date:20150126

Hi Johan,

 To not answer your question: I would not use Gsus7 since it is ambiguous.
 Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
 makes you think that the 7th is suspended -- which is not the case.
 
 G7sus (or G7sus4) is the unambiguous way to express this chord.

+1

It seems “sus7” is almost exclusively a guitar notation — I’ve certainly never 
seen it in any jazz chart or musical theatre score I’ve played from.

Cheers,
Kieren.

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Re: switching stem direction within voice to avoid collisions

Sure it is, see:

\version 2.18.2


global = { \clef G_8 \time 4/4 }

\new Staff 
  \global
  {
c'2 b4 c'
  } \\
  {
\mergeDifferentlyHeadedOn
\stemUp
\once\override Beam.positions = #'(-.8 . 1.5)
\once\stemDown c'8 g e g
\once\override Beam.positions = #'(-1.5 . .5)
\once\stemDown b[ g]
\once\override Beam.positions = #'(-1 . .5)
\once\stemDown c' g
  } \\
  {
\stemDown
\once\override NoteColumn.force-hshift = #0
e4 e d e
  }


Cheers,
Pierre

2015-01-26 13:45 GMT+01:00 bart deruyter bart.deruy...@gmail.com:

 thanks for the quick solution.

 I've adapted the example of Pierre, to a score without the use of contexts
 and omitted assigning a voice to the 'voiceTwo' part. That made it possible
 for the 'mergeDifferentlyHeadedOn' to show the half-note. Using contexts
 lilypond threw an error when not assigning that voice.

 I don't know if it's good practice, but it works...

 thanks again :-)

 grtz,

 Bart

 http://www.bartart3d.be/
 On facebook https://www.facebook.com/pages/BartArt3D/169488999795102
 On Twitter https://twitter.com/#%21/Bart_Issimo
 On Identi.ca http://identi.ca/bartart3d
 On Google+ https://plus.google.com/u/0/b/116379400376517483499/

 2015-01-26 13:27 GMT+01:00 Brian Barker b.m.bar...@btinternet.com:

 At 12:55 26/01/2015 +0100, you wrote:

 I'm typesetting something from Heinrich Albert and one exercise has
 three voices. To avoid collisions, they switch the direction of the stems
 within one voice and I haven't found how to achieve it.


 The voices have their own stem directions, of course. You can disable
 this and allow stems to go either way with \stemNeutral - but that probably
 won't help you here. Otherwise you can use \stemDown and \stemUp directly.
 Will those work for you?

 Brian Barker - privately



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Re: switching stem direction within voice to avoid collisions

2015-01-26 Thread bart deruyter

thanks for the quick solution.

I've adapted the example of Pierre, to a score without the use of contexts
and omitted assigning a voice to the 'voiceTwo' part. That made it possible
for the 'mergeDifferentlyHeadedOn' to show the half-note. Using contexts
lilypond threw an error when not assigning that voice.

I don't know if it's good practice, but it works...

thanks again :-)

grtz,

Bart

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2015-01-26 13:27 GMT+01:00 Brian Barker b.m.bar...@btinternet.com:

 At 12:55 26/01/2015 +0100, you wrote:

 I'm typesetting something from Heinrich Albert and one exercise has three
 voices. To avoid collisions, they switch the direction of the stems within
 one voice and I haven't found how to achieve it.


 The voices have their own stem directions, of course. You can disable this
 and allow stems to go either way with \stemNeutral - but that probably
 won't help you here. Otherwise you can use \stemDown and \stemUp directly.
 Will those work for you?

 Brian Barker - privately

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Re: switching stem direction within voice to avoid collisions

2015-01-26 13:45 GMT+01:00 bart deruyter bart.deruy...@gmail.com:


 That made it possible for the 'mergeDifferentlyHeadedOn' to show the
 half-note.


Ok, now I see, I missed that.
See :
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices.html#collision-resolution
(... Known issues and warnings)

So here again, with contexts :

\version 2.18.2

global = { \clef G_8 \time 4/4 }

\new Staff 
  \global
  \context Voice = high {
\voiceOne
c'2 b4 c'
  }
  \context Voice = middle {
\voiceThree
%\override NoteColumn.force-hshift = #0
\override NoteColumn.ignore-collision = ##t
\mergeDifferentlyHeadedOn
\override Beam.positions = #'(-.8 . 1.5)
\once\stemDown
\tweak NoteHead.stencil #f
c'8 g e g
\override Beam.positions = #'(-1.5 . .5)
\once\stemDown b[ g]
\override Beam.positions = #'(-1 . .5)
\once\stemDown c' g
\revert Beam.position
  }
  \context Voice = low {
\voiceTwo
e4 e d e
  }


Cheers,
Pierre
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Re: staccato dots and slurs in second voice

2015-01-26 Thread David Nalesnik

Hi Werner,

On Mon, Jan 26, 2015 at 12:24 AM, Werner LEMBERG w...@gnu.org wrote:


  That's effectively what I'm doing.  I'm changing the X-offset
  callback because it's only there that the property
  toward-stem-shift is read (see scm/output-lib.scm).  The trick is
  allowing two different concurrent values for toward-stem-shift: 1.0
  for when the staccato is alone, 0.0 when other articulations are
  present (like a portato) In my experiment, I simply did what the
  engraver does regarding toward-stem-shift.

 Thanks for working on this!


My pleasure!  I have something which is almost ready to be reviewed, but I
need to get several patches pushed and into current master first.


 Will this also influence the positioning
 of the end (or start) of a slur?  Since I guess that the answer is no,


Unfortunately, that's a different problem.  Of course, since the patch puts
the staccato dots at stem end, you'll notice a (slight) improvement.  (See
attached.)

I wonder how this could be improved, namely to set maximum and minimum
 horizontal coordinates for slurs that must not be exceeded.


Not sure--I'd need to investigate.  Something ought to be done about the
vertical position, too, of course.  That might be harder.  (I'm just
guessing.)


  [...] what about changing toward-stem-shift to a number-pair instead
  of a number?

 Sounds sensible.


I'm liking this approach--will be part of upcoming patch for review.

Best,
David
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Three-beats notes

2015-01-26 Thread Marco Oros


Hello!
I have a question. How can I entered a three-beat notes in 3/4 bar?
It can be entered, as whole notes?
Or, exists something, like three-beat notes, or how It calls in musical 
terminology in English language? I am from Slovakia and English is my 
secound language.

Thank You, Marco Oros.

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Re: sus7 chords in \chordmode

2015-01-26 Thread Tim McNamara


 On Jan 26, 2015, at 1:32 AM, Johan Vromans jvrom...@squirrel.nl wrote:
 
 On Sun, 25 Jan 2015 19:18:52 -0600
 Tim McNamara tim...@bitstream.net wrote:
 
 I have repeatedly run into difficulties getting Lilypond to properly
 render sus7 chord names in \chordmode.  It comes up with silly things
 like G7sus4 3” and the like.  What is the correct syntax to get a simple
 “Gsus7” to print?
 
 To not answer your question: I would not use Gsus7 since it is ambiguous.
 Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
 makes you think that the 7th is suspended -- which is not the case.
 
 G7sus (or G7sus4) is the unambiguous way to express this chord.
 
 See e.g. https://en.wikipedia.org/wiki/Suspended_chord .
 Chapter 8 of Standardized Chord Symbol Notation by Carl Brandt  Clinton
 Roemer.

I have the Roemer-Brandt book and will double check that, thanks for pointing 
it out.  I have been modifying the pop-chords.ly http://pop-chords.ly/ file 
for my own use to use the Roemer-Brandt terminology and will make that 
available once I have completed it.  My recollection- without checking, of 
course- was that R-B used “sus” for plain suspended 4th chords and “sus7” for 
suspended 4th dominant chords.  My memory may well be faulty on this (again, as 
it has been so often as my wife reminds me).  If they use “7sus” or “7sus4” I 
will go with that.

Tim


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Re: \startTrillSpan without the tr at the beginning?

2015-01-26 Thread Richard Shann

On Mon, 2015-01-26 at 11:40 +, Richard Shann wrote:
 On Mon, 2015-01-26 at 09:21 +, Richard Shann wrote:
  On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote:
   Try:
   
   {
 b'-\tweak style #'zigzag \startTextSpan
 b' b'
 \stopTextSpan
   }
   
  
  That is a step forward - the zigzag distinguishes the sign from the
  prall ... looking up the documentation for TextSpanner leads to the same
  as before stencil is referred to as The symbol to print. and  the
  stencil callback in successive entries
  http://lilypond.org/doc/v2.18/Documentation/internals/textspanner 
  
  It looks like the actual drawing of zigzags and so on is in compiled
  code, and so not replaceable by the user without running GUB - at least
  I can't find any trace of it.
  
  Thanks for all these suggestions, I guess an enhancement request would
  be for a wavy line zigzag ...
 
 Come to think of it, I can't find the documentation for what values for
 style are already available.

Even though I can't find it, it must be there as I see in the sources
(line-interface.cc)

Generic line objects.  Any object using lines supports this.
 The property @code{style} can be @code{line},
@code{dashed-line}, @code{trill}, @code{dotted-line},
@code{zigzag} or @code{none} (a transparent line).\n

which tells me that zigzag is the closest thing currently available.
And as for drawing a wiggly-line this would mean adapting
Line_interface::make_zigzag_line () earlier in the same file.
But that requires some knowledge of the drawing primitives available...

Richard


  The documentation mentions 'dashed-line but
 how would the user know if 'wiggly-line was already available?
 
 Richard
 
 
 
 
  
  Richard
  
  
   
   Pierre
   
   
   2015-01-25 20:14 GMT+01:00 Richard Shann rich...@rshann.plus.com:
   On Sun, 2015-01-25 at 12:03 +0100, Pierre Perol-Schneider
   wrote:
Try :
   
\version 2.18.2
   
{
  b'-\tweak bound-details.left.text #'()
   
   I've started to look more deeply to see if the sharp zig-zag
   line could
   be replaced by a user-defined line. I found this
   
   88
   http://lilypond.org/doc/v2.18/Documentation/internals/trillspanner
   
stencil (stencil):
   
   ly:line-spanner::print
   
   The symbol to print.
   88
   This sounds strange - I would guess stencil is a procedure not
   a glyph
   (? what would symbol mean here?) - and indeed the next entry
   on that
   page is
   88
style (symbol):
   
   'trill
   
   This setting determines in what style a grob is typeset.
   Valid
   choices depend on the stencil callback reading this property.
   88
   
   Is it on the cards to write some scheme procedure that stencil
   could be
   set to in order generate a more wavy line?
   
   
   Richard
   
   
   
   
  
  
  
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Re: Arrows

Hi Luca,

Here are two options :

\version 2.18.2

arrowBend =
  #'((moveto 0 0)
 (curveto 0 0 1 0 2 2.5)
 (moveto 1.2 1.8)
 (curveto 1.2 1.8 1.4 1.8 2 2.5)
 (moveto 2 1.5)
 (curveto 2 1.5 1.9 1.8 2 2.5))

\relative c'' {
  \override Score.SpacingSpanner.shortest-duration-space = #3.0

  %%  standard notation
  e4-\bendAfter #+4

  %% adding an arrow on the standard notation
  %% handled manually, not easy !!
  e4
  -\tweak extra-offset #'(3.71 . .7)
  ^\markup\rotate #-12 \musicglyph #arrowheads.open.11
  -\bendAfter #+5

  %% exchange the standard grob with a path drawing
  \once\override BendAfter.stencil = #(lambda (grob)
 (grob-interpret-markup grob
   #{
 \markup\concat { \hspace #1.8 \path #0.2 #arrowBend }
   #}))
  e4-\bendAfter #+4
}

Cheers,
Pierre

2015-01-26 17:55 GMT+01:00 Luca Danieli mr.luce...@hotmail.it:

 Hi all,

 I'd just like to know if there is any command to create curved lines with
 arrows.
 The best solution would be to add arrows to \bendAfter, but I cannot find
 how to do it.

 Luca

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Re: Three-beats notes

2015-01-26 Thread Marco Oros


OK, I just found a reply. Ofcourse, this was note to fill bar in 3/4.
Do You know, I am blind person and in one software It was used, but It 
is a mistake in this software ( I don't should say name of It).

So, this is half dotted note, for example c2. .
Thank You, Marco Oros.

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Re: sus7 chords in \chordmode

From: Johan Vromans jvrom...@squirrel.nl
Subject: Re: sus7 chords in \chordmode

To not answer your question: I would not use Gsus7 since it is ambiguous.
Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
makes you think that the 7th is suspended -- which is not the case.

Well, this chord does have a 7th, so I'm not sure what your concern is.

To play devil's advocate, how do you know if it is a major or minor 7th?
Simply by convention: all 7ths are minor unless you explicitly say that it
is major. This is just another convention: all susses are 4ths unless you
explicitly say that it is something else. This has nothing more or less to
recommend it than the convention we use for 7ths.

G7sus (or G7sus4) is the unambiguous way to express this chord.

I think that part of the issue here is categorical, based on context.

Analysis: writing a chord symbol to describe a specific set of notes
Laziness: writing a chord symbol instead of writing a specific set of notes
Improvisation: writing a chord symbol to give direction as to the musical
context

For starters, I think it is fair to say that these are different musical
contexts and we should not expect that conventions should be the same.

For the purposes of analysis and laziness, there can be no denying that the
more specific versions you recommend are better.

But for improvisation, it tends to be irrelevant at best, and writing sus7
can even avoid some problems.

As I'm sure you're aware, In terms of improvising chords in Jazz, chordal
players tend to play some, but not all, of the actual notes in the chord,
and then add more colorful, related notes, that are not explicitly within
the chord.

When chord symbols are used by melodic instruments, of course there are no
chords whatsoever being played by the person interpreting the chord
symbol. The chord symbol is mainly used to interpret what scale is
appropriate to play (as well as its musical function.)

In this usage (the context of the OP) there are rarely cases where adding a
2 to a sus4 or a 4 to a sus2 chord would sound wrong. The underlying
scales are arguably identical, so there is no musical difference among
these chords (in this context). You are making a distinction without a
difference.

Furthermore, I just did a quick check at a dozen or so real books to see if
I was crazy (turns out, I am). But enough about me. My point being, while
I did notice a wide variety notations for sus chords (with 7sus4 being the
most common, and more so among the more professional books) not a single
chord I ran across used any suspension other than a 4!

Which is to say, this alleged need to distinguish sus2 from sus4 chords in
the context in which the OP is interested, is basically a non-issue, and it
is easy enough to add the 2 if that's what you need.

The more constructive thing I would add about why I personally prefer the
sus7 notation (besides economy with no lack of clarity) is that it
describes the notes from left to right in the correct order. It always
seems weird to me to see notations like C7#5, since as you parse the chord,
you start by specifying a dominant chord, then change one of the notes that
you already implicitly specified. Why not just specify what it actually is
from the get-go? There are some cases where I haven't figured out a better
approach, like C7b5. But in general I think it is best to specify chords
more directly by chord type, rather than indirectly, by specifying the
wrong chord type and then patching it up at the end.

In this sense, the notation 7sus4 contains a little bit of a notational
dissonance. Is it a dominant chord or not? Since it is a sus chord, not
a dominant chord, I think it makes more sense to put the sus next to the
root name, rather than the 7.

In terms of practicality, my belief is that you will hear fewer thirds in
your chords, due to reading mistakes, if you use sus7 notation than 7sus4,
since some people will inevitably see the G7... and play a dominant
variety voicing, including the one note you really don't want.

David Elaine Alt
415 . 341 .4954 *Confusion is
highly underrated*
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: sus7 chords in \chordmode

2015-01-26 Thread Brett Duncan


On 27/01/15 6:15 AM, Tim McNamara wrote:


On Jan 26, 2015, at 1:32 AM, Johan Vromans jvrom...@squirrel.nl 
mailto:jvrom...@squirrel.nl wrote:


On Sun, 25 Jan 2015 19:18:52 -0600
Tim McNamara tim...@bitstream.net mailto:tim...@bitstream.net wrote:


I have repeatedly run into difficulties getting Lilypond to properly
render sus7 chord names in \chordmode.  It comes up with silly things
like G7sus4 3” and the like.  What is the correct syntax to get a 
simple

“Gsus7” to print?


To not answer your question: I would not use Gsus7 since it is ambiguous.
Gsus4 (or Gsus) has a suspended 4th, Gsus2 has a suspended 2nd, so Gsus7
makes you think that the 7th is suspended -- which is not the case.

G7sus (or G7sus4) is the unambiguous way to express this chord.

See e.g. https://en.wikipedia.org/wiki/Suspended_chord .
Chapter 8 of Standardized Chord Symbol Notation by Carl Brandt  
Clinton

Roemer.


I have the Roemer-Brandt book and will double check that, thanks for 
pointing it out.  I have been modifying the pop-chords.ly 
http://pop-chords.ly file for my own use to use the Roemer-Brandt 
terminology and will make that available once I have completed it.  My 
recollection- without checking, of course- was that R-B used “sus” for 
plain suspended 4th chords and “sus7” for suspended 4th dominant 
chords.  My memory may well be faulty on this (again, as it has been 
so often as my wife reminds me).  If they use “7sus” or “7sus4” I will 
go with that.


Tim


You're not mistaken - I have also seen sus and sus7 used in the same 
way on rock and RB charts. It's not a notation I would use myself, and 
I agree with Johan that G7sus4 is the unambiguous way to express the 
chord. But as has been pointed out before, there is no agreed standard 
for chord notation.


It's worth noting that G7sus can be interpreted differently in a jazz 
context - the wikipedia article Johan linked to mentions this, though 
the analysis is not entirely accurate IMO.


With regard to Roemer  Brandt, I think it's an interesting reference 
and a useful discussion starter, but it seems to me to be somewhat at 
odds with contemporary practice.


Brett
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Re: Three-beats notes

Hi Marco,

Are you talking about triplets?
See:
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms.html#tuplets

E.g :

\version 2.18.2

{
  \time 3/4
  \tuplet 3/2 4 { c'8 c' c' c' c' c' c' c' c' }
}

Cheers,
Pierre

2015-01-26 17:39 GMT+01:00 Marco Oros marco.oro...@gmail.com:

 Hello!
 I have a question. How can I entered a three-beat notes in 3/4 bar?
 It can be entered, as whole notes?
 Or, exists something, like three-beat notes, or how It calls in musical
 terminology in English language? I am from Slovakia and English is my
 secound language.
 Thank You, Marco Oros.

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Re: Three-beats notes

2015-01-26 Thread Paul Scott

On Mon, Jan 26, 2015 at 05:39:19PM +0100, Marco Oros wrote:
 Hello!
 I have a question. How can I entered a three-beat notes in 3/4 bar?
 It can be entered, as whole notes?
 Or, exists something, like three-beat notes, or how It calls in musical
 terminology in English language? I am from Slovakia and English is my
 secound language.

A three beat note in 3/4 would be entered as c2. for a C, in other words 
a dotted half note.  This also true for 4/4 or 6/4, etc.

To get a note worth 3 quarter notes you use the value 2. .  

HTH

Paul Scott


 Thank You, Marco Oros.
 
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Arrows

2015-01-26 Thread Luca Danieli

Hi all,
I'd just like to know if there is any command to create curved lines with 
arrows.The best solution would be to add arrows to \bendAfter, but I cannot 
find how to do it.
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Re: Three-beats notes

2015-01-26 Thread Shane Brandes

R1*3/4 that should help you get the gist of doing odd increment full
bar rests. By the way you can alter any note walue that way.
-Shane

On Mon, Jan 26, 2015 at 11:39 AM, Marco Oros marco.oro...@gmail.com wrote:
 Hello!
 I have a question. How can I entered a three-beat notes in 3/4 bar?
 It can be entered, as whole notes?
 Or, exists something, like three-beat notes, or how It calls in musical
 terminology in English language? I am from Slovakia and English is my
 secound language.
 Thank You, Marco Oros.

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Re: Three-beats notes

2015-01-26 Thread Urs Liska



Am 26.01.2015 um 17:39 schrieb Marco Oros:

Hello!
I have a question. How can I entered a three-beat notes in 3/4 bar?
It can be entered, as whole notes?
Or, exists something, like three-beat notes, or how It calls in 
musical terminology in English language? I am from Slovakia and 
English is my secound language.

Thank You, Marco Oros.


I'm not completely sure what you mean, but

c2.

will give you a dotted half note, which fills up a 3/4 bar.
Dotting a note will prolong the note by half of its length.

Shane's answer is not musically correct but shows you how you can 
achieve non-standard notation (but I suspect this is not what you are 
after).


HTH
Urs



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Re: define-music-function - unexpected EVENT_FUNCTION

2015-01-26 Thread Klaus Blum

Hi Anders, 

the \rightHandFinger command can only be used for a single note, not for a
whole music expression that could also be a chord or a sequence of notes
and rests. 
Replacing ly:music? by ly:pitch? should do the trick:

%
-
\version 2.19.15

meTrans =
#(define-music-function (parser location mus txt) (ly:pitch? string?)
   #{
 \transpose c cis $mus \rightHandFinger
\markup\normal-text\bold\fontsize #0 $txt
   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0
A
  \meTrans c' a
  }
%
-

If you want to transpose more than just one note, you should split things
up: 
One function to apply the fingering markup on single notes, another function
to transpose the whole music expression:

%
-
\version 2.19.15

rhf =
#(define-music-function (parser location txt) (string?)
   #{
 -\rightHandFinger \markup\normal-text\bold\fontsize #0 $txt
   #}
   )

meTrans =
#(define-music-function (parser location mus) (ly:music?)
   #{
 \transpose c cis $mus
   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0
A
  \meTrans {c' -\rhf first d' e' f' -\rhf last}
  }
%
-

Cheers, 
Klaus



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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

2015-01-26 Thread Schneidy

Hi Franck,
please provide a compilable example.

Cheers,
Pierre



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Re: sus7 chords in \chordmode

Hi all,

On Jan 26, 2015, at 3:12 PM, Flaming Hakama by Elaine 
ela...@flaminghakama.com wrote:
 why I personally prefer the sus7 notation (besides economy with no lack of 
 clarity)

I disagree about the lack of clarity:

From C7sus4, I infer that we have a C7 chord (i.e., dominant 7th) with a 
suspension at the 4th (which suggests a resolution to the 3rd, if it resolves 
at all).

From C7sus, I infer that we have a C7 chord (i.e., dominant 7th) with a 
suspension somewhere — since it is not otherwise specified, I assume it's at 
the 4th (which suggests a resolution to the 3rd, if it resolves at all).

From Csus7, I infer that we have a C chord (i.e., triad) with a suspension at 
the 7th (which suggests a resolution to the 6rd, if it resolves at all).

So to my eye, the first two options are equivalent modulo standard assumptions, 
whereas the third option introduces ambiguity.

 it describes the notes from left to right in the correct order.  It always 
 seems weird to me to see notations like C7#5, since as you parse the chord, 
 you start by specifying a dominant chord, then change one of the notes that 
 you already implicitly specified.  Why not just specify what it actually is 
 from the get-go?  There are some cases where I haven't figured out a better 
 approach, like C7b5.  But in general I think it is best to specify chords 
 more directly by chord type, rather than indirectly, by specifying the wrong 
 chord type and then patching it up at the end.

Although Gould (frustratingly!) has essentially nothing to say about chords, I 
think her philosophy regarding subito dynamics (use “p sub.” and not “sub p.”) 
applies well: since the vast majority of us read music (including chord 
symbols) from left to right, and it’s more important to play (e.g.,) an 
unaltered C7 than a C sus triad without the 7th, it’s better to describe the 
full shape of the chord first, and then describe afterwards those alterations 
which are ultimately optional. And the effect likely becomes increasingly 
pronounced as the number of alterations increases.

All the best,
Kieren.
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Ritardando and accelerando

Hello!

I’m trying to add a Ritardando. I’ve searched the user manual and found some 
information but I do not understand how I use it. Exactly where do I write!?

\override TextSpanner.bound-details.left.text =
  \markup { \upright rit. }
b1\startTextSpan c
e,\stopTextSpan
Being used to Sibelius there’s som many things that are so difficult to 
understand. Only to search in the right place in the manual took a good while. 
Since Ritardando and Accelerando are pretty common, shouldn’t there be an 
easier way to find it? It’s not listed in the Index of the manual.

Sorry about having to ask such a ”simple” question, but for me almost 
everything with Lilypond is very hard to understand at this point.

Best wishes!
/Peter


Peter Danemo
+46-70-653 21 91
E-post: m...@danemo.com
Web: danemo.com





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How to get lyrics to skip measures?

2015-01-26 Thread Chris Trahan

I'm having a little trouble figuring out how to do this.  I have a score
where verse 1 is sung then there is a whistling interlude then verse two is
sung.

I think that I need to somehow include spacers to skip over the whistle
part but I'm getting errors when I try that.

Here is a short sample code. Would someone give me a clue how to get the
lyrics to skip the Whistle part?

This comes up often in our vocal music. Often there is an interlude before
the next verse is sung.

\version 2.18.2
\language english

melodyVerseOne = {
  \new Staff \relative c'' {
\set Staff.vocalName = Women
\set Staff.shortVocalName = W
\new Voice = Women {
  \time 2/4
  \key c \major
  c^Verse 1 d e f | \break
%%  Lyrics to skip this section
  g^Whistle a b c | \break
%%  Verse two lyrics start here
  c,^Verse 2 d e f
}
  }
}

verseOneLyrics = \lyricmode {
  La la la la
}

verseTwoLyrics = \lyricmode {
  Do re me fa
}

\score {
  
  \melodyVerseOne
  \new Lyrics \lyricsto Women {
\verseOneLyrics
  %% Need to skip the Whistle part
\verseTwoLyrics
  }
  
}

Thanks,
Chris
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Re: sus7 chords in \chordmode

Hi Elaine,

 what is wrong with interpreting that the 7th resolve to a 6th?  That seems 
 pretty coherent.

Agreed! I see absolutely nothing wrong with that, and didn’t intend to imply 
otherwise. I was just pointing out that applying consistent assumptions about 
voice-leading and traditional suspension resolutions highlights the ambiguity 
in the notation “Csus7”: it could mean

c e g + b, suggesting a [fixed-root] resolution to c e g + a  (i.e., 
7-6 sus)

or

   c g bf + f, suggesting a [fixed-root] resolution to c g bf + e (i.e., 
4-3 sus)

That’s why I strongly prefer the notation “Csus7” (or even something like the 
awkward “Csus+7”) only if you mean the [relatively rare] first example, and 
“C7sus4” if you mean the [far more common] second example.

Cheers,
Kieren.
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Re: Ritardando and accelerando

Hi Again Kevin!

Ok, thanks! I’ll give this a try once more.

Best wishes!
/Peter

Peter Danemo
+46-70-653 21 91
E-post: m...@danemo.com
Web: danemo.com





 27 jan 2015 kl. 01:35 skrev Kevin Barry barr...@gmail.com:
 
 Dear Peter,
 
 Yes the override /typically/ goes in with the notes, but you can put it in 
 different places depending on how many things you want it to effect (just the 
 current voice, or every voice in a score with many staves for example). 
 Lilypond often has more than one way to achieve a given goal.
 
 When asking questions it is often a good idea to post a small snippet of code 
 that compiles on its own, so that we can better see what you are trying to 
 do, like the following (which illustrates how to use the snippet you took 
 from the manual):
 
 \version 2.18.2
 
 \relative {
   \override TextSpanner.bound-details.left.text = \markup { \upright rit. }
   b1\startTextSpan c
   e,\stopTextSpan
 }
 
 Also, do try and send replies to the whole list, so everybody can pitch in 
 when you need help!
 
 hth,
 Kevin
 
 On Tue, Jan 27, 2015 at 12:27 AM, Peter Danemo m...@danemo.com 
 mailto:m...@danemo.com wrote:
 Hi Kevin!
 
 Thanks for your reply! Ok, I think I got that part. What about the rest? I 
 mean where do I put this? 
 
 \override TextSpanner.bound-details.left.text =
   \markup { \upright rit.” }
 Is this also among the notes?
 
 Best wishes!
 /Peter
 
 
 Peter Danemo
 +46-70-653 21 91 tel:%2B46-70-653%2021%2091
 E-post: m...@danemo.com mailto:m...@danemo.com
 Web: danemo.com http://danemo.com/
 
 
 
 
 
 27 jan 2015 kl. 00:55 skrev Kevin Barry barr...@gmail.com 
 mailto:barr...@gmail.com:
 
 
 On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo m...@danemo.com 
 mailto:m...@danemo.com wrote:
 I’m trying to add a Ritardando. I’ve searched the user manual and found some 
 information but I do not understand how I use it. Exactly where do I write!?
 
 Dear Peter,
 
 I'm not sure I understand your question. The piece of code in your message 
 is correct. You should place \startTextSpan after the note you want the rit. 
 to begin on, and \stopTextSpan after the note on which it ends, and the 
 override should go somewhere before. Is that what you were asking? Sorry if 
 I misunderstood.
 
 Kevin
 
 

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Centering chord diagram at top of page

2015-01-26 Thread stephan.patter...@videotron.ca

Good evening,


I'm working on a lead sheet and I would like to show chord diagrams at 
the top of the page, as opposed to showing them over the staff for every 
chord. Here's a simplified version of my score...


\version 2.19.11


\include predefined-guitar-fretboards.ly


global = {
 \time 4/4
 \override Staff.TimeSignature.style = #'()
 \key e \major
 \tempo 4=120
 
}




% Insert blank line
\markup {
 \fill-line {


 \center-column { 
  
 }


 }
}


% Define fretboard diagrams
mychorddiagrams = \chordmode {
 b1 a
}


 


 \context ChordNames {
 \mychorddiagrams
 } 
 
 \context FretBoards {
 \override FretBoards.FretBoard.size = #'1.2
 
 \mychorddiagrams
 }
 





% Define chords
chordNames = \chordmode {
 \override ChordName.font-size = #2 
 
 \global
 % Section A
 b1*2 a1*2
 
}


% Define melody
melody = \relative c'' {
 \global
 % Start of section A
 \mark \markup{ \tiny \box A } 
 % bars 1-4
 r2 b8 cis dis fis8~ | fis4. fis8~fis8 e8 dis4 | e8 e dis b~b2 | a8 a 
gis a~a gis e4 | \break
 
}


\score {
 
 \new ChordNames \chordNames
 \new Staff { \melody }
 
 \layout { indent = 0.0\cm }
 \midi { }
}


This is working fine except for one thing. I would like to center the 
chord diagrams horizontally on the page. I tried with the markup syntax 
that works for text but wasn't successful. Is this possible?


While we're at it, is there a more elegant way to leave a bit of extra 
space above or below the chord diagrams? I can insert a blank line but 
there has to be a better way.


Thanks for your help.
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Re: repeat, alternative, partial and full bar

2015-01-26 Thread Ali Cuota

Dear Mats,

thanks, this is perfect. One time more amazed with the doc. I would
not have searched this in the doc.

The point is the common rythm of spanish Señor ten piedad (Kyrie)
Cristo ten piedad etc
Señor needs (better said: is generally solved with) an upbeat and is
repeated, Cristo needs a downbeat and is repeated, then again Señor
etc
Generally the composers write the repeats, but in this case I have to
write it with \repeat volta 2

Anyway this is solved,

Franck

2015-01-26 7:11 GMT-05:00, Mats Bengtsson mats.bengts...@ee.kth.se:

 Ali Cuota alicuota618 at gmail.com writes:


 Hello,

 I want to see exactly what shows this minimal example, except that the
 space is not desired.
 This is from an hymn melody and I do the SATB setting. So I would like
 to have the original optic. And with so short repeats, it doesnt
 make sense to enlarge the alternative.
 Now, without the s8, the half-note of alternative 2. begins in the
 remaining half-beat and so the rest of the song.
 Thats why.

 As has already been pointed out, the notation in your example doesn't
 really
 make sense, rhythmically. In particular, the second alternative would
 provide the second half of the bar starting before the first alternative,
 so
 the bar lines after the second repeat seem half a bar off, to me. Anyway,
 if
 you just want to avoid the space provided by s8, you could read about
 scaling durations at
 http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations.
 The resulting example would then be
 \relative c' {
 \partial 8
 \repeat volta 2 { d8 d4 d8 d }
 \alternative { { d4.*4/3 } { d2 } }
 d8 d8 d8 d8 d2
 }

 /Mats


 Thanks in advance

 Franck

 2015-01-26 1:58 GMT-05:00, Brian Barker b.m.barker at btinternet.com:
  At 19:54 25/01/2015 -0500, you wrote:
 I wonder how to codify correctly this minimal example:
 
  That depends on what you want to see!
 
 the s8 is here to fullfill the bar, but take some space and should not.
 
  o Why do you think you need this? If you want to go back to the
  starting quaver upbeat, it's important that the first-time bar is
  *not* complete. But that would mean that the repeat bar-line comes at
  a point within a bar, not at the end. The second-time part would have
  to start with a partial bar of only a quaver length.
 
  o Your first-time bar (as marked) is half a bar. Is this ever
  permissible? None of Elaine Gould's examples show this.
 
  o With the first-time bar being only the second half of a bar, the
  minim at the start of the second-time version completes the bar and
  should be followed by a bar line. Then the four barred quavers and
  the final minim should be a contiguous bar - with no intervening
  bar-line. Is that what you mean?
 
 Is there a better way?
 
  Yes - but that depends on exactly what you mean. I started to try to
  correct this, but that's not possible without knowing how you think
  it should actually expand.
 
  Brian Barker - privately
 
 






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Re: Centering chord diagram at top of page

Hi Stephan,

how about:

\version 2.19.11

\include predefined-guitar-fretboards.ly

global = {
  \time 4/4
  \override Staff.TimeSignature.style = #'()
  \key e \major
  \tempo 4=120

}

% Insert blank lines between header and chords
\markup\vspace #3

% Define fretboard diagrams
mychorddiagrams = \chordmode {
  b1*2 a
}

%% Page centered chords as markup:
\markup \fill-line {
  \score {

  \context ChordNames {
\mychorddiagrams
  }
  \context FretBoards {
\override FretBoards.FretBoard.size = #'1.2
\mychorddiagrams
  }

\layout {}
  }
}

% Insert blank lines beteen chords and score
\markup\vspace #3

% Define chords
chordNames = \chordmode {
  \override ChordName.font-size = #2

  \global
  % Section A
  b1*2 a1*2

}

% Define melody
melody = \relative c'' {
  \global
  % Start of section A
  \mark \markup{ \tiny \box A }
  % bars 1-4
  r2 b8 cis dis fis8~ | fis4. fis8~fis8 e8 dis4 | e8 e dis b~b2 | a8 a
gis a~a gis e4 | \break

}

\score {
  
\new ChordNames \chordNames
\new Staff { \melody }
  
  \layout { indent = 0.0\cm }
  \midi { }
}

HTH,
Pierre

2015-01-27 2:53 GMT+01:00 stephan.patter...@videotron.ca 
stephan.patter...@videotron.ca:

 Good evening,

 I'm working on a lead sheet and I would like to show chord diagrams at
 the top of the page, as opposed to showing them over the staff for every
 chord. Here's a simplified version of my score...

 \version 2.19.11

 \include predefined-guitar-fretboards.ly

 global = {
   \time 4/4
   \override Staff.TimeSignature.style = #'()
   \key e \major
   \tempo 4=120

 }


 % Insert blank line
 \markup {
   \fill-line {

 \center-column  {

 }

   }
 }

 % Define fretboard diagrams
 mychorddiagrams = \chordmode {
   b1 a
 }

 

   \context ChordNames {
 \mychorddiagrams
   }

   \context FretBoards {
 \override FretBoards.FretBoard.size = #'1.2

 \mychorddiagrams
   }

 


 % Define chords
 chordNames = \chordmode {
   \override ChordName.font-size = #2

   \global
   % Section A
   b1*2 a1*2

 }

 % Define melody
 melody = \relative c'' {
   \global
   % Start of section A
   \mark \markup{ \tiny \box A }
   % bars 1-4
   r2 b8 cis dis fis8~ | fis4. fis8~fis8 e8 dis4 | e8 e dis b~b2 | a8 a
 gis a~a gis e4 | \break

 }

 \score {
   
 \new ChordNames \chordNames
 \new Staff { \melody }
   
   \layout { indent = 0.0\cm }
   \midi { }
 }

 This is working fine except for one thing. I would like to center the
 chord diagrams horizontally on the page. I tried with the markup syntax
 that works for text but wasn't successful. Is this possible?

 While we're at it, is there a more elegant way to leave a bit of extra
 space above or below the chord diagrams? I can insert a blank line but
 there has to be a better way.

 Thanks for your help.


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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

Hi,

do you really want the note heads to be bigger than the staff space (see second
neume)? And the clefs, accidentals so small? Or is this just an incomplete
workaround because the staff size change did not work for you?

#(layout-set-staff-size 30) works for me if I write it in your layout block:

\layout {
  #(layout-set-staff-size 30)
  ...
}

That’s where it belongs. Perhaps the lyrics font size needs to be adjusted then.

Cheers,
Joram

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Re: sus7 chords in \chordmode

Hi Elaine,

 IMHO, it is far, far, *far*

Three “fars”… that’s pretty far.  =)

 worse to play a C major triad when a C7sus4 is specified than to play a Csus4 
 and omit the 7th.

Did you even read what I wrote before replying? This is what I actually wrote:

 it’s more important to play (e.g.,) an unaltered C7 than a C sus triad 
 without the 7th

Exactly where in there did I suggest that one should play a “C major triad”?

 playing the 3rd instead of the 4th changes it from a dominant function to 
 more like a subdominant function

Wait… what? Playing c f g bf makes it a dominant function, and playing c e g 
bf (i.e., playing the 3rd instead of the 4th) makes it subdominant? When c e 
g bf is the actual definition of a dominant 7th? I’m seriously confused…

Kieren.
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Re: \startTrillSpan without the tr at the beginning?

Hi,

this line interface documentation can be found here:
http://www.lilypond.org/doc/v2.18/Documentation/internals/line_002dinterface

Other fonts’ glyphs can also be used to draw wiggles [1]:
http://lilypondblog.org/wp-content/uploads/2014/01/wiggles.pdf
like

% having the font and installed the openlilylib snippets in place
\include custom-music-fonts/smufl/definitions.ily
{
  a^\markup \concat {
\smuflglyph #wiggleTrillFastest
\smuflglyph #wiggleTrillFasterStill
\smuflglyph #wiggleTrillFaster
\smuflglyph #wiggleTrillFast
\smuflglyph #wiggleTrill
\smuflglyph #wiggleTrillSlow
\smuflglyph #wiggleTrillSlower
\smuflglyph #wiggleTrillSlowerStill
\smuflglyph #wiggleTrill
\smuflglyph #wiggleTrillFaster
\smuflglyph #wiggleTrillFasterStill
\smuflglyph #wiggleTrillFastest
  }
}

This has a fixed width however and is not as comfortable as a trill span. I
would be interested in how to do the wiggles in the wiggles.pdf above in ‘pure’
LilyPond. Though I don’t need it now, it might be helpful for Richard’s 
question.

Cheers,
Joram



[1]: from http://lilypondblog.org/2014/02/feta-and-bravura/

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1. Refrain before verses 2. words for descant

2015-01-26 Thread James E. Bradley

I am using a template for generating some hymns, and I can't figure out 
a couple of things.

The template that I use is below.
1. What do I need to do to have a refrain before the verses, so that the 
stanza numbering is with the verses and not the refrain? For refrains in 
the middle or end, I just lengthen one of the verses, and it works out ok.

2. What do I need to do to get words printing for a descant?

The sopranoTune and altsopranoTune are the same notes, but are used to 
lessen the hassle of alligning words to notes when you want to use 
eighth notes with bars, but have words for each note.


Thank you.



%meat of template
\version 2.18.2

\include english.ly
hideFlag = \once \override Flag #'transparent = ##t
longStem = \once \override Stem #'length = #9

\header
{

  title = Sample

}


global = {
  \override Staff.TimeSignature #'style = #'()
  \time 4/4
  \key g \major

  \override Score.MetronomeMark #'stencil = ##f
  \tempo 4 = 120
}

sopWords = \lyricmode
{
  \override Score . LyricText #'font-size = #-1
  \override Score . LyricHyphen #'minimum-distance = #1
  \override Score . LyricSpace #'minimum-distance = #0.8
  \set stanza = 1. 
  %{   %}
  la la la la la la la la
}
sopWordsTwo = \lyricmode
{
  \set stanza = 2. 
  %{   %}
  da da da da
}
descantWords = \lyricmode
{
  \set stanza = 1. 
  la la la la
}

descantTune = {
  \relative c'' {
   a4 a a a
  }
}%{   %}
sopranoTune = {
  \relative c'' {
\autoBeamOff
\hideNotes \stemUp b8 b b b b b b b
  }
}
altsopranoTune = {
  \relative c'' {
\autoBeamOff
\stemUp b8[ b b] b[ b] b[ b b]
  }
}
altoTune = {
  \relative c' {
\autoBeamOff
\stemDown  d4 d d d
  }
}
tenorTune = {
  \relative c {
\autoBeamOff
\stemDown \longStem b'4 e, e \hideFlag e8 \hideFlag 8
  }
}
bassTune = {
  \relative c {
\autoBeamOff
\stemDown  fs,4 fs fs fs8 fs
  }
}

\score {
  
%comment out the following four lines if there is no descant/
\new Staff
   { \global
   \descantTune
 }
\new Staff

  \new Voice = sopranos \with
  {
   }
  {
\voiceOne
\global
\sopranoTune
  }
  \new Voice = altsopranos
  {
\voiceOne
\altsopranoTune
  }
  \new Voice = altos
  {
\voiceTwo
\altoTune
  }

  \new Lyrics = sopranos { s1 }
  \new Lyrics = sopranosTwo { s1 }
  \new Lyrics = descants { s1 }



\new Staff

  \clef bass
  \new Voice = tenors
  {
\voiceThree
\global
\tenorTune
  }

  \new Voice = basses \with
  {
  }
  {
\voiceFour
\bassTune
  }

\context Lyrics = sopranos \lyricsto sopranos \sopWords
\context Lyrics = sopranosTwo \lyricsto sopranos \sopWordsTwo
\context Lyrics = descants \lyricsto descants \descantWords
  
 }


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Re: sus7 chords in \chordmode

Hi Kevin,

 it is possible for the 7th to be a suspension, for example the inganno 
 interruption (found in fugues and the like) produces a suspended seventh that 
 usually resolves to a 6th.

Indeed, most [classical] music theory texts include entire sections of chapters 
devoted to this suspension, which arose (if I recall correctly) in species 
counterpoint and was used extensively through the Renaissance and Baroque and 
well into to the Classical period.

Cheers,
Kieren.
___

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email:  i...@kierenmacmillan.info


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Re: Ritardando and accelerando

Hi Peter,

just to give you some alternatives at hand:
1. The override can be defined earlier if you want the music part of your file
to look cleaner/shorter.
2. If you do not need/want the spanner lines, a simple text ^... does the 
trick.
3. This text (as well as the spanner text) can be formatted, e.g. with italics.


\version 2.18.2

rit = { \override TextSpanner.bound-details.left.text = \markup { \upright
rit. } }

\relative {
  % use the definition above
  \rit
  b1\startTextSpan c
  e,\stopTextSpan
  % simple annotation without spanner
  c'^rit.
  % same in italics
  c^\markup \italic rit.
}


HTH,
Joram


PS: Wouldn’t it be nice to have these commands (or similar):
b1\startText rit. c e,\stopText

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Re: Ritardando and accelerando

 Yes, I would love to have command like this! That would be really nice.

Hi,

I tried this, but unfortunately it does not work:

\version 2.18.2

startText = #(define-music-function (parser location text notes)(markup? 
ly:music?)
   #{
 \override TextSpanner.bound-details.left.text =  #text
 #notes
 \startTextSpan
   #})
stopText = \stopTextSpan


\relative {
  \startText rit
  b1 c
  e,\stopText
}

I don’t know why. The \startTextSpan in the music-function causes this error:
syntax error, unexpected EVENT_IDENTIFIER


This works, however it is only half way to the solution:

startText = #(define-music-function (parser location text)(markup?)
   #{ \override TextSpanner.bound-details.left.text =  #text #})

\relative {
  \startText rit
   b1 \startTextSpan c
  e,\stopTextSpan
}

Cheers,
Joram

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Re: sus7 chords in \chordmode

2015-01-26 Thread Brett Duncan


On 27/01/15 11:48 AM, Tim McNamara wrote:
The main problem for me with “x7sus4” as a chord name is its length; 
when there are four chord names in a bar, every character counts in 
terms of legibility.  Things can get crowded fast.  (This came up in 
preparing a chart for the Vince Guaraldi song “Cast Your Fate To The 
Wind” in which all the chords in the soloing section are suspended 
dominants.  Lots and lots of them, actually sounds pretty terrible on 
guitar; works somewhat better on piano which was Guaraldi’s 
instrument, but IMHO seriously overdone on this song).
Ah, this puts a slightly different spin on things. In a jazz piece like 
this, the idea of suspension is often interpreted a little differently - 
as Mark Levine explains it in the Jazz Piano Book, the notation x7sus 
refers to playing a major triad one tone lower than the root over the 
given root, e.g. G7sus would be an F triad over a G bass. The resulting 
chord contains the 7th, 4th and 9th. (Whether the 5th and 3rd are 
included is determined by the performer.)


So in this particular context, x7sus better reflects the composer's 
intentions than x7sus4.


Brett
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Re: CHanging key.size, accidental.size and stem.size in gregorianMusic

2015-01-26 Thread Ali Cuota

Hello,

Here it is, although this is a little longer. The attachment is what I get.
I need bigger gregorian scores to fit in the rest of the book (common
western notation).

\version 2.18.0
\include gregorian.ly

\score {
  
\new VaticanaVoice = cantus {
  \override Staff.StaffSymbol.color = #black
  \override Staff.StaffSymbol.staff-space = #1.4 %(magstep 5)
  \override NoteHead.font-size = #4
  \clef vaticana-do3
  f
  \[ g \pes a \] a
-\tweak Y-offset #-.2 \ictus
d' c'
  \[ c' \flexa
\tweak Accidental.X-offset #-5.2 bes
\] a
  \[ a
-\tweak Y-offset #1.8 \episemInitium
\flexa g \episemFinis \]
  \divisioMaior
  s a \tweak Accidental.X-offset #-1.4 bes a
  \[ g \flexa f \] e
  \[ f \flexa e \] \augmentum d
  \finalis
  %%%
}
\new Lyrics
\with {
\override LyricHyphen.minimum-distance = #2 % Pierre: .7
\override VerticalAxisGroup.nonstaff-relatedstaff-spacing =
#'((basic-distance . 6))
}
\lyricsto cantus
{
  Ro -- ra -- _ te * cœ -- \markup{li \with-color #white b} de
-- _ su -- per _
  et nu -- bes plu -- _ ant Jus -- _ tum.
}
  
\layout {
ragged-last = ##f
\context {
\Score
\override SpacingSpanner.packed-spacing = ##f
}
  \context {
   \Lyrics
   \override LyricText #'font-size = #1
  }
  }
}

2015-01-26 16:34 GMT-05:00, Schneidy pierre.schneider.pa...@gmail.com:
 Hi Franck,
 please provide a compilable example.

 Cheers,
 Pierre



 -
 ~Pierre
 --
 View this message in context:
 http://lilypond.1069038.n5.nabble.com/CHanging-key-size-accidental-size-and-stem-size-in-gregorianMusic-tp171003p171058.html
 Sent from the User mailing list archive at Nabble.com.

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Re: Ritardando and accelerando

Hi Joram!

Thanks a lot! That looks both cleaner and easier, at least for me to 
understand! Yes, I would love to have command like this! That would be really 
nice.

Best wishes!
/Peter

Peter Danemo
+46-70-653 21 91
E-post: petedom...@gmail.com
Web: danemo.com




 27 jan 2015 kl. 07:12 skrev Noeck noeck.marb...@gmx.de:
 
 Hi Peter,
 
 just to give you some alternatives at hand:
 1. The override can be defined earlier if you want the music part of your file
 to look cleaner/shorter.
 2. If you do not need/want the spanner lines, a simple text ^... does the 
 trick.
 3. This text (as well as the spanner text) can be formatted, e.g. with 
 italics.
 
 
 \version 2.18.2
 
 rit = { \override TextSpanner.bound-details.left.text = \markup { \upright
 rit. } }
 
 \relative {
  % use the definition above
  \rit
  b1\startTextSpan c
  e,\stopTextSpan
  % simple annotation without spanner
  c'^rit.
  % same in italics
  c^\markup \italic rit.
 }
 
 
 HTH,
 Joram
 
 
 PS: Wouldn’t it be nice to have these commands (or similar):
 b1\startText rit. c e,\stopText
 
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Re: How to get lyrics to skip measures?

2015-01-26 Thread Chris Trahan

On Mon, Jan 26, 2015 at 4:35 PM, Kieren MacMillan 
kieren_macmil...@sympatico.ca wrote:

 Hi Chris,

  I think that I need to somehow include spacers to skip over the whistle
 part but I'm getting errors when I try that.

 \new Lyrics \lyricsto Women {
 \verseOneLyrics
 \repeat unfold 4 { \skip 8 }
 \verseTwoLyrics
   }

 Hope this helps!
 Kieren.
 ___

 Kieren MacMillan, composer
 www:  http://www.kierenmacmillan.info
 email:  i...@kierenmacmillan.info


Thanks Kieren. That's what I tried in the 1st place but the actual musical
passage is not as simple as my example, so using \skip is very unwieldy.
It's a whole verse.

I did figure it out. I had to create a new voice context for the part that
is to be whistled.   I can then just set the lyrics to the Women voice
context and the lyrics automatically skip the Whistle section.

Here's a snippet of the actual code. It's not complete so it won't compile.
I'm beginning to understand contexts, finally!!!

womenMusic = {

  %% There's other music and code here.

  g8 a bf a | a4 a8 bf | c4 c | bf bf8 r | \break
  g8 a bf a | a4 a8 bf | c4 c | g4 r | \bar || \break

%% This creates the new voice context that will be skipped by setting
%% the women's lyrics to the Women voice context.

  \new Voice = Whistle {
g8\mark All whistle a bf g | a4 a8 bf | c4 c | bf bf8 r8 | \break
g8 a bf g | a4 a8 bf | c4 d | g, r | \bar || \break
  }

%% This reverts back to the original context.

  \oneVoice

%% And the rest of the piece follows.

  \key g \major
  g8^Women a b g | a4 a8 b | c4 c | b bf8 r8 | \break

%% The rest of the music is here.
}
  }
}

Now my score block is:

\score {
  \new ChoirStaff
  
\womenMusic
\new Lyrics
\lyricsto Women {
  \set stanza = #1.
  \womenLyricOneTwo  % The same lyrics are used for V 1  2.
  \set stanza = #2.
  \womenLyricOneTwo
}
\menMusic
\new Lyrics \lyricsto Men {
  \set stanza = #2.
  \menLyricTwo
}
  
}

Thanks,
Chris
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Re: sus7 chords in \chordmode

On Mon, Jan 26, 2015 at 10:57 PM, Flaming Hakama by Elaine 
ela...@flaminghakama.com wrote:

 (Also, what is wrong with interpreting that the 7th resolve to a 6th?
 That seems pretty coherent.)


This allows for two possible interpretations of the same symbol, which is
why it is preferable to specify the chord (C7) and the suspension (sus or
sus4) separately: putting the `sus' in between `C' and `7' makes it unclear
whether it applies to the seventh or to the fourth.

The absence or presence of the seventh does not affect the chord quality
 (it does not affect its function)


I have to disagree with this: there are plenty of situations where adding a
seventh does indeed change the chord's function.

Of course, getting any of the notes wrong is regrettable, which is why
unambiguity (i.e. C7sus4 IMO) is so desirable.

Kevin
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Re: Rehearsal marks and grace notes at the beginning of bars

Patrick,

Thanks for your explanation and advice.

The only question I have is in terms of what you consider to be the
appropriate fix, which amounts to adding grace note rests to every other
part.

In this case, it is not much of an issue since this is just a trio piece.
But if I were working on a larger orchestration, this seems like kind of a
lot of work, modifying every other part, rather than just modifying the one
part that has the grace notes.

I am wondering if I am missing something about the character of the problem
and the solution that makes you recommend the grace note rest approach,
rather than tweaking the order of the grace notes and rehearsal mark in the
part that actually has them?


Thanks,


 From: Cynthia Karl pck...@mac.com
 Subject: Re: Rehearsal marks and grace notes at the beginning of bars

  From: Flaming Hakama by Elaine ela...@flaminghakama.com
  To: lilypond-user@gnu.org
  Subject: Rehearsal marks and grace notes at the beginning of bars
 
  Hello everyone,
 
  I ran into a problem today when I had an instrument with grace notes.
  It made rehearsal marks between different instruments not line up,
 printing
  duplicate rehearsal marks.
 
  The fix was to put the grace notes before the rehearsal mark.
 
  I was just wondering if this was expected behavior.

 See v.2.19.15 Notation Manual, Section 1.2.6, Special rhythmic
 concerns, subsection Grace notes, subsubsection Known issues and
 warnings:  Grace note synchronization can also lead to surprises.  You
 just ran into a surprise.

 LilyPond has problems when (I think) it gets into negative time on one
 staff and not on a concurrent one.  Grace notes apparently lead to negative
 time after bar lines.  The following snippet is equivalent to yours with
 all the stuff irrelevant to your issue removed, and shows the four possible
 cases:

 \version 2.19.5

 violinOK = \relative c'' {
\mark\default \grace e16  e4 r r2
 }

 violinBroken = \relative c'' {
   \grace e16 \mark\default e4 r r2
 }

 clarinetBroken = \relative c' {
   \mark\default R1
 }

 clarinetFixed = \relative c' {
   \mark\default \grace s16 R1
 }

 global = { \key g\major }

  \score {
 
  \new Staff { \global \clarinetBroken }
  \new Staff { \global \violinOK }
  
  }

  \score {
 
  \new Staff { \global \clarinetFixed }
  \new Staff { \global \violinOK }

  }

  \score {

  \new Staff { \global \clarinetBroken }
  \new Staff { \global \violinBroken }

  }

  \score {

  \new Staff { \global \clarinetFixed }
  \new Staff { \global \violinBroken }

  }

 In my viewpoint, the original violin part wasn't broken, so it didn't need
 fixing.  The clarinet part needed the fixing.  So what you call
 violinBroken I call violinOK, your clarinet is my clarinetBroken, my
 clarinetFixed, which you don't have, follows the cited warnings, and your
 violinFixed is my violinBroken.

 HTH.






David Elaine Alt
415 . 341 .4954   *Confusion is
highly underrated*
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: sus7 chords in \chordmode

2015-01-26 Thread Tim McNamara

This has perhaps become off-topic and I don’t wish to prolong that; however, I 
have to take issue with the idea that “sus” could somehow apply to the 7th.  It 
can’t.  Suspensions specifically apply to replacing the 3rd with either the 4th 
or the 2nd (the latter being rare except in folk music played on guitar in the 
first position, and even then only a few chords lend themselves to this).  The 
7th cannot be suspended; it can be flatted or natural, in which case this is by 
convention denoted as a 7th or major 7th; the term “sus” is never applied to 
the 7th.  There should be no possible ambiguity when “sus” and “7” are used in 
the same chord.  

The main problem for me with “x7sus4” as a chord name is its length; when there 
are four chord names in a bar, every character counts in terms of legibility.  
Things can get crowded fast.  (This came up in preparing a chart for the Vince 
Guaraldi song “Cast Your Fate To The Wind” in which all the chords in the 
soloing section are suspended dominants.  Lots and lots of them, actually 
sounds pretty terrible on guitar; works somewhat better on piano which was 
Guaraldi’s instrument, but IMHO seriously overdone on this song).

However, I find that when I give musicians lead sheets done by the 
Roemer-Brandt standards I never get any question about what any chord means.  
It may not be especially modern but it is certainly effective.

Tim


 On Jan 26, 2015, at 6:08 PM, Kevin Barry barr...@gmail.com wrote:
 
 
 On Mon, Jan 26, 2015 at 10:57 PM, Flaming Hakama by Elaine 
 ela...@flaminghakama.com mailto:ela...@flaminghakama.com wrote:
 (Also, what is wrong with interpreting that the 7th resolve to a 6th?  That 
 seems pretty coherent.)
 
 This allows for two possible interpretations of the same symbol, which is why 
 it is preferable to specify the chord (C7) and the suspension (sus or sus4) 
 separately: putting the `sus' in between `C' and `7' makes it unclear whether 
 it applies to the seventh or to the fourth.
 
 The absence or presence of the seventh does not affect the chord quality (it 
 does not affect its function)
 
 I have to disagree with this: there are plenty of situations where adding a 
 seventh does indeed change the chord's function.
 
 Of course, getting any of the notes wrong is regrettable, which is why 
 unambiguity (i.e. C7sus4 IMO) is so desirable.
 
 Kevin 
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Re: sus7 chords in \chordmode

On Tue, Jan 27, 2015 at 12:48 AM, Tim McNamara tim...@bitstream.net wrote:

 I have to take issue with the idea that “sus” could somehow apply to the
 7th.  It can’t.  Suspensions specifically apply to replacing the 3rd with
 either the 4th or the 2nd (the latter being rare except in folk music
 played on guitar in the first position, and even then only a few chords
 lend themselves to this).  The 7th cannot be suspended;


I am not an expert on guitar chord notation, but more generally it is
possible for the 7th to be a suspension, for example the inganno
interruption (found in fugues and the like) produces a suspended seventh
that usually resolves to a 6th.

As to the second part of your post I would say you are probably better off
not removing items from chord symbols to save space unless you are
absolutely sure it will not create ambiguity (which responses here suggest
it might).
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Re: sus7 chords in \chordmode

Hi Tim,

 I find that when I give musicians lead sheets done by the Roemer-Brandt 
 standards I never get any question about what any chord means.

I used to use the triangle — which I personally love for its compactness and 
clarity — but I got so many questions about what it meant that I finally gave 
up on it.

Cheers,
Kieren.
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email:  i...@kierenmacmillan.info


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Re: sus7 chords in \chordmode

Hi Elaine,

 Precisely my point: we DON'T have a dominant chord here.  The starting 
 assumption is wrong.

To every player I’ve ever played with — and that’s a lot, in both jazz and 
musical theatre bands — the chord c f g bf is a dominant 7th with alteration.

 Yet, when this symbol is sus, you want to say that the sus modifies what 
 comes after it. Why the discrepancy?

There is no discrepancy at all: “Amin” implies “a triad, built on A, in the 
minor mode”; “Asus4” implies “a triad, built on A, with a suspended 4th”; 
“A7sus4” implies “a dominant seventh chord, built on A, with a suspended 4th” — 
completely consistent. In the latter two cases, “sus” modifies the chord that 
comes before it (i.e., the major or minor triad, or dominant 7), just like the 
“min” modifies the chord that comes before it in the first case.

Cheers,
Kieren.

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email:  i...@kierenmacmillan.info


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Re: sus7 chords in \chordmode

Hi Kevin,

 This allows for two possible interpretations of the same symbol, which is why 
 it is preferable to specify the chord (C7) and the suspension (sus or sus4) 
 separately: putting the `sus' in between `C' and `7' makes it unclear whether 
 it applies to the seventh or to the fourth. […]
 I have to disagree with this: there are plenty of situations where adding a 
 seventh does indeed change the chord's function.
 Of course, getting any of the notes wrong is regrettable, which is why 
 unambiguity (i.e. C7sus4 IMO) is so desirable.

+1

Best,
Kieren.
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email:  i...@kierenmacmillan.info


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Re: Ritardando and accelerando

Hi Joram!

This worked if I use this: rit = { \override 
TextSpanner.bound-details.left.text = \markup { \upright ritardando } }

and  b1\startTextSpan e,\stopTextSpan

One question more. The ritardando starts in the forth bar of one system and 
goes on 2 bars in the next system. Now it says ”ritardando” in both systems. 
Very confusing and unnecessary. How do I get rid of the second ritardando? 



All best!
/Peter


Peter Danemo
+46-70-653 21 91
E-post: petedom...@gmail.com
Web: danemo.com




 27 jan 2015 kl. 07:12 skrev Noeck noeck.marb...@gmx.de:
 
 Hi Peter,
 
 just to give you some alternatives at hand:
 1. The override can be defined earlier if you want the music part of your file
 to look cleaner/shorter.
 2. If you do not need/want the spanner lines, a simple text ^... does the 
 trick.
 3. This text (as well as the spanner text) can be formatted, e.g. with 
 italics.
 
 
 \version 2.18.2
 
 rit = { \override TextSpanner.bound-details.left.text = \markup { \upright
 rit. } }
 
 \relative {
  % use the definition above
  \rit
  b1\startTextSpan c
  e,\stopTextSpan
  % simple annotation without spanner
  c'^rit.
  % same in italics
  c^\markup \italic rit.
 }
 
 
 HTH,
 Joram
 
 
 PS: Wouldn’t it be nice to have these commands (or similar):
 b1\startText rit. c e,\stopText
 
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how to make text spanner not sticking out to the right

2015-01-26 Thread Werner LEMBERG


Consider the following snippet.

  \relative c' {
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
  \once \override TextSpanner.bound-details.left.text = rit.
  \once \override TextSpanner.bound-details.right.text = a tempo
f4\startTextSpan f f f\stopTextSpan
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
  }

As can be seen, lilypond (version 2.19.15-1-171-ge86b2ea) makes a very
unfortunate layout decision so that the `a tempo' sticks out to the
right.

For text scripts and lyrics there is the
`Score.PaperColumn.keep-inside-line' property, which avoids similar
effects.  Obviously, this doesn't affect TextSpanner grobs, thus my
question: How can I make the `a tempo' stay horizontally within the
staff?


Werner

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License for a LilyPond library

2015-01-26 Thread Urs Liska


Hi all,

once again returning to this ever-hot topic ...

I'm going to release a library with LilyPond code, and I'm not 
completely sure which license this should be done with:


My intentions are:

 * Anybody should be able to *use* the library, that is \include it and
   use its functions, even in commercial and closed-source environments
 * Anybody should be allowed to modify the library code itself, but
   this should be forced to be open source.

My impression is that the LGPL is created exactly for this purpose. Am I 
right with that? Or not? If not, what would be a good alternative?


TIA
Urs

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Re: \startTrillSpan without the tr at the beginning?

2015-01-26 Thread Richard Shann

On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote:
 Try:
 
 {
   b'-\tweak style #'zigzag \startTextSpan
   b' b'
   \stopTextSpan
 }
 

That is a step forward - the zigzag distinguishes the sign from the
prall ... looking up the documentation for TextSpanner leads to the same
as before stencil is referred to as The symbol to print. and  the
stencil callback in successive entries
http://lilypond.org/doc/v2.18/Documentation/internals/textspanner 

It looks like the actual drawing of zigzags and so on is in compiled
code, and so not replaceable by the user without running GUB - at least
I can't find any trace of it.

Thanks for all these suggestions, I guess an enhancement request would
be for a wavy line zigzag ...

Richard


 
 Pierre
 
 
 2015-01-25 20:14 GMT+01:00 Richard Shann rich...@rshann.plus.com:
 On Sun, 2015-01-25 at 12:03 +0100, Pierre Perol-Schneider
 wrote:
  Try :
 
  \version 2.18.2
 
  {
b'-\tweak bound-details.left.text #'()
 
 I've started to look more deeply to see if the sharp zig-zag
 line could
 be replaced by a user-defined line. I found this
 
 88
 http://lilypond.org/doc/v2.18/Documentation/internals/trillspanner
 
  stencil (stencil):
 
 ly:line-spanner::print
 
 The symbol to print.
 88
 This sounds strange - I would guess stencil is a procedure not
 a glyph
 (? what would symbol mean here?) - and indeed the next entry
 on that
 page is
 88
  style (symbol):
 
 'trill
 
 This setting determines in what style a grob is typeset.
 Valid
 choices depend on the stencil callback reading this property.
 88
 
 Is it on the cards to write some scheme procedure that stencil
 could be
 set to in order generate a more wavy line?
 
 
 Richard
 
 
 
 



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Re: Need to suppress bar number checking in midi block

2015-01-26 Thread Michael Hendry


 Maybe: 
 
 mymusic = { 
   \time 4/4 
   \repeat volta 2 { 
 g'1 
 \barNumberCheck #2 
   } 
   c'1 
   \displayMusic 
   \barNumberCheck #3 
 } 
 
 \book { 
   \score { 
  \mymusic 
  \layout {} 
   } 
   \score { 
  { \unfoldRepeats \set Score.currentBarNumber = #1 \mymusic } 
  \midi {} 
   } 
 } 
 
 No idea why it's needed or why it works at all. 

Excellent!

Because my midi() output was of a piano part, I had to reset the 
currentBarNumber to #1 once for the right hand and once for the left.

It looks as though \unfoldRepeats “knows” that it’s going through the same bars 
more than once and copes with this, but can’t deal with currentBarNumber being 
wrong from the start.

What’s odd is that the creation of several PDFs that precedes the midi() 
section doesn’t fall over with the second \book is created - presumably with 
currentBarNumber set to the end of the piece.

Many thanks,

Michael

 
 Cheers, 
   Harm 
 
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Re: Understanding Lilypond

 From: Kieren MacMillan kieren_macmil...@sympatico.ca
 Subject: Re: Understanding Lilypond

 Hi Peter,

  many of us have struggled for many months to get to grips with the
 structure and philosophy of Lilypond.

 1. Regarding the structure, what are you struggling with exactly?

 2. Regarding the philosophy, what are you struggling with exactly?

 Hope I can help!
 Kieren.

I have perhaps too much to say about lilypond documentation, much of it
still very unformed in my mind.
Here is some coherent but still probably pie-in-the-sky stuff that I think
would be exceptionally helpful.

% Code examples

The current examples present the minimum information necessary to
demonstrate the feature.

This follows lilypond's approach, which is to invent everything needed that
you didn't specify, like books, scores, staves, time signatues, clefs,
barlines, etc.

However, there are lots of time you are dealing with things that need to be
applied for only one staff, one staff group, for only one measure, only one
book, etc.   Before you can apply the example, you have to backfill the
structure to which it needs to be applied.  Then, apply your modification
in the correct place.

This leads me to a few suggestions:

1a) Provide a way to take a snippet and get the inferred document.Which
is to say, let lilypond invent all the book/score/staff, etc. necessary,
and then output that structure, rather than the usual pdf output.
(Someone will probably inform me that Frescobaldi already does this, and/or
there is an interpreter that does it, or a command line argument...)

1b) Add an option to toggle each example from the current, minimal
example, to a full context example that has this inferred structure.

2) For things that can be applied in various places (at global level, book
level, score level, staff group level, staff level, layout, context etc.)
 provide examples for what each of these look like.  Let the user choose at
which level the example should pertain, so they can then copy/paste the
code applicable to their situation.

3a) Link from the examples in the documentation to templates (and provide
enough templates to cover the material.)

3b) Compile some documentation-demonstration scores made by stringing
together the content in the existing examples, then provide links to the
examples' usage in these reference scores.

3c) Develop a library of musical example scores and cross reference them so
you can go from score to documentation or vice versa.

I am willing to help with documentation efforts if anyone is coordinating
them and needs help.

David Elaine Alt
415 . 341 .4954   *Confusion is
highly underrated*
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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define-music-function - unexpected EVENT_FUNCTION

2015-01-26 Thread and...@andis59.se



I have this test program, se below, but I get
unexpected EVENT_FUNCTION
 \transpose c cis $mus
   \rightHandFinger 
\markup\normal-text\bold\fontsize #0 $txt



How would I do this correctly?

// Anders


%% Start
\version 2.19.15

meTrans =
#(define-music-function (parser location mus txt) (ly:music? string?)
   #{
 \transpose c cis $mus \rightHandFinger 
\markup\normal-text\bold\fontsize #0 $txt

   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold 
\fontsize #0 A

  \meTrans c' a
  }
%% End

--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.
\version 2.19.15

meTrans =
#(define-music-function (parser location mus txt) (ly:music? string?)
   #{
 \transpose c cis $mus \rightHandFinger \markup\normal-text\bold\fontsize #0 $txt
   #}
   )


  {
  \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0 A
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Re: License for a LilyPond library

2015-01-26 Thread Mattes

 
Am Montag, 26. Januar 2015 11:30 CET, Urs Liska u...@openlilylib.org schrieb: 
 
 Hi all,

Hi Urs,
 
 once again returning to this ever-hot topic ...
 
 I'm going to release a library with LilyPond code, and I'm not 
 completely sure which license this should be done with:
 
 My intentions are:
 
   * Anybody should be able to *use* the library, that is \include it and
 use its functions, even in commercial and closed-source environments
   * Anybody should be allowed to modify the library code itself, but
 this should be forced to be open source.
 
 My impression is that the LGPL is created exactly for this purpose. Am I 
 right with that? Or not? If not, what would be a good alternative?

Yes, the second requirement pretty much excludes BSDish licences.
But, to be realistic: even with LGPL, the licence only covers _redistribution_ 
of
the code, not use. So, someone changing your library can't  be forced to commit 
back
unless he/she redistributes the modified code.

 HTH Ralf Mattes
 
 TIA
 Urs
 
 
 
 
 


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Re: how to make text spanner not sticking out to the right

2015-01-26 Thread Werner LEMBERG


   \once \override TextSpanner.bound-details.right.attach-dir = #-6

Thanks.  However, this solution fails twice.

  1. The vertical position of the `a tempo' must not be shifted
 horizontally relative to the music.  In the example, the `a
 tempo' should exactly start at the last quarter note.

  2. In my real-world case, the `a tempo' still sticks out to the
 right.  In other words, your ad-hoc solution is too specific.

I've now solved the issue by inserting a \noBreak command – stupid me
that I haven't thought of that earlier :-)


Werner
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Re: License for a LilyPond library

2015-01-26 Thread Urs Liska



Am 26.01.2015 um 11:55 schrieb Mattes:
  
Am Montag, 26. Januar 2015 11:30 CET, Urs Liska u...@openlilylib.org schrieb:
  

Hi all,

Hi Urs,
  

once again returning to this ever-hot topic ...

I'm going to release a library with LilyPond code, and I'm not
completely sure which license this should be done with:

My intentions are:

   * Anybody should be able to *use* the library, that is \include it and
 use its functions, even in commercial and closed-source environments
   * Anybody should be allowed to modify the library code itself, but
 this should be forced to be open source.

My impression is that the LGPL is created exactly for this purpose. Am I
right with that? Or not? If not, what would be a good alternative?

Yes, the second requirement pretty much excludes BSDish licences.
But, to be realistic: even with LGPL, the licence only covers _redistribution_ 
of
the code, not use. So, someone changing your library can't  be forced to commit 
back
unless he/she redistributes the modified code.


Ah, yes, I'm aware of that.
But that's OK for me. What I wouldn't want is someone redistributing a 
modified version in a commercial package.


So this points to LGPL being OK?

Urs


  HTH Ralf Mattes
  

TIA
Urs

  
  
  
  




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Re: how to make text spanner not sticking out to the right

Try:

\version 2.19.15

\relative c' {
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
  \once \override TextSpanner.bound-details.left.text = rit.
  \once \override TextSpanner.bound-details.right.text = a tempo
  \once \override TextSpanner.bound-details.right.attach-dir = #-6
f4\startTextSpan f f f\stopTextSpan
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
}

Pierre

2015-01-26 10:59 GMT+01:00 Werner LEMBERG w...@gnu.org:


 Consider the following snippet.

   \relative c' {
 f4 f f f |
 f4 f f f |
 f4 f f f |
 f4 f f f |
   \once \override TextSpanner.bound-details.left.text = rit.
   \once \override TextSpanner.bound-details.right.text = a tempo
 f4\startTextSpan f f f\stopTextSpan
 f4 f f f |
 f4 f f f |
 f4 f f f |
 f4 f f f |
 f4 f f f |
 f4 f f f |
   }

 As can be seen, lilypond (version 2.19.15-1-171-ge86b2ea) makes a very
 unfortunate layout decision so that the `a tempo' sticks out to the
 right.

 For text scripts and lyrics there is the
 `Score.PaperColumn.keep-inside-line' property, which avoids similar
 effects.  Obviously, this doesn't affect TextSpanner grobs, thus my
 question: How can I make the `a tempo' stay horizontally within the
 staff?


 Werner


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Re: repeat, alternative, partial and full bar

2015-01-26 Thread Ali Cuota

Hello,

I want to see exactly what shows this minimal example, except that the
space is not desired.
This is from an hymn melody and I do the SATB setting. So I would like
to have the original optic. And with so short repeats, it doesnt
make sense to enlarge the alternative.
Now, without the s8, the half-note of alternative 2. begins in the
remaining half-beat and so the rest of the song.
Thats why.
Thanks in advance

Franck

2015-01-26 1:58 GMT-05:00, Brian Barker b.m.bar...@btinternet.com:
 At 19:54 25/01/2015 -0500, you wrote:
I wonder how to codify correctly this minimal example:

 That depends on what you want to see!

the s8 is here to fullfill the bar, but take some space and should not.

 o Why do you think you need this? If you want to go back to the
 starting quaver upbeat, it's important that the first-time bar is
 *not* complete. But that would mean that the repeat bar-line comes at
 a point within a bar, not at the end. The second-time part would have
 to start with a partial bar of only a quaver length.

 o Your first-time bar (as marked) is half a bar. Is this ever
 permissible? None of Elaine Gould's examples show this.

 o With the first-time bar being only the second half of a bar, the
 minim at the start of the second-time version completes the bar and
 should be followed by a bar line. Then the four barred quavers and
 the final minim should be a contiguous bar - with no intervening
 bar-line. Is that what you mean?

Is there a better way?

 Yes - but that depends on exactly what you mean. I started to try to
 correct this, but that's not possible without knowing how you think
 it should actually expand.

 Brian Barker - privately



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Re: how to make text spanner not sticking out to the right

2015-01-26 Thread Mattes

 
Am Montag, 26. Januar 2015 11:38 CET, Pierre Perol-Schneider 
pierre.schneider.pa...@gmail.com schrieb: 
 
 Try:
 
 \version 2.19.15
 
 \relative c' {
 f4 f f f |
 f4 f f f |
 f4 f f f |
 f4 f f f |
   \once \override TextSpanner.bound-details.left.text = rit.
   \once \override TextSpanner.bound-details.right.text = a tempo
   \once \override TextSpanner.bound-details.right.attach-dir = #-6
 f4\startTextSpan f f f\stopTextSpan
 f4 f f f |


Hmm, but that way the a tempo would start one note early, wouldn't it?
I think that iff the old tempo should be reached on the last note of the bar 
there is really no way to avoid that ugliness.

Cheers, Ralf Mattes

 


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Re: \startTrillSpan without the tr at the beginning?

2015-01-26 Thread Richard Shann

On Mon, 2015-01-26 at 09:21 +, Richard Shann wrote:
 On Sun, 2015-01-25 at 20:54 +0100, Pierre Perol-Schneider wrote:
  Try:
  
  {
b'-\tweak style #'zigzag \startTextSpan
b' b'
\stopTextSpan
  }
  
 
 That is a step forward - the zigzag distinguishes the sign from the
 prall ... looking up the documentation for TextSpanner leads to the same
 as before stencil is referred to as The symbol to print. and  the
 stencil callback in successive entries
 http://lilypond.org/doc/v2.18/Documentation/internals/textspanner 
 
 It looks like the actual drawing of zigzags and so on is in compiled
 code, and so not replaceable by the user without running GUB - at least
 I can't find any trace of it.
 
 Thanks for all these suggestions, I guess an enhancement request would
 be for a wavy line zigzag ...

Come to think of it, I can't find the documentation for what values for
style are already available. The documentation mentions 'dashed-line but
how would the user know if 'wiggly-line was already available?

Richard




 
 Richard
 
 
  
  Pierre
  
  
  2015-01-25 20:14 GMT+01:00 Richard Shann rich...@rshann.plus.com:
  On Sun, 2015-01-25 at 12:03 +0100, Pierre Perol-Schneider
  wrote:
   Try :
  
   \version 2.18.2
  
   {
 b'-\tweak bound-details.left.text #'()
  
  I've started to look more deeply to see if the sharp zig-zag
  line could
  be replaced by a user-defined line. I found this
  
  88
  http://lilypond.org/doc/v2.18/Documentation/internals/trillspanner
  
   stencil (stencil):
  
  ly:line-spanner::print
  
  The symbol to print.
  88
  This sounds strange - I would guess stencil is a procedure not
  a glyph
  (? what would symbol mean here?) - and indeed the next entry
  on that
  page is
  88
   style (symbol):
  
  'trill
  
  This setting determines in what style a grob is typeset.
  Valid
  choices depend on the stencil callback reading this property.
  88
  
  Is it on the cards to write some scheme procedure that stencil
  could be
  set to in order generate a more wavy line?
  
  
  Richard
  
  
  
  
 
 
 
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Re: how to make text spanner not sticking out to the right

You're absolutely right Ralf.
AFAIC I'd do :

\version 2.19.15

\relative c' {
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4
  -\tweak TextSpanner.bound-details.left.text #rit. 
  -\tweak TextSpanner.bound-details.left-broken.text ##f
  -\tweak TextSpanner.bound-details.right-broken.text ##f
  -\tweak TextSpanner.bound-details.right.text # a Tempo
  \startTextSpan f f f
f4\stopTextSpan f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
f4 f f f |
}

In my previous proposition I tried to stick to Werner's parameters.

Cheers,
Pierre

2015-01-26 11:58 GMT+01:00 Mattes r.mat...@mh-freiburg.de:


 Hmm, but that way the a tempo would start one note early, wouldn't it?
 I think that iff the old tempo should be reached on the last note of the
 bar
 there is really no way to avoid that ugliness.

 Cheers, Ralf Mattes

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switching stem direction within voice to avoid collisions

2015-01-26 Thread bart deruyter

Hi all,

I'm typesetting something from Heinrich Albert and one exercise has three
voices. To avoid collisions, they switch the direction of the stems within
one voice and I haven't found how to achieve it.

If someone knows where to find this in the documentation or in a snippet...

The image shows what I want to achieve.

thanks,

Bart

http://www.bartart3d.be/
On facebook https://www.facebook.com/pages/BartArt3D/169488999795102
On Twitter https://twitter.com/#%21/Bart_Issimo
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switching
Description: Binary data
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Re: repeat, alternative, partial and full bar

2015-01-26 Thread Mats Bengtsson


Ali Cuota alicuota618 at gmail.com writes:

 
 Hello,
 
 I want to see exactly what shows this minimal example, except that the
 space is not desired.
 This is from an hymn melody and I do the SATB setting. So I would like
 to have the original optic. And with so short repeats, it doesnt
 make sense to enlarge the alternative.
 Now, without the s8, the half-note of alternative 2. begins in the
 remaining half-beat and so the rest of the song.
 Thats why.

As has already been pointed out, the notation in your example doesn't really
make sense, rhythmically. In particular, the second alternative would
provide the second half of the bar starting before the first alternative, so
the bar lines after the second repeat seem half a bar off, to me. Anyway, if
you just want to avoid the space provided by s8, you could read about
scaling durations at
http://lilypond.org/doc/v2.18/Documentation/notation/writing-rhythms#scaling-durations.
The resulting example would then be
\relative c' {
\partial 8
\repeat volta 2 { d8 d4 d8 d }
\alternative { { d4.*4/3 } { d2 } }
d8 d8 d8 d8 d2
}

/Mats


 Thanks in advance
 
 Franck
 
 2015-01-26 1:58 GMT-05:00, Brian Barker b.m.barker at btinternet.com:
  At 19:54 25/01/2015 -0500, you wrote:
 I wonder how to codify correctly this minimal example:
 
  That depends on what you want to see!
 
 the s8 is here to fullfill the bar, but take some space and should not.
 
  o Why do you think you need this? If you want to go back to the
  starting quaver upbeat, it's important that the first-time bar is
  *not* complete. But that would mean that the repeat bar-line comes at
  a point within a bar, not at the end. The second-time part would have
  to start with a partial bar of only a quaver length.
 
  o Your first-time bar (as marked) is half a bar. Is this ever
  permissible? None of Elaine Gould's examples show this.
 
  o With the first-time bar being only the second half of a bar, the
  minim at the start of the second-time version completes the bar and
  should be followed by a bar line. Then the four barred quavers and
  the final minim should be a contiguous bar - with no intervening
  bar-line. Is that what you mean?
 
 Is there a better way?
 
  Yes - but that depends on exactly what you mean. I started to try to
  correct this, but that's not possible without knowing how you think
  it should actually expand.
 
  Brian Barker - privately
 
 
 





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Re: switching stem direction within voice to avoid collisions

Hi Bart,

Try :

\version 2.18.2

global = { \clef G_8 \time 4/4 }

\new Staff 
  \global
  \context Voice = high {
\voiceOne
c'2 b4 c'
  }
  \context Voice = middle {
\voiceThree
\override NoteColumn.force-hshift = #0
\override Beam.positions = #'(-.8 . 1.5)
\once\stemDown c'8 g e g
\override Beam.positions = #'(-1.5 . .5)
\once\stemDown b[ g]
\override Beam.positions = #'(-1 . .5)
\once\stemDown c' g
\revert Beam.position
  }
  \context Voice = low {
\voiceTwo
e4 e d e
  }


HTH,
Pierre

2015-01-26 12:55 GMT+01:00 bart deruyter bart.deruy...@gmail.com:

 Hi all,

 I'm typesetting something from Heinrich Albert and one exercise has three
 voices. To avoid collisions, they switch the direction of the stems within
 one voice and I haven't found how to achieve it.

 If someone knows where to find this in the documentation or in a snippet...

 The image shows what I want to achieve.

 thanks,

 Bart

 http://www.bartart3d.be/
 On facebook https://www.facebook.com/pages/BartArt3D/169488999795102
 On Twitter https://twitter.com/#%21/Bart_Issimo
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 On Google+ https://plus.google.com/u/0/b/116379400376517483499/

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Re: Understanding Lilypond

Hi,

 The current examples present the minimum information necessary to demonstrate 
 the feature.
 This follows lilypond's approach, which is to invent everything needed that 
 you didn't specify, like books, scores, staves, time signatues, clefs, 
 barlines, etc.

This *is* a potential frustration.

 1b) Add an option to toggle each example from the current, minimal example, 
 to a full context example that has this inferred structure.  

That would be a great solution — it might be difficult to do “automagically”, 
but could certainly be done manually by an interested party.

 2) For things that can be applied in various places (at global level, book 
 level, score level, staff group level, staff level, layout, context etc.)  
 provide examples for what each of these look like.  Let the user choose at 
 which level the example should pertain, so they can then copy/paste the code 
 applicable to their situation.

Hmmm… Given the impressive (read: daunting) size of the docs as they already 
stand, I’m not sure that multiplying all examples by at least a factor of five 
(my estimate for the average number of possible levels of application) is a 
great idea. Certainly *one* example showing the application of the same (e.g.) 
override at all possible different levels would be instructive — and hopefully 
easily applied to other circumstances by the reader.

 3a) Link from the examples in the documentation to templates (and provide 
 enough templates to cover the material.)

There is a discussion currently underway about how best to provide stylesheets 
and templates — feel free to join in and contribute there!

 3b) Compile some documentation-demonstration scores made by stringing 
 together the content in the existing examples, then provide links to the 
 examples' usage in these reference scores.
 
 3c) Develop a library of musical example scores and cross reference them so 
 you can go from score to documentation or vice versa.

Interesting suggestions, though I don’t immediately see how to accomplish that 
easily.

Thanks!
Kieren.

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Re: define-music-function - unexpected EVENT_FUNCTION

2015-01-26 Thread and...@andis59.se


Hello Klaus,

On 2015-01-26 22:08, Klaus Blum wrote:

Hi Anders,

the \rightHandFinger command can only be used for a single note, not for a
whole music expression that could also be a chord or a sequence of notes
and rests.
Replacing ly:music? by ly:pitch? should do the trick:


Aha! I thought about this but I never tried it...

Can you please direct me to where in the documentation this is specified!


%
-
\version 2.19.15

meTrans =
#(define-music-function (parser location mus txt) (ly:pitch? string?)
#{
  \transpose c cis $mus \rightHandFinger
\markup\normal-text\bold\fontsize #0 $txt
#}
)


   {
   \transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize #0
A
   \meTrans c' a
   }
%
-

This function is almost what I need. I would need to be able to write
{
 e' \meTrans a'\5 A \meTrans cis'\6 F 2. e'4
}

Which doesn't work. Since \5 isn't a pitch it's a string-number (Yes I'm 
doing Tab)


It doesn't seems like a'\5 counts as a ly:music. Just the a' is the 
music and \5 is a string-number.




If you want to transpose more than just one note, you should split things
up:
One function to apply the fingering markup on single notes, another function
to transpose the whole music expression:



If it's possible I would like to have one function only.
I have already made some shortcuts that has the txt param as a constant.
So I can call
\pedA c'

Where pedA =
#(define-music-function (parser location mm)(ly:pitch?)
  #{ \pedalAction A $mm #})

In the real code I have switched the params and meTrans is called 
pedalAction


so the music above will be written
 e' \pedA a'\5  \pedF cis'\6  2. e'4

(Yes, I'm still fiddling with my Pedal Steel Guitar Tab mode)



--
English isn't my first language.
So any error or strangeness is due to the translation.
Please correct my English so that I may become better.

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Re: How to get lyrics to skip measures?

Hi Chris,

 I think that I need to somehow include spacers to skip over the whistle part 
 but I'm getting errors when I try that.

\new Lyrics \lyricsto Women {
\verseOneLyrics
\repeat unfold 4 { \skip 8 }
\verseTwoLyrics
  }

Hope this helps!
Kieren.
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Re: sus7 chords in \chordmode

On Mon, Jan 26, 2015 at 1:43 PM, Kieren MacMillan 
kieren_macmil...@sympatico.ca wrote:

 Hi all,

 On Jan 26, 2015, at 3:12 PM, Flaming Hakama by Elaine 
 ela...@flaminghakama.com wrote:
  why I personally prefer the sus7 notation (besides economy with no lack
 of clarity)

 I disagree about the lack of clarity:

 From C7sus4, I infer that we have a C7 chord (i.e., dominant 7th)


Precisely my point: we DON'T have a dominant chord here.  The starting
assumption is wrong.

Sus chords do not function as dominant chords.  Neither in terms of their
character of having a tritone that wants to resolve (which is why you can
say that chords like aug7 and 7b5 are still dominant, even though they
are likewise not identical) nor in terms of their function.   Which is to
say, sus chords traditionally prepare a dominant chord, making them serve a
subdominant function.



 From Csus7, I infer that we have a C chord (i.e., triad) with a suspension
 at the 7th (which suggests a resolution to the 6rd, if it resolves at all).


In this sense, the only ambiguity is that you imagine sus to be a
modifier of what comes after it, rather than as a description of a chord
type.  Consider every other chord type:  maj, min, aug, dim, half-dim.  In
all cases, syntactically the chord type symbol modifies the root, which
comes before it, not the extensions/alterations that come after.   Yet,
when this symbol is sus, you want to say that the sus modifies what comes
after it.   Why the discrepancy?

I suppose this highlights why I advocate for a lexical difference between
the chord type and extensions.  The default format of putting both the
chord type and the extensions in a single string of superscript confuses
what should be two distinct sets of information.

(Also, what is wrong with interpreting that the 7th resolve to a 6th?  That
seems pretty coherent.)



 Although Gould (frustratingly!) has essentially nothing to say about
 chords, I think her philosophy regarding subito dynamics (use “p sub.” and
 not “sub p.”) applies well: since the vast majority of us read music
 (including chord symbols) from left to right, and it’s more important to
 play (e.g.,) an unaltered C7 than a C sus triad without the 7th, it’s
 better to describe the full shape of the chord first


Well, we'll have to agree to disagree about this.  IMHO, it is far, far,
*far* worse to play a C major triad when a C7sus4 is specified than to play
a Csus4 and omit the 7th.  The absence or presence of the seventh does not
affect the chord quality (it does not affect its function) whereas playing
the 3rd instead of the 4th changes it from a dominant function to more like
a subdominant function.

I agree with the analogy, but interpret it the other way:  the equivalent
of p (the type of dynamic) is the chord type, which in this case is
sus,  and the modifier sub. has an equivalent to the extensions (in
this case 7).



All the best,

David Elaine Alt
415 . 341 .4954   *Confusion is
highly underrated*
ela...@flaminghakama.com
self-immolation.info
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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Re: How to get lyrics to skip measures?

2015-01-26 Thread Trevor Daniels


Kieren MacMillan wrote Monday, January 26, 2015 10:35 PM

 I think that I need to somehow include spacers to skip over the whistle part 
 but I'm getting errors when I try that.
 
 \new Lyrics \lyricsto Women {
\verseOneLyrics
\repeat unfold 4 { \skip 8 }
\verseTwoLyrics
  }

Or, if there are only a few notes to skip, use an underscore for each one:

  \new Lyrics \lyricsto Women {
\verseOneLyrics
_ _ _ _
\verseTwoLyrics
  }

Trevor
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Re: Rehearsal marks and grace notes at the beginning of bars

2015-01-26 Thread Cynthia Karl

 
 Message: 4
 Date: Sun, 25 Jan 2015 22:22:02 -0800
 From: Flaming Hakama by Elaine ela...@flaminghakama.com
 To: lilypond-user@gnu.org
 Subject: Rehearsal marks and grace notes at the beginning of bars
 Message-ID:
   CACX-=8xa0ezkphbzw79326ttqm2_ccl_gt42wemzw2a85ze...@mail.gmail.com
 Content-Type: text/plain; charset=utf-8
 
 Hello everyone,
 
 I ran into a problem today when I had an instrument with grace notes.
 It made rehearsal marks between different instruments not line up, printing
 duplicate rehearsal marks.
 
 The fix was to put the grace notes before the rehearsal mark.
 
 I was just wondering if this was expected behavior.

See v.2.19.15 Notation Manual, Section 1.2.6, Special rhythmic concerns, 
subsection Grace notes, subsubsection Known issues and warnings:  Grace 
note synchronization can also lead to surprises.  You just ran into a surprise.

LilyPond has problems when (I think) it gets into negative time on one staff 
and not on a concurrent one.  Grace notes apparently lead to negative time 
after bar lines.  The following snippet is equivalent to yours with all the 
stuff irrelevant to your issue removed, and shows the four possible cases:

\version 2.19.5

violinOK = \relative c'' {
   \mark\default \grace e16  e4 r r2
}

violinBroken = \relative c'' {
  \grace e16 \mark\default e4 r r2
}

clarinetBroken = \relative c' {
  \mark\default R1
}

clarinetFixed = \relative c' {   
  \mark\default \grace s16 R1 
}

global = { \key g\major }

 \score {

 \new Staff { \global \clarinetBroken }
 \new Staff { \global \violinOK }
 
 }

 \score {

 \new Staff { \global \clarinetFixed }
 \new Staff { \global \violinOK }
   
 }
 
 \score {
   
 \new Staff { \global \clarinetBroken }
 \new Staff { \global \violinBroken }
   
 }
 
 \score {
   
 \new Staff { \global \clarinetFixed }
 \new Staff { \global \violinBroken }
   
 }

In my viewpoint, the original violin part wasn't broken, so it didn't need 
fixing.  The clarinet part needed the fixing.  So what you call violinBroken I 
call violinOK, your clarinet is my clarinetBroken, my clarinetFixed, which you 
don't have, follows the cited warnings, and your violinFixed is my violinBroken.

HTH.

Patrick Karl
 
 \version 2.19.5
 \include english.ly
 
 violinBroken = \relative c'' {
  \key d \minor
  \numericTimeSignature
  \time 4/4
  \tempo 4=230
  r2 r8 d8\f e [ a, ] \bar ||
  f' a,4-. a, e'-- d | f a,-. a,8 e' bf-- ~ e bf e bf d4-. | f
 a,4-. f a,2- \grace { e16 ( d } cs8 ) d-. | r1 \bar ||
 
  % With grace notes in the 'proper' place, we get duplcate marks in the
 wrong place
  \mark \markup { \box Bridge }
  \grace { e16 ( ds } cs8 ds ) e fs as4-- fs-. | as4-- e8 as-. ~ as as
 fs4-- | a?4-. a2- r4 | r1 \bar |.
 }
 
 violinFixed = \relative c'' {
  \key d \minor
  \numericTimeSignature
  \time 4/4
  \tempo 4=230
  r2 r8 d8\f e [ a, ] \bar ||
  f' a,4-. a, e'-- d | f a,-. a,8 e' bf-- ~ e bf e bf d4-. | f
 a,4-. f a,2- \grace { e16 ( d } cs8 ) d-. | r1 \bar ||
 
  % With grace notes in the 'improper' place, we get marks in the right
 place
  \grace { e16 ( ds }
  \mark \markup { \box Bridge }
  cs8 ds ) e fs as4-- fs-. | as4-- e8 as-. ~ as as fs4-- | a?4-. a2- r4 |
 r1 \bar |.
 }
 
 clarinet = \relative c' {
  \key d \minor
  \numericTimeSignature
  \time 4/4
  \tempo 4=230
  r4 cs8\mf bf? a g f e \bar ||
  d4. d8 f a4 bf8 ~ | bf4 a bf cs | d4. d8 ~ d4 cs8 d | r1
  \mark \markup { \box Bridge }
  r1 | \grace { e16 ( ds } cs8 ds ) e fs as4-- cs-. | ds4-. r8 ds r4 ds ~ |
 ds fs8 ds cs b r4 \bar |.
 }
 
  \score {
  \new StaffGroup 
  \new Staff {
\set Staff.instrumentName = #Bb Clarinet
\transpose bf, c { \clarinet }
  }
  \new Staff {
\set Staff.instrumentName = #Violin
\violinBroken
  }
 
  }
 
  \score {
\new StaffGroup 
  \new Staff {
\set Staff.instrumentName = #Bb Clarinet
\transpose bf, c { \clarinet }
  }
  \new Staff {
\set Staff.instrumentName = #Violin
\violinFixed
  }
 
  }
 
 
 
 Thanks,
 
 David Elaine Alt


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Re: Ritardando and accelerando

On Mon, Jan 26, 2015 at 6:36 PM, Peter Danemo m...@danemo.com wrote:

 I’m trying to add a Ritardando. I’ve searched the user manual and found
 some information but I do not understand how I use it. Exactly where do I
 write!?


Dear Peter,

I'm not sure I understand your question. The piece of code in your message
is correct. You should place \startTextSpan after the note you want the
rit. to begin on, and \stopTextSpan after the note on which it ends, and
the override should go somewhere before. Is that what you were asking?
Sorry if I misunderstood.

Kevin
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Re: define-music-function - unexpected EVENT_FUNCTION

2015-01-26 Thread Thomas Morley

2015-01-26 23:55 GMT+01:00 and...@andis59.se and...@andis59.se:
 Hello Klaus,

 On 2015-01-26 22:08, Klaus Blum wrote:

 Hi Anders,

 the \rightHandFinger command can only be used for a single note, not for
 a
 whole music expression that could also be a chord or a sequence of notes
 and rests.
 Replacing ly:music? by ly:pitch? should do the trick:

 Aha! I thought about this but I never tried it...

 Can you please direct me to where in the documentation this is specified!

 %

 -
 \version 2.19.15

 meTrans =
 #(define-music-function (parser location mus txt) (ly:pitch? string?)
 #{
   \transpose c cis $mus \rightHandFinger
 \markup\normal-text\bold\fontsize #0 $txt
 #}
 )


{
\transpose c cis c' \rightHandFinger \markup\normal-text\bold\fontsize
 #0
 A
\meTrans c' a
}
 %

 -

 This function is almost what I need. I would need to be able to write
 {
  e' \meTrans a'\5 A \meTrans cis'\6 F 2. e'4
 }

 Which doesn't work. Since \5 isn't a pitch it's a string-number (Yes I'm
 doing Tab)

 It doesn't seems like a'\5 counts as a ly:music. Just the a' is the music
 and \5 is a string-number.


 If you want to transpose more than just one note, you should split things
 up:
 One function to apply the fingering markup on single notes, another
 function
 to transpose the whole music expression:


 If it's possible I would like to have one function only.
 I have already made some shortcuts that has the txt param as a constant.
 So I can call
 \pedA c'

 Where pedA =
 #(define-music-function (parser location mm)(ly:pitch?)
   #{ \pedalAction A $mm #})

 In the real code I have switched the params and meTrans is called
 pedalAction

 so the music above will be written
  e' \pedA a'\5  \pedF cis'\6  2. e'4

 (Yes, I'm still fiddling with my Pedal Steel Guitar Tab mode)



How about:

\version 2.19.15

meTrans =
#(define-music-function (parser location mus txt) (ly:music? string?)
  (if (music-is-of-type? mus 'note-event)
  (ly:music-set-property! mus 'articulations
(cons
  #{ \rightHandFinger \markup\normal-text\bold\fontsize #0 $txt #}
  (ly:music-property mus 'articulations)))
  (ly:warning mus is not a note-event, ignoring))
  ;(display-scheme-music mus)
   #{
 \transpose c cis $mus
   #})


{
  \transpose c cis
  c'\5 \rightHandFinger \markup\normal-text\bold \fontsize #0 A

  \meTrans c'\5 a
}

Needs further testing, though.

Cheers,
  Harm

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Re: staccato dots and slurs in second voice

2015-01-26 Thread David Nalesnik

On Mon, Jan 26, 2015 at 9:33 AM, David Nalesnik david.nales...@gmail.com
wrote:


  I have something which is almost ready to be reviewed, but I need to get
 several patches pushed and into current master first.


A patch is up for review: see
https://code.google.com/p/lilypond/issues/detail?id=2535

--David
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Re: Ritardando and accelerando