Re: Voice split across staves?

[Keith OHara]

Joel C. Salomon  gmail.com> writes:

> my specific
> question is how best to show what seems to be a voice split across
> staves.  The following example should show what I mean: I’ve set the
> piece’s first bar twice, the first time as seems logical to me, the
> second time as it appears in the printed score:
> 

Your second setting, using two Voices in the upper staff, with output
that matches the printed score, is the way to go.

What you think of as one logical voice, the one with the chords, is
split across the pianists two hands.  Piano music always prints this
in a way that looks like separate voices, so it is best to use separate
LilyPond Voice contexts.   If you join the chord across the staves,
the reader will think it is a recommendation to play the chord with a
single hand, which is not the best way to perform this piece.
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Re: midi channel

[Keith OHara]

Rob  gmx.de> writes:

> for the midi playback
> the channel assignment of the staffs
> does not always do what I expect it to do.
 
> \new Staff \with { midiChannel = 1}
> 

That control does not yet exist, but there are requests in the bug-tracker
http://sourceforge.net/p/testlilyissues/issues/2278/
http://sourceforge.net/p/testlilyissues/issues/4203/

LilyPond tries to assign channels for us, but it would be nice if we
could override her decisions.  If an explicit midiChannel setting simply
over-writes LilyPond's choice, that might work.  Anybody who can compile 
LilyPond and knows some C++ and a bit of MIDI might enjoy testing if this
works as expected, and maybe send a patch.

For now, I think the LilyPonds assignment of staves to channels is at
least consistent, so maybe you can inspect the output to see what staves
are what channels, and then edit the midi as you need.


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Re: Voice split across staves?

[Simon Albrecht]

Am 08.09.2015 um 22:47 schrieb Joel C. Salomon:

I’m trying to re-create John Crook’s original score to Peter Pan (yes,
it’s in the public domain)


Just a sidenote: I tried to find this John Crook or any detail about his 
life on the web and he seems to be famously obscure – there’s no 
information at all! except that he wrote this Peter Pan music, which was 
published in 1905 
. 
Astounding! Do you know anything more?


Yours, Simon

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RE: Voice split across staves?

[Mark Stephen Mrotek]

Joel:

Does this work for you? (see attachment)

Mafrk

-Original Message-
From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Joel 
C. Salomon
Sent: Tuesday, September 08, 2015 1:48 PM
To: LilyPond Users 
Subject: Voice split across staves?

I’m trying to re-create John Crook’s original score to Peter Pan (yes, it’s in 
the public domain) for the Mutopia project, and I’m finding that my lack of 
musical education is getting in the way.

I’m trying to set “Pipe with the Ostrich”, as visible at 
; my current effort is 
at 
.

While critiques of my Lilypond style are also welcome, my specific question is 
how best to show what seems to be a voice split across staves.  The following 
example should show what I mean: I’ve set the piece’s first bar twice, the 
first time as seems logical to me, the second time as it appears in the printed 
score:

\version "2.18.2"
\language "english"
global = {
  \key d \major
  \time 2/4
}

upperStaff = \relative c'' {
  d8. e16 d8  b8  |
<< { \voiceOne
  d8. e16 d8  b8  |
} \new Voice { \voiceTwo
  fs4 fs8 fs  |
} >>
}

lowerStaff = \relative c {
  4 q8  q   |
  4 q8  q   |
}

\score {
  \context PianoStaff <<
\new Staff = "upper" { \clef treble \global \upperStaff }
\new Staff = "lower" { \clef bass \global \lowerStaff }
  >>
  \layout{ }
  \midi { }
}

The “Cross-staff stems” section in the documentation shows a way to draw the 
chords so they cross the gap, but remain connected. One one hand, this is 
different from the printed source; on the other hand, this might be better 
style. On the gripping hand, I can’t see how to apply the sample code to music 
organized as I’ve been doing it.

Could somebody please point me in the right direction?

—Joel C. Salomon

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\version "2.18.2"
\language "english"
global = {
  \key d \major
  \time 2/4
}

upperStaff = \relative c'' {
  << { d8. e16 d8 b8 | d8. e16 d8 b8 } \\
 { fs4 fs8 fs fs4 fs8 fs } >>
}

lowerStaff = \relative c {
  4 q8  q   |
  4 q8  q   |
}

\score {
  \context PianoStaff <<
\new Staff = "upper" { \clef treble \global \upperStaff }
\new Staff = "lower" { \clef bass \global \lowerStaff }
  >>
  \layout{ }
  \midi { }
}
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Re: Voice split across staves?

[Simon Albrecht]

Hello Joel,

Am 08.09.2015 um 22:47 schrieb Joel C. Salomon:

I’m trying to re-create John Crook’s original score to Peter Pan (yes,
it’s in the public domain) for the Mutopia project, and I’m finding that
my lack of musical education is getting in the way.

I’m trying to set “Pipe with the Ostrich”, as visible at
; my current
effort is at
.

While critiques of my Lilypond style are also welcome,


LilyPond coding style is still very much a matter of personal 
preference. There are some suggestions in 
, 
and some conventions, which partly you seem to know:

– one bar per line
– extra blank lines every n bars
– bar number comments
– { … } and similar should either go on one line or be
{
  …
}
– &c.
One thing can also be said quite definitely: Use \new if a context 
doesn’t exist yet and \context only to reference contexts which already 
exist. (Maybe others will come and contradict decisively… however I 
think this is a quite reasonable convention.)
And there is one inofficial standard: the ‘format’ function of 
python-ly, used in Frescobaldi , which I do 
recommend.
[For Scheme code there is a quite official coding style, which is quite 
(though not completely) well-defined and generally used: 
. Although you don’t 
happen to make notable use of Scheme code.]


Considering your particular file, I wouldn’t like the excess (if I may 
say so) use of whitespace. I don’t go any further than

{
  g8 a b a  b c d c
  b16 a g a  b a b c   d8 16 c  b8 16 a
}
normally. I find that more readable. But, as I said: that’s highly 
personal, and unfortunately we’re nowhere near any consensus which would 
allow everybody to read someone else’s code without getting a headache :-/.



  my specific
question is how best to show what seems to be a voice split across
staves.


Well, LilyPond’s rather strict logics (currently?) prevent such a thing 
like splitting a voice across staves. You’ll need separate voices, and 
\crossStaff – of which you are already aware – provides a facility to 
draw a stem across staves under standard circumstances (no force-hshift, 
same \voiceXXX, …).



The “Cross-staff stems” section in the documentation shows a way to draw
the chords so they cross the gap, but remain connected. One one hand,
this is different from the printed source; on the other hand, this might
be better style. On the gripping hand, I can’t see how to apply the
sample code to music organized as I’ve been doing it.

Could somebody please point me in the right direction?


See attached. I just adapted all of your code to my personal coding 
style, just as a suggestion so you can see what is possible.


Yours, Simon
\version "2.18.2"
\language "english"

global = {
  \key d \major
  \time 2/4
}

upperStaff = \relative {
  d''8. e16  d8 b8 |
  <<
{
  \voiceOne d8. e16  d8 b8 |
}
\new Voice \crossStaff {
  \voiceTwo \autoBeamOff fs='4 fs8 fs |
}
  >>
}

lowerStaff = \relative {
  4 q8 q |
  4 q8 q |
}

\score {
  \new PianoStaff \with { \consists #Span_stem_engraver } <<
\new Staff = "upper" { \clef treble \global \upperStaff }
\new Staff = "lower" { \clef bass \global \lowerStaff }
  >>
  \layout{ }
  \midi { }
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Voice split across staves?

[Joel C. Salomon]

I’m trying to re-create John Crook’s original score to Peter Pan (yes,
it’s in the public domain) for the Mutopia project, and I’m finding that
my lack of musical education is getting in the way.

I’m trying to set “Pipe with the Ostrich”, as visible at
; my current
effort is at
.

While critiques of my Lilypond style are also welcome, my specific
question is how best to show what seems to be a voice split across
staves.  The following example should show what I mean: I’ve set the
piece’s first bar twice, the first time as seems logical to me, the
second time as it appears in the printed score:

\version "2.18.2"
\language "english"
global = {
  \key d \major
  \time 2/4
}

upperStaff = \relative c'' {
  d8. e16 d8  b8  |
<< { \voiceOne
  d8. e16 d8  b8  |
} \new Voice { \voiceTwo
  fs4 fs8 fs  |
} >>
}

lowerStaff = \relative c {
  4 q8  q   |
  4 q8  q   |
}

\score {
  \context PianoStaff <<
\new Staff = "upper" { \clef treble \global \upperStaff }
\new Staff = "lower" { \clef bass \global \lowerStaff }
  >>
  \layout{ }
  \midi { }
}

The “Cross-staff stems” section in the documentation shows a way to draw
the chords so they cross the gap, but remain connected. One one hand,
this is different from the printed source; on the other hand, this might
be better style. On the gripping hand, I can’t see how to apply the
sample code to music organized as I’ve been doing it.

Could somebody please point me in the right direction?

—Joel C. Salomon

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midi channel

[Rob]

Hello!

I'm new to lilypond and trying
to arrange mulit-voice (e.g. bigband arragement).

this works find, only for the midi playback
the channel assignment of the staffs
does not always do what I expect it to do.

Is there any way to assign
explicit midi channels to voices (or staffs)?

E.g. like this:

\new Staff \with { \midichannel = 1}

Thanks for your help!

Rob

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Re: Error when using musicxml2ly - how to proceed ?

[Richard Shann]

On Tue, 2015-09-08 at 21:25 +0200, Martin Tarenskeen wrote:
> 
> On Tue, 8 Sep 2015, Richard Shann wrote:
> 
> > Just in case it is of use to you I attach the LilyPond conversion that
> > Denemo does from your MusicXML, there are some bugs in there but I think
> > the vast bulk of the notes are there for you to work with, separated
> > into voices.
> 
> I know Denemo only by name, never reall tried it, but I am wondering: does 
> it have it's own MusicXML->LilyPond conversion mechanisms or does it rely 
> on the musicxml2ly tool that is shipped with LilyPond?

It has its own one, it doesn't give up when it encounters problems, so
the output is often a little garbled but in almost all cases you get the
bulk of the data. In the case of your file there is what looks like a
spurious note at the end of one of the parts. If you know what the music
is supposed to look like then you can usually fix any irregularities...

Richard




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Re: Error when using musicxml2ly - how to proceed ?

[Martin Tarenskeen]

On Tue, 8 Sep 2015, Richard Shann wrote:


Just in case it is of use to you I attach the LilyPond conversion that
Denemo does from your MusicXML, there are some bugs in there but I think
the vast bulk of the notes are there for you to work with, separated
into voices.


I know Denemo only by name, never reall tried it, but I am wondering: does 
it have it's own MusicXML->LilyPond conversion mechanisms or does it rely 
on the musicxml2ly tool that is shipped with LilyPond?


--

MT

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Re: Error when using musicxml2ly - how to proceed ?

[Richard Shann]

Just in case it is of use to you I attach the LilyPond conversion that
Denemo does from your MusicXML, there are some bugs in there but I think
the vast bulk of the notes are there for you to work with, separated
into voices.

Richard


On Tue, 2015-09-08 at 14:47 +0200, Michael Gerdau wrote:
> Dear Lilyponder,
> 
> a couple of years ago I created a score in Sibelius that I now would
> like to continue to work on with Lilypond. I thus have exported from
> Sibelius (7.1.3) in MusicXML and tried to import in Lilypond using
> musicxml2ly (2.19.26).
> 
> Unfortunately I get an error (see attached logfile).
> 
> How do I proceed ?
> 
> I've attached the compressed MusicXML as well but am happy to reduce
> the size by removing stuff. However I have no experience in debugging
> this sort of problem and would need a few hints as to what I should do.
> 
> The command invoked was
> musicxml2ly --nd --nrp --no-beaming -m Machet\ die\ Thore\ weit.xml >Machet\ 
> die\ Thore\ weit.log 2>&1
> 
> Kind regards,
> Michael
> ___
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%% LilyPond file generated by Denemo version 1.2.5

%%http://www.gnu.org/software/denemo/

\version "2.18.0"

CompactChordSymbols = {}
#(define DenemoTransposeStep 0)
#(define DenemoTransposeAccidental 0)
DenemoGlobalTranspose = #(define-music-function (parser location arg)(ly:music?) #{\transpose c c #arg #})
titledPiece = {}
AutoBarline = {}
AutoEndMovementBarline = \bar "|."
\include "simplified-book-titling.ily"

% The music follows

MvmntIVoiceI = {
 d''2. d''4 d''2\AutoBarline
 d''2. d''4 d''2\AutoBarline
 r d'' d''\AutoBarline
 c''1 c''2\AutoBarline
%5
 b'2.( c''4 d''2)\AutoBarline
 b' a'1\AutoBarline
 g'2 g' a'\AutoBarline
 b' b' c''\AutoBarline
 d''1.\AutoBarline
%10
 a'2 a' b'\AutoBarline
 c'' c'' d''\AutoBarline
 e''2. d''4 c''2\AutoBarline
 b'1 a'2\AutoBarline
 e''2. e''4 e''2\AutoBarline
%15
 e''2. e''4 e''2\AutoBarline
 r e'' e''\AutoBarline
 c''2. d''4 e''2\AutoBarline
 e'' f''1\AutoBarline
 e'' r2\AutoBarline
%20
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 r a' b'\AutoBarline
 c'' c'' d''\AutoBarline
%25
 e''1.\AutoBarline
 b'2 b' cis''\AutoBarline
 dis''1 dis''2\AutoBarline
 e'' e''2.( dis''4)\AutoBarline
 e''1 r2\AutoBarline
%30
 e'' b' b'\AutoBarline
 b' cis'' d''\AutoBarline
 cis'' cis'' r\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
%35
 r1 r2\AutoBarline
 d'' d'' d''\AutoBarline
 b'1 r2\AutoBarline
 r e'' e''\AutoBarline
 c''1 c''2\AutoBarline
%40
 a' a' a'\AutoBarline
 d'' d'' d''\AutoBarline
 b'1 b'2\AutoBarline
 r e'' e''\AutoBarline
 c''2. d''4 e''2\AutoBarline
%45
 d''1 r2\AutoBarline
 e''2. e''4 e''2\AutoBarline
 e''2. e''4 e''2\AutoBarline
 r e'' e''\AutoBarline
 d''1 d''2\AutoBarline
%50
 c''2.( d''4 e''2)\AutoBarline
 c'' b'1\AutoBarline
 a'2 cis'' cis''\AutoBarline
 d'' d'' d''\AutoBarline
 b'1 b'2\AutoBarline
%55
 r1 r2\AutoBarline
 r a' a'\AutoBarline
 d'' d'' d''\AutoBarline
 g' a' b'\AutoBarline
 c''1 b'2\AutoBarline
%60
 b' b'2.( a'4)\AutoBarline
 b'1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 e'' b' b'\AutoBarline
%65
 b' cis'' d''\AutoBarline
 cis'' cis'' r\AutoBarline
 r1 r2\AutoBarline
 d'' a' a'\AutoBarline
 a' b' c''\AutoBarline
%70
 b' b' b'\AutoBarline
 c'' c'' d''\AutoBarline
 e'' e'' d''\AutoBarline
 d'' d'' r\AutoBarline
 d'' d'' d''\AutoBarline
%75
 e''2. e''4 d''2\AutoBarline
 c''1 c''2\AutoBarline
 b'1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
%80
 e'' e''4( d'') e''( d'')\AutoBarline
 c''2 c''4( b') c''( b')\AutoBarline
 a'1 a'2\AutoBarline
 r1 r2\AutoBarline
 d'' d''4( c'') d''( c'')\AutoBarline
%85
 b'1 a'2\AutoBarline
 a' a'2.( gis'4)\AutoBarline
 a'1 r2\AutoBarline
 a' a' a'\AutoBarline
 d'' d'' d''\AutoBarline
%90
 b'1 b'2\AutoBarline
 e''1 e''2\AutoBarline
 d'' d''2.( cis''4)\AutoBarline
 d''1 r2\AutoBarline
 r1 r2\AutoBarline
%95
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
%100
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 r1 r2\AutoBarline
 b'( c'') d''\AutoBarline
%105
  

Re: Unwanted barree finger in fret diagram

[David Kastrup]

Marc Hohl  writes:

> Am 08.09.2015 um 12:31 schrieb Thomas Morley:
> [...]
>> Do we want
>> \markup { \fret-diagram #"1-0;" } %% unwanted output
>> keep working?
>> I can't imagine a use-case right now.
>
> IIRC, 1-o means "display first string as open string", and it is common
> to mark open strings with a "0" (zero) within a score, so 1-0 should
> not necessarily yield to an error IMHO.

Does it lead to an error or rather indicate left-hand behind-nut play
(which is the only way you are going to do vibrato or left-hand
dampening on open strings).

-- 
David Kastrup

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Re: hide and omit behaviour

[Noeck]

> I've decided to have a go at it.  There is now an issue 4596 in our
> tracker (currently at
> http://sourceforge.net/p/testlilyissues/issues/4596/>) with a patch
> that should have made your
> 
> \once \undo \omit ...
> 
> approach work as expected.  

Hi David,

I've seen the issue and suspected that it addresses my question in this
thread. Thanks. It is not superurgent for me as the override works, but
I think it would be a good and straight forward feature if that could work.

Cheers,
Joram

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Re: Unwanted barree finger in fret diagram

[Marc Hohl]

Am 08.09.2015 um 12:31 schrieb Thomas Morley:
[...]

Do we want
\markup { \fret-diagram #"1-0;" } %% unwanted output
keep working?
I can't imagine a use-case right now.


IIRC, 1-o means "display first string as open string", and it is common
to mark open strings with a "0" (zero) within a score, so 1-0 should
not necessarily yield to an error IMHO.

Marc


If not, a follow up patch, maybe returning a warning, would probably
be possible.


Cheers,
   Harm

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Re: hide and omit behaviour

[David Kastrup]

Noeck  writes:

> Thanks David,
>
>>> Not sure pushing things back is part of the "\once" functionality.
>> 
>> It isn't.  Correct.  Plain context properties don't have either stack or
>> the subproperty complications of \override, so \once\unset, as opposed
>> to \once\revert, indeed works.
>
> That explains it, thanks.
>
>> Try looking in the manual for how to set the _style_ of tuplet numbers.
>> I think this works by overriding the stencil callback, so just doing
>> \once followed by whatever would reestablish the normal tuplet look is
>> likely to work.
>
> As usually, your guess is right and very helpful. That works perfectly:
> \once \override TupletNumber.stencil = #ly:tuplet-number::print
>
> Thanks also for all other replies to my question.

I've decided to have a go at it.  There is now an issue 4596 in our
tracker (currently at
http://sourceforge.net/p/testlilyissues/issues/4596/>) with a patch
that should have made your

\once \undo \omit ...

approach work as expected.  I don't like all aspects of its behavior but
it should be reasonably robust.  It would have been a quagmire before
the groundwork from issue 3072, but at least now the semantics are
well-defined and predictable even though they aren't perfect (in
connection with quotes and partcombines, \once\unset and \once\revert
might "revert" to a state unrelated to the context where the music gets
used).

-- 
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Re: Error when using musicxml2ly - how to proceed ?

[Avner Dorman]

Dear Michael,

What I've found is that exporting and importing xml works best for single
parts - so I would recommend exporting each part as an xml file and then
including them in your lilypond score. I've even found that piano parts
generally work better when each hand (and sometimes each voice/layer) is
imported separately. It's a bit of a hassle - but with lilypond's
architecture it actually isn't that bad. It seems to me that there is a lot
of variability in how well different program export and import xml that you
can't yet trust it for automatic transfer between programs. Each programs
seems to miss or mess up certain things. This is true for transferring
files between any two programs (try to load your file in Finale or
MuseScore and you'll probably see what I mean).

Hope this helps.

All the best,
Avner

On Tue, Sep 8, 2015 at 8:48 AM Michael Gerdau  wrote:

> Dear Lilyponder,
>
> a couple of years ago I created a score in Sibelius that I now would
> like to continue to work on with Lilypond. I thus have exported from
> Sibelius (7.1.3) in MusicXML and tried to import in Lilypond using
> musicxml2ly (2.19.26).
>
> Unfortunately I get an error (see attached logfile).
>
> How do I proceed ?
>
> I've attached the compressed MusicXML as well but am happy to reduce
> the size by removing stuff. However I have no experience in debugging
> this sort of problem and would need a few hints as to what I should do.
>
> The command invoked was
> musicxml2ly --nd --nrp --no-beaming -m Machet\ die\ Thore\ weit.xml
> >Machet\
> die\ Thore\ weit.log 2>&1
>
> Kind regards,
> Michael
> --
>  Michael Gerdau   email: m...@qata.de
>  GPG-keys available on request or at public
> keyserver___
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>
-- 
All the best,
Avner
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Re: Help with Auto-beaming rules

[N. Andrew Walsh]

I've seen contemporary scores that follow the following basic rules:

All notes within the pulse value (say, a quarter-note in 4/4) are beamed
into one group. If the total group has values shorter than a 16th (this
includes 16th-note tuplets) then only the first beam carries across the
whole group, and all other beams are broken at the 8th-note. In the OP's
example, this would mean four groups of 32nd notes under one single beam,
but the 2nd and 3rd beams subdivided.

This seems a reasonable approach, but I sometimes have trouble getting Lily
to do it without using overrides. Is there a simple rule I could put at the
top of the file that would do this?

Cheers,

A

On Tue, Sep 8, 2015 at 1:58 PM, Simon Albrecht 
wrote:

> Hello Richard,
>
> Am 08.09.2015 um 13:43 schrieb Richard Shann:
>
>> The attached bit of 18th century typesetting shows an 8.[ 32 32] beamed
>> group and a series of  32[ 32 32  32] beamed groups in a 2/4 time
>> signature. This is quite typical of the period and is IMHO more legible
>> than if the 1/32 notes were beamed in larger groups.
>>
>
> Of course.
>
> Can this be done by auto-beaming rules in LilyPond?
>> My attempt follows - I have created two bars beamed manually and
>> followed with two bars which I hope to auto-beam by feeding the first
>> two bars to  \beamExceptions.
>> 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8><
>>
>> \version "2.19.5"
>> MvmntIVoiceI = {
>>   e''8.[ fis''32 g''] e''8.[ fis''32 g'']
>>   c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[
>> d'32 e' f']
>>   c'32 d' e' f' c' d' e' f' c' d' e' f' c' d' e' f'
>>   e''8.( fis''32 g'') e''8.( fis''32 g'')
>>
>> }
>> \layout {
>>  \overrideTimeSignatureSettings 2/4 1/4 #'(1 1) \beamExceptions { 8.[
>> 32 32] 8.[ 32 32] |
>>
>
> OK, the problem is that the NR doesn’t describe the limitations set for
> using \beamExceptions. One exception can always only use one duration, not
> different ones. This is because internally \beamExceptions creates a Scheme
> nested list of the type used in scm/time-signature-settings.scm, where each
> ‘exception rule’ is of the form ((1/32 . (4 4 4 4))). And there’s no way of
> translating { 8.[ 32 32] 8.[ 32 32] } into such a rule.
>
>
>> Be that as it may, I would like to be sure that this beaming cannot be
>> done with a single \overrideTimeSignatureSettings at the outermost
>> context, that is, that individual passages will need to be marked to
>> achieve the desired beaming.
>>
>
> Yes, this will require manual beaming.
>
> Yours, Simon
>
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Error when using musicxml2ly - how to proceed ?

[Michael Gerdau]

Dear Lilyponder,

a couple of years ago I created a score in Sibelius that I now would
like to continue to work on with Lilypond. I thus have exported from
Sibelius (7.1.3) in MusicXML and tried to import in Lilypond using
musicxml2ly (2.19.26).

Unfortunately I get an error (see attached logfile).

How do I proceed ?

I've attached the compressed MusicXML as well but am happy to reduce
the size by removing stuff. However I have no experience in debugging
this sort of problem and would need a few hints as to what I should do.

The command invoked was
musicxml2ly --nd --nrp --no-beaming -m Machet\ die\ Thore\ weit.xml >Machet\
die\ Thore\ weit.log 2>&1

Kind regards,
Michael
--
 Michael Gerdau   email: m...@qata.de
 GPG-keys available on request or at public keyserver

Machet die Thore weit.xml.bz2
Description: application/bzip
musicxml2ly: MusicXML aus Machet die Thore weit.xml lesen...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 337/2 bis 168)
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 337/2 bis 168)
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 337/2 bis 168)
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 337/2 bis 168)
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 169 bis 337/2)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 2857/16 bis 2833/16)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 2857/16 bis 2833/16)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 2857/16 bis 2833/16)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 2857/16 bis 2833/16)
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 357/2 bis 177)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 357/2 bis 177)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 357/2 bis 177)
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 337/2 bis 168)
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 337/2 bis 168)
musicxml2ly: Warnung: Negativer Sprung (skip) -1/2 (von Position 337/2 bis 168)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 357/2 bis 177)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 357/2 bis 177)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 357/2 bis 177)
musicxml2ly: Warnung: Negativer Sprung (skip) -3/2 (von Position 357/2 bis 177)
musicxml2ly: In LilyPond-Ausdrücke umwandeln...
Traceback (most recent call last):
  File "/usr/bin/musicxml2ly", line 2986, in 
main()
  File "/usr/bin/musicxml2ly", line 2981, in main
voices = convert (filename, options)
  File "/usr/bin/musicxml2ly", line 2892, in convert
score = extract_score_structure (mxl_pl, staff_info)
  File "/usr/bin/musicxml2ly", line 430, in extract_score_structure
staff = read_score_part (el)
  File "/usr/bin/musicxml2ly", line 391, in read_score_part
staff.short_instrument_name = extract_display_text (partdisplay)
  File "/usr/bin/musicxml2ly", line 907, in extract_display_text
child = el.get_maybe_exist_named_child ("display-text")
  File "/usr/share/lilypond/2.19.26/python/musicxml.py", line 114, in get_maybe_exist_named_child
return self.get_maybe_exist_typed_child (get_class (name))
  File "/usr/share/lilypond/2.19.26/python/musicxml.py", line 123, in get_maybe_exist_typed_child
raise "More than 1 child", klass
TypeError: exceptions must be old-style classes or derived from BaseException, not str


signature.asc
Description: This is a digitally signed message part.
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Re: Help with Auto-beaming rules

[Simon Albrecht]

Hello Richard,

Am 08.09.2015 um 13:43 schrieb Richard Shann:

The attached bit of 18th century typesetting shows an 8.[ 32 32] beamed
group and a series of  32[ 32 32  32] beamed groups in a 2/4 time
signature. This is quite typical of the period and is IMHO more legible
than if the 1/32 notes were beamed in larger groups.


Of course.


Can this be done by auto-beaming rules in LilyPond?
My attempt follows - I have created two bars beamed manually and
followed with two bars which I hope to auto-beam by feeding the first
two bars to  \beamExceptions.
8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8><

\version "2.19.5"
MvmntIVoiceI = {
  e''8.[ fis''32 g''] e''8.[ fis''32 g'']
  c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' 
f']
  c'32 d' e' f' c' d' e' f' c' d' e' f' c' d' e' f'
  e''8.( fis''32 g'') e''8.( fis''32 g'')

}
\layout {
 \overrideTimeSignatureSettings 2/4 1/4 #'(1 1) \beamExceptions { 8.[ 32 
32] 8.[ 32 32] |


OK, the problem is that the NR doesn’t describe the limitations set for 
using \beamExceptions. One exception can always only use one duration, 
not different ones. This is because internally \beamExceptions creates a 
Scheme nested list of the type used in scm/time-signature-settings.scm, 
where each ‘exception rule’ is of the form ((1/32 . (4 4 4 4))). And 
there’s no way of translating { 8.[ 32 32] 8.[ 32 32] } into such a rule.




Be that as it may, I would like to be sure that this beaming cannot be
done with a single \overrideTimeSignatureSettings at the outermost
context, that is, that individual passages will need to be marked to
achieve the desired beaming.


Yes, this will require manual beaming.

Yours, Simon

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Help with Auto-beaming rules

[Richard Shann]

The attached bit of 18th century typesetting shows an 8.[ 32 32] beamed
group and a series of  32[ 32 32  32] beamed groups in a 2/4 time
signature. This is quite typical of the period and is IMHO more legible
than if the 1/32 notes were beamed in larger groups.
Can this be done by auto-beaming rules in LilyPond?
My attempt follows - I have created two bars beamed manually and
followed with two bars which I hope to auto-beam by feeding the first
two bars to  \beamExceptions.
8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 

\version "2.19.5"
MvmntIVoiceI = {
 e''8.[ fis''32 g''] e''8.[ fis''32 g'']
 c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' f']
 c'32 d' e' f' c' d' e' f' c' d' e' f' c' d' e' f'
 e''8.( fis''32 g'') e''8.( fis''32 g'')

}
\layout {
\overrideTimeSignatureSettings 2/4 1/4 #'(1 1) \beamExceptions { 8.[ 32 32] 
8.[ 32 32] |   
  32[ 32 32  32]  32[  32 32 32] 32[ 32 32 32] 32[ 32 32 32] }
}
\score {
 <<
   \new Staff  {\time 2/4  \MvmntIVoiceI } 
 >>
}

8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 8>< 

This fails because although the 1/32 notes are beamed in four the dotted
1/8 is not beamed to the following two 1/32 notes.
It is not clear to me from the documentation on the page

http://lilypond.org/doc/v2.19/Documentation/notation/beams#setting-automatic-beam-behavior

whether this should have worked. The relevant rule seems to be

"if a beam-ending rule is defined in beamExceptions for the beam-type,
use it to determine the valid places where beams may end"

where "the beam-type is the duration of the shortest note in the beamed
group. "
The problem for me is that this is a circular definition. Until we know
what the beamed group will be we don't know what the beam type is, and
until we know that we can't apply the rule to decide what notes will be
beamed.

Be that as it may, I would like to be sure that this beaming cannot be
done with a single \overrideTimeSignatureSettings at the outermost
context, that is, that individual passages will need to be marked to
achieve the desired beaming.

Richard


\version "2.19.5"


MvmntIVoiceI = {
 e''8.[ fis''32 g''] e''8.[ fis''32 g'']
 c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' f'] c'32[ d'32 e' f']
 c'32 d' e' f' c' d' e' f' c' d' e' f' c' d' e' f'
 e''8.( fis''32 g'') e''8.( fis''32 g'')

}

\layout {
\overrideTimeSignatureSettings 2/4 1/4 #'(1 1) \beamExceptions { 8.[ 32 32] 8.[ 32 32] |   
  32[ 32 32  32]  32[  32 32 32] 32[ 32 32 32] 32[ 32 32 32] }
}

\score {
 <<
   \new Staff  {\time 2/4  \MvmntIVoiceI } 
 >>
}



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Re: Unwanted barree finger in fret diagram

[Thomas Morley]

2015-09-08 12:08 GMT+02:00 Phil Holmes :
> This is closer to minimal to illustrate the issue:

or even:

\markup { \fret-diagram #"1-0;" } %% unwanted output

\markup { \fret-diagram #"1-o;" }

>
> You are using zero, for example "6-0".  If you check the manuals you will
> see they use the letter o: "6-o"
>
> --
> Phil Holmes



Already pushed is (available 2.19.27):

commit e2e1656c9d0897fb45a215bdcb96b146100c33e2
Author: Thomas Morley 
Date:   Sun Aug 23 15:24:06 2015 +0200

Clear fret-diagram- and harp-pedal-input-strings from whitespace

issue 4575

Whitespace-characters are deleted before further processing.

Allows for
\markup \fret-diagram #"s:2;h:5;
6-3;5-5;4-5;3-4;2-3;1-x;"

Also adding errors for typos in fret-diagram with a meaningful message:
\markup \fret-diagram #"s:2;g:r;
6-3;5-5;4-5;3-4;2-3;1-x;"
will return:
fatal error: Unhandled entry in fret-diagram "g:r" in "g:r"

This error would not apply, if something for #\g would be defined
in fret-parse-definition-string somewhere in the future.

Then, the message would be:
fatal error: Unhandled entry in fret-diagram "r" in "g:r"

Something similiar is already in harp-pedals.scm


I.e. his patch will also throw errors for bad input-strings, but it
would not have triggered by the use case above.

Do we want
\markup { \fret-diagram #"1-0;" } %% unwanted output
keep working?
I can't imagine a use-case right now.

If not, a follow up patch, maybe returning a warning, would probably
be possible.


Cheers,
  Harm

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Re: what's wrong with \partial

[Andrew Bernard]

Hi Jinsong,

I seem to have completely misunderstood your intentions, reading the other 
posts. To my eye, you wanted the \partial 2 and so two notes in the upbeat, but 
the others took the bar check as having precedence, so assumed one note in the 
upbeat! Anyway, you can do most anything you like with \partial.

Andrew





On 7/09/2015 22:40, "Jinsong Zhao" 
 wrote:

>Hi there,
>
>The following snippet can't give correct output. It produced the 
>following warnings:
>
>warning: barcheck failed at: -1/4
>\partial2 d4
>  |
>
>\version "2.19.26"
>\relative c' {
>\clef "treble"
>\key g \major
>\tempo 4 = 100
>\numericTimeSignature
>\time 3/4
>
>\partial2 d4 |
>g4 g g |
>}
>


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Re: Unwanted barree finger in fret diagram

[ClausRogge]

Thank you! Solved the issue ... funny that I didn't come across this earlier



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Re: Unwanted barree finger in fret diagram

[BB]

If you use an "o" for open String it works as obviously expected. Use

s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-o;5-x;4-x;3-o;2-3;1-o;"}}s1\break

instead of s1 s1^\markup{{\fret-diagram 
#"s:6;h:3;6-0;5-x;4-x;3-0;2-3;1-0;"}}s1\break


For me it does not work with "0" (=zero)!

Regards



On 08.09.2015 12:08, Phil Holmes wrote:

- Original Message - From: "ClausRogge" 
To: 
Sent: Tuesday, September 08, 2015 10:38 AM
Subject: Unwanted barree finger in fret diagram


Why is there a barre sign in these fret diagrams? Far as I cn see, I 
haven't

told LP to do a barre finger in teh first fret ... minimal example, this
time I hope:

\version "2.18.2"

\paper{#(set-default-paper-size "a4")
indent = 0
top-margin = 0\cm
left-margin = 1\cm
right-margin = 1.5\cm
bottom-margin = 1\cm
ragged-last-bottom=##f}

BTDiag= {
\omit Score.BarNumber
\override TextScript.fret-diagram-details.dot-color = #'white
\stopStaff
s1 s1^\markup{{\fret-diagram 
#"s:6;h:3;6-0;5-x;4-x;3-0;2-3;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram 
#"s:6;h:3;6-x;5-0;4-x;3-0;2-2;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram 
#"s:6;h:3;6-x;5-x;4-0;3-2;2-0;1-2;"}}s1\break


}
\header{
title="Test"
composer="Claus Rogge"
opus="2015"}


\score{
{\override Staff.Clef.color = #white
\override Staff.TimeSignature.color = #white
\clef "G_8" \key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\BTDiag}
}



This is closer to minimal to illustrate the issue:

BTDiag= {
 s1^\markup { \fret-diagram #"6-0;5-x;4-x;3-0;2-3;1-0;" }
}

\new Score{
 \BTDiag
}

You are using zero, for example "6-0".  If you check the manuals you 
will see they use the letter o: "6-o"


--
Phil Holmes

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Re: Unwanted barree finger in fret diagram

[Phil Holmes]

- Original Message - 
From: "ClausRogge" 

To: 
Sent: Tuesday, September 08, 2015 10:38 AM
Subject: Unwanted barree finger in fret diagram


Why is there a barre sign in these fret diagrams? Far as I cn see, I 
haven't

told LP to do a barre finger in teh first fret ... minimal example, this
time I hope:

\version "2.18.2"

\paper{#(set-default-paper-size "a4")
indent = 0
top-margin = 0\cm
left-margin = 1\cm
right-margin = 1.5\cm
bottom-margin = 1\cm
ragged-last-bottom=##f}

BTDiag= {
\omit Score.BarNumber
\override TextScript.fret-diagram-details.dot-color = #'white
\stopStaff
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-0;5-x;4-x;3-0;2-3;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-x;5-0;4-x;3-0;2-2;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-x;5-x;4-0;3-2;2-0;1-2;"}}s1\break

}
\header{
title="Test"
composer="Claus Rogge"
opus="2015"}


\score{
{\override Staff.Clef.color = #white
\override Staff.TimeSignature.color = #white
\clef "G_8" \key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\BTDiag}
}



This is closer to minimal to illustrate the issue:

BTDiag= {
 s1^\markup { \fret-diagram #"6-0;5-x;4-x;3-0;2-3;1-0;" }
}

\new Score{
 \BTDiag
}

You are using zero, for example "6-0".  If you check the manuals you will 
see they use the letter o: "6-o"


--
Phil Holmes 



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Re: Unwanted barree finger in fret diagram

[BB]

I cannot answer your question as you use another syntax for fret 
duiagrams as I do. (I do not want to analyse this ...)

But may be you find
http://lsr.di.unimi.it/LSR/Search?q=barre
from the
The LilyPond Snippet Repository
helpful?

Regards

On 08.09.2015 11:38, ClausRogge wrote:

Why is there a barre sign in these fret diagrams? Far as I cn see, I haven't
told LP to do a barre finger in teh first fret ... minimal example, this
time I hope:

\version "2.18.2"

\paper{#(set-default-paper-size "a4")
indent = 0
top-margin = 0\cm
left-margin = 1\cm
right-margin = 1.5\cm
bottom-margin = 1\cm
ragged-last-bottom=##f}

BTDiag= {
\omit Score.BarNumber
\override TextScript.fret-diagram-details.dot-color = #'white
\stopStaff
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-0;5-x;4-x;3-0;2-3;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-x;5-0;4-x;3-0;2-2;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-x;5-x;4-0;3-2;2-0;1-2;"}}s1\break

}
\header{
title="Test"
composer="Claus Rogge"
opus="2015"}


\score{
{\override Staff.Clef.color = #white
\override Staff.TimeSignature.color = #white
\clef "G_8" \key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\BTDiag}
}



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Unwanted barree finger in fret diagram

[ClausRogge]

Why is there a barre sign in these fret diagrams? Far as I cn see, I haven't
told LP to do a barre finger in teh first fret ... minimal example, this
time I hope:

\version "2.18.2"

\paper{#(set-default-paper-size "a4") 
indent = 0
top-margin = 0\cm 
left-margin = 1\cm 
right-margin = 1.5\cm 
bottom-margin = 1\cm
ragged-last-bottom=##f}

BTDiag= {
\omit Score.BarNumber
\override TextScript.fret-diagram-details.dot-color = #'white
\stopStaff 
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-0;5-x;4-x;3-0;2-3;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-x;5-0;4-x;3-0;2-2;1-0;"}}s1\break
s1 s1^\markup{{\fret-diagram #"s:6;h:3;6-x;5-x;4-0;3-2;2-0;1-2;"}}s1\break

}
\header{
title="Test" 
composer="Claus Rogge" 
opus="2015"}


\score{
{\override Staff.Clef.color = #white
\override Staff.TimeSignature.color = #white
\clef "G_8" \key c \major
\override Staff.TimeSignature #'style = #'()
\time 4/4
\BTDiag}
}



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