Re: Is there a short way of forcing a particular octave?

[Andrew Bernard]

Hi All,

On 21 December 2016 at 09:49, Gianmaria Lari 
wrote:

> I suggest also to give a try to avoid the "\relative" and to use absolute
> octave entry.
>

​+2 :-)

I used to use relative and found in large scores that when I went back to
correct things large sections shuffled around their pitches because the
relative positions had changed. Finally I awoke from my slumber and used
absolute and have never looked back. In the end it has saved a huge amount
of time. You soon get used to typing and knowing the octave indicators.

Andrew​
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Re: Is there a short way of forcing a particular octave?

[Kieren MacMillan]

Hi all,

> On Dec 20, 2016, at 5:49 PM, Gianmaria Lari  wrote:
> I suggest also to give a try to avoid the "\relative" and to use absolute 
> octave entry.

+1
Kieren.


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


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Re: \fixed absolute octave entry without brackets

[Simon Albrecht]

On 21.12.2016 00:57, Simon Albrecht wrote:

On 21.12.2016 00:23, Gianmaria Lari wrote:

Is there any way to avoid this additional bracket?


It’s funny how for the second time in 7 hours I get to reply with

\resetRelativeOctave 


Oh man, I need to go to sleep. Obviously, since you’re using absolute 
mode, that’s not the way.

So, no, there’s no way to prevent the additional level of brackets.

Best, Simon

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Re: \fixed absolute octave entry without brackets

[Simon Albrecht]

On 21.12.2016 00:23, Gianmaria Lari wrote:

Is there any way to avoid this additional bracket?


It’s funny how for the second time in 7 hours I get to reply with

\resetRelativeOctave

:-)

I already made a patch to document it in the NR.

Best, Simon

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\fixed absolute octave entry without brackets

[Gianmaria Lari]

Few months ago I switched from relative to absolute octave entry.

In the rare cases I need to write very high or very low octave notes and
consequently I need to write too much single quote ( ' ) or comma ( , ) I
use the "\fixed" function that I just discovered (before I was using
"\transpose")

\fixed works perfectly but it adds a further bracket level. Is there any
way to avoid this additional bracket? For example instead of writing:

\fixed c''' %all the music INSIDE the brackets is relative to c'''
{

c d e f

}

\fixed c,,, %all the music INSIDE the brackets is relative to c,,,
{

c d e f

}


just write

\fixed c'''  %all the music STARTING FROM here is relative to c'''
c d e f

\fixed c,,,  %all the music STARTING FROM here is relative to c'''
c d e f


?
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Re: Scaling global staff size without scaling Lyrics in LilyPond version 2.18.2.

[Alexander Kobel]

Hi Miroslaw.

On 2016-12-20 21:11, Mirosław Doroszewski wrote:

\version "2.18.2"
\include "deutsch.ly"

%{
Scaling global staff size without scaling Lyrics in LilyPond version 2.18.2.

1. It can be happen: when font size is set for lyrics, that titles are
smaller then lyrics.
a) I do not know how increase font size for titles. I tried some ways
according to manuals but they did not help.


You can use
  title = \markup { \abs-fontsize #16 "Text" }
See Notation Reference (NR), section A.11.1.


b) Changing staff size with setting font families for entire document
(non 20pt) implies ugly effect.


Depends; ugliness is in the eye of the beholder.


2. When customer wants to set variable staff size and get the same
size of lyrics for each staff size, he need to set font size of
lyrics' context for each staff size separately.


Correct. That's by design.
To follow up on on Simon's comment about appropriate behavior on the 
list, though: we prefer the term "user" over "customer", because 
"customers" tend to pay for what they get.



3. For instance to get real font size for lyrics 10pt for paper size A6:
a) when staff size = 12pt, font size overriding of lyrics = 3.7;
b) when staff size = 16pt, font size overriding of lyrics = 1.3.


Indeed, this is non-obvious. You can use the following approach:

\version "2.18.2"
globalStaffSize = #12
#(set-global-staff-size globalStaffSize)
\layout {
  \context {
\Lyrics
\override LyricText.font-size =
#(- (magnification->font-size (/ 72 11))
   (magnification->font-size (/ globalStaffSize 20)))
  }
}
{ c'4 c' c' c'}
\addlyrics { a \markup \abs-fontsize #72 a b b }

Where you replace the 12 in line 2 by your desired staff size in pt, and 
the 72 in line 8 by the desired font size in pt.



4. So, please, make solution and describe it in manual.


Note that I'm around for a while, but I did not bathe in the source code 
on that topic to find the solution. True: I had the ingredients in my 
mind. Not out of nowhere, but from reading the fine manuals: Everything 
used above /is/ documented in the NR, you just have to search - in 
particular, in NR 1.7.1, 1.8.3, and 4.2.2.
(Okay, except magnification->font-size; but this could be replaced by a 
few more computations. No magic in there.)


Yes, this is not the most intuitive way to achieve a fixed pt font size, 
but there are reasons.
Yes, it takes a bit of math and quite some knowledge about Lilypond's 
internals and Scheme to get there. That's the price to pay for not 
having to try different values again.

Yes, there might be other (easier) solutions that I don't know.

To repeat what Simon mentioned: this is not an appropriate tone for this 
mailing list - neither on the bug list nor here.
I reply with a solution because the answer might be helpful for other 
readers, and I hope it will be found in the archives. (Although I'm 
quite sure a similar question was there already; I did not search.) 
Everybody here is a volunteer, and you will face a lot of silence if you 
sound too demanding and use imperatives, even if prefixed by a "please".


Certainly, English is not your mother tongue, but this is no excuse. 
Most people here - like myself - are no native speakers, yet we (mostly) 
manage to be polite and humble.



Cheers,
Alexander

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Re: Is there a short way of forcing a particular octave?

[Gianmaria Lari]

Ciao Peter,

I know this is a totally different story but I suggest also to give a try
to avoid the "\relative" and to use absolute octave entry. It takes some
weeks to get used but in my opinion it is more easy to manage code in this
way. IMHO "\relative" is too much prone to annoying mistakes and
furthermore, as you says, it introduces an additional level of brackets.

Maybe that ResetRelativeOctave is a good compromise; I tried it a bit but I
have not get enough experience to recommend it.

Just my 2 cents

On 20 December 2016 at 19:04, Peter Toye  wrote:

> Simon,
>
> Exactly so. Thanks.
>
> Pity it isn't in the text part of either the learning or notation
> reference manual. You have to know about it in order to find it. Which
> isn't really the point of a tutorial manual.
>
> Best regards,
>
> Peter
> mailto:lilyp...@ptoye.com 
> www.ptoye.com
>
> -
> Tuesday, December 20, 2016, 5:15:36 PM, you wrote:
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> *> On 20.12.2016 17:39, Peter Toye wrote: >> Is there a short way of
> forcing a particular octave? I tend to enter >> my music using the
> \relative notation. I want make sure, especially >> after a complicated set
> of new voices or a frequently-used music >> pattern that's been put into a
> variable, that the next note will be in >> the correct octave. I know that
> I can do an \octaveCheck but this >> throws up an error message if it's not
> right. Is there a simple way to >> force a note to be in a correct octave
> without the error messages? I >> know that I can do  \relative c' { music }
> but this gives a lot of >> otherwise superfluous brackets. >> What I think
> is really needed here is something like \forceOctave c'' >> which moves
> subsequent music into the octave without any error >> messages. Or does it
> exist somewhere and (as a newbie) I haven't found it? > I think
> \resetRelativeOctave is what you’re looking for. > Best, Simon*
>
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>
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Re: Problems with using \bookpart

[Timothy Lanfear]

How about this?

\version "2.19.48"

\language "english"

printScore  = ##t
printMvtOne = ##t
printMvtTwo = ##t

#(if
  (and printScore
   (or printMvtOne printMvtTwo))
 (ly:parser-include-string "\\include \"testprint.ily\""))


On 20/12/16 21:57, David Sumbler wrote:

I am still experimenting with constructing a file structure which makes
sense to me for more complex works.  I have come quite a long way with
it and discovered some interesting things.

But \bookpart seems to cause problems.

The following works:

File: test.ly
%
\version "2.19.48"

\language "english"

printScore  = ##t
printMvtOne = ##t
printMvtTwo = ##t

$(if
   (and printScore
(or printMvtOne printMvtTwo))
   #{ \include "testprint.ily" #} )
%

File: testprint.ily
%
\version "2.19.48"

\book {
   \score { c }
}
%

Modify the second file thus:

File: testprint.ily
%
\version "2.19.48"

\book {
   \bookpart {
 \score { c }
   }
}
%

This no longer works, but gives the following error messages:

Parsing.../usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:243:5:
 In procedure ly:book-process in expression (process-procedure book paper ...):
/usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:243:5: Wrong type 
(expecting real number): #

Once again I am finding that the use of \bookpart is giving problems.  I don't 
know if this is once again somehow connected with the fact that bookparts have 
no variable scope, but it's a damn nuisance anyway!

Any suggestions?

David


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--
Timothy Lanfear, Bristol, UK.


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Re: Temporarily combine two Voices on the same Staff

[Simon Albrecht]

On 20.12.2016 22:54, H. S. Teoh wrote:

I'm typesetting some complex polyphonic music, and have 3 Voices sharing
the same Staff. In the middle of the bar, the top two Voices share the
same rhythm, so I'd like to combine stems beams on them just for 2
beats, and have them be treated independently again afterwards. There is
a 3rd Voice on the same Staff with downward Beams, so without combining,
the top two Voices would have hard-to-read clashing beams.


Please give an example, else it’s hard to judge. But it would be very 
unusual in an otherwise strictly polyphonic work to use chords for just 
two beats.



Is there a way to do this without using \partcombine?  I realize that
it's probably possible to rewrite this with \partcombine, but it seems
to be overkill for just 2 beats.


Actually, I don’t think it’s even possible. \partcombine can’t handle 
more than two voices. The only thing I could imagine is (assuming 
partcombine’ voices id’s were "1", "2" and "N" (for ‘neutral’) and it 
used \context:


\new Staff <<
  \new Voice = "1" { \voiceOne #(skip-of-length musicOne) }
  \new Voice = "2" { \voiceThree #(skip-of-length musicTwo) }
  \new Voice = "N" { \voiceOne #(skip-of-length musicOne) }
  \partcombine \musicOne \musicTwo
  \new Voice = "3" { \voiceTwo \musicThree }
>>

That would be kind of neat, though I don’t know if it works/can be made 
work reasonably easy.


Best, Simon

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Temporarily combine two Voices on the same Staff

[H. S. Teoh]

I'm typesetting some complex polyphonic music, and have 3 Voices sharing
the same Staff. In the middle of the bar, the top two Voices share the
same rhythm, so I'd like to combine stems beams on them just for 2
beats, and have them be treated independently again afterwards. There is
a 3rd Voice on the same Staff with downward Beams, so without combining,
the top two Voices would have hard-to-read clashing beams.

Is there a way to do this without using \partcombine?  I realize that
it's probably possible to rewrite this with \partcombine, but it seems
to be overkill for just 2 beats.  I could probably also spell out the
combined chords directly in one of the Voices, but if at all possible
I'd like to represent it as separate Voices.


T

-- 
A linguistics professor was lecturing to his class one day. "In English," he 
said, "A double negative forms a positive. In some languages, though, such as 
Russian, a double negative is still a negative. However, there is no language 
wherein a double positive can form a negative." A voice from the back of the 
room piped up, "Yeah, yeah."

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Problems with using \bookpart

[David Sumbler]

I am still experimenting with constructing a file structure which makes
sense to me for more complex works.  I have come quite a long way with
it and discovered some interesting things.

But \bookpart seems to cause problems.

The following works:

File: test.ly
%
\version "2.19.48"

\language "english"

printScore  = ##t
printMvtOne = ##t
printMvtTwo = ##t

$(if
  (and printScore
   (or printMvtOne printMvtTwo))
  #{ \include "testprint.ily" #} )
%

File: testprint.ily
%
\version "2.19.48"

\book {
  \score { c }
}
%

Modify the second file thus:

File: testprint.ily
%
\version "2.19.48"

\book {
  \bookpart {
    \score { c }
  }
}
%

This no longer works, but gives the following error messages:

Parsing.../usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:243:5:
 In procedure ly:book-process in expression (process-procedure book paper ...):
/usr/local/lilypond/usr/share/lilypond/current/scm/lily-library.scm:243:5: 
Wrong type (expecting real number): #

Once again I am finding that the use of \bookpart is giving problems.  I don't 
know if this is once again somehow connected with the fact that bookparts have 
no variable scope, but it's a damn nuisance anyway!

Any suggestions?

David


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Re: Mutable pronouns in Lyrics

[Simon Albrecht]

On 20.12.2016 21:25, Br. Samuel Springuel wrote:
To put it another way, I'd like the variables heshe et al. to raise an 
error if they are used in a score which does not have a \keepWithTag 
command applied


Maybe try a bar check? I think they work in lyrics as well.

Best, Simon

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Re: Moving of lyrics in LilyPond version 2.18.2.

[Kieren MacMillan]

Hello,

Here’s a modified snippet which, I believe, solves the problem you asked about 
about. I also took the liberty of adjusting the coding for a more 
traditional/appropriate use of hyphens, and so forth.

Hope this helps!
Kieren.

  SNIPPET BEGINS
\version "2.19.50"

t = { \bar "" }

lewe = { \once \override LyricText.self-alignment-X = #LEFT }

globalne = {
  \key es \major
  \time 4/4
  \autoBeamOff
  s1*5 \break
}   

głos = \relative c'' {
  \repeat volta 2 {
g2 g b b es, es g g
c2 f, b es,4( as) g2( f4.) es8 es2. r4
  }
  \cadenzaOn
  es8 \t g \t b\breve \t as8 \t b \t c4 \t b
  b\breve \t c8 \t as \t b[ \t as] \t g4
  \bar "|."
  \cadenzaOff
}

tekst = \lyricmode {
\set stanza = #"Ref.: "
Chry -- stus Wo -- dzem, Chry -- stus Kró -- \lewe "lem, *"
Chry -- stus, Chry -- stus __ Wład -- cą \lewe "nam! *"
\set stanza = #" 1. "
Bo -- ga \lewe "naszego chwalcie" wszyst -- kie zie -- \lewe "mie, *"
\lewe "Daj Mu cześć winną całe" ludz -- kie ple -- mię.
}

\score {
\new Staff <<
\new Voice = "1-melodiiI" { \transpose es c << \globalne \głos 
>> }
\new Lyrics \lyricsto "1-melodiiI" { \tekst }
>>
}
  SNIPPET ENDS


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


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Re: Mutable pronouns in Lyrics

[Br. Samuel Springuel]

On 2016-12-20 3:00 PM, Simon Albrecht wrote:

you can just omit these tests and trust that the \keepWithTag
mechanism will work properly :-) Because it does – the pronouns show
up correctly.


Indeed, the tag mechanism does fine at keeping just the pronouns I want.
 I'm not trying to solve that problem.  The problem I'm trying to solve
is the instance where I've included a file which contains these
differential pronouns in another project, but have forgotten the
appropriate \keepWithTag command.  In this instance, all the pronouns
show up, displacing lyrics inappropriately.  This won't raise errors and
thus must be caught in the proofreading stage (something I'm not always
good at doing).  Thus I'm trying to get the system to raise an error
when this happens.

To put it another way, I'd like the variables heshe et al. to raise an 
error if they are used in a score which does not have a \keepWithTag 
command applied with, if \keepWithTag is used but male, female, or 
neutral is not in the tag list, or if more than one of male, female, or 
neutral is in the tag list.



And one more hint to the problem: even if a tagged section in your
example is later omitted through \keepWithTag, the scheme code is
still executed first.


That would imply that this particular strategy isn't possible.

--
✝
Br. Samuel, OSB
St. Anselm’s Abbey
Washington, DC
(R. Padraic Springuel)

PAX ☧ ΧΡΙΣΤΟΣ

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Putting marks over bar lines in LilyPond version 2.18.2.

[Mirosław Doroszewski]

\version "2.18.2"
\include "deutsch.ly"

%{
Putting marks over bar lines in LilyPond version 2.18.2.

1. When mark is put over bar line, it is placed centrally by default.
But sometimes there is need to place the mark left or right aligned,
i.e. in repeats.
2. I tried do so according to manuals (\left-align, right-align), but
without effect.
3. It happens that the mark is printed at the begining of next line,
instead of the end of the same line.
4. Solution by manual: treat mark as rehearsal mark and use overriding for it:
a) if the mark is not at the end of line:
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \markup { \italic \small "3x" }
b) if the mark is at the end of line:
\once \override Score.RehearsalMark.break-visibility = 
#end-of-line-visible
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \markup { \italic \small "3x" }
5. If the mark is not at the end of line, it is not possible to use
universal way by putting settings as described above in b), because
then is nothing printed. So it is necessary to manually put first or
second solution, as described above in a) and b).
6. At the end of score there is no need to put second solution, as above in b).
%}

mark-not-at-the-end-of-line = {
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \markup { \italic \small "3x" }
}
mark-at-the-end-of-line = {
\once \override Score.RehearsalMark.break-visibility = 
#end-of-line-visible
\once \override Score.RehearsalMark.self-alignment-X = #RIGHT
\mark \markup { \italic \small "3x" }
}

\paper {
#(set-paper-size "a6" 'portrait)
indent = 0\mm
ragged-bottom = ##t
ragged-last-bottom = ##t
top-margin = 1 \cm
bottom-margin = 1 \cm
line-width = 8.8 \cm
tagline = ##f
print-all-headers = ##t
markup-system-spacing = #'((basic-distance . 5) (padding . 1)
(stretchability . 30))
}
#(set-global-staff-size 12.0)

\score {
\layout {
\context { \Staff \remove "Time_signature_engraver" }
ragged-last = ##t
}
\relative c' {
\transpose e d' {
\key e \minor
\time 1/8   
\autoBeamOff
\cadenzaOn  
\bar ".|:" e8 e dis4 e \bar "'" e8 e dis4 e \bar "'"
g8 g g4 fis8 e fis4 fis \bar "'"
fis8 fis g e dis!4 e \noBreak \bar ":|.|:"
\mark-not-at-the-end-of-line
\bar ":|.|:" e8 fis g g g g g fis e fis4 fis \bar "'"
fis g8[ fis] e dis!4 e \bar ":|.|:"
\mark-not-at-the-end-of-line
\bar ":|.|:" e8[ fis] g g g g g fis e fis4 fis \bar "'"
fis8 fis g[ fis] e dis!4 e \bar ":|."
\mark-at-the-end-of-line
\cadenzaOff
}
}
\addlyrics {
Świę- ty Bo- że, Świę- ty moc- ny,
Świę- ty, a nie- śmier- tel- ny,
zmi- łuj się nad na- mi!
Od po- wie- trza, gło- du, o- gnia i woj- ny
wy- baw nas, Pa- nie!
Od na- głej, a nie- spo- dzia- nej, śmier- ci
za- cho- waj nas, Pa- nie!
}
}


Putting marks over bar lines.pdf
Description: Adobe PDF document
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Re: Mutable pronouns in Lyrics

[Simon Albrecht]

On 20.12.2016 20:42, Br. Samuel Springuel wrote:

idea of a tag set


One more hint: In case you need tags for another independent 
(orthogonal) purpose as well (say: different paper formats), you could 
use something like


\tagGroup male,female,neutral
\tagGroup aFour,letter

on top level in your file so the different uses of tags don’t interfere.

HTH, Simon

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Re: Mutable pronouns in Lyrics

[Simon Albrecht]

On 20.12.2016 20:42, Br. Samuel Springuel wrote:
#(if (eqv? test 1) (error "more then one pronoun") (set! test 1)) 


Hello Samuel,

you can just omit these tests and trust that the \keepWithTag mechanism 
will work properly :-) Because it does – the pronouns show up correctly.
If you were to need such tests, it’s better to use one of ly:message, 
ly:warning, ly:error instead of plain guile ‘error’.
And one more hint to the problem: even if a tagged section in your 
example is later omitted through \keepWithTag, the scheme code is still 
executed first.


HTH, Simon

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Re: Mutable pronouns in Lyrics

[Br. Samuel Springuel]

In trying to implement the idea of a tag set, I came up with the following:

%
\version "2.19.53"

gender = #'male  % manually set to male, female, neutral

#(define test 0)

heshe = \lyricmode {
  \tag #'male { he #(set! test 1) }
  \tag #'female { she #(if (eqv? test 1) (error "more then one 
pronoun") (set! test 1)) }
  \tag #'neutral { he/she #(if (eqv? test 1) (error "more then one 
pronoun") (set! test 1)) }

  #(set! test 0)
}

hisher = \lyricmode {
  \tag #'male { his #(set! test 1) }
  \tag #'female { her #(if (eqv? test 1) (error "more then one 
pronoun") (set! test 1)) }
  \tag #'neutral { his/her #(if (eqv? test 1) (error "more then one 
pronoun") (set! test 1)) }

  #(set! test 0)
}

global = { \key c \major }

verse = \lyricmode {
  Filled with the Spir -- it, by \hisher earth -- ly la -- bours,
  Brought to your peo -- ple heal -- ing and com -- pas -- sion;
  Rais -- ing the fal -- len, re -- con -- cil -- ing sin -- ners,
  Glad -- ly \heshe served them.
}

music = {
  c' c' c' c' c' c' c' c' c' c' c'
  c' c' c' c' c' c' c' c' c' c' c'
  c' c' c' c' c' c' c' c' c' c' c'
  c' c' c' c' c'
}

\new Staff \keepWithTag \gender
<<
   \new Voice = "mel" { \global \music }
   \new Lyrics \lyricsto "mel" { \verse }
>>
%%

This, however, raises errors when it's not supposed to (i.e. when 
\keepWithTag \gender is present).  GUILE is indicating that something is 
wrong with the scheme, but I don't know what, as the applicable scheme 
runs as expected when entered by itself in the guile interpreter in the 
LilyPond app.  Is something like this even possible, and if so what am I 
doing wrong?

--
✝
Br. Samuel, OSB
St. Anselm’s Abbey
Washington, DC
(R. Padraic Springuel)

PAX ☧ ΧΡΙΣΤΟΣ

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Re: Is there a short way of forcing a particular octave?

[Simon Albrecht]

On 20.12.2016 19:04, Peter Toye wrote:
Pity it isn't in the text part of either the learning or notation 
reference manual. You have to know about it in order to find it.


That needs to be changed. 
 :-)


Best, Simon

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Re: Is there a short way of forcing a particular octave?

[Peter Toye]

Simon,

Exactly so. Thanks.

Pity it isn't in the text part of either the learning or notation reference 
manual. You have to know about it in order to find it. Which isn't really the 
point of a tutorial manual.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Tuesday, December 20, 2016, 5:15:36 PM, you wrote:

> On 20.12.2016 17:39, Peter Toye wrote:
>> Is there a short way of forcing a particular octave? I tend to enter 
>> my music using the \relative notation. I want make sure, especially 
>> after a complicated set of new voices or a frequently-used music 
>> pattern that's been put into a variable, that the next note will be in 
>> the correct octave. I know that I can do an \octaveCheck but this 
>> throws up an error message if it's not right. Is there a simple way to 
>> force a note to be in a correct octave without the error messages? I 
>> know that I can do  \relative c' { music } but this gives a lot of 
>> otherwise superfluous brackets.

>> What I think is really needed here is something like \forceOctave c'' 
>> which moves subsequent music into the octave without any error 
>> messages. Or does it exist somewhere and (as a newbie) I haven't found it?

> I think \resetRelativeOctave is what you’re looking for.

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Re: Is there a short way of forcing a particular octave?

[Simon Albrecht]

On 20.12.2016 17:39, Peter Toye wrote:
Is there a short way of forcing a particular octave? I tend to enter 
my music using the \relative notation. I want make sure, especially 
after a complicated set of new voices or a frequently-used music 
pattern that's been put into a variable, that the next note will be in 
the correct octave. I know that I can do an \octaveCheck but this 
throws up an error message if it's not right. Is there a simple way to 
force a note to be in a correct octave without the error messages? I 
know that I can do  \relative c' { music } but this gives a lot of 
otherwise superfluous brackets.


What I think is really needed here is something like \forceOctave c'' 
which moves subsequent music into the octave without any error 
messages. Or does it exist somewhere and (as a newbie) I haven't found it?


I think \resetRelativeOctave is what you’re looking for.

Best, Simon

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Is there a short way of forcing a particular octave?

[Peter Toye]

I tend to enter my music using the \relative notation. I want make sure, 
especially after a complicated set of new voices or a frequently-used music 
pattern that's been put into a variable, that the next note will be in the 
correct octave. I know that I can do an \octaveCheck but this throws up an 
error message if it's not right. Is there a simple way to force a note to be in 
a correct octave without the error messages? I know that I can do  \relative c' 
{ music } but this gives a lot of otherwise superfluous brackets.

What I think is really needed here is something like \forceOctave c'' which 
moves subsequent music into the octave without any error messages. Or does it 
exist somewhere and (as a newbie) I haven't found it?
 
Regards,

Peter
mailto:lilyp...@ptoye.com
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Re: Automatic Lyric Extenders

[Br. Samuel Springuel]

On 2016-12-20 5:04 AM, Alexander Kobel wrote:

Great. Just out of curiosity (and because we need to pick a default of
the equivalent variable for the release version at some point): which
value for minimum-length did you prefer?


I'm using 0 at the moment.  I may lengthen that later, but I generally 
like seeing extenders in most places and have yet to come across a 
snippet with what I consider to be a "too short" extender.


--
✝
Br. Samuel, OSB
St. Anselm’s Abbey
Washington, DC
(R. Padraic Springuel)

PAX ☧ ΧΡΙΣΤΟΣ

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Re: convert-ly oddities

[Peter Toye]

Thomas,

I've checked using the Windows command line and the spurious newlines don't 
occur. It's presumably a Frescobaldi issue, so I'll go to Wilbert for more help.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Monday, December 19, 2016, 10:15:41 PM, you wrote:

> 2016-12-19 11:35 GMT+01:00 Peter Toye :
>> Thomas,

>> Thanks - I've just found the version number issue hidden in the Usage
>> manual!

>> But the double newline issue is still an annoyance - it seriously reduces
>> the amount of text I can get on a screen. I've looked at the files with a
>> hex editor and it's interesting. I'm using Frescobaldi to generate the
>> files, and it seems that this uses only hex 0A as a line delimiter (very
>> Unix). Convert-ly replaces this with hex 0A 0A. But it's not consistent, and
>> I don't recall this happening in previous conversions. The snippets below
>> show the differences. I'd like to report this as a bug, but the link to
>> gmane on the LP website is broken.

> I could forward this to the bug-list, though you could try to send it to
> bug-lilyp...@gnu.org
> yourself, even if not subscribed it will probably get through.

> Though, I'm not convinced about a LilyPond-bug.
> Please recheck without using Frescobaldi.

> Cheers,
>   Harm

>> \version "2.18.2"
>> \score {

>>  \layout {}
>>  \midi {}
>> }

>> \version "2.19.49"
>> \score {


>>  \layout {}

>>  \midi {}
>> }


>> %{
>> convert-ly.py (GNU LilyPond) 2.19.52  convert-ly.py: Processing `'...
>> Applying conversion: 2.19.2, 2.19.7, 2.19.11, 2.19.16, 2.19.22,
>> 2.19.24, 2.19.28, 2.19.29, 2.19.32, 2.19.40, 2.19.46, 2.19.49
>> %}


>> Best regards,

>> Peter
>> mailto:lilyp...@ptoye.com
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Re: restNeutral equivalent?

[damianlegassick]

> On 20 Dec 2016, at 14:09, Phil Holmes  wrote:
> 
> - Original Message - From: "damianlegassick" 
> To: 
> Sent: Tuesday, December 20, 2016 2:00 PM
> Subject: restNeutral equivalent?
> 
> 
>> Hello all
>> 
>> I have some music in a variable which will be transposed. The transposition 
>> means that some clef changes mid-variable will be necessary. I’m trying to 
>> use an additional voice for the clef changes, but it leaves the rests in 
>> voice 1 all at the same vertical height.
>> 
>> Any ideas how I can get the rests in voice 1 to sit in their ‘normal’ 
>> places? Or is there a better way to go about the problem?
>> 
>> thanks as always
>> 
>> Damian
>> 
>> 
>> \version "2.19.50"
>> 
>> \header { tagline = "" }
>> 
>> theTune = { ees''8. r16 ees'8. r16 ees8. r16 }
>> 
>> <<
>> { \time 3/4 \stemNeutral
>>  \theTune \transpose ees f, {\theTune}
>>   }
>> \\
>> { s2 \clef bass s4 \clef treble s4 \clef bass
>> }
 
> 
> 
> Instead of stemNeutral try oneVoice.
> 
> --
> Phil Holmes 

brilliant, thanks

Damian
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Re: restNeutral equivalent?

[Phil Holmes]

- Original Message - 
From: "damianlegassick" 

To: 
Sent: Tuesday, December 20, 2016 2:00 PM
Subject: restNeutral equivalent?



Hello all

I have some music in a variable which will be transposed. The 
transposition means that some clef changes mid-variable will be necessary. 
I’m trying to use an additional voice for the clef changes, but it leaves 
the rests in voice 1 all at the same vertical height.


Any ideas how I can get the rests in voice 1 to sit in their ‘normal’ 
places? Or is there a better way to go about the problem?


thanks as always

Damian


\version "2.19.50"

\header { tagline = "" }

theTune = { ees''8. r16 ees'8. r16 ees8. r16 }

<<
{ \time 3/4 \stemNeutral
  \theTune \transpose ees f, {\theTune}
   }
\\
{ s2 \clef bass s4 \clef treble s4 \clef bass
}





Instead of stemNeutral try oneVoice.

--
Phil Holmes 



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restNeutral equivalent?

[damianlegassick]

Hello all

I have some music in a variable which will be transposed. The transposition 
means that some clef changes mid-variable will be necessary. I’m trying to use 
an additional voice for the clef changes, but it leaves the rests in voice 1 
all at the same vertical height.

Any ideas how I can get the rests in voice 1 to sit in their ‘normal’ places? 
Or is there a better way to go about the problem?

thanks as always

Damian


\version "2.19.50" 

\header { tagline = "" } 

theTune = { ees''8. r16 ees'8. r16 ees8. r16 }

<< 
{ \time 3/4 \stemNeutral 
  \theTune \transpose ees f, {\theTune} 
}
\\ 
{ s2 \clef bass s4 \clef treble s4 \clef bass 
}
>>
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Re: Better slashed graces

[Gilberto Agostinho]

Hi Andrew,

Thanks for your reply!


Andrew Bernard wrote
> You may not be aware of my detailed work on slashed beams and slashed
> stems
> that I recently contributed to openlilylib. Theres a function that
> provides
> fine control over the parameters of beam slashes, and which works on the
> left as well as the right (needed for many contemporary scores). 

Indeed I was not aware of your work -- actually, this is the first time I am
using openlilylib. That library is quite amazing!


> I think you have somewhat different use case to me - I needed individual
> control finely tuned, but is it that you want the function to
> automatically
> compute a variable angle but based on some beam criteria? 

Indeed. I had a look at your slashes, and of course your solution is very
powerful when you need fine control, but what I was looking for was simply a
solution that takes care of it automatically. For my own scores, these
functions I adapted here work very well (in particular because I tend to
force the beam of grace groups to be horizontal on my own compositions, so
my slashes are consistently in the correct position).


> I am sure something like that could be added to my code. The code I have 
> submitted has been pretty heavily tested, and apart from anything else,
> has 
> some lovely trigonometry!

If you have the interest in creating some snippets for automatic slash using
your functions, that would be great of course, and I am sure me or other
people will find use for it! But as of now, as I said, this here suits me
very well, and I am not good enough with Scheme to try adapting your
solution. When I asked for help with the bug in my function, I was not
really looking for "improvements" to the results itself but rather some help
to create a conditional for a specific case (grace notes without beam) which
was giving me an error, and now that David has spotted the issue and sent me
a solution it's all working fine for me.

Take care!
Gilberto



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Re: Any idea what this error message means?

[ptoye]

David Wright wrote
> At first glance, it looks as if the problem might be caused by the
> last line of lilypond/usr/bin/ps2pdfwr which looks like:
> 
> exec "$GS_EXECUTABLE" $OPTIONS -q -P- -dNOPAUSE -dBATCH -sDEVICE=pdfwrite
> -sstdout=%stderr "-sOutputFile=$outfile" $OPTIONS -c .setpdfwrite -f
> "$infile"
> 
> What does the Windows version have here?

David, it's the same. This is from my Windows installation.

exec "$GS_EXECUTABLE" $OPTIONS -q -P- -dNOPAUSE -dBATCH -sDEVICE=pdfwrite
-sstdout=%stderr "-sOutputFile=$outfile" $OPTIONS -c .setpdfwrite -f
"$infile"

It's no longer an issue as I won't use spaces in file names again.

Peter




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Re: Automatic Lyric Extenders

[Alexander Kobel]

On 2016-12-20 02:44, Br. Samuel Springuel wrote:

On 2016-12-19 6:27 PM, Simon Albrecht wrote:

I actually meant using an include file like the attached and not
having to add the music function locally at all.


Beautiful - didn't know that this was possible at all.


#(set! toplevel-music-functions
   (cons (lambda (music parser) (autoextenders music))
 toplevel-music-functions))


When I add this to the bottom of autoextenders.ily I get the following
error: [...]
Based on memories of reading this list, and the hint about number of
arguments, I realized that the problem was because I'm using 2.19.53 and
the parser argument is no longer required.  Deleting that got things
working.  It should be noted that this was not something that convert-ly
run on autoextenders.ily caught; I had to do this manually.


I'm not surprised; I don't think that convert-ly touches Scheme code 
like that. Simplified version of the above:


#(set! toplevel-music-functions
   (cons autoextenders toplevel-music-functions))


I thought of using sed too, but thanks to Simon don't have to anymore.
What I was more concerned about, however, was the time needed to review
the results of the application to see if anything broke as a result.


I see.


After a quick review of the half-dozen or so examples I have entered for
this project so far, everything seem fine.


Great. Just out of curiosity (and because we need to pick a default of 
the equivalent variable for the release version at some point): which 
value for minimum-length did you prefer?



Cheers,
Alexander

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