date:20160201

Re: Parenthesised articulations

2016-02-01 Thread Kieren MacMillan

Hi David,

> To LilyPond, braces indicate sequential music.

Well, clearly there’s more going on than simply “sequential music”, or else

\transpose c c’ { c d }

would be no different than

\transpose c c’ { c } d

which clearly isn’t true.

> Of course it sees the subsequent braces and acts according to their meaning

Then there’s no technical reason why my suggestion couldn’t work.
That’s all I asked.

Kieren.


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


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Re: D.C. al fine

2016-02-01 Thread Graham King

thanks Brian.
authoritative and helpful.
-- Graham

On Mon, 2016-02-01 at 18:13 +, Brian Barker wrote:

> At 17:38 01/02/2016 +, Graham King wrote:
> >... for the first time ever, needed to use Da Capo al Fine. [...]
> >If it passes expert inspection, it might make a useful snippet. If 
> >not, I'd like to know how it should be improved. (In particular, I'm 
> >not sure about the typographical standards for "fine")
> 
> "Fine" always has an initial capital, doesn't it?
> 
> Elaine Gould says (p. 240):
> >_Da Capo_, _Dal Segno_, and _Fine_ instructions are written in a 
> >conspicuous font, to differentiate them from surrounding text: in a 
> >vocal score or orchestral part this might be italic, otherwise bold. 
> >Place them above the top stave of a vocal score; below the stave of 
> >a single-line part; below the bottom stave of a score or braced part.
> >
> >A thin double barline, rather than a final double barline, marks the 
> >written end of the music when this is not the end of the piece.
> >
> >Only the _Fine_ bar, the actual end of the piece, takes a final 
> >double barline. This is regardless of whether the _Fine_ is a whole 
> >or an incomplete bar.
> 
> Her example stacks "_D.C._" above "_al Fine_" - presumably to reduce 
> the horizontal extent of the text.
> 
> Brian Barker 
> 
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Re: Parenthesised articulations

2016-02-01 Thread David Kastrup

Kieren MacMillan  writes:

> Hi David,
>
>> { ^.^> } is equivalent to \sequential { ^.^> } which neither makes sense nor 
>> works.
>
> Well, as a function,
>
>\parenthesize { ^.^> }
>
> makes total sense to me,

That's your privilege.  To LilyPond, braces indicate sequential music.

> So are you saying that there’s some technical reason
>
>   -\tweak parenthesize
>
> can’t “see” the subsequent braces and act accordingly?

No, I'm not saying anything of that kind.  Of course it sees the
subsequent braces and acts according to their meaning, resulting in the
error messages you'll see when you try this.

-- 
David Kastrup

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Re: Parenthesised articulations

2016-02-01 Thread David Kastrup

Kieren MacMillan  writes:

> Hi David,
>
>> To LilyPond, braces indicate sequential music.
>
> Well, clearly there’s more going on than simply “sequential music”, or else
>
> \transpose c c’ { c d }
>
> would be no different than
>
> \transpose c c’ { c } d
>
> which clearly isn’t true.

It clearly isn't true.  Also it is a non-sequitur.  \transpose, like
many music functions, takes one music expression.  Which can be a
sequential music expression, even an empty one (which is still an
expression of type SequentialMusic, just one with () as its elements
field).

>> Of course it sees the subsequent braces and acts according to their
>> meaning
>
> Then there’s no technical reason why my suggestion couldn’t work.
> That’s all I asked.

Shrug.  You'll find that convincing LilyPond is not as easy as
convincing yourself.  It's not particularly susceptible to syllogisms.

-- 
David Kastrup

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Passing along variable-number arguments

2016-02-01 Thread Urs Liska

Hi,

I'm hitting a wall with Scheme once more.
I need to create wrapper functions around (format) and other functions
that need a variable number of arguments.

I know that with

#(define (my-proc fmt . vals)

"vals" will be an arbitrary number of arguments that will be wrapped in
a list, and I know how to access the individual items or this list from
within the function. But what I don't understand is how to pass exactly
the original arguments (*not* packed in a list) to another function in
the body:

%%%

\version "2.19.35"

#(define (wrapper fmt . vals)
   (ly:message (format fmt vals)))

#(wrapper "This is the ~a format string\n" "listified")
%#(wrapper "This is the ~a and ~a format string\n" "listified" "broken")

%%%

In this code "format" receives "fmt" (the format strings) and "vals" -
the *list* of arguments.
How should I modify this so "format" doesn't parenthesize the output and
also works with more than one argument and placeholder in the format string?

Thank
Urs

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Re: How to align text and dynamixs

2016-02-01 Thread Thomas Morley

2016-02-02 0:08 GMT+01:00 Carl-Henrik Buschmann :
> I wonder how to align text and dynamics? I need it to explain a certain
> action when using a certain symbol. I guess this question could be answered
> several ways: 1) is it possible to write dynamic/other symbols in markup? 2)
> How to gently force horizontal alignment between a dynamic/other mark and
> \markup?
>
>
> MWE
>
> \version "2.19.35"
>
> {
>   c'->_\markup { \tiny \italic (stomp) }
> }
>
> {
>   c'_\markup { > \tiny \italic (stomp) }
> }
>
>
> Carl
>


Hi Carl,

your examples doesn't show any dynamic but articulations, i.e. accents.

Maybe you'll find the below helpfull though:

%%1 DynamicText
stompMrkp =
\markup {
  \musicglyph #"scripts.sforzato" \normal-text \vcenter \tiny \italic (stomp)
}

stompSfz = #(make-dynamic-script stompMrkp)

{
  c'-\tweak self-alignment-X #LEFT -\tweak parent-alignment-X #LEFT _\stompSfz
}

%%2 markup
{
  c'_\markup \concat {
\null
\musicglyph #"scripts.sforzato"
\hspace #0.6
\vcenter \tiny \italic (stomp)
  }
}

Cheers,
  Harm

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Re: feature request: abs-fontsize available for all text grobs

2016-02-01 Thread Kieren MacMillan

Dear David and Jan-Peter,

It appears that the absFontSize feature I sponsored a few years ago — and 
employ in absolutely [ha!] every score I engrave — has not been rolled into the 
main Lilypond codebase.

Is that true?
If so, what is stopping it from being added?

I think users could benefit from having access to it (as well as to Werner’s 
abs-baseline-skip function, which I’m also finding invaluable).

Regards,
Kieren.


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


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Re: Passing along variable-number arguments

2016-02-01 Thread David Kastrup

Urs Liska  writes:

> Hi,
>
> I'm hitting a wall with Scheme once more.
> I need to create wrapper functions around (format) and other functions
> that need a variable number of arguments.
>
> I know that with
>
> #(define (my-proc fmt . vals)
>
> "vals" will be an arbitrary number of arguments that will be wrapped in
> a list, and I know how to access the individual items or this list from
> within the function. But what I don't understand is how to pass exactly
> the original arguments (*not* packed in a list) to another function in
> the body:
>
> %%%
>
> \version "2.19.35"
>
> #(define (wrapper fmt . vals)
>(ly:message (format fmt vals)))
>
> #(wrapper "This is the ~a format string\n" "listified")
> %#(wrapper "This is the ~a and ~a format string\n" "listified" "broken")
>
> %%%
>
> In this code "format" receives "fmt" (the format strings) and "vals" -
> the *list* of arguments.
> How should I modify this so "format" doesn't parenthesize the output and
> also works with more than one argument and placeholder in the format string?

(apply format fmt vals)

-- 
David Kastrup

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How to align text and dynamixs

2016-02-01 Thread Carl-Henrik Buschmann

I wonder how to align text and dynamics? I need it to explain a certain action 
when using a certain symbol. I guess this question could be answered several 
ways: 1) is it possible to write dynamic/other symbols in markup? 2) How to 
gently force horizontal alignment between a dynamic/other mark and \markup?


MWE

\version "2.19.35"

{ 
  c'->_\markup { \tiny \italic (stomp) }
}

{ 
  c'_\markup { > \tiny \italic (stomp) }
}


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Re: Removing white space from svg output

2016-02-01 Thread Paul Morris

> On Feb 1, 2016, at 8:00 PM, Paul Booker  wrote:
> 
> Interesting!
> I had a go, guessing with 
> 
>paper-height=#(one-line-auto-height-breaking)

Try this:

%

\version "2.19.36"

\paper {
  page-breaking = #ly:one-line-auto-height-breaking
}

{ c1 }

%

The syntax is documented on that page in the Notation Reference that I linked 
to in my previous message.

Cheers,
-Paul
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Re: Removing white space from svg output

2016-02-01 Thread Paul Booker


> 
> These are timely questions.  See ly:one-line-auto-height-breaking 
> 
>
http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline_002dauto_002dheight-page-breaking
> 
> which just landed in the LilyPond development release, 2.19.36
> 

Interesting!
I had a go, guessing with 

paper-height=#(one-line-auto-height-breaking)

which worked on the svg output but with log as below
# -*-compilation-*-
Processing `ly/scaleC.ly'
Parsing...
include/defs.ily:9:19: error: GUILE signaled an error for the expression
beginning here
paper-height=#
  (one-line-auto-height-breaking)

Interpreting music...
Preprocessing graphical objects...
Interpreting music...
MIDI output to `ly/scaleC.mid'...
Finding the ideal number of pages...Unbound variable:
one-line-auto-height-breaking
C:/Program Files
(x86)/LilyPond/usr/share/lilypond/current/scm/page.scm:194:21: In procedure
- in expression (- paper-height (ly:output-def-lookup layout #)):
C:/Program Files
(x86)/LilyPond/usr/share/lilypond/current/scm/page.scm:194:21: Wrong type
argument in position 1: #
#
This also prevented the png output, so it suggests I should use different
definition.ily for each kind of output.



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Four Part Piano Staff

2016-02-01 Thread Mark Stephen Mrotek

Hello,

 

I want to make a template for a piano staff with two explicitly instantiated
voices (not <<{ } \\{ } >>) in each staff - this for four part fugues.

Any assistance in accomplishing this would be greatly appreciated.

 

Thank you for your kind attention.

 

Mark

\version "2.18.2"

\header {
}

\score {
\new PianoStaff <<
\new Staff = "upper"
\key e \major
\time 4/4

  % code for explicitly instantiating two voices



\new Staff = "lower"
\key e \major
\time 4/4

  % code for explicitly instantiating two voices


>>
\layout { }
}
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Re: vertical positioning of consecutive figured bass indications

2016-02-01 Thread Leszek Wroński

Thank you very much! It's working!

Cheers,

L.

On 31 January 2016 at 22:32, Simon Albrecht  wrote:

> On 31.01.2016 22:25, Leszek Wroński wrote:
>
>>
>> if you take a look what Lilypond 2.19.5 (which is the version I'm using)
>> produces from the following:
>>
>>
>> \version "2.19.5"
>>
>> \score {
>>
>> \new Staff { \clef bass
>>
>> <16 <3>8.}>> }}
>>
>>
>> you will, I hope, notice that the '3' is rendered quite a bit lower than
>> the '4'. Is there a way I could make the '3' appear exactly on the level of
>> the '4'?
>>
>>
> Just use an extra FiguredBass context:
>
> \version "2.19.5"
>
> \score {
>   <<
> \new FiguredBass \figuremode { <4>16 <3>8. }
> \new Staff {
>   \clef bass
>   bes4
> }
>   >>
> }
>
> If you like, you can replace \new FiguredBass \figuremode by the
> abbreviation \figures.
>
> For what reason do you use 2.19.5 still? There were many improvements
> since.
>
> Best, Simon
>
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Re: Bar number moves down inexplicably

2016-02-01 Thread Noeck

Hi Chris,

> Begs the question what the "comment" symbol means if text after it on
> the line is parsed...

It is not, there are just two kinds of comments:
http://www.lilypond.org/doc/v2.19/Documentation/learning/working-on-input-files

% line comment

%{
  block comment
%}

In the mail above: '% { ...' is a line comment and '%{ ...' is a block
comment. This is a neat trick for quickly (un-)commenting blocks.

More verbose:
State a)
%{  this is commented
this too, next line ends the comment block
%}

State b)
% { this is a line comment
this is not commented, next line has no effect
%}


Cheers,
Joram

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RE: Fret Diagrams

2016-02-01 Thread Peter Gentry

 
Thank's Thomas that solves my problem..

I think I will have to change from a set of PDF manuals to the html version. I 
searched all the files for "Fret" and "N.C."
selecting the "any of the words option". This may have found the reference but 
could have been lost in a cascade of hits. 

Searching for \set noChordSymbol finds all the lines containing \set. It is a 
bit hit and miss searching for an answer much easier
to search when you know the answer. Search for noChordSymbol finds the answer.


>-Original Message-
>From: Thomas Morley [mailto:thomasmorle...@gmail.com] 
>Sent: Sunday, January 31, 2016 7:14 PM
>To: Peter Gentry
>Cc: lilypond-user
>Subject: Re: Fret Diagrams
>
>Hi Peter,
>
>2016-01-31 19:29 GMT+01:00 Peter Gentry :
>> This may be trivial but searches of themanuals etc have not 
>born fruit.
>>
>> How do you prevent the markup N.C. appearing where there is a note 
>> rest. In fact  N.C. does not always appear sometimes once in 
>a bar sometimes twice for no immediately apparent reason.
>
>searching for N.C. in Notation Reference give an immediate 
>hit, pointing to 
>http://www.lilypond.org/doc/v2.19/Documentation/notation/displa
>ying-chords#printing-chord-names
>
>Where you can read:
>Rests passed to a ChordNames context will cause the 
>noChordSymbol markup to be displayed.
>
>So:
>It has nothing to do with Fret Diagrams, but ChordNames.
>Everywhere you wrote rests the noChordSymbol appears for each rest.
>
>>
>> If r1 is replaced by R1 then no "N.C." markup.
>
>R1 is a MultiMeasureRest not a Rest, so noChordSymbol is not printed.
>Some for spacers, btw.
>
>Maybe we should extend the example from the NR to demonstrate 
>how to change noChordSymbol.
>
>Here your shortened example with some possibilities:
>
>
>m =
>  \chordmode {
>e1:7 |
>s1 |
>r1 |
>a2 g |
>c2:dim7 a:7 |
>d1 |
>\set noChordSymbol = "foo"
>r1 |
>\set noChordSymbol = ""
>r2 r4 g |
>R1
>  }
>
><<
>\new ChordNames \with { noChordSymbol = "--x--" }\m
>\new Staff \m
>>>
>
>
>HTH,
>  Harm


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Re: Bar number moves down inexplicably

2016-02-01 Thread Chris Yate

On 1 February 2016 at 02:17, David Wright  wrote:

> Coincidentally with Message-ID: <56ae6df7.8010...@gmx.de>
> > It also seems to move the bar number down. Does anybody know why?
> I also have a bar number which moves down for some reason.
>
> The attached snippet shows the problem. Commenting out the \layout
> with % {  →  %{ fixes the bar number but I lose my fermatas (both
> cases attached).
>
> I'm not familiar with the action of Staff_collecting_engraver,
> but I have a feeling the answer/workaround might lie in the page
>
> http://www.lilypond.org/doc/v2.18/Documentation/learning/outside_002dstaff-objects
>
> Cheers,
> David.


Yes, I can reproduce that (on Windows 10, Lilypond 2.19.35).

Begs the question what the "comment" symbol means if text after it on the
line is parsed...

Chris
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D.C. al fine

2016-02-01 Thread Graham King

I've been setting a piece of "modern" (i.e. 19th Century) music and, for
the first time ever, needed to use Da Capo al Fine.  Achieving this for
the score and the MIDI output has proved to be surprisingly difficult,
which means I've probably missed something obvious in the manuals!

In case it helps others, here's a possible solution (attached).  If it
passes expert inspection, it might make a useful snippet.  If not, I'd
like to know how it should be improved.  (In particular, I'm not sure
about the typographical standards for "fine")



-- Graham


\version "2.19.35"

music = {
  \relative {
\repeat volta 2 {
  a'2 b c d |
  \bar "||"
  \once \override Score.RehearsalMark.self-alignment-X = #RIGHT
  \mark \markup { \bold \italic "fine" }
}
\alternative {
  {
\set Score.repeatCommands = #'((volta #f))
d c b c \bar "||"
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark "D.C. al Fine"
  }
  { }
}
  }
}

\score {
  \music
}

\score {
  \unfoldRepeats \music
  \midi { }
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Removing white space from svg output

2016-02-01 Thread paul booker

While trying to achieve svg output comparable to png output, I have reached
a workaround which comes close enough for my purposes. Now I have a question
at the other end of this!
I have this in my "defs.ily" file:

#(set-default-paper-size "a6" 'landscape) 
\paper{
indent=0\mm  
top-margin = 0\mm
right-margin = 0\mm
left-margin = 0\mm 
print-page-number = ##f   
oddFooterMarkup=##f
oddHeaderMarkup=##f
bookTitleMarkup = ##f
scoreTitleMarkup = ##f
}

Essentially minimises anything top and left of the "page". It may be more
than necessary.
I produce the png image (at 300dpi) and svg image, and file them in their
own folders.
>From the parent folder I run this shell script. This uses the pixel size of
the png to set the size of the svg, by changing the svg's width, height and
viewport sizes.

###start###
#!/bin/sh
# GNU bash, version 4.3.42(4)-release (x86_64-pc-msys)
# Assumes svg in svg folder and png in png folder with the same name for sizing
myfile=filenameNoSuffix
# ImageMagick identifies the size of the png image
well=$(identify -format "%w" png/$myfile.png)
hell=$(identify -format "%h" png/$myfile.png)
#Check that the variables now hold the size in pixels
echo well = $well
echo hell = $hell
# If png is 300dpi, divide sizes by 30 (if 100dpi, divide by 10)
wim=$(awk -v w=$well 'BEGIN { print w / 30 }')
him=$(awk -v h=$hell 'BEGIN { print h / 30 }')
# Again, check the result
echo wim = $wim
echo him = $him
# the 'sed' command replaces a line containing '
' svg/$myfile.svg
# "read" just keeps the window open to check values
read -p "Done, press ENTER"
##finish#

This might need tweaking for other shells.
My question is:
Can anyone see this becoming a scheme function which could sit in my
defs.ily file and save this ugly step?
I guess I mean an internal to Lilypond rather than external solution.
I'm not at all familiar with Scheme, but I did peek at "svg-output.scm". I
can't find the equivalent for png output.
Regards
Paul


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Early music printing technology

2016-02-01 Thread Andrew Bernard

Greetings All,

A fascinating video on times
slightly 
before lilypond
,
filmed at the Plantin museum.

http://typography.guru/video/early-music-printing-r67/

Andrew
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Re: Parenthesised articulations

2016-02-01 Thread David Kastrup

Andrew Bernard  writes:

> Thanks Simon. Perfect. I also sometimes have trouble coming up with
> names for these things!

The "parenthesize" property is a boolean.  Maybe it should be a
boolean-or-symbol ?  And if it's a symbol, the respective engraver
collects all articulations with the same symbol and then sets one set of
parentheses around all of them?

I think we had the request for one paren around several elements a few
times already.

-- 
David Kastrup

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Re: Parenthesised articulations

2016-02-01 Thread Andrew Bernard

Thanks Simon. Perfect. I also sometimes have trouble coming up with
names for these things!

Andrew

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Re: How to align text and dynamixs

2016-02-01 Thread Carl-Henrik Buschmann

Thank you! (Stupid brain seizing to work in the night, of course it is 
articulations...) 

It did the trick but i only understand half of what's going on in what you 
wrote. In the interest of learning, would you min decypher or give a pointer 
where to read?

> 2. feb. 2016 kl. 00.42 skrev Thomas Morley :
> 
> 2016-02-02 0:08 GMT+01:00 Carl-Henrik Buschmann :
>> I wonder how to align text and dynamics? I need it to explain a certain
>> action when using a certain symbol. I guess this question could be answered
>> several ways: 1) is it possible to write dynamic/other symbols in markup? 2)
>> How to gently force horizontal alignment between a dynamic/other mark and
>> \markup?
>> 
>> 
>> MWE
>> 
>> \version "2.19.35"
>> 
>> {
>>  c'->_\markup { \tiny \italic (stomp) }
>> }
>> 
>> {
>>  c'_\markup { > \tiny \italic (stomp) }
>> }
>> 
>> 
>> Carl
>> 
> 
> 
> Hi Carl,
> 
> your examples doesn't show any dynamic but articulations, i.e. accents.
> 
> Maybe you'll find the below helpfull though:
> 
> %%1 DynamicText
> stompMrkp =
> \markup {
>  \musicglyph #"scripts.sforzato" \normal-text \vcenter \tiny \italic (stomp)
> }
> 
> stompSfz = #(make-dynamic-script stompMrkp)
> 
> {
>  c'-\tweak self-alignment-X #LEFT -\tweak parent-alignment-X #LEFT _\stompSfz
> }
> 
> %%2 markup
> {
>  c'_\markup \concat {
>\null
>\musicglyph #"scripts.sforzato"
>\hspace #0.6
>\vcenter \tiny \italic (stomp)
>  }
> }
> 
> Cheers,
>  Harm


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Re: Removing white space from svg output

2016-02-01 Thread Paul Booker

Paul Morris  paulwmorris.com> writes:

> 
> %
> 
> \version "2.19.36"
> 
> \paper {
>   page-breaking = #ly:one-line-auto-height-breaking
> }
> 
> { c1 }
> 
> %
> 
> The syntax is documented on that page in the Notation Reference that I
linked to in my previous message.
> 
> Cheers,
> -Paul
> 
Ok, that wasn't clear, got it now, thanks
Works for one-line parts but also converts two line pieces to one line,
ignoring the \break. Can I reinstate that somehow, without the white-space?
I'd really like to be able to change the svg units to the pixel size of the
png than change my layouts, line-breaks etc.





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Re: Four Part Piano Staff

2016-02-01 Thread David Wright

On Mon 01 Feb 2016 at 18:25:36 (-0800), Mark Stephen Mrotek wrote:

> I want to make a template for a piano staff with two explicitly instantiated
> voices (not <<{ } \\{ } >>) in each staff – this for four part fugues.

Apart from "fugues", sounds like a hymn (set in UK-style). So I
stripped the words from this one and changed the ChoirStaff to
PianoStaff. Is this the sort of thing you want?

Cheers,
David.
\version "2.18.2"
\language "english"
\header { tagline = ##f }

global = {
  \key g \major
  \time 4/4
  s1 * 4 \break
  s1 * 4 \break
  s1 * 4 \break
  s1 * 4
  \bar "|."
}

soprano = \relative {
  g'2. d4 e fs g a b c a4. g8 g1
  a2. g4 fs d g fs e d e4. d8 d1
  e2. e4 a gs a b c b a g a1
  d2. d4 e d8( c) b4 a b c a4. g8 g1
}

alto = \relative {
  b2( c4) d c c d e d d d d d1
  d4( cs d) e d d e d cs d b cs d1
  c2. d4 c e e e e e e e fs1
  g4( d g) f e fs g g g g g fs g1
}

tenor = \relative {
  d2. g4 g a g g g a fs c' b( d c b)
  a4( g fs) a a a a a a8( g) fs4 g g fs( a g fs)
  g2. gs4 a d c d c8( a) gs4 a8( e') d[( cs]) d4( a d c)
  b2. g4 g8( c) b[( a]) g4 e' d e d4. c8 b1
}

bass = \relative {
  g,2( a4) b c c b c d d d d g( b a g)
  fs4( e d) cs d fs cs d a b g a d( fs e d)
  c4( d c) b a b a gs a b c e d1
  g2. b,4 c d e c d d d d g1
}

\score {
  \transpose f f
  \new PianoStaff <<
\new Staff <<
  \clef treble \global
  \new Voice { \voiceOne \soprano }
  \new Voice { \voiceTwo \alto }
>>
\new Staff <<
  \clef bass \global
  \new Voice { \voiceOne \tenor }
  \new Voice { \voiceTwo \bass }
>>
  >>
  \layout { indent = 0 }
}
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Re: Removing white space from svg output

2016-02-01 Thread Paul Morris

> On Feb 1, 2016, at 10:15 PM, Paul Booker  wrote:
> 
> Ok, that wasn't clear, got it now, thanks
> Works for one-line parts but also converts two line pieces to one line,
> ignoring the \break. Can I reinstate that somehow, without the white-space?

Not with this function.  It puts everything on one line.  The 
ly:one-page-breaking function should do what you want, but it’s still in 
development, not released yet.

-Paul
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Re: Four Part Piano Staff

2016-02-01 Thread Jacques Menu

Hello Mark,

What do you mean by « variable format » ?

Using variables is very handy for source code readability and if you need 
separate parts and MIDI output, for example.

JM

> Le 2 févr. 2016 à 05:31, Mark Stephen Mrotek  a écrit :
> 
> David,
> 
> Thank you for your response and the code. 
> In the past I have used the "variable" format. This leads to some repeated 
> adjustments in the placement of the second voice.
> I prefer not to use variable, yet rather code within the Piano Staff group.
> 
> Mark
> 
> -Original Message-
> From: David Wright [mailto:lily...@lionunicorn.co.uk] 
> Sent: Monday, February 01, 2016 7:27 PM
> To: Mark Stephen Mrotek 
> Cc: 'lilypond-user' 
> Subject: Re: Four Part Piano Staff
> 
> On Mon 01 Feb 2016 at 18:25:36 (-0800), Mark Stephen Mrotek wrote:
> 
>> I want to make a template for a piano staff with two explicitly 
>> instantiated voices (not <<{ } \\{ } >>) in each staff – this for four part 
>> fugues.
> 
> Apart from "fugues", sounds like a hymn (set in UK-style). So I stripped the 
> words from this one and changed the ChoirStaff to PianoStaff. Is this the 
> sort of thing you want?
> 
> Cheers,
> David.
> 
> 
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RE: Four Part Piano Staff

2016-02-01 Thread Mark Stephen Mrotek

Jacques,

As indicated in:
http://www.lilypond.org/doc/v2.18/Documentation/learning/solo-piano
where the voices are indicated by variable, e.g, "upper" and "lower," and coded 
outside of the staff context.

Mark

-Original Message-
From: Jacques Menu [mailto:imj-muz...@bluewin.ch] 
Sent: Monday, February 01, 2016 9:28 PM
To: Mark Stephen Mrotek 
Cc: Jacques Menu ; lilypond-user@gnu.org
Subject: Re: Four Part Piano Staff

Hello Mark,

What do you mean by « variable format » ?

Using variables is very handy for source code readability and if you need 
separate parts and MIDI output, for example.

JM

> Le 2 févr. 2016 à 05:31, Mark Stephen Mrotek  a écrit :
> 
> David,
> 
> Thank you for your response and the code. 
> In the past I have used the "variable" format. This leads to some repeated 
> adjustments in the placement of the second voice.
> I prefer not to use variable, yet rather code within the Piano Staff group.
> 
> Mark
> 
> -Original Message-
> From: David Wright [mailto:lily...@lionunicorn.co.uk]
> Sent: Monday, February 01, 2016 7:27 PM
> To: Mark Stephen Mrotek 
> Cc: 'lilypond-user' 
> Subject: Re: Four Part Piano Staff
> 
> On Mon 01 Feb 2016 at 18:25:36 (-0800), Mark Stephen Mrotek wrote:
> 
>> I want to make a template for a piano staff with two explicitly 
>> instantiated voices (not <<{ } \\{ } >>) in each staff – this for four part 
>> fugues.
> 
> Apart from "fugues", sounds like a hymn (set in UK-style). So I stripped the 
> words from this one and changed the ChoirStaff to PianoStaff. Is this the 
> sort of thing you want?
> 
> Cheers,
> David.
> 
> 
> ___
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RE: Four Part Piano Staff

2016-02-01 Thread Mark Stephen Mrotek

David,

Thank you for your response and the code. 
In the past I have used the "variable" format. This leads to some repeated 
adjustments in the placement of the second voice.
I prefer not to use variable, yet rather code within the Piano Staff group.

Mark

-Original Message-
From: David Wright [mailto:lily...@lionunicorn.co.uk] 
Sent: Monday, February 01, 2016 7:27 PM
To: Mark Stephen Mrotek 
Cc: 'lilypond-user' 
Subject: Re: Four Part Piano Staff

On Mon 01 Feb 2016 at 18:25:36 (-0800), Mark Stephen Mrotek wrote:

> I want to make a template for a piano staff with two explicitly 
> instantiated voices (not <<{ } \\{ } >>) in each staff – this for four part 
> fugues.

Apart from "fugues", sounds like a hymn (set in UK-style). So I stripped the 
words from this one and changed the ChoirStaff to PianoStaff. Is this the sort 
of thing you want?

Cheers,
David.

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Re: Enhancement: Take ‘master’ line thickness from a context property [was: Re: list of thicknesses…]

2016-02-01 Thread Kieren MacMillan

Hi Simon,

> 

Thanks for that!

Best,
Kieren.


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


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Re: Parenthesised articulations

2016-02-01 Thread David Kastrup

Simon Albrecht  writes:

> On 01.02.2016 11:38, David Kastrup wrote:
>> The "parenthesize" property is a boolean.  Maybe it should be a
>> boolean-or-symbol ?  And if it's a symbol, the respective engraver
>> collects all articulations with the same symbol and then sets one set of
>> parentheses around all of them?
>
> I can’t quite figure out what you mean. Could you give the pseudo-code
> version of
> { 4^.^> }
> with your suggested method?

{ 4-\tweak parenthesize #'a ^.-\tweak parenthesize #'a ^> }

I'm not saying that this is supposed to be the last word on the
interface but it would produce the data I've been thinking of.

-- 
David Kastrup

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Re: Parenthesised articulations

2016-02-01 Thread Simon Albrecht


On 01.02.2016 11:38, David Kastrup wrote:

The "parenthesize" property is a boolean.  Maybe it should be a
boolean-or-symbol ?  And if it's a symbol, the respective engraver
collects all articulations with the same symbol and then sets one set of
parentheses around all of them?


I can’t quite figure out what you mean. Could you give the pseudo-code 
version of

{ 4^.^> }
with your suggested method?

Best, Simon

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Re: Parenthesised articulations

2016-02-01 Thread Kieren MacMillan

Hi David (et al.),

> { 4-\tweak parenthesize #'a ^.-\tweak parenthesize #'a ^> }
> 
> I'm not saying that this is supposed to be the last word on the
> interface but it would produce the data I've been thinking of.

This syntax has more flexibility than the more obvious/intuitive

4-\tweak parenthesize { ^.^> }

That being said, is this version technically difficult/impossible?
Just curious.

Thanks,
Kieren.


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


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Re: Removing white space from svg output

2016-02-01 Thread Paul Morris

Hi Paul,

> On Feb 1, 2016, at 7:36 AM, paul booker  wrote:
> 
> Can anyone see this becoming a scheme function which could sit in my
> defs.ily file and save this ugly step?
> I guess I mean an internal to Lilypond rather than external solution.
> I'm not at all familiar with Scheme, but I did peek at "svg-output.scm". I
> can't find the equivalent for png output.

These are timely questions.  See ly:one-line-auto-height-breaking 

http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline_002dauto_002dheight-page-breaking

which just landed in the LilyPond development release, 2.19.36

There’s also (in the works) a similar ly:one-page-breaking function that will 
set the paper height to fit the music.  

http://sourceforge.net/p/testlilyissues/issues/4752/

Cheers,
-Paul
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Re: Bar number moves down inexplicably

2016-02-01 Thread David Wright

On Mon 01 Feb 2016 at 08:04:17 (+0100), Michael Gerdau wrote:
> Hi David,
> 
> > > It also seems to move the bar number down. Does anybody know why?
> > 
> > I also have a bar number which moves down for some reason.
> > 
> > The attached snippet shows the problem. Commenting out the \layout
> > with % {  →  %{ fixes the bar number but I lose my fermatas (both
> > cases attached).
> 
> the following layout block works for me with LP 2.19.35:
> 
> %
> \layout {
>   \context {
> \Score
> \remove Mark_engraver
> %\remove Staff_collecting_engraver
>   }
>   \context {
> \Staff
> \consists Mark_engraver
> \consists Staff_collecting_engraver
>   }
> }
> %

As easy as that! Thanks. (I'm glad it _wasn't_ to do with
outside_002dstaff-objects.)

I copied the layout stanza from p221 of the Notation Manual (2.18.2)
without, as I said, really understanding it. The same stanza appears
in 2.19.34 (p234) and is the only mention of Staff_collecting_engraver
in the entire manual.

Seaching the Internals Manual (2.19.34) merely mystifies me. Its main
section (2.2.111 on p348) says the purpose of the
Staff_collecting_engraver is to "Maintain the stavesFound variable."

The only clue to using it is (quoting 2.2.67 Mark_engraver, but
repeated at various points in IM) "If moving this [Mark_]engraver to a
different context, Section 2.2.111 [Staff collecting engraver],
page 348 must move along, otherwise all marks end up on the same
Y location."

I parsed "move along" as meaning "move to that different context", not
"add another Staff_collecting_engraver at that different context".
The former seems to be what the NM author did, without realising
its side effect.

And sorry to confuse anyone who doesn't understand block comments.
I attached the snippet and wanted people to be able to duplicate
both the images with a minimum of editing (one space character).
See NM 3.1 Input structure.

Cheers,
David.

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Re: Parenthesised articulations

2016-02-01 Thread David Kastrup

Kieren MacMillan  writes:

> Hi David (et al.),
>
>> { 4-\tweak parenthesize #'a ^.-\tweak parenthesize #'a ^> }
>> 
>> I'm not saying that this is supposed to be the last word on the
>> interface but it would produce the data I've been thinking of.
>
> This syntax has more flexibility than the more obvious/intuitive
>
> 4-\tweak parenthesize { ^.^> }
>
> That being said, is this version technically difficult/impossible?
> Just curious.

{ ^.^> } is equivalent to \sequential { ^.^> } which neither makes sense
nor works.

-- 
David Kastrup

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Re: D.C. al fine

2016-02-01 Thread David Kastrup

Graham King  writes:

> I've been setting a piece of "modern" (i.e. 19th Century) music and, for
> the first time ever, needed to use Da Capo al Fine.  Achieving this for
> the score and the MIDI output has proved to be surprisingly difficult,
> which means I've probably missed something obvious in the manuals!

You didn't.

It's just an embarrassing omission.

-- 
David Kastrup

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Re: Parenthesised articulations

2016-02-01 Thread Kieren MacMillan

Hi David,

> { ^.^> } is equivalent to \sequential { ^.^> } which neither makes sense nor 
> works.

Well, as a function,

   \parenthesize { ^.^> }

makes total sense to me, and is quite different from

   \parenthesize ^. ^>

So are you saying that there’s some technical reason

  -\tweak parenthesize

can’t “see” the subsequent braces and act accordingly?

Thanks,
Kieren.


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


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