Re: Line numbers in editor window

[ClausRogge]

AFAIK, the Mac version is the only one that comes with it's own editor and I
used that for nearly ten years, gravely missing the line numbering. Finally
discovered Frescobaldi which is a fantastic editor! It helps you to keep an
eye on all these brackets as well



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Re: lilypond teaching material

[Andrew Bernard]

Hi Gilles,

It’s in the line of what is called a ‘Hello World’ program in computing. It’s 
the bare minimum that compiles and runs and outputs something absolutely 
minimal, and establishes that all your machinery is up and running and that you 
can go on from there. In this respect, it’s a perfectly good example, and 
useful for people starting. You have to start somewhere, and presenting a 
complete lilypond score skeleton with all its complexities can come later.


Andrew





On 16/09/2015, 20:57, "Gilles" 
 wrote:

>Hello.
>
>On Wed, 16 Sep 2015 11:49:04 +0200, BB wrote:
>> I just read
>> 
>> http://lilypond.org/doc/v2.18/Documentation/learning/entering-input.html
>> (again). I find that is a good basis for such an introduction,
>
>IIRC, someone (among the most prominent current or past developers)
>once stated that this first example being compilable by lilypond had
>been a big mistake.
>
>Perhaps it was meant to show people that text input is not scary.
>But its simplicity is deceitful: no actual score is that simple; even
>a monophonic instrument part should not be encoded that way.
>
>>


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Re: Extract notes from chords, with silence when there are none

[David Kastrup]

msk...@ansuz.sooke.bc.ca writes:

> On Thu, 17 Sep 2015, msk...@ansuz.sooke.bc.ca wrote:
>> On my first few attempt to load this page the server didn't respond, but
>> it seems to work now, and yes, that looks like it does what I want.
>
> I spoke too soon:  the code doesn't handle single notes (non-chords), so
> it's not a complete solution.  But maybe I can further modify it.

Wrap the whole expression in event-chord-wrap! before handling it.  The
LSR issue is probably from before issue 2240 changed the representation
of single notes.

-- 
David Kastrup

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Re: Extract notes from chords, with silence when there are none

[mskala]

On Thu, 17 Sep 2015, msk...@ansuz.sooke.bc.ca wrote:
> On my first few attempt to load this page the server didn't respond, but
> it seems to work now, and yes, that looks like it does what I want.

I spoke too soon:  the code doesn't handle single notes (non-chords), so
it's not a complete solution.  But maybe I can further modify it.

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/

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Re: Extract notes from chords, with silence when there are none

[mskala]

On Wed, 16 Sep 2015, Thomas Morley wrote:
> Is my recent coding here:
> http://www.lilypondforum.de/index.php?topic=2080.msg11479#msg11479
> of any help?

On my first few attempt to load this page the server didn't respond, but
it seems to work now, and yes, that looks like it does what I want.
Thanks!

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/

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Re: lilypond teaching material

[Karen S. Billings]

I definitely agree - the videos are extremely helpful!

Karen

> On Sep 16, 2015, at 10:24 AM, Michael Rivers  wrote:
> 
> Yes, that was my first thought too. Those video tutorials are quite nice.
> 
> 
> 
> --
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Re: Rendering cropped SVG

[David Wright]

I wrote earlier:
> > > After all, in your script you have:
> > > pdfcrop --margins 1 '$file_base_name.pdf' '$file_base_name.pdf'
> > > where the output filename is the same as the input filename.

Quoting poto...@posteo.de (poto...@posteo.de):
> I'm not using any version control here. Notice that the pdf file is
> deleted correctly all the time, only the temporary ps file stays. And
> I'm not doing anything with the ps file after summoning Lilypond. I've
> used Lilypond before without having trouble with the temporary
> files. I guess I'll just install the developer version as suggested.

Well I'm still worried about the line I quoted above, which I think is
inviting trouble (unless you clearly understand the mechanism that is
being used). Bear in mind, in my script I used an intermediate file:
$ pdfcrop --margins 1 foo.pdf bar.pdf

Cheers,
David.

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RE : Extract notes from chords, with silence when there are none

[Gilles Thibault]

Provenance : Courrier pour Windows 10




> That's right.  I just want any two notes that play simultaneously to be
> returned by separate index values into the extraction function, and any
> other index values to return something that will be silent (either a skip
> or a rest).  

I don't want this behaviour for my purpose but if you do want a rest for 
indexes out of range, you just have one line to change in the code.

First make sur you have the latest version of chord.ly at
http://gillesth.free.fr/Lilypond/chord/

Change the line 39
  ((null? res) (list-ref notes (1- len))) ; last note

by that

((null? res) 
   (let ((note (list-ref notes (1- len ; last note
(make-music 'RestEvent
'duration (ly:music-property note 
'duration

You'll get the joined image
( to compare with snippet
http://lsr.di.unimi.it/LSR/Item?id=545)






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Re: Extract notes from chords, with silence when there are none

[Thomas Morley]

2015-09-16 17:20 GMT+02:00  :
> On Wed, 16 Sep 2015, David Kastrup wrote:
>> > Just to clarify, in the case of 3-voice music, how would you expect it to
>> > deal with a 2 note chord?
>> >
>> > One note to Treble, one to Bass, or one in Treble, one in Alto, or... what?
>>
>> As I read him, he does not care.  First note anywhere, second note
>> anywhere else, skip in the remaining expression.  This is for midi.
>
> That's right.  I just want any two notes that play simultaneously to be
> returned by separate index values into the extraction function, and any
> other index values to return something that will be silent (either a skip
> or a rest).  The typesetting of human-readable score will be from the
> original single polyphonic voice; the splitting is only for MIDI, only to
> separate the pitch-bend data for different notes, and the split channels
> will be played using identical settings, so the exact assignment of notes
> to index values (channels) can be arbitrary.
>
> I would expect that the easiest way to do the note assignment would be
> what I described in my initial message - change the "extract" script to
> return silence instead of the last note in the data structure, when the
> index is greater than the number of notes.  Then with two simultaneous
> notes they will be returned by index values 1 and 2, and silence returned
> by index 3.
>
> I don't need to deal with cases like << { d''1 } { c'2 c'2 } >>, because
> the input really is a single polyphonic voice.  Notes will all start and
> stop together, only the number of notes changes.
>
> FWIW, I'm aware of the script at http://x31eq.com/lilypond/, which
> attempts to do better microtonality with LilyPond and MIDI Tuning Standard
> messages, but it's not suitable for my needs because I'm sending the data
> to a very simple MIDI device that doesn't understand MTS, only pitch bend.
> (And I think it would require separating the notes into channels first
> anyway.)
>
> --
> Matthew Skala
> msk...@ansuz.sooke.bc.ca People before principles.
> http://ansuz.sooke.bc.ca/
>
> ___
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> lilypond-user@gnu.org
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Is my recent coding here:
http://www.lilypondforum.de/index.php?topic=2080.msg11479#msg11479
of any help?

You probably will not understand the german text, thus: I express my
concerns that it will return warnings, if spanners like Ties, Slurs
etc are in the game.


HTH,
  Harm

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Re: Ties and repeats

[Simon Albrecht]

On 16.09.2015 12:45, David Kastrup wrote:

Frank Wuest  writes:


Hi everyone,

I'm currently transforming the bass part of a big band arrangement (8
pages, boo!)
into a more usable form. That means using a bunch of repeats with
alternatives, plus
ties across these alternatives.

Now I know that regular ties don't work from the end of an alternative
to the beginning
of the repeat, but I found \laissezVibrer to be good enough for me. It
would probably be useful
to add a pointer to that in the documentation on repeats.


I have a minor problem in one place where I have a tie from the end of
the first alternative
to the beginning of the repeat but no tie before the beginning of the repeat.


I'd like to get something like \repeatTie with parentheses akin to
cautionary accidentals.
Is there a way to accomplish this?

Well, if you include a rather horrific bug workaround, you can do this
with something like







Nice file name :-)
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Re: Line numbers in editor window

[Simon Albrecht]

On 16.09.2015 18:05, David Kastrup wrote:

Urs Liska  writes:


Am 16.09.2015 um 17:39 schrieb Erich Neuwirth:

When compiling, error messages come with line numbers.
Is there a way of displaying the line numbers in the editor window?

of which editor?


The, debugging would be easier.

Indeed.
But still easier is having the editor configured to make use of
LilyPond's point-and-click feature, so you can click on the error
message (or on the result in the PDF) and have the editor jump to the
right place.

point-and-click is not related to error messages.  All that LilyPond
does with regard to error messages is formatting them in a standard way
so that if you run it from some IDE or at least somewhat compiler-aware
editor the error messages might be useful for navigation.


At any rate, Frescobaldi  allows to click the 
location in the error message and jumps to the code in question.


Yours, Simon

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Re: Suppressing numbers on tupelos

[Simon Albrecht]

On 16.09.2015 14:13, David Kastrup wrote:

Erich Neuwirth  writes:


I am using only triplets in a score, and I would like to suppress all the 3s
next to the beams.
I probably should do somrething like

   \once \override TupletNumber.text = #()

but that does not work.
What will work?

Well, the question has been answered as is already.  But doesn't this
call for \time 6/8 or similar instead?


Likely not. In the 18th century at least, there are subtle differences 
(of which we know too little); a 2/4 time with only triplets and 6/8 
time can not be considered equivalent (e.g. in terms of tempo and 
stress). Besides, one doesn’t need to dot all the crotchets.
One might consider, if that be appropriate and convenient, using { \time 
2/4 \set Timing.measureLength = #(ly:make-moment 6/8) } or vice versa.


Yours, Simon

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Re: superimposing different lengths and ties across triplets

[Simon Albrecht]

On 16.09.2015 12:43, Erich Neuwirth wrote:

%% I need a tie between the second note of the first triplet and the first note 
of the second triplet,
%% and I need the notehead of the d (upper note at first position) to be a half 
note.
%% superimposing the half note and the triplet note gives the full head, not 
the hollow head.
%% Can this be accomplished also.

%% And thanls for the great help  am getting here.


%%
\version "2.19.27"

lower = \relative c' {
  \clef bass
  \key g \major
  \time 2/4
   << {\tuplet 3/2 {d,8 b' g'} \tuplet 3/2 {b,8 b g'}}\\
The following line should get a pair of {} to make the different items 
sequential, not simultaneous:

{ \shiftOnn \override NoteColumn.force-hshift = -0.5 2 }
It may work with simultaneous music ( << >> ) in this specific case, but 
you’ll be better off, have more legible code and fare safer using {}.



\shiftOnn \override NoteColumn.force-hshift = -0.5 2  >>
}



\score {
  <<

Whereas the following would not need any braces around \lower.

Yours, Simon

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Re: lilypond teaching material

[Michael Rivers]

Yes, that was my first thought too. Those video tutorials are quite nice.



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non-text attachment, was Re: Ties and repeats

[Cynthia Karl]

> Message: 6
> Date: Wed, 16 Sep 2015 12:45:27 +0200
> From: David Kastrup 
> To: Frank Wuest 
> Subject: Re: Ties and repeats
> 
> Frank Wuest  writes:
> 
>> Hi everyone,
>> 
>> Hi, David,

Most of your responses on the lilypond-user Digest come to me as of late so:

>> Is there a way to accomplish this?
> 
> Well, if you include a rather horrific bug workaround, you can do this
> with something like
> 
> -- next part --
> A non-text attachment was scrubbed...
> Name: frank.ly
> Type: text/x-lilypond
> Size: 65 bytes
> Desc: not available
> URL: 
> <http://lists.gnu.org/archive/html/lilypond-user/attachments/20150916/deed7185/attachment.bin>
> -- next part ———
> 
I went to the archive and found that your response was actually:

> { c'1-\tweak RepeatTieColumn.cause ##f \parenthesize \repeatTie }

Do you know why this “non-text attachment” scrubbing has become necessary for 
your posts.  It wouldn’t be so bad, but the link given in the URL: field in 
these “next part” segments does not work.  So I have to go to the archive 
manually, find the appropriate subject, then find your response to see your 
words of wisdom.  I hate to miss any of your responses, but sometimes that’s 
just too much work.

Thanks



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Re: Line numbers in editor window

[David Kastrup]

Urs Liska  writes:

> Am 16.09.2015 um 17:39 schrieb Erich Neuwirth:
>> When compiling, error messages come with line numbers.
>> Is there a way of displaying the line numbers in the editor window?
>
> of which editor?
>
>> The, debugging would be easier.
>
> Indeed.
> But still easier is having the editor configured to make use of
> LilyPond's point-and-click feature, so you can click on the error
> message (or on the result in the PDF) and have the editor jump to the
> right place.

point-and-click is not related to error messages.  All that LilyPond
does with regard to error messages is formatting them in a standard way
so that if you run it from some IDE or at least somewhat compiler-aware
editor the error messages might be useful for navigation.

At any rate, without knowing the involved editor, one cannot give
sensible advice.

-- 
David Kastrup

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Re: rest in two voices

[Michael Gerdau]

> \version "2.18.0"
> \new Staff <<
> \clef bass
> \new Voice = "first" {
> \voiceOne
>   b8 r8 b r
> }
> \new Voice = "second" {
> \voiceTwo
>   a8 r g r
> }
> 
> I have two questions:
> -  How can the rest  in the two voices reduced to one rest in the
> middle of the staff?

http://lsr.di.unimi.it/LSR/Item?id=336

> -  Can the pitch "a" appear before the pitch "b" ?

There are several ways. One would be to change
   a8 r g r
into
  \once \override NoteColumn.force-hshift = #-1.7 a8 r g r

HTH,
Michael
-- 
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 GPG-keys available on request or at public keyserver

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Re: Line numbers in editor window

[Urs Liska]

Am 16.09.2015 um 17:39 schrieb Erich Neuwirth:
> When compiling, error messages come with line numbers.
> Is there a way of displaying the line numbers in the editor window?

of which editor?

> The, debugging would be easier.

Indeed.
But still easier is having the editor configured to make use of
LilyPond's point-and-click feature, so you can click on the error
message (or on the result in the PDF) and have the editor jump to the
right place.

Urs

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Line numbers in editor window

[Erich Neuwirth]

When compiling, error messages come with line numbers.
Is there a way of displaying the line numbers in the editor window?
The, debugging would be easier.



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rest in two voices

[Juergen Goebbels]

Example:

 

\version "2.18.0"

\new Staff <<

\clef bass

\new Voice = "first" {

\voiceOne

  b8 r8 b r  

}

\new Voice = "second" {

\voiceTwo

  a8 r g r 

}

>> 

 

I have two questions:

 

-  How can the rest  in the two voices reduced to one rest in the
middle of the staff?

-  Can the pitch "a" appear before the pitch "b" ?  

 

Thanks in Advance

 

Juergen

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Re: Extract notes from chords, with silence when there are none

[mskala]

On Wed, 16 Sep 2015, David Kastrup wrote:
> > Just to clarify, in the case of 3-voice music, how would you expect it to
> > deal with a 2 note chord?
> >
> > One note to Treble, one to Bass, or one in Treble, one in Alto, or... what?
>
> As I read him, he does not care.  First note anywhere, second note
> anywhere else, skip in the remaining expression.  This is for midi.

That's right.  I just want any two notes that play simultaneously to be
returned by separate index values into the extraction function, and any
other index values to return something that will be silent (either a skip
or a rest).  The typesetting of human-readable score will be from the
original single polyphonic voice; the splitting is only for MIDI, only to
separate the pitch-bend data for different notes, and the split channels
will be played using identical settings, so the exact assignment of notes
to index values (channels) can be arbitrary.

I would expect that the easiest way to do the note assignment would be
what I described in my initial message - change the "extract" script to
return silence instead of the last note in the data structure, when the
index is greater than the number of notes.  Then with two simultaneous
notes they will be returned by index values 1 and 2, and silence returned
by index 3.

I don't need to deal with cases like << { d''1 } { c'2 c'2 } >>, because
the input really is a single polyphonic voice.  Notes will all start and
stop together, only the number of notes changes.

FWIW, I'm aware of the script at http://x31eq.com/lilypond/, which
attempts to do better microtonality with LilyPond and MIDI Tuning Standard
messages, but it's not suitable for my needs because I'm sending the data
to a very simple MIDI device that doesn't understand MTS, only pitch bend.
(And I think it would require separating the notes into channels first
anyway.)

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/

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Re: Extract notes from chords, with silence when there are none

[David Kastrup]

Chris Yate  writes:

> Just to clarify, in the case of 3-voice music, how would you expect it to
> deal with a 2 note chord?
>
> One note to Treble, one to Bass, or one in Treble, one in Alto, or... what?

As I read him, he does not care.  First note anywhere, second note
anywhere else, skip in the remaining expression.  This is for midi.

-- 
David Kastrup

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Re: Suppressing numbers on tupelos

[Erich Neuwirth]

I finally managed rot get everything the way I need ot.

Thanks.


> On 16 Sep 2015, at 14:13, David Kastrup  wrote:
> 
> Erich Neuwirth  writes:
> 
>> I am using only triplets in a score, and I would like to suppress all the 3s
>> next to the beams.
>> I probably should do somrething like
>> 
>>  \once \override TupletNumber.text = #()
>> 
>> but that does not work.
>> What will work?
> 
> Well, the question has been answered as is already.  But doesn't this
> call for \time 6/8 or similar instead?
> 
> --
> David Kastrup



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Re: Extract notes from chords, with silence when there are none

[Chris Yate]

Just to clarify, in the case of 3-voice music, how would you expect it to
deal with a 2 note chord?

One note to Treble, one to Bass, or one in Treble, one in Alto, or... what?

Chris

On 16 September 2015 at 13:07,  wrote:

> I'd like to take a passage of music that contains chords with differing
> numbers of notes, and some single notes, and extract it into separate
> monophonic streams such that their union is the original passage.  The
> application is to generate microtonal MIDI using pitch bend, which can
> only practically play one note per channel, from music entered as
> polyphonic voices for typesetting convenience.
>
> I'm aware of the snippet at
>http://lsr.di.unimi.it/LSR/Item?id=545
>
> and it does almost what I want, except for the handling of missing notes.
> If I specify an index greater than the number of notes playing at a given
> moment, then this code returns the highest-numbered note that exists.  I
> don't understand why anyone would want that behaviour, but that's what the
> code does.  I want to have rests, not duplicated notes, in the remaining
> voices when there are fewer notes playing than the number of voices.
>
> Is there any simple, obvious way to modify the code to do this?  I can
> probably get it to work with enough trial and error, but it's not clear to
> me where in the code it is actually handling the case of index greater
> than the number of notes, so I'm not sure what to try modifying first.
>
> --
> Matthew Skala
> msk...@ansuz.sooke.bc.ca People before principles.
> http://ansuz.sooke.bc.ca/
>
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Re: FreeBSD issues

[David Kastrup]

Levente  writes:

> Okay.
>
>
> I really don't want to offend, and be smart. I don't really know lilypond
> internals either, but a question is in my head.
>
> How does Lua compares to Guile?
>
> I used Lua a as extension language, and I find it pretty straight forward.

Its syntax is not functional (statements and expressions are different)
and not self-delimited (the end of any Scheme expression is
well-defined) and LilyPond uses Guile for a lot of expressions.

Lua does not offer the tools necessary to implement lexical closure
across language barriers.

LilyPond is rather thoroughly rooted in Scheme/GUILE: the integration
with the language is very thorough and cohesive.

If you take a look at LuaTeX for comparison, you cannot pass information
from TeX input to Lua without pulling it through a catcode regime, and
you cannot get info from Lua to TeX (short of poking around in its
internal arrays, and even then you are out of luck accessing the table
of equivalents, TeX's rudimentary idea of dynamically scoped data,
anywhere but at the top) other than printing TeX code into TeX's input
and then returning from a \directlua call.  And if anything goes wrong,
the error messages are cryptic and not related to error location.

Part of that is of course LuaTeX's fault.  But one actual problem for
integration indeed is that Lua cannot see input other than as full text
whereas Lisp/Scheme's representation of a program is basically the parse
tree before evaluation.  That allows layers of integration/manipulation
that are just not there with languages not having a natural structured
representation of their own programs.

I think that most applications using GUILE as an extension language are
not as tightly interwoven into their host application as LilyPond is.
You'd have to redesign a note typesetter from the ground up, including
its input language and most of the internals, to have something like Lua
work as an extension language.  And it would end up sufficiently
different from LilyPond that it would make no sense calling it
"LilyPond".

-- 
David Kastrup

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Re: Text centralized above a TextSpan

[David Nalesnik]

Hi Simon,

On Mon, Sep 14, 2015 at 7:41 AM, Simon Albrecht 
wrote:

> David,
>
> This is tremendous! Thank you very much.
>

You're very welcome!

I was inspired to fix some of the issues with this last version.

Texts are better distributed among the pieces of broken spanners.  (The
algorithm in place gives an OK estimation, but it has problems.  Help
welcome--don't know if my math is up to the task!)

You can specify the number of texts for each line:
\override TextSpanner.text-spanner-line-count = #'(1 0 1 1)

Overlaps will result in a warning.  Fixing them at this point means
changing line distribution, making space, breaking lines--work on the
user's part.  We're just replacing default stencils here, not changing
spacing.


Once again, you need 2.19.27.  There''s a note in lines 351-353 (*eek*) for
earlier versions, but you can't get the line styles, etc., before the most
recent development release.


Anyway, hope this helps!

David
\version "2.19.27"

%% CUSTOM GROB PROPERTIES

% Taken from http://www.mail-archive.com/lilypond-user%40gnu.org/msg97663.html
% (Paul Morris)

% function from "scm/define-grob-properties.scm" (modified)
#(define (cn-define-grob-property symbol type?)
   (set-object-property! symbol 'backend-type? type?)
   (set-object-property! symbol 'backend-doc "custom grob property")
   symbol)

% for internal use
#(cn-define-grob-property 'text-spanner-stencils list?)

% user interface
#(cn-define-grob-property 'text-spanner-line-count number-list?)

#(define (get-text-distribution text-list line-extents)
   ;; Given a list of texts and a list of line extents, attempt to
   ;; find a decent line distribution.  The goal is to put more texts
   ;; on longer lines, while ensuring that all lines are texted.  (The
   ;; case of fewer texts than lines available is dealt with
   ;; separately.  TODO: ugly code which does not consider the
   ;; length of texts, only their number.
   (let* ((line-count (length line-extents))
  (text-count (length text-list))
  (line-lengths 
   (map (lambda (line) (interval-length line))
 line-extents))
  (total-line-len (apply + line-lengths))
  (exact-per-line
   (map (lambda (line-len)
  (* text-count (/ line-len total-line-len)))
 line-lengths))
  ;; No line can have under one text.
  (adjusted
   (map (lambda (ex)
  (if (< ex 1) (ceiling ex) ex))
 exact-per-line)))
 ;; The idea is to raise the "most roundable" line's count, then the
 ;; "next most roundable," and so forth, until we account for all texts.
 ;; Everything else is rounded down (except those lines which need to be
 ;; bumped up to get the minimum of one text), so we shouldn't exceed our
 ;; total number of texts.  Well, the mandatory one text per line can
 ;; put us too high... Need a promote-demote-until-flush.
 (define (promote-until-flush result)
   (let* ((floored (map floor result))
  (total (apply + floored)))
 
 (if (>= total text-count)
 (begin 
  ;(format #t "guess: ~a~%~%~%" result)
  floored)
 (let* ((decimal-amount
 (map (lambda (x) (- x (floor x))) result))
(maximum (apply max decimal-amount))
(max-location
 (list-index
  (lambda (x) (= x maximum))
  decimal-amount))
(item-to-bump (list-ref result max-location)))
   ;(format #t "guess: ~a~%" result)
   (list-set! result max-location (1+ (floor item-to-bump)))
   (promote-until-flush result)
 
 (let ((result (map inexact->exact
 (promote-until-flush adjusted
   (if (not (= (apply + result) text-count))
   ;; If this doesn't work, discard, triggering crude
   ;; distribution elsewhere.
   '()
   result

#(define (get-line-arrangement siblings extents texts)
   "Given a list of spanner extents and texts, return a vector of lists
of the texts to be used for each line.  Using @code{'()} for @var{siblings}
returns a vector for an unbroken spanner."
   (let ((sib-len (length siblings)))
 (if (= sib-len 0)
 ;; only one line...
 (make-vector 1 texts)
 (let* ((texts-len (length texts))
(text-counts
 (ly:grob-property
  (car siblings) 'text-spanner-line-count))
(text-counts
 (cond
  ((pair? text-counts) text-counts) ; manual override
  ((or (null? siblings)
   (< texts-len sib-len))
   '())
  (else (get-text-distribution texts extents
(text-counts
 (if (and (pair? text-counts)
   

Re: FreeBSD issues

[Levente]

Okay.


I really don't want to offend, and be smart. I don't really know lilypond
internals either, but a question is in my head.

How does Lua compares to Guile?

I used Lua a as extension language, and I find it pretty straight forward.

This is really just a theoretical question. I know how hard it could be to
retrofit lua instead of guile.

Lev


On Wed, Sep 16, 2015 at 11:38 AM, David Kastrup  wrote:

> Levente  writes:
>
> > On Wed, Sep 16, 2015 at 9:35 AM, David Kastrup  wrote:
> >
> >> Lev  writes:
> >>
> >> > Hello all,
> >> >
> >> >
> >> > I'm hacking lilypond to my FreeBSD system.
> >> >
> >> > Currently I have to following issues.
> >> >
> >> > 1. Guile2.x okay... I think it was asked several time. I use Guile2.x
> for
> >> > other software (gEDA) and on FreeBSD v1.x and v2.x is mutually
> >> > exclusive.
> >>
> >> For compiling stuff (namely guile-dev), it's exclusive on Ubuntu as
> >> well.  But once compiled, you can keep executables linked with either
> >> around.  With regard to executables, you can install both in parallel
> >> and can access them as guile-2.0 (and just guile) and guile-1.8.
> >>
> >
> > Unfortunately, this is not the case for FreeBSD; there are no separate
> > development packages. It is all or nothing.
> >
> >> I've checked out the git version,
> >>
> >> The git version of what?
> >>
> >
> > Git version of lilypond.
> >
> >> and I'm trying the guile-2 branch.
> >>
> >> The guile-2 branch of what?
> >>
> >
> > To be precise, the dev/guilev2 branch of
> > http://git.savannah.gnu.org/r/lilypond.git.
>
> Forget it, that one's old.  Rather use current master and configure with
> an option enabling Guilev2 support.
>
> > By the way... is there any intention to link to guile-2 in the future?
>
> Not much of a way around that, is it?  Guilev1, as you noticed yourself,
> is pretty much hanged out to dry.  However, Guilev2.0 does not really
> care much to be an extension language (rather than a whole system of its
> own) any more, and it sports rather lacklustre maintenance.  Guilev2.1
> is exclusively the playground of Andy Wingo who does not apparently
> communicate with anybody about the work he is doing.  Instead,
> Guilev2.0, even though labelled "stable", is used for ongoing
> development and incremental changes.
>
> Moving to Guilev2 is complicated by nobody but myself working on the
> Guilev2 migration of LilyPond, and I have been banned from posting on
> the Guile developer list.
>
> >> > 2. The configure script searches for makeinfo executable, which is
> >> > installed in /usr/bin probable comes from the base system. However,
> >> > this is an ancient version. It would be nice if the configure
> >> > script would search for texi2any, which really comes from the port,
> >> > which has the current version.
> >>
> >> Only the ancient version will work for now.
> >>
> >
> > Actually, the ancient version is 4.8, and configure requires 4.11. So
> > The current version (which is 6.0) works. Makeinfo is just a symlink
> > to texi2any.
>
> I was confusing this with texi2html: we need an old version of that
> rather than the one included in Texinfo these days.
>
> --
> David Kastrup
>
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Re: Suppressing numbers on tupelos

[David Kastrup]

Erich Neuwirth  writes:

> I am using only triplets in a score, and I would like to suppress all the 3s
> next to the beams.
> I probably should do somrething like
>
>   \once \override TupletNumber.text = #()
>
> but that does not work.
> What will work?

Well, the question has been answered as is already.  But doesn't this
call for \time 6/8 or similar instead?

-- 
David Kastrup

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Re: Suppressing numbers on tupelos

[Malte Meyn]

Am 16.09.2015 um 13:42 schrieb Erich Neuwirth:

I am using only triplets in a score, and I would like to suppress all the 3s
next to the beams.


An alternative to Kieren’s solution: Don’t use the \tuplet command but 
scaled eights.


c8*2/3 d e
% or
\scaleDurations 2/3 { c8 d e }

% Kieren’s solution:
%\omit TupletNumber
%\tuplet 3/2 { c8 d e }

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Extract notes from chords, with silence when there are none

[mskala]

I'd like to take a passage of music that contains chords with differing
numbers of notes, and some single notes, and extract it into separate
monophonic streams such that their union is the original passage.  The
application is to generate microtonal MIDI using pitch bend, which can
only practically play one note per channel, from music entered as
polyphonic voices for typesetting convenience.

I'm aware of the snippet at
   http://lsr.di.unimi.it/LSR/Item?id=545

and it does almost what I want, except for the handling of missing notes.
If I specify an index greater than the number of notes playing at a given
moment, then this code returns the highest-numbered note that exists.  I
don't understand why anyone would want that behaviour, but that's what the
code does.  I want to have rests, not duplicated notes, in the remaining
voices when there are fewer notes playing than the number of voices.

Is there any simple, obvious way to modify the code to do this?  I can
probably get it to work with enough trial and error, but it's not clear to
me where in the code it is actually handling the case of index greater
than the number of notes, so I'm not sure what to try modifying first.

-- 
Matthew Skala
msk...@ansuz.sooke.bc.ca People before principles.
http://ansuz.sooke.bc.ca/

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Re: Suppressing numbers on tupelos

[Kieren MacMillan]

Hi Erich,

>  \once \override TupletNumber.text = #()

Since you used \once, that definitely wouldn’t suppress all the numbers.

In any case, the correct code is

\omit TupletNumber

or

   \hide TupletNumber

if you want it to still take up space.

Hope that helps,
Kieren.


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


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Suppressing numbers on tupelos

[Erich Neuwirth]

I am using only triplets in a score, and I would like to suppress all the 3s
next to the beams.
I probably should do somrething like

  \once \override TupletNumber.text = #()

but that does not work.
What will work?



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Re: lilypond teaching material

[Mats Bengtsson]

Gilles  harfang.homelinux.org> writes:

> 
> On Wed, 16 Sep 2015 13:04:24 +0200, David Kastrup wrote:
> > Gilles  harfang.homelinux.org> writes:
> >
> >> Hello.
> >>
> >> On Wed, 16 Sep 2015 11:49:04 +0200, BB wrote:
> >>> I just read
> >>>
> >>> 
> >>> http://lilypond.org/doc/v2.18/Documentation/learning/entering-input.html
> >>> (again). I find that is a good basis for such an introduction,

How about the video tutorials linked from there, see
http://benlemon.me/blog/music/lilypond/operation-lilypond

   /Mats


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Re: lilypond teaching material

[Gilles]

On Wed, 16 Sep 2015 13:04:24 +0200, David Kastrup wrote:

Gilles  writes:


Hello.

On Wed, 16 Sep 2015 11:49:04 +0200, BB wrote:

I just read


http://lilypond.org/doc/v2.18/Documentation/learning/entering-input.html
(again). I find that is a good basis for such an introduction,


IIRC, someone (among the most prominent current or past developers)
once stated that this first example being compilable by lilypond had
been a big mistake.


Well, I think it should specify a note duration for the first note.
Other than that, I find nothing wrong with it.


Perhaps it was meant to show people that text input is not scary.
But its simplicity is deceitful: no actual score is that simple; 
even

a monophonic instrument part should not be encoded that way.


Hacking down some melody tends to be rather similar to that.  Many 
tunes
in abc format look pretty much like that and transfer reasonably well 
to

LilyPond input of that complexity.


Would someone switch to lilypond just for this kind of work?

I did not to argue in that direction (lesser complex scores), but even 
so:

where is the title of the tune? ;-)

Gilles


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Re: superimposing different lengths and ties across triplets

[Malte Meyn]

Am 16.09.2015 um 12:43 schrieb Erich Neuwirth:

%% I need a tie between the second note of the first triplet and the first note 
of the second triplet,


  \set tieWaitForNote = ##t
or (if outside of the polyphonic construction)
  \set Staff.tieWaitForNote ##t
should help.


%% and I need the notehead of the d (upper note at first position) to be a half 
note.
%% superimposing the half note and the triplet note gives the full head, not 
the hollow head.


This can be done with
  \mergeDifferentlyHeadedOn
which merges half note heads and note heads of eighths or smaller. You 
won’t need the \shiftOnn and force-hshift anymore ;)


Maybe it would help you to read the Learning Manual. It has a very nice 
example how to deal with collisions in polyphony (section 4.5.3).


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Re: lilypond teaching material

[David Kastrup]

Gilles  writes:

> Hello.
>
> On Wed, 16 Sep 2015 11:49:04 +0200, BB wrote:
>> I just read
>>
>> http://lilypond.org/doc/v2.18/Documentation/learning/entering-input.html
>> (again). I find that is a good basis for such an introduction,
>
> IIRC, someone (among the most prominent current or past developers)
> once stated that this first example being compilable by lilypond had
> been a big mistake.

Well, I think it should specify a note duration for the first note.
Other than that, I find nothing wrong with it.

> Perhaps it was meant to show people that text input is not scary.
> But its simplicity is deceitful: no actual score is that simple; even
> a monophonic instrument part should not be encoded that way.

Hacking down some melody tends to be rather similar to that.  Many tunes
in abc format look pretty much like that and transfer reasonably well to
LilyPond input of that complexity.

-- 
David Kastrup

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Re: lilypond teaching material

[Gilles]

Hello.

On Wed, 16 Sep 2015 11:49:04 +0200, BB wrote:

I just read

http://lilypond.org/doc/v2.18/Documentation/learning/entering-input.html
(again). I find that is a good basis for such an introduction,


IIRC, someone (among the most prominent current or past developers)
once stated that this first example being compilable by lilypond had
been a big mistake.

Perhaps it was meant to show people that text input is not scary.
But its simplicity is deceitful: no actual score is that simple; even
a monophonic instrument part should not be encoded that way.


but I
think it needs some beef up to become more entertaining than
lecturing. But I actually do not have an idea how to manage that? In
my opinion there are much more instructive examples and exercises for
reinforcement learning needed.


The strategy will probably depend on the target audience and purpose.

IMHO, the starting point should be a real score whose input contains
all the bits that most people would use in the majority of their
projects: score (and MIDI) blocks, header, systems, full score and
instrument parts.

A composer/publisher will not be scared that a work needs to have
some kind of organization/layout.

Some people will be afraid (i.e. won't be interested) by text input
whatever advantage list you will throw at them.
Those should be taught how to use a [FLOSS GUI] that depends on
LilyPond for its rendering.


Best regards,
Gilles


On 16.09.2015 11:24, Urs Liska wrote:


Am 16.09.2015 um 11:14 schrieb BB:

Obviously the Lilypond users are overaged?

I very much hope that our recent "inofficial survey" is biased for
whatever reasons. But I admit this impression is very strong.

Is there a kind of "curriculum", eventually with Open Office 
overhead
slides ready to use for an introductory training on an adult 
education

center (in Germany Volkshochschule (VHS)) available.
Not that I know of, but it's a good idea, and I've had the wish to 
start

compiling such material for quite a long time. Unfortunately that
probably won't happen without a concrete opportunity.


May be some
skilled users ma offer such an itroduction to raise lilyponds
popularity? Usually there are offered weekend workshops or courses
regular an evening per week for people in work. Eventually it might 
be

used in music education on schools?

Good idea.
I know that in some universities there are people offering LilyPond
courses, with mixed result/acceptance. But it definitely should be 
much
more, and I think people should get hooked to text based tools as 
early
as possible, before they are too much tied to their shiny 
clickediclick

tools.

Urs


Regards




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Re: Ties and repeats

[David Kastrup]

Frank Wuest  writes:

> Hi everyone,
>
> I'm currently transforming the bass part of a big band arrangement (8
> pages, boo!)
> into a more usable form. That means using a bunch of repeats with
> alternatives, plus
> ties across these alternatives. 
>
> Now I know that regular ties don't work from the end of an alternative
> to the beginning
> of the repeat, but I found \laissezVibrer to be good enough for me. It
> would probably be useful
> to add a pointer to that in the documentation on repeats.
>
>
> I have a minor problem in one place where I have a tie from the end of
> the first alternative
> to the beginning of the repeat but no tie before the beginning of the repeat. 
>
>
> I'd like to get something like \repeatTie with parentheses akin to
> cautionary accidentals.
> Is there a way to accomplish this?

Well, if you include a rather horrific bug workaround, you can do this
with something like

{ c'1-\tweak RepeatTieColumn.cause ##f \parenthesize \repeatTie }

-- 
David Kastrup
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superimposing different lengths and ties across triplets

[Erich Neuwirth]

%% I need a tie between the second note of the first triplet and the first note 
of the second triplet,
%% and I need the notehead of the d (upper note at first position) to be a half 
note.
%% superimposing the half note and the triplet note gives the full head, not 
the hollow head.
%% Can this be accomplished also.

%% And thanls for the great help  am getting here.


%%
\version "2.19.27"

lower = \relative c' {
 \clef bass
 \key g \major
 \time 2/4
  << {\tuplet 3/2 {d,8 b' g'} \tuplet 3/2 {b,8 b g'}}\\
   \shiftOnn \override NoteColumn.force-hshift = -0.5 2  >>
}



\score {
 <<
   \new Staff  {
 \lower
   }
 >>
}

> On 16 Sep 2015, at 12:17, Malte Meyn  wrote:
> 
> 
> 
> Am 16.09.2015 um 11:50 schrieb Erich Neuwirth:
>> Thank you!
>> I still would like something more.
>> In the score I am using as stating point,
>> the g’s at the first position of the triplets and the g’s of \voiceFour
>> have a common notepad and the notes of the lowest voice
>> are slightly shifted to the right.
>> Can this be accomplished also?
>> 
> Yes. Put
> 
> %%%
> \shiftOnn
> \override NoteColumn.force-hshift = 0.5
> %%%
> 
> in front of the b8 r c r. I don’t like force-hshift because LilyPond cannot 
> find the “best choice”. But I have little experience with polyphony and 
> therefore I don’t know a better solution.



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Re: Ties and repeats

[Simon Albrecht]

On 16.09.2015 12:03, Frank Wuest wrote:


I'd like to get something like \repeatTie with parentheses akin to cautionary 
accidentals.
Is there a way to accomplish this?


Have a look at 
.


HTH, Simon

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Ties and repeats

[Frank Wuest]

Hi everyone,

I'm currently transforming the bass part of a big band arrangement (8 pages, 
boo!)
into a more usable form. That means using a bunch of repeats with alternatives, 
plus
ties across these alternatives. 

Now I know that regular ties don't work from the end of an alternative to the 
beginning
of the repeat, but I found \laissezVibrer to be good enough for me. It would 
probably be useful 
to add a pointer to that in the documentation on repeats.


I have a minor problem in one place where I have a tie from the end of the 
first alternative
to the beginning of the repeat but no tie before the beginning of the repeat. 


I'd like to get something like \repeatTie with parentheses akin to cautionary 
accidentals.
Is there a way to accomplish this?

Thanks,

Frank

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Re: lilypond teaching material

[Urs Liska]

Am 16.09.2015 um 11:49 schrieb BB:
> I just read
> http://lilypond.org/doc/v2.18/Documentation/learning/entering-input.html
> (again). I find that is a good basis for such an introduction, but I
> think it needs some beef up to become more entertaining than lecturing.
> But I actually do not have an idea how to manage that? In my opinion
> there are much more instructive examples and exercises for reinforcement
> learning needed.
> 
> 

Well, recently I started an initiative for a "book" on LilyPond etc.,
which is located at http://book.openlilylib.org.
It came to a stop because I switched to a new server, but now that I've
(nearly) managed to do that I'll get back to this and will soon ask for
contribution.

One thing I want to have in that collection of resources is an
introduction to the toolchain that is explicitly written from the
perspective of users who are accustomed to Finale and the like.
Something like: "Your are used to have one GUI for entering scores, then
export image files or whatever that you then include in
Word/InDesign/... documents. With LilyPond you will have ... and need
..., and this will work together like ..."

Urs

> 
> On 16.09.2015 11:24, Urs Liska wrote:
>>
>> Am 16.09.2015 um 11:14 schrieb BB:
>>> Obviously the Lilypond users are overaged?
>> I very much hope that our recent "inofficial survey" is biased for
>> whatever reasons. But I admit this impression is very strong.
>>
>>> Is there a kind of "curriculum", eventually with Open Office overhead
>>> slides ready to use for an introductory training on an adult education
>>> center (in Germany Volkshochschule (VHS)) available.
>> Not that I know of, but it's a good idea, and I've had the wish to start
>> compiling such material for quite a long time. Unfortunately that
>> probably won't happen without a concrete opportunity.
>>
>>> May be some
>>> skilled users ma offer such an itroduction to raise lilyponds
>>> popularity? Usually there are offered weekend workshops or courses
>>> regular an evening per week for people in work. Eventually it might be
>>> used in music education on schools?
>> Good idea.
>> I know that in some universities there are people offering LilyPond
>> courses, with mixed result/acceptance. But it definitely should be much
>> more, and I think people should get hooked to text based tools as early
>> as possible, before they are too much tied to their shiny clickediclick
>> tools.
>>
>> Urs
>>
>>> Regards
>>>
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Re: lilypond teaching material

[BB]

I just read
http://lilypond.org/doc/v2.18/Documentation/learning/entering-input.html
(again). I find that is a good basis for such an introduction, but I 
think it needs some beef up to become more entertaining than lecturing. 
But I actually do not have an idea how to manage that? In my opinion 
there are much more instructive examples and exercises for reinforcement 
learning needed.




On 16.09.2015 11:24, Urs Liska wrote:


Am 16.09.2015 um 11:14 schrieb BB:

Obviously the Lilypond users are overaged?

I very much hope that our recent "inofficial survey" is biased for
whatever reasons. But I admit this impression is very strong.


Is there a kind of "curriculum", eventually with Open Office overhead
slides ready to use for an introductory training on an adult education
center (in Germany Volkshochschule (VHS)) available.

Not that I know of, but it's a good idea, and I've had the wish to start
compiling such material for quite a long time. Unfortunately that
probably won't happen without a concrete opportunity.


May be some
skilled users ma offer such an itroduction to raise lilyponds
popularity? Usually there are offered weekend workshops or courses
regular an evening per week for people in work. Eventually it might be
used in music education on schools?

Good idea.
I know that in some universities there are people offering LilyPond
courses, with mixed result/acceptance. But it definitely should be much
more, and I think people should get hooked to text based tools as early
as possible, before they are too much tied to their shiny clickediclick
tools.

Urs


Regards

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Re: FreeBSD issues

[David Kastrup]

Levente  writes:

> On Wed, Sep 16, 2015 at 9:35 AM, David Kastrup  wrote:
>
>> Lev  writes:
>>
>> > Hello all,
>> >
>> >
>> > I'm hacking lilypond to my FreeBSD system.
>> >
>> > Currently I have to following issues.
>> >
>> > 1. Guile2.x okay... I think it was asked several time. I use Guile2.x for
>> > other software (gEDA) and on FreeBSD v1.x and v2.x is mutually
>> > exclusive.
>>
>> For compiling stuff (namely guile-dev), it's exclusive on Ubuntu as
>> well.  But once compiled, you can keep executables linked with either
>> around.  With regard to executables, you can install both in parallel
>> and can access them as guile-2.0 (and just guile) and guile-1.8.
>>
>
> Unfortunately, this is not the case for FreeBSD; there are no separate
> development packages. It is all or nothing.
>
>> I've checked out the git version,
>>
>> The git version of what?
>>
>
> Git version of lilypond.
>
>> and I'm trying the guile-2 branch.
>>
>> The guile-2 branch of what?
>>
>
> To be precise, the dev/guilev2 branch of
> http://git.savannah.gnu.org/r/lilypond.git.

Forget it, that one's old.  Rather use current master and configure with
an option enabling Guilev2 support.

> By the way... is there any intention to link to guile-2 in the future?

Not much of a way around that, is it?  Guilev1, as you noticed yourself,
is pretty much hanged out to dry.  However, Guilev2.0 does not really
care much to be an extension language (rather than a whole system of its
own) any more, and it sports rather lacklustre maintenance.  Guilev2.1
is exclusively the playground of Andy Wingo who does not apparently
communicate with anybody about the work he is doing.  Instead,
Guilev2.0, even though labelled "stable", is used for ongoing
development and incremental changes.

Moving to Guilev2 is complicated by nobody but myself working on the
Guilev2 migration of LilyPond, and I have been banned from posting on
the Guile developer list.

>> > 2. The configure script searches for makeinfo executable, which is
>> > installed in /usr/bin probable comes from the base system. However,
>> > this is an ancient version. It would be nice if the configure
>> > script would search for texi2any, which really comes from the port,
>> > which has the current version.
>>
>> Only the ancient version will work for now.
>>
>
> Actually, the ancient version is 4.8, and configure requires 4.11. So
> The current version (which is 6.0) works. Makeinfo is just a symlink
> to texi2any.

I was confusing this with texi2html: we need an old version of that
rather than the one included in Texinfo these days.

-- 
David Kastrup

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Re: triplet beam between staves

[Malte Meyn]

Am 16.09.2015 um 11:33 schrieb Erich Neuwirth:

%% Can I get the beams of the triplets between the staves
%% such that the stems are up up down?


Stem directions can be manually changed by the commands \stemDown, 
\stemUp, \stemNeutral and by \voiceOne, \voiceTwo, \voiceThree, 
\voiceFour, \oneVoice. The latter also change tie and dot directions and 
some other things. You can just use “\once \stemUp” in front of your “g'”s.


Slightly offtopic: It’s easier to use the two voices for the whole 
measure (or even longer parts of music), you don’t need a << \\ >> for 
every note:


lower = \relative c' {
  \clef bass
  \key c \major
  \time 2/4
  <<
{
  \tuplet 3/2 {b8 c  \change Staff = "upper" \once \stemDown g'}
  \change Staff = "lower"
  \tuplet 3/2 {g,8 c \change Staff = "upper" \once \stemDown g'}
  \change Staff = "lower"
}
\\
{
  g,4 d
}
  >>
}



%% The second triplet wrongli incorporates the quarternote d,4
%% and the beam also shuld be above the first two notes,]
%% like in the first triplet


It’s not really LilyPond’s fault: << music othermusic >> tries to make 
chords from music and othermusic, while << music \\ othermusic >> makes 
true polyphony. So just add \\ like you did in the first half of the 
measure.


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triplet beam between staves

[Erich Neuwirth]

%% Can I get the beams of the triplets between the staves
%% such that the stems are up up down?
%% The second triplet wrongli incorporates the quarternote d,4
%% and the beam also shuld be above the first two notes,]
%% like in the first triplet


\header{
title = "Triplets across staves, beam between staves"
}


upper = \relative c' {

  \clef treble
  \key c \major
  \time 2/4
  c'2
}

lower = \relative c' {
  \clef bass
  \key c \major
  \time 2/4

<<
{\tuplet 3/2 {b8 c  \change Staff = "upper" g'} \change Staff = "lower" 
} \\
{g,4}
>>
   <<
{\tuplet 3/2 {g8 c \change Staff = "upper" g'} \change Staff = "lower" }
{d,4}
>>

}

\score {
  <<
\new PianoStaff  <<
 \new Staff = "upper" \upper
  \new Staff = "lower" \lower
>>
 >>
 \layout {
\context { \Staff \RemoveEmptyStaves }
  }
}



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Re: Misplaced rests

[Phil Holmes]

Your example is too complex for me to understand quickly, but you might 
experiment with


\override Staff.Rest.voiced-position = 0

changing zero for something else.

Otherwise you can place rests explicitly with, for example, c''8 \rest.

--
Phil Holmes


- Original Message - 
From: "Erich Neuwirth" 

To: 
Sent: Wednesday, September 16, 2015 10:17 AM
Subject: Misplaced rests



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Re: Misplaced rests

[Malte Meyn]

Am 16.09.2015 um 11:17 schrieb Erich Neuwirth:

%% The rests in the third voice in the middle phrase{b,8 r8 c r}
%% are placed way too high, close to the triplet beam
%% Can I correct this?


Yes, this is possible. Have a look at the Notation Reference or Learning 
Manual about polyphony. You will see that LilyPond wants the voices of a 
polyphonic section in a special order:


<<
  highest
  \\
  lowest
  \\
  second-to-highest
  \\
  second-to-lowest
  \\
  ...
>>

So you should switch the “b8 r c r” and “g4~ g” voices. Then you’ll see 
that the “g4~ g” voice has its stems up. You can correct that by writing 
\voiceFour (default behaviour of the third is like \voiceThree).


%%
\version "2.19.27"

lower = \relative c' {
  \clef bass
  \key g \major
  \time 2/4
  <<
\tuplet 3/2 {b8 d g}
\\
{
  g, r
}
  >>
  <<
{
  \tuplet 3/2 {g8 d' g}
  \tuplet 3/2 {g,8 e' g}
}
\\
{
  b,,8 r8 c r
}
\\
{
  \voiceFour
  g'4~ g4
}
  >>
  <<
\tuplet 3/2 {g8 c g'}
\\
{
  e, r
}
  >>
}

\score {
  <<
\new Staff  {
  \lower
}
  >>
}

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Re: lilypond teaching material

[Urs Liska]

Am 16.09.2015 um 11:14 schrieb BB:
> Obviously the Lilypond users are overaged?

I very much hope that our recent "inofficial survey" is biased for
whatever reasons. But I admit this impression is very strong.

> 
> Is there a kind of "curriculum", eventually with Open Office overhead
> slides ready to use for an introductory training on an adult education
> center (in Germany Volkshochschule (VHS)) available.  

Not that I know of, but it's a good idea, and I've had the wish to start
compiling such material for quite a long time. Unfortunately that
probably won't happen without a concrete opportunity.

> May be some
> skilled users ma offer such an itroduction to raise lilyponds
> popularity? Usually there are offered weekend workshops or courses
> regular an evening per week for people in work. Eventually it might be
> used in music education on schools?

Good idea.
I know that in some universities there are people offering LilyPond
courses, with mixed result/acceptance. But it definitely should be much
more, and I think people should get hooked to text based tools as early
as possible, before they are too much tied to their shiny clickediclick
tools.

Urs

> 
> Regards
> 
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

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Misplaced rests

[Erich Neuwirth]

%% The rests in the third voice in the middle phrase{b,8 r8 c r}
%% are placed way too high, close to the triplet beam
%% Can I correct this?

\header{
title = "Problem with parallele voices"
subtitle = "Some rests vertically misplaced"
}


lower = \relative c' {
  \clef bass
  \key g \major
  \time 2/4


<< \tuplet 3/2 {b8 d g} \\
  {g, r} >>
  <<{\tuplet 3/2 {g8 d' g} \tuplet 3/2 {g,8 e' g}} \\
{g,4~ g4} \\
   {b,8 r8 c r}
  >>

  << \tuplet 3/2 {g'8 c g'} \\
  {e, r} >>

}

\score {
  <<
\new Staff  {
\lower }
>>
  \layout {
\context { \Staff \RemoveEmptyStaves }
  }
}



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Re: Time signature denominator as a note rather than number?

[Malte Meyn]

Am 16.09.2015 um 11:07 schrieb Malte Meyn:

Am 16.09.2015 um 05:02 schrieb Kieren MacMillan:

Have a look at this LSR snippet: http://lsr.di.unimi.it/LSR/Item?id=642


(let* ((frac (ly:grob-property grob 'fraction))
   (num (if (pair? frac) (car frac) 4))
   (den (if (pair? frac) (cdr frac) 4))


I copied these lines from the snippet but I don’t know any case where 
defaulting to 4/4 would be necessary; 'fraction exists even if there is 
no explicite time signature. (So

;;
  (num (car frac))
  (den (cdr frac))
;;
should suffice.)


#:override '(style . default)


I also have no idea what this is and why it should be necessary …

Probably important is the used lilypond version; I use 2.19.27.

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lilypond teaching material

[BB]

Obviously the Lilypond users are overaged?

Is there a kind of "curriculum", eventually with Open Office overhead 
slides ready to use for an introductory training on an adult education 
center (in Germany Volkshochschule (VHS)) available.  May be some 
skilled users ma offer such an itroduction to raise lilyponds 
popularity? Usually there are offered weekend workshops or courses 
regular an evening per week for people in work. Eventually it might be 
used in music education on schools?


Regards

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Re: Time signature denominator as a note rather than number?

[Malte Meyn]

Am 16.09.2015 um 05:02 schrieb Kieren MacMillan:

Have a look at this LSR snippet: http://lsr.di.unimi.it/LSR/Item?id=642


Yes! That one suffices — and is more elegant — if you don’t need “strange note 
values” (like dotted notes) in your denominator(s).

And if you do, you can change the function to make f. e. “2/4.” instead 
of 6/8 like this:




\version "2.19.27"

#(define-public (format-time-sig-note grob)
   (let* ((frac (ly:grob-property grob 'fraction))
  (num (if (pair? frac) (car frac) 4))
  (den (if (pair? frac) (cdr frac) 4))
  (m
   (if (and (< 3 num) (= 0 (modulo num 3)))
   (markup #:override '(baseline-skip . 0.5)
 #:center-column
 (#:concat (#:number (number->string (/ num 3)) 
#:hspace 0.8)

   #:override '(style . default)
   #:note (string-append (number->string (/ den 2)) 
".") DOWN))

   (markup #:override '(baseline-skip . 0.5)
 #:center-column
 (#:number (number->string num)
   #:override '(style . default)
   #:note (number->string den) DOWN)
 (grob-interpret-markup grob m)))

\relative c' {
  \override Staff.TimeSignature.stencil = #format-time-sig-note
  \time 2/8
  \repeat unfold 2 c8
  \time 3/8
  \repeat unfold 3 c8
  \time 4/8
  \repeat unfold 4 c8
  \time 5/8
  \repeat unfold 5 c8
  \time 6/8
  \repeat unfold 6 c8
  \time 7/8
  \repeat unfold 7 c8
  \time 9/8
  \repeat unfold 9 c8
  \time 12/8
  \repeat unfold 12 c8
  \time 15/16
  \repeat unfold 15 c16
  \time 6/4
  \repeat unfold 6 c4
  \time 6/2
  \repeat unfold 6 c2
  \bar"|."
}


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Re: triplets across staves in piano scores

[tisimst]

Erich,

On Wednesday, September 16, 2015, Erich Neuwirth [via Lilypond] <
ml-node+s1069038n181182...@n5.nabble.com> wrote:

> %% How can I put the last note of each triplet on the lower stave
> %% on the upper stave of the piano staff?
>
>
Like this:


> \tuplet 3/2 { g8 c  \change Staff = "upper" g' }  \change Staff =
> "lower"
>

Best,
Abraham




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triplets across staves in piano scores

[Erich Neuwirth]

%% How can I put the last note of each triplet on the lower stave
%% on the upper stave of the piano staff?

\header{
title = "Triplets across staves"
}


upper = \relative c' {

  \clef treble
  \key c \major
  \time 2/4
  c'2
}

lower = \relative c' {
  \clef bass
  \key c \major
  \time 2/4


\tuplet 3/2 {g8 c  g'}
\tuplet 3/2 {g,8 c  g'}

}

\score {
  <<
\new PianoStaff  <<
 \new Staff = "upper" \upper
  \new Staff = "lower" \lower
>>
 >>
 \layout {
\context { \Staff \RemoveEmptyStaves }
  }
}
6



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Re: FreeBSD issues

[Levente]

On Wed, Sep 16, 2015 at 9:35 AM, David Kastrup  wrote:

> Lev  writes:
>
> > Hello all,
> >
> >
> > I'm hacking lilypond to my FreeBSD system.
> >
> > Currently I have to following issues.
> >
> > 1. Guile2.x okay... I think it was asked several time. I use Guile2.x for
> > other software (gEDA) and on FreeBSD v1.x and v2.x is mutually
> > exclusive.
>
> For compiling stuff (namely guile-dev), it's exclusive on Ubuntu as
> well.  But once compiled, you can keep executables linked with either
> around.  With regard to executables, you can install both in parallel
> and can access them as guile-2.0 (and just guile) and guile-1.8.
>

Unfortunately, this is not the case for FreeBSD; there are no separate
development packages. It is all or nothing.

> I've checked out the git version,
>
> The git version of what?
>

Git version of lilypond.

> and I'm trying the guile-2 branch.
>
> The guile-2 branch of what?
>

To be precise, the dev/guilev2 branch of
http://git.savannah.gnu.org/r/lilypond.git.

By the way... is there any intention to link to guile-2 in the future?


>
> > What shall I expect?
>
> Stuff not working.  Crashes.  Errors.
>
> > 2. The configure script searches for makeinfo executable, which is
> > installed in /usr/bin
> > probable comes from the base system. However, this is an ancient
> version. It
> > would be nice if the configure script would search for texi2any, which
> really
> > comes from the port, which has the current version.
>
> Only the ancient version will work for now.
>

Actually, the ancient version is 4.8, and configure requires 4.11. So The
current version (which is 6.0) works. Makeinfo is just a symlink to
texi2any.


>
> > 3. 'International New Century Schoolbook' fonts are missing. I have
> > all the dependencies installed including dejavu. I have 'New Century
> > Schoolbook' fonts installed. What is the difference? How can I get
> > these fonts for FreeBSD?
>
> No idea here: we've had some recent changes, and ./configure --help
> should mention some options for specifying paths to fonts.
>

Configure gets the path right, it just doesn't find that particular font.
My question is, could you tell me the explicit name and version of the
package (even for other system like debian) where that particular font
comes from? This might help.

Thank you very much for your answer!

Lev
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Re: FreeBSD issues

[David Kastrup]

Lev  writes:

> Hello all,
>
>
> I'm hacking lilypond to my FreeBSD system.
>
> Currently I have to following issues.
>
> 1. Guile2.x okay... I think it was asked several time. I use Guile2.x for
> other software (gEDA) and on FreeBSD v1.x and v2.x is mutually
> exclusive.

For compiling stuff (namely guile-dev), it's exclusive on Ubuntu as
well.  But once compiled, you can keep executables linked with either
around.  With regard to executables, you can install both in parallel
and can access them as guile-2.0 (and just guile) and guile-1.8.

> I've checked out the git version,

The git version of what?

> and I'm trying the guile-2 branch.

The guile-2 branch of what?

> What shall I expect?

Stuff not working.  Crashes.  Errors.

> 2. The configure script searches for makeinfo executable, which is
> installed in /usr/bin
> probable comes from the base system. However, this is an ancient version. It
> would be nice if the configure script would search for texi2any, which really
> comes from the port, which has the current version.

Only the ancient version will work for now.

> 3. 'International New Century Schoolbook' fonts are missing. I have
> all the dependencies installed including dejavu. I have 'New Century
> Schoolbook' fonts installed. What is the difference? How can I get
> these fonts for FreeBSD?

No idea here: we've had some recent changes, and ./configure --help
should mention some options for specifying paths to fonts.

> Could you help me out from the 3rd issue? The rest is easy.

Do tell.

-- 
David Kastrup

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