Re: simplifying chromatic scale notation

[Nathan Ho]

On 2016-01-25 21:35, Paul Morris wrote:

On Jan 25, 2016, at 4:19 PM, musicus  wrote:

See attached. Comments, suggestions are very welcome ;)


Hi musicus,

I think you’re right that standard notation is not as good as it
could be for such chromatic music, and you have an interesting
approach for improving it. I agree with what others have said about
the ambiguity of the notes though.

One idea would be to use triangle shapes for the accidental notes to
better clarify their relation to the “natural” or rather
in-the-key, non-accidental, notes. Like a diatonic-staff version of
Reed’s Twinline:
http://musicnotation.org/system/twinline-notation-by-thomas-reed/ [1]


There's http://www.simplifiedmusicnotation.org/. They offer a commercial 
plugin for Sibelius, but I also have a LilyPond implementation for it 
lying around somewhere.



Nathan

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Re: simplifying chromatic scale notation

[Paul Morris]

> On Jan 25, 2016, at 4:19 PM, musicus  wrote:
> 
> See attached. Comments, suggestions are very welcome ;)

Hi musicus,  

I think you’re right that standard notation is not as good as it could be for 
such chromatic music, and you have an interesting approach for improving it.  I 
agree with what others have said about the ambiguity of the notes though.  

One idea would be to use triangle shapes for the accidental notes to better 
clarify their relation to the “natural” or rather in-the-key, non-accidental, 
notes.  Like a diatonic-staff version of Reed’s Twinline: 
http://musicnotation.org/system/twinline-notation-by-thomas-reed/

Although, I’m not sure how that would work with sharp or flat notes in a given 
key... (are they ovals or triangles?)

BTW, is there a standard term for non-accidental notes?  You would think it 
would be “natural notes” but sometimes natural notes are also accidental notes.

Cheers,
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Re: Compiling a file results in message: Exited with return code -1073741819.

[Andrew Bernard]

HI Joe,

Compiles fine on 2.19.35 on openSUSE Leap 42.1 (Linux). Extra notes work.

Have you tried running with a higher revision of lilypond? [The development 
releases after 2.18.2 are of very high quality, in general.] What platform are 
you on?

Andrew



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Re: Determining what parameters exist for an item

[David Nalesnik]

On Mon, Jan 25, 2016 at 1:47 PM, Kieren MacMillan <
kieren_macmil...@sympatico.ca> wrote:

> Hi Harm,
>
> > if a property is settable, this does not mean your setting takes any
> effect.
> > I don't speak of user-errors in syntax, missing context, etc, but
> > sometimes an engraver does not listen to a certain property, maybe
> > because it's hard-coded or not really needed or for other good reasons.
>
> Excellent point. I’m sure it’s a pie-in-the-sky thought… but…
>
> Is there a way, in your [wonderful] list of _all_ properties, to have Lily
> automatically say which will have an effect?
> Or is that as simple as “adjusting a property will have an effect if and
> only if it’s listed on the grob’s ‘homepage’ in the IR”?
>

Just because a grob supports a certain interface doesn't guarantee that
there's code written to handle all of the interface's properties for that
particular grob.  Also, an overridable property doesn't necessarily have a
default value listed in the IR: 'color, for example.

DN
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Re: Font of accidentals changes after line break

[Robert Schmaus]

Unfortunately, it doesn't work ... LP v2.19.34 exits ungracefully with 
an error message "fatal error: cannot find font: `LilyJAZZ-11'"


Well, the font is there, as the output of
lilypond -dshow-available-fonts x
shows.

I'll just stick to the old \include method after all, and try to get rid 
of the after-break accidentals ...


Thanks again,
Robert




Am 25/01/16 um 10:21 schrieb Malte Meyn:



Am 25.01.2016 um 10:00 schrieb Robert Schmaus:


One more thought: My original approach of simply \include-ing LilyJAZZ should 
be the standard way of using it. Which makes me think, that there's either 
something missing in LilyJAZZ to work in v2.19 ... or a bug in Lilypond.


Since version 2.19.12 vanilla LilyPond supports other music fonts like
LilyJAZZ. So the “standard way of using” has changed in this version;
you don’t need any include files anymore but something like

\paper {
   #(define fonts
 (set-global-fonts
 #:music "lilyjazz"
 #:brace "lilyjazz"
 #:roman "lilyjazz-text"
 #:sans "lilyjazz-chord"
 #:factor (/ staff-height pt 20)
   ))
}

The openlilylib stylesheets are just files which switch the font but
also do some other changes (slur, stem, barline thicknesses, text fonts, …).


Shouldn't I notify the bug team of this and if so, how do I do that?


I don’t think it’s a bug because Lily has this new way of using music
fonts and doesn’t need the old hacks anymore ;)

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Remove system separator

[Pierre Perol-Schneider]

Hi All,

I need to typeset an orchestral piece showing system separators together
with solo scores without the system separator.
Any idea ?

%% Snippet: %%
\version "2.19.35"

#(set-default-paper-size "a6landscape")

instruOne = \new Staff {
  \set Staff.instrumentName = "Inst. 1"
  \repeat unfold 20 c''1
  \bar "|."
}

instruTwo = \new Staff {
  \set Staff.instrumentName = "Inst. 2"
  \repeat unfold 20 c'1
  \bar "|."
}

\book {
  \paper {
system-separator-markup = \slashSeparator
  }
  \header {
title = "Some Music"
  }
  \bookpart {
\new StaffGroup << \instruOne \instruTwo >>
\header { piece = "CONDUCTOR" }
  }
  \bookpart {
\score {
  \instruOne
  \layout { system-count = 4 }
}
\header { piece = "INSTRUMENT ONE" }
  }
  \bookpart {
\score {
  \instruTwo
  \layout { system-count = 4 }
}
\header { piece = "INSTRUMENT TWO" }
  }
}

%%% END %

Cheers,
Pierre
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Re: Font of accidentals changes after line break

[Malte Meyn]

Am 25.01.2016 um 21:20 schrieb Robert Schmaus:
> Unfortunately, it doesn't work ... LP v2.19.34 exits ungracefully with
> an error message "fatal error: cannot find font: `LilyJAZZ-11'"
> 
> Well, the font is there

Where exactly? LilyPond looks only at the directory where
Emmentaler/Feta is located. In my case, that is

/usr/local/lilypond/usr/share/lilypond/current/fonts/otf

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Re: Remove system separator

[Pierre Perol-Schneider]

Many thanks Abraham. That helps perfectly.
~Pierre

2016-01-25 19:50 GMT+01:00 tisimst :

> Pierre,
>
> On Mon, Jan 25, 2016 at 8:31 AM, Schneidy [via Lilypond] <[hidden email]
> > wrote:
>
>> Hi All,
>>
>> I need to typeset an orchestral piece showing system separators together
>> with solo scores without the system separator.
>> Any idea ?
>>
>> %% Snippet: %%
>> \version "2.19.35"
>>
>> #(set-default-paper-size "a6landscape")
>>
>> instruOne = \new Staff {
>>   \set Staff.instrumentName = "Inst. 1"
>>   \repeat unfold 20 c''1
>>   \bar "|."
>> }
>>
>> instruTwo = \new Staff {
>>   \set Staff.instrumentName = "Inst. 2"
>>   \repeat unfold 20 c'1
>>   \bar "|."
>> }
>>
>> \book {
>>   \paper {
>> system-separator-markup = \slashSeparator
>>   }
>>   \header {
>> title = "Some Music"
>>   }
>>   \bookpart {
>> \new StaffGroup << \instruOne \instruTwo >>
>> \header { piece = "CONDUCTOR" }
>>   }
>>   \bookpart {
>> \score {
>>   \instruOne
>>   \layout { system-count = 4 }
>> }
>> \header { piece = "INSTRUMENT ONE" }
>>   }
>>   \bookpart {
>> \score {
>>   \instruTwo
>>   \layout { system-count = 4 }
>> }
>> \header { piece = "INSTRUMENT TWO" }
>>   }
>> }
>>
>> %%% END %
>>
>
> \bookpart can contain its own \paper block, so just move the \book's
> \paper block inside the \bookpart with the combined parts:
>
> %< SNIP --
>
> \book {
>   \header {
> title = "Some Music"
>   }
>   \bookpart {
> \new StaffGroup << \instruOne \instruTwo >>
> \header { piece = "CONDUCTOR" }
> \paper {
>   system-separator-markup = \slashSeparator
> }
>   }
>   \bookpart {
> \score {
>   \instruOne
>   \layout { system-count = 4 }
> }
> \header { piece = "INSTRUMENT ONE" }
>   }
>   \bookpart {
> \score {
>   \instruTwo
>   \layout { system-count = 4 }
> }
> \header { piece = "INSTRUMENT TWO" }
>   }
> }
>
> %< SNIP --
>
> Naturally, you could have added
>
> \paper {
>   system-separator-markup = ##f
> }
>
> in each of the individual instrument \bookpart blocks, but I think my
> first suggestion is better since it reduces typing.
>
> HTH,
> Abraham
>
> --
> View this message in context: Re: Remove system separator
> 
> Sent from the User mailing list archive
>  at Nabble.com.
>
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>
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Re: Remove system separator

[tisimst]

Pierre,

On Mon, Jan 25, 2016 at 8:31 AM, Schneidy [via Lilypond] <
ml-node+s1069038n186401...@n5.nabble.com> wrote:

> Hi All,
>
> I need to typeset an orchestral piece showing system separators together
> with solo scores without the system separator.
> Any idea ?
>
> %% Snippet: %%
> \version "2.19.35"
>
> #(set-default-paper-size "a6landscape")
>
> instruOne = \new Staff {
>   \set Staff.instrumentName = "Inst. 1"
>   \repeat unfold 20 c''1
>   \bar "|."
> }
>
> instruTwo = \new Staff {
>   \set Staff.instrumentName = "Inst. 2"
>   \repeat unfold 20 c'1
>   \bar "|."
> }
>
> \book {
>   \paper {
> system-separator-markup = \slashSeparator
>   }
>   \header {
> title = "Some Music"
>   }
>   \bookpart {
> \new StaffGroup << \instruOne \instruTwo >>
> \header { piece = "CONDUCTOR" }
>   }
>   \bookpart {
> \score {
>   \instruOne
>   \layout { system-count = 4 }
> }
> \header { piece = "INSTRUMENT ONE" }
>   }
>   \bookpart {
> \score {
>   \instruTwo
>   \layout { system-count = 4 }
> }
> \header { piece = "INSTRUMENT TWO" }
>   }
> }
>
> %%% END %
>

\bookpart can contain its own \paper block, so just move the \book's \paper
block inside the \bookpart with the combined parts:

%< SNIP --

\book {
  \header {
title = "Some Music"
  }
  \bookpart {
\new StaffGroup << \instruOne \instruTwo >>
\header { piece = "CONDUCTOR" }
\paper {
  system-separator-markup = \slashSeparator
}
  }
  \bookpart {
\score {
  \instruOne
  \layout { system-count = 4 }
}
\header { piece = "INSTRUMENT ONE" }
  }
  \bookpart {
\score {
  \instruTwo
  \layout { system-count = 4 }
}
\header { piece = "INSTRUMENT TWO" }
  }
}

%< SNIP --

Naturally, you could have added

\paper {
  system-separator-markup = ##f
}

in each of the individual instrument \bookpart blocks, but I think my first
suggestion is better since it reduces typing.

HTH,
Abraham




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Re: simplifying chromatic scale notation

[Simon Albrecht]

On 25.01.2016 22:19, musicus wrote:
I just struggled with studying a complex music piece and thought that 
all the chromatic lines are horrible to read in standard notation. 
Especially the "enharmonic problem" is distracting the musician from a 
very simple musical structure. So I tried some of my ideas and can 
present one, which is IMO good to read.


See attached. Comments, suggestions are very welcome ;)


Reminds me of Clairnote, a more radical approach, which has also been 
realised with LilyPond: .


Best, Simon

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Re: Font of accidentals changes after line break

[Urs Liska]

Am 25. Januar 2016 21:20:38 MEZ, schrieb Robert Schmaus :
>Unfortunately, it doesn't work ... LP v2.19.34 exits ungracefully with 
>an error message "fatal error: cannot find font: `LilyJAZZ-11'"
>
>Well, the font is there, as the output of
>lilypond -dshow-available-fonts x
>shows.

This shows the system fonts. Malte wrote where LilyPond looks for music fonts.

>
>I'll just stick to the old \include method after all, and try to get
>rid 
>of the after-break accidentals ...
>
>Thanks again,
>Robert
>
>
>
>
>Am 25/01/16 um 10:21 schrieb Malte Meyn:
>>
>>
>> Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
>>>
>>> One more thought: My original approach of simply \include-ing
>LilyJAZZ should be the standard way of using it. Which makes me think,
>that there's either something missing in LilyJAZZ to work in v2.19 ...
>or a bug in Lilypond.
>>
>> Since version 2.19.12 vanilla LilyPond supports other music fonts
>like
>> LilyJAZZ. So the “standard way of using” has changed in this version;
>> you don’t need any include files anymore but something like
>>
>> \paper {
>>#(define fonts
>>  (set-global-fonts
>>  #:music "lilyjazz"
>>  #:brace "lilyjazz"
>>  #:roman "lilyjazz-text"
>>  #:sans "lilyjazz-chord"
>>  #:factor (/ staff-height pt 20)
>>))
>> }
>>
>> The openlilylib stylesheets are just files which switch the font but
>> also do some other changes (slur, stem, barline thicknesses, text
>fonts, …).
>>
>>> Shouldn't I notify the bug team of this and if so, how do I do that?
>>
>> I don’t think it’s a bug because Lily has this new way of using music
>> fonts and doesn’t need the old hacks anymore ;)
>>
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>
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-- 
Diese Nachricht wurde von meinem Android-Mobiltelefon mit K-9 Mail gesendet.

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simplifying chromatic scale notation

[musicus]

Dear Lilyponders,

I just struggled with studying a complex music piece and thought that 
all the chromatic lines are horrible to read in standard notation. 
Especially the "enharmonic problem" is distracting the musician from a 
very simple musical structure. So I tried some of my ideas and can 
present one, which is IMO good to read.


See attached. Comments, suggestions are very welcome ;)

Best regards
musicus\version "2.19.34"

chrom =
#(define-music-function (offset music)(number? ly:music?)
   #{
 \once \override NoteHead.stencil = #ly:text-interface::print
 \once \override NoteHead.text = \markup {
   \fontsize #-3 \musicglyph #"accidentals.doublesharp"
 }
 \once \omit Accidental
 \stopStaff \startStaff \omit Staff.LedgerLineSpanner
 \offset NoteHead.Y-offset #offset
 #music
 \stopStaff \startStaff \undo \omit Staff.LedgerLineSpanner
   #})


\relative c' {
  c8  
  \chrom 0.25 cis 
  \chrom 0 d
  \chrom 0.25 dis 
  \chrom 0 e
  \chrom -0.25 f 
  \chrom 0 fis
  \chrom -0.25 g
  gis1
  as8
  \chrom 0 g
  \chrom -0.25 ges
  \chrom 0 f
  \chrom 0 e
  \chrom -0.25 es
  \chrom 0 d
  \chrom -0.25 des
  c1
  
}

\relative c' {
  c8 cis d dis e f fis g gis1 as8 g ges f e es d des c1
}

example.pdf
Description: Adobe PDF document
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Hello I'm a new member of this list.

[Debia Linux]

Hello everybody:

I', a new member of this list. I'd like use a lilypond on latext. I
don't speak spanish, but i realize my best effort to explain me and
read the messages from list.

Thanks

Debianermx

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Re: simplifying chromatic scale notation

[Kieren MacMillan]

Hi musicus,

This may just be the result of forty years of performing and composing in the 
Western notation system (it’s always hard to overcome that kind of inertia)… 
but I find it easier to read the standard notation than your suggested 
alternative.

Best,
Kieren.


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


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Re: Square note head style

[Pierre Perol-Schneider]

Hi Caio,

How about:

\version "2.18.2"

#(define (my-note-head grob)
   (let ((duration (ly:grob-property grob 'duration-log)))
 (if (>= duration 2)
 (grob-interpret-markup grob
  #{
\markup \filled-box #'(-0.5 . 0.5) #'(-0.5 . 0.5) #0
  #})
 (grob-interpret-markup grob
#{
  \markup
  \override #'(box-padding . 0)
  \override #'(thickness . 2)
  \box {
\transparent
\filled-box #'(-0.3 . 0.3) #'(-0.3 . 0.3) #0
  }
#}

{ c'1 c'2 c'4 c'8 c'16 }

\layout {
  \context {
\Score
\override NoteHead.stencil = #my-note-head
  }
}

Cheers,
Pierre

2016-01-25 21:17 GMT+01:00 Caio Giovaneti de Barros :

> Hi,
>
> I'm needing a note head style with square note heads. Ideally it should be
> filled for black note heads and open for white notes. I'm struggling to
> understand how to change the note head stencil, let alone change it
> according to note duration. Con someone, please, help?
>
> Thanks!
> Caio
>
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Henle app

[Kieren MacMillan]

http://www.henle.de/blog/en/2016/01/25/%E2%80%9Chenle-library%E2%80%9D-app-redefining-sheet-music/

Just an FYI, for those who didn’t see it.

Cheers,
Kieren.


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


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Re: Henle app

[Urs Liska]

Am 25.01.2016 um 23:11 schrieb Boris Lau:
> Any idea what they use for engraving? Given the features for changing
> staff sizes as well as individual note and fingerings, it's probably
> done on-the-fly...

I know that for their printed editions they use quite diverse tools:
Sibelius, (I think Finale) and Amadeus.
It's an interesting thought: given their claim to provide their
engraving in their usual quality it's barely thinkable they have a tool
that does in-viewer engraving.

Urs

>
> Best, Boris
>
> On 25/01/16 22:49, Kieren MacMillan wrote:
>> http://www.henle.de/blog/en/2016/01/25/%E2%80%9Chenle-library%E2%80%9D-app-redefining-sheet-music/
>>
>>
>> Just an FYI, for those who didn’t see it.
>>
>> Cheers,
>> Kieren.
>> 
>>
>> Kieren MacMillan, composer
>> ‣ website: www.kierenmacmillan.info
>> ‣ email: i...@kierenmacmillan.info
>>
>>
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>
>


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Re: Determining what parameters exist for an item

[Thomas Morley]

2016-01-25 21:00 GMT+01:00 David Nalesnik :
>
>
> On Mon, Jan 25, 2016 at 1:47 PM, Kieren MacMillan
>  wrote:
>>
>> Hi Harm,
>>
>> > if a property is settable, this does not mean your setting takes any
>> > effect.
>> > I don't speak of user-errors in syntax, missing context, etc, but
>> > sometimes an engraver does not listen to a certain property, maybe
>> > because it's hard-coded or not really needed or for other good reasons.
>>
>> Excellent point. I’m sure it’s a pie-in-the-sky thought… but…
>>
>> Is there a way, in your [wonderful] list of _all_ properties, to have Lily
>> automatically say which will have an effect?

No.

To illustrate:
TextScript has 'font-name as a property, but setting it will not
always have an effect!!

'font-name in musicglyph-markup-command is hardcoded to #f, otherwise
LilyPond would try to take it from "TeX Gyre Chorus" in the example
below, with little chance for nice output, I'd say ...

{
  \override TextScript.font-name = "TeX Gyre Chorus"
  a'1-\markup { "This is a clef:  " \musicglyph #"clefs.G" }
}

This is only one single example (there are other markup-commands doing
similar) for one single grob...

>> Or is that as simple as “adjusting a property will have an effect if and
>> only if it’s listed on the grob’s ‘homepage’ in the IR”?

Again, no.
See, David's explanation, below.

>
>
> Just because a grob supports a certain interface doesn't guarantee that
> there's code written to handle all of the interface's properties for that
> particular grob.  Also, an overridable property doesn't necessarily have a
> default value listed in the IR: 'color, for example.
>
> DN

Sorry,
  Harm

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Re: simplifying chromatic scale notation

[Urs Liska]

Am 26.01.2016 um 00:05 schrieb musicus:
> @Simon: I was not aware of Clairnote, but that direction was not my
> intention...
>
> @Kieren: I agree with you regarding reading...
> my point is that this notation could help to understand and remember
> the structure.
> Especially in modern/ contemporary music there are many cases with
> limited justification for complicated notation .
> "THIS is soo simple, why didn't the composer use an easy way to notate
> it, so that i don't have to put so much effort in reading and learning
> it??"
>
>
> Attached a short excerpt of Liszt's Mephisto waltz... Maybe you cannot
> play this without calculating a bit, but you definitily will get the
> anomaly of the line immediately.

This is a perfect example why I severely doubt this works.
It is immediately clear that (e.g.) the second measure features a
*scale* with a d sharp somewhere. But which notes *exactly* are to be
played is totally unclear.
The notation suggest as much that the second measure starts with an a as
it suggests an ais. And if I look at that sequence I would immediately
say that between the third and fourth note there is a whole tone and not
a semi-tone.

The main problem is that I have to *estimate* where the "notehead" is
printed and what that means. And if that's intentional or inexact. This
definitely does *not* make it easier to read, quite the contrary: it
adds ambiguity and room for misreading. This notation looks like (and
would IMO be more appropriate for) an inexact and somewhat aleatoric
notation where the written notes only approximate the intended "outline"
of a melody.
Not giving a pitch an exact position (such as *on* or *between* staff
lines) guarantees ambiguity.

A much more consistent approach to what you suggest would be (as was
discussed recently) a notation where each chromatic pitch has its own
place on the staff, i.e. a system with more lines. This is unambiguous -
but I doubt that it makes reading easier either.

My 2cts
Urs

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Re: Henle app

[Boris Lau]

Any idea what they use for engraving? Given the features for changing 
staff sizes as well as individual note and fingerings, it's probably 
done on-the-fly...


Best, Boris

On 25/01/16 22:49, Kieren MacMillan wrote:

http://www.henle.de/blog/en/2016/01/25/%E2%80%9Chenle-library%E2%80%9D-app-redefining-sheet-music/

Just an FYI, for those who didn’t see it.

Cheers,
Kieren.


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


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--
Dr. Boris Lau
-> Web:   http://www.borislau.de
-> Phone: +49 761 1529078 | SMS: +49 174 9436758
-> Mail:  Heinrich-Mann-Str. 22, D-79100 Freiburg, Germany

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Re: Determining what parameters exist for an item

[Simon Albrecht]

On 25.01.2016 10:19, David Kastrup wrote:

e.g. ‘Offset KeyCancellation’s X-extent by #'(0 . 2) (so it will have
>two units whitespace at the right), regardless of how wide it would
>normally be’. That would be a very powerful use case for \offset, if
>also the technical limitations might be non-trivial.

Any reason you can't use extra-spacing-width here?


No. This wasn’t an actual use case, only a random example where one 
might think of using \offset.


Best, Simon

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Re: Determining what parameters exist for an item

[Kieren MacMillan]

Hi Harm,

> if a property is settable, this does not mean your setting takes any effect.
> I don't speak of user-errors in syntax, missing context, etc, but
> sometimes an engraver does not listen to a certain property, maybe
> because it's hard-coded or not really needed or for other good reasons.

Excellent point. I’m sure it’s a pie-in-the-sky thought… but…

Is there a way, in your [wonderful] list of _all_ properties, to have Lily 
automatically say which will have an effect?
Or is that as simple as “adjusting a property will have an effect if and only 
if it’s listed on the grob’s ‘homepage’ in the IR”?

Thanks,
Kieren.


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


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Square note head style

[Caio Giovaneti de Barros]

Hi,

I'm needing a note head style with square note heads. Ideally it should 
be filled for black note heads and open for white notes. I'm struggling 
to understand how to change the note head stencil, let alone change it 
according to note duration. Con someone, please, help?


Thanks!
Caio

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Re[2]: simplifying chromatic scale notation

[musicus]

I suggest you try this on "Entry of the Gladiators" by Fučik.  The 
lines

will look very straightforward, but I suspect performers, particularly
on "continuous" instruments like voice, theremin or trombone(?) would
lose track of the tonality exactly because of that.

--
David Kastrup


Maybe there is a problem for some instruments to find the right pitch 
(especially for those with pitch perfect), but i don't think that they 
are focussing on every single note in a chromatic scale.
From my experience as a musician i'd say, some "normally" notatet notes 
for orientation should be enough to solve this problem.
The omission of many distractions (accidentals, "false" notehead 
position) weighs more, IMO.


musicus


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Compiling a file results in message: Exited with return code -1073741819.

[Joseph N. Srednicki]

Please see the attached file.

 

Go to line 253.

 

The file compiles cleanly up until this point. 

 

However, when I try to add more than one note to the line 253, I receive the
error message: Exited with return code -1073741819.

 

Please let me know if I am doing something wrong or if there is a workaround
to resolve this situation.

 

Thanks

 

Joe Srednicki.

 

 

 

\version "2.18.2"
\language "english"

\header {
  title = "In dir ist Freude"
  composer = "Johann Sebastian Bach (1685-1750)"
  opus = "BWV615"
  % Remove default LilyPond tagline
  tagline = ##f
}

\paper {
  #(set-paper-size "letter")
}

global = {
  \key g \major
  \numericTimeSignature
  \time 3/2
}

% raise a tie
raiseTie = {
\once \override TieColumn #'tie-configuration = #'((9.5 . 1) (10.0 . 1) (4.0 . 1))
}

% REPEATED SECTIONS

% Pedal motif 1
% mm 1-3, 3-4, 4-5, 11-12
pedOne = \relative c {

  % 1
  r4 d\ltoe g\rtoe b,8\ltoe c\rtoe d\rtoe c\ltoe d4\rtoe |

  % 2
  g,4\ltoe r r2 r |
}

% Repeated:
% LH Bass 1-2
% Pedal 7-8
% LH Bass 18- 19
% Pedal 24-24
motOne = \relative c' {
  % 1
  d2 d c |

  % 2
  b8 d a c b d g, b a d fs, a |
}

% Soprano mm. 3 to 12
% repeated as mm 20 to 29
sopA =  \relative c'' {
% 3
  d2 r8 g, d' g r a, d fs |

  % 4
  g8 d a c-4 b d g, b-4 a d fs, a |

  % 5
  d2-2-5 d c |

  % 6
  b8-1-3 g'-5 fs e d c b-3 d c b a c-5 |

  % 7
  b8 d, e fs g-1 a b c-1 d e fs d |

  % 8
  g4 r r2 r2 |

  % 9
  d2 d c |

  % 10
  b2. a4 b2 |

  % 11
  d2 d c |

  % 12
  b8 d,-1 e fs g-1 a b c-1 d e fs d |
}


% Alto mm. 3 to 12
% repeated as mm 20 to 29

altA = \relative c'' {
  % 3 to 4
  \repeat unfold 2 {\skip 1.}

  % 5
  g8 d g a b2 a |

  % 6 to 8
  \repeat unfold 3 {\skip 1.}

  % 9
  r4 \stemUp a \shiftOn b2 a |

  % 10
  g2. fs4 d2 |

  % 11
  c'2 b a \shiftOff |

  % 12
  \skip 1.
}

% Tenor mm. 3 to 12
% repeated as mm 20 to 29

tenA = \relative c' {
  % 3
  d2 d c |

  % 4
  b8 g'-1 fs e d-1 c b d c b a c |

  % 5 to 8
  \repeat unfold 4 {\skip 1.}

  % 9
  \change Staff = "right"
  f,4\rest \stemDown fs' g2 d |

   % 10
   d2. c4 b2 |

   % 11
   fs'2 g s |

   % 12
   \skip 1.
}

% Bass mm. 3 to 12
% repeated as mm 20 to 29

bassA = \relative c' {
  % 3
  g8 d-5 g-4 a-3 b2 a |

  % 4
  g4 r r2 r2 |

  % 5
  b2 d,8\rest g d' g d,8\rest a' d fs |

  % 6
  g8 \stemUp d,,-5 e fs g a b-3 c \stemDown d e-4 fs d |

  % 7
  g8 fs-3 g a b-4 c d e \clef treble \stemUp fs g a fs |

  % 8
  b4 r r2 r |

  % 9
  \clef bass
  d,,8\rest \stemDown e' d c b a g a fs a g fs |

  % 10
  \stemUp g8-1 g,-5 a b \stemDown c d e-3 fs g-1 a-3 b g |

  % 11
  a8-1 fs-2 g-1 a-4 b c d-1 e-3 \clef treble \stemUp fs-2 g e fs |

  % 12
  g4-1 a4\rest g2\rest g2\rest |
}
% ---


% soprano
rightOne = \relative c'' {
  \global

  % 1
  R1.

  % 2
  d2 d c |

  % 3 to 12
  \sopA

  % 13
  g'8 e d c d-5 b a g a-4 g fs e |

  % 14
  fs2.-3-4 a4-2-5 g a |

  % 15
  b2. e,4 a2~ |

  % 16
  a8 c b a g fs e fs g4-4 fs-3 |

  % 17
  e2~-2 e8 fs-3 g-4 a-1 \stemDown b c d e |

  % 18
  \stemUp fs,8-2 c' b a b-4 a g a fs-2 a-3 g-1 fs-2 |

  % 19
  d'2 d c

  % 20 to 29
  \sopA

  % 30
  g'8 e d c d2-5 c-2-4 |

  % 31
  b2. a4 g8 a b c |

  % 32
  d2 r8 g-5 fs e fs2-5 |

  % 33
  r8 f8 e d e-5 d c b c2-4 |

  % 34
  r8 c-5 b a b4.-5 b8 a4. a8 |

  % 35
  g2 r r |

  % 36
  r8 a b c r c-3 d e d c b a |

  % 37
  b2. a4 g8fs g4 |

  % 38
  r4 d'8 c b a g a b4 a |

  % 39
  g4. d8 g2~ g8 fs g a |

  % 40
  b2 c d |

  % 41
  e4. d8 c2 r2 |
}

% alto
rightTwo = \relative c'' {
  \global

  % 1 to 2
  \repeat unfold 2 {R1.}

  % 3 to 23
  \altA

  % 13
  \skip 1.

  % 14
  \stemDown d,2. c?4 b c |

  % 15
  d8 f-3 e-1 d-2 c2~-1 c8 d-2 b-1 c |

  % 16 to 18
  \repeat unfold 3 {\skip 1.}

  % 19
  g'4 r r2 r2 |

  % 20 to 29
  \altA

  % 30
  r2 r8 \stemDown b a g a2 |

  % 31
  g1.~ |

  % 32
  g8 fs g a b2-1 r8 c-3 b-2 a-1 |

  % 33
  g2 r r8 b a g |

  % 34
  fs2-2 r8 fs8 g4~ g8 e fs4 |

  % 35
  g2 r r8 d e f |

  % 36
  e2 a1 |

  % 37
  r8 a8 g fs g4 fs d d |

  % 38
  r4 a' g r4 r8 d r c~ |

  % 39
  c8 a b4~ b2 r2 |

  % 40
  r8 a' g f r g f? e r f? e d |

  % 41
  r8 b' c g e2 r2 |
}

% tenor
leftOne = \relative c' {
  \global

  % 1 to 2
  \repeat unfold 2 {\skip 1.}

  % 3 to 12
  \tenA

   % 13
   \change Staff ="left" \clef bass \stemUp b2 b cs2 |

   % 14 to 15
   \repeat unfold 2 {\skip 1.}

   % 16
   b1 r8 b r a~ |

   % 17
   a8-2 c-1 b-2 a-3 g-1 fs-2 e-3 fs-2 g-1 a-4 b-3 c-2 |

   % 18 to 19
   \repeat unfold 2 {\skip 1.}

   % 20 to 29
   \tenA

   % 30 to 31
   \repeat unfold 2 {\skip 1.}

   % 32
   \change Staff = "left" \stemUp b8 a-4 b c d2-1 c\finger "2-1" |

   % 33
   \stemUp b2. a4 g b |

   % 34
   a2\finger "2-1" r8 a b c d2 |

   % 35
   d2 r8 b c d b2 |

   % 36 to 37
   \repeat unfold 2 {\skip 1. }

   % 38
   r4 d~ d8 c b a g4 fs |

   % 39
   g1 r2 |

   % 40
   \skip 1.|

   % 41
   c2 \skip 1 |
}

% bass
leftTwo = \relative c' {
  \global

  % 1 to 2
  \motOne

  % 3 to 12
  \bassA

  % 

Re: Compiling a file results in message: Exited with return code -1073741819.

[Pierre Perol-Schneider]

Hi Joseph,

Try to googlize "Exited with return code -1073741819"
Some interesting things over there.

HTH,
Pierre

2016-01-26 1:08 GMT+01:00 Urs Liska :

>
>
> Am 26.01.2016 um 01:04 schrieb Joseph N. Srednicki:
>
> Please see the attached file.
>
>
>
> Go to line 253.
>
>
>
> The file compiles cleanly up until this point.
>
>
>
> However, when I try to add more than one note to the line 253, I receive
> the error message: *Exited with return code -1073741819.*
>
>
>
>
> Please give us some more reference to what line you are talking about.
> I find that line 253 is:
>
> % alto
>
> So nothing to add notes to ...
>
> Urs
>
> Please let me know if I am doing something wrong or if there is a
> workaround to resolve this situation.
>
>
>
> Thanks
>
>
>
> Joe Srednicki.
>
>
>
>
>
>
>
>
> ___
> lilypond-user mailing 
> listlilypond-user@gnu.orghttps://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
>
> ___
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>
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Re: Subject: Compiling a file results in message: Exited with return code -1073741819

[Joseph N. Srednicki]

rg>
Content-Type: text/plain; charset="windows-1252"



Am 26.01.2016 um 00:05 schrieb musicus:
> @Simon: I was not aware of Clairnote, but that direction was not my 
> intention...
>
> @Kieren: I agree with you regarding reading...
> my point is that this notation could help to understand and remember 
> the structure.
> Especially in modern/ contemporary music there are many cases with 
> limited justification for complicated notation .
> "THIS is soo simple, why didn't the composer use an easy way to notate 
> it, so that i don't have to put so much effort in reading and learning 
> it??"
>
>
> Attached a short excerpt of Liszt's Mephisto waltz... Maybe you cannot 
> play this without calculating a bit, but you definitily will get the 
> anomaly of the line immediately.

This is a perfect example why I severely doubt this works.
It is immediately clear that (e.g.) the second measure features a
*scale* with a d sharp somewhere. But which notes *exactly* are to be played
is totally unclear.
The notation suggest as much that the second measure starts with an a as it
suggests an ais. And if I look at that sequence I would immediately say that
between the third and fourth note there is a whole tone and not a semi-tone.

The main problem is that I have to *estimate* where the "notehead" is
printed and what that means. And if that's intentional or inexact. This
definitely does *not* make it easier to read, quite the contrary: it adds
ambiguity and room for misreading. This notation looks like (and would IMO
be more appropriate for) an inexact and somewhat aleatoric notation where
the written notes only approximate the intended "outline"
of a melody.
Not giving a pitch an exact position (such as *on* or *between* staff
lines) guarantees ambiguity.

A much more consistent approach to what you suggest would be (as was
discussed recently) a notation where each chromatic pitch has its own place
on the staff, i.e. a system with more lines. This is unambiguous - but I
doubt that it makes reading easier either.

My 2cts
Urs

>
>
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Message: 3
Date: Mon, 25 Jan 2016 19:04:18 -0500
From: "Joseph N. Srednicki" <jos.sredni...@verizon.net>
To: <lilypond-user@gnu.org>
Subject: Compiling a file results in message: Exited with return code
-1073741819.
Message-ID: <001901d157cd$1a7a2620$4f6e7260$@verizon.net>
Content-Type: text/plain; charset="us-ascii"

Please see the attached file.

 

Go to line 253.

 

The file compiles cleanly up until this point. 

 

However, when I try to add more than one note to the line 253, I receive the
error message: Exited with return code -1073741819.

 

Please let me know if I am doing something wrong or if there is a workaround
to resolve this situation.

 

Thanks

 

Joe Srednicki.

 

 

 

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Message: 4
Date: Tue, 26 Jan 2016 01:08:09 +0100
From: Urs Liska <u...@openlilylib.org>
To: lilypond-user@gnu.org
Subject: Re: Compiling a file results in message: Exited with return
code-1073741819.
Message-ID: <56a6b8e9.80...@openlilylib.org>
Content-Type: text/plain; charset="windows-1252"



Am 26.01.2016 um 01:04 schrieb Joseph N. Srednicki:
>
> Please see the attached file.
>
>  
>
> Go to line 253.
>
>  
>
> The file compiles cleanly up until this point.
>
>  
>
> However, when I try to add more than one note to the line 253, I 
> receive the error message: *Exited with return code -1073741819.*
>
> * *
>

Please give us some more reference to what line you are talking about.
I find that line 253 is:

% alto

So nothing to add notes to ...

Urs

> Please let me know if I am doing something wrong or if there is a 
> workaround to resolve this situation.
>
>  
>
> Thanks
>
>  
>
> Joe Srednicki.**
>
> * *
>
>  
>
>  
>
>
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/

Re: Compiling a file results in message: Exited with return code -1073741819.

[Urs Liska]

Am 26.01.2016 um 01:04 schrieb Joseph N. Srednicki:
>
> Please see the attached file.
>
>  
>
> Go to line 253.
>
>  
>
> The file compiles cleanly up until this point.
>
>  
>
> However, when I try to add more than one note to the line 253, I
> receive the error message: *Exited with return code -1073741819.*
>
> * *
>

Please give us some more reference to what line you are talking about.
I find that line 253 is:

% alto

So nothing to add notes to ...

Urs

> Please let me know if I am doing something wrong or if there is a
> workaround to resolve this situation.
>
>  
>
> Thanks
>
>  
>
> Joe Srednicki.**
>
> * *
>
>  
>
>  
>
>
>
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

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Re: simplifying chromatic scale notation

[David Kastrup]

Kieren MacMillan  writes:

> Hi musicus,
>
> This may just be the result of forty years of performing and composing
> in the Western notation system (it’s always hard to overcome that kind
> of inertia)… but I find it easier to read the standard notation than
> your suggested alternative.

For "Western" music, I definitely have to agree.  For
dodecaphonic/serial music, I can imagine a more chromatic notation
making sense.  You'd still have to get the performers trained, though.

I remember some composition competition in Bochum where a winning or
placed entry (from the previous year?) was to be performed by a good
choir, and it had a ridiculous number of voice splits and rather
audacious tonality, and the choir ended up with most of the choir
members using tuning forks while performing.

With this kind of not-too-longish preparation from semi-professionals, a
different notation is not going to be helpful.

-- 
David Kastrup

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Re: simplifying chromatic scale notation

[David Kastrup]

musicus  writes:

> @Simon: I was not aware of Clairnote, but that direction was not my
> intention...
>
> @Kieren: I agree with you regarding reading...
> my point is that this notation could help to understand and remember
> the structure.
> Especially in modern/ contemporary music there are many cases with
> limited justification for complicated notation .
> "THIS is soo simple, why didn't the composer use an easy way to notate
> it, so that i don't have to put so much effort in reading and learning
> it??"
>
>
> Attached a short excerpt of Liszt's Mephisto waltz... Maybe you cannot
> play this without calculating a bit, but you definitily will get the
> anomaly of the line immediately.

I suggest you try this on "Entry of the Gladiators" by Fučik.  The lines
will look very straightforward, but I suspect performers, particularly
on "continuous" instruments like voice, theremin or trombone(?) would
lose track of the tonality exactly because of that.

-- 
David Kastrup

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Re: lilypond-user Digest, Vol 158, Issue 140

[David Kastrup]

David Sumbler  writes:

>> From: David Nalesnik 
>
> 
>> \offset only works on properties that have a default value listed in
>> the grob pages in the IR (derived from the alist in
>> scm/define-grobs.scm).  There is no default value listed for
>> KeyCancellation.X-extent, hence the warning.
> 
>
> This "\offset" sounds very interesting.  But I can find nothing about it
> in the documentation.  It isn't indexed in any of the Lilypond
> manuals.

Huh?

http://lilypond.org/doc/v2.19/Documentation/notation/available-music-functions#index-offset

Granted, the entry is lacklustre.

-- 
David Kastrup

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Re: lilypond-user Digest, Vol 158, Issue 140

[David Sumbler]

> From: David Nalesnik 


> \offset only works on properties that have a default value listed in
> the grob pages in the IR (derived from the alist in
> scm/define-grobs.scm).  There is no default value listed for
> KeyCancellation.X-extent, hence the warning.


This "\offset" sounds very interesting.  But I can find nothing about it
in the documentation.  It isn't indexed in any of the Lilypond manuals.

Is it work in progress, added in a later version than my 2.19.30?

David S



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Re: Font of accidentals changes after line break

[Robert Schmaus]

One more thought: My original approach of simply \include-ing LilyJAZZ should 
be the standard way of using it. Which makes me think, that there's either 
something missing in LilyJAZZ to work in v2.19 ... or a bug in Lilypond. 
Shouldn't I notify the bug team of this and if so, how do I do that?

Best, 
Robert


> On 24 Jan 2016, at 23:33, Urs Liska  wrote:
> 
> 
> 
>> Am 24.01.2016 um 23:01 schrieb Urs Liska:
>> 
>> Am 24. Januar 2016 22:56:56 MEZ, schrieb Robert Schmaus 
>> :
>>> Dear Lilyponders,
>>> 
>>> I usually engrave jazz lead sheets using LilyJazz, and I've noticed the
>>> 
>>> following odd behaviour: If I tie a note across a manual line break,
>>> and 
>>> the note has an accidental, then the LilyJazz font is not applied to
>>> the 
>>> accidental of the continued note after the line break.
>>> The following snippet shows this:
>> Did you try the alternative approach using openLilyLib's Stylesheets library?
>> 
>> Urs
> 
> OK, just checked it.
> 
> Provided you have
> - LilyJAZZ "installed" in LilyPond's font directory
> - openLilyLib and its /ly subdirectory in LilyPond's include path
> then
> 
> \include "openlilylib"
> \useLibrary Stylesheets
> \useNotationFont LilyJAZZ
> 
> will make your example work properly. You should remove the \jazzOn.
> 
> HTH
> Urs
> 
>> 
>>> % %
>>> 
>>> \version "2.19.34"
>>> \include "LilyJAZZ.ily" % <-- path to LilyJAZZ file ...
>>> 
>>> \score {
>>>  \new Staff {
>>> 
>>>\key ees \major
>>>\time 4/4
>>>\jazzOn
>>> 
>>>\relative c'' {
>>>  < des e, fis, >1 ~
>>>  \break
>>>  q8
>>>}
>>>  }
>>> }
>>> 
>>> % %
>>> 
>>> I tried this (on a Mac) with v2.19.18 and 2.19.34. I also tried it with
>>> 
>>> 2.18.2, where the issue doesn't come up because the accidentals are not
>>> 
>>> shown after the line break.
>>> 
>>> Does anyone know of a way to fix this? Maybe there's a new additional 
>>> accidental type that I need to set? Right now, I have overrides on the 
>>> objects Staff.Accidental, Staff.AccidentalCautionary, and 
>>> Staff.AccidentalSuggestion. Is there a new one in v2.19? I didn't find 
>>> any in the internals reference ...
>>> 
>>> If it can't be fixed easily, how can I turn off the accidental after 
>>> break? I tried
>>> \override Staff.Accidental.after-line-breaking = ##f
>>> but that didn't change anything.
>>> 
>>> Any help would be appreciated!
>>> 
>>> Thanks,
>>> Cheers, Robert
>>> 
>>> 
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> 
> 
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Re: lilypond-user Digest, Vol 158, Issue 140

[Simon Albrecht]

On 25.01.2016 09:40, David Sumbler wrote:

This "\offset" sounds very interesting.  But I can find nothing about it
in the documentation.  It isn't indexed in any of the Lilypond manuals.

Is it work in progress, added in a later version than my 2.19.30?


No, it’s a 2.19 addition, but older than .30, I think. You’ll find 
information in the issue tracker 
(). The lack of 
Documentation is deplorable, and there’s already a tracker issue. Sorry 
I can’t help more…


Best, Simon

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Re: Font of accidentals changes after line break

[Malte Meyn]

Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
> 
> One more thought: My original approach of simply \include-ing LilyJAZZ should 
> be the standard way of using it. Which makes me think, that there's either 
> something missing in LilyJAZZ to work in v2.19 ... or a bug in Lilypond. 

Since version 2.19.12 vanilla LilyPond supports other music fonts like
LilyJAZZ. So the “standard way of using” has changed in this version;
you don’t need any include files anymore but something like

\paper {
  #(define fonts
(set-global-fonts
#:music "lilyjazz"
#:brace "lilyjazz"
#:roman "lilyjazz-text"
#:sans "lilyjazz-chord"
#:factor (/ staff-height pt 20)
  ))
}

The openlilylib stylesheets are just files which switch the font but
also do some other changes (slur, stem, barline thicknesses, text fonts, …).

> Shouldn't I notify the bug team of this and if so, how do I do that?

I don’t think it’s a bug because Lily has this new way of using music
fonts and doesn’t need the old hacks anymore ;)

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Re: Font of accidentals changes after line break

[Robert Schmaus]

Hi Malte,

Thanks for the reply!
That sounds very good, actually - I'll give it a try tonight. 

Best, Robert 




> On 25 Jan 2016, at 10:21, Malte Meyn  wrote:
> 
> 
> 
>> Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
>> 
>> One more thought: My original approach of simply \include-ing LilyJAZZ 
>> should be the standard way of using it. Which makes me think, that there's 
>> either something missing in LilyJAZZ to work in v2.19 ... or a bug in 
>> Lilypond.
> 
> Since version 2.19.12 vanilla LilyPond supports other music fonts like
> LilyJAZZ. So the “standard way of using” has changed in this version;
> you don’t need any include files anymore but something like
> 
> \paper {
>  #(define fonts
>(set-global-fonts
>#:music "lilyjazz"
>#:brace "lilyjazz"
>#:roman "lilyjazz-text"
>#:sans "lilyjazz-chord"
>#:factor (/ staff-height pt 20)
>  ))
> }
> 
> The openlilylib stylesheets are just files which switch the font but
> also do some other changes (slur, stem, barline thicknesses, text fonts, …).
> 
>> Shouldn't I notify the bug team of this and if so, how do I do that?
> 
> I don’t think it’s a bug because Lily has this new way of using music
> fonts and doesn’t need the old hacks anymore ;)
> 
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Re: Determining what parameters exist for an item

[David Sumbler]

On Mon, 2016-01-25 at 10:26 +0100, David Kastrup wrote:
> David Sumbler  writes:
> 
> >> From: David Nalesnik 
> >
> > 
> >> \offset only works on properties that have a default value listed in
> >> the grob pages in the IR (derived from the alist in
> >> scm/define-grobs.scm).  There is no default value listed for
> >> KeyCancellation.X-extent, hence the warning.
> > 
> >
> > This "\offset" sounds very interesting.  But I can find nothing about it
> > in the documentation.  It isn't indexed in any of the Lilypond
> > manuals.
> 
> Huh?
> 
> http://lilypond.org/doc/v2.19/Documentation/notation/available-music-functions#index-offset
> 
> Granted, the entry is lacklustre.

Ah - I hadn't thought of looking there, because most (all?) of the other
music functions are listed in NR Appendix D.  Should it not be added
there too?

My apologies for forgetting to change the subject line on my previous
e-mail to the list.

David S



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Re: Determining what parameters exist for an item

[Simon Albrecht]

On 25.01.2016 00:55, David Nalesnik wrote:


\offset only works on properties that have a default value listed in 
the grob pages in the IR (derived from the alist in 
scm/define-grobs.scm).  There is no default value listed for 
KeyCancellation.X-extent, hence the warning.


Well, the point was that exactly for this case it would be great to tell 
lily ‘Increase this property by two, no matter what it previously was’, 
e.g. ‘Offset KeyCancellation’s X-extent by #'(0 . 2) (so it will have 
two units whitespace at the right), regardless of how wide it would 
normally be’. That would be a very powerful use case for \offset, if 
also the technical limitations might be non-trivial.


Best, Simon

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Re: lilypond-user Digest, Vol 158, Issue 140

[Thomas Morley]

2016-01-25 9:40 GMT+01:00 David Sumbler :
>> From: David Nalesnik 
>
> 
>> \offset only works on properties that have a default value listed in
>> the grob pages in the IR (derived from the alist in
>> scm/define-grobs.scm).  There is no default value listed for
>> KeyCancellation.X-extent, hence the warning.
> 
>
> This "\offset" sounds very interesting.  But I can find nothing about it
> in the documentation.  It isn't indexed in any of the Lilypond manuals.
>
> Is it work in progress, added in a later version than my 2.19.30?
>
> David S

Hi David,

https://sourceforge.net/p/testlilyissues/issues/3830/

says:
"
The \offset function introduced in 2.17.95 (see
Issue 3629 for details) merits full documentation.

Unfortunately it does not easily 'slot in' to any
existing section in either the LM or NR.  Perhaps
the most obvious place for it is Section 4.6.1 in
the LM, "Moving Objects", but even here some
rearrangement of the existing text would be needed.
If it were to be added to the LM in this way, the
existing documentation in the NR (in A18 "Available
Music Functions") would just about suffice.
"

`offset' is in music-functions-init.ly
see there for the doc-string.

An example is in our regression-test look there for offsets.ly

Cheers,
  Harm

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Re: Determining what parameters exist for an item

[David Kastrup]

Simon Albrecht  writes:

> On 25.01.2016 00:55, David Nalesnik wrote:
>>
>> \offset only works on properties that have a default value listed in
>> the grob pages in the IR (derived from the alist in
>> scm/define-grobs.scm).  There is no default value listed for
>> KeyCancellation.X-extent, hence the warning.
>
> Well, the point was that exactly for this case it would be great to
> tell lily ‘Increase this property by two, no matter what it previously
> was’,

Does anything even look at the grob property here?

> e.g. ‘Offset KeyCancellation’s X-extent by #'(0 . 2) (so it will have
> two units whitespace at the right), regardless of how wide it would
> normally be’. That would be a very powerful use case for \offset, if
> also the technical limitations might be non-trivial.

Any reason you can't use extra-spacing-width here?

-- 
David Kastrup

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Re: Font of accidentals changes after line break

[Urs Liska]

Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
> One more thought: My original approach of simply \include-ing LilyJAZZ should 
> be the standard way of using it. Which makes me think, that there's either 
> something missing in LilyJAZZ to work in v2.19 ... or a bug in Lilypond. 
> Shouldn't I notify the bug team of this and if so, how do I do that?
>
> Best, 
> Robert

No.
including LilyJAZZ is not a LilyPond feature but a function provided by
openLilyLib.
The approach taken there is known to be not fully comprehensive.

The approach taken by openLilyLib's Stylesheet library is substantially
different as it transparently replaces the font loaded by LilyPond itself.


Urs

>
>
>> On 24 Jan 2016, at 23:33, Urs Liska  wrote:
>>
>>
>>
>>> Am 24.01.2016 um 23:01 schrieb Urs Liska:
>>>
>>> Am 24. Januar 2016 22:56:56 MEZ, schrieb Robert Schmaus 
>>> :
 Dear Lilyponders,

 I usually engrave jazz lead sheets using LilyJazz, and I've noticed the

 following odd behaviour: If I tie a note across a manual line break,
 and 
 the note has an accidental, then the LilyJazz font is not applied to
 the 
 accidental of the continued note after the line break.
 The following snippet shows this:
>>> Did you try the alternative approach using openLilyLib's Stylesheets 
>>> library?
>>>
>>> Urs
>> OK, just checked it.
>>
>> Provided you have
>> - LilyJAZZ "installed" in LilyPond's font directory
>> - openLilyLib and its /ly subdirectory in LilyPond's include path
>> then
>>
>> \include "openlilylib"
>> \useLibrary Stylesheets
>> \useNotationFont LilyJAZZ
>>
>> will make your example work properly. You should remove the \jazzOn.
>>
>> HTH
>> Urs
>>
 % %

 \version "2.19.34"
 \include "LilyJAZZ.ily" % <-- path to LilyJAZZ file ...

 \score {
  \new Staff {

\key ees \major
\time 4/4
\jazzOn

\relative c'' {
  < des e, fis, >1 ~
  \break
  q8
}
  }
 }

 % %

 I tried this (on a Mac) with v2.19.18 and 2.19.34. I also tried it with

 2.18.2, where the issue doesn't come up because the accidentals are not

 shown after the line break.

 Does anyone know of a way to fix this? Maybe there's a new additional 
 accidental type that I need to set? Right now, I have overrides on the 
 objects Staff.Accidental, Staff.AccidentalCautionary, and 
 Staff.AccidentalSuggestion. Is there a new one in v2.19? I didn't find 
 any in the internals reference ...

 If it can't be fixed easily, how can I turn off the accidental after 
 break? I tried
 \override Staff.Accidental.after-line-breaking = ##f
 but that didn't change anything.

 Any help would be appreciated!

 Thanks,
 Cheers, Robert


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\offset documentation (was: Determining what parameters exist for an item)

[David Kastrup]

David Sumbler  writes:

> On Mon, 2016-01-25 at 10:26 +0100, David Kastrup wrote:
>> David Sumbler  writes:
>> 
>> >> From: David Nalesnik 
>> >
>> > 
>> >> \offset only works on properties that have a default value listed in
>> >> the grob pages in the IR (derived from the alist in
>> >> scm/define-grobs.scm).  There is no default value listed for
>> >> KeyCancellation.X-extent, hence the warning.
>> > 
>> >
>> > This "\offset" sounds very interesting.  But I can find nothing about it
>> > in the documentation.  It isn't indexed in any of the Lilypond
>> > manuals.
>> 
>> Huh?
>> 
>> http://lilypond.org/doc/v2.19/Documentation/notation/available-music-functions#index-offset
>> 
>> Granted, the entry is lacklustre.
>
> Ah - I hadn't thought of looking there, because most (all?) of the other
> music functions are listed in NR Appendix D.  Should it not be added
> there too?

It is.

> My apologies for forgetting to change the subject line on my previous
> e-mail to the list.

Thanks for the reminder.

-- 
David Kastrup

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Hairpin offset when broken

[Andrew Bernard]

I am trying to offset a hairpin that is broken across lines. It appears that 
only the second part is affected. What’s wrong here?

Andrew

— snip

\version "2.19.35"


treble = {
  \clef treble
  \time 4/4

  c'' c'' c'' c'' c'' c'' c'' c'' \break
  c'' c'' c'' c''
}

bass = {
  \clef bass
  \time 4/4

  c^\< c c c c \f
  \override Hairpin.Y-offset = #-4
  c c^\< c c c c\ff c
}

\score {

  \new PianoStaff
  <<
\new Staff \treble
\new Staff \bass
  >>

  \layout {}
}

— snip


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Re: \offset documentation (was: Determining what parameters exist for an item)

[David Sumbler]

On Mon, 2016-01-25 at 11:57 +0100, David Kastrup wrote:
> David Sumbler  writes:
> 
> > On Mon, 2016-01-25 at 10:26 +0100, David Kastrup wrote:
> >> David Sumbler  writes:
> >> 
> >> >> From: David Nalesnik 
> >> >
> >> > 
> >> >> \offset only works on properties that have a default value listed in
> >> >> the grob pages in the IR (derived from the alist in
> >> >> scm/define-grobs.scm).  There is no default value listed for
> >> >> KeyCancellation.X-extent, hence the warning.
> >> > 
> >> >
> >> > This "\offset" sounds very interesting.  But I can find nothing about it
> >> > in the documentation.  It isn't indexed in any of the Lilypond
> >> > manuals.
> >> 
> >> Huh?
> >> 
> >> http://lilypond.org/doc/v2.19/Documentation/notation/available-music-functions#index-offset
> >> 
> >> Granted, the entry is lacklustre.
> >
> > Ah - I hadn't thought of looking there, because most (all?) of the other
> > music functions are listed in NR Appendix D.  Should it not be added
> > there too?
> 
> It is.
> 
> > My apologies for forgetting to change the subject line on my previous
> > e-mail to the list.
> 
> Thanks for the reminder.

Yes, I now see that it is indexed as "offset", with a link to "A.19
Available music functions", but it is not indexed as "\offset".  Other
music functions are indexed both with and without the preceding
back-slash.

I had looked for "\offset" in the section of the index for items
starting with "\" - which constitutes roughly half of the entire index.
Perhaps for consistency \offset (sic) should also be listed.

David S


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Re: \offset documentation

[David Kastrup]

David Sumbler  writes:

> Yes, I now see that it is indexed as "offset", with a link to "A.19
> Available music functions", but it is not indexed as "\offset".  Other
> music functions are indexed both with and without the preceding
> back-slash.
>
> I had looked for "\offset" in the section of the index for items
> starting with "\" - which constitutes roughly half of the entire
> index.  Perhaps for consistency \offset (sic) should also be listed.

No point in investing effort here.  Current Texinfo can sort \offset
under O.  We'll just wait this out for the year or so it takes to
trickle down, then index only \offset.

-- 
David Kastrup

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Re: Henle app

[Andrew Bernard]

Hi Boris,

The Henle app is done by Touchpress, a software house, not an engraving firm. I 
would hazard a guess that the sizing is handled by rendering SVG – the whole 
point of which is that is is scalable and resizeable – output from whatever 
engraving program Henle uses. I doubt that the app is doing engraving on the 
fly.

So in fact, this sort of architecture would make it possible to render lilypond 
engraving on a tablet in a similar way.

Andrew


On 26/01/2016, 09:11, "Boris Lau" 
 wrote:

Any idea what they use for engraving? Given the features for changing 
staff sizes as well as individual note and fingerings, it's probably 
done on-the-fly...

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