Re: lilyjazz fonts on Mac / Win

[Abraham Lee]

Christoph,

I don't own a Mac, nor do I have access to one, so I'm not the most
qualified to answer this question. What you've described is exactly how you
should do it. However, I have noticed that users of Finale have had similar
issues on a Mac, so I think it's not specific to LilyPond. The issues could
be totally unrelated, but you never know.

What they seem to do that alleviates the problem is clearing out the font
cache (sorry, I'm not sure how to do that). Font Book may have some tools
to help you out, too. I'd go to the Finale forum (forum.makemusic.com) and
look through the topics on the Macintosh user subforum. There have been
plenty lately on this topic.

Best,
Abraham

On Wednesday, April 6, 2016, Christoph Friedrich <
m...@christoph-friedrich.org> wrote:

> Hello
>
> i am still trying to find out why the lilyjazz fonts do not work properly
> on my computer (mac os x) and i hope to get some advice here…
> The fonts "lilyjazz-text" and "lilyjazz-chords“ were installed in the
> system font location, the ones named lilyjazz-11.otf etc were copied to
>
>
> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf
>
> /Applications/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/svg
>
> It says everything ok, but on the mac text and chords appear in a standard
> system font.
>
> I did the same on a windows system, and the result seems to be as
> expected. (please see examples below)
> Could this be a bug?
>
> Thanks for any advice.
> Christoph
>
> example code
> -
> \version "2.19.39"
> \include "lilyjazz.ily"
>
> \header{
> title = "Test"
> composer = "Mac OSX 10.11.4"
> piece = "Latin"
> }
>
> melody = \new Staff {
>   \set Staff.instrumentName = #"Piano"
> \time 6/8
> \tempo  8 = 120
> \clef treble
> \key ees \major
> \relative  {
>   c8 d e f g a b c d e f g d e f g a b
>}
> }
>
> harmonies = \chordmode { \set majorSevenSymbol = \markup { maj7 }
> ees1:7 fis:maj7
>  }
>
> \score{
> <<
> \new ChordNames {\set chordChanges = ##t \harmonies}
> \melody
> >>
> }
>
>
>
>
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Re: AutoBeam Behaving Properly?

[Karen S. Billings]

In my experience, at least, hemiolas are the exception, rather than the norm.

From the standpoint of a trained musician, I would think that the hemiola 
should be the exception rather than the norm... or at least that's what they 
taught me in theory, harmony, and composition.

From the standpoint of a working (volunteer!) musician, anything that helps me 
find/maintain the pulse is both helpful and appreciated.

Is it be time to reevaluate the "default" Lilypond beaming for 3/4 
compositions?  Alternately, or in addition, might it at least be appropriate to 
include some special guidance for 3/4 "eccentricities"?

Just a few thoughts...

Karen

> On Apr 6, 2016, at 8:21 PM, Mark Stephen Mrotek  wrote:
> 
> Martin,
>  
> Hemiola?
> Cf. WTC I 3 Prelude, measures 97 – 104.
>  
> Mark
>  
> From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of 
> Martin Neubauer
> Sent: Tuesday, April 05, 2016 6:59 PM
> To: Lilypond-User Mailing List 
> Subject: Re: AutoBeam Behaving Properly?
>  
>  
>  
> On 6 April 2016 at 01:51, Simon Albrecht  wrote:
> That would be unnecessary. Better use the beamHalfMeasure context property, 
> which is also explained on that docs page.
> Interesting. In my defence I can only say that this wasn't available back 
> when I started out with lilypond. But I played around a little with it now, 
> and even though I can understand the sentiment behind it, the behaviour of 
> that property seems a bit unconvincing to me. (For starters, it seems it's 
> just a special case for a group of three quavers at the end of a measure.) 
> And while it's a pretty exact fit for the original problem, whenever I had 
> the need to alter the beaming I had to resort to more drastic measures.
> 
> Besides all that I was wondering how often the odd half measure beam really 
> leads to ambiguity between 3/4 and 6/8 time in properly typeset music. (For 
> me at least that has never been an issue.) Trying to justify a change in the 
> practice of music typesetting (which as such is neither good nor bad) by 
> accusing the performing musicians of sloppy thinking seems somewhat 
> irritating to me...
> 
> Sorry for going off topic a bit there, but sometimes my mind just wanders 
> off..
> 
> Best regards,
> Martin
> 
> --
> homme, ni présence
> ___
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RE: AutoBeam Behaving Properly?

[Mark Stephen Mrotek]

Martin,

 

Hemiola?

Cf. WTC I 3 Prelude, measures 97 – 104.

 

Mark

 

From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org 
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of Martin 
Neubauer
Sent: Tuesday, April 05, 2016 6:59 PM
To: Lilypond-User Mailing List 
Subject: Re: AutoBeam Behaving Properly?

 

 

 

On 6 April 2016 at 01:51, Simon Albrecht  > wrote:

That would be unnecessary. Better use the beamHalfMeasure context property, 
which is also explained on that docs page.

Interesting. In my defence I can only say that this wasn't available back when 
I started out with lilypond. But I played around a little with it now, and even 
though I can understand the sentiment behind it, the behaviour of that property 
seems a bit unconvincing to me. (For starters, it seems it's just a special 
case for a group of three quavers at the end of a measure.) And while it's a 
pretty exact fit for the original problem, whenever I had the need to alter the 
beaming I had to resort to more drastic measures.

Besides all that I was wondering how often the odd half measure beam really 
leads to ambiguity between 3/4 and 6/8 time in properly typeset music. (For me 
at least that has never been an issue.) Trying to justify a change in the 
practice of music typesetting (which as such is neither good nor bad) by 
accusing the performing musicians of sloppy thinking seems somewhat irritating 
to me...

Sorry for going off topic a bit there, but sometimes my mind just wanders off..

Best regards,

Martin



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Re: How to create complex chord

[Simon Albrecht]

On 07.04.2016 02:41, Larry wrote:
I have read the Learning Manual and did all the exercises. The problem 
is that my retention is not as good as it once was (I'm 70 years old). 
However I still enjoy learning. 


It does take some time till one gets to grips with Lily. I wish you all 
the best and happy Ponding :-)


Yours, Simon

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Re: How to create complex chord

[Larry]

Hello,

Thanks for your response, just what I needed.

Sorry for being on wrong  list, it's my first post, and I wasn't as 
observant as I should have been.


I have read the Learning Manual and did all the exercises. The problem 
is that my retention is not as good as it once was (I'm 70 years old). 
However I still enjoy learning.


All posts will be on the proper list going forward.

Larry

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Re: chordmode and markup

[Thomas Morley]

2016-04-07 0:55 GMT+02:00 Simon Albrecht :
> On 07.04.2016 00:49, Thomas Morley wrote:

 3 Would it be possible to write in the compiler error a hint for the
 user?
 Something like:

  Error: markup outside of text script or \lyricmode
\chordmode {c} _\markup {test}

  Maybe you want to do
\chordmode{c _\markup {test}}
  ?

>>> If I run the wrong example, I get
>>> document.ly:3:18: error: markup outside of text script or \lyricmode
>>>\chordmode {c}
>>>   \markup {test}
>>> and no markup shows up. I’d say that’s enough hints.
>>>
>>> Best, Simon
>>
>> And how to distinguish from
>> \chordmode {c} \markup {test}
>> which is viable code?
>> So no error at all.
>> Guessing what a user may have intended is very difficult task.
>
>
> Who did you direct that to? I wanted to confirm that the warning now given
> was enough.
>
> Best, Simon

Hi Simon,

I agree the warning is enough, but wanted to add, even if we would
consider a more verbose and detailed error massage the cause of the
error might not be guessable that easy as Gianmaria suggests.

Sorry, not being clear enough,
  Harm

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Re: chordmode and markup

[Simon Albrecht]

On 07.04.2016 00:49, Thomas Morley wrote:

3 Would it be possible to write in the compiler error a hint for the user?
Something like:

 Error: markup outside of text script or \lyricmode
   \chordmode {c} _\markup {test}

 Maybe you want to do
   \chordmode{c _\markup {test}}
 ?


If I run the wrong example, I get
document.ly:3:18: error: markup outside of text script or \lyricmode
   \chordmode {c}
  \markup {test}
and no markup shows up. I’d say that’s enough hints.

Best, Simon

And how to distinguish from
\chordmode {c} \markup {test}
which is viable code?
So no error at all.
Guessing what a user may have intended is very difficult task.


Who did you direct that to? I wanted to confirm that the warning now 
given was enough.


Best, Simon

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Re: Left Hand Fingerings on Guitar Tab

[Jay Vara]

Works perfectly. Thanks.



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View this message in context: 
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Re: chordmode and markup

[Thomas Morley]

2016-04-07 0:26 GMT+02:00 Simon Albrecht :
> On 06.04.2016 23:33, Gianmaria Lari wrote:
>>
>> >> Why this is not correct:
>> >>\chordmode {c} \markup {test}
>>
>> [Carl]
>> >When you do \chordmode{c}, you have ended the music expression containing
>> >the c, so you can no longer attach a markup to the c chord.  So you just
>> >move the markup inside the \chormode music expression, where it is
>> >attached to the chord.
>>
>> Thank you to David, Carl, Simon and Thomas for your help!!
>>
>> 1 Where I was supposed to find/understand this thing in the manual?
>
>
> This specific situation isn’t covered, but it would be impossible to cover
> all possible situations. The manuals are big enough as they are.
> You have to assemble information, such as how to attach markup to a note,
> and how sequential music (that’s what’s in {}) works.
>
>> 2 May I suggest to add a remarks in the manual to avoid this error,
>> something like Carl noted:
>>
>> When you do \chordmode{c}, you have ended the music expression
>> containing
>> the c, so you can no longer attach a markup to the c chord.  So
>> you just
>> move the markup inside the \chordmode music expression, where it is
>> attached to the chord.
>>
>
> As said, this is a far too specific case to be covered in the manuals. We
> need to rely on the user knowing that } ends a music expression, and it
> isn’t possible to attach a markup to a music expression, only to a note
> column.
>
>>
>> 3 Would it be possible to write in the compiler error a hint for the user?
>> Something like:
>>
>> Error: markup outside of text script or \lyricmode
>>   \chordmode {c} _\markup {test}
>>
>> Maybe you want to do
>>   \chordmode{c _\markup {test}}
>> ?
>>
>
> If I run the wrong example, I get
> document.ly:3:18: error: markup outside of text script or \lyricmode
>   \chordmode {c}
>  \markup {test}
> and no markup shows up. I’d say that’s enough hints.
>
> Best, Simon

And how to distinguish from
\chordmode {c} \markup {test}
which is viable code?
So no error at all.
Guessing what a user may have intended is very difficult task.

Cheers,
  Harm

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Re: chordmode and markup

[Thomas Morley]

2016-04-06 18:57 GMT+02:00 David Kastrup :
> Gianmaria Lari  writes:
>
>> Sorry to ask something probably trivial but reading manual and making tests
>> didn't help me.
>>
>> This works perfectly:
>> \version "2.19.39"
>> {
>>   a4 _\markup {test}
>> }
>>
>> but this doesn't:
>>
>> \version "2.19.39"
>> {
>>   \chordmode {c} \markup {test}
>> }
>>
>> Why? How can I write some text on the chords?
>
> Because you are doing something entirely different?
>
> The equivalent would be
>
> \version "2.19.39"
>
> \chordmode {
>   c_\markup {test}
> }
>
>
> --
> David Kastrup



The situation is a little more problematic, though.
\chordmode { c_\markup { test } }
works, yes, but both of the following two return an error:
\chordmode { c-\markup { test } }
\chordmode { c^\markup { test } }

Example-error:
error: markup outside of text script or \lyricmode
\chordmode { c^
   \markup { test } }

The problem is quite obvious.
"-" and "^" have special meaning in chordmode.

One way around:
\chordmode { c_\tweak #'direction #UP _\markup { test } }

Which is pretty ugly, but works.
I don't see any better way, though.

Cheers,
  Harm

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Re: chordmode and markup

[Simon Albrecht]

On 06.04.2016 23:33, Gianmaria Lari wrote:

>> Why this is not correct:
>>\chordmode {c} \markup {test}

[Carl]
>When you do \chordmode{c}, you have ended the music expression containing
>the c, so you can no longer attach a markup to the c chord.  So you just
>move the markup inside the \chormode music expression, where it is
>attached to the chord.

Thank you to David, Carl, Simon and Thomas for your help!!

1 Where I was supposed to find/understand this thing in the manual?


This specific situation isn’t covered, but it would be impossible to 
cover all possible situations. The manuals are big enough as they are.
You have to assemble information, such as how to attach markup to a 
note, and how sequential music (that’s what’s in {}) works.


2 May I suggest to add a remarks in the manual to avoid this error, 
something like Carl noted:


When you do \chordmode{c}, you have ended the music expression
containing
the c, so you can no longer attach a markup to the c chord.  So
you just
move the markup inside the \chordmode music expression, where it is
attached to the chord.



As said, this is a far too specific case to be covered in the manuals. 
We need to rely on the user knowing that } ends a music expression, and 
it isn’t possible to attach a markup to a music expression, only to a 
note column.




3 Would it be possible to write in the compiler error a hint for the 
user? Something like:


Error: markup outside of text script or \lyricmode
  \chordmode {c} _\markup {test}

Maybe you want to do
  \chordmode{c _\markup {test}}
?



If I run the wrong example, I get
document.ly:3:18: error: markup outside of text script or \lyricmode
  \chordmode {c}
 \markup {test}
and no markup shows up. I’d say that’s enough hints.

Best, Simon

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Re: chordmode and markup

[Gianmaria Lari]

>> Why this is not correct:
>>\chordmode {c} \markup {test}

[Carl]
>When you do \chordmode{c}, you have ended the music expression containing
>the c, so you can no longer attach a markup to the c chord.  So you just
>move the markup inside the \chormode music expression, where it is
>attached to the chord.

Thank you to David, Carl, Simon and Thomas for your help!!

1 Where I was supposed to find/understand this thing in the manual?

2 May I suggest to add a remarks in the manual to avoid this error,
something like Carl noted:

When you do \chordmode{c}, you have ended the music expression containing
the c, so you can no longer attach a markup to the c chord.  So you just
move the markup inside the \chormode music expression, where it is
attached to the chord.


3 Would it be possible to write in the compiler error a hint for the user?
Something like:

Error: markup outside of text script or \lyricmode
  \chordmode {c} _\markup {test}

Maybe you want to do
  \chordmode{c _\markup {test}}
?


g.
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Re: How to create complex chord

[Noeck]

Hi Larry,

some comments first:

a) This is a mailing list for Lilypond development (changing the program
itself), please use the lilypond-user list for user questions.

b) If you reduce your code to the absolute minimum, you may find the
issue yourself and you are more likely to find someone looking into it
and help you: http://lilypond.org/tiny-examples.html

Concerning your question: I reduced your example a bit below. What you
need are the lines marked with comments (%). If it is not clear please
search in the manual for change staff and voices ("I hear voices").

HTH,
Joram



\version "2.18.2"
\language "english"

global = {
  \key e \major
}

right = \relative c' {
  \global
  \change Staff = "left"% you need to change into the lower staff
  \voiceOne % and make this voice the upper one
  \tuplet 3/2 { e,8 gs cs }
  \oneVoice % change back
  \change Staff = "right"
}

left = \relative c,  {
  \global
  \voiceTwo % if there would be shorter notes with stems
% this part should be the lower voice
  1
  \oneVoice % back to normal mode: only one voice in
this staff
}

\score {
  \new PianoStaff <<
\new Staff = "right" \right
\new Staff = "left" { \clef bass \left }
  >>
}

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Re: How to create complex chord

[Simon Albrecht]

Hi Larry,

how come you asked on the devel list? As the name says, this list is 
about developing LilyPond, not about using it – for that, there’s the 
user list.


On 06.04.2016 21:57, Larry wrote:

Hello,

I need to create a chord of which part is a tuplet and don't know how.


A chord can only contain notes of the same duration, so for different 
durations you need two voices. Your example uses two voices, in two 
staves, and the most convenient solution would seem to be moving one of 
the voices to the lower staff. A correct version of the code is found below.
In any case, it will make your life much easier if you read the Learning 
Manual  
for getting a grip on the basics of LilyPond. It’s indispensible.


So HTH,
Simon

PS. The example was already quite good in that it was complete and 
compiled fine. However, it might have been somewhat smaller still (see 
), e.g. by omitting everything 
for MIDI output. Just saying…


%
\version "2.18.2"
\language "english"

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

global = {
  \key e \major
  \time 4/4
}

right = \relative c' {
  \global
  \tempo "Adagio sostenuto"
  \change Staff = "left"
  \voiceOne
  \tuplet 3/2 { e,8 gs cs }
}

left = \relative c, {
  \global
  \voiceTwo
  1
}

\score {
  \new PianoStaff \with {
instrumentName = "Piano"
  } <<
\new Staff = "right" \with {
  midiInstrument = "acoustic grand"
} \right
\new Staff = "left" \with {
  midiInstrument = "acoustic grand"
} { \clef bass \left }
  >>
  \layout { }
  \midi {
\tempo 4=70
  }
}

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Re: Left Hand Fingerings on Guitar Tab

[Noeck]

Hi Jay, Malte and Simon,

> Hm. I didn’t know the New_fingering_engraver. Now I tried to remove
> Fingering_engraver, New_fingering_engraver, and
> Fingering_column_engraver but the numbers don’t disappear …

It is even more interesting:
1) You have to remove *both* the Fingering_engraver and the
New_fingering_engraver – apparently both are at work here
2) These live in the Voice context so you have to remove them from there

myMusic = \relative c'' {
  c-1 c d-3 g-3
}
\new Staff \new Voice \with {
  \remove New_fingering_engraver
  \remove Fingering_engraver
} \myMusic

Of course, the \omit is also a valid solution.

Cheers,
Joram

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Re: chordmode and markup

[Thomas Morley]

2016-04-06 21:43 GMT+02:00 Simon Albrecht :
> On 06.04.2016 19:45, Carl Sorensen wrote:
>>
>> \version "2.19.39"
>> {
>>\chordmode{c_\markup {test}}
>> }
>
>
> This is difficult to read, and there are much worse cases. Just put spaces
> around the braces, in general. It’s a useful convention.
>


Well, not only a convention. In rare cases it returns an error:

\markup {\halign #RIGHT{"xyz"}}

Cheers,
  Harm

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Re: AutoBeam Behaving Properly?

[Noeck]

Hi Kieren,

my naive thinking for a 3/4 measure (or all n/4 measures) was 3 (or n)
groups of length 1/4. So I am a bit reassured by your mail that this is
not completely ignorant.

But of course the beamHalfMeasure is there for a reason and some say,
almost every beaming in a 3/4 measure is allowed as long as it does not
stop in the middle of the measure like it usually does in a 6/8. (Ok
there is a bit more in [1], but what I found for my own education varies
a lot for 3/4 measures).

One more quote from [2]:
> Just to clarify, the Royal Schools of Music Rudiments of Theory book states:
> "The rule is: group together as many notes as make one beat EXCEPT  if a 
> bar of 3/4 ... consists entirely of quavers, then all the notes should be 
> grouped together".

(You can see from these lines that I am no expert here, so this is no
voice for any direction - just to make that clear.)

Cheers,
Joram


[1]:
http://www.personal.kent.edu/~sbirch/Common/Encyclopedia/Rudiments/beaming_rules.htm
[2]: https://musescore.org/en/node/9924

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Re: Left Hand Fingerings on Guitar Tab

[Malte Meyn]

Am 06.04.2016 um 21:45 schrieb Simon Albrecht:

On 06.04.2016 21:32, Malte Meyn wrote:


Am 06.04.2016 um 21:20 schrieb Jay Vara:

I am trying to add left hand fingerings to the Tablature without
affecting
the staff.  […]
Is there a way to suppress the fingerings on the staff and have it
show up
only in the Tablature?



Instead of markups you should use fingerings like in
  c-1 c d-3 g-3
These appear in Staff but not in TabStaff by default. Now use
  \consists Fingering_engraver
for the TabStaff and
  \omit Fingering
for the Staff (I’m not sure why \remove Fingering_engraver doesn’t
work here).


Probably because New_fingering_engraver is at play here. IIRC one is for
in-chord fingerings, the other for outside-chord fingerings.


Hm. I didn’t know the New_fingering_engraver. Now I tried to remove 
Fingering_engraver, New_fingering_engraver, and 
Fingering_column_engraver but the numbers don’t disappear …


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Re: Left Hand Fingerings on Guitar Tab

[Simon Albrecht]

On 06.04.2016 21:32, Malte Meyn wrote:


Am 06.04.2016 um 21:20 schrieb Jay Vara:
I am trying to add left hand fingerings to the Tablature without 
affecting

the staff.  […]
Is there a way to suppress the fingerings on the staff and have it 
show up

only in the Tablature?



Instead of markups you should use fingerings like in
  c-1 c d-3 g-3
These appear in Staff but not in TabStaff by default. Now use
  \consists Fingering_engraver
for the TabStaff and
  \omit Fingering
for the Staff (I’m not sure why \remove Fingering_engraver doesn’t 
work here). 


Probably because New_fingering_engraver is at play here. IIRC one is for 
in-chord fingerings, the other for outside-chord fingerings.


HTH, Simon

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Re: chordmode and markup

[Simon Albrecht]

On 06.04.2016 19:45, Carl Sorensen wrote:

\version "2.19.39"
{
   \chordmode{c_\markup {test}}
}


This is difficult to read, and there are much worse cases. Just put 
spaces around the braces, in general. It’s a useful convention.


Yours, Simon

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Re: Left Hand Fingerings on Guitar Tab

[Malte Meyn]

Am 06.04.2016 um 21:20 schrieb Jay Vara:

I am trying to add left hand fingerings to the Tablature without affecting
the staff.  […]
Is there a way to suppress the fingerings on the staff and have it show up
only in the Tablature?



Instead of markups you should use fingerings like in
  c-1 c d-3 g-3
These appear in Staff but not in TabStaff by default. Now use
  \consists Fingering_engraver
for the TabStaff and
  \omit Fingering
for the Staff (I’m not sure why \remove Fingering_engraver doesn’t work 
here).


Complete code:

%%%

\version "2.19.38"
% works also in 2.18.2 so probably 2.19.15 is no problem either

myMusic = \relative c'' {
  c-1 c d-3 g-3
}

\score {
  <<
\new Staff \with {
  \omit Fingering
} {
  \myMusic
}
\new TabStaff \with {
  \consists Fingering_engraver
} {
  \tabFullNotation
  \transpose c'' c' \myMusic
}
  >>
}

%%%

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Left Hand Fingerings on Guitar Tab

[Jay Vara]

I am trying to add left hand fingerings to the Tablature without affecting
the staff. Here is a sample code:

\version "2.19.15"

one = \markup { \finger 1 }
two = \markup { \finger 2 }
three = \markup { \finger 3 }
four = \markup { \finger 4 }

myMusic = \relative c'' {
  c ^\one c d ^\three g ^\three
}

\score {
  <<
\new Staff {

  \myMusic
}
\new TabStaff {
\tabFullNotation
\transpose c'' c' \myMusic }
  >>
}
=

It does show the left hand fingerings on both the staff and  the Tablature

[image: Inline image 1]

Is there a way to suppress the fingerings on the staff and have it show up
only in the Tablature?
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Re: chordmode and markup

[Carl Sorensen]

On 4/6/16 9:12 AM, "Gianmaria Lari"  wrote:

>Sorry to ask something probably trivial but reading manual and making
>tests didn't help me.
>
>This works perfectly:
>\version "2.19.39"
>{
>  a4 _\markup {test}
>}
>
>but this doesn't:
>
>\version "2.19.39"
>{
>  \chordmode {c} \markup {test}
>}
>
>Why? How can I write some text on the chords?

\version "2.19.39"
{
  \chordmode{c_\markup {test}}
}

When you do \chordmode{c}, you have ended the music expression containing
the c, so you can no longer attach a markup to the c chord.  So you just
move the markup inside the \chormode music expression, where it is
attached to the chord.


HTH,

Carl


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Re: chordmode and markup

[David Kastrup]

Gianmaria Lari  writes:

> Sorry to ask something probably trivial but reading manual and making tests
> didn't help me.
>
> This works perfectly:
> \version "2.19.39"
> {
>   a4 _\markup {test}
> }
>
> but this doesn't:
>
> \version "2.19.39"
> {
>   \chordmode {c} \markup {test}
> }
>
> Why? How can I write some text on the chords?

Because you are doing something entirely different?

The equivalent would be

\version "2.19.39"

\chordmode {
  c_\markup {test}
}


-- 
David Kastrup

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Re: AutoBeam Behaving Properly?

[David Wright]

On Tue 05 Apr 2016 at 22:16:40 (-0400), Kieren MacMillan wrote:
> Hi Martin,
> 
> On Apr 5, 2016, at 9:58 PM, Martin Neubauer  wrote:
> > I was wondering how often the odd half measure beam really leads to 
> > ambiguity between 3/4 and 6/8 time in properly typeset music.

Apart from the example posted? If you look at the sort of hymns common
in the US and written in the short-note style favoured there, then
anything that starts with three quavers. Flicking through, I see
"O Waly Waly" which is easy to spot because it has a 3/4 signature.
OTOH I see "The Voice of Jesus" (not a hymn I know) which has no
time signature (mixed 3/4 2/4) so the beaming is the _only_
indication of crochet rhythm. Even the lyrics (underlain, again a
US convention) don't help. The two verses start:
1 The voice of ...
2 Chil-dren and ...
which contradict each other (no surprise for 1993).

These are typeset correctly, though whether you can call this hymn
book properly typeset is debatable. Some of the word underlays are
appallingly positioned.

Then again, these ambiguities are not helped (or hindered) with UK
hymn conventions: no time signatures, and longer note values where
these anacruses are therefore notated in crochets. But better not to
be told than to be told wrongly.

> In “West Side Story”, the half-measure beams in “America” indicate where the 
> measure grooves in 6/8, and the full-measure beams indicate where the measure 
> grooves in 3/4. (n.b. If I were engraving “WSS", I would go even further and 
> beam the three quarters separately.) If it were arbitrarily beamed, that 
> vital information would be lost.

I only have access to the choral selection by William Stickles, and
the beaming there is excellent: two groups of three in the first bar,
three groups of two in the second, and so on. The only bars with
single beams are those like e8[ r e r e] r and r8 e[ r e r e]
Similarly, in "I Feel Pretty" we have plenty of r4 f8[ f f f] | f4

But—and here's my point—that beaming is only in the piano part,
not the voices. Beaming IFP that way would send the wrong message
to the singers. The style needs to fit the both piece and the part.

Cheers,
David.

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chordmode and markup

[Gianmaria Lari]

Sorry to ask something probably trivial but reading manual and making tests
didn't help me.

This works perfectly:
\version "2.19.39"
{
  a4 _\markup {test}
}

but this doesn't:

\version "2.19.39"
{
  \chordmode {c} \markup {test}
}

Why? How can I write some text on the chords?
g.
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Re: AutoBeam Behaving Properly?

[David Wright]

On Wed 06 Apr 2016 at 13:34:01 (+0200), Martin Neubauer wrote:
> On 6 April 2016 at 13:23, Kieren MacMillan 
> wrote:
> 
> > Hi Martin,
> >
> > > when I explored the effect of that setting, I wasn't sure the outcome is
> > really that desirable
> >
> > Wait… is your example **actually** what happens with
> > Timing.beamHalfMeasure = ##f?
> >
> At least on my computer, yes. I didn't check other versions of lilypond,
> though.
> 
> > It’s awful. That should DEFINITELY not be the default.
> >
> Reminds me a bit of the old quote: "The problem XML solves isn't hard, and
> it doesn't solve the problem well."

Reminds me of an old New Scientist column called "Nominative Determinism".
Or the Ronseal advert: "It does exactly what it says on the tin".

Having included it, I guess it has to stay, so it might as well be
added to the NM index.

> In 3/4 time, my beaming is always in three pairs of eighths, unless the
> > following two conditions simultaneously apply:
> > (1) all sixth eighth notes are present (i.e., no rests); and
> > (2) I want the measure to be felt in one, not three.
> >
> > Otherwise, it’s pairs of eighths beamed, or single eighths with rests in
> > all my scores.
> >
> That's very sensible and pretty much the same I do for more or less
> contemporary music.

Cheers,
David.

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Re: AutoBeam Behaving Properly?

[Thomas Scharkowski]

 Original-Nachricht 

Hi Martin,


when I explored the effect of that setting, I wasn't sure the outcome is really 
that desirable


Wait… is your example **actually** what happens with Timing.beamHalfMeasure = 
##f?
It’s awful. That should DEFINITELY not be the default.

In 3/4 time, my beaming is always in three pairs of eighths, unless the 
following two conditions simultaneously apply:
 (1) all sixth eighth notes are present (i.e., no rests); and
 (2) I want the measure to be felt in one, not three.

Otherwise, it’s pairs of eighths beamed, or single eighths with rests in all my 
scores.

Regards,
Kieren.



Yes! This is how it should be.

Thomas


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Re: change chord name

[Carl Sorensen]

On 4/6/16 3:30 AM, "lilypond-devel-bounces+c_sorensen=byu@gnu.org on
behalf of Ugo Pecoraro"  wrote:

>I would change the name of the fourth removing the south to get C4 instead
>Csus4. How can j do it?

Ugo,

This is a question that should be asked on -user, not on -devel.  -devel
is about making changes to LilyPond; user is about using LilyPond to get
the output you want.

Your questions is answered in the "chordNameExceptions" snippet under
"Selected Snippets" in the Notation Reference.

http://lilypond.org/doc/v2.18/Documentation/notation/displaying-chords


Let the -user list know if you have questions after reading this.  Also,
it would be helpful if you posted the code you tried and couldn't get to
work.

Thanks,

Carl Sorensen


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Re: AutoBeam Behaving Properly?

[Martin Neubauer]

On 6 April 2016 at 13:23, Kieren MacMillan 
wrote:

> Hi Martin,
>
> > when I explored the effect of that setting, I wasn't sure the outcome is
> really that desirable
>
> Wait… is your example **actually** what happens with
> Timing.beamHalfMeasure = ##f?
>
At least on my computer, yes. I didn't check other versions of lilypond,
though.

> It’s awful. That should DEFINITELY not be the default.
>
Reminds me a bit of the old quote: "The problem XML solves isn't hard, and
it doesn't solve the problem well."

In 3/4 time, my beaming is always in three pairs of eighths, unless the
> following two conditions simultaneously apply:
> (1) all sixth eighth notes are present (i.e., no rests); and
> (2) I want the measure to be felt in one, not three.
>
> Otherwise, it’s pairs of eighths beamed, or single eighths with rests in
> all my scores.
>
That's very sensible and pretty much the same I do for more or less
contemporary music.

Best regards,
Martin

-- 
homme, ni présence
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Re: AutoBeam Behaving Properly?

[Kieren MacMillan]

Hi Martin,

> when I explored the effect of that setting, I wasn't sure the outcome is 
> really that desirable

Wait… is your example **actually** what happens with Timing.beamHalfMeasure = 
##f?
It’s awful. That should DEFINITELY not be the default.

In 3/4 time, my beaming is always in three pairs of eighths, unless the 
following two conditions simultaneously apply:
(1) all sixth eighth notes are present (i.e., no rests); and
(2) I want the measure to be felt in one, not three.

Otherwise, it’s pairs of eighths beamed, or single eighths with rests in all my 
scores.

Regards,
Kieren.


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


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Re: AutoBeam Behaving Properly?

[Martin Neubauer]

On 6 April 2016 at 09:10, Thomas Scharkowski 
wrote:

> From the Notation Reference:
> "In engraving from the Romantic and Classical periods, beams often begin
> midway through the measure in 3/4 time, but modern practice is to avoid the
> false impression of 6/8 time (see Gould, p. 153)."
>
> Shouldn't ##f be the default?
>
As I mentioned before, I find that justification a bit strange. (Call me
old-fashioned, but I believe that musical education can go a long way...)
But besides that, in the cases where it really does matter (as in Kieren's
example), such a "mechanical" approach just isn't the solution. Secondly,
when I explored the effect of that setting, I wasn't sure the outcome is
really that desirable:
\relative c' {
  \time 3/4
  \set Timing.beamHalfMeasure = ##f
  r8 r r c c c
  r r c c c r
 r c c c r r
 c c c r r r
 r r c c c c
 r c c c c r
 r c c c c c
}
I left out some permutations, but maybe it's clear enough why the outcome
seems a bit inconsistent to me.

-- 
homme, ni présence


timing.pdf
Description: Adobe PDF document
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Re: two beginners questions

[mj]

Yess.

Great support on this list!

Thanks!

On 04/06/2016 11:58 AM, David Kastrup wrote:

mj  writes:


   \context { \FretBoards
   \override FretBoards.FretBoard.size = #0.8


You are putting a spurious FretBoards into that override.


   }
   \context {
 \Score
 \remove "Bar_number_engraver"
   }
}


but there is seems to be ignored.


You should have been getting a warning/error message.  I have to admit,
however, that this does not happen.


So perhaps my question should have been: Why would the information I
learned from the lilypond docs work in my main file, but stop working
when I put it in a 'global' included file?


Because it is not the same information.  In a context definition,
\override is directly followed by the respective grob name rather than a
repetition of the context name.



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Re: two beginners questions

[David Kastrup]

mj  writes:

>>   \context { \FretBoards
>>   \override FretBoards.FretBoard.size = #0.8

You are putting a spurious FretBoards into that override.

>>   }
>>   \context {
>> \Score
>> \remove "Bar_number_engraver"
>>   }
>> }
>
> but there is seems to be ignored.

You should have been getting a warning/error message.  I have to admit,
however, that this does not happen.

> So perhaps my question should have been: Why would the information I
> learned from the lilypond docs work in my main file, but stop working
> when I put it in a 'global' included file?

Because it is not the same information.  In a context definition,
\override is directly followed by the respective grob name rather than a
repetition of the context name.

-- 
David Kastrup

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Re: two beginners questions

[mj]

Hi Phil,

Thanks for your reply. The page you reference (which I read) is where I 
found the code that I used:



\new FretBoards {
% Set global properties of fret diagram
\override FretBoards.FretBoard.size = #'1.2


This DOES take effect in my main file like this:

\score {
  <<
\new ChordNames \chordNames
\new FretBoards {
  \override FretBoards.FretBoard.size = #0.8
  \chordNames
}
\new Staff <<
  \new Voice = "Sop" { \melodySop }
  \new Voice = "Alt" { \melodyAlt }
>>
\new Staff { \melodyBas }
  >>
}


But I would like to put this setting into my global include.ly file, 
like I did with the ChordName font-size:



\layout {
  indent = 0\cm
  \context { \ChordNames
 \override ChordName #'font-size = #-2
  }
  \context { \FretBoards
  \override FretBoards.FretBoard.size = #0.8
  }
  \context {
\Score
\remove "Bar_number_engraver"
  }
}


but there is seems to be ignored.

So perhaps my question should have been:
Why would the information I learned from the lilypond docs work in my 
main file, but stop working when I put it in a 'global' included file?


(while a similar setting in the same included file DOES seem to work)
("ChordName #'font-size = #-2")

MJ

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Re: two beginners questions

[Phil Holmes]

- Original Message - 
From: "mj" 

To: 
Sent: Wednesday, April 06, 2016 10:10 AM
Subject: Re: two beginners questions



Hi Phil, list,

On 04/05/2016 05:12 PM, Phil Holmes wrote:


\context { \ChordNames
  \override ChordName #'font-size = #-1
}

to your layout block.



That works, and now I'd like the fret diagrams to be reduced as well. 
Below is an exerpt from my include file, which works for everything, 
except for the FretBoard.size:


\layout {
  indent = 0\cm

  \context { \ChordNames
\override ChordName #'font-size = #-2
  }

  \context { \FretBoards
\override FretBoards.FretBoard.size = #0.8
  }

  \context { \Score
\remove "Bar_number_engraver"
  }

}

Is my logic wrong?


Guessing is always likely to be wrong.  The best way to work this kind of 
question out is by reading the documentation.  How to change fretboard sizes 
is covered in


http://lilypond.org/doc/v2.19/Documentation/notation/common-notation-for-fretted-strings#fret-diagram-markups

Please have a look and let us know if anything isn't clear.

--
Phil Holmes 



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Re: two beginners questions

[mj]

On 04/06/2016 10:27 AM, Simon Albrecht wrote:

You sure? It’s known that some distributions package 2.16.2 still, but
2.19.2 is a really odd choice… anyway, in most cases one will want to
install a recent version manually.
Well... I'm not entirely sure anymore. Anyway: I'm now working with 
2.18.2 now, as advised by David Kastrup.


MJ

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Re: two beginners questions

[mj]

Hi Phil, list,

On 04/05/2016 05:12 PM, Phil Holmes wrote:


\context { \ChordNames
  \override ChordName #'font-size = #-1
}

to your layout block.



That works, and now I'd like the fret diagrams to be reduced as well. 
Below is an exerpt from my include file, which works for everything, 
except for the FretBoard.size:


\layout {
  indent = 0\cm

  \context { \ChordNames
\override ChordName #'font-size = #-2
  }

  \context { \FretBoards
\override FretBoards.FretBoard.size = #0.8
  }

  \context { \Score
\remove "Bar_number_engraver"
  }

}

Is my logic wrong?

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Re: two beginners questions

[Simon Albrecht]

On 06.04.2016 09:31, mj wrote:

On 04/05/2016 05:55 PM, David Kastrup wrote:

2.19.2, however, is almost as old as 2.18.0 (close to two years I
think).  It's actually older than 2.18.1.  That seems like a strange
choice to use.
Well, strange as it may be, it was the lilypond version that was 
automatically installed when I apt-get installed frescobaldi. :-) 


You sure? It’s known that some distributions package 2.16.2 still, but 
2.19.2 is a really odd choice… anyway, in most cases one will want to 
install a recent version manually.


Best, Simon

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Re: AutoBeam Behaving Properly?

[Simon Albrecht]

On 06.04.2016 09:10, Thomas Scharkowski wrote:

Even simpler (for the 3/4 case): /\set Timing.beamHalfMeasure = ##f/

From the Notation Reference:
"In engraving from the Romantic and Classical periods, beams often 
begin midway through the measure in 3/4 time, but modern practice is 
to avoid the false impression of 6/8 time (see Gould, p. 153)."


Shouldn't ##f be the default? 


I’m certain this has been discussed; I think it shouldn’t be, firstly 
because LilyPond is so indebted to engraving traditions of the 19th 
century (and rightly so), secondly because for most music it’s still not 
necessary to be so discriminating, and thirdly because in most 
‘pre-1900’ music, _not_ beaming those three quavers together would 
convey some information on articulation, stresses, or motivic structure, 
and that wouldn’t be intended.


Yours, Simon

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Re: AutoBeam Behaving Properly?

[Simon Albrecht]

On 06.04.2016 04:46, Martin Neubauer wrote:
I was more curious about the existence of music that's strictly in 3/4 
time and where the way of printing a three-quaver pickup would 
actually make a difference.


There are hardly such cases before 1900, and that’s exactly why the 
convention changed. It’s a bit like with beaming in vocal music: 
pre-1900 music would rarely get so rhythmically complicated that having 
no beams on syllabic music would have been a problem. Such situations 
only came up later, so another notational convention was introduced.


Best, Simon

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Re: two beginners questions

[mj]

I understand the versioning now, thanks.

On 04/05/2016 05:55 PM, David Kastrup wrote:

2.19.2, however, is almost as old as 2.18.0 (close to two years I
think).  It's actually older than 2.18.1.  That seems like a strange
choice to use.
Well, strange as it may be, it was the lilypond version that was 
automatically installed when I apt-get installed frescobaldi. :-)

(on linux mint)

I'll try upgrading to the latest 2.18 version, just to be on the safe 
side of things.



Now I don't know whether this is the actual version you use or just what
you write in the input file.  But I found it worth mentioning.

Yes, and thank you for doing that!

MJ

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Re: two beginners questions

[mj]

Hi all,

Thanks very much for the kind reactions, both on- and offlist. My issues 
are solved. :-)


MJ

On 04/05/2016 05:12 PM, Phil Holmes wrote:

- Original Message - From: "mj" 
To: 
Sent: Tuesday, April 05, 2016 2:43 PM
Subject: two beginners questions



Hi,

Just trying out lilypond. I have created my first file, using the "new
from template" function of frescobaldi.

I am trying to alter two things:

- make chord names display smaller
and
- get the correct fret guitar diagrams, like the ones shown in the
docs here:
http://lilypond.org/doc/v2.19/Documentation/notation/predefined-fretboard-diagrams#diagrams-for-guitar


(because all my fret diagrams seem to display wrong)

Below is my .ly file.

Tips or trics..? Thanks in advance!

\version "2.19.2"

\header {
  title = ""
}

global = {
  \time 6/8
  \key e \minor
}

chordNames = \chordmode {
  \global
e4.:m b:m | e:m b:m | e:m d | g g | g d | e:m b:m | e:m b:m | e:m e:m

}

melody = \relative e' {
  \global
  e4 g8 fis4. | e4 g8 fis4. | b4 b8 a8 d4 | b4.~ b4. |
  d4 b8 a4 b8 | g8. b16 a g fis4 d8 | e8. fis16 g a b4 g8 | e4. e'4.
\bar "|."

}

\score {
<<
\new ChordNames \chordNames
\new FretBoards \chordNames
 \new Staff { \melody }
  >>

\layout {
  \context {
\Score
\remove "Bar_number_engraver"
  }
}
}


To get guitar fretboards, add

\include "predefined-guitar-fretboards.ly"

at the top of your file.  One way to make the chordnames smaller is to add:

\context { \ChordNames
  \override ChordName #'font-size = #-1
}

to your layout block.

--
Phil Holmes





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Re: AutoBeam Behaving Properly?

[Thomas Scharkowski]

Even simpler (for the 3/4 case): /\set Timing.beamHalfMeasure = ##f/



From the Notation Reference:
"In engraving from the Romantic and Classical periods, beams often begin 
midway through the measure in 3/4 time, but modern practice is to avoid 
the false impression of 6/8 time (see Gould, p. 153)."


Shouldn't ##f be the default?

Thomas

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