Re: Hiding Time Signature

[Noeck]

Hi Garreth,

Karlin showed you the best way to do that.
But you were already close: 'False' is ##f and not #ff:

{
  \override Score.TimeSignature.stencil = ##f
  a
}

Cheers,
Joram

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Re: tenuto fingering: 3t, 2t, 4t, etc.

[Federico Bruni]

Il giorno ven 4 mag 2018 alle 6:54, Federico Bruni  
ha scritto:



Il giorno gio 3 mag 2018 alle 9:47, Torsten 
=?iso-8859-1?q?H=E4mmerle?= <"torsten.haemmerle"@web.de> ha scritto:

Hi all,

And the remaining problem of \finger in this case is that \finger 
(just as

\number) uses the Feta numbers from the Emmentaler notation font.
As this font does not contain the letter "t", the t will be taken 
from a

replacement font (in this case some sans serif font).

The best out-of-the-box solution I can think of is using bold t with 
a

matching font size and slightly adjusted baseline, as in:

\markup \concat { \finger 3 \fontsize #-3 \raise #0.03 \bold t }






Thanks, this is exactly what I want.

Perhaps a smart function may be created but as I need only 4 
variations I can simply use 4 variables:


unoT = \markup \concat { \finger 1 \fontsize #-2.5 \raise #0.03 \bold 
t }
dueT = \markup \concat { \finger 2 \fontsize #-2.5 \raise #0.03 \bold 
t }
treT = \markup \concat { \finger 3 \fontsize #-2.5 \raise #0.03 \bold 
t }
quattroT = \markup \concat { \finger 4 \fontsize #-2.5 \raise #0.03 
\bold t }




The downside of this approach is that it creates TextScript objects, so 
in case a score (as in my real project) is using some padding for 
TextScript objects then the custom fingering will be placed away from 
the note.


Even if I was able to change David's function to use a markup for the 
t, then the problem would remain: the number would be aligned correctly 
but the t would not.
The obvious solution is overriding the TextScript padding when using 
these markup commands.


However I wonder if a better fallback could be provided when using a 
letter with \finger.
As Feta numbers look as bold serif fonts, shouldn't the t in `\finger 
"3t"` fall back to serif instead of sans?





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Re: tenuto fingering: 3t, 2t, 4t, etc.

[Federico Bruni]

Il giorno gio 3 mag 2018 alle 9:47, Torsten =?iso-8859-1?q?H=E4mmerle?= 
<"torsten.haemmerle"@web.de> ha scritto:

Hi all,

And the remaining problem of \finger in this case is that \finger 
(just as

\number) uses the Feta numbers from the Emmentaler notation font.
As this font does not contain the letter "t", the t will be taken 
from a

replacement font (in this case some sans serif font).

The best out-of-the-box solution I can think of is using bold t with a
matching font size and slightly adjusted baseline, as in:

\markup \concat { \finger 3 \fontsize #-3 \raise #0.03 \bold t }






Thanks, this is exactly what I want.

Perhaps a smart function may be created but as I need only 4 variations 
I can simply use 4 variables:


unoT = \markup \concat { \finger 1 \fontsize #-2.5 \raise #0.03 \bold t 
}
dueT = \markup \concat { \finger 2 \fontsize #-2.5 \raise #0.03 \bold t 
}
treT = \markup \concat { \finger 3 \fontsize #-2.5 \raise #0.03 \bold t 
}
quattroT = \markup \concat { \finger 4 \fontsize #-2.5 \raise #0.03 
\bold t }






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Re: Hiding Time Signature

[Karlin High]

On Thu, May 3, 2018 at 6:19 PM, Garreth  wrote:
> I simply want to hide the time signature for some basic music theory
> examples.

Welcome to LilyPond!

There are several ways to hide the time signature. Here is one example.

\version "2.18.2"
{
  \omit Staff.TimeSignature
  c'
}

And the Learning Manual page for this topic:

-- 
Karlin High
Missouri, USA

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Hiding Time Signature

[Garreth]

Hi,


Sorry to ask a super basic question... But I am really new to LP. I hope
this will be really easy.

I simply want to hide the time signature for some basic music theory
examples.

 

See the image I attached.

I found a command online that I think should work. On line 6, I wrote:

\override Score.TimeSignature.stencil = #ff

But it's not working! Can someone please give me the correct syntax for
hiding the time sig?


Thank!

Garreth



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Re: Intervals enharmony question

[Wols Lists]

On 04/05/18 00:48, Kieren MacMillan wrote:
> I didn’t get that far into trumpet playing — I switched to trombone as soon 
> as I could, because it better suited my embouchure — but I got far enough to 
> realize that I could do a *lot* of "tuning" with those limited valves and 
> slides. Based on that experience, I feel sure that if I got [a lot?] better, 
> I would be able to play in equal or just temperament, as desired.

You sound like me :-) I started on the cornet and switched to trombone. ...

But I'm looking at it as a physicist. HOW do you tune all those notes to
equal temperament on an instrument that does not have sufficient
adjustable nobs to do so? It can't be done.

What you CAN do, what I'm sure you've done, and what I see happen all
the time in my band, is that players can adjust - "bend" - the tone with
their embouchure. And that bending can be massive - I've heard of a
trombone teacher who suddenly realised the boy he was teaching could
only reach fourth position, but was successfully playing a bottom B
natural! (4th position is a D for non-trombonists.) The lad was bending
the note three semitones!

So I'm not saying you can't play equal temperament, or whatever you
want. I'm just saying that you can't tune the instrument to it, you just
have to "play it by ear" and "bend" the note.

Which is why my comment/question basically boils down to "what
*practical* difference does it make?". And the answer seems to be "None,
in *most* cases". Which is why I'm getting a little het up because so
many people seem to be coming across as "everyone should do it because
it matters for my corner case".

Sorry if that upsets people, but if a question is about a monotonic
instrument, don't drag your chord-playing corner case into the
discussion. (I was left with the strong feeling that this is exactly
what happened with my post - everybody discussed their corner case and
nobody actually bothered to read my question. And if I do that to other
people, feel free to call me on it ... :-)

Cheers,
Wol

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Re: Altdefault breves in chords

[Edward Neeman]

Hi Torsten,

Thanks for your reply, and the detailed explanation! I can’t say I understand 
the problem very well, but I get that it’s difficult to solve... Too bad 
because for me it makes the alt default breves unusable without an easy 
workaround. Fortunately the other breve options work out fine.

Best,
Edward
---
Dr. Edward Neeman
www.neemanpianoduo.com



> On 3 May 2018, at 6:53 pm, Torsten Hämmerle  wrote:
> 
> Hi Edward,
> 
> On the one hand, the altdefault breve notehead needs to align with
> accidentals, on the other hand it should overlap in collisition with other
> altdefault breve noteheads in a way that the two lines exactly match.
> 
> This is rather difficult, because the distance between the two lines even
> varies depending on the layout font size: for smaller layout sizes such as
> Emmentaler-14, the lines are moved a bit further apart.
> Therefore, half the notehead size does not mean half the distance between
> the lines, but a wee bit more.
> 
> Using horizontal skylines or glyph metrics may not represent the actual
> glyph outline closely enough to achieve a perfect automatic alignment under
> all circumstances.
> 
> Perhaps the problem could be solved in a future release, I just wanted to
> give you a feedback and an explanation.
> 
> I'll open up a tracker issue in any case.
> 
> All the best,
> Torsten
> 
> 
> 
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
> 
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Re: Intervals enharmony question

[Kieren MacMillan]

Hi Wols,

> It's not *possible* to tune a brass instrument to equal temperament -
> it has at max 5 tuning slides to tune 12 pitches and
> typically about 40 notes!

Perhaps you ran (are running) into a semantic conflict?

I notice there are many [civil and educated] discussions on trumpet and horn 
forums (mailing lists, etc.) about how to deal with equal and just 
temperaments, which to use in auditions [!!], etc. Are they all mistaken?

I didn’t get that far into trumpet playing — I switched to trombone as soon as 
I could, because it better suited my embouchure — but I got far enough to 
realize that I could do a *lot* of "tuning" with those limited valves and 
slides. Based on that experience, I feel sure that if I got [a lot?] better, I 
would be able to play in equal or just temperament, as desired.

Cheers,
Kieren.


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


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Re: Intervals enharmony question

[Wols Lists]

On 30/04/18 20:54, Malte Meyn wrote:
> 
> 
> Am 30.04.2018 um 15:50 schrieb Hans Åberg:
>> But orchestral instruments depart from Pythagorean tuning, not E12, so
>> they are not equivalent, differing by a comma of about 20 cents.
> 
> Which orchestral instruments do you refer to? All instruments that I
> know good enough use equal temperament or a good approximation. I don’t
> know an orchestral instrument that has different ways to play E♭ and D♯ …
> 
You're confusing equal temperament with monotonic.

Just because an instrument uses the same fingering for Eb and D# (on a
trumpet that would be first valve, I believe), doesn't mean that the
note is equal temperament, or an accurate Eb or D#. And it's a pretty
safe bet that if the player plays the two notes an octave apart they
almost certainly aren't an accurate octave ... an Eb, a D#, and the
equal temperament fudge are three distinct notes, and your trumpet is
probably playing a fourth. True, they're all ALMOST the same ... :-)

Cheers,
Wol


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Re: Intervals enharmony question

[Wols Lists]

On 30/04/18 20:32, Hans Åberg wrote:
> 
>> On 30 Apr 2018, at 21:11, Wols Lists  wrote:
>>
>> On 30/04/18 14:50, Hans Åberg wrote:
>>>
 On 29 Apr 2018, at 22:17, Jacques Menu Muzhic  
 wrote:

 OK, now everything is clear, it’s precisely on jazz chords I’m working.
>>>
>>> FYI, I recall the Mehegan books on jazz improvisation applying enharmonic 
>>> equivalents freely. The Blatter books on instrumentation suggests applying 
>>> them to simplify for harpists, which will save time and money. But 
>>> orchestral instruments depart from Pythagorean tuning, not E12, so they are 
>>> not equivalent, differing by a comma of about 20 cents.
>>>
>> Which actually matters how?
>>
>> Apart from the violins and the trombone, most instruments just play the
>> pitch to which they are tuned, so Bbb and A are the same fingering, and
>> the same note.
>>
>> Yes I know most decent wind musicians can "bend" the tuning, but surely
>> they'll bend it by ear into tune, not to some arbitrary note name.
> 
> One has to adapt the pitch on every note played, and the reference is 
> typically the string section, which in turn is tuned in Pythagorean, but can 
> adapt into 5-limit Just Intonation if the music played follows the 
> Traditional Harmony rules. That becomes more difficult in distant keys.
> 
> 
WHAT STRING SECTION!?!?!?

Yes, I happened to mention violins as instruments which can tune a note
"on the fly", as can my instrument the trombone, but the majority of
instruments can NOT.

Plus, I'm unaware of Jazz ensembles having a string section - they might
have a double bass though, and the ensembles I play with (concert or
brass bands, I used to play in a big band) never include strings.

So, the question remains. Why - FOR THE MAJORITY OF INSTRUMENTS WHICH
ARE MONOTONIC AND DO NOT "TUNE ON THE FLY" - does it matter whether a
note is an A or a Bbb? There's sweet fa the player can do about it, anyway.

I remember having a similar "heated argument" with a guy on another
mailing list who insisted that instruments - let's say a trumpet -
should be tuned to equal temperament and any player who couldn't do it
should be sacked. It's not *possible* to tune a brass instrument to
equal temperament - it has at max 5 tuning slides to tune 12 pitches and
typically about 40 notes!

I take the point of various people that, for SOME instruments, you
really do want an obvious chord structure, but for most instruments,
especially those that cannot play chords, do the players really give a
monkeys? They just pitch-bend the tune to their neighbours.

Cheers,
Wol

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Re: slur and percent

[Gianmaria Lari]

On 3 May 2018 at 01:27, Aaron Hill  wrote:

> Is there any way to write this
>>>
>>> \version "2.19.81"
>>> {a( b c' a a b c' a)}
>>>
>>> with a repeat percent? Something similar to this:
>>>
>>> \version "2.19.81"
>>> {\repeat percent 2 {a( b c' a} ) }
>>>
>>> Thank you, g.
>>>
>>
>> I found in the documentation the "Isolated percents". Here it is the
>> documentation excerpt:
>>
>> makePercent =
>> #(define-music-function (note) (ly:music?)
>>"Make a percent repeat the same length as NOTE."
>>(make-music 'PercentEvent
>>'length (ly:music-length note)))
>>
>> \relative c'' {
>>   \makePercent s1
>> }
>>
>> What about the midi generation? Should I handle it with tag or there is a
>> better way?
>>
>
> Consider the following:
>
> %%%
> \version "2.19.80"
>
> makePercent =
>   #(define-music-function (parser location note) (ly:music?)
> "Make a percent repeat the same length as NOTE."
> (make-music 'PercentEvent
>   'length (ly:music-length note)))
>
> original = { a4( b c' a a b c' a) }
>
> percentRepeat = { \repeat percent 2 { \slurHalfSolid a4( b c' a) } }
>
> hiddenNotesAndMakePercent = { <<
>   { \oneVoice \slurHalfSolid a4( b c' a \hideNotes a b c' a) \unHideNotes
> } \\
>   { s1 \makePercent s1 } >>
>
>> }
>>>
>>
> \score { \original \layout {} \midi {} }
> \score { \percentRepeat \layout {} }
> \score { \unfoldRepeats \percentRepeat \midi {} }
> \score { \hiddenNotesAndMakePercent \layout {} \midi {} }
> %%%
>
> These all produce the same MIDI output with different visual renderings.
> Obviously, the use of \slurHalfSolid is optional, but I think it adds a
> useful visual distinction to the normal slur.
>
>
When I saw your code I didn't understand why the last example was so
complicated. Then I tried to simply write:

\score { {a4( b c' a \makePercent s1 <>) } \layout {} \midi{} }

and discovered that lilypond stop the slur before the percent!
So thank you for your code!

Ciao, g.
P.S. Yes, the midi output of your examples are all the same. They are not
the same if I use \articulate script because in that case

a( b c' a) a( b c' a)


generate a different output than

a( b c' a a b c' a)
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Re: Tie across voices

[David Kastrup]

David Sumbler  writes:

> \version "2.19.81"
>
> \new Staff {
>   \time 6/8 
>   <<
> { \once \override MultiMeasureRest.staff-position = #10
>   R2. | r4. e'''~ }
> \\
> { g''2.~ | g''~ }
>   >>
>  \oneVoice 2.~ | q |
> }
>
> In the above I want the lower note to be tied continuously.  As it
> stands, there is no tie between the 2nd and 3rd bars where the 2 voices
> become one.
>
> I have experimented a lot with invisible notes (as suggested in section
> 4.7.1 in the Learning Manual) and with additional voices, but I haven't
> yet managed to get the result I want.
>
> This is taken from a full score where the violins are divisi.  The
> notes continue for a further 10 bars, so I don't want to continue with
> up and down stems, which would look very untidy.
>
> Can somebody suggest how I can get the effect I want?

\version "2.19.81"

\new Voice = "main" {
  \time 6/8
  \voices 1,"main"
  <<
{ \once \override MultiMeasureRest.staff-position = #10
  R2. | r4. e'''~ }
\\
{ \voiceTwo g''2.~ | g''~ }
  >>
 \oneVoice 2.~ | q |
}


-- 
David Kastrup
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Re: Tie across voices

[Lukas-Fabian Moser]

Hi David,

Am 03.05.2018 um 18:29 schrieb David Sumbler:

\version "2.19.81"

\new Staff {
   \time 6/8
   <<
 { \once \override MultiMeasureRest.staff-position = #10
   R2. | r4. e'''~ }
 \\
 { g''2.~ | g''~ }
   >>
  \oneVoice 2.~ | q |
}



One possibility would be:

\version "2.19.81"

\new Staff {
  \time 6/8
  <<
    { \once \override MultiMeasureRest.staff-position = #10
  R2. | r4. e'''~ \hideNotes e'''2. }
    \\
    { g''2.~ | g''~
  \oneVoice 2.~ | q |
    }
  >>
}

If you don't want to continue inside a << \\ >> construct, try

\version "2.19.81"

\new Staff {
  \time 6/8
  <<
    {
  \voiceTwo g''2.~ | g''~
    }
    \new Voice {
  \voiceOne \once \override MultiMeasureRest.staff-position = #10
  R2. | r4. e'''~ \hideNotes e'''2.*0
    }
  >>
  \oneVoice 2.~ | q |
}

Explanation: << { } \\ { } >> is a shorthand which creates two new 
(named) voices. Just taking << { } \new Voice { } >> makes sure the 
first { } pair creates music in the "main" voice which is active outside 
the << >>.


Best
Lukas

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Re: Lilypond Fedora 28

[Federico Bruni]

Il giorno gio 3 mag 2018 alle 13:27, Federico Bruni 
 ha scritto:


Fedora maintainer wrote some days ago on bug-lilypond about this 
crash.

See:
https://bugzilla.redhat.com/show_bug.cgi?id=1568274



and this problem does not occur when using 2.19.81 binary downloaded 
from lilypond.org

(I've just tried on a container running Fedora 28)

this is a specific problem of lilypond binary built by Fedora

I have no idea if it's related.. Fedora 28 comes with GCC 8.1:
https://fedoraproject.org/wiki/Changes/GCC8#Release_Notes




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Tie across voices

[David Sumbler]

\version "2.19.81"

\new Staff {
  \time 6/8 
  <<
{ \once \override MultiMeasureRest.staff-position = #10
  R2. | r4. e'''~ }
\\
{ g''2.~ | g''~ }
  >>
 \oneVoice 2.~ | q |
}

In the above I want the lower note to be tied continuously.  As it
stands, there is no tie between the 2nd and 3rd bars where the 2 voices
become one.

I have experimented a lot with invisible notes (as suggested in section
4.7.1 in the Learning Manual) and with additional voices, but I haven't
yet managed to get the result I want.

This is taken from a full score where the violins are divisi.  The
notes continue for a further 10 bars, so I don't want to continue with
up and down stems, which would look very untidy.

Can somebody suggest how I can get the effect I want?

David

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Re: Shortcut for Frescobaldi

[Torsten Hämmerle]

Tim Slattery wrote
>>C:\ProgramData\Microsoft\Windows\Start Menu\Programs
> 
> Yeah, that was the first thing I tried. But it doesn't work that way
> in Win10.

Hi Tim,

That's interesting, because in my Win 10, it worked exactly that way (and I
even copy&pasted the path from my Windows 10 explorer).
What do we learn from it? Never trust Windows. ;)

All the best,
Torsten



--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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Re: Shortcut for Frescobaldi

[Karlin High]

On 5/3/2018 9:38 AM, Tim Slattery wrote:

In Windows 10, the contents of the Start Menu Folder (including alle the
shortcuts) can be found in

C:\ProgramData\Microsoft\Windows\Start Menu\Programs

Yeah, that was the first thing I tried. But it doesn't work that way
in Win10.


To something near-equivalent in Windows 10, try Winkey + R for Run 
prompt, enter shell:appsfolder


That will even allow making shortcuts for UWP apps (fka "Modern", fka 
"Metro")

--
Karlin High
Missouri, USA

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Re: Shortcut for Frescobaldi

[Tim Slattery]

Torsten Hämmerle  wrote:

>Hi Tim,
>
>Even if this is no Windows forum... ;)

No, but I thought maybe some other Frescobaldi users had run into the
same problem. I won't be posting general Win10 questions here, don't
worry.

>In Windows 10, the contents of the Start Menu Folder (including alle the
>shortcuts) can be found in
>
>C:\ProgramData\Microsoft\Windows\Start Menu\Programs

Yeah, that was the first thing I tried. But it doesn't work that way
in Win10.

-- 
Tim Slattery
tim  risingdove  com


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Re: Shortcut for Frescobaldi

[Tim Slattery]

Gianmaria Lari  wrote:

>On windows 10, I suggest to do the following:
>
>- Press [Win] +[q]. This will open a menu and a textbox where you can write
>the application to search. In this case write "fresc" and you will see the
>system finding the application
>- click on the application with the mouse right button
>- select "Open file location"...

And that did it! Many thanks for the help.

-- 
Tim Slattery
tim  risingdove  com


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Re: Lilypond Fedora 28

[Federico Bruni]

Il giorno gio 3 mag 2018 alle 10:52, Martin Tarenskeen 
<"m.tarenskeen"@zonnet.nl> ha scritto:


Hi,

I just upgraded from Fedora 27 to 28
The first lilypond file I tried to compile failed.

Then I first tried a minimal example:

\version "2.19.81"
{c' d' e' f'}

This compiled succesfully.

But as soon as tried this:

\version "2.19.81"
{c'4 d'4 e'8 f'8 g'4}

Things started to crash:

GNU LilyPond 2.19.81
Processing `/home/m.tarenskeen/mini.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems.../usr/include/c++/8/bits/stl_vector.h:932: 
std::vector<_Tp, _Alloc>::reference std::vector<_Tp, 
_Alloc>::operator[](std::vector<_Tp, _Alloc>::size_type) [with _Tp = 
Beam_stem_segment; _Alloc = std::allocator; 
std::vector<_Tp, _Alloc>::reference = Beam_stem_segment&; 
std::vector<_Tp, _Alloc>::size_type = long unsigned int]: Assertion 
'__builtin_expect(__n < this->size(), true)' failed.





Fedora maintainer wrote some days ago on bug-lilypond about this crash.
See:
https://bugzilla.redhat.com/show_bug.cgi?id=1568274




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Re: Lilypond Fedora 28

[David Kastrup]

Martin Tarenskeen  writes:

> On Thu, 3 May 2018, David Kastrup wrote:
>
>> Martin Tarenskeen  writes:
>>
>>> Hi,
>>>
>>> I just upgraded from Fedora 27 to 28
>>> But as soon as tried this:
>>>
>>> \version "2.19.81"
>>> {c'4 d'4 e'8 f'8 g'4}
>>>
>>> Things started to crash
>
>> Try running under a debugger and getting a backtrace.  This is not
>> useful yet.
>
> Something like this? (Attached file "lilypond-fedora28.log")

Yup.  Thanks.

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Re: Lilypond Fedora 28

[Martin Tarenskeen]

On Thu, 3 May 2018, David Kastrup wrote:


Martin Tarenskeen  writes:


Hi,

I just upgraded from Fedora 27 to 28
But as soon as tried this:

\version "2.19.81"
{c'4 d'4 e'8 f'8 g'4}

Things started to crash



Try running under a debugger and getting a backtrace.  This is not
useful yet.


Something like this? (Attached file "lilypond-fedora28.log")

--

MTStarting program: /usr/bin/lilypond mini.ly
[Thread debugging using libthread_db enabled]
Using host libthread_db library "/lib64/libthread_db.so.1".
warning: Loadable section ".note.gnu.property" outside of ELF segments
warning: Loadable section ".note.gnu.property" outside of ELF segments
warning: Loadable section ".note.gnu.property" outside of ELF segments
warning: Loadable section ".note.gnu.property" outside of ELF segments

Program received signal SIGABRT, Aborted.
0x75b2cf4b in raise () from /lib64/libc.so.6
#0  0x75b2cf4b in raise () at /lib64/libc.so.6
#1  0x75b17591 in abort () at /lib64/libc.so.6
#2  0x55616008 in  ()
#3  0x5573bb72 in Beam::calc_beam_segments(scm_unused_struct*) ()
#4  0x7791d602 in scm_dapply () at /lib64/libguile.so.17
#5  0x5567da9f in Grob::try_callback_on_alist(scm_unused_struct**, 
scm_unused_struct*, scm_unused_struct*) ()
#6  0x55733d16 in Beam::calc_x_positions(scm_unused_struct*) ()
#7  0x7791d602 in scm_dapply () at /lib64/libguile.so.17
#8  0x5567da9f in Grob::try_callback_on_alist(scm_unused_struct**, 
scm_unused_struct*, scm_unused_struct*) ()
#9  0x5584c2ea in Beam_scoring_problem::init_instance_variables(Grob*, 
Drul_array, bool) ()
#10 0x5584e4b0 in Beam_scoring_problem::Beam_scoring_problem(Grob*, 
Drul_array, bool) ()
#11 0x55734e7e in Beam::quanting(scm_unused_struct*, 
scm_unused_struct*, scm_unused_struct*) ()
#12 0x7791f93c in deval () at /lib64/libguile.so.17
#13 0x7791dde3 in scm_dapply () at /lib64/libguile.so.17
#14 0x5567da9f in Grob::try_callback_on_alist(scm_unused_struct**, 
scm_unused_struct*, scm_unused_struct*) ()
#15 0x55735808 in Beam::set_stem_lengths(scm_unused_struct*) ()
#16 0x7791d602 in scm_dapply () at /lib64/libguile.so.17
#17 0x5567da9f in Grob::try_callback_on_alist(scm_unused_struct**, 
scm_unused_struct*, scm_unused_struct*) ()
#18 0x556c5b31 in Stem::internal_height(Grob*, bool) ()
#19 0x556c5e8a in Stem::height(scm_unused_struct*) ()
#20 0x7791d602 in scm_dapply () at /lib64/libguile.so.17
#21 0x5567da9f in Grob::try_callback_on_alist(scm_unused_struct**, 
scm_unused_struct*, scm_unused_struct*) ()
#22 0x555fbef5 in Grob::extent(Grob*, Axis) const ()
#23 0x556cff9a in 
Grob::maybe_pure_internal_simple_skylines_from_extents(Grob*, Axis, bool, int, 
int, bool, bool) ()
#24 0x556d0197 in 
Grob::simple_vertical_skylines_from_extents(scm_unused_struct*) ()
#25 0x7791d602 in scm_dapply () at /lib64/libguile.so.17
#26 0x5567da9f in Grob::try_callback_on_alist(scm_unused_struct**, 
scm_unused_struct*, scm_unused_struct*) ()
#27 0x5583062a in add_interior_skylines(Grob*, Grob*, Grob*, 
std::vector >*) ()
#28 0x558306a1 in add_interior_skylines(Grob*, Grob*, Grob*, 
std::vector >*) ()
#29 0x55834906 in Axis_group_interface::skyline_spacing(Grob*) ()
#30 0x55835718 in 
Axis_group_interface::calc_skylines(scm_unused_struct*) ()
#31 0x7791d602 in scm_dapply () at /lib64/libguile.so.17
#32 0x5567da9f in Grob::try_callback_on_alist(scm_unused_struct**, 
scm_unused_struct*, scm_unused_struct*) ()
#33 0x5587d6c5 in 
Align_interface::internal_get_minimum_translations(Grob*, std::vector > const&, Axis, bool, bool, int, int) ()
#34 0x5587ec2b in 
Align_interface::get_minimum_translations_without_min_dist(Grob*, 
std::vector > const&, Axis) ()
#35 0x55865c4a in Page_layout_problem::append_system(System*, Spring 
const&, double, double) ()
#36 0x55867d46 in Page_layout_problem::Page_layout_problem(Paper_book*, 
scm_unused_struct*, scm_unused_struct*) ()
#37 0x557e5303 in Page_breaking::make_pages(std::vector >, scm_unused_struct*) ()
#38 0x5574f9eb in Optimal_page_breaking::solve() ()
#39 0x5572c5da in ly_optimal_breaking(scm_unused_struct*) ()
#40 0x7791d602 in scm_dapply () at /lib64/libguile.so.17
#41 0x5575526d in Paper_book::pages() [clone .localalias.57] ()
#42 0x55755586 in Paper_book::output_aux(scm_unused_struct*, bool, 
long*, long*) [clone .localalias.58] ()
#43 0x55755848 in Paper_book::output(scm_unused_struct*) ()
#44 0x55757cfb in ly_book_process(scm_unused_struct*, 
scm_unused_struct*, scm_unused_struct*, scm_unused_struct*) ()
#45 0x7791d7af in scm_dapply () at /lib64/libguile.so.17
#46 0x7791f9ed in deval () at /lib64/libguile.so.17
#47 0x779280a6 in scm_c_with_fluid () at /lib64/libguile.so

fingering and addfingering

[Gianmaria Lari]

I have short music exercises (for accordion) that I would like to engrave
with alternate fingering like in the following example:

\version "2.19.81"
\fixed c' {c-2 d-3 e-2 f-3 g-2 a-3 b-4 c'-5}
\fixed c' {c-1 d-2 e-3 f-4 g-2 a-3 b-4 c'-5}
\fixed c' {c-1 d-2 e-3 f-4 g-2 a\3 b-4 c'\5}


and this is the result:



This is ok, but because it is only the fingering that change it is better
to separate music from fingering. I do it with "addFingering" snippet here:

http://lsr.di.unimi.it/LSR/Item?id=768

Using this snippet the previous code can be rewritten like this

\version "2.19.81"
\include "fingering.ly"
music = \fixed c' {c d e f g a b c'}

{\addFingering \music "23232345"}
{\addFingering \music "12342345"}
{\addStringNumber \addFingering \music "12342x4x" "x3x5"}


This is very nice, except the last line of code.
Lets see just the problematic thing. Here it is the engrave of the last
notes

And this is the code without snippet

\version "2.19.81"
\fixed c' {a\3 b-4 c'\5}


and this the same using the snippet:

\version "2.19.81"
\include "fingering.ly"
music = \fixed c' {a b c'}
{\addStringNumber \addFingering \music "x4x" "3x5"}



The problem is because there are two different functions to use.
The first one add a finger number (\addFinger) while the other one add a
circled finger number (\addStringNumber). It would be great if the snippet
would be able to recognize a prefix in front of the number (for example
"a3") so that in that case it circle the number.
If that was the case  this

{\addStringNumber \addFingering \music "x4x" "3x5"}


could be written as

{\addFingering \music "a34a5"}

Maybe someone had a similar problem and already solved it? I don't need to
use this specific snippet if there are other solution.

Thank you, g.
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Re: Lilypond Fedora 28

[David Kastrup]

Martin Tarenskeen  writes:

> Hi,
>
> I just upgraded from Fedora 27 to 28
> The first lilypond file I tried to compile failed.
>
> Then I first tried a minimal example:
>
> \version "2.19.81"
> {c' d' e' f'}
>
> This compiled succesfully.
>
> But as soon as tried this:
>
> \version "2.19.81"
> {c'4 d'4 e'8 f'8 g'4}
>
> Things started to crash:
>
> GNU LilyPond 2.19.81
> Processing `/home/m.tarenskeen/mini.ly'
> Parsing...
> Interpreting music...
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 1 page...
> Drawing systems.../usr/include/c++/8/bits/stl_vector.h:932:
> std::vector<_Tp, _Alloc>::reference std::vector<_Tp,
> _Alloc>::operator[](std::vector<_Tp, _Alloc>::size_type) [with _Tp =
> Beam_stem_segment; _Alloc = std::allocator;
> std::vector<_Tp, _Alloc>::reference = Beam_stem_segment&;
> std::vector<_Tp, _Alloc>::size_type = long unsigned int]: Assertion
> '__builtin_expect(__n < this->size(), true)' failed.

Try running under a debugger and getting a backtrace.  This is not
useful yet.

-- 
David Kastrup

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Re: Altdefault breves in chords

[Torsten Hämmerle]

Hi Edward,

On the one hand, the altdefault breve notehead needs to align with
accidentals, on the other hand it should overlap in collisition with other
altdefault breve noteheads in a way that the two lines exactly match.

This is rather difficult, because the distance between the two lines even
varies depending on the layout font size: for smaller layout sizes such as
Emmentaler-14, the lines are moved a bit further apart.
Therefore, half the notehead size does not mean half the distance between
the lines, but a wee bit more.

Using horizontal skylines or glyph metrics may not represent the actual
glyph outline closely enough to achieve a perfect automatic alignment under
all circumstances.

Perhaps the problem could be solved in a future release, I just wanted to
give you a feedback and an explanation.

I'll open up a tracker issue in any case.

All the best,
Torsten



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Lilypond Fedora 28

[Martin Tarenskeen]

Hi,

I just upgraded from Fedora 27 to 28
The first lilypond file I tried to compile failed.

Then I first tried a minimal example:

\version "2.19.81"
{c' d' e' f'}

This compiled succesfully.

But as soon as tried this:

\version "2.19.81"
{c'4 d'4 e'8 f'8 g'4}

Things started to crash:

GNU LilyPond 2.19.81
Processing `/home/m.tarenskeen/mini.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems.../usr/include/c++/8/bits/stl_vector.h:932: 
std::vector<_Tp, _Alloc>::reference std::vector<_Tp, 
_Alloc>::operator[](std::vector<_Tp, _Alloc>::size_type) [with _Tp = 
Beam_stem_segment; _Alloc = std::allocator; 
std::vector<_Tp, _Alloc>::reference = Beam_stem_segment&; std::vector<_Tp, 
_Alloc>::size_type = long unsigned int]: Assertion '__builtin_expect(__n < 
this->size(), true)' failed.



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Re: Note pitches missing in some languages

[Malte Meyn]

Am 03.05.2018 um 09:54 schrieb Menu Jacques:

Hello,

It seems there are no names in Svenska and some other languages for sequiflat 
and sesquisharp pitches.

Will that be added when triple accidentals are introduced?

Thanks for your help!

JM


I don’t think that Torsten is planning to do so but I’m forwarding this 
to the bug-list as an enhancement request.


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Note pitches missing in some languages

[Menu Jacques]

Hello,

It seems there are no names in Svenska and some other languages for sequiflat 
and sesquisharp pitches.

Will that be added when triple accidentals are introduced?

Thanks for your help!

JM


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Re: tenuto fingering: 3t, 2t, 4t, etc.

[Torsten Hämmerle]

Hi all,

And the remaining problem of \finger in this case is that \finger (just as
\number) uses the Feta numbers from the Emmentaler notation font.
As this font does not contain the letter "t", the t will be taken from a
replacement font (in this case some sans serif font).

The best out-of-the-box solution I can think of is using bold t with a
matching font size and slightly adjusted baseline, as in:

\markup \concat { \finger 3 \fontsize #-3 \raise #0.03 \bold t }

 

All the best,
Torsten




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Re: tenuto fingering: 3t, 2t, 4t, etc.

[David Kastrup]

Federico Bruni  writes:

> Il giorno mer 2 mag 2018 alle 8:49, Gianmaria Lari
>  ha scritto:

>>
>> Not sure that this is what you want, but what about
>>
>>>  \version "2.19.81"
>>> { a\finger "3t"}
>>
>> ?
>
> Well, this produces the same output of David's function.

Darn.  I was not aware that there is \finger command that would also
take a markup.  That makes for a much better starting point than my
proposal.

Which is probably why I wrote it.

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Re: tenuto fingering: 3t, 2t, 4t, etc.

[David Kastrup]

Federico Bruni  writes:

> Il giorno mer 2 mag 2018 alle 8:56, David Kastrup  ha
> scritto:
>> Federico Bruni  writes:
>>
>>>  Hi all
>>>
>>>  How can I create custom fingerings which are made of a number and a
>>>  letter?
>>>  I want to display 3t, 2t, etc.
>>>
>>>  I found this snippet in the LSR:
>>>  http://lsr.di.unimi.it/LSR/Item?id=83
>>>
>>>  but it allows to use only one character.
>>>
>>>  Thanks in advance
>>>  Federico
>>
>> Something like this?
>>
>> \version "2.19.81"
>>
>> t =
>> #(define-event-function (n) (index?)
>>   #{ \tweak text #(format "~dt" n) -1 #})
>>
>> {
>>   c\t1 d\t2 e2
>> }
>>
>>
>
> This is perfect, thanks.
> I think this should be added to the LSR.
>
> However lilypond is using a sans serif font for the t. How can I set
> it to serif?
> Also, the t seems bigger than the number. See attached image.

#(format "~dt" n) is a string, but you can use arbitrary markup here, so
 write
 
 \markup ...

instead with ... being what is necessary to achieve the desired output.
The default formatting is likely using a fingering font.  Which is ok
for the number, but you'll need to experiment for the rest.

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