Problem understanding subdivided beam

[Urs Liska]

Hi,

I have a problem getting a beam subdivision right, and I can't seem to
find a solution in the manual:

I have this group of 16th notes:

\relative b {
  \time 6/4
  b16 [ d b' g  d g d' b  g b g' d ]  r2.
}

and I want to have the secondary beam divided in three parts with one
quarter note each.

However
\set subdivideBeams = ##t

breaks the beam in three groups altogether, and no combination of
baseMoment and beatStructure I could think of produced the expected result.

Any suggestion?

TIA
Urs

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Re: Strange Scheme problem

[David Kastrup]

Andrew Bernard  writes:

>  r.mat...@mh-freiburg.de> wrote:
>>
>>Wouldn't  that be equivalent to:
>>
>>  (last (program-arguments))
>
> Of course! How silly of me. The last function is in SRFI-1.

Even outside of srfi-1 there is (car (last-pair (program-arguments)))

-- 
David Kastrup

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Re: Problem understanding subdivided beam

[Jan-Peter Voigt]

Hi Urs,

I don't have a solution, but a hint:
in 2.18.2 stable, the beaming is correct - maybe its a bug in 2.19.x?

Cheers,
Jan-Peter

Am 19.11.2015 um 09:42 schrieb Urs Liska:

Hi,

I have a problem getting a beam subdivision right, and I can't seem to
find a solution in the manual:

I have this group of 16th notes:

\relative b {
   \time 6/4
   b16 [ d b' g  d g d' b  g b g' d ]  r2.
}

and I want to have the secondary beam divided in three parts with one
quarter note each.

However
\set subdivideBeams = ##t

breaks the beam in three groups altogether, and no combination of
baseMoment and beatStructure I could think of produced the expected result.

Any suggestion?

TIA
Urs

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Re: Problem understanding subdivided beam

[Urs Liska]

Hi Jan-Peter

Am 19.11.2015 um 10:16 schrieb Jan-Peter Voigt:
> Hi Urs,
>
> I don't have a solution, but a hint:
> in 2.18.2 stable, the beaming is correct - maybe its a bug in 2.19.x?

Thank you for that hint, which is indeed valuable.
This is quite likely a side-effect of the fix for #4355 that explicitly
changed the behaviour of the subdivisions (upon my request BTW).

In that perspective the current behaviour is actually consistent
(although undesirable IMO): Subdividing beams should respect the length
of the previous and following groups. In my example this is a quarter
note -> no beam.

I've written a feature request/bug report to bug-lilypond.
Urs

>
> Cheers,
> Jan-Peter
>
> Am 19.11.2015 um 09:42 schrieb Urs Liska:
>> Hi,
>>
>> I have a problem getting a beam subdivision right, and I can't seem to
>> find a solution in the manual:
>>
>> I have this group of 16th notes:
>>
>> \relative b {
>>\time 6/4
>>b16 [ d b' g  d g d' b  g b g' d ]  r2.
>> }
>>
>> and I want to have the secondary beam divided in three parts with one
>> quarter note each.
>>
>> However
>> \set subdivideBeams = ##t
>>
>> breaks the beam in three groups altogether, and no combination of
>> baseMoment and beatStructure I could think of produced the expected
>> result.
>>
>> Any suggestion?
>>
>> TIA
>> Urs
>>
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SVG output with 2.19.31

[Andrew Bernard]

Is anybody using SVG with 2.19.31?

I am seeing this error:

Layout output to `sonata-page-1.svg'...
warning: cannot find SVG font #f
warning: cannot find SVG font #f
/home/andro/lilypond/usr/share/lilypond/current/scm/output-svg.scm:428:30: In 
procedure string-join in expression (string-join (map # glyphs) "
"):
/home/andro/lilypond/usr/share/lilypond/current/scm/output-svg.scm:428:30: 
Wrong type (expecting string): #

This is just a heads up to see if this is a known issue. My score is extremely 
long and complex, and I am attempting to binary chop it to narrow down the 
issue now, but I thought I would probe the list first.

I am using fonts such as lilyboulez, but commenting the custom fonts out make 
no difference to the error. I am seeing this error on Ubuntu 15.04 and openSUSE 
Leap 42.1.


Andrew




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Re: SVG output with 2.19.31

[Andrew Bernard]

Answering my own issue on further investigation, I refer to Noto Sans Bold 
Italic in an override for dynamics. My system lacks the SVG fonts for this 
typeface. Enabling –V and going through the backtrace led to some insight.

But the error message presented that just refers to font #f is not very 
illuminating. Would it be an enhancement request to suggest that the missing 
font be named in the error message?

Andrew





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Re: Aligning a tempo marking with a note

[Kieren MacMillan]

Hi Joram and David,

> you should rather stick to the right syntax

David *is* using the right syntax: “rit” (etc.) is a tempo marking 
(MetronomeMark), not an arbitrary text markup (TextScript).

> I have now discovered that this does not work too well when the
> mark comes at the beginning of a bar which has a time- and/or a
> key-signature, because the marking then comes above the signature.  This
> is fine for a normal tempo marking such as "Allegro", but looks wrong
> for "rit." or "accel.", which I would prefer to appear above the first
> note of the bar.

Look at break-align-symbols, e.g.

  SNIPPET BEGINS
\version "2.19.30"
\language "english"

markMusic = {
  \time 4/4
  \tempo "Aligned to TimeSignature (default)"
  c''4 4 4 4 \break

  \time 3/4
  \tempo "rit. (default)"
  c''4 4 4 \break

  \time 3/4
  \once \override Score.MetronomeMark.break-align-symbols = #'(custos)
  \tempo "rit. (tweaked)"
  c''4 4 4 \break

  \time 4/4
  \tempo "rit. (back to default)"
  c''4 4 4 4
}

\score { \markMusic }
  SNIPPET ENDS

Hope this helps!
Kieren.



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


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Re: Aligning a tempo marking with a note

[Noeck]

Hi David,

you should rather stick to the right syntax and tweak the appearance of
these texts:

\version "2.19.21"

\layout {
  \override TextScript.font-series = #'bold
}

{
  a^"rit." a a a
}

Or, if you want to use it only occationally:

{
  a^\markup \bold "rit." a a^"other" a
}

Cheers,
Joram

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Re: Aligning a tempo marking with a note

[tisimst]

David,

On Thu, Nov 19, 2015 at 10:22 AM, David Sumbler [via Lilypond] <
ml-node+s1069038n18380...@n5.nabble.com> wrote:

> Although many scores use a similar italic font for "rit.", "accel." etc.
> as they do for dynamic changes such as "cresc.", I prefer to use an
> upright bold font - the same as for other tempo markings such as
> "Allegro".
>
> The easiest way for me to do this (at least until now) is to use '\tempo
> "rit."' or similar.
>
> However, I have now discovered that this does not work too well when the
> mark comes at the beginning of a bar which has a time- and/or a
> key-signature, because the marking then comes above the signature.  This
> is fine for a normal tempo marking such as "Allegro", but looks wrong
> for "rit." or "accel.", which I would prefer to appear above the first
> note of the bar.
>
> I have tried
> \once \override Score.MetronomeMark.X-offset = #4 \tempo "rit.", but
> this is unreliable: it works some of the time, but does not work
> correctly at the beginning of a line; also a clef change seems to upset
> things.  And since a clef change will not exist in all the parts, I
> cannot use different values of MetronomeMark.X-offset to get around this
> problem.
>
> Clearly, rather than trying to fake it with horizontal shifting, I need
> actually to align the tempo mark with the note itself, but I haven't
> managed to work out how to do that.
>
> How can it be done?
>

If playback isn't too much of a concern, this should do what you need:

%%%

rit = \markup { \bold "rit." }

\relative c' {
  \tempo "Allegro"
  c8 d e f c d e f
  c8 d e f e8.^\rit d16 c4
}

%%%

HTH,
Abraham




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Re: Aligning a tempo marking with a note

[Kieren MacMillan]

Hi Joram,

> Even editions that print it above the top staff sometimes print it in
> italics or less bold or somehow reduced compared to Allegro, Tempo I
> and so on (the general tempo).

Here’s what Gould writes on that issue (pg. 182): “Older scores use small 
italic type for general indication of gradual tamp change (accel., rall., 
etc.), but italic should be reserved for expression marks, and not used in this 
context.”

In the modern convention, the difference is [only] in capitalization: “New 
(established) tempi have initial capitals; temporary indications (allargando, 
accel., rall., etc.) do not.”

Now, I realize Gould is only one voice, however authoritative she may be (or at 
least present as being). That being said, I strongly agree with her, both as a 
performer (those smaller/less-bold/italic markings are much harder to spot 
under pit-orchestra lighting situations!) and as an engraver/designer (all 
markings relevant to tempo should be of the same design, and that design should 
be as markedly different as possible from other text elements in the score, to 
aid the reader and minimize confusion).

> Such short tempo changes can be more expression-motivated (like
> esspressivo, marcato or smorzando) and combined like "dim e rit”.

This is indeed is an interesting point of discussion. As a composer, I often 
write “rit. and dim. al fine”. But I always *engrave* that as a full metronome 
mark (i.e., same font as “Allegro”), and sometimes reinforce it with additional 
“dim.” markings in the appropriate place and font for dynamics, in part for the 
reasons outlined above.

Best,
Kieren.


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


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Re: Aligning a tempo marking with a note

[Noeck]

Hi Kieren,

>> marks like 'Allegro' are valid for a whole piece or at least large parts of 
>> it
> 
> Not really… A metronome marking is only valid until the next time the tempo 
> changes in any way. That change could be immediate and extreme (e.g., “Molto 
> Lento”) or immediate and not-so-extereme (e.g., “Poco meno mosso”) or gradual 
> (e.g., “poco accel.”). The tempo is then reset, either explicitly (e.g., 
> “Allegro”) or by reference (e.g., “A tempo”).

Technically, this seems very straight forward, yes. But as I try to
explain, the more traditional style has also its valid points.

Even editions that print it above the top staff sometimes print it in
italics or less bold or somehow reduced compared to Allegro, Tempo I and
so on (the general tempo).

A 'rit. ' can also be valid as long as the dashes indicate or (if
written before an obvious division) until that division.
Such short tempo changes can be more expression-motivated (like
esspressivo, marcato or smorzando) and combined like "dim e rit". This
shows that there are connections to other non-tempo marks and that the
intention about the range can be different.

>> A similar thing (not fully equivalent) is this: bar numbers and
>> rehearsal marks. Both can be used to identify a point in time, the
>> latter are for larger chunks, the former more fine grained.
> 
> I agree that the analogy is not fully equivalent.

:)

Cheers,
Joram

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Re: Gounod - Le Rendez Vous

[Alberto Simões]

On 11/11/15 19:22, tisimst wrote:

[1] https://github.com/ambs/music/tree/master/Gounod/LeRendezVous


This is looking MUCH better (nice work with the extended dynamic lines
;-). I'll look at it in greater detail later, but here's one thing that
I immediately noticed quite a few instances of that you would get dinged
for: You should ALWAYS enclose a tied note within a slurred passage.
Here's what I mean:


Sorry for the delay, but no time recently for my hobbies.

Dear Abraham, can you please check the repo [1] and tell me if you think 
that, in the second false, measure 3/4, the slur should also include the 
tie before it?


Thanks
ambs

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sponsorship offer: Lyric fixes (GSoC, etc.)

[Kieren MacMillan]

Hello all,

I’m looking at my composition schedule for the next three years, and it 
includes a huge number of pieces with lyrics: two new stage musicals, plus a 
major revision of an existing one; a chamber opera; a concert-length song 
cycle; a concert-length work for orchestra, chorus, and vocal soloists; three 
choral works; and at least a dozen other smaller pieces with vocals (e.g., 
writing assignments for my musical theatre composium, etc.).

To face engraving all those works with the current Lyric issues intact is 
daunting, to say the least. The edition-engraver has been a huge help to me in 
my quest to have the best-looking scores, but the manual tweaking required is 
just overwhelming.

So I would like to re-issue (for about the fifth time) my sponsorship offer for 
one or more developers who could tackle the Lyric-related issues and get them 
knocked off the list for good. I’m certain there are others on the list who 
would benefit from these fixes as well, and might be convinced to contribute to 
the cause.

Thanks,
Kieren.


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


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Re: Aligning a tempo marking with a note

[Noeck]

Hi Kieren,

Am 19.11.2015 um 19:23 schrieb Kieren MacMillan:
>> you should rather stick to the right syntax
> David *is* using the right syntax: “rit” (etc.) is a tempo marking 
> (MetronomeMark), not an arbitrary text markup (TextScript).

Thinking about it twice, I realize that you are right. The meaning of
rit is closer to a metronome mark. It is just that I am used to a
different tradition in piano scores where the 'rit' is printed between
the two staves instead of above and bold. That lead me to think
(unconsciously) that rit and metronome marks are fundamentally
different. And I still think that there is some difference between 'rit'
and 'Allegro'.

Cheers,
Joram

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Re: Aligning a tempo marking with a note

[Kieren MacMillan]

Hi Noeck,

> It is just that I am used to a different tradition

That is the older tradition, yes.
But it is not recommended in modern scores (cf. Gould pg. 182).

> I still think that there is some difference between ‘rit' and 'Allegro’.

What is that difference? (I think they’re identical.)

Thanks,
Kieren.


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


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Re: Aligning a tempo marking with a note

[Kieren MacMillan]

Hi David,

> In particular, Kieren's suggestion is interesting.

Woo hoo! What do I win?  ;)

> we are effectively neutralising the usual alignment adjustments at the break.
> Is this correct?

That’s how I understand it.

> Is it not possible to have an empty list?

I just tested the snippet I sent with the ‘custos’ removed (i.e., with an empty 
list), and it seemed to work just fine.

Hope this helps!
Kieren.


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


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Re: sponsorship offer: Lyric fixes (GSoC, etc.)

[tisimst]

Kieren,

On Thursday, November 19, 2015, Kieren MacMillan [via Lilypond] <
ml-node+s1069038n183811...@n5.nabble.com> wrote:

> Hello all,
>
> I’m looking at my composition schedule for the next three years, and it
> includes a huge number of pieces with lyrics: two new stage musicals, plus
> a major revision of an existing one; a chamber opera; a concert-length song
> cycle; a concert-length work for orchestra, chorus, and vocal soloists;
> three choral works; and at least a dozen other smaller pieces with vocals
> (e.g., writing assignments for my musical theatre composium, etc.).
>
> To face engraving all those works with the current Lyric issues intact is
> daunting, to say the least. The edition-engraver has been a huge help to me
> in my quest to have the best-looking scores, but the manual tweaking
> required is just overwhelming.
>
> So I would like to re-issue (for about the fifth time) my sponsorship
> offer for one or more developers who could tackle the Lyric-related issues
> and get them knocked off the list for good. I’m certain there are others on
> the list who would benefit from these fixes as well, and might be convinced
> to contribute to the cause.
>

Which issues specifically? What kind of sponsorship we talking about?

Best,
Abraham




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Re: Aligning a tempo marking with a note

[David Sumbler]

Thanks to all for the various suggestions on this topic.

In particular, Kieren's suggestion is interesting.  I must confess that,
having been reading and playing music for a mere 63 years, I had to look
up what the word "custos" means!  As you can deduce, I've never really
been "into" early music.

You will understand, then, that I never use a custos, so the line
\once \override Score.MetronomeMark.break-align-symbols = #'(custos)
intrigues me.

I am guessing that "custos" is there because it is something that will
never be found in my scores, and therefore we are effectively
neutralising the usual alignment adjustments at the break.  Is this
correct?  Is it not possible to have an empty list?

David



> > From: Kieren MacMillan 
> > To: Noeck 
> > Cc: Lilypond-User Mailing List 
> > Subject: Re: Aligning a tempo marking with a note
> > Date: Thu, 19 Nov 2015 13:23:21 -0500
> > 
> > Hi Joram and David,
> > 
> > > you should rather stick to the right syntax
> > 
> > David *is* using the right syntax: “rit” (etc.) is a tempo marking 
> > (MetronomeMark), not an arbitrary text markup (TextScript).
> > 
> > > I have now discovered that this does not work too well when the
> > > mark comes at the beginning of a bar which has a time- and/or a
> > > key-signature, because the marking then comes above the signature.  This
> > > is fine for a normal tempo marking such as "Allegro", but looks wrong
> > > for "rit." or "accel.", which I would prefer to appear above the first
> > > note of the bar.
> > 
> > Look at break-align-symbols, e.g.
> > 
> >   SNIPPET BEGINS
> > \version "2.19.30"
> > \language "english"
> > 
> > markMusic = {
> >   \time 4/4
> >   \tempo "Aligned to TimeSignature (default)"
> >   c''4 4 4 4 \break
> > 
> >   \time 3/4
> >   \tempo "rit. (default)"
> >   c''4 4 4 \break
> > 
> >   \time 3/4
> >   \once \override Score.MetronomeMark.break-align-symbols = #'(custos)
> >   \tempo "rit. (tweaked)"
> >   c''4 4 4 \break
> > 
> >   \time 4/4
> >   \tempo "rit. (back to default)"
> >   c''4 4 4 4
> > }
> > 
> > \score { \markMusic }
> >   SNIPPET ENDS
> > 
> > Hope this helps!
> > Kieren.



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Re: sponsorship offer: Lyric fixes (GSoC, etc.)

[Kieren MacMillan]

Hi Abraham,

> Which issues specifically?

If you look at , you’ll 
see a list of other related issues.

There have been more added since then.

And I have a few new ones. (At least, I think they’re new… I’d better look 
through all 255 [!] issues that come up for a search on ‘lyrics’, to see what’s 
what.)

> What kind of sponsorship we talking about?

Depends on the precise issue/feature. I spent 8 hours [with the 
edition-engraver] tweaking one measure of my current engraving (see 
). That 
one feature would be worth hundreds of dollars to me, since that one bar cost 
me a whole day’s work, and that kind of measure will happen again and again at 
the same scale, not to mention hundreds of times at a smaller scale (e.g., 10 
minutes tweaking here, 30 minutes there, 5 minutes there, etc.).

I’m sure I can find $1,000 over the course of three years to get my pet peeves 
taken care of.

But I also want to make sure that the larger picture is being considered at all 
times. I don’t want to pay $100 for Feature A, then pay another $100 for 
Feature B, only to find out that the fix for Feature B ruins the old fix for 
Feature A, or they both could have been handled (possibly for less) if they had 
been tackled together.

Cheers,
Kieren.


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


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Re: Aligning a tempo marking with a note

[Noeck]

Hi Kieren,

>> I still think that there is some difference between ‘rit' and 'Allegro’.
> 
> What is that difference? (I think they’re identical.)

Well, they are closer than cresc and rit for example. But in scores I am
used to, marks like 'Allegro' are valid for a whole piece or at least
large parts of it. Therefore it makes sense to print it bold like \mark.
'rit' usually only for a short period of time.

A similar thing (not fully equivalent) is this: bar numbers and
rehearsal marks. Both can be used to identify a point in time, the
latter are for larger chunks, the former more fine grained.

Cheers,
Joram

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Re: The stafftab reversed!?

[Thomas Morley]

2015-11-18 10:38 GMT+01:00 Pierre Perol-Schneider
:
> +1
> ~Pierre
>
> 2015-11-18 10:11 GMT+01:00 Phil Holmes :
>
>>
>> The simplest would be to add it as a snippet and tag it as docs.
>
>

done in LSR:
http://lsr.di.unimi.it/LSR/Item?u=1=1014
tagged docs

currently unapproved, if nobody objects I'll approve it upcoming weekend.

I'll have a look at the doc-string, etc soon, as Trevor suggested.

Cheers,
  Harm

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Re: Aligning a tempo marking with a note

[Kieren MacMillan]

Hi Joram,

> Well, they are closer than cresc and rit for example.

Definitely!  =)

> marks like 'Allegro' are valid for a whole piece or at least large parts of it

Not really… A metronome marking is only valid until the next time the tempo 
changes in any way. That change could be immediate and extreme (e.g., “Molto 
Lento”) or immediate and not-so-extereme (e.g., “Poco meno mosso”) or gradual 
(e.g., “poco accel.”). The tempo is then reset, either explicitly (e.g., 
“Allegro”) or by reference (e.g., “A tempo”).

> A similar thing (not fully equivalent) is this: bar numbers and
> rehearsal marks. Both can be used to identify a point in time, the
> latter are for larger chunks, the former more fine grained.

I agree that the analogy is not fully equivalent.

Cheers,
Kieren.


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


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Re: ScholarLy: unknown escaped string: `\colorAnnotations'

[Urs Liska]

Am 19.11.2015 um 13:01 schrieb Graham King:
> Apologies for troubling you with this under-researched problem, but
> I've just hit it as a deadline looms.
>
> I'm trying to turn off the colouring of ScholarLy annotations, before
> final publication:
>
> \version "2.19.21"
>
> \include "openlilylib"
> \useLibrary ScholarLY
> \useModule scholarly.annotate
>
> #(display "ScholarLy loaded\n")
>
> % ScholarLy options: see
> 
> https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations
> \setOption scholarly.annotate.export-targets #'("plaintext" "latex")
> \colorAnnotations ##f % deactivate the coloring of the annotated items
> % \printAnnotations ##f % stop printing clickable messages to the
> console
> % (ScholarLy options end)
>
> and I get the following log message:
>
> \useModule utility.rhythmic-location
> 
> /Users/grahamk/Documents/lilypond/music/Carver_Missa_lhomme_arme/Carver_Lhomme_Arme_Agnus.ly:14:1:
> error: unknown escaped string: `\colorAnnotations'
>
> The annotations remain coloured.  What am I doing wrong?

It looks like you ran into an undocumented change (although I can't
remember). Please tell me where you did \colorAnnotations from.

\setOption scholarly.colorize ##f

should give you what you want.

HTH
Urs
>
> most grateful for any help
> -- Graham 

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Re: ScholarLy: unknown escaped string: `\colorAnnotations'

[David Kastrup]

Urs Liska  writes:

> Am 19.11.2015 um 13:01 schrieb Graham King:
>> Apologies for troubling you with this under-researched problem, but
>> I've just hit it as a deadline looms.
>>
>> I'm trying to turn off the colouring of ScholarLy annotations, before
>> final publication:

[...]

>> % ScholarLy options: see
>> 
>> https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations

[...]

> It looks like you ran into an undocumented change (although I can't
> remember). Please tell me where you did \colorAnnotations from.

s/did/got/: See above.

-- 
David Kastrup

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Re: feta and emmentaler font

[Andrew Bernard]

Interestingly, I asked the exact same question a couple of years ago:

https://lists.gnu.org/archive/html/lilypond-user/2013-04/msg00625.html

There was a thread about this:

http://lists.gnu.org/archive/html/lilypond-user/2013-03/msg00651.html


Andrew




On 19/11/2015, 23:11, "Federico Bruni" 
 wrote:


>What's the difference between the two fonts?
>
>This appendix is a bit confusing, since under the title Feta fonts it 
>says that the following symbols are available in the Emmentaler font:
>http://www.lilypond.org/doc/v2.19/Documentation/notation/the-feta-font
>


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Re: SVG output with 2.19.31

[Federico Bruni]

Il giorno gio 19 nov 2015 alle 11:11, Andrew Bernard 
 ha scritto:
Answering my own issue on further investigation, I refer to Noto Sans 
Bold Italic in an override for dynamics. My system lacks the SVG 
fonts for this typeface. Enabling –V and going through the 
backtrace led to some insight.


But the error message presented that just refers to font #f is not 
very illuminating. Would it be an enhancement request to suggest that 
the missing font be named in the error message?


This should be issue 3809?
https://sourceforge.net/p/testlilyissues/issues/3809/

which I cannot reproduce, BTW




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feta and emmentaler font

[Federico Bruni]

Hi

What's the difference between the two fonts?

This appendix is a bit confusing, since under the title Feta fonts it 
says that the following symbols are available in the Emmentaler font:

http://www.lilypond.org/doc/v2.19/Documentation/notation/the-feta-font

Is it explained in the doc?

In usr/share/lilypond/current/fonts/otf I see the Emmentaler font, no 
Feta font.





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Re: bracket tip

[Kieren MacMillan]

Hi Federico,

> What's the purpose of this glyph?

SystemStartBracket flares at its extremes (top and bottom).
These glyphs form the flare.

Hope this helps,
Kieren.


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


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Re: ScholarLy: unknown escaped string: `\colorAnnotations'

[Graham King]

On Thu, 2015-11-19 at 13:31 +0100, Urs Liska wrote:

> 
> 
> 
> Am 19.11.2015 um 13:01 schrieb Graham King:
> 
> > 
> > Apologies for troubling you with this under-researched problem, but
> > I've just hit it as a deadline looms.
> > 
> > I'm trying to turn off the colouring of ScholarLy annotations,
> > before final publication:
> > 
> > 
> > \version "2.19.21"
> > 
> > \include "openlilylib"
> > \useLibrary ScholarLY
> > \useModule scholarly.annotate
> > 
> > #(display "ScholarLy loaded\n")
> > 
> > % ScholarLy options: see
> > 
> > https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations
> > \setOption scholarly.annotate.export-targets #'("plaintext"
> > "latex")
> > \colorAnnotations ##f % deactivate the coloring of the
> > annotated items
> > % \printAnnotations ##f % stop printing clickable messages
> > to the console
> > % (ScholarLy options end)
> > 
> > 
> > and I get the following log message:
> > 
> > 
> > \useModule utility.rhythmic-location
> > 
> > /Users/grahamk/Documents/lilypond/music/Carver_Missa_lhomme_arme/Carver_Lhomme_Arme_Agnus.ly:14:1:
> >  error: unknown escaped string: `\colorAnnotations'
> > 
> > 
> > The annotations remain coloured.  What am I doing wrong?
> 
> 
> It looks like you ran into an undocumented change (although I can't
> remember). Please tell me where you did \colorAnnotations from.

Not sure I understand the question.  I did \colorAnnotations from the
top level of the .ly file for my score, as above.

> 
> \setOption scholarly.colorize ##f
> 
> should give you what you want.

Brilliant! that works :)  It causes lilypond to exit with return code 1
and the message

2: error: unknown escaped string: `\scholarly'
\setOption 
   \scholarly.colorize ##f

but I'm happy.
As ever: many thanks for your outstanding responsiveness.

> 
> HTH
> Urs
> 
> > 
> > most grateful for any help
> > -- Graham 
> 
> 
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ScholarLy: unknown escaped string: `\colorAnnotations'

[Graham King]

Apologies for troubling you with this under-researched problem, but I've
just hit it as a deadline looms.

I'm trying to turn off the colouring of ScholarLy annotations, before
final publication:


\version "2.19.21"

\include "openlilylib"
\useLibrary ScholarLY
\useModule scholarly.annotate

#(display "ScholarLy loaded\n")

% ScholarLy options: see

https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations
\setOption scholarly.annotate.export-targets #'("plaintext"
"latex")
\colorAnnotations ##f % deactivate the coloring of the annotated
items
% \printAnnotations ##f % stop printing clickable messages to
the console
% (ScholarLy options end)


and I get the following log message:


\useModule utility.rhythmic-location

/Users/grahamk/Documents/lilypond/music/Carver_Missa_lhomme_arme/Carver_Lhomme_Arme_Agnus.ly:14:1:
 error: unknown escaped string: `\colorAnnotations'


The annotations remain coloured.  What am I doing wrong?

most grateful for any help
-- Graham
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Re: SVG output with 2.19.31

[Andrew Bernard]

Hi Federico,

Yes indeed, exactly that. And thanks.

Andrew





On 19/11/2015, 22:05, "Federico Bruni"  wrote:

>This should be issue 3809?
>https://sourceforge.net/p/testlilyissues/issues/3809/


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bracket tip

[Federico Bruni]

What's the purpose of this glyph?
http://www.lilypond.org/doc/v2.19/Documentation/notation/the-feta-font#bracket_002dtip-glyphs

I must translate it but I need to know the context.
It's not a bracket. And I'm not sure what tip can mean in this case.

Thanks
Federico




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Re: bracket tip

[David Kastrup]

Federico Bruni  writes:

> What's the purpose of this glyph?
> http://www.lilypond.org/doc/v2.19/Documentation/notation/the-feta-font#bracket_002dtip-glyphs
>
> I must translate it but I need to know the context.
> It's not a bracket. And I'm not sure what tip can mean in this case.

Those are the tips (endings) of the staff bracket in

\new ChoirStaff << \new Staff s1 \new Staff s1 >>


-- 
David Kastrup

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Re: SVG output with 2.19.31

[Federico Bruni]

Il giorno gio 19 nov 2015 alle 12:05, Federico Bruni 
 ha scritto:

Il giorno gio 19 nov 2015 alle 11:11, Andrew Bernard
 ha scritto:
> Answering my own issue on further investigation, I refer to Noto 
Sans

> Bold Italic in an override for dynamics. My system lacks the SVG
> fonts for this typeface. Enabling –V and going through the
> backtrace led to some insight.
>
> But the error message presented that just refers to font #f is not
> very illuminating. Would it be an enhancement request to suggest 
that

> the missing font be named in the error message?

This should be issue 3809?
https://sourceforge.net/p/testlilyissues/issues/3809/

which I cannot reproduce, BTW


oops, I forgot to compile it to SVG :)
I can reproduce it


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Re: ScholarLy: unknown escaped string: `\colorAnnotations'

[Urs Liska]

Am 19.11.2015 um 13:41 schrieb David Kastrup:
> Urs Liska  writes:
>
>> Am 19.11.2015 um 13:01 schrieb Graham King:
>>> Apologies for troubling you with this under-researched problem, but
>>> I've just hit it as a deadline looms.
>>>
>>> I'm trying to turn off the colouring of ScholarLy annotations, before
>>> final publication:
> [...]
>
>>> % ScholarLy options: see
>>> 
>>> https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations
> [...]
>
>> It looks like you ran into an undocumented change (although I can't
>> remember). Please tell me where you did \colorAnnotations from.
> s/did/got/: See above.

I meant "did get" ;-)

Regarding the "outdatedness" of that information see also
https://github.com/openlilylib-archives/scholarly
>


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Re: feta and emmentaler font

[tisimst]

Federico,

On Thursday, November 19, 2015, Federico Bruni-2 [via Lilypond] <
ml-node+s1069038n183773...@n5.nabble.com> wrote:

> Hi
>
> What's the difference between the two fonts?
>
> This appendix is a bit confusing, since under the title Feta fonts it
> says that the following symbols are available in the Emmentaler font:
> http://www.lilypond.org/doc/v2.19/Documentation/notation/the-feta-font
>
> Is it explained in the doc?
>
> In usr/share/lilypond/current/fonts/otf I see the Emmentaler font, no
> Feta font.
>

Yep, as explained in the thread Andrew pointed to, Emmentaler is comprised
of two subsets of glyphs: Feta (the classical glyphs and brace glyphs) and
Parmesan (the ancient glyphs).

I think all the docs should point to Emmentaler since that docs page shows
both Feta and Parmesan. Just my opinion.

Best,
Abraham




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Changing first-system indent

[David Sumbler]

I have finally got to the stage of tidying up the score I have been
working on.

The top-level .ly file is structured like this:

\book {
  \paper { *variables* }
  \bookpart { *titlepage* }
  \bookpart {
\header { *variables* }
\score {
  { *first-movement-music* }
  \header { piece = "I" }
  \layout { } }
\score {
  { *second-movement-music* }
  \header { piece = "II" }
  \layout { } }
% etc.
}
  }
}

\book { *data-for-1st-violin-part* }

\book { *data-for-2nd-violin-part* }

% etc.


For the first movement of the score, I have Staff.instrumentName defined
for each instrument, and this requires an indent of 16mm.  However, in
subsequent movements I do not set Staff.instrumentName, so no indent is
required.

The variable 'indent' is defined in a \paper block, and I now see that
the lowest level context that a \paper block can appear in is \bookpart.

I could, of course, quite easily restructure the file so that each
movement is contained in a separate \bookpart, but this would mean that
each movement then starts on a new page.  This is not what I want: I
prefer the movements to follow one another with no page break to
emphasize the integrity of the whole work.

Is there a way round this problem?  In other words, is there some way I
can force the first system of the 2nd and subsequent movements to be
printed with no indent, without each movement necessarily appearing on a
new page?

David


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Re: Gounod - Le Rendez Vous

[Abraham Lee]

Alberto,

On Thursday, November 19, 2015, Alberto Simões <
al...@alfarrabio.di.uminho.pt> wrote:

>
>
> On 11/11/15 19:22, tisimst wrote:
>
>> [1] https://github.com/ambs/music/tree/master/Gounod/LeRendezVous
>>
>>
>> This is looking MUCH better (nice work with the extended dynamic lines
>> ;-). I'll look at it in greater detail later, but here's one thing that
>> I immediately noticed quite a few instances of that you would get dinged
>> for: You should ALWAYS enclose a tied note within a slurred passage.
>> Here's what I mean:
>>
>
> Sorry for the delay, but no time recently for my hobbies.
>
> Dear Abraham, can you please check the repo [1] and tell me if you think
> that, in the second false, measure 3/4, the slur should also include the
> tie before it?
>
> Thanks
> ambs
>

It doesn't look like the files in the repo [1] have changed since I looked
at them last. To answer your question, though, I'd personally say, yes, the
slur should always include tied notes, before or after.

That being said, since there appears to be arguments for doing it both
ways, I'd recommend that you pick one way and be consistent throughout the
entire work.

If you have updated files that haven't yet been committed to the repo you'd
like me to look over, let me know when they are available.

Best,
Abraham
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Re: Changing first-system indent

[David Sumbler]

Thanks for the answer to my query.  I now see that this is mentioned in
section 4.1.5 of the NR.  The mistake I was making was in trying to put
indent within a \paper block inside a \layout block.

Best wishes

David

On Thu, 2015-11-19 at 15:31 +, Trevor Daniels wrote:
> David, you wrote Thursday, November 19, 2015 3:14 PM
> 
> 
> >I have finally got to the stage of tidying up the score I have been
> > working on.
> [snip]
> > For the first movement of the score, I have Staff.instrumentName defined
> > for each instrument, and this requires an indent of 16mm.  However, in
> > subsequent movements I do not set Staff.instrumentName, so no indent is
> > required.
> > 
> > The variable 'indent' is defined in a \paper block, and I now see that
> > the lowest level context that a \paper block can appear in is \bookpart.
> > 
> > I could, of course, quite easily restructure the file so that each
> > movement is contained in a separate \bookpart, but this would mean that
> > each movement then starts on a new page.  This is not what I want: I
> > prefer the movements to follow one another with no page break to
> > emphasize the integrity of the whole work.
> > 
> > Is there a way round this problem?  In other words, is there some way I
> > can force the first system of the 2nd and subsequent movements to be
> > printed with no indent, without each movement necessarily appearing on a
> > new page?
> 
> indent can also be set in a \layout block, which is at \score level.
> 
> Trevor



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Re: Changing first-system indent

[Trevor Daniels]

David, you wrote Thursday, November 19, 2015 3:14 PM


>I have finally got to the stage of tidying up the score I have been
> working on.
[snip]
> For the first movement of the score, I have Staff.instrumentName defined
> for each instrument, and this requires an indent of 16mm.  However, in
> subsequent movements I do not set Staff.instrumentName, so no indent is
> required.
> 
> The variable 'indent' is defined in a \paper block, and I now see that
> the lowest level context that a \paper block can appear in is \bookpart.
> 
> I could, of course, quite easily restructure the file so that each
> movement is contained in a separate \bookpart, but this would mean that
> each movement then starts on a new page.  This is not what I want: I
> prefer the movements to follow one another with no page break to
> emphasize the integrity of the whole work.
> 
> Is there a way round this problem?  In other words, is there some way I
> can force the first system of the 2nd and subsequent movements to be
> printed with no indent, without each movement necessarily appearing on a
> new page?

indent can also be set in a \layout block, which is at \score level.

Trevor
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Re: bracket tip

[Federico Bruni]

Il giorno gio 19 nov 2015 alle 13:35, Kieren MacMillan 
 ha scritto:

SystemStartBracket flares at its extremes (top and bottom).
These glyphs form the flare.


got it, thanks!


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Re: Please help with fretboard diagram spacing

[Pierre Perol-Schneider]

You're absolutely right, there's no need to use '\with{}'. Don't remember
why I put it that way.
Cheers

2015-11-19 15:09 GMT+01:00 Tom Swan :

> Three great suggestions, all of which do the job. Thank you. Why use
> \with{ } in the first, however? Taking that out (leaving only the
> \override) works the same, or is it different somehow that I'm not
> understanding?
>
> On November 17, 2015 at 8:43 AM Pierre Perol-Schneider <
> pierre.schneider.pa...@gmail.com> wrote:
>
> Hi Tom,
>
> In your example the fret-diagram is placed as a 'TextScript' so you have
> to choose your override here:
> http://www.lilypond.org/doc/v2.18/Documentation/internals/textscript
>
> E.g.:
>
> \version "2.18.2"
> <<
>  \new Staff {
>\new Voice = “scale”
>\with {
>  %% Option 1:
>  %\override TextScript.padding = #10
>}
>\relative c {
>  4
>  %% Option 2:
>  -\tweak padding #10
>  ^\markup {
>  \override #'(size . 4.0) {
>\override #'(fret-diagram-details . (
>  (orientation . #'landscape )
>  (finger-code . #'in-dot )
>  (dot-color . #'black)
>  (dot-radius . 0.35)
>  (dot-position . 0.5)
>  (top-fret-thickness . 7)
>  (fret-count . 7)) )
>\fret-diagram-verbose #'(
>  (place-fret 6 1 1 inverted)
>  (place-fret 6 3 2)
>  (place-fret 6 5 4)
>)
>  }
>}
> |
>}
>  }
> >>
>
> Cheers,
> ~Pierre
>
>
> 2015-11-17 14:03 GMT+01:00 Tom Swan :
>
> I didn't get any response to my request for advice on adjusting spacing
> between
> a fretboard diagram and the associated staff. Does anybody have any
> suggestions?
> I am stuck and need help with this. Thanks! Here is the snippet -- I would
> like
> more space below the fretboard diagram and the staff, but I've tried every
> override and \paper setting I would find with no results.
>
> \version "2.18.2"
> <<
>  \new Staff {
>\new Voice = “scale” \relative c {
>  4^\markup {
>  \override #'(size . 4.0) {
>\override #'(fret-diagram-details . (
>  (orientation . #'landscape )
>  (finger-code . #'in-dot )
>  (dot-color . #'black)
>  (dot-radius . 0.35)
>  (dot-position . 0.5)
>  (top-fret-thickness . 7)
>  (fret-count . 7)) )
>\fret-diagram-verbose #'(
>  (place-fret 6 1 1 inverted)
>  (place-fret 6 3 2)
>  (place-fret 6 5 4)
>)
>  }
>}
> |
>}
>  }
> >>
>
> http://www.tomswan.com
>
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>
>
>
>
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>
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tuning/tweaking lyric tie grob/glyph

[Kieren MacMillan]

Hello all,

I can’t seem to find any information on tuning/tweaking the lyric tie 
grob/glyph.
Any reference/link would be appreciated.

Thanks,
Kieren.


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


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Re: tuning/tweaking lyric tie grob/glyph

[David Nalesnik]

Hi Kieren,

On Thu, Nov 19, 2015 at 10:48 AM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hello all,
>
> I can’t seem to find any information on tuning/tweaking the lyric tie
> grob/glyph.
> Any reference/link would be appreciated.
>
>
There is no LyricTie grob, and it looks like there are two glyphs:
ties.lyric.default and ties.lyric.short.

It appears the only way to get any customization is to alter the markup
command tied-lyric, found in scm/define-markup-commands.scm.

Hope this helps,
David
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Re: ScholarLy: unknown escaped string: `\colorAnnotations'

[Graham King]

On Thu, 2015-11-19 at 13:57 +0100, Urs Liska wrote:


> > > > % ScholarLy options: see
> > > > 
> > > > https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations



> > > It looks like you ran into an undocumented change (although I
> > > can't remember). Please tell me where you did \colorAnnotations
> > > from.
> > 
> > Not sure I understand the question.  I did \colorAnnotations from
> > the top level of the .ly file for my score, as above.
> 
> 
> Sorry, my typo: I meant where you got the information from, see other
> messages between David and me.

Ah.  From the URL above.  My version of scholarly.annotate was certainly
downloaded with the rest of ScholarLy but I'm afraid I can't remember
when or whence.  Once this current score is out of the way, I must take
some time for a good cleanup and a refresh of ScholarLy from the new
location.

> 
> 
> > > 
> > > \setOption scholarly.colorize ##f
> > > 
> > > should give you what you want.
> > 
> > Brilliant! that works :)  It causes lilypond to exit with return
> > code 1 and the message
> > 
> > 2: error: unknown escaped string: `\scholarly'
> > \setOption 
> >\scholarly.colorize ##f
> > 
> > but I'm happy.
> > As ever: many thanks for your outstanding responsiveness.
> 
> 
> Well, I wrote
> scholarly.colorize
> not
> \scholarly.colorize


Doh!  (more haste, less speed on my part)

> 
> 
> > > 
> > > HTH
> > > Urs
> > > 
> > > > 
> > > > most grateful for any help
> > > > -- Graham 
> > > 
> > > 
> 
> 
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Re: ScholarLy: unknown escaped string: `\colorAnnotations'

[Urs Liska]

Am 19.11.2015 um 13:46 schrieb Graham King:
> On Thu, 2015-11-19 at 13:31 +0100, Urs Liska wrote:
>>
>>
>> Am 19.11.2015 um 13:01 schrieb Graham King:
>>
>>> Apologies for troubling you with this under-researched problem, but
>>> I've just hit it as a deadline looms.
>>>
>>> I'm trying to turn off the colouring of ScholarLy annotations,
>>> before final publication:
>>>
>>> \version "2.19.21"
>>>
>>> \include "openlilylib"
>>> \useLibrary ScholarLY
>>> \useModule scholarly.annotate
>>>
>>> #(display "ScholarLy loaded\n")
>>>
>>> % ScholarLy options: see
>>> 
>>> https://github.com/openlilylib-archives/scholarly/wiki/Configuring-Annotations
>>> \setOption scholarly.annotate.export-targets #'("plaintext" "latex")
>>> \colorAnnotations ##f % deactivate the coloring of the annotated
>>> items
>>> % \printAnnotations ##f % stop printing clickable messages to
>>> the console
>>> % (ScholarLy options end)
>>>
>>> and I get the following log message:
>>>
>>> \useModule utility.rhythmic-location
>>> 
>>> /Users/grahamk/Documents/lilypond/music/Carver_Missa_lhomme_arme/Carver_Lhomme_Arme_Agnus.ly:14:1:
>>> error: unknown escaped string: `\colorAnnotations'
>>>
>>> The annotations remain coloured.  What am I doing wrong?
>>
>> It looks like you ran into an undocumented change (although I can't
>> remember). Please tell me where you did \colorAnnotations from.
> Not sure I understand the question.  I did \colorAnnotations from the
> top level of the .ly file for my score, as above.

Sorry, my typo: I meant where you got the information from, see other
messages between David and me.

>>
>> \setOption scholarly.colorize ##f
>>
>> should give you what you want.
> Brilliant! that works :)  It causes lilypond to exit with return code
> 1 and the message
>
> 2: error: unknown escaped string: `\scholarly'
> \setOption
>\scholarly.colorize ##f
>
> but I'm happy.
> As ever: many thanks for your outstanding responsiveness.

Well, I wrote
scholarly.colorize
not
\scholarly.colorize

>>
>> HTH
>> Urs
>>>
>>> most grateful for any help
>>> -- Graham
>>

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Re: ScholarLy: unknown escaped string: `\colorAnnotations'

[David Kastrup]

Graham King  writes:

> On Thu, 2015-11-19 at 13:31 +0100, Urs Liska wrote:
>
>> \setOption scholarly.colorize ##f
>> 
>> should give you what you want.
>
> Brilliant! that works :)  It causes lilypond to exit with return code 1
> and the message
>
> 2: error: unknown escaped string: `\scholarly'
> \setOption 
>\scholarly.colorize ##f
>
> but I'm happy.

LilyPond's error recovery for an unknown escaped string is to return the
string without preceding backslash.  It's probably rather rare that this
leads to useful results but you've hit the jackpot.

Still, it would make sense to remove that backslash.

-- 
David Kastrup

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Aligning a tempo marking with a note

[David Sumbler]

Although many scores use a similar italic font for "rit.", "accel." etc.
as they do for dynamic changes such as "cresc.", I prefer to use an
upright bold font - the same as for other tempo markings such as
"Allegro".

The easiest way for me to do this (at least until now) is to use '\tempo
"rit."' or similar.

However, I have now discovered that this does not work too well when the
mark comes at the beginning of a bar which has a time- and/or a
key-signature, because the marking then comes above the signature.  This
is fine for a normal tempo marking such as "Allegro", but looks wrong
for "rit." or "accel.", which I would prefer to appear above the first
note of the bar.

I have tried
\once \override Score.MetronomeMark.X-offset = #4 \tempo "rit.", but
this is unreliable: it works some of the time, but does not work
correctly at the beginning of a line; also a clef change seems to upset
things.  And since a clef change will not exist in all the parts, I
cannot use different values of MetronomeMark.X-offset to get around this
problem.

Clearly, rather than trying to fake it with horizontal shifting, I need
actually to align the tempo mark with the note itself, but I haven't
managed to work out how to do that.

How can it be done?

David



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