Re: Repeat with alternatives

[Johan Vromans]

On Thu, 01 Oct 2015 19:41:21 +0100
Anthonys Lists  wrote:

> Anyways, I think we've all missed the OPs problem. As he phrased it, I 
> understand he wants
> 
> {fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat

I'm not familiar with a clean notation for the above. 

For the normal repeat, with alternative endings, this would be

   |: fixed part 1 |1 alterrnative 1 :|2 alternative 2 |

Would this be understood by the average musician?

   |: fixed part 1 |1 alterrnative 1 |2 alternative 2 | fixed part 2 :|

-- Johan

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Re: Repeat with alternatives

[David Kastrup]

"Mark Stephen Mrotek"  writes:

> David,
>
> Thank you for the information.
> My answer was determined by the version used.

As was mine.  Of course I want to sell people on new developments.

-- 
David Kastrup

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Re: Best Practices for file structures, score and parts

[karl]

Andrew:
> So, I'm in the process of transcribing some masses from part-books, and I'm
> trying to figure out the best way to set up the file/variable/include
> structure so that I have a minimum of clutter.
> 
> There are six masses, with two brass (alternating between trumpet, horn,
> and tacet), tympani, two violins, cello (which is just a double of basso
> continuo, confusing me as to exactly how many celli there actually should
> be), SATB voice parts (solo and tutti/chorus passages), and an organ
> doubling basso continuo.
> 
> What I'd been doing previously is have each movement of the mass in its own
> file, containing the following rough structure:
> 
> each instrument is a block at the top, formatted thus:
> 
> ClarinoOneMusic = \new Voice \relative c'' {
...
> }
> 
> then a silent voice added to the top staff for tempo/meter changes, special
> barlines, etc, like this:
> 
> systembreaks = \new Voice {
>\tempo \markup {\sans \medium \fontsize #4 "Adagio" }
>s2.*6 \break
...
>\mark \markup { \musicglyph #"scripts.ufermata" } \bar "||" \break %%
> End first part

(there seems to be a final } missing)

> then a big \score block putting all the Voice variables together, starting
> like this:
> 
> \score {
...
> }
> 
> This is in each of five files that are \included in a master file
> specifying title, composer, etc, and setting them in order.
...
> Is there a better way to structure the files? How do I extract the
> instrument variables into separate part files? Can I just \include all the
> separate movement files, and then add the Voice variables in sequence? In
> other words: each movement is a separate file, but in each file the
> instruments have the same name for their variable. How do I set up part
> files so that each part has all the movements, from all the masses, in
> order and correctly transposed and everything?
...

I currently use the same structure as you, though I have the score 
block in a seperate file, see e.g.:

 http://turkos.aspodata.se/git/musik/WAMozart/requiem/

for movement "I", I have files I.ily (containing the music) and I.ly:
===
\version "2.19.0"

%{
\header {
  title = "Introitus"
  subtitle = "Requiem"
  composer = "W.A. Mozart"
}
%}
\include "score_glb.ily"
\include "I.ily"
PB = {
  s1*20 \break
  s1*5  \break
  s1*8  \break
}
\include "score_ps.ily"
\include "score_midi.ily"
===

for *.ly, the score block is the same, so I reuse it with the
\include "score_ps.ily" and by using a I.ly file I can other "I.ly" 
files with e.g. different line and page breaks, different \page 
settings etc.

///

In an older project:

 http://turkos.aspodata.se/git/musik/HPurcell/dido/

I used part and voice specific variables, and used a perl script to 
generate the score block.

///

Currently I prefer my requiem way of setting up the files.
I still have to think how to use the same music.ily and to be able
to use it in different context: a simple a4 sheet of music, a choir 
booklet, mix and match booklet with different music extracts of a
vareity of composers, etc.

So, how do I cope with:
 different pages sizes
 with or without \header
 at different staff-sizes
 as collection, on that day we sing theese songs - here is the booklet

and that preferable generated on the fly.

Regards,
/Karl Hammar

---
Aspö Data
Lilla Aspö 148
S-742 94 Östhammar
Sweden
+46 173 140 57



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Re: Best Practices for file structures, score and parts

[N. Andrew Walsh]

Hi Malte,

well, if I go by your setup, I could theoretically move the six \score
blocks into my master file, so long as I rename the instruments for each
movement (and then eventually for each mass as well, if I wanted to combine
all six masses into one document), and then make a parts.ly file to make
the parts. That seems the simplest approach to get what I want.

This is the kind of thing I really hope gets into the eventual Lily course
manual: how to set up a file structure for larger ensemble works, with
diagrams and case examples for, say, duo, chamber ensemble, orchestra,
opera, and large-scale collaborative works requiring distributed note-entry
on a git server.

Thanks for the help. I'll get to (sigh) restructuring all my files and
renaming all the Voices.

Cheers,

A

On Fri, Oct 2, 2015 at 12:18 PM, Malte Meyn  wrote:

>
>
> Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:
>
>> Is there a better way to structure the files? How do I extract the
>> instrument variables into separate part files? Can I just \include all the
>> separate movement files, and then add the Voice variables in sequence? In
>> other words: each movement is a separate file, but in each file the
>> instruments have the same name for their variable. How do I set up part
>> files so that each part has all the movements, from all the masses, in
>> order and correctly transposed and everything?
>>
>> This gets back to what I was asking the thread about a few months ago:
>> what
>> is the "best practice" (good heavens I hate that term; corporate
>> management-babble totally ruined what is otherwise a perfectly defensible
>> concept) for putting together a work such as this, with multiple
>> individual
>> pieces, each in multiple movements, for an ensemble of nontrivial size? If
>> each instrument (11 total), in each movement (five in a normal mass,
>> right?), in each mass (six total) is a separate file, I'm looking at a
>> file
>> structure of over 300 individual files. That seems … excessive.
>>
>> This many files are good for collaborating (see Urs’ project “Das trunkne
> Lied”) but when you’re alone you could rely on LilyPond’s/Frescobaldi’s
> point-and-click functionality. For a symphony I have the following files:
>
> global.ily: contains things like title, including custom headers (f. e.
> for a different music font), and other global settings (like the
> markFormatter)
>
> I.ily to IV.ily: contain the music of the movements I to IV (in concert
> pitch):
> Iglobal = { \key … }
> IfluteI = \relative { … } \addQuote "IfluteI" \IfluteI
> IfluteII = \relative …
> They include global.ily.
>
> score.ly: contains paper and layout settings for the full score, also
> partcombine and transpose/transposition; has a \score block for every
> movement. This includes I.ily to IV.ily. Outputs score.pdf.
>
> parts.ly: this contains a \book block (with custom \bookOutputName) for
> every instrument. Includes I.ily to IV.ily. Outputs fluteI.pdf, …,
> doublebass.pdf.
>
> midiI.ly to midiIV.ly: like score.ly but without layout, instrumentNames,
> transposition, StaffGroups, partcombine and all that ‘unnecessary stuff’.
> Could’ve used only one file with several \book blocks.
>
>
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Re: Percent repeats within \parallelMusic

[David Kastrup]

David Sumbler  writes:

> The string quartet I have been working on has a few passages where one
> or more of the instruments are playing the same pattern for several bars
> in succession.
>
> In the score I want these to be written out in full, but in the parts I
> would like to use numbered "percent" repeat marks.
>
> The obvious way for me to do this was to use tags, and provide 2
> versions.
>
> Unfortunately, because I am using the \parallelMusic structure, it seems
> to me that this won't work.

Why?  Can you make a sketch of what you are having problems with?
Percent repeats usually are only for a few bars.  If they are not
staggered over instruments, you can just leave off all bar checks in the
repeated passage for all instruments: there is no requirement to do a
barcheck/voiceswitch every bar in \parallelMusic.

-- 
David Kastrup

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Re: Percent repeats within \parallelMusic

[David Sumbler]

Thanks for this information - it could well provide a solution.

I was not aware that, in \parallelMusic, the music between successive
bar checks could be more than a single bar.  Section 1.5.2 of the
Notation Reference says "Bar checks | must be used, and the measures
must be of the same length."  There is no suggestion that these
"measures" need not actually correspond to single measures of the music.
The examples shown all use single bars between bar checks.

Perhaps this useful fact could be added to this section of the
documentation.

David


On Fri, 2015-10-02 at 10:23 +0200, David Kastrup wrote:
> David Sumbler  writes:
> 
> > The string quartet I have been working on has a few passages where one
> > or more of the instruments are playing the same pattern for several bars
> > in succession.
> >
> > In the score I want these to be written out in full, but in the parts I
> > would like to use numbered "percent" repeat marks.
> >
> > The obvious way for me to do this was to use tags, and provide 2
> > versions.
> >
> > Unfortunately, because I am using the \parallelMusic structure, it seems
> > to me that this won't work.
> 
> Why?  Can you make a sketch of what you are having problems with?
> Percent repeats usually are only for a few bars.  If they are not
> staggered over instruments, you can just leave off all bar checks in the
> repeated passage for all instruments: there is no requirement to do a
> barcheck/voiceswitch every bar in \parallelMusic.
> 



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Re: Repeat with alternatives

[David Kastrup]

David Wright  writes:

> Following David K's contribution, I looked at issue 355 but, without
> any version 2.19 to run,

That sounds like something one could fix.

> I couldn't experiment with the code in comment #11 (which looks like
> the final word). It seems to imply that 2.19's alternatives always
> start a fresh bar, which is not what we want here where we start on
> beat 3.

No.  The fix just carries over the measurePosition from the start of the
first alternative into all other alternatives.  You don't have to start
on a bar boundary for that.

-- 
David Kastrup

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Syntax for multiple slurs per Voice?

[David Kastrup]

Hi, issue 4625 in the tracker
 is the final
straw to provide an actual input syntax for setting the spanner-id
property introduced before version 2.16.  I think currently only slurs
and phrasing slurs heed them.  While the principal property is a string,
I think it makes sense to also allow numbers.

How do people feel about choosing one of the following variations of
\- and \= (code compiles and does the expected thing even in 2.18):

\version "2.18.0"

"\\=" =
#(define-event-function (parser location id ev) (number-or-string? ly:event?)
  (set! (ly:music-property ev 'spanner-id)
(if (number? id) (number->string id) id))
  ev)

"\\-" =
#(define-event-function (parser location id ev) (number-or-string? ly:event?)
  (set! (ly:music-property ev 'spanner-id)
(if (number? id) (number->string id) id))
  ev)

\relative { c'\=1( d\=2( e\=1) f\=2) }

\relative { c'\-1( d\-2( e\-1) f\-2) }

% should we prefer this variant in the docs?

\relative { c'\-1-( d\-2-( e\-1-) f\-2-) }

% if so, how to write slur directions?

\relative { c'\-1^( d\-2_( e\-1-) f\-2-) }

\relative { c'^\-1-( d_\-2-( e\-1-) f\-2-) }

% using simple strings

\relative { c'\=x( d\=y( e\=x) f\=y) }

\relative { c'\-x( d\-y( e\-x) f\-y) }

\relative { c'\-x-( d\-y-( e\-x-) f\-y-) }

Other options I have thought about would be \# but it turns out that
looks really clunky and works worse logically with strings than with
numbers.  Also it might be more trouble with syntax highlighting because
of already existing meanings of # .

-- 
David Kastrup
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Best Practices for file structures, score and parts

[N. Andrew Walsh]

Hi List,

So, I'm in the process of transcribing some masses from part-books, and I'm
trying to figure out the best way to set up the file/variable/include
structure so that I have a minimum of clutter.

There are six masses, with two brass (alternating between trumpet, horn,
and tacet), tympani, two violins, cello (which is just a double of basso
continuo, confusing me as to exactly how many celli there actually should
be), SATB voice parts (solo and tutti/chorus passages), and an organ
doubling basso continuo.

What I'd been doing previously is have each movement of the mass in its own
file, containing the following rough structure:

each instrument is a block at the top, formatted thus:

ClarinoOneMusic = \new Voice \relative c'' {

  some notes

}

then a silent voice added to the top staff for tempo/meter changes, special
barlines, etc, like this:

systembreaks = \new Voice {
   \tempo \markup {\sans \medium \fontsize #4 "Adagio" }
   s2.*6 \break
   s2.*6 \bar "||" \break %% End of Adagio, Bar 12
   \time 2/4
   \tempo \markup {\sans \medium \fontsize #4 "Andantè"}
   s2*72  \once \override Score.RehearsalMark.break-visibility =
#begin-of-line-invisible
   \mark \markup { \musicglyph #"scripts.ufermata" } \bar "||" \break %%
End first part

then a big \score block putting all the Voice variables together, starting
like this:

\score {
  <<
\new StaffGroup = "StaffGroup_banda" <<
  \new Staff = "Staff_ClarinoOne" <<
\override Staff.InstrumentName.self-alignment-X = #LEFT
\set Staff.instrumentName = \markup \left-column { \abs-fontsize
#10 \line {Corno I ex F } \line {\italic {ad lib. } } }
\global \ClarinoOneMusic \systembreaks
  >>
  \new Staff = "Staff_ClarinoTwo" {
%% [SNIP] etc etc.
\layout {
  \context {
\Staff \RemoveEmptyStaves
  }
  }
  \midi {}
  \header {
  piece = \markup { \abs-fontsize #18 \left-align { Kyrie } }
}
}

This is in each of five files that are \included in a master file
specifying title, composer, etc, and setting them in order. My problem is
now this: having reached a mass with transposing instruments, I realize
that I want the two transposing Voices to be in concert pitch in the score,
but transposed in the parts (and I'm reading from transposed part-books).
Questions:

do I enter the transposing instruments into the score in concert pitch or
transposed? Can Frescobaldi (my editor of choice) take an entire Voice and
transpose it into concert pitch after I've edited, or should I enter the
content in concert pitch (transposing back into C on the fly as I type)?

Is there a better way to structure the files? How do I extract the
instrument variables into separate part files? Can I just \include all the
separate movement files, and then add the Voice variables in sequence? In
other words: each movement is a separate file, but in each file the
instruments have the same name for their variable. How do I set up part
files so that each part has all the movements, from all the masses, in
order and correctly transposed and everything?

This gets back to what I was asking the thread about a few months ago: what
is the "best practice" (good heavens I hate that term; corporate
management-babble totally ruined what is otherwise a perfectly defensible
concept) for putting together a work such as this, with multiple individual
pieces, each in multiple movements, for an ensemble of nontrivial size? If
each instrument (11 total), in each movement (five in a normal mass,
right?), in each mass (six total) is a separate file, I'm looking at a file
structure of over 300 individual files. That seems … excessive.

Thanks for the advice.

A
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Re: Best Practices for file structures, score and parts

[Malte Meyn]

Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:

do I enter the transposing instruments into the score in concert pitch or
transposed? Can Frescobaldi (my editor of choice) take an entire Voice and
transpose it into concert pitch after I've edited, or should I enter the
content in concert pitch (transposing back into C on the fly as I type)?



I prefer entering everything in concert pitch (transposing back when 
copying music and simply writing what I want to hear when composing) and 
doing the transposition in the \score block. This makes correct quoting 
easier IMO (unisono voices, cue notes). And it allows you to have a 
score in concert pitch whithout transposing back.


Frescobaldi is able to transpose music (tools→pitches→transpose) but I 
remember an issue with note names in german (and perhaps other 
languages) when you have several names (asas and ases) for the same 
pitch (a flat). I’m not sure whether this has been fixed.


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Re: Best Practices for file structures, score and parts

[Malte Meyn]

Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:

Is there a better way to structure the files? How do I extract the
instrument variables into separate part files? Can I just \include all the
separate movement files, and then add the Voice variables in sequence? In
other words: each movement is a separate file, but in each file the
instruments have the same name for their variable. How do I set up part
files so that each part has all the movements, from all the masses, in
order and correctly transposed and everything?

This gets back to what I was asking the thread about a few months ago: what
is the "best practice" (good heavens I hate that term; corporate
management-babble totally ruined what is otherwise a perfectly defensible
concept) for putting together a work such as this, with multiple individual
pieces, each in multiple movements, for an ensemble of nontrivial size? If
each instrument (11 total), in each movement (five in a normal mass,
right?), in each mass (six total) is a separate file, I'm looking at a file
structure of over 300 individual files. That seems … excessive.

This many files are good for collaborating (see Urs’ project “Das 
trunkne Lied”) but when you’re alone you could rely on 
LilyPond’s/Frescobaldi’s point-and-click functionality. For a symphony I 
have the following files:


global.ily: contains things like title, including custom headers (f. e. 
for a different music font), and other global settings (like the 
markFormatter)


I.ily to IV.ily: contain the music of the movements I to IV (in concert 
pitch):

Iglobal = { \key … }
IfluteI = \relative { … } \addQuote "IfluteI" \IfluteI
IfluteII = \relative …
They include global.ily.

score.ly: contains paper and layout settings for the full score, also 
partcombine and transpose/transposition; has a \score block for every 
movement. This includes I.ily to IV.ily. Outputs score.pdf.


parts.ly: this contains a \book block (with custom \bookOutputName) for 
every instrument. Includes I.ily to IV.ily. Outputs fluteI.pdf, …, 
doublebass.pdf.


midiI.ly to midiIV.ly: like score.ly but without layout, 
instrumentNames, transposition, StaffGroups, partcombine and all that 
‘unnecessary stuff’. Could’ve used only one file with several \book blocks.


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Re: Syntax for multiple slurs per Voice?

[Kieren MacMillan]

Hi David,

> Personally I'd rather keep @ for user extensions.

Fair enough.

> At any rate, a nice idea might be to have a context property slur-ids
> (and phrasing-slur-ids and beam-ids) that can be set to a list and will
> then cause the Slur_engraver to only look at slurs in that set of ids.
> […] it would be comparatively simple to implement.

Very interesting idea! That could be quite helpful.

Thanks, as always.
Kieren.


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


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multiple TextSpanners per voice

[David Nalesnik]

Hi all,

I'm experimenting with a way to support multiple text spanners in a single
voice, using the 'spanner-id property which already enables multiple slurs
and phrasing slurs.

The attached code works--until the spanners cross a line break.  Then the
order of the spanners is reversed.  I've experimented with different start
and end points of the spanners, reversing lists within the engraver--no
change.

The second example shows that tweaks can mess up this reversed ordering
even further.

Does anyone know what is happening here?  I really have no idea :(

Thanks,

David
\version "2.19"

%% Based on the rewrite of Text_spanner_engraver in
%% input/regression/scheme-text-spanner.ly

#(define (add-bound-item spanner item)
   (if (null? (ly:spanner-bound spanner LEFT))
   (ly:spanner-set-bound! spanner LEFT item)
   (ly:spanner-set-bound! spanner RIGHT item)))

#(define (axis-offset-symbol axis)
   (if (eq? axis X) 'X-offset 'Y-offset))

#(define (set-axis! grob axis)
   (if (not (number? (ly:grob-property grob 'side-axis)))
   (begin
(set! (ly:grob-property grob 'side-axis) axis)
(ly:grob-chain-callback
 grob
 (if (eq? axis X)
 ly:side-position-interface::x-aligned-side
 side-position-interface::y-aligned-side)
 (axis-offset-symbol axis)

schemeTextSpannerEngraver =
#(lambda (context)
   (let ((span '()) ; list of started spanner
  (finished '()) ; list of spanners in completion stage
  (event-start '()) ; list of START events
  (event-stop '())) ; list of STOP events
 (make-engraver
  ;; \startTextSpan, \stopTextSpan, and the like create events
  ;; which we collect here.
  (listeners
   ((text-span-event engraver event)
(if (= START (ly:event-property event 'span-direction))
(set! event-start (cons event event-start))
(set! event-stop (cons event event-stop)
  ;; Populate 'note-columns property of spanners.  Bounds are
  ;; set to note columns, and each spanner keeps a record of
  ;; the note columns it traverses.
  (acknowledgers
   ((note-column-interface engraver grob source-engraver)
(for-each (lambda (s)
(ly:pointer-group-interface::add-grob
 s 'note-columns grob)
(add-bound-item s grob))
  span)
(for-each (lambda (f)
(ly:pointer-group-interface::add-grob
 f 'note-columns grob)
(add-bound-item f grob))
  finished)))

  ((process-music trans)
   ;; Move begun spanners from 'span' to 'finished'.  We do this
   ;; on the basis of 'spanner-id.  If we find a match--either
   ;; the strings are the same, or both are unset--a transfer
   ;; can be made.  Return a warning if we find no match: spanner
   ;; hasn't been properly begun.
   (for-each
(lambda (es)
  (let ((es-id (ly:event-property es 'spanner-id)))
(let loop ((sp span))
  (let ((sp-id (ly:event-property
(event-cause (car sp)) 'spanner-id)))
(cond
 ((null? sp) (ly:warning "No spanner to end!!"))
 ((and
   (string? sp-id)
   (string? es-id)
   (string=? sp-id es-id))
  (set! finished (cons (car sp) finished))
  (set! span (remove (lambda (s) (eq? s (car sp))) span)))
 ((and
   (null? sp-id)
   (null? es-id))
  (set! finished (cons (car sp) finished))
  (set! span (remove (lambda (s) (eq? s (car sp))) span)))
 (else (loop (cdr sp
event-stop)

   ;; The end of our spanners can be acknowledged by other engravers.
   (for-each
(lambda (f)
  (ly:engraver-announce-end-grob trans f (event-cause f)))
finished)

   ;; Make spanners called for by START events.
   (for-each
(lambda (es)
  (set! span
(cons
 (ly:engraver-make-grob trans 'TextSpanner es)
 span))
  (set-axis! (car span) Y))
event-start)

   ;; Events have served their purpose for this timestep.  Clear
   ;; the way for new events in later timesteps.
   (set! event-start '())
   (set! event-stop '()))

  ((stop-translation-timestep trans)
   ;; Set bounds of spanners to PaperColumns if they haven't been set.
   ;; This allows spanners to be drawn between spacers.  Other uses?
   ;; Doesn't appear to affect whether spanners can de drawn between
   ;; rests.
   (for-each
(lambda (s)
  (if (null? (ly:spanner-bound s LEFT))
  (ly:spanner-set-bound! s LEFT
(ly:context-property context 'currentMusicalColumn
span)

   (for-each

Re: multiple TextSpanners per voice

[David Nalesnik]

On Fri, Oct 2, 2015 at 10:00 AM, David Nalesnik 
wrote:

> Hi all,
>
> I'm experimenting with a way to support multiple text spanners in a single
> voice, using the 'spanner-id property which already enables multiple slurs
> and phrasing slurs.
>
> The attached code works--until the spanners cross a line break.  Then the
> order of the spanners is reversed.  I've experimented with different start
> and end points of the spanners, reversing lists within the engraver--no
> change.
>
> The second example shows that tweaks can mess up this reversed ordering
> even further.
>
> Does anyone know what is happening here?  I really have no idea :(
>

Here's an image.

(I'm running 2.19.27 with Windows 10, 64-bit, if that's has anything to do
with it.)

David
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Re: Syntax for multiple slurs per Voice?

[Kieren MacMillan]

Hi David,

> issue 4625 in the tracker
>  is the final
> straw to provide an actual input syntax for setting the spanner-id
> property introduced before version 2.16.

Fabulous!

> How do people feel about choosing one of the following variations of
> \- and \= (code compiles and does the expected thing even in 2.18):

I think I prefer \=, but I would be happy with either.

> Other options I have thought about would be \# but it turns out that
> looks really clunky and works worse logically with strings than with
> numbers.  Also it might be more trouble with syntax highlighting because
> of already existing meanings of # .

Is this possibly the right time/situation to finally use the [currently unused, 
I believe??] @?

Thanks for all your great work on this issue.
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
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Re: Syntax for multiple slurs per Voice?

[David Kastrup]

Kieren MacMillan  writes:

> Hi David,
>
>> issue 4625 in the tracker
>>  is the final
>> straw to provide an actual input syntax for setting the spanner-id
>> property introduced before version 2.16.
>
> Fabulous!
>
>> How do people feel about choosing one of the following variations of
>> \- and \= (code compiles and does the expected thing even in 2.18):
>
> I think I prefer \=, but I would be happy with either.
>
>> Other options I have thought about would be \# but it turns out that
>> looks really clunky and works worse logically with strings than with
>> numbers.  Also it might be more trouble with syntax highlighting because
>> of already existing meanings of # .
>
> Is this possibly the right time/situation to finally use the
> [currently unused, I believe??] @?

Well, this would turn the test code into
\version "2.18.0"

"@" =
#(define-event-function (parser location id ev) (number-or-string? ly:event?)
  (set! (ly:music-property ev 'spanner-id)
(if (number? id) (number->string id) id))
  ev)

"\\=" =
#(define-event-function (parser location id ev) (number-or-string? ly:event?)
  (set! (ly:music-property ev 'spanner-id)
(if (number? id) (number->string id) id))
  ev)

"\\-" =
#(define-event-function (parser location id ev) (number-or-string? ly:event?)
  (set! (ly:music-property ev 'spanner-id)
(if (number? id) (number->string id) id))
  ev)

\relative { c'@1( d@2( e@1) f@2) }

\relative { c'\=1( d\=2( e\=1) f\=2) }

\relative { c'\-1( d\-2( e\-1) f\-2) }

% should we prefer this variant in the docs?

\relative { c'\-1-( d\-2-( e\-1-) f\-2-) }

% if so, how to write slur directions?

\relative { c'\-1^( d\-2_( e\-1-) f\-2-) }

\relative { c'^\-1-( d_\-2-( e\-1-) f\-2-) }

% using simple strings

\relative { c'@x( d@y( e@x) f@y) }

\relative { c'\=x( d\=y( e\=x) f\=y) }

\relative { c'\-x( d\-y( e\-x) f\-y) }

\relative { c'\-x-( d\-y-( e\-x-) f\-y-) }

I'm not particularly fond of that but it does get rid of the backslash.
Personally I'd rather keep @ for user extensions.

At any rate, a nice idea might be to have a context property slur-ids
(and phrasing-slur-ids and beam-ids) that can be set to a list and will
then cause the Slur_engraver to only look at slurs in that set of ids.

Where is the point?  You can then do something like

\layout {
  \context {
\Voice
slur-ids = #'("" "1" "2")
  }
  \context {
\Staff
\consists "Slur_engraver"
slur-ids = #'("3" "4")
  }
}

and then spanner-id "3" or "4" will work for cross-Voice slurs.  I'm not
entirely convinced of the concept since it requires a lot checking at
each involved level and one will likely want to do the same for other
engravers so that one has to wonder if it would not be better to
filter/distribute events before they even reach engravers.

But it would be comparatively simple to implement.

-- 
David Kastrup
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Question re title formatting

[Karen Billings]

Good morning all,
I hate bothering the you all with a dumb question, but I've been wracking my 
brain with this for two hours.
I am arranging a standard Latin setting for our Choir to use Sunday, and seem 
to be having trouble with something that worked before.
I'm still working in 2.18.2
My title information is 
piece = "St. Thomas"title = "Pange, Lingua, Gloriosi"titleb = "(Hymn 
Setting)"composer = "John F. Wade, 1711-1786"meter = "87.87.87"arranger = 
"Thomas Aquinas, 1225-1274"
My initial markup line is:
\markup {  \column {    \fill-line { \large \bold \title } % title    
\fill-line { \titleb }    \fill-line { \caps \piece               % piece       
   \caps \composer      % composer   }    \fill-line { \meter          % meter  
        \arranger           % arranger   }  }}
For some reason, Lilypond incorporates the "meter" but ignores the 
"arranger"... Any ideas?
Many thanks!
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Re: Syntax for multiple slurs per Voice?

[Werner LEMBERG]

>>> How do people feel about choosing one of the following variations of
>>> \- and \= (code compiles and does the expected thing even in 2.18):
>>
>> I think I prefer \=, but I would be happy with either.

+1 for `\=', since `@' looks a bit clumsy.


Werner

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Tie doesn't show

[S]

Hi all,

I'm fairly new to Lilypond and I'm copying a couple of existing scores to
get a hang of the language. I've been able to solve most problems thanks to
the excellent documentation, but for this particular problem I could really
use some help:

What I basically want to do is tie a fes in one bar, to an e in the next
bar. From what I understand this isn't possible in the version I use
(2.18.2), so I changed the fes to an e in the first bar. However, using the
~ doesn't result in a tie and I get a warning (unterminated tie) instead.

Here's the code I'm using:

4    | %10
 <<{e e as as}\\{f,2 f}>> | %11

What am I doing wrong here?

Thanks,

S.
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Re: Tie doesn't show

[Malte Meyn]

Am 02.10.2015 um 19:34 schrieb S:

4    | %10
  <<{e e as as}\\{f,2 f}>> | %11

Ties can only start and end in the same voice. The << \\ >> construct 
begins two new voices so you can’t have a tie from outside of this 
construct to inside. But you can do the following:



<<
  { e e as as }
  \new Voice { f,2 f }
>>

This should only create one new voice. Perhaps (I didn’t test the code 
above) you have to use the \voiceOne, \voiceTwo, \oneVoice commands for 
correct stem directions etc.


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Re: Syntax for multiple slurs per Voice?

[Urs Liska]

Am 02.10.2015 um 16:06 schrieb Kieren MacMillan:
> Hi David,
>
>> issue 4625 in the tracker
>>  is the final
>> straw to provide an actual input syntax for setting the spanner-id
>> property introduced before version 2.16.
> Fabulous!
>
>> How do people feel about choosing one of the following variations of
>> \- and \= (code compiles and does the expected thing even in 2.18):
> I think I prefer \=, but I would be happy with either.

I also think that \= looks better, because
a) what we're doing is *assigning* an id (at least from a user's
perspective)
b) \- looks more like a misspelled -\ (as in -\markup) and thus somewhat
confusing.


This is indeed very exiting "news" - and the fact that a new interface
seems necessary to make that option known is indeed interesting.

Is the request for making it possible to have an "id"ed slur/spanner go
to another voice/staff related to that issue or is it technically a
different thing?

Urs

>
>> Other options I have thought about would be \# but it turns out that
>> looks really clunky and works worse logically with strings than with
>> numbers.  Also it might be more trouble with syntax highlighting because
>> of already existing meanings of # .
> Is this possibly the right time/situation to finally use the [currently 
> unused, I believe??] @?
>
> Thanks for all your great work on this issue.
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
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Re: multiple TextSpanners per voice

[David Kastrup]

David Nalesnik  writes:

> Hi all,
>
> I'm experimenting with a way to support multiple text spanners in a single
> voice, using the 'spanner-id property which already enables multiple slurs
> and phrasing slurs.
>
> The attached code works--until the spanners cross a line break.  Then the
> order of the spanners is reversed.  I've experimented with different start
> and end points of the spanners, reversing lists within the engraver--no
> change.
>
> The second example shows that tweaks can mess up this reversed ordering
> even further.
>
> Does anyone know what is happening here?  I really have no idea :(

Sounds like room-saving stacking of elements with equal
outside-staff-priority (?).  Perhaps distribute ascending priorities?

-- 
David Kastrup

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Re: multiple TextSpanners per voice

[Michael Gerdau]

> > The second example shows that tweaks can mess up this reversed ordering
> > even further.
> > 
> > Does anyone know what is happening here?  I really have no idea :(
> 
> Here's an image.
> 
> (I'm running 2.19.27 with Windows 10, 64-bit, if that's has anything to do
> with it.)

Just for the record:
I'm running 2.19.28 on Linux 4.2.2-1-ARCH x86_64 and see the very same
image you posted.

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

signature.asc
Description: This is a digitally signed message part.
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Re: multiple TextSpanners per voice

[David Nalesnik]

David,

On Fri, Oct 2, 2015 at 11:26 AM, David Kastrup  wrote:

> David Nalesnik  writes:
>
> > Hi all,
> >
> > I'm experimenting with a way to support multiple text spanners in a
> single
> > voice, using the 'spanner-id property which already enables multiple
> slurs
> > and phrasing slurs.
> >
> > The attached code works--until the spanners cross a line break.  Then the
> > order of the spanners is reversed.  I've experimented with different
> start
> > and end points of the spanners, reversing lists within the engraver--no
> > change.
> >
> > The second example shows that tweaks can mess up this reversed ordering
> > even further.
> >
> > Does anyone know what is happening here?  I really have no idea :(
>
> Sounds like room-saving stacking of elements with equal
> outside-staff-priority (?).  Perhaps distribute ascending priorities?


Exactly!  Thanks so much.

The following is one of the examples from the file, with
outside-staff-priority tweaks.  The order is preserved.

\relative c' {
  \override TextSpanner.outside-staff-padding = 2
  \override TextSpanner.thickness = 4
  \override TextSpanner.style = ##f
  a4
  -\tweak color #red
  \startTextSpan
  b c
  -\tweak color #darkred
  -\offset outside-staff-priority 1
  \startTextSpanOne
  d

  a4
  -\tweak color #magenta
  -\offset outside-staff-priority 2
  \startTextSpanTwo
  b c
  -\tweak style #'zigzag
  -\offset outside-staff-priority 3
  \startTextSpanThree
  d
  \break

  a4 b c d\stopTextSpanThree

  a4 b\stopTextSpanTwo
  c d\stopTextSpanOne
  a4 b c d\stopTextSpan
}

%

Naturally, it would be nice to do this without needing the extra tweaks.
 outside-staff-priority could be altered behind-the-scenes, but that seems
somehow...dishonest.  Though, of course, two spanner with priorities 350
and 351 would be unlikely to interfere with placement of other objects.

DN
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Re: Question re title formatting

[Jacques Menu]

Hello Karen,

Works with 2.19.28.

JM

> Le 2 oct. 2015 à 18:29, Karen Billings  a écrit :
> 
> Good morning all,
> 
> I hate bothering the you all with a dumb question, but I've been wracking my 
> brain with this for two hours.
> 
> I am arranging a standard Latin setting for our Choir to use Sunday, and seem 
> to be having trouble with something that worked before.
> 
> I'm still working in 2.18.2
> 
> My title information is 
> 
> piece = "St. Thomas"
> title = "Pange, Lingua, Gloriosi"
> titleb = "(Hymn Setting)"
> composer = "John F. Wade, 1711-1786"
> meter = "87.87.87"
> arranger = "Thomas Aquinas, 1225-1274"
> 
> My initial markup line is:
> 
> \markup {
>   \column {
> \fill-line { \large \bold \title } % title
> \fill-line { \titleb  }
> \fill-line { \caps \piece   % piece
>\caps \composer  % composer
> }
> \fill-line { \meter  % meter
>\arranger   % arranger
> }
>   }
> }
> 
> For some reason, Lilypond incorporates the "meter" but ignores the 
> "arranger"... Any ideas?
> 
> Many thanks!
> 
> Karen
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Re: Repeat with alternatives

[David Wright]

Quoting Johan Vromans (jvrom...@squirrel.nl):
> On Thu, 01 Oct 2015 19:41:21 +0100
> Anthonys Lists  wrote:
> 
> > Anyways, I think we've all missed the OPs problem. As he phrased it, I 
> > understand he wants
> > 
> > {fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat
> 
> I'm not familiar with a clean notation for the above. 

Nor me. It would usually help if the OP could post an example of what
they wanted, either published or cobbled together.

> For the normal repeat, with alternative endings, this would be
> 
>|: fixed part 1 |1 alterrnative 1 :|2 alternative 2 |
> 
> Would this be understood by the average musician?
> 
>|: fixed part 1 |1 alterrnative 1 |2 alternative 2 | fixed part 2 :|

Understood? Well "my" attached "partial solution" (which I've
completed only by using inkscape) would be understood in such a small
piece. If it ran over several pages, then perhaps not. But even then,
it couldn't be misunderstood upon reflection, because all its elements
are used in a completely conventional manner. The only unusual thing
is seeing no :| at the end of closed volta brackets (because you don't
go back at that point).

Liked? Don't know. What do people think?

Useful? Well, it's funny how a piece immediately pops up that could
benefit from such a construction. I'm looking at a copy of "When rooks
fly homeward" by Arthur Baynon. It's a piece with two verses of 9 bars
each, where the music for each verse is identical apart from the fifth
bar whose rhythm is 8 4 8 4 4 and then 4 8 8 4 4.
If I were asked to produce a copy on two staves for an accompanist
(something I have often done), it would be an ideal candidate for this
construction, though I certainly would not use half-bars.
(But as it is, it's simple enough for most choirs to sight-read with
no accompaniment, but for one soprano typo in that 84844 bar.)

Cheers,
David.
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Re: multiple TextSpanners per voice

[David Nalesnik]

Michael,

On Fri, Oct 2, 2015 at 11:33 AM, Michael Gerdau  wrote:

> > > The second example shows that tweaks can mess up this reversed ordering
> > > even further.
> > >
> > > Does anyone know what is happening here?  I really have no idea :(
> >
> > Here's an image.
> >
> > (I'm running 2.19.27 with Windows 10, 64-bit, if that's has anything to
> do
> > with it.)
>
> Just for the record:
> I'm running 2.19.28 on Linux 4.2.2-1-ARCH x86_64 and see the very same
> image you posted.
>
>
Thanks for trying that out!

Looks like David Kastrup has identified the cross-platform cause.

DN
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Re: Repeat with alternatives

[Anthonys Lists]

On 02/10/2015 07:24, Johan Vromans wrote:

On Thu, 01 Oct 2015 19:41:21 +0100
Anthonys Lists  wrote:


Anyways, I think we've all missed the OPs problem. As he phrased it, I
understand he wants

{fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat

I'm not familiar with a clean notation for the above.

For the normal repeat, with alternative endings, this would be

|: fixed part 1 |1 alterrnative 1 :|2 alternative 2 |

Would this be understood by the average musician?

|: fixed part 1 |1 alterrnative 1 |2 alternative 2 | fixed part 2 :|

-- Johan


Quite possibly, actually ...

I won't email it to the list, but if people want it (email me off-list, 
trombone parts only) my version of Radetzky iirc has some weird volta 
progression. At the end of the day, it's down to the conductor to make 
sure the players know what they're doing.


Cheers,
Wol

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Re: Best Practices for file structures, score and parts

[Anthonys Lists]

On 02/10/2015 08:58, N. Andrew Walsh wrote:
do I enter the transposing instruments into the score in concert pitch 
or transposed? Can Frescobaldi (my editor of choice) take an entire 
Voice and transpose it into concert pitch after I've edited, or should 
I enter the content in concert pitch (transposing back into C on the 
fly as I type)?
Playing trombone as I do, I get parts in any combination of bass clef, 
tenor clef, or treble/Bf. I need some sort of convention to avoid 
getting messed up, and the obvious one for me is:


All parts are entered as variables. All parts are copied in in the pitch 
they are written. All parts are wrapped in a transpose to make the 
variable concert pitch. So the notes are entered as either


voiceTromboneI = \transpose c' bf { c e g }

or

voiceTromboneI = \transpose c' c' { bf d f }

When outputting a treble clef part I can then do the following no 
problem ...


\transpose bf c' \voiceTromboneI

Cheers,
Wol

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Re: Tie doesn't show

[Thomas Morley]

2015-10-02 20:10 GMT+02:00 Malte Meyn :
>
>
> Am 02.10.2015 um 19:34 schrieb S:
>>
>> 4    | %10
>>   <<{e e as as}\\{f,2 f}>> | %11
>>
> Ties can only start and end in the same voice. The << \\ >> construct begins
> two new voices so you can’t have a tie from outside of this construct to
> inside.

But you can continue a previously stated and named Voice in the << \\
>> construct:

\new Voice = "one"
{
4    | %10
 << \context Voice = "one" {e e as as}\\{f,2 f}>> | %11
}


Cheers,
  Harm

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Re: Slur under beam

[Simon Albrecht]

On 02.10.2015 07:27, Andrew Bernard wrote:

Simon Albrecht has made a fine fix


That’s very kind to say, but I only did some updating; there remain bugs 
as I already posted on this list (search for "Debugging shapeII").


Yours, Simon

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Re: Repeat with alternatives

[Richard Shann]

On Fri, 2015-10-02 at 13:27 -0500, David Wright wrote:
> Quoting Johan Vromans (jvrom...@squirrel.nl):
> > On Thu, 01 Oct 2015 19:41:21 +0100
> > Anthonys Lists  wrote:
> > 
> > > Anyways, I think we've all missed the OPs problem. As he phrased it, I 
> > > understand he wants
> > > 
> > > {fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat
> > 
> > I'm not familiar with a clean notation for the above. 
> 
> Nor me. It would usually help if the OP could post an example of what
> they wanted, either published or cobbled together.
> 
> > For the normal repeat, with alternative endings, this would be
> > 
> >|: fixed part 1 |1 alterrnative 1 :|2 alternative 2 |
> > 
> > Would this be understood by the average musician?
> > 
> >|: fixed part 1 |1 alterrnative 1 |2 alternative 2 | fixed part 2 :|
> 
> Understood? Well "my" attached "partial solution" (which I've
> completed only by using inkscape)

Did you resort to inkscape to get the because you wanted an
end-of-second-time marker? LilyPond doesn't give one with this syntax

\version "2.19.25"
{

a'8 b' c' e' c'2
a'4 b' 
\set Score.repeatCommands = #'((volta "1"))
d'4 g' 
\set Score.repeatCommands = #'((volta #f)) 
\set Score.repeatCommands = #'((volta "2"))
\set Timing.measurePosition = #(ly:make-moment -1/2) d'8 e' f' g' 
\set Score.repeatCommands = #'((volta #f))
d''4 c'' b' a'
%5
a' b' c'' d'' \bar ":|."}


and it gives a warning which I don't understand. OTOH the
end-of-second-time marker wouldn't serve any particular purpose - the
player doesn't do anything special at that point.

Richard




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Re: Best Practices for file structures, score and parts

[Simon Albrecht]

On 02.10.2015 12:03, Malte Meyn wrote:
I remember an issue with note names in german (and perhaps other 
languages) when you have several names (asas and ases) for the same 
pitch (a flat). I’m not sure whether this has been fixed. 


You might check at the issue tracker: 
, post updates or raise a 
new issue.


Thanks, Simon

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Re: Syntax for multiple slurs per Voice?

[Thomas Morley]

2015-10-02 13:13 GMT+02:00 David Kastrup :
>
> Hi, issue 4625 in the tracker
>  is the final
> straw to provide an actual input syntax for setting the spanner-id
> property introduced before version 2.16.  I think currently only slurs
> and phrasing slurs heed them.  While the principal property is a string,
> I think it makes sense to also allow numbers.
>
> How do people feel about choosing one of the following variations of
> \- and \= (code compiles and does the expected thing even in 2.18):

(1)
I'd prefer \=


(2)
> % should we prefer this variant in the docs?
>
> \relative { c'\-1-( d\-2-( e\-1-) f\-2-) }

I don't think we show Slurs with "-" very often in the docs, thus I'd go for:

\relative { c'\=1( d\=2( e\=1) f\=2) }


(3)
> % if so, how to write slur directions?

I'd only demonstrate:

\relative { c'^\=1( d\=2( e\=1) f\=2) }

because for conflicting direction-modifiers the one typed first will win.
See:

\relative { c'^\=1_( d\=2( e\=1) f\=2) }


(4)
Observation:
Using Slurs with and without setted 'spanner-id works as well
\relative { c'\=1( d( e\=1) f) }

\relative { c'\=1(^( e\=1)) }


Cheers,
 Harm

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Re: Syntax for multiple slurs per Voice?

[David Kastrup]

Thomas Morley  writes:

> (4)
> Observation:
> Using Slurs with and without setted 'spanner-id works as well
> \relative { c'\=1( d( e\=1) f) }
>
> \relative { c'\=1(^( e\=1)) }

The default is a spanner-id of "" so that's not much of a surprise.

-- 
David Kastrup

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Re: Whiteout on hairpins?

[Simon Albrecht]

On 01.10.2015 20:07, Connor Harris wrote:

Is there any way to print hairpins while whiting out parts of anything
(specifically, in this case, note stems and beams) that they cross,
analogous to what the \whiteout command does for text markup?


I’d suggest to either use a \tweak command:
{ c-\tweak whiteout ##t \tweak layer 2 \< c\f }
or place it in a layout block:
\layout {
  \context {
\Voice
\override Hairpin.whiteout = ##t
\override Hairpin.layer = 2
  }
}

HTH, Simon

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Re: multiple TextSpanners per voice

[David Nalesnik]

On Fri, Oct 2, 2015 at 12:09 PM, David Nalesnik 
wrote:

> David,
>
> On Fri, Oct 2, 2015 at 11:26 AM, David Kastrup  wrote:
>
>> David Nalesnik  writes:
>>
>> > Hi all,
>> >
>> > I'm experimenting with a way to support multiple text spanners in a
>> single
>> > voice, using the 'spanner-id property which already enables multiple
>> slurs
>> > and phrasing slurs.
>> >
>> > The attached code works--until the spanners cross a line break.  Then
>> the
>> > order of the spanners is reversed.  I've experimented with different
>> start
>> > and end points of the spanners, reversing lists within the engraver--no
>> > change.
>> >
>> > The second example shows that tweaks can mess up this reversed ordering
>> > even further.
>> >
>> > Does anyone know what is happening here?  I really have no idea :(
>>
>> Sounds like room-saving stacking of elements with equal
>> outside-staff-priority (?).  Perhaps distribute ascending priorities?
>
>
>
Horizontal_bracket_engraver achieves correct ordering of nested brackets
through the side-position-interface array 'side-position-elements.
Brackets closer to the staff are added to the support of brackets further
away.  However, this only works because 'outside-staff-priority is set to
#f by default.  As soon as you set it to a numerical value, chaos ensues:
the initial ordering is flipped AND the brackets flip orientation across
line breaks.  (See attached images.)

Try this code:

\version "2.19.27"

\new Staff {
  \override HorizontalBracket.direction = #UP
  \override HorizontalBracket.thickness = 4
  c
  -\tweak color #red
  \startGroup
  -\tweak color #green
  \startGroup d
  -\tweak color #blue
  \startGroup
  e f
  \break
  c d e f
  c\stopGroup d\stopGroup e d\stopGroup
  \bar "||"
  \override HorizontalBracket.outside-staff-priority = 100
  c
  -\tweak color #red
  \startGroup
  -\tweak color #green
  \startGroup d
  -\tweak color #blue
  \startGroup
  e f
  \break
  c d e f
}

\layout {
  \context {
\Voice
\consists #"Horizontal_bracket_engraver"
  }
}

%

This must be a bug...

BTW, correct ordering is achieved with the TextSpanner code if the same
approach is taken: any spanner in force is added to the
'side-support-elements of a new spanner.  Again, this works only if
'outside-staff-priority is set to #f.

DN
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Re: multiple TextSpanners per voice

[David Nalesnik]

On Fri, Oct 2, 2015 at 5:49 PM, David Nalesnik 
wrote:

>
> Horizontal_bracket_engraver achieves correct ordering of nested brackets
> through the side-position-interface array 'side-position-elements.
> Brackets closer to the staff are added to the support of brackets further
> away.  However, this only works because 'outside-staff-priority is set to
> #f by default.  As soon as you set it to a numerical value, chaos ensues:
> the initial ordering is flipped AND the brackets flip orientation across
> line breaks.  (See attached images.)
>
>
So much for my analytical skills.  The blue bracket simply changes
orientation across the line break with outside-staff-priority set to a
number.

DN
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Re: Repeat with alternatives

[Brian Barker]

At 19:30 02/10/2015 +0100, Anthony Youngman wrote:
At the end of the day, it's down to the conductor to make sure the 
players know what they're doing.


But surely engraved music is designed to indicate this unambiguously? 
If the conductor needs to get involved, the representation has 
failed. If I compose music and publish ambiguous engravings, any 
conductor cannot know what I intended.


Brian Barker  



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Re: Repeat with alternatives

[David Wright]

Quoting Richard Shann (rich...@rshann.plus.com):
> On Fri, 2015-10-02 at 13:27 -0500, David Wright wrote:
> > Quoting Johan Vromans (jvrom...@squirrel.nl):
> > > On Thu, 01 Oct 2015 19:41:21 +0100
> > > Anthonys Lists  wrote:
> > > 
> > > > Anyways, I think we've all missed the OPs problem. As he phrased it, I 
> > > > understand he wants
> > > > 
> > > > {fixed part 1} {alternative 1} {alternative 2} {fixed part 2} repeat
> > > 
> > > I'm not familiar with a clean notation for the above. 
> > 
> > Nor me. It would usually help if the OP could post an example of what
> > they wanted, either published or cobbled together.
> > 
> > > For the normal repeat, with alternative endings, this would be
> > > 
> > >|: fixed part 1 |1 alterrnative 1 :|2 alternative 2 |
> > > 
> > > Would this be understood by the average musician?
> > > 
> > >|: fixed part 1 |1 alterrnative 1 |2 alternative 2 | fixed part 2 :|
> > 
> > Understood? Well "my" attached "partial solution" (which I've
> > completed only by using inkscape)
> 
> Did you resort to inkscape to get the because you wanted an
> end-of-second-time marker? LilyPond doesn't give one with this syntax

Absolutely. Earlier in the thread I wrote: "However, my partial
solution fails to close the 2nd alternative's volta bracket, and I
don't see any way of doing so. Perhaps someone more expert could help
there with some sort of tweak."

> \version "2.19.25"
> {
> 
> a'8 b' c' e' c'2
> a'4 b' 
> \set Score.repeatCommands = #'((volta "1"))
> d'4 g' 
> \set Score.repeatCommands = #'((volta #f)) 
> \set Score.repeatCommands = #'((volta "2"))
> \set Timing.measurePosition = #(ly:make-moment -1/2) d'8 e' f' g' 
> \set Score.repeatCommands = #'((volta #f))
> d''4 c'' b' a'
> %5
> a' b' c'' d'' \bar ":|."}
> 
> 
> and it gives a warning which I don't understand. 

Presumably the same as mine: "warning: cannot end volta spanner"?
I will admit that I didn't bother to look at the Score.repeatCommands
at all. All I did was add two Timing.measureLength lines and rewrite
the last bar, where Stan's semibreve didn't clearly reveal where LP
was putting the beats.

> OTOH the
> end-of-second-time marker wouldn't serve any particular purpose - the
> player doesn't do anything special at that point.

It's not a case of what the player does. The end-of-second-time
marker's mandatory purpose is to define the precise point where the
so-called "fixed part 2" starts. Because of its importance, it has to
be properly marked with a vertical line matching the one at the start
of the bracket.

This contrasts with a normal repeat having two endings, where the 2nd
volta bracket effectively peters out in mid-air because it has little
or no significance. Its length in this case is just a matter of style.

Cheers,
David.

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download 2.19.28

[MING TSANG]

I try to download to-day and I got the following message.

Also it seem there there is no activity on user mailinglist.Immanuel,Ming

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