Re: instrumentSwitch and addInstrumentDefinition use

2015-01-11 Thread Paul Scott
On Sun, Jan 11, 2015 at 03:36:43PM -0500, Kieren MacMillan wrote:
> Hi all,
> 
> >> Is anyone using instrumentSwitch that can explain what the various 
> >> variables in addInstrumentDefinition mean?
> > 
> > Don't use instrumentSwitch.  It is a pointless frustrating waste of time.
> 
> I agree. And I’m particularly irritated about that fact, since I was the one 
> who sponsored (and *paid* Han-Wen) for a point-ful non-frustrating 
> instrument-switching feature back in 2006. =(
> 
> > This is a missing function of LilyPond. 

Thank you to both of you.

What I've been doing works.  I just thought there might be a cleaner way.

Paul


> 
> 
> Agreed — there should be a far better way of switching instruments.
> 
> One should be able to write (e.g.)
> 
>   \switchInstrument “piccolo”
> 
> and the following things happen:
> 
> 1. The clef changes, if necessary.
> 2. The key signature changes, if necessary (and force-reprints, if 
> appropriate).
> 3. The transposition changes, if necessary.
> 4. The instrumentName and shortInstrumentName change, if necessary.
> 5. A [user-defined] markup (e.g., \box “to piccolo”) is printed, if 
> appropriate.
> 6+. ??
> 
> > So LilyPond does not store a global key signature.
> 
> No, but as you well know, many (most?) Lilypounders abstract the key 
> signature (etc.) into their own global(s).
> 
> > We could, I think, keep this organization, and write a variant of
> > "\tranposition bes"  that looks up the old key-signature and old 
> > transposition on the Staff, figures the concert key, applies the new
> > transposition, figures the new key-signature for the new transposition
> > and sets that new key signature.
> 
> Why can that not be rolled into an improved instrumentSwitch?
> 
> > I just write an explicit \key d\major at the instrument switch when needed
> 
> This is one of the great banes of my current Lilypond existence — as a writer 
> of musical theatre and band/orchestral music, I need to change instruments 
> and keys all the time, very often in the middle of a section (w.r.t. key 
> signature). Trying to remember to explicitly add key signatures etc. — and 
> tag them as necessary — is quite frustrating, time-consuming, and error-prone.
> 
> I offer again my help in designing, testing, and paying for a real 
> instrument-switching mechanism that would Do The Right Thing™.
> 
> Thanks,
> Kieren.
> ___
> 
> Kieren MacMillan, composer
> www:  
> email:  i...@kierenmacmillan.info
> 
> 
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> https://lists.gnu.org/mailman/listinfo/lilypond-user
> 


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Re: Overriding preset tablature for ukulele

2015-01-11 Thread Keith OHara
Ryan Clarin  gmail.com> writes:

> When I tab the note G4 (treble clef 2nd line G), \tabstaff marks it as 3rd 
string 3rd fret. I want it to make G as
> 4th string open, but cannot find in the manual how exactly to do that. 

It should be under "string number" in the fretted strings section
  g\4




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Re: bug with compound glyphs and/or diacritical markings?

2015-01-11 Thread Keith OHara
Werner LEMBERG  gnu.org> writes:

> For me it works just fine on my GNU/Linux; see attached PDF.

Almost certainly the problem with kerning and combining characters
when using Pango on Windows, then
http://code.google.com/p/lilypond/issues/detail?id=2657


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Re: instrumentSwitch and addInstrumentDefinition use

2015-01-11 Thread Keith OHara

On Sun, 11 Jan 2015 12:36:43 -0800, Kieren MacMillan 
 wrote:


So LilyPond does not store a global key signature.


No, but as you well know, many (most?) Lilypounders abstract the key signature 
(etc.)
into their own global [variable](s).


Right, but LilyPond doesn't know if that is the concert-pitch key (nor does she 
require all instruments to be playing in the same concert-pitch key).  I 
thought that would make automatic generation of key signature hard, but...

We could, I think, keep this organization, and write a
"\tranpositionUpdateKey bes"  that looks up the old key-signature and old
transposition on the Staff, figures the concert key, applies the new
transposition, figures the new key-signature for the new transposition
and sets that new key signature.


Why can that not be rolled into an improved instrumentSwitch?


It could.  The old instrumentDefinition, however, had no advantage over just 
collecting the instrument-switch settings in a variable, and was harder to use.


I just write an explicit \key d\major at the instrument switch when needed


This is one of the great banes of my current Lilypond existence — as a writer 
of musical theatre and band/orchestral music, I need to change instruments and 
keys all the time, very often in the middle of a section (w.r.t. key 
signature). Trying to remember to explicitly add key signatures etc. — and tag 
them as necessary — is quite frustrating, time-consuming, and error-prone.



I guess you enter the notes in concert pitch, then ?
Do you use the \quoteDuring mechanism (as below) or Jan-Peter's 
auto-transposing engraver to generate the engraved pitches for each instrument?


\version "2.19.15"
transpositionUpdateKey =
#(define-music-function (parser location new-transposition) (ly:pitch?)
   (_i "Set instrument transposition and, based on the previous
transposition and key, generate the key-change to keep the sounding key.")
   (define (generate-key-change c)
 (define (same-scale-step? a b) (= (car a) (car b)))
 (let* ((old-alt (delete-duplicates!
(append (ly:context-property c 'keyAlterations)
major)
same-scale-step?))
(old-tonic (ly:context-property c 'tonic (ly:make-pitch 0 0 0)))
(old-transp (ly:context-property c 'instrumentTransposition
   (ly:make-pitch 0 0 0)))
(delta (ly:pitch-diff old-transp new-transposition))
(new-alt (ly:transpose-key-alist old-alt delta))
(new-tonic (ly:pitch-transpose old-tonic delta))
(sev (ly:make-stream-event `(key-change-event)
`((pitch-alist . ,new-alt)
  (tonic . ,new-tonic)
 (ly:broadcast (ly:context-event-source c) sev)))
   #{
 \applyContext #generate-key-change
 \transposition $new-transposition
   #} )


prepClarinet = { \set Staff.shortInstrumentName="Clar"
<>^\markup\italic\center-align "pick up clarinet" }
clarinet = { <>^\markup\bold"Clarinet"
 \once\set Staff.whichBar = "||"
 \transpositionUpdateKey bes }

concertBandEdition = {
  s1*3 \tag#'Sue \prepClarinet
  s1 \mark"All Reeds" \tag#'Sue \clarinet}

tune =  { \key c\major \repeat unfold 4 {c'4 e' g' b' R1} }
backup = { \key c\major \repeat unfold 8 {c'4 e' g' b' } }
\addQuote "tune" \tune

<< \new Staff \with { instrumentName="horn in F" }
   \keepWithTag#'Sue <<
  \concertBandEdition \transposition f
  \quoteDuring "tune" #(skip-of-length tune) >>
   \new Staff \with { instrumentName="alto clarinet" }
   \keepWithTag#'Joe <<
  \concertBandEdition \transposition es
  \transpose es c' \backup 


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Overriding preset tablature for ukulele

2015-01-11 Thread Ryan Clarin
When I tab the note G4 (treble clef 2nd line G), \tabstaff marks it as 3rd 
string 3rd fret. I want it to make G as 4th string open, but cannot find in the 
manual how exactly to do that. Thank you for help!

Ryan 


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Re: Score and parts template

2015-01-11 Thread James Harkins
Phil Holmes  philholmes.net> writes:

> I believe that, as a tutorial template, it would be more useful to 
> illustrate how to accommodate key signature indications with transposing 
> instruments, since this remains the norm for most music.

Ah, OK -- that makes perfect sense. It sounded at first like you were
criticizing my notation, when in fact it was about pedagogy. I'll update
that before adding the snippet.

I'll also see what I can do about the headers.

hjh


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Re: bug with compound glyphs and/or diacritical markings?

2015-01-11 Thread Kieren MacMillan
Hi Christopher,

> The workaround would be to use a proper i-kratkoye (й) instead of an i
> plus combining breve... and really, since it’s considered a separate
> letter, that would be the correct thing anyway.

Yes — thanks.
The main thing was, it turns out that while I was *trying* to use the proper 
character (a Ukrainian ‘yot’), my keyboard was fudging the compound glyph.

Best,
Kieren.
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Re: bug with compound glyphs and/or diacritical markings?

2015-01-11 Thread Christopher R. Maden
On 01/11/2015 02:18 PM, Kieren MacMillan wrote:
> Hello all,
> 
> The code
> 
>  \version “2.19.15"
>  \markup \fontsize #12 “й"
> 
> gives
> 
> [n.b., The diacritical mark should be centred directly above the glyph.]
> 
> Is that expected, or is this a bug?
> In either case, is there a suggested workaround?

The workaround would be to use a proper i-kratkoye (й) instead of an i
plus combining breve... and really, since it’s considered a separate
letter, that would be the correct thing anyway.

~crism
-- 
Chris Maden, text nerd  http://crism.maden.org/ >
Surround hate and force it to surrender.
GnuPG fingerprint: DB08 CF6C 2583 7F55 3BE9  A210 4A51 DBAC 5C5C 3D5E

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Re: segmented glissando lines

2015-01-11 Thread Urs Liska


Am 12.01.2015 um 00:37 schrieb Thomas Morley:

2015-01-12 0:06 GMT+01:00 Urs Liska :

Hi Harm,

this is terrific!
I'm about to collect a number of examples why LilyPond rocks for engraving
contemporary music, and this should definitely be part of it.



Hi Urs,

glad you like it.
Though, there's the problem I mentioned and it needs some real life testing.


Yes, I know. But as usual with advertising I think we can generously 
ignore that :-/


Best
Urs


Cheers,
   Harm



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Re: segmented glissando lines

2015-01-11 Thread Thomas Morley
2015-01-12 0:06 GMT+01:00 Urs Liska :
> Hi Harm,
>
> this is terrific!
> I'm about to collect a number of examples why LilyPond rocks for engraving
> contemporary music, and this should definitely be part of it.



Hi Urs,

glad you like it.
Though, there's the problem I mentioned and it needs some real life testing.

Cheers,
  Harm

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Re: segmented glissando lines

2015-01-11 Thread Urs Liska

Hi Harm,

this is terrific!
I'm about to collect a number of examples why LilyPond rocks for 
engraving contemporary music, and this should definitely be part of it.


Best
Urs

Am 12.01.2015 um 00:00 schrieb Thomas Morley:

2015-01-11 10:28 GMT+01:00 Orm Finnendahl
:

Hi Pierre, Urs,

  that's excellent and very instructional, thanks!

--
Orm


Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre 
Perol-Schneider:

Hi Orm,

How about :

\version "2.19.15"

#(define (add-gliss m)
(case (ly:music-property m 'name)
  ((NoteEvent) (set! (ly:music-property m 'articulations)
   (append (ly:music-property m 'articulations)
  (list (make-music (quote GlissandoEvent)
m)
  (else #f)))

addGliss = #(define-music-function (parser location music)
  (ly:music?)
(map-some-music add-gliss music))

\relative c'' {
   \override Glissando.thickness = #2
   \override Glissando.bound-details =#'(
  (right (attach-dir . 1) (padding . 0))
  (left  (attach-dir . 1) (padding . 0)))
   \override NoteHead.no-ledgers = ##t
   \addGliss {
 d,2
 \omit Stem
 \override NoteHead.transparent = ##t
 f' d, f' e, g' d, f'
   }
}


Cheers,
Pierre



Below my own attempt.
It has some advantages and limitations compared with Pierre's coding.

There is one thing I have no clue about:
If the function is applied to a dotted whole note some very strange
things may happen and a warning is printed:
"Loose column does not have right side to attach to."

If someone has an idea how to fix, I'd love to hear it.
(Look out for
  %% !
if you want to test)




\version "2.19.15"

%#(use-modules (ice-9 pretty-print))

lengthen-gliss =
#(define-music-function (parser loation nmbr)(number?)
#{
   \once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
   \once \override Glissando.minimum-length = #nmbr
#})

fancy-gliss =
#(define-music-function (parser location pts-list)(list?)
#{
  \once \override Glissando.after-line-breaking =
   #(lambda (grob)
 (let ((stil (ly:line-spanner::print grob)))
  (if (ly:stencil? stil)
  (let*
((left-bound-info (ly:grob-property grob 'left-bound-info))
 (left-bound (ly:spanner-bound grob LEFT))
 (y-off (assoc-get 'Y left-bound-info))
 (padding (assoc-get 'padding left-bound-info))
 (note-column (ly:grob-parent left-bound X))
 (note-heads (ly:grob-object note-column 'note-heads))
 (ext-X
   (if (null? note-heads)
   '(0 . 0)
   (ly:relative-group-extent note-heads grob X)))
 (dot-column (ly:note-column-dot-column note-column))
 (dots
   (if (null? dot-column)
   '()
   (ly:grob-object dot-column 'dots)))
 (dots-ext-X
   (if (null? dots)
   '(0 . 0)
   (ly:relative-group-extent dots grob X)))
 (factor
   (/ (interval-length (ly:stencil-extent stil X))
  (car (take-right (last pts-list) 2
 (new-stil
   (make-connected-path-stencil
 (map
   (lambda (e)
 (cond ((= (length e) 2)
(cons (* (car e) factor) (cdr e)))
   ((= (length e) 6)
(list
  (* (car e) factor)
  (cadr e)
  (* (third e) factor)
  (fourth e)
  (* (fifth e) factor)
  (sixth e)))
   (else
 (ly:error
   "Some element(s) of the given list do
not fit"
   pts-list)
 (layout-line-thickness grob) ;line-width
 1   ;scaling
 1   ;scaling
 #f
 #f)))
  (ly:grob-set-property! grob 'stencil
(ly:stencil-translate
 new-stil
 (cons (+ (interval-length ext-X)
  (interval-length dots-ext-X)
  padding)
   y-off
(begin
  (ly:warning
"Cannot find stencil. Please set 'minimum-length accordingly")
  #f
#})

#(display "\n\tLimitations:
\t-Does not work with line-break
\t-dotted notes with glissando may return a warning for unknown reasons,
\t strange things may happen")


%% EXAMPLE


\paper { indent = 28 }

\header { title = "Fancy Glissando" }

music = <<
   \new Staff \with { instrumentName = "fancy-gliss " }
 \relative c' {
   \set Score.defaultBarType = #""
   %% If spacin

Re: segmented glissando lines

2015-01-11 Thread Thomas Morley
2015-01-11 10:28 GMT+01:00 Orm Finnendahl
:
> Hi Pierre, Urs,
>
>  that's excellent and very instructional, thanks!
>
> --
> Orm
>
>
> Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre 
> Perol-Schneider:
>> Hi Orm,
>>
>> How about :
>>
>> \version "2.19.15"
>>
>> #(define (add-gliss m)
>>(case (ly:music-property m 'name)
>>  ((NoteEvent) (set! (ly:music-property m 'articulations)
>>   (append (ly:music-property m 'articulations)
>>  (list (make-music (quote GlissandoEvent)
>>m)
>>  (else #f)))
>>
>> addGliss = #(define-music-function (parser location music)
>>  (ly:music?)
>>(map-some-music add-gliss music))
>>
>> \relative c'' {
>>   \override Glissando.thickness = #2
>>   \override Glissando.bound-details =#'(
>>  (right (attach-dir . 1) (padding . 0))
>>  (left  (attach-dir . 1) (padding . 0)))
>>   \override NoteHead.no-ledgers = ##t
>>   \addGliss {
>> d,2
>> \omit Stem
>> \override NoteHead.transparent = ##t
>> f' d, f' e, g' d, f'
>>   }
>> }
>>
>>
>> Cheers,
>> Pierre



Below my own attempt.
It has some advantages and limitations compared with Pierre's coding.

There is one thing I have no clue about:
If the function is applied to a dotted whole note some very strange
things may happen and a warning is printed:
"Loose column does not have right side to attach to."

If someone has an idea how to fix, I'd love to hear it.
(Look out for
 %% !
if you want to test)




\version "2.19.15"

%#(use-modules (ice-9 pretty-print))

lengthen-gliss =
#(define-music-function (parser loation nmbr)(number?)
#{
  \once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
  \once \override Glissando.minimum-length = #nmbr
#})

fancy-gliss =
#(define-music-function (parser location pts-list)(list?)
#{
 \once \override Glissando.after-line-breaking =
  #(lambda (grob)
(let ((stil (ly:line-spanner::print grob)))
 (if (ly:stencil? stil)
 (let*
   ((left-bound-info (ly:grob-property grob 'left-bound-info))
(left-bound (ly:spanner-bound grob LEFT))
(y-off (assoc-get 'Y left-bound-info))
(padding (assoc-get 'padding left-bound-info))
(note-column (ly:grob-parent left-bound X))
(note-heads (ly:grob-object note-column 'note-heads))
(ext-X
  (if (null? note-heads)
  '(0 . 0)
  (ly:relative-group-extent note-heads grob X)))
(dot-column (ly:note-column-dot-column note-column))
(dots
  (if (null? dot-column)
  '()
  (ly:grob-object dot-column 'dots)))
(dots-ext-X
  (if (null? dots)
  '(0 . 0)
  (ly:relative-group-extent dots grob X)))
(factor
  (/ (interval-length (ly:stencil-extent stil X))
 (car (take-right (last pts-list) 2
(new-stil
  (make-connected-path-stencil
(map
  (lambda (e)
(cond ((= (length e) 2)
   (cons (* (car e) factor) (cdr e)))
  ((= (length e) 6)
   (list
 (* (car e) factor)
 (cadr e)
 (* (third e) factor)
 (fourth e)
 (* (fifth e) factor)
 (sixth e)))
  (else
(ly:error
  "Some element(s) of the given list do
not fit"
  pts-list)
(layout-line-thickness grob) ;line-width
1   ;scaling
1   ;scaling
#f
#f)))
 (ly:grob-set-property! grob 'stencil
   (ly:stencil-translate
new-stil
(cons (+ (interval-length ext-X)
 (interval-length dots-ext-X)
 padding)
  y-off
   (begin
 (ly:warning
   "Cannot find stencil. Please set 'minimum-length accordingly")
 #f
#})

#(display "\n\tLimitations:
\t-Does not work with line-break
\t-dotted notes with glissando may return a warning for unknown reasons,
\t strange things may happen")


%% EXAMPLE


\paper { indent = 28 }

\header { title = "Fancy Glissando" }

music = <<
  \new Staff \with { instrumentName = "fancy-gliss " }
\relative c' {
  \set Score.defaultBarType = #""
  %% If spacing is very tight Glissando sometimes is omitted.
  %% Use 'lengthen-gliss' with an apropiate value in this case.
  %\lengthen-gliss #10
  \fancy-gliss
#'(
 (1 3)
 (2 0

Re: Add \mark entries with edition-engraver?

2015-01-11 Thread Kieren MacMillan
Hi Jan-Peter,

> thank you for this snippet! I will work on it next week :)

While you’re in there…  ;)

1. If you \set Score.currentBarNumber, everything gets wonky from there on.  =)

2. Please consider addding some syntactic sugar for common actions like

2a. setting a lot of items at the same moment within different measures, 
e.g.,

\editionMod #’(1 4 8 12 18) 0/4 \lineBreak

2b. lumping all overrides for a single context id, e.g.,

\editionMod my-context-id
#’(
1 0/4 \overrideA
3 1/8 \overrideB
14 3/4 \overrideC
)

Thanks!
Kieren.
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Re: bug with compound glyphs and/or diacritical markings?

2015-01-11 Thread Kieren MacMillan
Hi all,

Interesting discovery: on Mac OS X, some Cyrillic keyboard layouts don't output 
proper Unicode glyphs! Selecting the desired glyph directly from the Unicode 
Table section of the Character Viewer outputs the correct glyph, and Lilypond 
then outputs the correct/desired result.

Hope this helps someone else, if they run into this issue.

Cheers,
Kieren.
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Re: instrumentSwitch and addInstrumentDefinition use

2015-01-11 Thread Kieren MacMillan
Hi all,

>> Is anyone using instrumentSwitch that can explain what the various 
>> variables in addInstrumentDefinition mean?
> 
> Don't use instrumentSwitch.  It is a pointless frustrating waste of time.

I agree. And I’m particularly irritated about that fact, since I was the one 
who sponsored (and *paid* Han-Wen) for a point-ful non-frustrating 
instrument-switching feature back in 2006. =(

> This is a missing function of LilyPond. 


Agreed — there should be a far better way of switching instruments.

One should be able to write (e.g.)

  \switchInstrument “piccolo”

and the following things happen:

1. The clef changes, if necessary.
2. The key signature changes, if necessary (and force-reprints, if appropriate).
3. The transposition changes, if necessary.
4. The instrumentName and shortInstrumentName change, if necessary.
5. A [user-defined] markup (e.g., \box “to piccolo”) is printed, if appropriate.
6+. ??

> So LilyPond does not store a global key signature.

No, but as you well know, many (most?) Lilypounders abstract the key signature 
(etc.) into their own global(s).

> We could, I think, keep this organization, and write a variant of
> "\tranposition bes"  that looks up the old key-signature and old 
> transposition on the Staff, figures the concert key, applies the new
> transposition, figures the new key-signature for the new transposition
> and sets that new key signature.

Why can that not be rolled into an improved instrumentSwitch?

> I just write an explicit \key d\major at the instrument switch when needed

This is one of the great banes of my current Lilypond existence — as a writer 
of musical theatre and band/orchestral music, I need to change instruments and 
keys all the time, very often in the middle of a section (w.r.t. key 
signature). Trying to remember to explicitly add key signatures etc. — and tag 
them as necessary — is quite frustrating, time-consuming, and error-prone.

I offer again my help in designing, testing, and paying for a real 
instrument-switching mechanism that would Do The Right Thing™.

Thanks,
Kieren.
___

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www:  
email:  i...@kierenmacmillan.info


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Re: bug with compound glyphs and/or diacritical markings?

2015-01-11 Thread Werner LEMBERG

> The code
>
> \version “2.19.15"
> \markup \fontsize #12 “й"
>
> gives
>
> [a diacritic shifted to the right]
>
> [n.b., The diacritical mark should be centred directly above the glyph.]
>
> Is that expected, or is this a bug?
> In either case, is there a suggested workaround?

For me it works just fine on my GNU/Linux; see attached PDF.


Werner


i.pdf
Description: Adobe PDF document
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bug with compound glyphs and/or diacritical markings?

2015-01-11 Thread Kieren MacMillan
Hello all,

The code

\version “2.19.15"
\markup \fontsize #12 “й"

gives


[n.b., The diacritical mark should be centred directly above the glyph.]

Is that expected, or is this a bug?
In either case, is there a suggested workaround?

Thanks,
Kieren.
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Re: instrumentSwitch and addInstrumentDefinition use

2015-01-11 Thread Keith OHara
Paul Scott  ultrasw.com> writes:

> Is anyone using instrumentSwitch that can explain what the various 
> variables in addInstrumentDefinition mean?

Don't use instrumentSwitch.  It is a pointless frustrating waste of time.
(The same could be said for LilyPond, except that there is sometimes a
point to wasting time with LilyPond.)

You can define a variable with the things that change each time you
switch instruments, without learning the instrument switch data structure
  piccolo = { \transposition c'' \clef "treble^8"  }

> AFAIK I really only 
> want the key signature to change automatically when I do an 
> instrument switch.

I am guessing that you input pitches as written for the instrument.
(If you write in concert pitch and then transpose for the instruments
then what I say next will not apply.)

This is a missing function of LilyPond. 
One awkwardness is that LilyPond considers the key signature to be 
individual to each Staff.  It was created by horn players, and horn parts
traditionally omit the key signature.  So LilyPond does not store a global
key signature.

We could, I think, keep this organization, and write a variant of
"\tranposition bes"  that looks up the old key-signature and old 
transposition on the Staff, figures the concert key, applies the new
transposition, figures the new key-signature for the new transposition
and sets that new key signature.

I just write an explicit \key d\major at the instrument switch when needed
(which is not very often)

> Almost everything is copied from NM 1.6.3

Let's change that section
https://codereview.appspot.com/133390043/diff/80001/Documentation/notation/
staff.itely

> #'(
This has to be a back-quote ` instead of a forward quote '



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Re: moving the ottoava bracket, but not at the very beginning

2015-01-11 Thread Stefan Thomas
Dear David,
thanks for You answer!
This command does, what I want to do!

2015-01-05 18:14 GMT+01:00 David Nalesnik :

> Hi Stefan,
>
> On Mon, Jan 5, 2015 at 10:48 AM, Stefan Thomas <
> kontrapunktste...@gmail.com> wrote:
>
>> Dear community,
>> I would like to move the ottava-bracket a bit upwards.
>>  Not at the beginning but at the 2nd bar.
>> Is there a way to do this?
>> \version "2.18.2"
>>
>
> Try \alterBroken:
>
> Music = \relative d''' {
>   \alterBroken padding #'(1 3) Staff.OttavaBracket
>   \ottava #1
>   d8 e f e d4 c \break
>   d'8( e b' e, d2)
> }
> \new Staff \Music
>
> --David
>
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Re: Score and parts template

2015-01-11 Thread tisimst
On Sun, Jan 11, 2015 at 5:29 AM, Phil Holmes-2 [via Lilypond] 
 wrote:
> I believe that, as a tutorial template, it would be more useful to 
> illustrate how to accommodate key signature indications with 
> transposing 
> instruments, since this remains the norm for most music.

+1!

That's exactly what I thought as I looked at this closely (Don't get me 
wrong, James. What you've done is a great example).

Also, since header information is important to the parts as well as the 
full ensemble scores, shouldn't the "Bassoon Part", etc. markups be 
moved to the individual score headers? And shouldn't they be in their 
own PDFs? I guess they don't HAVE to, but I feel like that is also "the 
norm for most music."

-Abraham




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Re: Voice notes stem direction, bass line with score

2015-01-11 Thread Kevin Tough
Thanks for the tips. I did a google search and obviously used the wrong
keywords. I'll be digging into the manual this week.

Take care and thanks

On Sun, 2015-01-11 at 18:26 +0100, Thomas Morley wrote:
> 2015-01-11 18:21 GMT+01:00 tisimst :
> > Kevin,
> >
> > Voices 1, 3, etc. (odd numbered) point stems up. Voices 2, 4, etc. (even
> > numbered) point stems down. So, if you want the quarter notes stemmed up and
> > the half notes stemmed down, switch their order in the brackets, like
> >
> > <<{r4  r  }\\{c2 e}>>
> >
> > HTH,
> > Abraham
> 
> 
> 
> Or:
> 
> \version "2.18.0"
> 
> global = {
>   \clef "treble_8"
>   \key g \major
>   \time 4/4 %% not needed, 4/4 is default
> }
> 
> one =
>   \new Voice
> \relative c' {
>   \voiceOne
>   %% maybe add:
>   % \override Rest.staff-position = 0
>   r4  r 
> }
> 
> two =
>   \new Voice
> \relative c {
>   \voiceTwo
>   c2 e
>   }
> 
> 
> \new Staff <<
>   << \global \one >>
>   << \global \two >>
> >>
> 
> I strongly recommend to read the Learning Manual and to look into the
> Notation Reference
> 
> 
> HTH,
>   Harm
> 
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Re: Voice notes stem direction, bass line with score

2015-01-11 Thread Thomas Morley
2015-01-11 18:21 GMT+01:00 tisimst :
> Kevin,
>
> Voices 1, 3, etc. (odd numbered) point stems up. Voices 2, 4, etc. (even
> numbered) point stems down. So, if you want the quarter notes stemmed up and
> the half notes stemmed down, switch their order in the brackets, like
>
> <<{r4  r  }\\{c2 e}>>
>
> HTH,
> Abraham



Or:

\version "2.18.0"

global = {
  \clef "treble_8"
  \key g \major
  \time 4/4 %% not needed, 4/4 is default
}

one =
  \new Voice
\relative c' {
  \voiceOne
  %% maybe add:
  % \override Rest.staff-position = 0
  r4  r 
}

two =
  \new Voice
\relative c {
  \voiceTwo
  c2 e
  }


\new Staff <<
  << \global \one >>
  << \global \two >>
>>

I strongly recommend to read the Learning Manual and to look into the
Notation Reference


HTH,
  Harm

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Re: Can I write a bass line with score, same staff?

2015-01-11 Thread Jacques Menu
Hello Kevin,

Not clear what you want to achieve.

Do the attached files satisfy the need?

JM



Test.ly
Description: Binary data




> Le 11 janv. 2015 à 17:31, Kevin Tough  a écrit :
> 
> HI,
> I've done some searching but found no hints as to whether Lilypond can
> be used to write a bass line and melody or chord notes at the same time.
> Let's say for example I play a C and then an E half note for a measure
> 4/4. On beats 2 and 4 I would like to indicate that the notes G,C and E
> should be played in unison, quarter note duration. Is this possible?
> 
> Namaste,
> Kevin Tough
> 
> 
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Re: Voice notes stem direction, bass line with score

2015-01-11 Thread tisimst
Kevin,

Voices 1, 3, etc. (odd numbered) point stems up. Voices 2, 4, etc. 
(even numbered) point stems down. So, if you want the quarter notes 
stemmed up and the half notes stemmed down, switch their order in the 
brackets, like 

<<{r4  r  }\\{c2 e}>>

HTH,
Abraham

On Sun, Jan 11, 2015 at 10:09 AM, Kevin Tough [via Lilypond] 
 wrote:
> Hi all/Claudio. 
> 
> I've put this code into Lilypond... 
> 
> \version "2.18.2" 
> 
> \language "english" 
> 
> \header { 
> title = "Alternating Bass with Walk" 
> composer = "EwithM" 
> subtitle = "With pick or fingers" 
> } 
> 
> \paper { 
> ragged-right = ##f 
> } 
> \layout { 
>   indent = 0.0\cm 
> } 
> << 
>   \relative c { 
>   \clef "treble_8" 
>   \key g \major 
>   \time 4/4 
>  % \partial 8 d8 
> <<{c2 e}\\{r4  r  }>> | 
> 
>   \bar "|." 
> }   
> >> 
> 
> The bass note stem direction is up and the rests are printed below 
> the 
> half notes. The quarter note stems go downward. Can the stem 
> direction 
> be defined per Voice and then would perhaps the rests be printed on 
> the 
> staff? Voice one stems down and voice 2 upward  As it is it is 
> not 
> very readable. 
> 
> Namaste, 
> Kevin Tough 
> 
> 
> 
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> 
> If you reply to this email, your message will be added to the 
> discussion below:
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Voice notes stem direction, bass line with score

2015-01-11 Thread Kevin Tough
Hi all/Claudio.

I've put this code into Lilypond...

\version "2.18.2"

\language "english"

\header {
title = "Alternating Bass with Walk"
composer = "EwithM"
subtitle = "With pick or fingers"
}

\paper {
ragged-right = ##f
}
\layout {
  indent = 0.0\cm
}
<<
  \relative c {
  \clef "treble_8"
  \key g \major
  \time 4/4
 % \partial 8 d8
<<{c2 e}\\{r4  r  }>> | 

  \bar "|."
}  
>>

The bass note stem direction is up and the rests are printed below the
half notes. The quarter note stems go downward. Can the stem direction
be defined per Voice and then would perhaps the rests be printed on the
staff? Voice one stems down and voice 2 upward  As it is it is not
very readable.

Namaste,
Kevin Tough



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Re: Can I write a bass line with score, same staff?

2015-01-11 Thread Kieren MacMillan
Hi Kevin,

> I've done some searching but found no hints as to whether Lilypond can
> be used to write a bass line and melody or chord notes at the same time.

What did you search for?

Did sections of the documentation like

not help?

Regards,
Kieren.
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Can I write a bass line with score, same staff?

2015-01-11 Thread Kevin Tough
HI,
I've done some searching but found no hints as to whether Lilypond can
be used to write a bass line and melody or chord notes at the same time.
Let's say for example I play a C and then an E half note for a measure
4/4. On beats 2 and 4 I would like to indicate that the notes G,C and E
should be played in unison, quarter note duration. Is this possible?

Namaste,
Kevin Tough


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Re: OT crop eps to printed area

2015-01-11 Thread Alicuota618
Or formulated differently:

How do you adjust print area to printed area in lilypond?

I mean, using paper margins = 0 lets white space at the top and bottom
of the printed area. I suppose there is a way to crop the paper to the
very outside black areas...

Thanks in advance,

Francois

2015-01-10 21:35 GMT-05:00, Alicuota618 :
> Hello,
>
> Still struggling with gregorian.ly:
> So I compile first the gregorian to pdf then convert eps (directly as
> dbackend=eps returns inverted black-white and very bad quality), and
> include in mybook.ly as
> \markup { \epsfile #X #20 #"rorateCoeli.eps" }
>
> but I dont find how to crop the image to printed area.
>
> Can somebody help?
>
> Thanks in advance,
>
> Francois
>

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Re: Score and parts template

2015-01-11 Thread Phil Holmes
- Original Message - 
From: "James Harkins" 

To: "Phil Holmes" ; 
Sent: Sunday, January 11, 2015 12:18 PM
Subject: Re: Score and parts template



On January 11, 2015 8:06:55 PM "Phil Holmes"  wrote:

So I assume the clarinet in A (which I'd missed) has a lower range than 
the Bb?


Clarinets in Bb and A have the same written range, extending down to the E 
below middle C. This note sounds as concert D on the Bb clarinet, and 
concert C# on the A clarinet.


 Whilst checking this, I noticed that you have no key sig: think \global 
should still have a key sig of c \major, and then the clarinet part 
should have \transpose a, c \global to get its correct signature for the 
player?


The lack of a key signature is fairly standard practice for contemporary 
music that is not organized around common practice tonality. E.g., the 
opening section of The Rite of Spring has no key signatures for any 
instruments, including the transposing ones. (The score is transposed, and 
later sections that do have key signatures display transposed key 
signatures in the transposing instruments. So the absence of key 
signatures in the first section must be deliberate.)


hjh



I believe that, as a tutorial template, it would be more useful to 
illustrate how to accommodate key signature indications with transposing 
instruments, since this remains the norm for most music.


--
Phil Holmes 



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Re: Score and parts template

2015-01-11 Thread James Harkins

On January 11, 2015 8:06:55 PM "Phil Holmes"  wrote:


So I assume the clarinet in A (which I'd missed) has a lower range than the Bb?


Clarinets in Bb and A have the same written range, extending down to the E 
below middle C. This note sounds as concert D on the Bb clarinet, and 
concert C# on the A clarinet.


 Whilst checking this, I noticed that you have no key sig: think \global 
 should still have a key sig of c \major, and then the clarinet part should 
 have \transpose a, c \global to get its correct signature for the player?


The lack of a key signature is fairly standard practice for contemporary 
music that is not organized around common practice tonality. E.g., the 
opening section of The Rite of Spring has no key signatures for any 
instruments, including the transposing ones. (The score is transposed, and 
later sections that do have key signatures display transposed key 
signatures in the transposing instruments. So the absence of key signatures 
in the first section must be deliberate.)


hjh

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Re: Score and parts template

2015-01-11 Thread Phil Holmes
- Original Message - 
From: "James Harkins" 

To: ; 
Sent: Sunday, January 11, 2015 6:37 AM
Subject: Re: Score and parts template



From: Phil Holmes


> Since the question came up about organizing LilyPond code for score and
> parts, I thought I would make a quick demo of what I believe to be the
> standard way to do it. Somehow I pieced these ideas together from LP 
> code

> that I found online (Mozart Horn Concerto, as I recall), but I don't
> remember finding a compact example.

I think this is potentially very useful.  Is the clarinet part an octave
low?


No, it's in the correct octave. There's nothing in the clarinet part that 
goes any lower than Brahms went in bar 13 of the clarinet quintet.


If you can confirm that the clarinet is correct, then I think adding it 
to

the LSR, with a tag of docs and templates would be an excellent idea.


OK! Thanks for the feedback. I'll do that later.

hjh



So I assume the clarinet in A (which I'd missed) has a lower range than the 
Bb?  Whilst checking this, I noticed that you have no key sig: think \global 
should still have a key sig of c \major, and then the clarinet part should 
have \transpose a, c \global to get its correct signature for the player?


--
Phil Holmes 



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Re: Add \mark entries with edition-engraver?

2015-01-11 Thread Jan-Peter Voigt
Hi Harm,

thank you for this snippet! I will work on it next week :)

Cheers, Jan-Peter


Am 10.01.2015 um 19:21 schrieb Thomas Morley:
> 2015-01-10 15:44 GMT+01:00 Jan-Peter Voigt :
> 
>> So, if one can show a scheme-engraver, that produces marks (or time-sigs)
>> programmaticly, I can easily add it to the edition-engraver.
> 
> 
> Hi Jan-Peter,
> 
> I did not look into your edition-engraver, below you'll find an
> engraver printing RehearsalMarks, though. (It's a boiled down version
> of some unfinshed own coding)
> 
> Obviously you'll need to add an argument (a list, I think) what should
> be printed and some conditions when to print.
> Nevertheless, maybe it might be helpful.
> 
> \version "2.19.15"
> 
> #(define (RM-engraver context)
>   `((process-music
>  .
>  ,(lambda (engraver)
> (if (= 0
>(ly:moment-main-numerator
>  (ly:context-property context 'measurePosition)))
> (let* ((event '())
>(newgrob
>  (ly:engraver-make-grob engraver 'RehearsalMark event)))
> 
> (set! (ly:grob-property newgrob 'text) "XY"))
> #f)
> 
> %%
> %% EXAMPLE
> %%
> 
> 
> \score {
>   \new Staff { \repeat unfold 60 c''4 }
>   \layout {
> \context {
>   \Score
>   \consists #RM-engraver
> }
>   }
> }
> 
> HTH,
>  Harm
> 


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Re: segmented glissando lines

2015-01-11 Thread Orm Finnendahl
Hi Pierre, Urs,

 that's excellent and very instructional, thanks!

--
Orm


Am Samstag, den 10. Januar 2015 um 23:56:03 Uhr (+0100) schrieb Pierre 
Perol-Schneider:
> Hi Orm,
> 
> How about :
> 
> \version "2.19.15"
> 
> #(define (add-gliss m)
>(case (ly:music-property m 'name)
>  ((NoteEvent) (set! (ly:music-property m 'articulations)
>   (append (ly:music-property m 'articulations)
>  (list (make-music (quote GlissandoEvent)
>m)
>  (else #f)))
> 
> addGliss = #(define-music-function (parser location music)
>  (ly:music?)
>(map-some-music add-gliss music))
> 
> \relative c'' {
>   \override Glissando.thickness = #2
>   \override Glissando.bound-details =#'(
>  (right (attach-dir . 1) (padding . 0))
>  (left  (attach-dir . 1) (padding . 0)))
>   \override NoteHead.no-ledgers = ##t
>   \addGliss {
> d,2
> \omit Stem
> \override NoteHead.transparent = ##t
> f' d, f' e, g' d, f'
>   }
> }
> 
> 
> Cheers,
> Pierre

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