RE: Error message

[Andrew Bernard]

Hi All,

I have been working closely with Craig to study the matter. Interestingly,
in this large incomplete score as received, it consumed an ever expanding
amount of memory until it crashed with no output. I observed a set of
warnings regarding missing parts. In my experience one ignores lilypond
warnings, even though not errors, at one's peril. I asked Craig to address
the errors, and then it compiled fine, although still consuming a lot of
memory. That in itself is interesting.

I ran on Linux Mint 18.1, Windows 10, and Mac OS X 10.12.5. All work fine
now. The remaining issue is that as Craig needs to add yet more parts to
this large wind orchestra work that it will max out memory again and fail.
We have yet to see.

Memory use for the lilypond process reaches about 4.9 GiB on linux, and
about 2.9-3 GiB on Windows and OS X.

Looking at the source code, it is clear that Craig is a master user of
lilypond, and I could not find anything obviously funky or misguided or
peculiar in the code that may cause memory blowouts.

My conclusion is that lilypond at this point in time does not handle large
scores in a constrained manner re memory, and as the score gets larger and
longer and longer, so lilypond's memory use just increases in linear
proportion. There must not be any pipelining and parallelism going on.
Indeed, I believe a very closely related thread regarding graphics
pipelining is current in the development list. I can say from this study
here that improvements in this area would welcome, nay, necessary for
ambitiously large projects. If this score reached 200 hundred pages, I doubt
it would compile on 32 bit systems, based in my measurements. And as
mentioned, we fear that adding the remaining parts will require more memory
than is available on 32 bit machines.

Regarding memory usage, I posed a question on the devel list which has so
far been overlooked. Why is the Mac OSX version of lilypond 32 bit, when
Macs have been6 4 bit for a long time? The same question can be asked for
Windows. Why is lilypond on Windows also only 32 bit? Is there some
technical limitation forcing this? Or is it just that the average use does
not make vast scores?

I will mention that it is interesting that on Windows the ram does sit just
under the 3 GiB limit imposed on processes by Microsoft, so perhaps lilypond
is behaving nicely and the linear increase in memory use with size is not
actually correct, and lilypond is managing memory, up to the 32 bit system
limit on Windows, and that it was unaddressed warnings blowing memory out
for some reason.

Andrew




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Re: Error message

[Thomas Morley]

2017-06-26 0:33 GMT+02:00 Maxime's Music :
> Hi all,
>
> Thanks for all your efforts with this. I'm out of internet range till
> Wednesday. Just trying to survive on my phone.
>
> Harm, if you'd like to forward those files, that's fine.
>
> Craig

Done.

Best,
  Harm

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Re: Error message

[Maxime's Music]

Hi all,

Thanks for all your efforts with this. I'm out of internet range till
Wednesday. Just trying to survive on my phone.

Harm, if you'd like to forward those files, that's fine.

Craig
On Mon, 26 Jun 2017 at 8:20 am, Thomas Morley 
wrote:

> 2017-06-26 0:00 GMT+02:00 Michael Gerdau :
> >> I'd be happy to test.  I've an 8 Gig Ubuntu machine (my Gub builder) an
> >> 8 Gig Windows 10 and my day-to-day 6 Gig Vista.  I could test with any
> >> of those.  Would require the score privately.
> >
> > If it is still of interest, I could run on either my 16GB ArchLinux
> > Laptop or my 64GB ArchLinux DB Server.
> >
> > Like Phil I would need the score privately.
> >
> > Kind regards,
> > Michael
>
>
> Hi Phil, Michael,
>
> if of interest, I could send you the .zip with the files Craig sent to
> me and an additional folder where I've put in my changes. The
> saxaphon-music would be still missing, though.
>
> In any case I will wait for Craig's ok, before doing so.
>
>
> Cheers,
>   Harm
>
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Re: Error message

[Thomas Morley]

2017-06-26 0:00 GMT+02:00 Michael Gerdau :
>> I'd be happy to test.  I've an 8 Gig Ubuntu machine (my Gub builder) an
>> 8 Gig Windows 10 and my day-to-day 6 Gig Vista.  I could test with any
>> of those.  Would require the score privately.
>
> If it is still of interest, I could run on either my 16GB ArchLinux
> Laptop or my 64GB ArchLinux DB Server.
>
> Like Phil I would need the score privately.
>
> Kind regards,
> Michael


Hi Phil, Michael,

if of interest, I could send you the .zip with the files Craig sent to
me and an additional folder where I've put in my changes. The
saxaphon-music would be still missing, though.

In any case I will wait for Craig's ok, before doing so.


Cheers,
  Harm

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Re: Error message

[Michael Gerdau]

> I'd be happy to test.  I've an 8 Gig Ubuntu machine (my Gub builder) an
> 8 Gig Windows 10 and my day-to-day 6 Gig Vista.  I could test with any
> of those.  Would require the score privately.

If it is still of interest, I could run on either my 16GB ArchLinux
Laptop or my 64GB ArchLinux DB Server.

Like Phil I would need the score privately.

Kind regards,
Michael
-- 
 Michael Gerdau   email: m...@qata.de
 GPG-keys available on request or at public keyserver

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Re: Editorial accidentals

[Menu Jacques]

Hello Harm and David,

Thanks for the explanations and example!

I copied a sample from the snippets and modified it, without taking care about 
detailed semantics.
Now I know how to do things the right way depending on the context.

JM

> Le 25 juin 2017 à 10:44, David Kastrup  a écrit :
> 
> Thomas Morley > 
> writes:
> 
>> 2017-06-25 8:40 GMT+02:00 Menu Jacques :
>>> Thanks Simon for the idea.
>>> 
>>> I’ve defined the following Scheme function for my needs, with accidental 
>>> style forced to ‘forget' for the given note:
>>> 
>>> editorialAccidental =
>>> #(define-music-function
>>>  (note)
>>>  (ly:music?)
>>>  #{
>>>\once\accidentalStyle forget
>>>\once\set suggestAccidentals = ##t
>>>#note
>>>  #})
>>> 
>>> {
>>>  \editorialAccidental cis4
>>>  cis4
>>>  dis4
>>>  \editorialAccidental cis4
>>> }
>>> 
>>> JM
>> 
>> 
>> Hi Jaques,
>> 
>> while calling a variable, here 'note', in embedded lily-code, i.e. in
>> #{ ... #}, always use $note not #note.
>> Doing something with #note destructively changes 'note', so you can't
>> access the unchanged 'note' anymore.
>> Working on $note works on a copy of 'note' so you still have access to
>> the original 'note'.
> 
> In this particular use case of using the material (of kind ly:music?)
> exactly once, #note is actually correct.  This possibility of using
> material uncopied and destructively is useful for processing large
> amounts of music like with
> 
> \relative c' { 100 lines of stuff }
> 
> In cases like that, not creating a copy for music that is just
> transitionally used is fine.  In many other cases, you are right that it
> isn't, and the error symptoms are hard to understand and occur only
> under some circumstances (uses of \relative and \transpose are often
> involved but by no means the only triggers).
> 
> -- 
> David Kastrup

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Re: Different staff sizes and resetting fonts

[Peter Crighton]

2017-06-23 3:30 GMT+02:00 David Wright :

> On Thu 22 Jun 2017 at 17:10:56 (-0700), tisimst wrote:
>
> > My experience tells me that although the staff-size is larger in the
> second
> > \bookpart, the horizontal treatment isn't going to be a normal 17pt. It
> > will still be more like the 15pt global one. The only way I've found to
> get
> > true horizontal spacing correction is with completely different \book
> > blocks, which you can use a separate #(set-global-staff-size... before
> each
> > one, like this:
> >
> > #(set-global-staff-size 15)
> > \book {
>
> \bookOutputSuffix "01"
>
> >   \paper {
> > #(set-global-fonts ...)
> >   }
> >   { ... bookpart here ... }
> > }
> >
> > #(set-global-staff-size 17)
> > \book {
>
> \bookOutputSuffix "02"
>
> >   \paper {
> > #(set-global-fonts ...)
> >   }
> >   { ... another bookpart here ... }
> > }
> >
> > Unfortunately, this results in separate output PDFs, which I don't think
> > you want.
>
> If you can handle the titling (which might differ between
> \book and \bookpart) and page numbering, it is trivial to
> concatenate the output PDFs with pdftk. Make it more
> convenient by suffixing the LP output filenames as shown above
> so that you can wildcard/glob them in the command line:
>
> pdftk lilyoutputname*.pdf cat output concatenated-file.pdf


Thank you both, Abraham and David.
It seems like the least effort now is to produce several PDF files and
concatenate them, which means I also have to manually create a table of
contents. Had I known beforehand that working with different staff sizes
would be such a problem, I simply could have chosen other font sizes, since
those parts don’t actually feature music, only text and chord symbols.
Well, I am wiser for the next project now …

--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Compress Full Bar Rests with Temporary Divisi Staves

[NagyMusic]

Hello!
This is my first post (question) to all Lilypond-User list members, so my
apology if this issue has been resolved already. I welcome your guidance in
this matter and thank you for you time.

Attached you will find three .ly files corresponding to the engraving of a
short example from Arvo Pärt's piece for string orchestra, *Grand Antiphons*.
The engraving of this excerpt was undertaken in an effort to learn how to
typeset temporary divisi strings. The files are labeled as follows: *music.ly
* (including all the music, styles, etc.), *full_score.ly
* (compiling the full score for the example), and
*parts-Cb.ly* (featuring the double bass instrumental part).

While the temporary divisi structure is compiling just fine in the full
score, at least considering the given circumstances and using this
particular music), I can't seem to figure out *why** the full bar rests are
not compressed in the contrabasso part*. Instead, the empty bars, while
included in the Cb. part, contain no rests. I speculate this may have to do
something with rest, perhaps, but I'm not sure how to go around it. It seem
like something might be overriding the \compressFullBarRests? I also
attached a snippet that I modified to fit my example (3518.ly).

Thank you very much!
nagymusic


music.ly
Description: Binary data


parts-Cb.ly
Description: Binary data


full_score.ly
Description: Binary data


3518.ly
Description: Binary data
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Re: Install LilyBoulez or other alternative fonts on Ubuntu

[Malte Meyn]

Am 25.06.2017 um 20:45 schrieb Remy CLAVERIE:

I think that you have to donwload the fonts into the '.fonts' directory of your 
home (beware to the 's' at the end of the name). If it does'nt exist, you must 
create it. Then, run the 'fc-cache -v- -f' and all the new fonts should be 
available for all the software, including libreoffice.


LilyPond looks for music fonts in it’s own font directory, something 
like XXX/lilypond/usr/share/lilypond/current/fonts/otf, where XXX is 
/usr/local or ~ or something similar (Maybe it’s a bit different when 
installed via the package manager, perhaps 
/usr/share/lilypond/current/fonts/otf).


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re: Install LilyBoulez or other alternative fonts on Ubuntu

[Remy CLAVERIE]

Hi Luca,

 

I think that you have to donwload the fonts into the '.fonts' directory of your 
home (beware to the 's' at the end of the name). If it does'nt exist, you must 
create it. Then, run the 'fc-cache -v- -f' and all the new fonts should be 
available for all the software, including libreoffice.

 

Let me know if it doesn't work,

 

Have a nice day,

 

Rémy

 

 

 

 

 

> Message du 25/06/17 18:33
> De : "Luca Danieli" 
> A : "lilypond-user@gnu.org" 

> Copie à : 
> Objet : Install LilyBoulez or other alternative fonts on Ubuntu
> 
>

> Hello,

> 
>

> I have searched for this information on READMEs, internet search engines and 
> on previous Lilypond emails but I didn't understand how to move.

> I am on Ubuntu and I would like to add one font from the OpenLilyPontFonts 
> repository to my Lilypond. Can someone give me a few hints on how to move or 
> where to find information about?

> 
>

> I guess that I have to download the library and place it somewhere, but I am 
> not aware of where fonts are placed within my machine.

> 
>

> Thank you

> Luca





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Re: How to hide fingering in the output

[Noeck]

Hi

Am 25.06.2017 um 17:54 schrieb Ivanov Dmitry:
> Would it be better to move:
> 
> \once \override Staff.TimeSignature #'stencil = ##f
> \override Staff.Clef #'stencil = ##f
> 
> to the layout block as well? Or keep it as is?

Fist, \omit is always equivalent to setting the stencil to false (##f)
but the former is shorter and easier readable. So I would write:

\once \omit Staff.TimeSignature
\omit Staff.Clef

But now to your question: If you put the commands inside your music, the
first one will make the TimeSignature disappear *at this moment in time*
(because of \once) - so it does not make sense to put it in a layout
block, because there are no points in time there.

The second command makes the Clef disappear *from this moment on*. If
you have it in the beginning and want it for all staves at all times,
then it makes sense to put it in a \layout block.

HTH,
Joram

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Re: How to hide fingering in the output

[David Kastrup]

Richard Shann  writes:

> On Sun, 2017-06-25 at 18:54 +0300, Ivanov Dmitry wrote:
>> > move it to a layout block:
>> >
>> > \layout {  \omit Fingering }
>> 
>> Great. Would it be better to move:
>> 
>> \once \override Staff.TimeSignature #'stencil = ##f
>> \override Staff.Clef #'stencil = ##f
>> 
>> to the layout block as well? Or keep it as is?
>
> I'd like to know the answer to this as well, I don't know what I'm doing
> - just juggling stuff around until it works - a very bad way to achieve
> robust and readable code :(

\layout { \omit Fingering }

is equivalent to

\layout { \omit Bottom.Fingering }

and omits Fingering in _any_ context with a Bottom alias.  It's probably
more targeted to write

\layout {
  \context { \Voice
\omit Fingering
  }
}

which specifically just addresses Voice contexts.  In a similar vein,
one can write

\layout {
  \context { \Staff
\omit TimeSignature
\omit Clef
  }
}

to target just Staff contexts while

\layout {
  \omit Staff.TimeSignature
}

will address all contexts with a Staff alias (which includes TabStaff,
VaticanaStaff and others).

-- 
David Kastrup

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Install LilyBoulez or other alternative fonts on Ubuntu

[Luca Danieli]

Hello,


I have searched for this information on READMEs, internet search engines and on 
previous Lilypond emails but I didn't understand how to move.

I am on Ubuntu and I would like to add one font from the OpenLilyPontFonts 
repository to my Lilypond. Can someone give me a few hints on how to move or 
where to find information about?


I guess that I have to download the library and place it somewhere, but I am 
not aware of where fonts are placed within my machine.


Thank you

Luca
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Re: How to hide fingering in the output

[Richard Shann]

On Sun, 2017-06-25 at 18:54 +0300, Ivanov Dmitry wrote:
> > move it to a layout block:
> >
> > \layout {  \omit Fingering }
> 
> Great. Would it be better to move:
> 
> \once \override Staff.TimeSignature #'stencil = ##f
> \override Staff.Clef #'stencil = ##f
> 
> to the layout block as well? Or keep it as is?

I'd like to know the answer to this as well, I don't know what I'm doing
- just juggling stuff around until it works - a very bad way to achieve
robust and readable code :(

Richard



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Re: How to hide fingering in the output

[Ivanov Dmitry]

> move it to a layout block:
>
> \layout {  \omit Fingering }

Great. Would it be better to move:

\once \override Staff.TimeSignature #'stencil = ##f
\override Staff.Clef #'stencil = ##f

to the layout block as well? Or keep it as is?

On 6/25/17, Richard Shann  wrote:
> On Sun, 2017-06-25 at 17:34 +0300, Ivanov Dmitry wrote:
>> I have a problem with several voices:
>>
>> \version "2.18.2"
>> \language "english"
>> \paper {
>>   indent = 0
>> }
>> \new Staff  \relative f''{
>>   \time 2/4
>>   \once \override Staff.TimeSignature #'stencil = ##f
>>   \override Staff.Clef #'stencil = ##f
>>   \omit Fingering
>>   \relative g'' {  <<
>>   \new Voice \relative c''{
>> \voiceOne
>> c2_2_[]
>>   }
>>   \new Voice \relative g''{
>> \voiceTwo
>> \override Fingering.direction = #UP
>> g8-4^[ e-3~ e e]
>>   }
>>   >> }
>> }
>>
>> This produces fingering. How can I remove it?
>
> move it to a layout block:
>
> \version "2.18.2"
> \language "english"
> \paper {
>   indent = 0
> }
> \layout {  \omit Fingering }
> \new Staff  \relative f''{
>   \time 2/4
>   \once \override Staff.TimeSignature #'stencil = ##f
>   \override Staff.Clef #'stencil = ##f
>
>   \relative g'' {  <<
>   \new Voice \relative c''{
> \voiceOne
> c2_2_[]
>   }
>   \new Voice \relative g''{
> \voiceTwo
> \override Fingering.direction = #UP
> g8-4^[ e-3~ e e]
>   }
>   >> }
> }
>
> Richard
>
>
>

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Re: How to hide fingering in the output

[Richard Shann]

On Sun, 2017-06-25 at 17:34 +0300, Ivanov Dmitry wrote:
> I have a problem with several voices:
> 
> \version "2.18.2"
> \language "english"
> \paper {
>   indent = 0
> }
> \new Staff  \relative f''{
>   \time 2/4
>   \once \override Staff.TimeSignature #'stencil = ##f
>   \override Staff.Clef #'stencil = ##f
>   \omit Fingering
>   \relative g'' {  <<
>   \new Voice \relative c''{
> \voiceOne
> c2_2_[]
>   }
>   \new Voice \relative g''{
> \voiceTwo
> \override Fingering.direction = #UP
> g8-4^[ e-3~ e e]
>   }
>   >> }
> }
> 
> This produces fingering. How can I remove it?

move it to a layout block:

\version "2.18.2"
\language "english"
\paper {
  indent = 0
}
\layout {  \omit Fingering }
\new Staff  \relative f''{
  \time 2/4
  \once \override Staff.TimeSignature #'stencil = ##f
  \override Staff.Clef #'stencil = ##f
 
  \relative g'' {  <<
  \new Voice \relative c''{
\voiceOne
c2_2_[]
  }
  \new Voice \relative g''{
\voiceTwo
\override Fingering.direction = #UP
g8-4^[ e-3~ e e]
  }
  >> }
}

Richard



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RE: How to move markup horizontally

[Joseph Srednicki]

Thanks for the help. This works.

-Original Message-
From: Kieren MacMillan [mailto:kieren_macmil...@sympatico.ca] 
Sent: Sunday, June 25, 2017 10:56 AM
To: Lilypond-User Mailing List 
Cc: Joseph Srednicki 
Subject: Re: How to move markup horizontally

Hi Joe,

> I am trying to move markup horizontally. See the following example:
> 
> \version "2.19.58" {
>  \relative c' {d4_\markup{\pad-x #7.0 {\line{R.\dynamic{p  d d d} 
> }

Here are two possible solutions:

%%%   SNIPPET BEGINS
\version "2.19.58"

\markup \bold "This keeps the 'R.' and dynamic fixed together:"
\relative c' {
d4 -\tweak self-alignment-X #0.375 _\markup \concat { \lower #0.25 R. 
\hspace #1.5 \dynamic p } d d d }

\markup \bold "This places the 'R.' separately from the dynamic:"
\relative c' {
d4\p -\tweak self-alignment-X #2.375 -\tweak Y-offset #-5 _\markup "R." d d 
d } %%%  SNIPPET ENDS

I think I prefer the second, since "p" is a dynamic, and "R." is [ultimately] a 
performance instruction. But I think either of these solutions are superior to 
(e.g.) using extra-offset.

Hope this helps!
Kieren.


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



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Re: How to move markup horizontally

[Kieren MacMillan]

Hi Joe,

> I am trying to move markup horizontally. See the following example:
> 
> \version "2.19.58" {
>  \relative c' {d4_\markup{\pad-x #7.0 {\line{R.\dynamic{p  d d d}
> }

Here are two possible solutions:

%%%   SNIPPET BEGINS
\version "2.19.58"

\markup \bold "This keeps the 'R.' and dynamic fixed together:"
\relative c' {
d4 -\tweak self-alignment-X #0.375 _\markup \concat { \lower #0.25 R. 
\hspace #1.5 \dynamic p } d d d
}

\markup \bold "This places the 'R.' separately from the dynamic:"
\relative c' {
d4\p -\tweak self-alignment-X #2.375 -\tweak Y-offset #-5 _\markup "R." d d 
d
}
%%%  SNIPPET ENDS

I think I prefer the second, since "p" is a dynamic, and "R." is [ultimately] a 
performance instruction. But I think either of these solutions are superior to 
(e.g.) using extra-offset.

Hope this helps!
Kieren.


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


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Re: How to hide fingering in the output

[Ivanov Dmitry]

I have a problem with several voices:

\version "2.18.2"
\language "english"
\paper {
  indent = 0
}
\new Staff  \relative f''{
  \time 2/4
  \once \override Staff.TimeSignature #'stencil = ##f
  \override Staff.Clef #'stencil = ##f
  \omit Fingering
  \relative g'' {  <<
  \new Voice \relative c''{
\voiceOne
c2_2_[]
  }
  \new Voice \relative g''{
\voiceTwo
\override Fingering.direction = #UP
g8-4^[ e-3~ e e]
  }
  >> }
}

This produces fingering. How can I remove it?

On 6/25/17, Ivanov Dmitry  wrote:
> Manuela Gößnitzer  writes:
>
>> Try
>>
>> \override Fingering.stencil = ##f
>
> David Kastrup writes:
>
>> As does
>>
>>\omit Fingering
>
>
> Thanks a lot. Both variants work.
>

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RE: How to move markup horizontally

[Joseph Srednicki]

Manuela and Andrew:

 

Thanks for the answers. These examples work for me.

 

Joe Srednick

 

From: Manuela Gößnitzer [mailto:pressephotogra...@gmail.com] 
Sent: Sunday, June 25, 2017 1:22 AM
To: Andrew Bernard 
Cc: Joseph Srednicki ; lilypond-user Mailinglist 

Subject: Re: How to move markup horizontally

 

I do not recommand the usage of extra-offset (this was discussed in the German 
forum some time ago), try this instead

 

\version "2.19.58"

 

\relative c'' {

  d4_\markup

  {

\line

{ \null \hspace #-7 R.\dynamic { p } }

  }

}

 

 

2017-06-25 2:38 GMT+02:00 Andrew Bernard  >:

Hi Joe,

 

One way would be to use extra-offset.

 

\version "2.19.58"

{

  \relative c' {

\once \override TextScript.extra-offset = #'(-5 . 0)

d4_\markup{\pad-x #7.0 {\line{R.\dynamic{p  d d d}

}

 

Andrew

 


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Re: bar number interference

[Manuela Gößnitzer]

I use this construction:

\version "2.18.2"

melody = {
  %\override Score.BarNumber.break-visibility = ##(#t #t #t)
  \time 5/4   b2.( b4 ) r4 |
}

harmonies = \chordmode { b2.:min fis2:min7 | }
\layout {
  \context {
\Score
\remove "Bar_number_engraver"
  }
  \context {
\Staff
\consists "Bar_number_engraver"
\override BarNumber.break-visibility = #all-visible
\override BarNumber.color = #grey
\override BarNumber.layer = #-200
\override BarNumber.outside-staff-priority =#'()
\override BarNumber.padding = #1
\override BarNumber.font-size = #1
\override BarNumber.self-alignment-X = #0
  }
}

\score {
  <<
\new ChordNames { \harmonies }
\new Staff { \melody }
  >>
}

2017-06-22 17:32 GMT+02:00 bb :

> I have checked the NR http://lilypond.org/doc/v2.18/
> Documentation/notation/bars . Indeed, there is not any problem, as long
> as you do not use chord names.
>
> May be, there is another chapter in the NR concerning this case of
> interfering with chord names? If any please point me to that. Thanks.
>
> BB
>
> Am 22.06.2017 um 17:12 schrieb Andrew Bernard:
>
> Hello BB,
>
> But this is in the NR in the section on bar numbers, is it not?
>
> Andrew
>
> ==
>
> \relative c' {
>   \set Score.currentBarNumber = #111
>   \override Score.BarNumber.break-visibility = #all-visible
>   % Increase the size of the bar number by 2
>   \override Score.BarNumber.font-size = #2
>   % Print a bar number every second measure
>   \set Score.barNumberVisibility = #(every-nth-bar-number-visible 2)
>   c1 | c1
>   % Center-align bar numbers
>   \override Score.BarNumber.self-alignment-X = #CENTER
>   c1 | c1
>   % Left-align bar numbers
>   \override Score.BarNumber.self-alignment-X = #LEFT
>   c1 | c1
> }
>
>
>
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Re: How to hide Figured Bass in output (was Re: How to hide fingering in the output)

[Richard Shann]

On Sun, 2017-06-25 at 12:55 +0200, David Kastrup wrote:
> Richard Shann  writes:
> 
> > On Sun, 2017-06-25 at 08:08 +0200, David Kastrup wrote:
> >> Manuela Gößnitzer  writes:
> >> 
> >> > You have the right idea already ;-)
> >> > The Fingering stencil is part of the Voice context
> >> >
> >> > Try
> >> >
> >> > \override Fingering.stencil = ##f
> >> >
> >> > (I hope this syntax works with 2.18)
> >> 
> >> As does
> >> 
> >> \omit Fingering
> >
> > Oh, nice that cleans up one bit of Denemo's LilyPond generation!
> >
> > I looked through the documentation for Fingering and found the
> > BassFigure layout object. However
> >
> > \layout { \omit BassFigure }
> >
> > doesn't turn off the Bass Figures in a score.
> 
> Probably
> 
> \layout {
>   \context { \FiguredBass
>  \omit BassFigure
>}
> }

Thanks, perfect!

Richard



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: Re: transpose range

[Peter Gentry]

Yes there is a way but it has disadvantages. 

 

Often the result is awkward jumps. I indicate changed notes by note head
style and colour so that it is easier to edit the results.

 

If you are still interested let me know and I will send you the scheme
procedure and an example. I allow for different instruments having different
ranges.

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Re: How to hide Figured Bass in output (was Re: How to hide fingering in the output)

[David Kastrup]

Richard Shann  writes:

> On Sun, 2017-06-25 at 08:08 +0200, David Kastrup wrote:
>> Manuela Gößnitzer  writes:
>> 
>> > You have the right idea already ;-)
>> > The Fingering stencil is part of the Voice context
>> >
>> > Try
>> >
>> > \override Fingering.stencil = ##f
>> >
>> > (I hope this syntax works with 2.18)
>> 
>> As does
>> 
>> \omit Fingering
>
> Oh, nice that cleans up one bit of Denemo's LilyPond generation!
>
> I looked through the documentation for Fingering and found the
> BassFigure layout object. However
>
> \layout { \omit BassFigure }
>
> doesn't turn off the Bass Figures in a score.

Probably

\layout {
  \context { \FiguredBass
 \omit BassFigure
   }
}

or something.  \omit is just an override.

-- 
David Kastrup

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Re: Error message

[Phil Holmes]

I'd be happy to test.  I've an 8 Gig Ubuntu machine (my Gub builder) an 8 
Gig Windows 10 and my day-to-day 6 Gig Vista.  I could test with any of 
those.  Would require the score privately.


--
Phil Holmes


- Original Message - 
From: "Thomas Morley" 

To: "Maxime's Music" 
Cc: "lilypond-user" 
Sent: Sunday, June 25, 2017 11:34 AM
Subject: Re: Error message



2017-06-23 11:09 GMT+02:00 Maxime's Music :

Thanks for taking a look at this for me.


Hi Craig,

as long as I don't need to post larger amounts of your code I'll answer 
onlist.

Hope this is ok with you.

That said, I was not able to compile your code in a reasonable amount of 
time.

I always aborted after ~2h compile-time.

Even while using
ly:one-line-breaking
to skip page-breaking I was not successfull, although you forgot to
include the saxaphon-music in the zip-file, so that I excluded it from
\score.
How long did a successful run last for you?

I'm on an admittedly weak laptop, only 4GB RAM. Using Ubuntu 16.04
64-bit with mutiple lily-versions.

Only thing I stumbled across is your use of scaling durations for
every tuplet like:
   \times 2/3  {
 r8*1023/1024 d'8*513/512 ( [ c8*1023/1024 ) ]
   }
This does not make any sense to me. Why do you do so?

Anyway, even after deleting all scaling of this kind I didn't get a
successful run in a reasonable amount of time.

As far as I can tell nothing else in your code should be that
expensive to eat up memory or to let explode compile-time.

Would be great if someone else with a stronger computer could retest.
For example, I didn't try to exclude Melody_engraver.
During the 2h compile-time my computer is not usable for other stuff.
And I need to restart afterwards.
So I give up on this.


Sorry to be of not more help,
 Harm

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How to hide Figured Bass in output (was Re: How to hide fingering in the output)

[Richard Shann]

On Sun, 2017-06-25 at 08:08 +0200, David Kastrup wrote:
> Manuela Gößnitzer  writes:
> 
> > You have the right idea already ;-)
> > The Fingering stencil is part of the Voice context
> >
> > Try
> >
> > \override Fingering.stencil = ##f
> >
> > (I hope this syntax works with 2.18)
> 
> As does
> 
> \omit Fingering

Oh, nice that cleans up one bit of Denemo's LilyPond generation!

I looked through the documentation for Fingering and found the
BassFigure layout object. However

\layout { \omit BassFigure }

doesn't turn off the Bass Figures in a score. It would be nice to have a
neat way of doing that (for generating the Cello part from the full
score).

Richard



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Re: Error message

[Thomas Morley]

2017-06-23 11:09 GMT+02:00 Maxime's Music :
> Thanks for taking a look at this for me.

Hi Craig,

as long as I don't need to post larger amounts of your code I'll answer onlist.
Hope this is ok with you.

That said, I was not able to compile your code in a reasonable amount of time.
I always aborted after ~2h compile-time.

Even while using
ly:one-line-breaking
to skip page-breaking I was not successfull, although you forgot to
include the saxaphon-music in the zip-file, so that I excluded it from
\score.
How long did a successful run last for you?

I'm on an admittedly weak laptop, only 4GB RAM. Using Ubuntu 16.04
64-bit with mutiple lily-versions.

Only thing I stumbled across is your use of scaling durations for
every tuplet like:
\times 2/3  {
  r8*1023/1024 d'8*513/512 ( [ c8*1023/1024 ) ]
}
This does not make any sense to me. Why do you do so?

Anyway, even after deleting all scaling of this kind I didn't get a
successful run in a reasonable amount of time.

As far as I can tell nothing else in your code should be that
expensive to eat up memory or to let explode compile-time.

Would be great if someone else with a stronger computer could retest.
For example, I didn't try to exclude Melody_engraver.
During the 2h compile-time my computer is not usable for other stuff.
And I need to restart afterwards.
So I give up on this.


Sorry to be of not more help,
  Harm

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Re: How to hide fingering in the output

[Ivanov Dmitry]

Manuela Gößnitzer  writes:

> Try
>
> \override Fingering.stencil = ##f

David Kastrup writes:

> As does
>
>\omit Fingering


Thanks a lot. Both variants work.

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Re: transpose range

[Manuela Gößnitzer]

You need to split the music expression, I cannot think of a different
solution because

\transpose c e, \music

would be too low.

2017-06-25 10:29 GMT+02:00 Gianmaria Lari :

> The result of a transpose operation sometimes generate notes that are too
> high (or too low) for my needs. In this case I would like to have these
> notes one octave lower (or higher).
>
> Is there any way to indicate a range where the notes should stay when
> applying a transpose function?
>
> Here it is an example code with the issue.
>
> \version "2.19.60"
> music = \fixed c' {c e g c}
>
> {\music}
> {\transpose c e \music} %b is too high
> {  e' gis' b e'} % this is ok
>
>
>
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Re: Editorial accidentals

[David Kastrup]

Thomas Morley  writes:

> 2017-06-25 8:40 GMT+02:00 Menu Jacques :
>> Thanks Simon for the idea.
>>
>> I’ve defined the following Scheme function for my needs, with accidental 
>> style forced to ‘forget' for the given note:
>>
>> editorialAccidental =
>> #(define-music-function
>>   (note)
>>   (ly:music?)
>>   #{
>> \once\accidentalStyle forget
>> \once\set suggestAccidentals = ##t
>> #note
>>   #})
>>
>> {
>>   \editorialAccidental cis4
>>   cis4
>>   dis4
>>   \editorialAccidental cis4
>> }
>>
>> JM
>
>
> Hi Jaques,
>
> while calling a variable, here 'note', in embedded lily-code, i.e. in
> #{ ... #}, always use $note not #note.
> Doing something with #note destructively changes 'note', so you can't
> access the unchanged 'note' anymore.
> Working on $note works on a copy of 'note' so you still have access to
> the original 'note'.

In this particular use case of using the material (of kind ly:music?)
exactly once, #note is actually correct.  This possibility of using
material uncopied and destructively is useful for processing large
amounts of music like with

\relative c' { 100 lines of stuff }

In cases like that, not creating a copy for music that is just
transitionally used is fine.  In many other cases, you are right that it
isn't, and the error symptoms are hard to understand and occur only
under some circumstances (uses of \relative and \transpose are often
involved but by no means the only triggers).

-- 
David Kastrup

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Re: Editorial accidentals

[Thomas Morley]

2017-06-25 8:40 GMT+02:00 Menu Jacques :
> Thanks Simon for the idea.
>
> I’ve defined the following Scheme function for my needs, with accidental 
> style forced to ‘forget' for the given note:
>
> editorialAccidental =
> #(define-music-function
>   (note)
>   (ly:music?)
>   #{
> \once\accidentalStyle forget
> \once\set suggestAccidentals = ##t
> #note
>   #})
>
> {
>   \editorialAccidental cis4
>   cis4
>   dis4
>   \editorialAccidental cis4
> }
>
> JM


Hi Jaques,

while calling a variable, here 'note', in embedded lily-code, i.e. in
#{ ... #}, always use $note not #note.
Doing something with #note destructively changes 'note', so you can't
access the unchanged 'note' anymore.
Working on $note works on a copy of 'note' so you still have access to
the original 'note'.

To illustrate:
In the scheme-sandbox, i.e. after having done in terminal:
lilypond scheme-sandbox

Try the following sequence:
(define xy #{ c''1 #})
(display-lily-music xy)
(display-lily-music #{ \withMusicProperty #'duration
#(ly:make-duration 2) #xy #})
(display-lily-music xy)

As opposed to:(define xyz #{ c''1 #})
(display-lily-music xyz)
(display-lily-music #{ \withMusicProperty #'duration
#(ly:make-duration 2) $xyz #})
(display-lily-music xyz)

Admittedly, you will not notice any difference in your example, it's a
minimal example, though.
In real life code you may experience some surprises under certain conditions.

Cheers,
  Harm

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transpose range

[Gianmaria Lari]

The result of a transpose operation sometimes generate notes that are too
high (or too low) for my needs. In this case I would like to have these
notes one octave lower (or higher).

Is there any way to indicate a range where the notes should stay when
applying a transpose function?

Here it is an example code with the issue.

\version "2.19.60"
music = \fixed c' {c e g c}

{\music}
{\transpose c e \music} %b is too high
{  e' gis' b e'} % this is ok
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Re: Editorial accidentals

[Menu Jacques]

Thanks Simon for the idea.

I’ve defined the following Scheme function for my needs, with accidental style 
forced to ‘forget' for the given note:

editorialAccidental =
#(define-music-function
  (note)
  (ly:music?)
  #{
\once\accidentalStyle forget
\once\set suggestAccidentals = ##t
#note
  #})

{
  \editorialAccidental cis4
  cis4
  dis4
  \editorialAccidental cis4
}

JM

> Le 25 juin 2017 à 00:58, Simon Albrecht  a écrit :
> 
> On 24.06.2017 22:09, Menu Jacques wrote:
>> What are editorial accidentals actually, and is there a way to produce them 
>> with Lily?
> 
> I don’t know what musicxml means by an editorial accidental, but generally an 
> editorial accidental may take lots of forms depending on style/policy: in 
> round parens, in angled brackets, in smaller font size, in grey colour (which 
> I personally like a lot, though it’s difficult to get printed well), or above 
> the staff as Phil already mentioned.
> The great thing is that with LilyPond you can use a music function and adapt 
> this function in a style sheet. Mine is called \ed for typing economy and 
> offers some abbreviations, like
> { \ed Acc cis }
> covering all of Accidental, AccidentalSuggestion, AccidentalCautionary.
> 
> Best, Simon
> 
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Re: How to hide fingering in the output

[David Kastrup]

Manuela Gößnitzer  writes:

> You have the right idea already ;-)
> The Fingering stencil is part of the Voice context
>
> Try
>
> \override Fingering.stencil = ##f
>
> (I hope this syntax works with 2.18)

As does

\omit Fingering

-- 
David Kastrup

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