Re: Hidding Staff Lines at the start of a line

[Klaus Blum]

Hi Zoran, 

this is how I would start: 

% --

\version "2.18.2"

\score {
  <<
\new RhythmicStaff
\with {
  %\accepts "TextScript"
  \override StaffSymbol.line-count = #0
  \omit TimeSignature
}
{
  \grace {\hide r8}  % yes, a dirty hack...   :-)
  \stopStaff
  \override RhythmicStaff.StaffSymbol.line-count = #1
  \startStaff
  \override TextScript.extra-offset = #'(0 . -2.6)
  \textLengthOn
  \hide r4 \hide r4  <>^\markup \whiteout " 6 - 8'' "  \hide r4 \hide r4
  \hide r4 \hide r4  <>^\markup \whiteout " 8 - 10'' "  \hide r4 \hide
r4
}

\new Staff
{ f''1 ~ f''1 }
  >>
}

% --

It does not midify indentation, thus other staves are not affected.

Cheers, 
Klaus




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Re: Hidding Staff Lines at the start of a line

[zzk]

Hi Klaus,


Klaus Blum wrote
> Hi Zoran, 
> 
> this is how I would start: 
> 
> %
> --
> 
> \version "2.18.2"
> 
> \score {
>   <<
> \new RhythmicStaff
> \with {
>   %\accepts "TextScript"
>   \override StaffSymbol.line-count = #0
>   \omit TimeSignature
> }
> {
>   \grace {\hide r8}  % yes, a dirty hack...   :-)
>   \stopStaff
>   \override RhythmicStaff.StaffSymbol.line-count = #1
>   \startStaff
>   \override TextScript.extra-offset = #'(0 . -2.6)
>   \textLengthOn
>   \hide r4 \hide r4  <>^\markup \whiteout " 6 - 8'' "  \hide r4 \hide
> r4
>   \hide r4 \hide r4  <>^\markup \whiteout " 8 - 10'' "  \hide r4 \hide
> r4
> }
> 
> \new Staff
> { f''1 ~ f''1 }
>   >>
> }
> 
> %
> --
> 
> It does not midify indentation, thus other staves are not affected.
> 
> Cheers, 
> Klaus


That is fantastic! Thank you so much for your help.

Cheers,
Zoran



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Re: mixed \time

[David Kastrup]

BB  writes:

> I tried sommething strange. I tried to mix tempo 4/4 and 6/8 in one
> score. I had no success as only the last defined tempo will be used.

LilyPond comes with a manual, and polymetric notation is dealt with
exactly where you'd expect it to be.



-- 
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Re: Mid-piece NullVoice creating?

[Simon Albrecht]

Am 10.09.2015 um 13:30 schrieb David Kastrup:

Here is a clue what is really happening.
Issue 4579, committed rather recently, tries explaining this phenomenon
somewhat more accurately than before and describes a remedy.


Sorry, but did I correctly figure out the remedy you describe?

%
music = {
  1
}

\score {
  {
<<
  \new Staff \with { \override StaffSymbol.color = #red } <<
\new NullVoice \music
\new Voice \music
  >>
>>
\break
\new GrandStaff <<
  \new Staff <<
%\new NullVoice \music
\new Voice \music
  >>
  \new Voice \music
>>
  }
}
%%%

This also has a spurious staff in the second system, but black… ?

Yours, Simon

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Re: Mid-piece NullVoice creating?

[David Kastrup]

Simon Albrecht  writes:

> Am 10.09.2015 um 13:30 schrieb David Kastrup:
>> Here is a clue what is really happening.
>> Issue 4579, committed rather recently, tries explaining this phenomenon
>> somewhat more accurately than before and describes a remedy.
>
> Sorry, but did I correctly figure out the remedy you describe?
>
> %
> music = {
>   1
> }
>
> \score {
>   {
> <<
>   \new Staff \with { \override StaffSymbol.color = #red } <<
> \new NullVoice \music
> \new Voice \music
>   >>
> >>
> \break
> \new GrandStaff <<
>   \new Staff <<
> %\new NullVoice \music
> \new Voice \music
>   >>
>   \new Voice \music
> >>
>   }
> }
> %%%
>
> This also has a spurious staff in the second system, but black… ?

Well, \break is defined as an event, and events need a bottom context.
There no longer is one, so it creates its own one.  So you need
something like
<<
   << { \new Staff ... \break } >>
   \new GrandStaff ...
>>

or move the \break into the \new Staff somewhere.

-- 
David Kastrup

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question about font size

[Haipeng Hu]

Hello,
  I'm preparing two orchestral works for a competition. The music is
ok, but I have problem with title page because I can't see the actual
words. Could anyone tell me how Lilypond deal with absolute fontsize
(\abs-fontsize)? Is the value for pt or px? In Microsoft Word, it
deals with pt. So if Lilypond is using pt, I can learn the title page
documents given by our music publisher. Thank you in advance!

Regards
Haipeng

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Re: Mid-piece NullVoice creating?

[David Kastrup]

Simon Albrecht  writes:

> Hello,
>
> am I doing anything wrong here?
>
> %
> music = {
>   1
> }
>
> \score {
>   \displayMusic {
> \new Staff <<
>   \new NullVoice \music
>   \new Voice \music
> >>
> \break
> \new GrandStaff <<
>   \new Staff <<
> \new NullVoice \music
> \new Voice \music
>   >>
>   \new Voice \music
> >>
>   }
> }
> %%%
>
> The second NullVoice (inside the GrandStaff), unlike the first, is not
> included in the same staff as the Voice, but instead gets a staff of
> its own. Bug?

No, just an incorrect analysis of what is happening here.  The NullVoice
has nothing to do with it.  Remove it and get the same result.

Here is a clue what is really happening.

%
music = {
  1
}

\score {
  \displayMusic {
\new Staff \with { \override StaffSymbol.color = #red } <<
  \new NullVoice \music
  \new Voice \music
>>
\break
\new GrandStaff <<
  \new Staff <<
%\new NullVoice \music
\new Voice \music
  >>
  \new Voice \music
>>
  }
}
%%%

Issue 4579, committed rather recently, tries explaining this phenomenon
somewhat more accurately than before and describes a remedy.

-- 
David Kastrup
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Re: Denemo

[Richard Shann]

On Thu, 2015-09-10 at 13:37 +0200, Martin Tarenskeen wrote:
> Has anyone tried to install Denemo + LilyPond from the Fedora 22 repos? I 
> am not getting any noteheads in the editorscreen, and I see some error 
> messages in my terminal about some fonts not being found (when I start 
> denemo from a terminal command).

The distros only give very out-of-date versions, there is a link on the
denemo.org website to modern ones:

http://software.opensuse.org/download.html?project=home%3Aedogawa=denemo

there is also a binary, which avoids complications due to sharing libraries.

HTH

Richard




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Re: OT: Beauty of programming languages

[Peter Bjuhr]

On 2015-08-26 22:10, Urs Liska wrote:

This thread makes me wonder: what's the average age of LilyPond users
>and
>developers?

Remind me in two weeks and I'll start a poll on Scores of Beauty ...


I send in this reminder not because I'm especially interested in ages, 
but it would be interesting to know more about stuff like editor usage 
and if LilyPond is used for original compositions or for engraving 
existing compositions.


Best
Peter

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Re: Denemo

[Martin Tarenskeen]

On Thu, 10 Sep 2015, Martin Tarenskeen wrote:



Has anyone tried to install Denemo + LilyPond from the Fedora 22 repos? I am 
not getting any noteheads in the editorscreen, and I see some error messages 
in my terminal about some fonts not being found (when I start denemo from a 
terminal command).



To answer my own question:

Looking at the output in my terminal it seems that denemo is looking in 
/usr/share/denemo/fonts for Denemo.ttf, emmentaler.ttf, and feta.ttf and 
can't find the directory and fonts.


But the Fedora rpm packages with the denemo fonts install them in 
/usr/share/fonts/denemo/ instead.


So I tried

ln -s /usr/share/fonts/denemo /usr/share/denemo/fonts

and now the fonts (clefs, notes, etc.) are shown correctly in de Denemo 
editor.


I guess I should send a bugreport to the Fedora packager(s) in 
Bugzilla.


--

MT


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Re: Mid-piece NullVoice creating?

[Simon Albrecht]

Am 10.09.2015 um 14:02 schrieb David Kastrup:

Simon Albrecht  writes:


Am 10.09.2015 um 13:30 schrieb David Kastrup:

Here is a clue what is really happening.
Issue 4579, committed rather recently, tries explaining this phenomenon
somewhat more accurately than before and describes a remedy.

Sorry, but did I correctly figure out the remedy you describe?

%
music = {
   1
}

\score {
   {
 <<
   \new Staff \with { \override StaffSymbol.color = #red } <<
 \new NullVoice \music
 \new Voice \music
   >>
 >>
 \break
 \new GrandStaff <<
   \new Staff <<
 %\new NullVoice \music
 \new Voice \music
   >>
   \new Voice \music
 >>
   }
}
%%%

This also has a spurious staff in the second system, but black… ?

Well, \break is defined as an event, and events need a bottom context.
There no longer is one, so it creates its own one.  So you need
something like
<<
<< { \new Staff ... \break } >>
\new GrandStaff ...
or move the \break into the \new Staff somewhere.


That’s it. Thanks a lot for the explanations.

Yours, Simon

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Mid-piece NullVoice creating?

[Simon Albrecht]

Hello,

am I doing anything wrong here?

%
music = {
  1
}

\score {
  \displayMusic {
\new Staff <<
  \new NullVoice \music
  \new Voice \music
>>
\break
\new GrandStaff <<
  \new Staff <<
\new NullVoice \music
\new Voice \music
  >>
  \new Voice \music
>>
  }
}
%%%

The second NullVoice (inside the GrandStaff), unlike the first, is not 
included in the same staff as the Voice, but instead gets a staff of its 
own. Bug?


TIA, Simon
\version "2.19.25"
#(set-global-staff-size 16)
\paper { #(set-paper-size "a7") indent = 0 page-count = 1 }
#(ly:set-option 'point-and-click #f)
\header { tagline = ##f }

music = {
  1
}

\score {
  \displayMusic {
\new Staff <<
  \new NullVoice \music
  \new Voice \music
>>
\break
\new GrandStaff <<
  \new Staff <<
\new NullVoice \music
\new Voice \music
  >>
  \new Voice \music
>>
  }
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mixed \time

[BB]

I tried sommething strange. I tried to mix tempo 4/4 and 6/8 in one 
score. I had no success as only the last defined tempo will be used.


Regards

%%%

\version "2.19.0"

#(set-global-staff-size 23)

first= \relative c' {

\time 4/4

\key d \major

d4 e f fis a b d r8 a4 bes b d e g r4 a8 b c cis e f a r8

\break

}

second = \relative c' {

\time 6/8

\key c \major

f,4-"f" g4-"g" bes-"bes" c-"c" d-"d" f-"f" g-"g" bes-"bes" c-"c" d-"d" 
f-"f" g-"g" bes-"bes" a b c cis e r8


}

\score {

<<

\new Staff { \first }

\new TabStaff {

<>^"1st guitar"

\tabFullNotation

\transpose c c,

\first

}

\new Staff { \second }

\new TabStaff {

<>^"2nd guitar"

\tabFullNotation

\second

%\pentatonic-DGA

}

>>

}

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Re: mixed \time

[Phil Holmes]

I think what you need to look for is "polymetric notation" in the Notation 
Reference.

--
Phil Holmes


  - Original Message - 
  From: BB 
  To: lilypond-user@gnu.org 
  Sent: Thursday, September 10, 2015 2:09 PM
  Subject: mixed \time


  I tried sommething strange. I tried to mix tempo 4/4 and 6/8 in one score. I 
had no success as only the last defined tempo will be used. 

  Regards 

  %%% 


  \version "2.19.0"


  #(set-global-staff-size 23) 


  first= \relative c' {

  \time 4/4 

  \key d \major

  d4 e f fis a b d r8 a4 bes b d e g r4 a8 b c cis e f a r8

  \break

  }


  second = \relative c' {

  \time 6/8

  \key c \major

  f,4-"f" g4-"g" bes-"bes" c-"c" d-"d" f-"f" g-"g" bes-"bes" c-"c" d-"d" f-"f" 
g-"g" bes-"bes" a b c cis e r8

  }


  \score {

  <<

  \new Staff { \first }

  \new TabStaff {

  <>^"1st guitar" 

  \tabFullNotation

  \transpose c c,

  \first

  }


  \new Staff { \second }

  \new TabStaff {

  <>^"2nd guitar" 

  \tabFullNotation

  \second

  %\pentatonic-DGA

  }

  >>

  }



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Denemo

[Martin Tarenskeen]

Has anyone tried to install Denemo + LilyPond from the Fedora 22 repos? I 
am not getting any noteheads in the editorscreen, and I see some error 
messages in my terminal about some fonts not being found (when I start 
denemo from a terminal command).


--

MT

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Re: Denemo

[Johan Vromans]

On Thu, 10 Sep 2015 13:10:21 +0100
Richard Shann  wrote:

> The distros only give very out-of-date versions, there is a link on the
> denemo.org website to modern ones:

Just a nitpick: This gives me 1.2.2 while 1.2.4 has been out for a while.

-- Johan

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Development or stable version?

[David Sumbler]

After recently asking about the use of \repeat inside \parallelMusic I
was recommended to download to the latest "development" version of
Lilypond.  At the time I said I wouldn't do this, but would wait for the
next "stable" version.

But shortly afterwards, I realised that I needed to use \alternative
after a repeat.  With the version I was using, 2.18.0, this was going to
be a nightmare or perhaps impossible, whereas I had already been shown
that in a later version it was easy to make things work.

So I decided to "bite the bullet", and downloaded and installed the
latest version, 2.19.24.  I then used convert-ly to update the files I
was working on.

Result?  A very satisfied user!  The result has been an overwhelming
success, and has saved me a lot of messing about trying to get things
working in 2.18.0 which have already been immeasurably improved in later
versions of Lilypond.

Why am I writing this?  Simply to encourage any other user who might
benefit from using a later version than the "stable" one.  Of course
there is the possibility that some as yet unnoticed bug might rear its
head at some point, but let's face it, even release issues of most
software have the odd bug somewhere.

It is that word "unstable" that put me off!  Now that I have used
2.19.24 and entered another 30-odd pages of string quartet with no
problems, I shall be less chicken-hearted about using development
versions in future.

David


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Re: question about font size

[tisimst]

Haipeng,

All font sizes are in pt units. Normally, they are scaled with the
staff-height, but \abs-fontsize does allow you to bypass that effect.

HTH,
Abraham

On Thursday, September 10, 2015, Haipeng Hu [via Lilypond] <
ml-node+s1069038n180950...@n5.nabble.com> wrote:

> Hello,
>   I'm preparing two orchestral works for a competition. The music is
> ok, but I have problem with title page because I can't see the actual
> words. Could anyone tell me how Lilypond deal with absolute fontsize
> (\abs-fontsize)? Is the value for pt or px? In Microsoft Word, it
> deals with pt. So if Lilypond is using pt, I can learn the title page
> documents given by our music publisher. Thank you in advance!
>
> Regards
> Haipeng
>
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Re: Development or stable version?

[Urs Liska]

Am 10.09.2015 um 16:16 schrieb Kieren MacMillan:
> Hi David,
>
> Welcome to the bleeding edge!  =)
>
> As someone who only uses the “latest” development version(s), and that for 
> mission-critical daily composition and engraving (i.e., my career), I can say 
> that the latest “unstable” version is almost always good to go.
>
> That being said, I do recommend keeping your most recent “stable unstable” 
> version around at all times, in case you run into a show-stopper bug. A 
> couple of times in the past five years or so, I had to stay with a version 1 
> or 2 behind the absolute latest, in order to get my scores out the door. 
> Right now, for example, I have .26 (which, so far, I’m using without issue) 
> and .25 on hand.

'unstable' is something completely different when talking about a CLI
compiler than with a GUI program that can crash under you with unsaved
files open.
I think what is most 'unstable' with the development versions is the
language. That is, if you are using any new stuff you have to expect
that the syntax changes. While this is not much of a problem for most
users (thanks to convert-ly) it is something to consider when you
provide some kind of 'public' service, or when you develop an editing
program (for example Frescobaldi's syntax knowledge usually refers to
the latest stable version - it wouldn't really be appropriate to chase
behind unstable syntax changes).

I'm also nearly exclusively using development versions. Usually I have a
'fairly recent' binary around and otherwise use a self-compiled version
from the latest git repository.

Urs


>
> Cheers,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
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Re: OT: Beauty of programming languages

[Kieren MacMillan]

Hello all,

Just in case this doesn’t make it to the poll stage…

>>> This thread makes me wonder: what's the average age of LilyPond users and 
>>> developers?
>> Remind me in two weeks and I'll start a poll on Scores of Beauty ...
> I send in this reminder not because I'm especially interested in ages, but it 
> would be interesting to know more about stuff like editor usage and if 
> LilyPond is used for original compositions or for engraving existing 
> compositions.

Age: I am 46 (as of two weeks ago)

Editor Usage: I recently switched to using Frescobaldi, after more than a 
decade of using Lilypad (i.e., the built-in editor that ships with the Mac OS X 
binary).

Lilypond Usage: I am a composer. (Actually, as of my birthday I’m now a 
full-time composer: I “retired” from my erstwhile dual career in music and 
computer programming.) So, naturally, >95% of my Lilypond usage is for 
engraving original compositions. (I do transcribe/transpose/etc. a few existing 
compositions from time to time, but that’s a very small part of my overall 
workflow.)

Hope that helps!
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Development or stable version?

[Kieren MacMillan]

Hi David,

Welcome to the bleeding edge!  =)

As someone who only uses the “latest” development version(s), and that for 
mission-critical daily composition and engraving (i.e., my career), I can say 
that the latest “unstable” version is almost always good to go.

That being said, I do recommend keeping your most recent “stable unstable” 
version around at all times, in case you run into a show-stopper bug. A couple 
of times in the past five years or so, I had to stay with a version 1 or 2 
behind the absolute latest, in order to get my scores out the door. Right now, 
for example, I have .26 (which, so far, I’m using without issue) and .25 on 
hand.

Cheers,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: OT: Beauty of programming languages

[Peter Bjuhr]

On 2015-09-10 15:57, Kieren MacMillan wrote:

Just in case this doesn’t make it to the poll stage…


>>>This thread makes me wonder: what's the average age of LilyPond users and 
developers?

>>Remind me in two weeks and I'll start a poll on Scores of Beauty ...

>I send in this reminder not because I'm especially interested in ages, but it 
would be interesting to know more about stuff like editor usage and if LilyPond is 
used for original compositions or for engraving existing compositions.

Age: I am 46 (as of two weeks ago)

Editor Usage: I recently switched to using Frescobaldi, after more than a 
decade of using Lilypad (i.e., the built-in editor that ships with the Mac OS X 
binary).

Lilypond Usage: I am a composer. (Actually, as of my birthday I’m now a full-time 
composer: I “retired” from my erstwhile dual career in music and computer 
programming.) So, naturally, >95% of my Lilypond usage is for engraving 
original compositions. (I do transcribe/transpose/etc. a few existing compositions 
from time to time, but that’s a very small part of my overall workflow.)



Thanks for sharing Kieren!

I think there will be a poll eventually, but here's a short description 
in response:


I'm 44 and a composer and developer.

If I'm not mistaken I started using LilyPond and Frescobaldi in the 
autumn 2012.


Apart from my small contribution to Das Trunkne Lied my work has been on 
my own original pieces.


Best
Peter

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Re: OT: Beauty of programming languages

[Simon Albrecht]

Am 10.09.2015 um 15:00 schrieb Peter Bjuhr:



On 2015-08-26 22:10, Urs Liska wrote:

This thread makes me wonder: what's the average age of LilyPond users
>and
>developers?

Remind me in two weeks and I'll start a poll on Scores of Beauty ...


I send in this reminder not because I'm especially interested in ages, 
but it would be interesting to know more about stuff like editor usage 
and if LilyPond is used for original compositions or for engraving 
existing compositions.


Age: 22
I’m a student of church music, but very uncertain as to where (in music) 
I will end up :-)
I’ve been using LilyPond for roughly four years now, always through 
Frescobaldi.
The larger part of my typesetting work is existing music, though if I do 
arrangements and compositions myself I also typeset them with LilyPond.


Best,
Simon

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Re: Part of Key signature in bracket

[David Kastrup]

Andreas Stenberg  writes:

> Hi!
>
> I'm editing an 18-th century piece with several voices and "movements"
> where the source; an early print, has a printing error for the first
> movement of the pice. In all the Voices for that movement the key is
> given as G-major when it obviously should be D- major as in the rest
> of the movements. Is there any way to get a bracket on the c- sharp in
> the key signature for D - major?
> (I'v allready found the snippet for putting a bracket around the whole
> key signature and can use that as an emergency stoppgapp solution but
> i would like a neater more exakt notation showing exaktly what has ben
> editorialy added. )

I think that in the last three weeks or so somebody posted a Scheme
version of the key signature engraver here.  That would likely be the
go-to solution for fudging a bracket in.

A hand-grown solution would be to replace the code putting the key
signature in with something that adds the bracket on top (experimenting
until one has it positioned correctly).

I'm a bit at a loss about what a nice _user_ interface for achieving
that kind of thing should look like.

-- 
David Kastrup

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Re: OT: Beauty of programming languages

[Tim Reeves]

Age: 49
Amateur hornist.
Typesetting of existing parts, occasionally creating simple exercises, 
fingering charts, etc. Not a regular user, but like to keep up on 
development.
I use Frescobaldi every time for some time now, and I've been using LP for 
roughly eight years.



Tim


> Message: 1
> Date: Thu, 10 Sep 2015 19:26:24 +0200
> From: Simon Albrecht 
> To: Peter Bjuhr , lilypond-user@gnu.org
> Subject: Re: OT: Beauty of programming languages
> Message-ID: <55f1bd40.3020...@mail.de>
> Content-Type: text/plain; charset=windows-1252; format=flowed
> 
> Am 10.09.2015 um 15:00 schrieb Peter Bjuhr:
> >
> >
> > On 2015-08-26 22:10, Urs Liska wrote:
> >>> This thread makes me wonder: what's the average age of LilyPond 
users
> >>> >and
> >>> >developers?
> >> Remind me in two weeks and I'll start a poll on Scores of Beauty ...
> >
> > I send in this reminder not because I'm especially interested in ages, 

> > but it would be interesting to know more about stuff like editor usage 

> > and if LilyPond is used for original compositions or for engraving 
> > existing compositions.
> 
> Age: 22
> I?m a student of church music, but very uncertain as to where (in music) 

> I will end up :-)
> I?ve been using LilyPond for roughly four years now, always through 
> Frescobaldi.
> The larger part of my typesetting work is existing music, though if I do 

> arrangements and compositions myself I also typeset them with LilyPond.
> 
> Best,
> Simon
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Re: OT: Beauty of programming languages

[PMA]

PMA wrote:

PMA wrote:

Martin Tarenskeen wrote:

This thread makes me wonder: what's the average age of LilyPond users
and developers?

My average age is 75.


Better answer -- My age is 75. I've been using Lilypond for ca 5 years,
without an editor (other than VI), and entirely for original compositions.
My .ly files usually exist initially as output from the J prog. language.

A single movement may well have 2 final .ly files -- one optimized for
the score, the other optimized for MIDI output (in turn further edited
via Rosegarden).

- Pete


P.S.  I upload all results to IMSLP, upon copyright registration.

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OT: Barenreiter Plate Engraving Pictures

[tisimst]

Not sure how many of you follow Barenreiter-Verlag on Facebook, but if you
don't you will have missed an awesome post today (English and German)
showing a handful of beautiful hand-engraved plates and the tools they used.
I always love to see this kind of thing and hate losing them, so I created a
personal blog post to preserve them. 

Check them out here: 
http://leighverlag.blogspot.com/2015/09/gorgeous-plate-engraving-pics.html
  



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Re: OT: Beauty of programming languages

[Nathan Ho]

On Thu, Sep 10, 2015 at 12:50 PM, Kieren MacMillan
 wrote:
> Hi Nathan,
>
>> Most music I work with now is not conventionally notated,
>> so I haven't found much use for LilyPond recently.
>
> What kinds of things do you do?
> How *is* it notated?
>
> You may be the perfect [kind of] person to help make her the best notation 
> application ever.  =)
>

Most of it has no notation at all -- freely improvised (no written
notation), or purely electronic (no human performers).

Regards,
Nathan

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Re: OT: Beauty of programming languages

[Karen S. Billings]

I'm still a LilyPond newbie...

As a retired Bell Labs engineer, I can honestly say that I have found LilyPond 
to be harder than learning vi, troff/nroff, and shell scripts.  (Maybe it's 
age, maybe it's having been out of the field for 7+ years, or maybe it's just 
that I was never an actual programmer...)

I am a volunteer church musician and use LilyPond to "scribble out" music for 
services - usually for setting alternate words to a given harmonization (with 
adjustments) for the cantor & guitarists, for writing viola parts for a given 
melody, or for setting knew set of words to an alternate accompaniment (so I 
can simultaneously sing one and play the other).

I found LilyPond more than I could handle, so I use Frescobaldi when preparing 
snippets, since it helps me with debugging & lets me see what I've written 
(never underestimate immediate gratification... Or immediate "whoops!" 
feedback).

I learned of the Utopia project when using a LilyPond engraving of BWV 680 
(J.S.Bach).

Since it's still new (6 months or so), I do find it a challenge...

Karen S. Billings CAGO

> On Sep 10, 2015, at 7:00 AM, Peter Bjuhr  wrote:
> 
> 
> 
> On 2015-08-26 22:10, Urs Liska wrote:
>>> This thread makes me wonder: what's the average age of LilyPond users
>>> >and
>>> >developers?
>> Remind me in two weeks and I'll start a poll on Scores of Beauty ...
> 
> I send in this reminder not because I'm especially interested in ages, but it 
> would be interesting to know more about stuff like editor usage and if 
> LilyPond is used for original compositions or for engraving existing 
> compositions.
> 
> Best
> Peter
> 
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Re: OT: Beauty of programming languages

[Henning Hraban Ramm]

Hi,
I’m now 42, singer/songwriter and collector of German and international folk 
music. Former scout and LARP bard. Otherwise media designer and programmer.

I’m using LilyPond on OSX since summer 2005, previously with different editors 
(Smultron, TextWrangler, Eclipse), since maybe two years exclusively with 
Frescobaldi.

Mostly I prepare lead sheets and songbooklets for me and my friends and family 
from songs that I like and some of my own.
Since I also like to work with ConTeXt (a modern alternative to LaTeX that 
makes good use of LuaTeX), I’ve my own workflow to combine both (see 
http://wiki.contextgarden.net/LilyPond).
So I mostly engrave existing music, often with my own arrangements, but need 
LilyPond also as a composition tool (I need to hear the MIDI to be able to get 
the rhythm notation right or to test arrangements).

I just released my first CD, see http://www.fiee.net/auditive/ (everything in 
German); notes are available, LilyPond sources on request.

Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net
http://angerweit.tikon.ch/lieder/
https://www.cacert.org (I'm an assurer)





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Re: OT: Beauty of programming languages

[H. S. Teoh]

[...]
> > On Sep 10, 2015, at 7:00 AM, Peter Bjuhr  wrote:
> > 
> > On 2015-08-26 22:10, Urs Liska wrote:
> >>> This thread makes me wonder: what's the average age of LilyPond
> >>> users and developers?
> >> Remind me in two weeks and I'll start a poll on Scores of Beauty ...
> > 
> > I send in this reminder not because I'm especially interested in
> > ages, but it would be interesting to know more about stuff like
> > editor usage and if LilyPond is used for original compositions or
> > for engraving existing compositions.
[...]

I'm 40, and use LilyPond primarily for my own original compositions,
both for typesetting and for midi output.  On a few occasions I've
transcribed a few simple pieces here and there, mainly for my own
studies, and sometimes short snippets of other composers' pieces for
analysis/critique purposes.

Since I'm a programmer by profession, I have no problem with using
LilyPond's text-only input directly (via vim) -- in fact, I prefer
working that way. The text-based input format has made it easy to write
helper programs and scripts that allow me to work around limitations in
LilyPond's midi output capabilities, and I've managed to get quite
decent midi output that way.

(In fact, I've been able to automate the rather elaborate process of
splitting a score into instrument choirs rendered into separate midi
files, to work around the midi 15-channel limit, automatically render
each of them via a software synth and merging them back into a single
audio file using the audio processing program sox. The flexibility of
LilyPond's input format greatly helped in making this possible.)


--T

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Re: OT: Barenreiter Plate Engraving Pictures

[tisimst]

On 9/10/2015 1:01 PM, Johan Vromans [via Lilypond] wrote:
> On Thu, 10 Sep 2015 11:02:36 -0700 (MST)
> tisimst <[hidden email] 
> > wrote:
>
> > 
> http://leighverlag.blogspot.com/2015/09/gorgeous-plate-engraving-pics.html
>
> Isn't this from the video?

Possibly. Which video are you referring to?




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Re: Minimum possible duration

[David Kastrup]

Simon Albrecht  writes:

> Hello,
>
>  states
> (in the last sentence) that ‘the shortest notated duration supported
> by any scorewriter program is the 4096th note’ in Finale. Which,
> obviously, is not the truth.
> At making a test file, I realised that in LilyPond there is a limit,
> but it’s only at a (2^31–1)th note; the log said:
>
> scm/lily.scm:1058:21 <1>: Value out of range -2147483648 to
> 2147483647: 1099511627776

I rather doubt that the Midi file will be overly convincing.

-- 
David Kastrup

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Re: OT: Barenreiter Plate Engraving Pictures

[Urs Liska]

Am 10.09.2015 um 21:08 schrieb Marc Hohl:
> Am 10.09.2015 um 20:02 schrieb tisimst:
>> Not sure how many of you follow Barenreiter-Verlag on Facebook, but
>> if you don't you will have missed an awesome post today (English and
>> German) showing a handful of beautiful hand-engraved plates and the
>> tools they used.
>
> Thanks for sharing!
>
>
> Henle Verlag sold some plates a couple of years ago, and I got one which
> is now framed in my class room. Somethines my younger students
> ask me about it and I try to explain them how printed music was created
> some time ago ...

I got one too - a beautiful page from the second movement of Chopin's f
minor concerto.
It's extremely beautiful to have such a thing - although you feel like a
ghoul when picking a single plate from out a (now-not-anymore) complete
package of plates.

Urs

> Marc
>
>
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Re: Part of Key signature in bracket

[Thomas Morley]

2015-09-10 20:32 GMT+02:00 Simon Albrecht :
> Hello Andreas,
>
> Am 10.09.2015 um 19:38 schrieb Andreas Stenberg:
>>
>> Hi!
>>
>> I'm editing an 18-th century piece with several voices and "movements"
>> where the source; an early print, has a printing error for the first
>> movement of the piece. In all the Voices for that movement the key is given
>> as G-major when it obviously should be D- major as in the rest of the
>> movements.
>
>
> In the Baroque period it was still fairly common to allude to church modes
> in key signature, e.g.
> – d ‘minor’ without a flat or { \key d \dorian } (also with other minor
> keys)
> – e ‘minor’ without a sharp or { \key e \phrygian }.
> From this point of view, I think (without knowing the exact context of
> course) it’s possible that it was not by mistake that the editor wrote {
> \key g \mixolydian }.
>
> But this doesn’t impede the editorial decision to use two sharps in your
> print. (It might lead to confusion with ambiguous notes, though.)
>
>> Is there any way to get a bracket on the c- sharp in the key signature for
>> D - major?
>
>
> With LilyPond, all things are possible! It just depends on the amount of
> programming involved… In this case, the actual programming has already been
> done by David Nalesnik (kudos!) for the thread starting here
> :
> providing an alternative print routine for KeySignature (and
> KeyCancellation, which you’re likely not going to need), which allows
> individual handling of the accidentals.
> I modified this such that it doesn’t do coloring, but parenthesizing.
>


Also available:
http://lilypond.1069038.n5.nabble.com/change-the-key-signature-td148427.html#a149165
David's engraver is much nicer, though.

Cheers,
  Harm

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Re: Minimum possible duration

[Simon Albrecht]

Am 10.09.2015 um 21:22 schrieb David Kastrup:

Simon Albrecht  writes:


Hello,

 states
(in the last sentence) that ‘the shortest notated duration supported
by any scorewriter program is the 4096th note’ in Finale. Which,
obviously, is not the truth.
At making a test file, I realised that in LilyPond there is a limit,
but it’s only at a (2^31–1)th note; the log said:

scm/lily.scm:1058:21 <1>: Value out of range -2147483648 to
2147483647: 1099511627776

I rather doubt that the Midi file will be overly convincing.
Indeed, it’s a mess, and the note reverberates until the software 
crashes or is terminated. But layout works.


~ Simon

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Re: OT: Beauty of programming languages

[Kieren MacMillan]

Hi Nathan,

> Most music I work with now is not conventionally notated,
> so I haven't found much use for LilyPond recently.

What kinds of things do you do?
How *is* it notated?

You may be the perfect [kind of] person to help make her the best notation 
application ever.  =)

Cheers,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: OT: Barenreiter Plate Engraving Pictures

[tisimst]

On 9/10/2015 2:05 PM, bobr...@centrum.is [via Lilypond] wrote:
> - tisimst <[hidden email] 
> > wrote:
>
> > On 9/10/2015 1:01 PM, Johan Vromans [via Lilypond] wrote:
> > > On Thu, 10 Sep 2015 11:02:36 -0700 (MST)
> > > tisimst <[hidden email]
> > > > wrote:
> > >
> > > >
> > > 
> http://leighverlag.blogspot.com/2015/09/gorgeous-plate-engraving-pics.html
> > >
> > > Isn't this from the video?
> >
> > Possibly. Which video are you referring to?
> >
> >
>
> Probably this one:
>
> https://youtube.com/watch?v=m5uPPJj_M_o

I don't think so. I'd be quite surprised if a Bärenreiter employee was 
grabbing frames from Henle videos for its Facebook page. The pictures 
are higher resolution than any video I've seen on traditional music 
engraving.

It _is_ a nice video, though. One of my favorites!

- Abraham




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Can someone point me to an example?

[Karen Billings]

Hi all,
I'm setting this Sunday's psalm to a different accompaniment but, since I'm 
still a beginner, I'm trying to find a sample to work from
I need to have a separate melody line with a piano accompaniment.  The 
accompaniment is a mix of chords and multiple independent lines (like most 
"pop" piano scores).
Can anyone point me to (or forward me) an example of how to do this?
Many thanks!
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Re: OT: Barenreiter Plate Engraving Pictures

[Marc Hohl]

Am 10.09.2015 um 20:02 schrieb tisimst:

Not sure how many of you follow Barenreiter-Verlag on Facebook, but
if you don't you will have missed an awesome post today (English and
German) showing a handful of beautiful hand-engraved plates and the
tools they used.


Thanks for sharing!


Henle Verlag sold some plates a couple of years ago, and I got one which
is now framed in my class room. Somethines my younger students
ask me about it and I try to explain them how printed music was created
some time ago ...

Marc


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Re: OT: Beauty of programming languages

[Nathan Ho]

On Thu, Sep 10, 2015 at 11:59 AM, Tim Reeves  wrote:
> Age: 49
> Amateur hornist.
> Typesetting of existing parts, occasionally creating simple exercises,
> fingering charts, etc. Not a regular user, but like to keep up on
> development.
> I use Frescobaldi every time for some time now, and I've been using LP for
> roughly eight years.
>

Age: 18
Composition and piano student. I have been using LilyPond on-and-off
for about six years, nowadays mostly for arrangements and
transcriptions. Most music I work with now is not conventionally
notated, so I haven't found much use for LilyPond recently.

Regards,
Nathan

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Re: OT: Barenreiter Plate Engraving Pictures

[Urs Liska]

Am 10.09.2015 um 21:20 schrieb tisimst:
> On 9/10/2015 1:01 PM, Johan Vromans [via Lilypond] wrote:
>> On Thu, 10 Sep 2015 11:02:36 -0700 (MST)
>> tisimst <[hidden email]
>> > wrote:
>>
>> >
>> http://leighverlag.blogspot.com/2015/09/gorgeous-plate-engraving-pics.html
>>
>> Isn't this from the video?
>
> Possibly. Which video are you referring to?

These images look familiar to me, therefore they might be from the video
that Henle published on their blog several years ago. But I'm not sure.

Urs
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Re: OT: Barenreiter Plate Engraving Pictures

[bobr...@centrum.is]

- tisimst  wrote:
> On 9/10/2015 1:01 PM, Johan Vromans [via Lilypond] wrote:
> > On Thu, 10 Sep 2015 11:02:36 -0700 (MST)
> > tisimst <[hidden email] 
> > > wrote:
> >
> > > 
> > http://leighverlag.blogspot.com/2015/09/gorgeous-plate-engraving-pics.html
> >
> > Isn't this from the video?
> 
> Possibly. Which video are you referring to?
> 
> 

Probably this one:

https://youtube.com/watch?v=m5uPPJj_M_o
> 
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/OT-Barenreiter-Plate-Engraving-Pictures-tp180966p180977.html
> Sent from the User mailing list archive at Nabble.com.

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RE: Can someone point me to an example?

[Mark Stephen Mrotek]

Karen,

 

This might be of use:

 

http://www.lilypond.org/doc/v2.18/Documentation/snippets/vocal-music#vocal-music-piano-template-with-melody-and-lyrics

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Karen 
Billings
Sent: Thursday, September 10, 2015 1:13 PM
To: Lilypond-User Mailing List 
Subject: Can someone point me to an example?

 

Hi all,

 

I'm setting this Sunday's psalm to a different accompaniment but, since I'm 
still a beginner, I'm trying to find a sample to work from

 

I need to have a separate melody line with a piano accompaniment.  The 
accompaniment is a mix of chords and multiple independent lines (like most 
"pop" piano scores).

 

Can anyone point me to (or forward me) an example of how to do this?

 

Many thanks!

 

Karen

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Part of Key signature in bracket

[Andreas Stenberg]

Hi!

I'm editing an 18-th century piece with several voices and "movements" 
where the source; an early print, has a printing error for the first 
movement of the pice. In all the Voices for that movement the key is 
given as G-major when it obviously should be D- major as in the rest of 
the movements. Is there any way to get a bracket on the c- sharp in the 
key signature for D - major?
(I'v allready found the snippet for putting a bracket around the whole 
key signature and can use that as an emergency stoppgapp solution but i 
would like a neater more exakt notation showing exaktly what has ben 
editorialy added. )


Yours Andrea Stenberg

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Re: OT: Beauty of programming languages

[PMA]

PMA wrote:

Martin Tarenskeen wrote:

This thread makes me wonder: what's the average age of LilyPond users
and developers?

My average age is 75.


Better answer -- My age is 75.  I've been using Lilypond for ca 5 years,
without an editor (other than VI), and entirely for original compositions.
My .ly files usually exist initially as output from the J prog. language.

A single movement may well have 2 final .ly files -- one optimized for
the score, the other optimized for MIDI output (in turn further edited
via Rosegarden).

- Pete

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Re: Part of Key signature in bracket

[Simon Albrecht]

Hello Andreas,

Am 10.09.2015 um 19:38 schrieb Andreas Stenberg:

Hi!

I'm editing an 18-th century piece with several voices and "movements" 
where the source; an early print, has a printing error for the first 
movement of the piece. In all the Voices for that movement the key is 
given as G-major when it obviously should be D- major as in the rest 
of the movements.


In the Baroque period it was still fairly common to allude to church 
modes in key signature, e.g.
– d ‘minor’ without a flat or { \key d \dorian } (also with other minor 
keys)

– e ‘minor’ without a sharp or { \key e \phrygian }.
From this point of view, I think (without knowing the exact context of 
course) it’s possible that it was not by mistake that the editor wrote { 
\key g \mixolydian }.


But this doesn’t impede the editorial decision to use two sharps in your 
print. (It might lead to confusion with ambiguous notes, though.)


Is there any way to get a bracket on the c- sharp in the key signature 
for D - major?


With LilyPond, all things are possible! It just depends on the amount of 
programming involved… In this case, the actual programming has already 
been done by David Nalesnik (kudos!) for the thread starting here 
: 
providing an alternative print routine for KeySignature (and 
KeyCancellation, which you’re likely not going to need), which allows 
individual handling of the accidentals.

I modified this such that it doesn’t do coloring, but parenthesizing.

Yours, Simon
\version "2.19.23"
% courtesy of David Nalesnik
% http://lists.gnu.org/archive/html/lilypond-user/2015-08/msg00414.html
%
% adapted for parenthesizing by Simon Albrecht

#(define key-signature-parenthesize `(
   ((0 . ,SHARP) . #t) ; C
  ))


#(define key-signature::special-print
   (lambda (grob)
 (let* ((inter (/ (ly:staff-symbol-staff-space grob) 2.0))
(mol empty-stencil)
(c0s (ly:grob-property grob 'c0-position))
(is-cancellation? (grob::has-interface grob 'key-cancellation-interface))
(pos empty-interval)
(overlapping-pos empty-interval)
(padding-pairs (ly:grob-property grob 'padding-pairs))
(fm (ly:grob-default-font grob))
(alist (ly:grob-property grob 'glyph-name-alist))) (display (ly:grob-property grob 'alteration-alist)) (newline)
   (let loop ((s (ly:grob-property grob 'alteration-alist))
  (stil mol)
  (last-glyph-name #f))
 (if (pair? s)
 (let* ((alt (if is-cancellation? 0 (cdar s)))
(glyph-name (ly:assoc-get alt alist)))
   (if (not (string? glyph-name))
   (begin
(ly:warning "No glyph found for alteration: ~a" alt)
(loop (cdr s) stil last-glyph-name))
   (let ((acc (ly:font-get-glyph fm glyph-name)))
 (if (equal? acc empty-stencil)
 (begin 
  (ly:warning "alteration not found")
  (loop (cdr s) stil last-glyph-name))
 (let ((column empty-stencil)
   (pos empty-interval))
   (let inner ((pos-list
(key-signature-interface::alteration-positions
 (car s) c0s grob)))
 (if (pair? pos-list)
 (let* ((p (car pos-list))
(pitch (car s))
(paren? (assoc-get pitch key-signature-parenthesize))
(acc
 (if paren?
 (parenthesize-stencil acc 0.065 0.4 0.4 0.1)
 acc)))
   (set! pos (add-point pos p))
   (set! column
 (ly:stencil-add column
   (ly:stencil-translate-axis acc (* p inter) Y)))
   (inner (cdr pos-list
 (let* ((padding (ly:grob-property grob 'padding 0.0))
(handle (assoc (cons glyph-name last-glyph-name) padding-pairs))
(padding
 (cond
  ((pair? handle) (cdr handle))
  ((and
(string=? glyph-name "accidentals.natural")
(not (interval-empty?
  (interval-intersection overlapping-pos pos
   (+ padding 0.3))