get LilyQuick here: https://github.com/palestrina/lily-q
>
> I did a video demo that you can view here: https://youtu.be/eh8mgF1CNAo
> (sorry about the background hiss)
>
> From the README:
>
> Welcome to LilyQuick, originally written as a replacement for Speedy Note
> Entry when I moved from Finale to Lilypond, and then much improved. The
> basic idea is to play notes on a MIDI keyboard with your left hand, then
> while they are sounding, press a note on the numeric keypad with your right
> hand corresponding to the duration. For example, to get "f2", play an F on
> the MIDI keyboard, and press number 5 on the numeric keypad. The advantage
> to this approach is excellent speed and accuracy, and you get to hear the
> notes as they are being entered.
>

This is super exciting! And thanks for putting together a video
demonstration. That's very helpful. It's nice having tools like this around.

Best,
Abraham




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Re: Install LilyBoulez or other alternative fonts on Ubuntu

[tisimst]

On Mon, Jun 26, 2017 at 3:54 AM, Urs Liska [via Lilypond] <
ml+s1069038n204099...@n5.nabble.com> wrote:

>
>
> Am 26.06.2017 um 11:43 schrieb Federico Bruni:
>
> >
> >
> > Il giorno dom 25 giu 2017 alle 20:49, Malte Meyn
> > <[hidden email] >
> ha scritto:
> >>
> >>
> >> Am 25.06.2017 um 20:45 schrieb Remy CLAVERIE:
> >>> I think that you have to donwload the fonts into the '.fonts'
> >>> directory of your home (beware to the 's' at the end of the name).
> >>> If it does'nt exist, you must create it. Then, run the 'fc-cache -v-
> >>> -f' and all the new fonts should be available for all the software,
> >>> including libreoffice.
> >>
> >> LilyPond looks for music fonts in it’s own font directory, something
> >> like XXX/lilypond/usr/share/lilypond/current/fonts/otf, where XXX is
> >> /usr/local or ~ or something similar (Maybe it’s a bit different when
> >> installed via the package manager, perhaps
> >> /usr/share/lilypond/current/fonts/otf).
> >>
> >> ___
> >>
> >
> > This is not the best advice, if Luca is using version 2.19.
> > As of version 2.19.12, there's no need to copy the fonts in lilypond
> > install directory. You place them once in your system-wide fonts
> > directory and then use the new syntax to make sure lilypond can find
> > the fonts.
>
> Ehm, are you really sure that's true? I was sure we didn't complete
> *that* step yet.
>
> If I'm not completely mistaken what Abraham developed for 2.19.12 was
> the ability to look up alternative fonts *in the LilyPond installation*
> (as opposed to having to rename the fonts which one would have to do
> before that).
> I was working on a patch to look for notation fonts in the system fonts
> but that didn't work out because of fontconfig's bad habit of always
> returning *something* if you request a font (well, it's not a bad habit
> in itself but for us it's a disaster because Arial may be an appropriate
> replacement font for Helvetica but definitely not for LilyBoulez).
>

Just wanted to jump in here quickly to re-affirm this. My experience tells
me that LP only looks for music fonts, as Urs suggested, in the specific
LilyPond installation directory and is only available to that installation
(if you happen to have multiple versions installed). There are some ways
around it and one thing I found to work decently, but not as reliably, is
to add the system font folder to LilyPond's include path. This does allow
you to install the fonts in the "normal" system font folder which then
allows you to access them across installations, but I seem to recall that
it was a bit buggy. It could have been a font-cache problem that made me
give up on it, but I don't recall exactly. Adding symbolic links on *nix
platforms also works well, but you still need to manually add the links for
each version's set of "fonts/[otf/svg]" folders. If we ever get around to
implementing SMuFL-compliance, this will need to be addressed properly.

Best,
Abraham




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Re: Different staff sizes and resetting fonts

[tisimst]

Peter,

On Wed, Jun 21, 2017 at 5:14 PM, Peter Crighton [via Lilypond] <
ml+s1069038n203959...@n5.nabble.com> wrote:

> I need some bookparts to use a different staff size than the rest of a
> book, thus the usage of layout-set-staff-size. This resets the afore
> defined fonts and I cannot seem to find a place where to re-define the
> fonts. See the reduced example below. Any ideas?
>
>
> \version "2.19.59"
>
> #(set-global-staff-size 15)
>
> \paper {
>   #(define fonts
>  (set-global-fonts
>   #:roman "monospace"
>   #:factor (/ staff-height pt 20)
>   ))
> }
>
> % some bookparts cut …
>
> \bookpart {
>   \score {
> b'1^\markup "Serif"
>
> \layout {
>   #(layout-set-staff-size 17)
> }
>   }
> }
>

My experience tells me that although the staff-size is larger in the second
\bookpart, the horizontal treatment isn't going to be a normal 17pt. It
will still be more like the 15pt global one. The only way I've found to get
true horizontal spacing correction is with completely different \book
blocks, which you can use a separate #(set-global-staff-size... before each
one, like this:

#(set-global-staff-size 15)
\book {
  \paper {
#(set-global-fonts ...)
  }
  { ... bookpart here ... }
}

#(set-global-staff-size 17)
\book {
  \paper {
#(set-global-fonts ...)
  }
  { ... another bookpart here ... }
}

Unfortunately, this results in separate output PDFs, which I don't think
you want. Now, something I've never fully understood is why each of the
staff-size-setter functions resets the fonts. That's part of the problem
you're seeing. That's also why you'll notice I included a \paper {
#(set-global-fonts ... ) } block in each \book. Personally, I would love to
have this functionality changed.

The only solution I'm aware of that should be able to get you along your
way without changing fonts is to use the \magnifyStaff command, which you
can see its usage in the NR section about Ossia staves:

http://lilypond.org/doc/v2.19/Documentation/notation/modifying-single-staves#ossia-staves

Be aware, though, that it still doesn't correct the horizontal spacing to
be for a true global 17pt staff size, but it might be sufficient for your
needs.

HTH,
Abraham




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Re: Aiken note heads: Are there thin variants with more interior white space for whole and half notes?

[tisimst]

Hi, Karlin!

First off, congrats! Hope this all works out for you.

On Mon, Jun 12, 2017 at 2:22 PM, Karlin High [via Lilypond] <
ml+s1069038n203743...@n5.nabble.com> wrote:

> A songwriter asked me to type up some of her compositions. Much of the
> intended audience is in communities that have standardized on Aiken-head
> notes for most of the past century, and use little else. LilyPond has
> those shapes, no problem, I thought. But her benchmark is a certain
> publishing house that uses Finale with a customized font, example at
> this link:
>
> http://www.prairieviewpress.com/images/pdfs/Kneel_At_The_Cross.pdf
>
> I've been able to accommodate several of her requests for appearance
> changes. But for her taste, the LilyPond 2.19.59 whole and half notes
> have too little white space on the note head interiors. Apparently I'm
> working under the expectation that unfilled shaped-note heads be drawn
> with a thin, uniform line instead of horizontal lines being heavier. I
> got closer to her ideal by increasing NoteHead.font-size but expect it's
> possible to do more. Such as fiddling with MetaFont sources, if need be.
> Before digging in at that level, I did some Googling and found that
> topics like this have been discussed in the past...
>
> https://code.google.com/archive/p/lilypond/issues/602
>
> ...and the 2.19 change log also metions something:
>
> "Improved visual spacing of small and regular ‘MI’ Funk and Walker
> noteheads so they are now the same width as other shaped notes in their
> respective sets. SOL noteheads are also now visually improved when used
> with both the normal Aiken and Sacred Harp heads, as well as with the
> thin variants."
> http://lilypond.org/doc/v2.19/Documentation/changes/index
>
> "Thin variants!" I keep seeing that term. What are they, and how would I
> access them? Maybe I don't need to head for the new-to-me frontiers of
> MetaFont after all.
>

Try using this:

aikenHeadsThin = \set shapeNoteStyles = ##(doThin reThin miThin faThin sol
laThin tiThin)

And then calling it with \aikenHeadsThin.

HTH,
Abraham




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Re: additional clef at start

[tisimst]

Hi, musicus!

On Thu, Jun 1, 2017 at 12:31 PM, musicus [via Lilypond] <
ml+s1069038n203540...@n5.nabble.com> wrote:

> forgot the attachement...
>
>
> Dear all,
>
> I have a probably not so difficult question, but cannot find the solution
> by myself:
>
> How to get a second clef at the beginning of a piece?
> See attached...
>
> Thank you all,
> musicus
>
> There's not a convenient way to do this, but here are a couple of
workarounds to give you some options:

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

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

Best,
Abraham




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Re: Export to ?????

[tisimst]

On Thu, May 25, 2017 at 5:52 AM, Jan-Peter Voigt [via Lilypond] <
ml+s1069038n20...@n5.nabble.com> wrote:

> just to summarize what I was talking about recently at the Music Encoding
> Conference in Tours. Yes, I am working on an API to provide a generalized
> plug for modules that are able to write MusicXML, MEI, Humdrum and others.
> I am not familiar with ABC, but maybe one can work on it *when* I can
> present some tidy code.
> In fact for my presentation I created to modules to write Humdrum and
> MusicXML. But those are not complete right now - no ties, now slurs and a
> lot more missing. But it writes the notes correctly and I can open the
> generated MusicXML with MuseScore. I will present it to the community after
> tidying up the code.
> My vision is to have an API that also allows Import modules. That way
> LilyPond can be a chain-link in a multiformat toolchain. Others can make
> use of its great typesetting and LilyPond-users (like me) can make use of
> the great tools outside Lilys world.
>

This is very exciting news! Progress is progress and I know many people who
will welcome even a fraction of conversion functionality. Can't wait to see
what you've been working on!

Best,
Abraham




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Re: ellipsis point music

[tisimst]

Hi, Gianmaria!

On Tue, May 16, 2017 at 8:31 AM, Gianmaria Lari [via Lilypond] <
ml+s1069038n203151...@n5.nabble.com> wrote:

> Is there any musical equivalent symbol for the ellipsis points used to
> indicates "and so forth"?
>
> For example, suppose you have an exercise where there is a pattern to play
> in different tonality. You write the first two or three measures and then I
> would like to indicate "and so forth". What I should use for that in
> lilypond?
>

Unless I'm really not understanding your question, pretty sure you don't
need anything fancy. A simple "simile" or just "sim." should do here.

Best,
Abraham




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Re: ClefModifier tweaks conditional on clef

[tisimst]

All,

On Tue, May 9, 2017 at 2:58 PM, Noeck [via Lilypond] <
ml+s1069038n203034...@n5.nabble.com> wrote:

> does it only handle the x-offset? Try-and-error told me that the first
> number is the X-offset for _8 and the second for ^8.
> But can I affect the y position?
>

Oh, yeah. Sorry about that. I was going off of memory, but forgot that this
is how the pairs are actually utilized. Thanks, Simon, for a usable
solution.

Best,
Abraham




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Re: ClefModifier tweaks conditional on clef

[tisimst]

Kieren,

On Tue, May 9, 2017 at 8:02 AM, Kieren MacMillan [via Lilypond] <
ml+s1069038n203018...@n5.nabble.com> wrote:

> Hello all,
>
> In Gould (p. 506), it suggests that the clef modifier for the bass clef
> should dangle from the tip of the bass clef. Lilypond does the following by
> default:
>
>
> I would like to move this to the tip, but without affecting the modifier
> for the treble clef (which is in the perfect position right now).
>
> I know I could define a macro (e.g. “bassb”) which outputs a clef with the
> modifier tweaked… but I’d rather put it in a context modification, inside
> the stylesheet (where my clefs, fonts, etc. are set). Is there a nice
> global way to apply X-offset/Y-offset/extra-offset(/??) tweaks
> conditionally based on which clef is being used?
>

The ClefModifier grob has a property called "clef-alignments" that handles
this, providing individual positioning for G, F, and C clefs (you'll likely
need to play around with the numbers a bit):

http://lilypond.org/doc/v2.19/Documentation/internals/clefmodifier

HTH,
Abraham




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Re: strict notespacing with lyrics

[tisimst]

On Sun, Apr 23, 2017 at 8:09 AM, Kieren MacMillan [via Lilypond] <
ml+s1069038n202546...@n5.nabble.com> wrote:

> Hi Johannes,
>
> any ideas how to get a more even - ot lets say rhytmic - distribution of
> the notes with lyrics?
>
>
> This is an ongoing frustration I have. (I *just* talked about this
> off-list with Abraham a few days ago!)
>
> may be there is a way to get a little bit more even spacing?
>
>
> There are many ways — but they all require manual effort.
>

So, the real question is this: can we make LyricText.self-alignment-X
dynamic instead of static? In other words, can we use a springs-like
mechanism between LyricText syllables, but that are more flexible than the
springs-and-rods between NoteColumns? That way, the NoteColumns would more
likely get into their normal rhythmic positions and the LyricText grobs
could float horizontally a bit, pushing each other around within their -1
to 1 self-alignment-X range. I'm only brainstorming, but it seems that this
would be a generally good approach to provide the least disruption of note
spacing.

Looking forward to everyone's thoughts on the matter.

Best,
Abraham




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Re: "natural width" of a measure

[tisimst]

On Tue, Apr 11, 2017 at 1:00 PM, Urs Liska [via Lilypond] <
ml-node+s1069038n202184...@n5.nabble.com> wrote:

>
>
> Am 11.04.2017 um 20:46 schrieb 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?
>
> I don't think so (only, of course, to investigate how much can be done
> on the internal level).
> Basically what I'm after is a ly:cheap-line-breaking mode that doesn't
> care at all about overall appearance or good page turns but instead
> simply places as many measures in a line as fit naturally. If then a
> line break changes and I know the natural width of the measures I can
> determine before compilation how many measures will fit on the *next*
> system.
>

Does ragged-right = ##t not do what you want (at least in terms of
displaying the natural measure widths)?

Best,
Abraham




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Re: Separate Emmentaler/Fonts

[tisimst]

Hi, Urs/Andrew/Johan!

On Tue, Apr 11, 2017 at 6:10 AM, Urs Liska [via Lilypond] <
ml-node+s1069038n202164...@n5.nabble.com> wrote:

>
>
> Am 11.04.2017 um 13:03 schrieb Johan Vromans:
> > On Tue, 11 Apr 2017 12:09:41 +0200, "N. Andrew Walsh"
> > <[hidden email] >
> wrote:
> >
> >> thanks for the link. I only needed the font for specific glyphs (sharp
> >> signs and the like), which I presume are individual glyphs that would
> >> still work within a body of regular text, yes?
> > Would Bravura be an option then?
> > It's open source, very complete, SMuFl, and can be used from all
> standard
> > software.
>
> Doesn't the "text" part of SMuFL look like it's what one would need for
> that purpose?
>

That's precisely what BravuraText (or any other [SMuFL]Text font) was
designed for, so most of the glyphs are re-positioned/sized to follow the
normal text baseline rather than their music positioning and size. They
usually have zero-width side bearings, though, so you'll need to add some
manual space around each symbol.

There's still the issue with actually getting the symbol as a unicode char.
Whether you use Bravura, Emmentaler, or virtually any other
non-Sibelius/Finale/etc. font, you'll may need to use some character viewer
to be able to view+select+copy+paste it into your editing app. On the one
hand, if you did want to use BravuraText, I suggest going to the SMuFL
gitbook  which uses real characters
at their real code points which you can select+copy+paste just like normal
text. You just need to have a SMuFL font installed like BravuraText to
render the character correctly. I've done that many times.

HTH,
Abraham




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Re: vertical distance variables

[tisimst]

On Wed, Apr 5, 2017 at 8:09 AM, Urs Liska [via Lilypond] <
ml-node+s1069038n201962...@n5.nabble.com> wrote:
>
>
> The attached diagram might be helpful for understanding vertical spacing
> variables.
>
>
> Yes, very helpful.
> But I don't see how I can then create a fixed distance for the first
> system - as I don't know how high the title markup is.
>

The only way I'm aware of (for this very first system position) is with an
explicit vertical position statement, found here:

http://lilypond.org/doc/v2.19/Documentation/notation/explicit-staff-and-system-positioning


The down-side is that it makes the system behave more like when you use
'extra-offset, so it affects that system ONLY and none others.

The alternative would be to re-write the title markup, prefaced using
something like \with-dimensions to artificially fix its vertical size so
the first system *thinks* it's supposed to start at a specific spot.

HTH,
Abraham




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Re: vertical distance variables

[tisimst]

Hi, Urs!

On Wed, Apr 5, 2017 at 7:02 AM, Urs Liska [via Lilypond] <
ml-node+s1069038n201957...@n5.nabble.com> wrote:

> Hi,
>
> naively I expected this to have the title (one line) start 16 mm into
> the page and the first system at 26mm.
>
>   top-margin = 16\mm
>   top-markup-spacing =
>   #'((basic-distance . 0)
>  (stretchability . 0))
>   top-system-spacing =
>   #`((basic-distance . ,#{ 10 \mm #})
>  (stretchability . 0))
>
> But while the title thing seems reasonably accurate the top of the first
> system sits at 28.3 mm.
>
> Am I missing something?
>

Because you know there is the title markup first, try setting
markup-system-spacing instead of top-system-spacing. top-system-spacing is
only effective if there isn't a markup between the first system and the
top-margin. Likewise, top-markup-spacing is only effective when there isn't
a system between the first markup and the top-margin (such as when you end
one piece and have a score title between it and the next one).

The attached diagram might be helpful for understanding vertical spacing
variables.

HTH,
Abraham


vertical-spacing-paper-variables.pdf (88K) 





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Re: move the RehearsalMark object to the left

[tisimst]

On Sun, Apr 2, 2017 at 11:47 AM Federico Bruni-2 [via Lilypond] <
ml-node+s1069038n20185...@n5.nabble.com> wrote:

> Hi all
>
> I have a simple question, but I couldn't find a solution.
> I'm always confused with horizontal alignment..
>
> I want to move the RehearsalMark object to the left:
>
>
> \version "2.19.57"
> {
>   R1*4 \break
>   R1
>   % how to move it to the left?
>   % this doesn't work:
>   \override RehearsalMark.self-alignment-X = #3
>   \mark \markup { "Coda" }
>   R1*4
> }
>

RehearsalMarks live in the Score context, so you need to change it to

\override Score.RehearsaMark.self-...

Under normal circumstances, it is implied that you are referring to the
Staff context.

HTH,
Abraham




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Re: An 'interpreter' for lilypond

[tisimst]

On Sat, Apr 1, 2017 at 1:22 PM, Son_V [via Lilypond] <
ml-node+s1069038n201838...@n5.nabble.com> wrote:

> @Abraham
> Thanks, You're gentle.
> But... if nabble is not the correct way, where should I post?
> Remember, I just googled for "Lilypond forum" and I got nabble.
>

There's nothing wrong with using Nabble, but you must not have actually
subscribed to the lilypond-user mailing list:
https://lists.gnu.org/mailman/listinfo/lilypond-user. I suggest you do so
(does Nabble not ask you if you're subscribed to the respective list
anymore? It used to...).

Either way, instead of clicking on "Reply", first click on "More v" and you
should see the option "Reply to author". Click that one instead and it will
automatically add the quoted text from the post you're going to comment on,
then you can add your response below it (after trimming any parts that
aren't directly related to your response, of course).

Best,
Abraham




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Re: An 'interpreter' for lilypond

[tisimst]

On Sat, Apr 1, 2017 at 12:47 PM, Son_V [via Lilypond] <
ml-node+s1069038n201836...@n5.nabble.com> wrote:

> @Abraham
> Sorry I wasn't aware of this problem. I just googled for "Lilypond forum"
> and I got nabble. And seeing "Replay" on the side of someone's answer, I
> thought that it was clear who I was answering.
> PS "@Abraham" is good or should I use something else? I don't know...  :-)
>

@Abraham is just fine, no worries there. And I used to do the same thing
when I used the Nabble interface to the mailing list, but I almost never go
there now, relying on emails. So, if you would also include the person's
quoted text (as you see how I'm doing with your comments above), that would
help us understand _what_ you are responding to (i.e., give us some context
for your response). That's almost more important than _who_ you are
responding to, but include that too ;-)

Best,
Abraham




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Re: An 'interpreter' for lilypond

[tisimst]

On Sat, Apr 1, 2017 at 11:53 AM, Son_V [via Lilypond] <
ml-node+s1069038n201834...@n5.nabble.com> wrote:

> A shot in the dark could give the light to point at the score.  :-)
> But it wasn't enough, sorry.
> I will need to find where in hell have I saved that link. I will post that
> link if I succeed.
>

Yes, please do.

Also, it appears you are only using the Nabble interface to the forum
(which is fine), but since we can't readily see which person you are
responding to, would you mind quoting the person you are directly referring
to in the body of your messages? That would help reduce our confusion, too.
Thanks!

Best,
Abraham




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Re: An 'interpreter' for lilypond

[tisimst]

On Sat, Apr 1, 2017 at 10:01 AM, Son_V [via Lilypond] <
ml-node+s1069038n201825...@n5.nabble.com> wrote:

> Thanks, but it is not. But because you write:
> > The emails you refer to also provided a means by which one can use a
> command line application like
> > curl to send a .ly document to lilybin.com and get back, in the
> terminal environment, the .pdf or
> > .midi output.
> I hope you were one of the readers. I remember (IF I remember well) that
> there was something like a menu where to choose fro various commands and
> obtain an output.
>

Perhaps this thread is what you're looking for?

http://lists.gnu.org/archive/html/lilypond-user/2017-03/msg00711.html




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Re: An 'interpreter' for lilypond

[tisimst]

On Sat, Apr 1, 2017 at 9:39 AM, Son_V [via Lilypond] <
ml-node+s1069038n201820...@n5.nabble.com> wrote:

> Hi all,
> some days ago someone put a link for a web site where it was possible to
> make software request and obtain a Lilypond output. I forgotten the link,
> but it was liked a lot by one or more posters here, so I hope that I can
> receive that link, if anyone can help.
> Thanks.
>

lilybin.com?




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Re: Conflict with "poet" and "Composer"

[tisimst]

On Thu, Mar 30, 2017 at 1:24 PM, Son_V [via Lilypond] <
ml-node+s1069038n201763...@n5.nabble.com> wrote:

> \header {
>   title = "Jesu Rex admirabilis"
>poet = "Simone Verovio (1575 – 1607) - dal 'Diletto Spirituale'"
>composer = "Attrib. Giovanni Pierluigi da Palestrina (1525 ca. – 1594)"
>
>   tagline = "24 marzo 2017"
> }
>
> But even if Frescobaldi says that it has been successfully completed, I
> don't see any pdf output.
>

Why? Because there's no \score or \markup anywhere. A lone \header block
prints nothing, so the file will compile just fine, but there's no output
without other content.

I'd recommend splitting the strings inside a \markup like:

poet = \markup {
  \left-column {
"Simone Verovio (1575 – 1607)"
" - dal 'Diletto Spirituale'"
  }
}

and the same for composer.

HTH,
Abraham




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Re: [ANN] LilyQuick 0.92beta

[tisimst]

Hi, Vaughan!

On Tue, Mar 28, 2017 at 6:36 PM, Vaughan McAlley [via Lilypond] <
ml-node+s1069038n201694...@n5.nabble.com> wrote:

> Greetings,
>
> I’m happy to announce LilyQuick 0.92beta. The main feature is
> (hopefully) simpler installation with (hopefully) clearer
> documentation. As well, LilyQuick can now automatically quit Qsynth
> when it quits. Enjoy!
>

Congrats! This is exciting! I would love to see a short video of this in
use to have a better grasp for the time savings over manual entry. Any
chance you can be convinced to put something together and post it on
YouTube?

Best,
Abraham




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Re: LSR down?

[tisimst]

On Mon, Mar 27, 2017 at 3:21 PM, caagr98 [via Lilypond] <
ml-node+s1069038n201626...@n5.nabble.com> wrote:

> Works for me. The snippet took a little longer to load than usual, but
> that was probably just my internet.
>

Works for me, too!

- Abraham




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Re: GSoC 2017

[tisimst]

On Mon, Feb 27, 2017 at 11:32 AM, Urs Liska [via Lilypond] <
ml-node+s1069038n200551...@n5.nabble.com> wrote:

> Dear LilyPond community,
>
> I'm happy to inform you that both LilyPond (as part of GNU) and
> Frescobaldi have been accepted as mentoring organizations for Google
> Summer of Code 2017 :-)
>
> This means we have the chance to get up to four (realistically) students
> to work on improving LilyPond and Frescobaldi full-time over the summer
> for three months, which is of course a great thing.
>

Woohoo! That's wonderful news! Thanks for all you've done, Urs, to make
this happen!

Best,
Abraham




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Re: Start new score without line break

[tisimst]

Hi, Simon!

On Thu, Feb 23, 2017 at 3:01 PM, Simon Albrecht-2 [via Lilypond] <
ml-node+s1069038n200415...@n5.nabble.com> wrote:

> Am 22.02.2017 um 14:41 schrieb Andrew Bernard:
> > I would still like to be able to start a new score with no break, for
> > example in books of say, harpsichord music with lots of small, short
> > movements, where the systems would be the same proportions but the
> > piece is new.
>
> There are other conceivable use cases, e.g. the attached one, or other
> cases with a very short recitativo in between larger scored movements.
> But they are exceedingly rare.
> Also, a proper solution would certainly require the C++ page layout
> algorithms to optionally not make a line break between scores (the input
> syntax could theoretically be as simple as
> \score { c } \noBreak \score { d }
> ). I like that idea, but allow me to say that this is probably never
> going to be possible (in any music notation software)…
>

Actually, it's already quite easy to do in at least two GUI apps: PriMus
and Dorico.

Best,
Abraham




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Re: LilyBin embedded [WAS: New LilyPond website]

[tisimst]

On Mon, Feb 20, 2017 at 9:41 AM, Phil Holmes-2 [via Lilypond] <
ml-node+s1069038n200317...@n5.nabble.com> wrote:

> 
> Lilypond.org gets around 700 sessions per day, according to Google
> analytics.
>
> --
> Phil Holmes
>
>
>
> - Original Message -
> *From:* [hidden email]
> 
> *To:* [hidden email]
>  ; [hidden email]
> 
> *Cc:* [hidden email]
>  ; [hidden email]
> 
> *Sent:* Monday, February 20, 2017 3:58 PM
> *Subject:* Re: LilyBin embedded [WAS: New LilyPond website]
>
> I'm primarily responsible for LilyBin. A year or so ago, Timothy Gu
> (copied) and I got LilyPond running in AWS Lambda, which should be able to
> handle plenty of traffic. I get 266,667 seconds of free computation time
> per month from Amazon. We used 38,094 seconds in January for 18,398
> requests, meaning we should be able to handle—very roughly
> estimating—100,000 more requests per month. How many visitors does
> lilypond.org get?
>
> The LilyBin UI isn't made to be embeddable, but could be made so. I'd
> probably recommend just wiring up CodeMirror  and
> PDF.js  yourself rather than trying to
> show LilyBin in an iframe.
>
> I'll be happy to work with you if you want a LilyBin-powered demo on the
> home page!
>
> I love the idea of being able to let visitors try out LP code right there
when browsing the home page. I wonder if a dedicated subdomain (e.g.,
live.lilypond.org) would be more appropriate?

Here's what I'm thinking.

Each LP example in the docs has a real source file associated with it,
right? So,...

1. Put LilyBin functionality at live.lilypond.org
2. Put all the doc's source files in a directory structure that the new
site can access (ideally, through a web-navigate-able directory tree)
3. Place a "Try this live!" link next to each score example in the docs (or
the image hyperlink) that points to the specific file in #2 that the
visitor can play around with (but can't save over), rather than just
linking to a plain text file

This is a wish list, of course, but could be a very cool feature for
new/potential users wanting to get their feet wet.

Best,
Abraham




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Re: 5 quaters per 4/4 measure

[tisimst]

Menu,

On Thu, Feb 16, 2017 at 8:26 AM, Menu Jacques [via Lilypond] <
ml-node+s1069038n200191...@n5.nabble.com> wrote:

> The Binchois.xml example by Recordare has 5 quater notes in a 4/4 measure
> (stemless by the way).
>

There are a number of ways to do this.
1. You can use a quintuplet with the bracket and number hidden: \once \omit
TupletBracket \once \omit TupletNumber \tuplet 5/4 { ... }
2. You can scale the duration of any note on the fly using the "*N/M"
syntax, which will cascade to subsequent notes with the duration omitted:
c4*4/5
3. You can use \scaleDurations to scale an entire passage: \scaleDurations
4/5 { ... }

So, take your pick! I think #2 would be the simplest here because you only
need to indicate the duration + scale on the first quarter note of the
first bar and it will apply to them all.

Is this a « bug » in this MusicXML file, and if not, is there a way to
> produce that with LP?
> I know I can use a hidden 5/4 time signature while diplaying a 4/4 one,
> but that’s not that satisfying…
>

In the XML code of measure 1, you'll notice that there isn't a time
signature defined at all (unless what you copied+pasted somehow didn't
include it), just a clef and key signature. How Finale knows to interpret
the five quarter notes as a single bar without scaling them is a mystery.


> Or maybe the absence of stems is the key to that? But I found nothing in
> the LP docs.
>

It's a possibility that Finale interprets the situation that way, but
unless that's how it's laid out in the official MusicXML spec, I'm not sure
I'd interpret it that way unless ALL apps that import/export MXML do the
same thing.

HTH,
Abraham




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Re: Customizing ottava text

[tisimst]

Urs, et al,

On Wed, Feb 15, 2017 at 2:59 PM, Noeck [via Lilypond] <
ml-node+s1069038n200168...@n5.nabble.com> wrote:

> Hi Urs,
>
> yes, I think you can't set the text. But you can redefine the \ottava
> function and still use the Staff.ottavation to do the work behind the
> scenes.
>

Actually you can:  http://lsr.di.unimi.it/LSR/Item?id=950

which shows:

{
  c'2
  \ottava #1
  \set Staff.ottavation = #"8"
  c''2
  \ottava #0
  c'1
  \ottava #1
  \set Staff.ottavation = #"Text"
  c''1
}


Best,
Abraham




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Re: Flat slurs

[tisimst]

Urs, et al,

On Mon, Feb 13, 2017 at 8:22 AM, Kieren MacMillan-2 [via Lilypond] <
ml-node+s1069038n200067...@n5.nabble.com> wrote:

> Hi Urs,
>
> > This is a more real-world (but not too fine-tuned) example where it's
> > clear that flat slurs can save lots of vertical space.
>
> Lovely work! Thank you for your ongoing efforts in this area.
>

Agreed. This is great. I also cobbled together my own Scheme code a while
back for doing flat ties/slurs, but my flat slurs are far from automagic.
This should be ok since they aren't the most commonly used slur shape, but
it makes me curious, Urs, what it takes to designate the proper shape in
your code? I am happy to share my code if anyone is interested. I created
it at the request of Dimitris Marinakis, so he may have some real-world
examples of how he used it.

@Urs: One thing I've learned while doing all my typography work is that the
flat slurs will look too thick if they use the same thickness value as
normal slurs. This is because curved shapes look thinner than flat shapes
and a normal slur only achieves its 'thickness at its mid-way point and
nowhere else. It's an optical illusion, but one the eye definitely notices.
In my code I use a simple thinning scale factor and it seems to do the
trick.

Best,
Abraham




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

[tisimst]

Hi, Mark!

On Tue, Jan 31, 2017 at 11:20 AM, Mark Klenk [via Lilypond] <
ml-node+s1069038n199635...@n5.nabble.com> wrote:

> I am just learning Lilypond for the first time, and it seems quite
> powerful although not at all intuitive.
>

It will become intuitive.


> One problem I could not figure out is how to specify a suboctave treble
> clef (the one with the little '8' below it). I tried \clef french, \clef
> GG, to no avail.
>
> Any thoughts?
>

Have a look at:
http://lilypond.org/doc/v2.18/Documentation/notation/displaying-pitches#clef


HTH,
Abraham




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Re: overextended volta alternatives

[tisimst]

Andrew,

On Wed, Jan 25, 2017 at 10:48 AM, N. Andrew Walsh [via Lilypond] <
ml-node+s1069038n199535...@n5.nabble.com> wrote:

> Well,
>
> On Wed, Jan 25, 2017 at 6:38 PM, Simon Albrecht <[hidden email]
> > wrote:
>
>> On 25.01.2017 18:33, N. Andrew Walsh wrote:
>>
>>> the \break statements within an \alternative block are causing the
>>> counter to register another ending, for some reason.
>>>
>>> let me clarify: the \break statements were *in between* the three
> enclosed music statements that comprised the \alternative block. So it
> might have been that Lily assumed them to be independent statements. I
> suppose I could have put them inside the brackets, but as I'm fine with
> Lily's default layout, I'll leave them out.
>

Glad you got it sorted out. Did you try putting the \breaks *within* the
first two music expressions? In other words:

\repeat volta 3 {
  ...
}
\alternative {
  { ... \break }
  { ... \break }
  { ... }
}

Best,
Abraham




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Re: Padding between last system and footer

[tisimst]

On Wed, Jan 18, 2017 at 11:32 AM, Risto Vääräniemi-2 [via Lilypond] <
ml-node+s1069038n199322...@n5.nabble.com> wrote:

>
> On 18 January 2017 at 19:47, tisimst <[hidden email]
> <http:///user/SendEmail.jtp?type=node=199322=0>> wrote:
>
>> Hey, Risto!
>>
>> On Wed, Jan 18, 2017 at 10:33 AM, Risto Vääräniemi-2 [via Lilypond] <[hidden
>> email] <http:///user/SendEmail.jtp?type=node=199319=0>> wrote:
>>
>>> Hi,
>>>
>>> Is there a way to add some padding between the last system of the page
>>> and the footer? I have the copyright in the end of the 1st page. There
>>> doesn't seem to be a suitable spacing option in the \paper variables. There
>>> used to be a "foot-separator" in 2.11 but since then the spacing has
>>> changed a lot.
>>>
>>> I can (usually) adjust the spacing with system-system-spacing to leave
>>> some space but then the following pages might be cramped. I also must set
>>> ragged-bottom to #f to do that—not always desirable.
>>>
>>> Adding a blank line to the footer is not really an option because
>>> sometimes the score is PD and there's no copyright. Then, I'd like to use
>>> all the space that's available.
>>>
>>> Any ideas?
>>>
>>
>> Maybe the attached diagram helps? These vertical spacing properties are
>> all described in NR 4.1.4.
>>
>>
> Thanks Abraham. An excellent diagram (worth 1 words). I understood
> that the last-bottom-spacing referred to last page bottom spacing. I
> probably have some problems between reading and understanding something. :)
>
> @Kieren:
> What if I have e.g. a 4 page score? Surely, the ragged-last-bottom only
> affects the page 4, not the problematic pages 2–3?
>

'ragged-bottom affects all but the last page and 'ragged-last-bottom
affects only the last page. One take-away is that single page scores aren't
affected by 'ragged-bottom because the one and only page _is_ the last one.

Best,
Abraham




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Re: Padding between last system and footer

[tisimst]

Hey, Risto!

On Wed, Jan 18, 2017 at 10:33 AM, Risto Vääräniemi-2 [via Lilypond] <
ml-node+s1069038n199318...@n5.nabble.com> wrote:

> Hi,
>
> Is there a way to add some padding between the last system of the page and
> the footer? I have the copyright in the end of the 1st page. There doesn't
> seem to be a suitable spacing option in the \paper variables. There used to
> be a "foot-separator" in 2.11 but since then the spacing has changed a lot.
>
> I can (usually) adjust the spacing with system-system-spacing to leave
> some space but then the following pages might be cramped. I also must set
> ragged-bottom to #f to do that—not always desirable.
>
> Adding a blank line to the footer is not really an option because
> sometimes the score is PD and there's no copyright. Then, I'd like to use
> all the space that's available.
>
> Any ideas?
>

Maybe the attached diagram helps? These vertical spacing properties are all
described in NR 4.1.4.

HTH,
Abraham


vertical-spacing-paper-variables.pdf (88K) 





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Re: brittenPhrygolydian

[tisimst]

Hey, Kieren!

On Wed, Jan 18, 2017 at 7:33 AM, Kieren MacMillan-2 [via Lilypond] <
ml-node+s1069038n199307...@n5.nabble.com> wrote:

> Hi Simon (et al.),
>
> >> And LilyPond just has a fabulous, simple, and proper solution:
> >
> > Which is, by the way, also very well documented.
>
> But, apparently not well defaulted.  ;)
>
> Where does one find the KeySignature.padding-pairs defaults? I did a file
> search inside the Contents folder of my Lilypond application (Mac OS X) for
> an explicit setting, but couldn’t find it. I thought it would be in
> define-grobs, but wasn’t there.
>

>From what I can gather, the default is to gracefully fail (i.e., fall back
to 'padding, but add a little extra space for naturals) when the user
hasn't provided anything. Implementation details are found in
lily/key-signature-interface.cc.

HTH,
Abraham




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Re: Clef modifier vertical position

[tisimst]

On Mon, Jan 9, 2017 at 8:27 PM Andrew Bernard [via Lilypond] <
ml-node+s1069038n199048...@n5.nabble.com> wrote:

>
>
>
>
> I am using clefs of type "bass_8". We would like to have the 8 directly
> under the clef glyph rather than under the staff. Using the clef-alignments
> property of ClefModifier, there does not seem to be the ability to move the
> numeral up or down, only sideways, Any suggestions anybody?
>
> Andrew
>
I know it's not ideal, but extra-offset has worked for me.

HTH,
Abraham




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Re: Replicating chord slurs

[tisimst]

Hi, Joel!

On Thu, Jan 5, 2017 at 8:38 AM, Joel C. Salomon [via Lilypond] <
ml-node+s1069038n198891...@n5.nabble.com> wrote:

> Neighbors,
>
> I’m trying to replicate the chord slurs in the attached image. This
> shows the closest two versions I’ve managed (image also attached):
>
> \version "2.19.54"
> \language "english"
>
> \score {
>   \relative c' {
> \time 3/4
> 2
> 4
>
> 2
> 4
>   }
>   \layout {}
> }
>
> The first has the right notes slurred together, but looks bad; the
> second looks less bad, but still isn’t right. Can anyone suggest another
> tweak I might try here?
>

A couple of thoughts for you (sorry, I'm using absolute pitch in all my
examples below). From top to bottom in the original score, here's what I
see:

1. as' ( b' )
2. g' ~ g'
3. e!' ( g' )
4. cs' ( d' )

Personally, I think this is overkill with the slurs since you really only
need one from one chord to the next, two max (is this for piano?). Now that
I'm looking at it a little closer, I wonder what the purpose of the slur in
e'! ( g' ) is supposed to mean in the first place... You can't play it AND
the tie at the same time, unless it's indicating a finger exchange or
something like that. So, here's what I'd recommend:

1. If you MUST replicate the original, re-map the curves to include the
tie, then adjust shapes as necessary (I think the tie is all you may need
to adjust--maybe flip its direction to DOWN?):

  2 4

2. Re-notate the progression with two voices, and combine the tied g' into
a single note, like so:

  << { g'2. } \\ { 2 ( 4 ) } >>
OR
  << { 2 ( 4 ) } \\ { g'2. } >>

depending on which order appears better to you.

3. If the tie is superfluous, then

  2 ( 4 )

4. If the second g' is really supposed to be sustained, then I'd do #2 and
omit the g' from the second slurred chord:

  << { g'2. } \\ { 2 ( 4 } >>

If I had to choose one, I'd go with #3 or #4.

HTH,
Abraham

[image: Inline image 2]


image.png (25K) 





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Re: optimized paper definitions for a tablet 10.10 "

[tisimst]

Herbert,

On Wed, Dec 7, 2016 at 10:19 AM, Herbert Liechti [via Lilypond] <
ml-node+s1069038n197755...@n5.nabble.com> wrote:

> I recently bought  an Android Lenovo YOGA Book tablet and I like to use it
> on stage for viewing my sheets. I'm using an app MobileSheets for organzing
> the pdf files. I was wondering if anyone has made a paper definition (like
> A4) in lilypond for such a device. A tablet needs a minimum of margins.
>

I don't own this myself (though I have been tempted many times), so here's
a best estimate based on some images I could find online to get
measurements from. It should get you pretty close (if showing full-screen):

%%'

#(set! paper-alist (cons '("YOGA" . (cons (* 5.33 in) (* 8.55 in)))
paper-alist))

\paper {
  #(set-paper-size "YOGA")
  % tweak these to taste
  left-margin = 0.25\in
  right-margin = 0.25\in
  bottom-margin = 0.25\in
  top-margin = 0.25\in
}

\repeat unfold 20 { c'4 d' e'8 f' g' a' }

%%

HTH,
Abraham




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Re: Melismata question

[tisimst]

Hi, Menu!

On Wed, Dec 7, 2016 at 10:12 AM, Menu Jacques [via Lilypond] <
ml-node+s1069038n197753...@n5.nabble.com> wrote:

> Hello folks,
>
> The NR tells we can use « __ » to indicate a melismata after the end of a
> word,
>

Actually, it's just a single underscore that does this. A double underscore
indicates that you want a lyric extender line to appear after the previous
syllable.

HTH,
Abraham




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Re: exchange LyricHyphen with a "proper" hyphen

[tisimst]

Alexander,

On Tue, Dec 6, 2016 at 2:59 PM, Alexander Kobel-2 [via Lilypond] <
ml-node+s1069038n197715...@n5.nabble.com> wrote:

> Dear all,
>
> every now and then, I use a font for lyrics where the hyphen is quite
> different from Lilypond's LyricHyphen (in particular, sometimes it's
> slightly slanted). That combined with lyrics where a hyphen has to
> appear looks, well, ugly. (Recent example: a repetition of part of a
> word that has to be written as { ro -- sen-, ro -- sen -- rot }.)
>
> I failed with
>\override LyricHyphen.text = #"-"
>\override LyricHyphen.stencil = #lyric-text::print
> trying to replace the LyricHyphen "elementary stencil" by a properly
> printed hyphen from the LyricText font. Did anyone ever successfully try
> to do that, or has an idea how to approach such a tweak?
>

I've looked into this before, but it requires a complete re-write of the
stencil function because the "elementary stencil" is actually a single
dashed line spanner rather than a bunch of line segments. I haven't been
able to come up with a working solution, though.

Best,
Abraham




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Re: Accidental in brackets

[tisimst]

Urs,

On Mon, Dec 5, 2016 at 7:54 AM, Mike Solomon [via Lilypond] <
ml-node+s1069038n197630...@n5.nabble.com> wrote:

> Hey!
>
> Total hack, but if you check out scm/stencil.scm, you’ll see how
> parentheses are made…
>
> (define-public (parenthesize-stencil
> stencil half-thickness width angularity padding)
>   "Add parentheses around @var{stencil}, returning a new stencil."
>   (let* ((y-extent (ly:stencil-extent stencil Y))
>  (lp (make-parenthesis-stencil
>   y-extent half-thickness (- width) angularity))
>  (rp (make-parenthesis-stencil
>   y-extent half-thickness width angularity)))
> (set! stencil (ly:stencil-combine-at-edge stencil X LEFT lp padding))
> (set! stencil (ly:stencil-combine-at-edge stencil X RIGHT rp padding))
> stencil))
>
> So it looks like you can substitute in make-connected-path-stencil for
> make-parenthesis-stencil, using sensible parameters for the connected path
> based on the y extent and the width.
>

Here's another option for you that I created recently that creates brackets
roughly the same size as the real parentheses glyphs, so I think it (the
second one I describe in that message) tends to look a little better than
relying on the stencil of the accidental because, for example, you'll get
very different results for a flat glyph vs. a natural glyph (as will Mike's
code):
http://lists.gnu.org/archive/html/lilypond-user/2016-11/msg00928.html

Best,
Abraham




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Re: Re: New LilyPond website

[tisimst]

On Mon, Nov 28, 2016 at 5:57 PM, John Roper [via Lilypond] <
ml-node+s1069038n197217...@n5.nabble.com> wrote:

> The making notes blog? The image that I used I got off of unsplash (cc0
> images).
>
Ah! That makes more sense. Sorry for the noise.

> As for images not loading, what browser/O's are you on?
>
Opera. I still get no images there. It seems to work fine with Firefox,
though.

Best,
Abraham




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Re: New LilyPond website

[tisimst]

Hi, John!

On Mon, Nov 28, 2016 at 4:27 PM, John Roper [via Lilypond] <
ml-node+s1069038n197212...@n5.nabble.com> wrote:

> Hi, my name is John Roper and I am a freelance developer who does web
> design among other things. I use LilyPond occasionally and I felt that
> the website needed a little bit of a sprucing up. I decided to see what I
> could do and I have created a new, nicer looking, website based on
> wordpress which you can preview at http://jmroper.com/lilypond/. I have
> managed to get most of the content from the other website transferred over
> and I hope to have it all done soon. I was hoping that it would be able to
> move the LilyPond blog over to the main website as well. Please tell me
> what you think.
>

I, for one, really like what you've done. I certainly wouldn't mind seeing
the main site go this route, but I'm okay with it as it is if that's not
the consensus.

A couple of first impressions/thoughts:
1. When I accessed the site, I couldn't see any images (except for the
snippets on the examples page). Any idea why?
2. On the "Learn" page, the Split HTML and Big HTML buttons shouldn't say
"Download" because they are accessed online. Maybe "View"?
3. I realize the site is just a prototype, but I think it would be better
to not use the image found on the Making Notes blog as the post header
image for the blog posts.

Great work! Can't wait to see the next iteration!

Best,
Abraham




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Re: Cautionary Accidental Stencil

[tisimst]

On Mon, Nov 28, 2016 at 12:32 PM, Benjamin Strecker [via Lilypond] <
ml-node+s1069038n197189...@n5.nabble.com> wrote:

> Abraham,
>
>
> > On Tue, Nov 22, 2016 at 1:25 PM, Abraham Lee <[hidden email]> wrote:
> >>
> >>
> >> Here's how you can use the same functionality as the markup macro
> >> "bracket" to do the job:
> >>
> >> %%%
> >>
> >> \version "2.19.36"
> >>
> >> bracketAcc = {
> >>   \once \override AccidentalCautionary.parenthesized = ##f
> >>   \once \override AccidentalCautionary.stencil =
> >>   #(lambda (grob)
> >>  (let ((stil (ly:accidental-interface::print grob))
> >>(th 0.1))
> >>(bracketify-stencil stil Y th (* 2.5 th) th)))
> >> }
> >>
> >> \score {
> >>   \new Staff {
> >> c''4 c''? \bracketAcc c''? c''
> >>   }
> >> }
> >>
> >> %%%
> >>
> >> An unfortunate side-effect of this is that each accidental's brackets
> will
> >> look different because it draws brackets that span the accidental's
> exact
> >> vertical extent (e.g., compare a flat vs. a natural). So, here's another
> >> variant that I cobbled together based on the same macro and the
> underlying
> >> "bracketify-stencil" command. It works better because it makes the
> brackets
> >> *act like the normal parentheses* so you get a more consistent look for
> any
> >> accidental:
> >>
> >> %%%
> >>
> >> \version "2.19.36"
> >>
> >> bracketAcc = {
> >>   \once \override AccidentalCautionary.parenthesized = ##f
> >>   \once \override AccidentalCautionary.stencil =
> >>   #(lambda (grob)
> >>  (let* ((paren-stil
> >>   (grob-interpret-markup grob
> >> (markup #:musicglyph "accidentals.leftparen")))
> >> (axis Y)
> >> (other-axis (lambda (a) (remainder (+ a 1) 2)))
> >> (ext (ly:stencil-extent paren-stil axis))
> >> (stil (ly:accidental-interface::print grob))
> >> (thick
> >>   (ly:output-def-lookup (ly:grob-layout grob)
> 'line-thickness
> >> 0.1))
> >> (padding thick)
> >> (protrusion (* 2.5 thick))
> >> (lb (ly:bracket axis ext thick protrusion))
> >> (rb (ly:bracket axis ext thick (- protrusion
> >>(set! stil
> >>  (ly:stencil-combine-at-edge stil (other-axis axis) 1 rb
> >> padding))
> >>(set! stil
> >>  (ly:stencil-combine-at-edge stil (other-axis axis) -1 lb
> >> padding))
> >>stil))
> >> }
> >>
> >> \score {
> >>   \new Staff {
> >> c''4 c''? \bracketAcc c''? c''
> >>   }
> >> }
> >>
> >> %%%
> >>
> >> HTH,
> >> Abraham
>
> That's pretty helpful.  The second one in particular looks quite good on
> the accidentals.  I'm trying to apply a similar approach for producing a
> bracketed trill marking, but I'm not having much luck.  Here's what I
> currently have:
>
> \version "2.19.50"
>
> brack = {
>   \once\override ParenthesesItem.stencil =
>   #(lambda (grob)
>  (let ((stil (ly:script-interface::print grob))
>   (th 0.1))
>(bracketify-stencil stil Y th (* 2.5 th) th)))
> }
>
> \score {
>   \new Staff {
> \brack
> c''-\parenthesize \trill
>   }
> }
>
> But this fails for me with the following error:
>
> /home/gub/NewGub/gub/target/darwin-x86/src/lilypond-git.
> sv.gnu.org--lilypond.git-release-unstable/lily/script-interface.cc:36:
> failed assertion `scm_is_pair (s)'
>
> From my (incomplete) understanding of the internal workings, I would have
> thought this would produce something in the neighborhood of what I want.
> Any advice to point me in the correct direction?
>

I get the same error, but I'm not sure it's the right approach anyway. Try
this:

brack = {
  \once \override Script.stencil =
  #(lambda (grob)
 (let* ((stil (ly:script-interface::print grob))
(th 0.1))
   (bracketify-stencil stil Y th (* 2.5 th) th)))
}

HTH,
Abraham




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Re: header in movements

[tisimst]

That's because you put it in the global header block. By default, any
properties set there will trickle down to any other header unless set to
another value(including ##f).

HTH,
Abraham

On Sun, Nov 27, 2016 at 10:56 AM Mark Stephen Mrotek [via Lilypond] <
ml-node+s1069038n197139...@n5.nabble.com> wrote:

> Hello,
>
>
>
> When using the construction
>
>
>
> \version "2.18.2"
>
> \header {
>
>   opus = "Hob. XVI :27"
>
> }
>
> \include "XVI27-1.ly"
>
> \pageBreak
>
> \include "XVI27-2.ly"
>
> \pageBreak
>
> \include "XVI27-3.ly"
>
>
>
> The opus appears not only before the first movement but also with the
> second and third.
>
>
>
> Thank you for your kind attention.
>
>
>
> Mark
>
>
>
>
>
> ___
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>
>
> --
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> 
> .
> NAML
> 
>




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Re: Horizontal note spacing

[tisimst]

Hey, Andrew!

On Tue, Nov 22, 2016 at 8:54 PM, Andrew Bernard [via Lilypond] <
ml-node+s1069038n197023...@n5.nabble.com> wrote:

> I have tried setting new spacing sections every which way with no success.
> I think it is the dodecaphonic accidental style combined with the cross
> staff kneed beaming that causes the difficulty. Unless I just don’t
> understand how to use them. Plus I think this is muddied by the overall
> score proportional spacing settings, but I am really not sure how they
> interact with new spacing sections. But I have not thought of your
> suggestion. What settings of the SpacingSpanner grob would be in play here?
>

I have to apologize. I was going off of memory and (sigh) remembered wrong.
I meant to point you at the NoteSpacing grob (
http://lilypond.org/doc/v2.19/Documentation/internals/notespacing). This
grob controls the optical corrections that are applied in situations like
kneed beams, opposing stems, etc. I don't have a good answer for your
search, but you might be able to tailor those properties to your needs by
either increasing or decreasing their values (and in case you're wondering,
setting the numeric ones to zero and the boolean one to #f makes the output
even worse, so the values should probably be increased, if anything).


> And something I have wanted to ask just forever – what is this springs and
> rods business? The IR is rather terse, as is its wont.
>

I can't tell you the details (because I don't fully understand how they are
implemented, but "springs and rods" refers to how LilyPond spaces things.
Certain dimensions behave more like a spring and can expand or contract
(like the space between notes or between staves). Others are relatively
fixed in length like a inextensible rod (e.g., the space before/after
barlines, accidentals, etc.). Does that make more sense, at least what it's
means in theory? Sorry I can't be of more help than that.

Best,
Abraham




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Re: Cautionary Accidental Stencil

[tisimst]

On Tue, Nov 22, 2016 at 1:25 PM, Abraham Lee 
wrote:

>
>
> On Tue, Nov 22, 2016 at 12:05 PM, Benjamin Strecker [via Lilypond] <
> ml-node+s1069038n197011...@n5.nabble.com> wrote:
>
>> Hello!
>>
>> I am working from an edition that uses square brackets for items added
>> by the editors.  I was able to change the stencils property for
>> \parenthesize for most of these, but there are some accidentals that
>> have been added.  Currently, I'm using the following to produce a
>> reasonable approximation, but are there any simpler ways to do this?
>>
>> \version "2.19.50"
>>
>> %% Set of overrides to approximate a cautionary natural inside square
>> brackets instead of parentheses
>> brackNat = {
>>   \once\override AccidentalCautionary.stencil = #ly:text-interface::print
>>   \once\override AccidentalCautionary.text = \markup {
>> \concat{\translate #'(0.0 . -0.7) [
>> \musicglyph #"accidentals.natural"
>> \translate #'(0.0 . -0.7) ]}
>>   }
>> }
>>
>> \score {
>>   \new Staff {
>> c''4 c''? \brackNat c''? c''
>>   }
>> }
>>
>> Thanks for any advice you can offer!
>>
>
> Here's how you can use the same functionality as the markup macro
> "bracket" to do the job:
>
> %%%
>
> \version "2.19.36"
>
> bracketAcc = {
>   \once \override AccidentalCautionary.parenthesized = ##f
>   \once \override AccidentalCautionary.stencil =
>   #(lambda (grob)
>  (let ((stil (ly:accidental-interface::print grob))
>(th 0.1))
>(bracketify-stencil stil Y th (* 2.5 th) th)))
> }
>
> \score {
>   \new Staff {
> c''4 c''? \bracketAcc c''? c''
>   }
> }
>
> %%%
>
> An unfortunate side-effect of this is that each accidental's brackets will
> look different because it draws brackets that span the accidental's exact
> vertical extent (e.g., compare a flat vs. a natural). So, here's another
> variant that I cobbled together based on the same macro and the underlying
> "bracketify-stencil" command. It works better because it makes the brackets
> *act like the normal parentheses* so you get a more consistent look for any
> accidental:
>
> %%%
>
> \version "2.19.36"
>
> bracketAcc = {
>   \once \override AccidentalCautionary.parenthesized = ##f
>   \once \override AccidentalCautionary.stencil =
>   #(lambda (grob)
>  (let* ((paren-stil
>   (grob-interpret-markup grob
> (markup #:musicglyph "accidentals.leftparen")))
> (axis Y)
> (other-axis (lambda (a) (remainder (+ a 1) 2)))
> (ext (ly:stencil-extent paren-stil axis))
> (stil (ly:accidental-interface::print grob))
> (thick
>   (ly:output-def-lookup (ly:grob-layout grob) 'line-thickness
> 0.1))
> (padding thick)
> (protrusion (* 2.5 thick))
> (lb (ly:bracket axis ext thick protrusion))
> (rb (ly:bracket axis ext thick (- protrusion
>(set! stil
>  (ly:stencil-combine-at-edge stil (other-axis axis) 1 rb
> padding))
>(set! stil
>  (ly:stencil-combine-at-edge stil (other-axis axis) -1 lb
> padding))
>stil))
> }
>
> \score {
>   \new Staff {
> c''4 c''? \bracketAcc c''? c''
>   }
> }
>
> %%%
>
> HTH,
> Abraham
>

For completeness, here's another approach from the LSR:
http://lsr.di.unimi.it/LSR/Item?id=564

Best,
Abraham




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Re: Cautionary Accidental Stencil

[tisimst]

On Tue, Nov 22, 2016 at 12:05 PM, Benjamin Strecker [via Lilypond] <
ml-node+s1069038n197011...@n5.nabble.com> wrote:

> Hello!
>
> I am working from an edition that uses square brackets for items added
> by the editors.  I was able to change the stencils property for
> \parenthesize for most of these, but there are some accidentals that
> have been added.  Currently, I'm using the following to produce a
> reasonable approximation, but are there any simpler ways to do this?
>
> \version "2.19.50"
>
> %% Set of overrides to approximate a cautionary natural inside square
> brackets instead of parentheses
> brackNat = {
>   \once\override AccidentalCautionary.stencil = #ly:text-interface::print
>   \once\override AccidentalCautionary.text = \markup {
> \concat{\translate #'(0.0 . -0.7) [
> \musicglyph #"accidentals.natural"
> \translate #'(0.0 . -0.7) ]}
>   }
> }
>
> \score {
>   \new Staff {
> c''4 c''? \brackNat c''? c''
>   }
> }
>
> Thanks for any advice you can offer!
>

Here's how you can use the same functionality as the markup macro "bracket"
to do the job:

%%%

\version "2.19.36"

bracketAcc = {
  \once \override AccidentalCautionary.parenthesized = ##f
  \once \override AccidentalCautionary.stencil =
  #(lambda (grob)
 (let ((stil (ly:accidental-interface::print grob))
   (th 0.1))
   (bracketify-stencil stil Y th (* 2.5 th) th)))
}

\score {
  \new Staff {
c''4 c''? \bracketAcc c''? c''
  }
}

%%%

An unfortunate side-effect of this is that each accidental's brackets will
look different because it draws brackets that span the accidental's exact
vertical extent (e.g., compare a flat vs. a natural). So, here's another
variant that I cobbled together based on the same macro and the underlying
"bracketify-stencil" command. It works better because it makes the brackets
*act like the normal parentheses* so you get a more consistent look for any
accidental:

%%%

\version "2.19.36"

bracketAcc = {
  \once \override AccidentalCautionary.parenthesized = ##f
  \once \override AccidentalCautionary.stencil =
  #(lambda (grob)
 (let* ((paren-stil
  (grob-interpret-markup grob
(markup #:musicglyph "accidentals.leftparen")))
(axis Y)
(other-axis (lambda (a) (remainder (+ a 1) 2)))
(ext (ly:stencil-extent paren-stil axis))
(stil (ly:accidental-interface::print grob))
(thick
  (ly:output-def-lookup (ly:grob-layout grob) 'line-thickness
0.1))
(padding thick)
(protrusion (* 2.5 thick))
(lb (ly:bracket axis ext thick protrusion))
(rb (ly:bracket axis ext thick (- protrusion
   (set! stil
 (ly:stencil-combine-at-edge stil (other-axis axis) 1 rb
padding))
   (set! stil
 (ly:stencil-combine-at-edge stil (other-axis axis) -1 lb
padding))
   stil))
}

\score {
  \new Staff {
c''4 c''? \bracketAcc c''? c''
  }
}

%%%

HTH,
Abraham




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Re: Incorrect note alignment

[tisimst]

On Wed, Nov 16, 2016 at 11:24 AM, Noeck [via Lilypond] <
ml-node+s1069038n196717...@n5.nabble.com> wrote:

> My aesthetic feeling would like to centre-align them.
>

MuseScore 2.0.3 does this. I personally don't find the left-alignment
bothersome and find that it gives more natural continuity to the
left-to-right notion of time management. I can definitely see the
center-alignment aesthetic, though.


> Still, I would not over-interpret Behind Bars. If Gould states it
> explicitly: ok, but the examples are also done with some program, I
> guess. In case there is a detail she does not care enough, there can be
> cases where she accepts the program's default output without saying that
> other solutions are necessarily bad or wrong.
>

That "some program" is Sibelius, so there's much to be taken with a grain
of salt.

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Re: best practices with tempo markings

[tisimst]

Tobian

On Mon, Nov 14, 2016 at 3:50 PM, Tobin Chodos [via Lilypond] <
ml-node+s1069038n196622...@n5.nabble.com> wrote:

> This one really is basic, but: a \tempo command in a large score will
> automatically register on each part, right?  that is, if I insert the
> marking to change tempo in the flute part in bar 2, it will appear on every
> other part...so where is it advisable to put it?
>

It will and it won't. By default, it is collected by the Score context, so
it will only appear above the top-most Staff unless you give a particular
staff permission to print it as well via a \with { \consists
"Metronome_mark_engraver" }. If you put the \tempo command in-line with the
part's music and reuse the same variable in the full score and part score,
then it will show up in both.

However, I find it prudent to put any Score-level items that generally
don't change from part to part (e.g., \tempo, \time, \key, \bar, etc.) in a
global variable that basically defines the structure and where each of
those items appears. For example:

struct = {
  \tempo 4=120
  \time 3/4
  \key a \minor
  s2.*7
  \bar "||"
  \tempo 4=80
  \time 4/4
  s1*10
  \bar "|."
}


This I then place in a simultaneous construct with each part within the
\score blocks. Thus, I can manage the overall structure in ONE place, but
apply it everywhere, both the full-score and individual parts. For example:

% full score
\score {
  <<
\new Staff << \struct \violinNotes >>
\new Staff << \struct \violaNotes >>
\new Staff << \struct \celloNotes >>
\new Staff << \struct \bassNotes >>
  >>
}

% violin part
\score {
  \new Staff << \struct \violinNotes >>
}

% viola part
\score {
  \new Staff << \struct \violaNotes >>
}

% cello part
\score {
  \new Staff << \struct \celloNotes >>
}

% bass part
\score {
  \new Staff << \struct \bassNotes >>
}


There are a variety of ways to customize this to your tastes and uses, but
this has been very reliable for me.

Hope that helps,
Abraham




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Re: Changing voice order...

[tisimst]

On Thu, Nov 3, 2016 at 10:48 AM, Abraham Lee 
wrote:

>
> On Thu, Nov 3, 2016 at 9:00 AM, David Kastrup [via Lilypond] <
> ml-node+s1069038n196051...@n5.nabble.com> wrote:
>
>> Werner LEMBERG <[hidden email]
>> > writes:
>>
>> >> So
>> >> \voiceOne \voiceTwo \voiceThree \voiceFour
>> >> becomes
>> >> \voiceUp \voiceDown \voiceUpTwo \voiceDownTwo
>> >
>> > I would make \voiceUp and \voiceDown be the same as \voiceUpOne and
>> > \voiceUpTwo, respectively, so that we can write
>> >
>> >   \voiceUpOne \voiceDownOne \voiceUpTwo \voiceDownTwo
>>
>> Here is another variant that's a bit bold:
>>
>> \voice^1 \voice_1 \voice^2 \voice_2
>>
>> This will syntactically take a fingering event as input.  However, this
>> does not work as
>>
>> \voices 1,2,-2,-1 << \\ ... \\ >>
>>
>> does.  I am not totally sure whether \voices ^1^2_1_2 << \\ ... \\ >>
>> might not be parseable (as a single post-event) but it won't mix with
>> symbolic names for voice contexts.  So while it is a cute replacement
>> for \voiceOne ... and is expressive concerning its direction, I am not
>> sure it's a winner.
>>
>
> I like this idea. Here's another thought to throw into the mix, ...
>

By the way (and I believe there may have been some discussion about this
previously, but I'm too lazy to look it up right now), why do we use
\oneVoice instead of \voiceNeutral like we do with \tieNeutral,
\tupletNeutral, etc. "\oneVoice" certainly stands out a little more
(visually), but it's sure not consistent with the other commands of this
nature. Just saying...

--
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Re: Changing voice order...

[tisimst]

On Thu, Nov 3, 2016 at 9:00 AM, David Kastrup [via Lilypond] <
ml-node+s1069038n196051...@n5.nabble.com> wrote:

> Werner LEMBERG <[hidden email]
> > writes:
>
> >> So
> >> \voiceOne \voiceTwo \voiceThree \voiceFour
> >> becomes
> >> \voiceUp \voiceDown \voiceUpTwo \voiceDownTwo
> >
> > I would make \voiceUp and \voiceDown be the same as \voiceUpOne and
> > \voiceUpTwo, respectively, so that we can write
> >
> >   \voiceUpOne \voiceDownOne \voiceUpTwo \voiceDownTwo
>
> Here is another variant that's a bit bold:
>
> \voice^1 \voice_1 \voice^2 \voice_2
>
> This will syntactically take a fingering event as input.  However, this
> does not work as
>
> \voices 1,2,-2,-1 << \\ ... \\ >>
>
> does.  I am not totally sure whether \voices ^1^2_1_2 << \\ ... \\ >>
> might not be parseable (as a single post-event) but it won't mix with
> symbolic names for voice contexts.  So while it is a cute replacement
> for \voiceOne ... and is expressive concerning its direction, I am not
> sure it's a winner.
>

I like this idea. Here's another thought to throw into the mix, more of an
enhancement idea for the current way voices are stacked. What about
something like this:



\version "2.19.36"

% This command takes an integer and derives the stem direction from its
% sign and then calculates the currently expected zero-based voice index
% so that 1, 2, 3, 4, etc. represent the 1st, 2nd, 3rd, 4th up-stem voices
% respectively and -1, -2, -3, etc. represent the 1st, 2nd, and 3rd down-
% stem voices, respectively.
% The integer also represents the voice's relative column priority for being
% shifted away from the principal column (i.e., larger numbers get pushed
% farther out). Positive integer voices get shifted right, negative integer
% voices get shifted left.
voice = #(define-music-function (nbr) (number?)
  (let* ((dir (/ (abs nbr) nbr))
 (idx (+ (* 2 dir (- nbr dir)) (/ (- 1 dir) 2)))
 )
(format #t "Voice input: ~a, direction: ~a, index: ~a" nbr dir
idx)(newline)
(context-spec-music (make-voice-props-set idx) 'Voice)))

% and now an example
\new Staff <<
  { \voice 1 c''4 c'' c'' c'' }  % what we know as \voiceOne, so no
difference here
  \\
  { \voice 5 a'2. g'4 }  % what we would call \voiceNine, if there was such
a thing
  \\
  { \voice -11 g'2 b' } % what we would call \voiceTwentyTwo, but seriously
folks...
>>



This doesn't really change the above discussion about implicit voicing and
how they should stack, but it does make it a little easier to create any
number of explicit directional voices. I guess I'm too used to the current
way of stacking. Pardon the noise if this doesn't contribute constructively
to the discussion. It was just a thought I had yesterday that I finally got
around to implementing.

Best,
Abraham




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Re: Changing voice order...

[tisimst]

On Wed, Nov 2, 2016 at 4:00 PM, Thomas Morley-2 [via Lilypond] <
ml-node+s1069038n196021...@n5.nabble.com> wrote:

> 2016-11-02 13:04 GMT+01:00 Werner LEMBERG <[hidden email]
> >:
>
> >>>   \voiceOrder { 1, 3, 5, 7, 6, 4, 2 }
> >>>   << c'''2 \\ g'' \\ e'' \\ c'' \\ g' \\ e' \\ c' >>
> >>
> >> More like \voices 1,3,5,7,6,4,2 << ... >> if we want to keep in
> >> current syntax.  This is assuming a one-shot command taking the <<
> >> >> construct as its last argument.
> >
> > Hmm, my original idea was a global command, something similar to
> > setting up beam divisions for various meters – having a command to
> > locally override that would be certainly useful.
> >
> >>> Note that this is an idea without considering whether it can be
> >>> implemented at all.
> >>
> >> With a bit of massage it seems to work.
> >
> > Good to hear!
> >
> >
> > Werner
> Werner,
>
> I was thrilled and excited by your proposal.
> Having had some leisure time this afternoon (although without
> net-access) I played around with it.
> I've taken it as a local command, though.
>
> The result is a wrapper around simultaneous music, with and without "\\".
> You can input straight away from top to bottom voice.
> The voiceXxx-settings and context-ids are done automatically, but
> respect user-settings.
>
> The engraver to annotate info is in as well, could be deleted ofcourse.
>
> It's not tested beyond the given examples, but following this route
> would make the input much more logical and because it's a wrapper we
> would warrant backward compatibility, no need to change anything
> else...
>
> Opinions?
>

Thanks, Harm! That is seriously cool. Now to do some real-world tests to
understand the implications... I really need to get better at Scheme
programming. There is so much I'd like to do.

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Re: compound time signature with non duple denominator

[tisimst]

On Wed, Nov 2, 2016 at 10:55 AM, Kieren MacMillan [via Lilypond] <
ml-node+s1069038n196008...@n5.nabble.com> wrote:

> It's *legitimate* in all musical circles, though it's not *embraced* by
> all.
>
... as Kieren and I saw on a facebook group the other day when a composer
started a discussion about having a bar with an "irrational" 2/6 time
signature. Wow, the flames that ensued! It's quite simple:

{ \time 2/6 \tuplet 3/2 { c'4 c' } }

... with or without the tuplet number/bracket.

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Re: Changing voice order...

[tisimst]

On Wed, Nov 2, 2016 at 7:49 AM, David Kastrup [via Lilypond] <
ml-node+s1069038n195993...@n5.nabble.com> wrote:

> > By the way, the top position with 369 double backslashes is this piece:
> > https://github.com/MutopiaProject/MutopiaProject/
> blob/master/ftp/BachJS/BWV830/BWV-830/BWV-830-lys/BWV-830.ly
>
> This particular one is... horrific.
>

Wow. Amen to that.


> One thing that is obvious that \relative pitch is a real mess to keep
> track of in this kind of highest/lowest/high/low scheme.  It works quite
> more natural in high-to-low stackings.
>

Like I said before, I personally have no qualms with the format of the
current << \\ \\ \\ ... >> syntax. I use it in piano scores all the time,
but never when working with associated lyrics because I understand the what
the syntax does under the covers. You use it enough and it's not so
confusing any more.

That being said, I really like the idea of changing the order of voices so
they can be input from high-to-low and the common use of \relative mode
would suggest that is an improvement over the current form.

I'd also like to re-iterate the need to have this vertical hierarchy apply
to the rests in those respective voices so that the "inner" voices' rests
get pushed inwards as well, or at least towards the vertical position of
where their notes are. I realize this is likely no small undertaking and I
can make due without it. Maybe one day I can even get into the details
myself and implement it myself. Who knows...

Best,
Abraham




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Re: Changing voice order...

[tisimst]

I just wanted to add my two cents to the discussion here.

I tend to engrave piano music more often than not and I don't mind the
current syntax. The only thing that I'd rather like seeing improved is the
nesting of the voices rests.

Rests tend to get pushed out of the center and away from the staves, when
we usually think of the notes in those voices being pushed toward the
center of the staves. I wish the rests followed a similar philosophy, at
least following the contour of their respective voice.

Just a thought.

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Re: Augmentation dot positioning

[tisimst]

On Thursday, October 27, 2016, Carl Sorensen-3 [via Lilypond] <
ml-node+s1069038n195779...@n5.nabble.com> wrote:

> OK, I got my preferred algorithm working right as the default positioning
> algorithm now.
>
> The algorithm puts dots for notes in spaces in the same space, and then
> tries to put dots for notes on lines in adjacent spaces, working its way
> out until it finds a space or exceeds chords-dot-limit staff positions.
>
> As expected, with this algorithm there is no difference between
> chord-dots-limit = 1 and chord-dots-limit = 2, because dots for notes on
> spaces never move, and they are the only dots that can have an offset of
> 2.
>
> Anyway, I've run through all the tests, and I think that the default
> algorithm works exactly according to the Powell algorithm, as I understand
> it.
>
> All of the test cases with chord-dots-limit 1 or 2 provide the desired
> output, as far as I can see.
>

Thanks for doing this, Carl! This is great!

I assume it works the same in a polyphonic setting, but I wonder if it
would be helpful to add some of those into the suite of test cases, just to
double-check.

Best,
Abraham




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Re: Hairpin and simultaneous expressions

[tisimst]

David,

On Mon, Oct 24, 2016 at 9:10 AM, David Sumbler [via Lilypond] <
ml-node+s1069038n195665...@n5.nabble.com> wrote:

> \version "2.19.46"
>
> \language "english"
>
> %%Vn2 bars 276-279
> \relative e' {
>   \time 3/2 1.\p\< ~ | q ~ | q |  |
> %%Vn2 bars 280-283
>   << { \stemUp d2(\mp bf1 ~ | bf1. ~ | bf ~ | bf1)} \\ {f1. ~ | f ~ | f
> ~ | f1 } >> r2 |
> }
>
> The above extract from one of my files compiles to give the result I
> want, except that it produces an "unterminated crescendo" warning; also
> the p marking and the hairpin, which should start at bar 276 and end at
> the mp marking in bar 280, do not appear.
>
> I have tried moving the \mp to the lower note of the chord in bar 280,
> which produces the same result, and I have also tried including it with
> both upper and lower notes, which then gives 2 mp markings as well as
> the warning.
>
> What is the simplest way to achieve what I want?


The short answer: Use explicit voices.

The long answer:

The construct << { ... } \\ { ... } \\ ... >> creates COMPLETELY NEW
VOICES. So, the original section's hairpin really doesn't have a
termination in the same voice it started. Here's the basic structure that
should do the job for you:

%

\version "2.19.46"

\language "english"

%%Vn2 bars 276-279
\relative e' {
  \time 3/2 1.\p\< ~ | q ~ | q |  |
%%Vn2 bars 280-283
  <<
{ \voiceOne d2(\mp bf1 ~ | bf1. ~ | bf ~ | bf1) }  % the original voice
continues here
\new Voice { \voiceTwo f1. ~ | f ~ | f ~ | f1 }  % temporary second
voice
  >> \oneVoice r2 |  % and finally continues here
}

%

HTH,
Abraham




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Re: Advice about layout / page formatting

[tisimst]

Jim,

On Tue, Oct 11, 2016 at 10:13 AM, Jim Duke [via Lilypond] <
ml-node+s1069038n195281...@n5.nabble.com> wrote:

> I'm seeking advice on how to approach typesetting some hymns for use in
> worship.  The music in our worship is A Capella congregational singing, and
> we use both sheet music, which we put in folders in the pews, and slides,
> which we project on a large screen at the front of the auditorium.  For
> each hymn I want to produce a PDF of the sheet music, a set of PNG files
> for each of the slides, and a MIDI file to aid in teaching the hymns to the
> congregation.
>
> The way I've laid out each hymn is to create the following files:
>
> Slides.ly
> Sheet-Music.ly
> Words-And-Music.ly
>
> Slides.ly and Sheet-Music.ly import Words-and-Music.ly.
>
> The idea is to separate the music from the layout.  For the most part this
> is working well.  But before I get into some of the issues I'm
> encountering, is this a good approach?  I'm trying to make the Slides.ly
> and Sheet-Music.ly as generic as possible.  My end goal would be for the
> Slides.ly and Sheet-Music.ly to be identical across all hymns; but that
> currently isn't possible.  I still need to manually unroll the music for
> the slides (expand repeats, and music redirections such as DS al Coda,
> etc.).  If I could figure out an automatic way to do that it would be
> fantastic.
>
> Sorry for the long context intro.  Now to my questions.  I'm having no
> problems at all with the sheet music other than the normal stuff new
> Lilypond users encounter.  But for the slides there are several formatting
> issues I'm having trouble with.
>
> First, on the first slide of every verse I put a title at the top with the
> name of the song and the song number in our hymal.  On following slides
> from the same verse, there is no title.  But, I'd like the first system on
> every slide to start at the same place on the page.  As we present the
> slides the movement of the systems around on the page is distracting.  I'd
> like to fix them on the page if I could.  Because of how large I want the
> fonts to be, I typically can fit two systems on each page.  I have no idea
> how to accomplish that.  Is there a parameter that directly controls the
> distance from the top of the page to the first system?
>
> Second, controlling line breaks has been a challenge.  Since I want to use
> a single source of words and music; forcing line breaks in the music
> doesn't work.  Is there a way to embed the line break instructions in the
> layout somehow?  I've seen references to using space notes.  For example,
> for Abide with Me (tune EVENTIDE), I might have:
>
> For the sheet music:
>
> s2 s4 s4 | s2 s2 | s4 s4 s4 s4 | s1 | s2 s4 s4 | s2 s2 | s4 s4 s4 s4 | s1
> | \break
>
> For the slides:
>
> s2 s4 s4 | s2 s2 | s4 s4 s4 s4 | s1 | \break
> s2 s4 s4 | s2 s2 | s4 s4 s4 s4 | s1 | \break
>
> The Words-and-Music.ly file would have no layout guidance at all.  Would
> that work?  How would I combine the layout "rhythms" with the music?
>

I believe this is the right way to do it if you need a consistent layout. I
do this kind of thing all the time. It is so nice to be able to play around
with the layout without fiddling with the music code. Combining the layout
with the music is as simple as this:

\new Staff <<
  \rhythms
  \music
>>

By the way, except for times where you may want a mid-measure \break, you
can simplify your "rhythms" variables like this (using your examples):

For the sheet music:

s1*8 \break (or s1 | s | s | s | s | s | s | s | \break if you want to keep
the bar checks)

For the slides:

s1*4 \break
s1*4 \break

Just some thoughts for you. This is how I usually do it. You can also
include other score-level objects in the "rhythms" variables like \bar,
\tempo, \key, etc.

HTH,
Abraham




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Re: Controlling hairpin length - revisited!

[tisimst]

David,

On Tue, Oct 11, 2016 at 8:01 AM, Kieren MacMillan [via Lilypond] <
ml-node+s1069038n195270...@n5.nabble.com> wrote:

> Hi David,
>
> > Just so that I have as many weapons as possible at my disposal, are
> > there any other parameters which might directly affect the horizontal
> > position of the left-hand end and/or the right-hand end or a hairpin,
> > or its length?
>
> \after
> Hairpin.bound-padding
> Hairpin.X-offset
> Hairpin.extra-offset
>
> Those are my main weapons.  =)
> Kieren.
>

Here's another solution I cooked up with more granular control of both ends
of the hairpin: http://lists.gnu.org/archive/html/lilypond-user/2016-06/
msg00176.html

It's not perfect, but might do the job for you.

HTH,
Abraham




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Re: Horizontal spacing - How to prevent compressing while allowing stretching?

[tisimst]

Karol,

On Sunday, October 9, 2016, Andrew Bernard [via Lilypond] <
ml-node+s1069038n195252...@n5.nabble.com> wrote:

> Hi Karol,
>
> By ‘natural’ are you referring to the spacing displayed when ragged-right
> is set to true, or something else?
>
> As far as I know there is no parameter to enable what you want - stretch
> but don’t compress. One of the major advantages and features of lilypond is
> it’s very smart and subtle spacing algorithms, containing a lot of deep
> heuristics other programs lack.
>
> For me, although it may be tedious and is manual rather than automatic, I
> simply put a \break at the point you want a break, and this allows you to
> adjust spacing, up to the granularity of a bar.
>
> You may also consider turning on proportional spacing. For my new
> complexity school scores I have to say that it just does not work very well
> at all (the radily changing rhythmic structures confuse it), but for more
> common era period music I think people have success with it.
>
> There are also ‘new spacing section’ commands you may want to look up. I’m
> no expert on that - others here will know more!
>
> There’s also some code around to set a fixed number of bars per line, if
> this is of any use for your scores. It goes against the grain a bit but it
> can be made to work and there are uses for that.
>
> Andrew
>

I would try something like this if it is that important that you don't get
any compressed measures. First compile with all the ragged-... = ##t so
that you can see where the natural break points are located. Then, follow
Andrew's advice by inserting the manual \break after the measures at the
end of each system.

Not sure if there's a better way than that. Not sure if it even works, but
could be worth a try.

Good luck,
Abraham




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Re: Why warning: cannot end volta spanner?

[tisimst]

Peter,

On Thu, Oct 6, 2016 at 9:21 AM, Peter Toye [via Lilypond] <
ml-node+s1069038n195180...@n5.nabble.com> wrote:

> This rather follows on from https://lists.gnu.org/archive/
> html/lilypond-user/2016-02/msg00014.html and
> http://lists.gnu.org/archive/html/lilypond-user/2016-03/msg00531.html
>
> I am trying to do a similar thing with a volta repeat: a longish 1st time
> section without a long 2nd time volta indication. I tried to set the
> voltaSpannerDuration but this gives an error "cannot end volta spanner",
> which I don't understand. Is there a way of doing this without getting an
> error? It seems that LP tries to put the same number of bards into the 2nd
> time as the 1st time. A quick straw poll of printed music implies that the
> norm for the final alternative is a single bar. Is this a bug or am I
> missing something?
>
> A minimal example follows.
>
> \version "2.18.2"
>
> \language "english"
>
> \score {
>  \new Staff {
>
>\time 4/4
>\clef treble
>
>\relative c''
>{
>  c1
>  \repeat volta 2 {
>c d e f
>  }
>  \alternative {
>{
>  g f e d
>}
>{
>  \set Score.voltaSpannerDuration = #(ly:make-moment 4/4)
>  g a b c
>}
>  }
>  b a g
>}
>  }
> }
>

Thank you for the MWE. If you want to show the second alternate bracket
over the "g" instead of "g a b c", then why not just move the "a b c" out
altogether? Then the \set Score.voltaSpannerDuration part isn't necessary
at all:

\version "2.18.2"

\language "english"

\score {
 \new Staff {

   \time 4/4
   \clef treble

   \relative c''
   {
 c1
 \repeat volta 2 {
   c d e f
 }
 \alternative {
   {
 g f e d
   }
   {
 g  %<-- JUST THIS HERE
   }
 }
 a b c  %<-- THE REST HERE
 b a g
   }
 }
}

HTH,
Abraham




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Re: Wrong alternative numbering when some are empty

[tisimst]

On Wed, Oct 5, 2016 at 9:33 AM, D'Arcy J.M. Cain-3 [via Lilypond] <
ml-node+s1069038n195159...@n5.nabble.com> wrote:

> On Wed, 5 Oct 2016 16:24:28 +0200
> Pierre Perol-Schneider <[hidden email]
> > wrote:
> > How about:
> > [...]
> >   \alternative {
> > % 1st repeat alternative
> > \set Score.repeatCommands = #'((volta "2."))
> > { d1 d d d }
> > \set Score.repeatCommands = #'((volta "4."))
> > { c1 c c c }
> >   }
>
> That's works.  Thanks.  I had tried something similar but with the
> empty alternatives still there and that messed up the output pretty
> badly.  I was surprised to find that this even played properly.
>

Maybe I'm missing something, but which ending bar is for the 3rd repeat?

--
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Re: Mac OSX Sierra Compatibility

[tisimst]

On Tue, Oct 4, 2016 at 10:30 AM, Trevor Bača-2 [via Lilypond] <
ml-node+s1069038n195140...@n5.nabble.com> wrote:

>
>
> On Tue, Oct 4, 2016 at 10:47 AM, Abraham Lee <[hidden email]
> > wrote:
>
>> Greetings, all!
>>
>> With the recent release of Mac OSX Sierra (10.12), I was wondering if
>> anyone who has taken that upgrade has since found any substantial problems
>> with LilyPond and/or Frescobaldi?
>>
>
> I installed yesterday, and LilyPond *appears* to be working without a
> hitch. (I can't speak to Fescobaldi, however.)
>
> The MacBook did, however, have some spotty shut-down (and restart) issues
> after install, however. (Hanging on a black screen after explicit requests
> for either process.) But those problems magically disappeared this morning.
>
> Seems stable so far.
>

Thanks, Trevor! That's what I was hoping (I'm not on Mac, myself, so I
couldn't confirm or deny anything).

The reason I'm asking is because there has been some interest on Facebook
and other sites since the other major apps were announcing their
compatibility. I thought I'd make mention of LilyPond's state of affairs
with the upgrade too. If anyone else has had any experience, good or bad,
after upgrading to Sierra, please let me know soon if you would.

Thanks!
Abraham




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Re: What to do wanting a 4th order Bézier?

[tisimst]

On Wed, Sep 21, 2016 at 11:36 AM, Urs Liska [via Lilypond] <
ml-node+s1069038n194817...@n5.nabble.com> wrote:

> I'm not clear if we are all talking about the same things. Maybe write it
> down explicitly:
>
> inflection =
> #'((point . (.4 . 12)))
>
> would now mean: "40 % through the horizontal space between the end points
> and 12 staff spaces above the vertical center between the points. This is
> completely easy to write down but surely confusing to learn, even if
> documented properly.
>
> By contrast
>
> inflection =
> #'((point-X-ratio . 0.4)
>(point-Y . 12))
>
> seems clearer but more verbose to write out.
>

I'm a fan of the verbosity, especially with such complex objects as this
where you may (easily!) have 10+ different numbers adjusting the overall
shape. It also self-documents what the values represent.

--
Abraham Lee

P.S. This is absolutely awesome, Urs! Well done. A next thing would be to
show how this can be used to make flat slurs ;-) By the way, how do the
curves appear when the thickness is more pronounced (i.e., thicker). Does
it still come back down to a point at the end of each segment? My guess is
it does (simply because I haven't tested it myself). That would be nice to
be able to be able to specify whether it should taper back down or not.
Feature request!




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Re: Using \startTextSpan and \stopTextSpan in separate music functions

[tisimst]

On Fri, Sep 16, 2016 at 3:50 PM, Thomas Morley-2 [via Lilypond] <
ml-node+s1069038n194649...@n5.nabble.com> wrote:

>
> Your function doesn't integrate \start/stopTextSpan into the
> 'articulations of the music-arg, which is needed.
> A most boiled down example would be:
>
> mus = c'1
> { \mus \tenuto }
>
>
> Would be probably nice to have it work, but I seem to remember there
> are some problems, forgot what exactly though.
>
> Your function could be done at the lines of:
>
> myStartTextSpan = #(define-music-function (mus) (ly:music?)
>   (ly:music-set-property! mus 'articulations
>  (cons #{ \startTextSpan #}
>(ly:music-property mus 'articulations)))
>   #{
> \override TextSpanner.color = #red
> #mus
>   #})
>
> \relative c' {
>   \myStartTextSpan b'1
>   c \stopTextSpan
> }
>

Brilliant, Harm! I figured I just wasn't understanding the mechanism
correctly. Now a similar function is easily created to do the custom
termination:

myStopTextSpan = #(define-music-function (mus) (ly:music?)
  (ly:music-set-property! mus 'articulations
(cons #{ \stopTextSpan #}
  (ly:music-property mus 'articulations)))
  #{
#mus
<>^\markup \italic "a tempo"
  #})

to get

\relative c' {
  \myStartTextSpan b'1
  \myStopTextSpan c1
  d1
}

Thanks for the explanation and a usable solution!

Best,
Abraham




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Re: Version 2.18 vs.2.19 speed and W10

[tisimst]

Just thought I'd add my two cents. I'm using Windows 8 and I only see a small
speed increase between older versions and 2.19.47.

Using:

\repeat unfold 200 { \tuplet 5/4 { c'4 d' e' f' g' } }

and compiling in "publish" mode (i.e., no point-and-click links) I get the
following results:

2.18.2 - 6.5 seconds
2.19.36 - 2.7 seconds
2.19.47 - 3.0 seconds

FWIW,
Abraham



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Re: always set beam outside of staff

[tisimst]

On Thu, Sep 8, 2016 at 11:52 AM, David Nalesnik [via Lilypond] <
ml-node+s1069038n194341...@n5.nabble.com> wrote:

> On Thu, Sep 8, 2016 at 7:26 AM, David Nalesnik <[hidden email]
> > wrote:
>
> >
> > \version "2.19.46"
> >
> > #(define my-positions
> >(lambda (grob)
> >  (let* ((stems (ly:grob-object grob 'stems))
> > (first-stem (ly:grob-array-ref stems 0))
> > (dir (ly:grob-property first-stem 'direction)))
> >(if (eq? dir UP)
> >(cons 3.5 3.5)
> >(cons -3.5 -3.5)
> >
> > {
> >   \override Beam.positions = #my-positions
> >   d'16 [ r16  d'8 ] d'16 [ r16  d'8 ]
> >   d'16 [ r16  d'8 ] d''16 [ r16  d''8 ]
> >   d''16 [ r16  d''8 ] d'16 [ r16  d''8 ]
> >   d''16 [ r16  d''8 ] d'''16 [ r16  d'''8 ]
> >
> >   r16[d'' d'' d'']
> >   r16[d' d' d']
> > }
>
>
> The above sets positions to an arbitrary height outside of the staff.
> We need to consider that setting might be too low/high:
> \version "2.19.46"
>
> #(define my-positions
>(lambda (grob)
>  (let* ((default-pos (beam::place-broken-parts-individually grob))
> (left-pos (car default-pos))
> (right-pos (cdr default-pos))
> (stems (ly:grob-object grob 'stems))
> (first-stem (ly:grob-array-ref stems 0))
> (dir (ly:grob-property first-stem 'direction))
> (new-pos
>  (if (eq? dir UP)
>  (max 3.5 left-pos right-pos)
>  (min -3.5 left-pos right-pos
>(cons new-pos new-pos
>
> {
>   \override Beam.positions = #my-positions
>   d'16 [ r16  d'8 ] d'16 [ r16  d'8 ]
>   d'16 [ r16  d'8 ] d''16 [ r16  d''8 ]
>   d''16 [ r16  d''8 ] d'16 [ r16  d''8 ]
>   d''16 [ r16  d''8 ] d'''16 [ r16  d'''8 ]
>
>   r16[d'' d'' d'']
>   r16[d' f' a']
>   f'' d'' b' g'
>   \stemUp f'' d'' b' g'
>   \stemUp f''' d''' b'' g''
> }
>

Just a thought, but I wonder if my-positions should accept at least numeric
input since (I'm just guessing) this value could change from system to
system? Please ignore this if it doesn't apply.

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Re: Why doesn't h-shift work in monophonic textures?

[tisimst]

On Thursday, August 18, 2016, Urs Liska [via Lilypond] <
ml-node+s1069038n19380...@n5.nabble.com> wrote:

>
>
> Am 18.08.2016 um 18:14 schrieb tisimst:
>
> Josh,
>
> On Thu, Aug 18, 2016 at 9:51 AM, Joshua Nichols [via Lilypond] <[hidden
> email] <http:///user/SendEmail.jtp?type=node=193798=0>> wrote:
>
>> I'm trying to shift a note one place to either direction using the
>> following:
>>
>> \once \override NoteColumn.force-hshift = #1
>>
>> In monophonic texures. However, It doesn't work/compile.
>>
>> Why is this so? What is the solution?
>>
>> forceHShift = { \once \override NoteColumn.force-hshift = #40 }
>>
>> \relative c' {
>>   c d e \forceHShift f g f e d c
>> }
>>
>
> Try:
>
> \once \override NoteColumn.X-offset = #1
>
>
> This was the solution, the "why" is that the "shift" in force-hshift
> refers to shifting the note column in relation to other voices.
>
> Urs


You are absolutely correct, Urs.  I realized that I hadn't answered the
"why" until moments before your message came through. So, thanks for
completing the task!

Best,
Abraham




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Re: Why doesn't h-shift work in monophonic textures?

[tisimst]

Josh,

On Thu, Aug 18, 2016 at 9:51 AM, Joshua Nichols [via Lilypond] <
ml-node+s1069038n193796...@n5.nabble.com> wrote:

> I'm trying to shift a note one place to either direction using the
> following:
>
> \once \override NoteColumn.force-hshift = #1
>
> In monophonic texures. However, It doesn't work/compile.
>
> Why is this so? What is the solution?
>
> forceHShift = { \once \override NoteColumn.force-hshift = #40 }
>
> \relative c' {
>   c d e \forceHShift f g f e d c
> }
>

Try:

\once \override NoteColumn.X-offset = #1

HTH,
Abraham




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Re: Center-align text getting cut-off

[tisimst]

Philip,

On Wed, Aug 17, 2016 at 11:45 AM, thedoctor818 [via Lilypond] <
ml-node+s1069038n193772...@n5.nabble.com> wrote:

> I am working on the following score. However, when I change “S” and “A” in
> the score attributes to “Soprano” and “Alto” the words get cut-off. How can
> I avoid this? I had tried:
>
>
>
>
>
>   instrumentName = \markup \center-column\left-align { "S" "A" }
>
>
>
> but that did not work.
>

Play around with values for the paper variables "indent" and
"short-indent":

http://lilypond.org/doc/v2.19/Documentation/notation/horizontal-spacing-paper-variables#paper-variables-for-shifts-and-indents

Those control the fixed space before systems (i.e., they will stay the same
size regardless of the text length of instrumentName and
shortInstrumentName), so increasing their value may be necessary if you are
using a longer text strings.

HTH,
Abraham




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Re: Keep alive together - call for use cases

[tisimst]

On Tue, Aug 16, 2016 at 1:01 PM, Kieren MacMillan [via Lilypond] <
ml-node+s1069038n193727...@n5.nabble.com> wrote:

>
> On Aug 16, 2016, at 2:50 PM, tisimst <[hidden email]
> <http:///user/SendEmail.jtp?type=node=193727=0>> wrote:
> > I'll just re-state my earlier use-case (in the devel- mailing list) for
> good measure that extends divisi staves.
>
> Yes. On a related note, see the thread I started a few years ago (still
> open, ultimately) on choral divisi: <http://lists.gnu.org/archive/
> html/lilypond-user/2014-12/msg00481.html>
>

A great example (better and more likely to happen than mine)! Maybe you'll
be able to check this item off you wish-list soon!




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Re: Keep alive together - call for use cases

[tisimst]

On Tue, Aug 16, 2016 at 12:22 PM, Kieren MacMillan [via Lilypond] <
ml-node+s1069038n193724...@n5.nabble.com> wrote:

> Hi Mark,
>
> > I've been working on some patches to enable more flexible uses
> > for the Keep_alive_together_engraver.
>
> Thank you!
>
> > if I could ask users for any situations where they can imagine this
> > engraver helping, that currently don't work, or don't work easily.
>
> 2. The “divisi staves” use-case is also a primary feature/request for me.
> Similar/analogous use-cases: a two-stave harp part compressing (if
> necessary) to a single staff in the full score.
>

I'll just re-state my earlier use-case (in the devel- mailing list) for
good measure that extends divisi staves.

Let's say I have a 4-horn group. The way these appear in the score depends
on the complexity of their parts, in the following configurations:

1. Each has their own staff
2. They can be grouped into a 1/3 staff and 2/4 staff.
3. They can be grouped together into a single staff.

I imagine them falling into a "keep-alive-tree" like this:

All Horns Group staff
|
|-- Horns 1/3 Joint Staff
|  |
|  |-- Horn 1 Staff
|  |-- Horn 3 Staff
|
|-- Horns 2/4 Joint Staff
   |
   |-- Horn 2 Staff
   |-- Horn 4 Staff

The expected behavior in this (albeit hypothetical) situation would
automatically allow for each branch to hide its own higher nodes while
allowing the other branches to join together at their highest available
node.

For example, say I want to show the Horn 1 part in its own staff. This
would FORCE Horn 3 to show up on its own staff, but would ALLOW Horns 2/4
to appear on their joint staff, to get:

- Horn 1 Staff
- Horn 3 Staff
- Horns 2/4 Staff

Alternatively, Horn 3 could jump to the joint staff to minimize the number
of extra staves, like:

- Horn 1 Staff
- Horns 2/3/4 Staff

As discussed before, I couldn't find a good way to allow this kind of
"nested" divisi functionality because it seemed like the trigger acted more
like a global on/off switch. I realize this could really be a coding
nightmare, but could be a really helpful feature, too, for automatically
splitting/combining frenched staves.

Forgive me if I didn't explain that very well.

Best,
Abraham




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Re: How to set the beam positions manually?

[tisimst]

On Wed, Jul 27, 2016 at 10:17 AM, Peter Terpstra [via Lilypond] <
ml-node+s1069038n193169...@n5.nabble.com> wrote:

> To prevent the Beam slope warning i would like to set the beam positions
> manually.
>
> As it is suggested here:
> https://lists.gnu.org/archive/html/lilypond-user/2012-01/msg00435.html
>
> Anyone knows how to do this?
>

How about:

\override Beam.positions = #'(y1 . y2)

where y1 and y2 are relative to the center staff line in staff-space units.

HTH,
Abraham




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Re: \accidentalStyle for common choir notation

[tisimst]

On Fri, Jul 15, 2016 at 3:14 AM, David Kastrup [via Lilypond] <
ml-node+s1069038n192707...@n5.nabble.com> wrote:

> David Wright <[hidden email]
> > writes:
>
> > On Thu 14 Jul 2016 at 19:07:41 (+0200), Jonathan Scholbach wrote:
> >> Sorry, guys, for being so rude. But can we talk about LP-features
> >> instead of arguing about best-practice-typesetting? That would be
> >> nice :)
> >> To me, this discussion is somewhat obsolete. A good program should
> >> leave the decision to the user. And that's where LP is failing at
> >> the moment, cause user cannot choose the option very many - not to
> >> say: the very most - engravers of choir scores opted for.
> >
> > I apologise for fighting your corner.
> >
> >> \accidentalStyle piano works in GrandStaff, but is needed in
> >> ChoirStaff. So can somebody please be so kind to invest her energy,
> >> time and skills into this problem instead of wasting her capacities
> >> in a discussion about a question which is at least in part a matter
> >> of personal taste? I tried to manipulate the scm/music-functions.scm
> >> but, since I do not understand it, without success.
> >
> > I don't know whether my contribution could persuade Phil that
> > reputable publishers print what he, as a singer, might find
> > confusing. However, as a LP Main Developer and a member of the
> > Bug Squad, he might be the sort of person to be able to make
> > such a that change if he was won over.
>
> \accidentalStyle is not about figuring out what the best way of
> typesetting things are, but about specifying one way to do it.
>
> So the threshold for a feature is more like "are people going to have a
> reason for wanting it" rather than "is it the best way to typeset this".
>
> Of course, we will save ourselves a lot of discussions if "are people
> going to have a reason for wanting it" does not imply "we need to
> provide an implementation for exactly what they are going to want" but
> if it is reasonably easy to make LilyPond do what you want without your
> particular use case needing to be coded into LilyPond in some manner.
>

Late to the conversation, but watched everything from afar.

So, I went into the file scm/music-functions.scm as well and basically
copied the alist entry for piano:

;; Stone's suggestions for accidentals on grand staff.
;; Accidentals are canceled across the staves
;; in the same grand staff as well
(piano #f
   (Staff ,(make-accidental-rule 'same-octave 0)
  ,(make-accidental-rule 'any-octave 0)
  ,(make-accidental-rule 'same-octave 1)
  GrandStaff
  ,(make-accidental-rule 'any-octave 0)
  ,(make-accidental-rule 'same-octave 1))
   ()
   GrandStaff)

and I figured that adding another entry like the following would make it
possible:

;; Similar to the piano style, accidentals are canceled
;; across the staves in the same choir staff as well
(choral #f
   (Staff ,(make-accidental-rule 'same-octave 0)
  ,(make-accidental-rule 'any-octave 0)
  ,(make-accidental-rule 'same-octave 1)
  ChoirStaff
  ,(make-accidental-rule 'any-octave 0)
  ,(make-accidental-rule 'same-octave 1))
   ()
   ChoirStaff)

But that didn't change anything when I tried

\accidentalStyle choral

or

\accidentalStyle ChoirStaff.choral

or any other combination. What am I missing?

--
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Re: Resetting page numbers between bookparts

[tisimst]

On Sun, Jul 17, 2016 at 9:56 AM, Dosh Doshington [via Lilypond] <
ml-node+s1069038n192760...@n5.nabble.com> wrote:

> Greetings,
>
> I wish to create a single PDF containing all the parts to my work, instead
> of 30-something single PDFs. I would like not to use an external PDF
> merging
> tool since I recompile very often.
>
> This code fails to work since page numbers continue after each page break.
>
> \book {
> \bookOutputSuffix "parts"
> \bookpart {
>  \paper {
>   set-first-page-number = 1
>  }
>  \score { ... }
> }
> % page numbers continue instead of being reset to 1 <--
> \bookpart {
>  paper {
>   set-first-page-number = 1
>  }
>  \score { ... }
> }
> ... % other parts follow
> }
>
> There exist external \paper blocks in a different .ily files but they do
> not
> have page numbering code.
>

I had a look at this a few days ago, but despite all my research and
effort, I couldn't get the 'page:page-number property to manually change at
all either.

Dev team,

I'm not sure if any of you looked at this, but I think my Scheme-fu is just
not quite up to snuff yet. Hopefully I'll get there someday. Is there any
logical reason why that property cannot be re-set like bar numbers can?

Best,
Abraham




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Re: Changing and playing a different instrument in MIDI

[tisimst]

On Fri, Jul 22, 2016 at 8:28 AM, Mojca Miklavec [via Lilypond] <
ml-node+s1069038n19296...@n5.nabble.com> wrote:

> Off-topic:
>
> That said, I wouldn't mind suggestions for some good OpenSource (GUI)
> MIDI editors. I have a bunch of weird MIDI files that I would like to
> turn into scores. They sound OK, but I'm not exactly sure if they were
> just obfuscated on purpose or if they are recordings of "human
> players" and thus the timings are some horrible (i)rational numbers.
>
> A friend of mine also has a midi interface for her accordion and I'm
> thinking of asking her to play some of the songs she knows and then
> turn them into nicely typeset scores (hoping that there is a way to do
> that faster than by asking her to play it slowly and write everything
> down as she plays).
>
> I did try to play with different settings of midi2ly, but didn't yet
> find the magic recipe for fixing the timing of those (obfuscated?)
> MIDIs.
>
> I checked some software websites, but the software usually has to be
> compiled/packaged first (I need it for OS X), so I better pick the
> best one from the start before spending hours resolving all
> dependencies and reporting all the compile problems upstream :)
>
> Reasonably priced commercial software would also be fine.
>

I haven't tried this one, but it looks very nice and has a convenient
quantization function to clean things up for you. It's cross-platform for
both Windows and Linux:

http://midieditor.sourceforge.net/

HTH,
Abraham




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Re: Problem coloring Ambitus ledger-lines

[tisimst]

On Thu, Jul 21, 2016 at 10:33 AM, Patrick Karl-3 [via Lilypond] <
ml-node+s1069038n19293...@n5.nabble.com> wrote:

> When I use this technique in the following snippet:
>
> > \version "2.19.38"
> >
> > S =  \relative g' {
> > \key g\major
> > \once \override Staff.LedgerLineSpanner.color = #red
> > \grace s128 \stopStaff \startStaff
> > c4 e c' c % 1
> > }
> >
> > PRh =  \relative c'' {
> > \key g\major
> >  \grace s128
> >  g4 g g g% 1
> > }
> >
> > \score {  <<
> > \new StaffGroup  <<
> > \new Staff \with { \consists Ambitus_engraver }  \S
> > >>
> > \new PianoStaff  <<
> > \set PianoStaff.instrumentName = #"Piano"
> > \new Staff \PRh
> > >>
> >   >>
> > \layout {}
> > }
> >
> I get the attached output, which is lovely in all respects but one: the
> PianoStaff instrument name is missing.  The only way I have found to
> remedy this problem is to remove both lines containing "\grace s128",
> but, of course, then all of the ledger lines are colored red, not just
> those in the ambitus.
>
> How to fix?
>

Move the instrumentName definition to a \with block, like:

\new PianoStaff \with {
instrumentName = #"Piano"
} <<
\new Staff \PRh
>>

HTH,
Abraham




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Re: Lyrics.LyricText.font-size in layout block

[tisimst]

On Wed, Jul 20, 2016 at 12:34 AM, Noeck [via Lilypond] <
ml-node+s1069038n192857...@n5.nabble.com> wrote:

> Hi Abraham,
>
> Am 20.07.2016 um 01:05 schrieb tisimst:
> > Shouldn't it be without the -1 though?
>
> In general, yes. The default is 1.0, so I wrote it for this case of
> lycris. If you enter font-size=1.0 in this formula, you get a factor of
> 1.0 (with respect to the default lyrics font size). With the general
> formula factor = 2^(font-size/6) you get a factor of 2^(1/6) with
> respect to the normal font-size 0 (12% larger). So it depends what you
> mean by the factor.
>

I thought of that after I sent my message, but thanks for clarifying your
formula.

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Re: Lyrics.LyricText.font-size in layout block

[tisimst]

On Tuesday, July 19, 2016, Noeck [via Lilypond] <
ml-node+s1069038n192849...@n5.nabble.com> wrote:

> Hi,
>
> Am 19.07.2016 um 22:54 schrieb tisimst:
> > real-lyric-font-size = x*(1+y/6)*(12/20)
>
> I doubt this formula as y = -6 should give half of the normal size and
> not a negative number. I still think this is correct:
>
> factor = 2^((font-size-1)/6
>

Ah, yes. Thank you for correcting me. Not sure what I was thinking.
Shouldn't it be without the -1 though?

factor = 2^(font-size/6)

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Re: Lyrics.LyricText.font-size in layout block

[tisimst]

Colin,

On Tue, Jul 19, 2016 at 1:55 PM, Colin Tennyson [via Lilypond] <
ml-node+s1069038n192840...@n5.nabble.com> wrote:

> I was looking for a way to change the font size of the lyrics in choir
> music
>
> Looking around I came across a page describing a command 'fontsize' for
> use in markup sections
> http://lilypond.org/doc/v2.18/Documentation/notation/font
>
> On this page it is described that many font properties can be accessed via
> \override followed by dot notation
>
> http://lilypond.org/doc/v2.18/Documentation/learning/using-variables-for-layout-adjustments
> Example:
> \override Lyrics.LyricText.font-shape = #'italic
>
>
> H, I figured it would be worth a shot to try a font size override in
> the layout block
> first I tried:
> \layout { Lyrics.LyricText.fontsize = #-1 }
> that gave an error, so I tried the other one:
> \layout { Lyrics.LyricText.font-size = #-1 }
> Bingo!
>
> My question is:
> Is there documentation of what number I should give to get a particular
> decrease or increase in font size?
>
> There is this page:
> http://lilypond.org/doc/v2.18/Documentation/internals/lyrictext
>
> From the above page:
> The font size, compared to the ‘normal’ size. 0 is style-sheet’s normal
> size, -1 is smaller, +1 is bigger. Each step of 1 is approximately 12%
> larger; 6 steps are exactly a factor 2 larger. Fractional values are
> allowed.
>
>
> But that is not what I'm getting.
> I tried this:
> \layout { Lyrics.LyricText.font-size = #-1 }
> That reduced the lyrics font size to less than half of the default size,
> by the looks of it.
>
> Next I tried this:
> \layout { Lyrics.LyricText.font-size = #-0.2 }
> I estimate that gave me about 3/4 of the default font size.
>
>
> So I can sort of dial it in by trial and error, but of course it would be
> great to know the exact formula.
>

The formula isn't obvious beyond the "each step of 1 is approximately 12%
larger", but it's not too complicated either. There are two other things,
though. The "normal" size of 0 is 12pt when the staff size is 20pt (as
defined in the add-pango-fonts function in scm/font.scm). However, the
default font-size for LyricText is NOT 0, it's 1, as explained in the
respective Internals Reference page you pointed to. So, the real default
size of LyricText is 14pt. Here would be the "exact formula":

Given
- standard staff-height (20pt)
- normal text size (12pt)
- real staff-height (x)
- chosen font-size (y)

Then the final pt size is calculated to be:

real-lyric-font-size = x*(1+y/6)*(12/20)

Thus, at a real staff-height of 20 and font-size of 0, we get 11pt. At a
font-size of 1, we get 14pt. At a staff-height of 18pt and a font-size of 1
we get 12.6pt.

HTH,
Abraham

P.S. Here is a recent thread that has code for allowing you to specify an
absolute pt size (e.g., regardless of staff-height) instead of the relative
12% increments:
http://lilypond.1069038.n5.nabble.com/can-baseline-skip-be-absolute-tp177131p177134.html




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Re: Slur over single note?

[tisimst]

On Monday, July 18, 2016, Andrew Bernard [via Lilypond] <
ml-node+s1069038n192810...@n5.nabble.com> wrote:

> Hi Joel
>
> Use a laissezvibrer tie. I have a function to extend them, Away from the
> computer right now. Will send later. Can't remember if it is on LSR.
>
> Andrew
>
> On Tuesday, 19 July 2016, Joel C. Salomon <[hidden email]
> > wrote:
>
>> Still from the John Crook’s Peter Pan score project, but a different
>> piece (“The Flying Away”, page 12 in the score at
>> ):
>>
>> As show in the attached image, there seems to be a slur drawn over a
>> single whole-note.  It’s very clearly over that note, not over the other
>> voice in that measure—which doesn’t seem reasonable to me.
>>
>> Can someone explain to me what’s going on there, and how to achieve this
>> in LilyPond?  I was thinking to use something like
>>
>> \graceAfter a1(  { s32) }
>>
>> but if this is a semi-standard musical construction I’m unfamiliar with,
>> there might be a better way to code this.
>>
>> —Joel C. Salomon
>
> It could be a LaissezVibrer tie, but I'm wondering if there isn't a
connection to the next bar. The tie extends so far and touches the BarLine
at the end of that measure that makes me wonder, but it's only speculation
at this point. Given the ending tip's vertical position, too, it almost
looks like it could be a slur. What does the next bar look like?

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Re: funny construction

[tisimst]

BGM & David,

On Mon, Jul 18, 2016 at 8:35 AM, David Wright [via Lilypond] <
ml-node+s1069038n192791...@n5.nabble.com> wrote:

> On Mon 18 Jul 2016 at 08:41:13 (-0500), Br. Gabriel-Marie | SSPX wrote:
>
> > I have a song that goes like this:
> > --
> > soprano
> > alto
> > 15 lyric verses in between
> > tenor
> > bass
> >
> > soprano
> > alto
> > just one lyric in between - it's the chorus
> > tenor
> > bass
> >
> >
> > soprano
> > alto
> > 15 lyric verses in between \repeatOfFourWords
> > tenor
> > bass
>
> Your outermost enclosing << .. >> says play the enclosed structures
> simultaneously. They shouldn't be there.
>
> Replace:
>
> \score {
> <<
> \new StaffGroup ...
> \new StaffGroup ...
> \new StaffGroup ...
> >>
> \layout { }
> }
>
> by:
>
> \score {
> \new StaffGroup ...
> \layout { }
> }
> \score {
> \new StaffGroup ...
> \layout { }
> }
> \score {
> \new StaffGroup ...
> \layout { }
> }
>
> If the material is sufficiently heterogeneous, it can
> make sense to concatenate multiple scores.
>

True, but I'm pretty sure multiple \score blocks aren't needed here, but
rather make the notes/lyrics sequential. How about the following structure,
BGM?



\version "2.18.2"

altoTop = { c'1 c' c' c' }
altoCenter = { d'1 d' d' d' }
altoBottom = { e'1 e' e'2 e' f' f' }

bassTop = { \clef bass g1 g g g }
bassCenter = { f1 f f f }
bassBottom = { e1 e e2 e d d }

altoNotes = {
  \altoTop \break
  \altoCenter \break
  \altoBottom \bar "|."
}

bassNotes = {
  \bassTop
  \bassCenter
  \bassBottom
}

verseCenter = \lyricmode {
  Cen -- ter verse here
}

centerSkips = \lyricmode { \repeat unfold 4 { \skip 4 } }

choruslet = \lyricmode {
  Cho -- rus!
}

verseOne = \lyricmode {
  Verse one on top,
  % only needed in one of the verses
  \verseCenter
  Verse one be -- low:
  % no need to add skips here since nothing follows
}

% ... verses 2-7 (similar structure to verseFifteen below)

verseEight = \lyricmode {
  Verse eight on top,
  % used to jump over the chorus part since it is already in verseOne
  \centerSkips
  Verse eight be -- low:
  % put this here for convenient vertical alignment
  \choruslet
}

% ... verses 9-14 (similar structure to verseFifteen below)

verseFifteen = \lyricmode {
  Verse fif -- teen top,
  \centerSkips
  Verse fif -- teen low:
  % no need to add skips here since nothing follows
}

\score {
  \new ChoirStaff <<
\new Staff {
  \new Voice = alto \altoNotes
}
\new Lyrics \lyricsto alto \verseOne
% ...
\new Lyrics \lyricsto alto \verseEight
% ...
\new Lyrics \lyricsto alto \verseFifteen
\new Staff {
  \new Voice = bass \bassNotes
}
  >>
  \layout {
\override Lyrics.VerticalAxisGroup #'staff-affinity = #CENTER
  }
}



HTH,
Abraham




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Re: Beam direction property

[tisimst]

On Wed, Jul 13, 2016 at 4:36 PM, Andrew Bernard [via Lilypond] <
ml-node+s1069038n192676...@n5.nabble.com> wrote:

> Hi Abraham,
>
> Thanks for the suggestion. Since lilypond internals are not documented
> nicely, in terms of plain examples and behaviour, you just have to use
> trial and error to code these things (unless there is a Secret Book I am
> unaware of…). Using the beam seems to work better for the right hand case
> nad for my way of doing it, for reasons too long to explain just here. I
> still need to know what the Beam.direction property is, and why it can’t be
> set, and what it represents. It is this sort to information that that NR
> and IR lack, frustratingly,
>
> Things like knowing a beam has a stems object. How does one find out about
> things like this, without reading al the source code, and trying to figure
>  that out?
>
> I do need the beam information and understanding because there are other
> beam modifications I want to make as well involving changing the beam shape
> in certain ways.
>

Believe me, I understand your frustration. Here are a couple of things I've
learned about the IR:

1. The "Standard Settings" table on grob's web page are all grob properties
that have been defined in "define-grobs.scm" or internally in the C++
source code.
2. At the top of each grob's web page is shows which engraver(s) creates
the grob. Clicking on the engraver links leads to a page that shows
engraver properties that you can modify to adjust the engraver's procedure.
3. At the bottom of each grob's web page it shows the interface(s) that
affect the grob, including generic ones (e.g., font-interface) and some
grob-specific ones (e.g., beam-interface) though the grob may not know how
to use all user-settable properties in each of these interfaces. Clicking
on the interface link(s) leads to more grob properties that you can
access/change via ly:grob-property and ly:grob-set-property!, respectively.
Towards of the bottom of the interface web page will be a "Interface
Properties" table that lists various objects that the grob has access to.
This is where you find out that a Beam grob has a 'stems object you can
access via ly:grob-object.

In this particular case, you can access the 'stems from the Beam grob or,
vice-versa, the 'beam from the Stem grob. You pick.

HTH,
Abraham




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Re: whiteout outline thickness

[tisimst]

On Wed, Jul 13, 2016 at 10:12 AM, Gilberto Agostinho [via Lilypond] <
ml-node+s1069038n192663...@n5.nabble.com> wrote:

> Hi Abraham,
>
> tisimst wrote
> That's what
>
> \override Staff.Clef.whiteout = 3
>
> means. Change that value (in units of staff-line-thickness) to change the
> thickness of the white.
>
> Derp, that was quite easy (and obvious). I was used to set the whiteout
> property of a grob to either true or false, and I absolutely didn't see
> that. Thanks a lot!
>

You are very welcome. 'whiteout accepts ##t and ##f, but also numbers in
this case.

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Re: whiteout outline thickness

[tisimst]

On Wed, Jul 13, 2016 at 10:02 AM, Gilberto Agostinho [via Lilypond] <
ml-node+s1069038n19266...@n5.nabble.com> wrote:

> ...
> \relative {
>   \override Staff.Clef.whiteout-style = #'outline
>   \override Staff.Clef.whiteout = 3
>   g'1
> }
>
> Producing:
> http://lilypond.org/doc/v2.19/Documentation/a5/lily-9433be3e.png
>
> Now, the change of thickness is exemplified for the first three cases (all
> of them involving \markup syntax), but for the last case (clef whiteout)
> how can I change the thickness, is it possible at all?
>

That's what

\override Staff.Clef.whiteout = 3

means. Change that value (in units of staff-line-thickness) to change the
thickness of the white.

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Re: header

[tisimst]

Mark,

On Tue, Jul 12, 2016 at 6:26 PM, Mark Stephen Mrotek [via Lilypond] <
ml-node+s1069038n192635...@n5.nabble.com> wrote:

> Simon,
>
> Your explanation makes sense, if my score were different numbers in one
> opus.
> My score is two movements of the same opus.
>

The main thing to understand about this is that if a particular \header
property is accessed by both bookTitleMarkup and scoreTitleMarkup, then
that property, if defined in the \book's \header, will propagate down to
the \score's \header block unless you explicitly change its value within
the \score's \header block itself. If this is the case, then redefining the
xxxTitleMarkups may be helpful. Otherwise, you may need to manually add
something like

\header {
  opus = "Opus 243"
}

\score {
  ...
  \header {
opus = ##f
  }
}

\score {
  ...
  \header {
opus = ##f
  }
}

That will keep the opus property from being repeatedly printed in each
score.

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Re: Beam direction property

[tisimst]

On Wed, Jul 13, 2016 at 9:03 AM, Andrew Bernard [via Lilypond] <
ml-node+s1069038n192657...@n5.nabble.com> wrote:

> Hi Urs,
>
> I am sorry my email is confusing. I don’t want to adjust beams or stem
> directions here, I merely wantt to find out whether the beam is up or down.
> It seems Beam.direction gets set to random, or unintelligible, that is,
> impossibe to predict,  values.
>
> Along the debugging trail, I noticed the crashing behaviour of trying to
> set Beam. direction.
>

Why don't you override the Stem stencil instead, like in the original
snippet? I guess I can see why you want to put the \override before the
entire group, but anyway. Alternatively, you can access all the stems on
the beam with

(ly:grob-object grob 'stems)

>From that, you should be able to navigate to the correct one and determine
its direction, which is really what you want, but it would probably be
easier to just explicitly override the stencil of the last stem, but at
least you've got a couple of options.

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Re: Scheme conversion inexact->exact question

[tisimst]

On Tue, Jul 12, 2016 at 1:51 PM, David Kastrup [via Lilypond] <
ml-node+s1069038n192627...@n5.nabble.com> wrote:

> Abraham Lee <[hidden email]
> > writes:
>
> > Does anyone have a solution for the occasional HUGE integers that can be
> > created for the numerator/denominator when using inexact->exact?
> >
> > For example,
> >
> > (inexact->exact 0.2)
> >
> > yields
> >
> > 3602879701896400/18014398509482000
> >
> > It is correct, but LP doesn't seem to want to deal with such large
> > integers, at least for me.
>
> That should get fixed at some point of time: LilyPond's rational numbers
> precede Guile's but nowadays maintaining them is a nuisance.
>

Good to know.


> > Can this be reduced to 1/5 somehow? Is there a better way to get a
> > rational from a decimal? I can write a crazy function that
> > procedurally determines the minimum power of 10 that gives me a
> > rational with smaller numbers, but I'd rather not. Any advice is very
> > welcome.
>
> guile> (rationalize (inexact->exact 0.2) 1/1)
> 1/5
> guile> (help rationalize)
> `rationalize' is a primitive procedure in the (guile) module.
>
> -- Scheme Procedure: rationalize x eps
>  Returns the _simplest_ rational number differing from X by no more
>  than EPS.
>
>  As required by R5RS, 'rationalize' only returns an exact result
>  when both its arguments are exact.  Thus, you might need to use
>  'inexact->exact' on the arguments.
>
>   (rationalize (inexact->exact 1.2) 1/100)
>   => 6/5
>

Brilliant! I was trying to figure out how to make that function work,
thinking it would be what I needed, and those two examples were perfect in
helping me understand how to use it effectively. I'm back on the road
again! Thank you, David!

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Re: Consecutive slurs with differing dash patterns

[tisimst]

On Fri, Jul 8, 2016 at 9:11 AM, Urs Liska [via Lilypond] <
ml-node+s1069038n192396...@n5.nabble.com> wrote:

>
>
> Am 8. Juli 2016 16:51:14 MESZ, schrieb Andrew Bernard <[hidden email]
> >:
>
> >Consider this example:
> >
> >\version "2.19.44"
> >
> >{
> >  \phrasingSlurDashed
> >  c''4^\( c'' c''\)^\( c'' c''\)
> >}
> >
> >How would one get the second phrasing slur to be solid, not dashed? I
> >cannot simply place \phrasingSlurSolid between the end of the first
> >slur
> >and and start of the second.
>
> Why not?
> Can't you put the command before the first on *stops*?
>

Beat me to it. Like this:

{
  \phrasingSlurDashed
  c''4^\( c'' \phrasingSlurSolid c''\)^\( c'' c''\)
}

Not like this, because it has already begun (being attached to the previous
note, but this applies it to the next one where there is no PhrasingSlur):

{
  \phrasingSlurDashed
  c''4^\( c'' c''\) \phrasingSlurSolid ^\( c'' c''\)
}

Best,
Abraham




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Re: Long Compile time with version 2.19.44

[tisimst]

On Thu, Jul 7, 2016 at 2:25 PM, BGM [via Lilypond] <
ml-node+s1069038n192343...@n5.nabble.com> wrote:

> Recently I updated my lilypond from 2.18 to 2.19.44.  I am using
> Frescobaldi for the GUI.
> It used to take only a few seconds to compile a score, but now it takes at
> least 28 seconds every time.
> This is the case even if I don't create a midi.
>
> Am I missing something, or is this the case for everyone?
>
> Even for this minimal example without any compile errors, it took 28.3
> seconds - which is my new average time.
>
> \version "2.19.44"
> \header {
> title = "Minimal Example"
> }
>
> verses = \new Voice = "verses" \relative c'' {
> \time 4/4
> \key c \major
> a4 b4 c4 d4 | e4 d4 f2  \bar "||"
> }
>
> wordsOne = \new Lyrics  \lyricsto "verses" {
>  Here are some wo -- rds to sing
> }
> wordsTwo = \new Lyrics  \lyricsto "verses" {
> And line up wi -- th them -- selves
> }
> wordsThree = \new Lyrics \lyricsto "verses" {
> See the stanz -- as line up in place
> }
>
> \score {
> <<
> \new Staff{   \verses }
>\wordsOne
> \wordsTwo
>\wordsThree
> >>
> \layout {
>
> }
> }
>
> Here is my output:
>
> Starting lilypond-windows.exe 2.19.44 [Untitled]...
>
> Processing
> `c:/users/brgabr~1/appdata/local/temp/frescobaldi-a08kr0/tmplcpzp0/
> document.ly'
>
> Parsing...
>
> Interpreting music...
>
> Preprocessing graphical objects...
>
> Finding the ideal number of pages...
>
> Fitting music on 1 page...
>
> Drawing systems...
>
> Layout output to `./tmp-lilypond-TVi8uT'...
>
> Converting to `document.pdf'...
>
> Deleting `./tmp-lilypond-TVi8uT'...
>
> Success: compilation successfully completed
>
> Completed successfully in 28.3".
>

I can confirm a very similar looong compilation time on 2.19.36 (over a
minute for me, actually). Re-factoring the code to put all the \new
statements inside the \score block then made the compilation time to 2
seconds:

%%%

\version "2.19.36"
\header {
title = "Minimal Example"
}

verses = \relative c'' {
\time 4/4
\key c \major
a4 b4 c4 d4 | e4 d4 f2  \bar "||"
}

wordsOne = \lyricmode {
 Here are some wo -- rds to sing
}
wordsTwo = \lyricmode {
And line up wi -- th them -- selves
}
wordsThree = \lyricmode {
See the stanz -- as line up in place
}

\score {
<<
\new Staff { \new Voice = "verses" \verses }
\new Lyrics \lyricsto "verses" \wordsOne
\new Lyrics  \lyricsto "verses" \wordsTwo
\new Lyrics  \lyricsto "verses" \wordsThree
>>
\layout { }
}

%%%

So, no explanation from me, only an observation.

HTH,
Abraham




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