Re: Parenthesis/bracket/brace questions

[Brent Annable]

Hey Robin!

Thank you, this works just fine in this case. What would be really neat now
would be the ability to parenthesize entire chordal passages, so with the
left half around one chord and the right half around some other chord later
on in the music. So like a combination of this function:

startParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list (car par-list) point-stencil )))
}

endParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list point-stencil (cadr par-list
}


And this function:


parch =  #(define-music-function (parser location gap) (number?)
#{
   \once \override Arpeggio #'stencil = #(lambda (grob)
 (ly:stencil-add
   (ly:arpeggio::brew-chord-slur grob)
   (ly:stencil-translate-axis
 (ly:stencil-rotate (ly:arpeggio::brew-chord-slur grob) 180 0 0)
 gap X)))
   \once \override Arpeggio #'X-extent = #(lambda (grob)
 (ly:stencil-extent (ly:arpeggio::brew-chord-slur grob) X))
   \once \override Arpeggio #'positions = #(lambda (grob)
 (interval-widen (ly:arpeggio::calc-positions grob) 0.5))
   $(make-music 'EventChord 'elements (list (make-music 'ArpeggioEvent)))
#})


Here's a sample of the startParenthesis/endParenthesis in use:

\version "2.19.65"
startParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list (car par-list) point-stencil )))
}
endParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list point-stencil (cadr par-list
}

\relative c' { \override ParenthesesItem.font-size = #2
   c d \startParenthesis \parenthesize e f
   g a \endParenthesis \parenthesize b c
  }


Any takers?

Regards,

Brent.

On 21 May 2018 at 06:14, Robin Bannister  wrote:

> Brent Annable wrote:
>
> 2. I would like to parenthesize a couple of two-note chords in the tenor
>> part. Has anybody come up with a decent way to put parentheses around
>> entire chords yet? I've rummaged around the old threads but can't really
>> find anything that fits the bill.
>>
>
>
> Maybe you can make do with the \parch function given (at the end of)
> https://archiv.lilypondforum.de/index.php/topic,347.msg10786
> /topicseen.html#msg10786
>
> Then you would just write
> >
> > \parch #2.5 4 \parch #3.7 2.
> >
>
> But this hack doesn't prevent the right bracket colliding with things.
>
>
> Cheers,
> Robin
>


parentheses.pdf
Description: Adobe PDF document
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Re: Parenthesis/bracket/brace questions

[Brent Annable]

Hey Mark,

Thank you for your response. Yes I considered the arpeggio bracket option,
but the problem is I'm using that extensively throughout the edition to
indicate right-hand chords, so I wanted something that looks a little
different to avoid confusion. A staff brace would seem ideal, but I'm not a
programmer so I have no idea how to manipulate one into the middle of the
staff.

I suppose I could just use another solution (such as small notes), but this
looks rather elegant so I'd like to stick at it if possible.

Brent.

On 21 May 2018 at 01:16, Mark Stephen Mrotek  wrote:

> Brent,
>
>
>
> As to No. 1, perhaps a cross staff arpeggio/bracket?
>
>
>
> http://lilypond.org/doc/v2.19/Documentation/notation/
> expressive-marks-as-lines#arpeggio
>
>
>
> Mark
>
>
>
> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
> ca.rr@gnu.org] *On Behalf Of *Brent Annable
> *Sent:* Sunday, May 20, 2018 7:31 AM
> *To:* lilypond-user 
> *Subject:* Parenthesis/bracket/brace questions
>
>
>
>
>
> Hi all,
>
>
>
> So I'm working on a score at the moment and have run into two challenges:
>
>
>
> 1. Does anybody have an idea how to insert large, cross-staff square
> braces (effectively parenthesizing the entire staff) as in the link below?
> I have no idea how to even start.
>
>
>
> https://imgur.com/a/gTnREC6
>
>
>
> 2. I would like to parenthesize a couple of two-note chords in the tenor
> part. Has anybody come up with a decent way to put parentheses around
> entire chords yet? I've rummaged around the old threads but can't really
> find anything that fits the bill.
>
>
>
> The below example shows the two chords I need; the solution to the second
> one kind of works because the chord has a middle note that can be
> parenthesized and made invisible (and I assume the dot as well, although I
> haven't figured that out yet), then the parenthesis enlarged to span the
> entire chord. But the chord before it doesn't, and I can't figure out a way
> to either move or centre the parentheses:
>
>
>
>
>
> \version "2.19.65"
>
>
>
> \relative c' { \override ParenthesesItem.font-size = #3
>
> \key es \major
>
>  < bes \hide \parenthesize g es>2.
>
> }
>
>
>
>
>
> I would be grateful for any help.
>
>
>
> Thanks and regards,
>
>
>
> Brent.
>
>
>
>
>
>
>
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Re: naming a glyph

[Freeman Gilmore]

​

On Sun, May 20, 2018 at 7:36 PM, Andrew Bernard 
wrote:

> Hi Freeman,
>
> Let us know what you re trying to do. Why do you want to create a glyph?
>
> Are you new to lilypond? If so, welcome to the Pond!
>
> Andrew
>
> ​ Andrew and others that have responded, thank you:



I will start over.   What I was trying to say is that the # (my example) is
a new glyph to Lilypond; and it has the name “accidentals.sharp” and the
code “is” (and others).   I am trying to understand this because I want to
create some accidentals of my own.



I assume that the “#” is not ‘markup’.  I do not understand what ‘markup’
is; I do know that is has something to do with text.



Also, I know that some of the accident are created with markup.



My original question was how is a glyph correctly named?  I have read
mf/README several times I think I have that part.



Then there is the code name, what is the correct way to name the code?   Why
two names; why not just the code name?



For my use I would like to be able to use one or more glyphs with a note.




I would like to start by using an unused accidental section of the SMuFL
Unicode.



Thank you,

ƒg








​
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Re: naming a glyph

[Andrew Bernard]

Hi Freeman,

Let us know what you re trying to do. Why do you want to create a glyph?

Are you new to lilypond? If so, welcome to the Pond!

Andrew


On 20 May 2018 at 22:44, Freeman Gilmore  wrote:

> ​
>
> On Sun, May 20, 2018 at 5:01 AM, Torsten Hämmerle <
> torsten.haemme...@web.de> wrote:
>
>> Freeman Gilmore wrote
>> > ​Where are the rules for naming a glyph located?
>>
>>
>> The naming conventions for glyph names can be found in mf/README:
>>
>>
>> mf/README wrote
>>
>> > Glyph name rules
>>
>> >
>> > Most glyph names have the form
>> > 
>> > .
>> > 
>> > , where
>> > 
>> >  is defined with the 'fet_begingroup' command, and
>> > 
>> >  is given with 'fet_beginchar' (within a 'fet_begingroup' block).
>> > Example: 'clefs.vaticana.fa'.
>> >
>> > Sometimes it would be sensible to use negative numbers in glyph names.
>> > However, the '-' character shouldn't be used in a glyph name.  Replace
>> it
>> > with 'M'.  For example, write 'rests.M3mensural' instead of
>> > 'rests.-3mensural'.
>> >
>> > Glyphs that exist in both an 'up' and 'down' version should start the
>> > 
>> >  part with either 'u' or 'd', respectively.  Example: 'flags.d3',
>> > 'flags.u3'.  Glyphs that are neutral w.r.t. the direction, and where
>> > members of the glyph group exist that have 'up' and 'down' versions,
>> > should start with an 's'.
>> > Example: 'noteheads.s0re'.
>>
>>
>> All the Emmentaler glyph names can be found in the  LilyPond Notation
>> Reference: Appendix A.8 - The Emmentaler font
>> > mentaler-font.html>
>>
>> You can generate a list of all the Emmentaler glyph names using the scheme
>> function ly:otf-glyph-list:
>>
>>   #(pretty-print (ly:otf-glyph-list (ly:system-font-load
>> "emmentaler-20")))
>>
>>
>> HTH,
>> Torsten
>>
>
> ​
>
> This is still confusing, I read *mf/README several time before asked my
> question.   The above helps.  I do not know how to ask this because this is
> all new to me.   Say I was going to create the glyph “#” for the first
> time.   Using the naming convention I name it “accidentals.sharp” (if this
> is the complete name?).   BUT I would use the name (or one of it equals)
> “…is” to print “#...”? *
>
> *Why two names?*
>
> *What convention is used for the second name (not a part of mf/readme);
> this is the one I am more interested in?*
>
> *Is “#” markup (not clear what this means)? *
>
> *Thank you,*
>
> *ƒg*
> ​
>
>
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Re: Adding stuff to included files without affecting source.

[Torsten Hämmerle]

crimsonsunrise wrote
> Is there any way to add these small modifications only on the conductor
> score file without having them on the source files used to construct the
> conductor score?

Why not use tags?

3.3.2 Different editions from one source - Using tags

  

HTH,
Torsten




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Re: naming a glyph

[Torsten Hämmerle]

Freeman Gilmore wrote
> ​Say I was going to create the glyph “#” for the first
> time.

What exactly do you mean by "create the glyph"?
The glyph is contained in the music font, and as most of the music glyphs,
it doesn't even have a fixed character code and even move around when new
glyphs are being added in later releases.
Therefore, they have to be accessed by their names.
The naming conventions just help to get them organized in a way.

By the way: even "ordinary" PostScript fonts do have glyph names that may
differ from what you actually type.
For example, "5" ist named "five" or "!" is named "exclam".



Freeman Gilmore wrote
> ​Using the naming convention I name it “accidentals.sharp” (if this
> is the complete name?).   BUT I would use the name (or one of it equals)
> “…is” to print “#...”? *

The point is that in everyday LilyPond usage, you do not need to know or
enter the glyph name at all.
And, by the way a sharp accidental is not a # (number sign).

LilyPond interprets your code and generates output from it. When you write
"fis", for instance, this will produce a notehead (the specific notehead
glyph depends on the duration) plus (eventually) a sharp accidental in front
of it. In the key of G major, however, it will not print a sharp accidental,
because it's contained in the key signature.
In addition to that, depending on the duration, the note will have a stem
(or not). This stem may have different lengths depending on the
circumstances. This stem may have different directions.
The stem may have a flag (different flag glyphs depending on the duration).
Or it may be beamed (depending on the neighbouring notes an the beat
structure and its position within the measure).

As you can see, a simple "fis" entry may produce many different glyphs.

This all happens without having to know a single glyph name.

Extreme example: in guitar tablature, a "fis" will be a fret number on a
string.



Freeman Gilmore wrote
> ​*Why two names?*

It's not two names, it's a code being interpreted for producing a complex
combination of glyphs and graphical elements. These single elements may be
glyphs of a font using internal glyph names.


There is, however, one notable exception: if needed, every single music
glyph can be accessed by its name in a markup text.

\markup \line { In older prints, 
  a quarter rest \musicglyph "rests.2"
  often looks like \musicglyph "rests.2classical" }

 




Freeman Gilmore wrote
> ​*What convention is used for the second name (not a part of mf/readme);
> this is the one I am more interested in?*

I guess by "second name" you mean the "...is" suffix.
But this is not a glyph name but part of a note name that will be converted
into one or more glyphs at certain positions.
By the way, LilyPond allows note names to be entered using several
languages.
But a Dutch or German fis will produce exactly the same glyphs as an English
fs or f-sharp or a French fad (fa dièse) --- all will produce the same
output.

So, depending on the input language used, one and the same note may have
different names.

Even more importantly, even within one language, all the different note
names (c, d, e, f, g, a, ...) will use the same glyphs (in different stave
positions, though) and depending on their duration, a "c" may have many
different noteheads (i.e. notehead glyphs), may have a stem or not, may one
of different flags (i.e. flag glyphs) or not, may be beamed, etc.

As you can see, a "fis" may look different depending on the surrounding
circumstances.

Generally, any markup language will interpret contents and syntax and
produce an output from it.
There is no simple 1:1 relationship between text code input and the actual
output.
In C major, the first fis in a bar will get a sharp accidental, but the next
one won't get an accidental.

This is important for several reasons.
Just imagine you'd have to code every single glyph used instead of entering
meaning and contents, i.e. music.
Then it'd be virtually impossible to transpose or play back the music.

All the best,
Torsten




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Adding stuff to included files without affecting source.

[crimsonsunrise]

Currently using the latest stable version.

The subject pretty much says it. I'm dealing with a score in which parts are 
combined as voices on single staves, but the conductor score has text that's 
only relevant to the conductior and should not be included in the instrument 
part scores, like indications on a flute/piccolo score indicating which voice 
is which instrument, when the instruments are in divisi and so on on specific 
measures. Is there any way to add these small modifications only on the 
conductor score file without having them on the source files used to construct 
the conductor score?

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Re: Parenthesis/bracket/brace questions

[Robin Bannister]

Brent Annable wrote:


2. I would like to parenthesize a couple of two-note chords in the tenor
part. Has anybody come up with a decent way to put parentheses around
entire chords yet? I've rummaged around the old threads but can't really
find anything that fits the bill.



Maybe you can make do with the \parch function given (at the end of)
https://archiv.lilypondforum.de/index.php/topic,347.msg10786/topicseen.html#msg10786

Then you would just write
>
> \parch #2.5 4 \parch #3.7 2.
>

But this hack doesn't prevent the right bracket colliding with things.


Cheers,
Robin

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Re: Intervals between various B pitches

[Hans Åberg]

Here is a two-dimensional layout fitting into the staff system (use a monospace 
font to view). Pitches increase by moving up or to the right. Moving vertically 
corresponds to changing position on the staff; moving horizontally, applying an 
accidental.

Pitches altering layout as follows:
   m ^  ^ M
 | /
b <- . -> #
/|
-M v v -m
where M (resp. m) is the major (resp. minor) second, and the
the sharp # (resp. flat b) raises (resp lower) with the interval
M - m, that is, the difference between the major and minor seconds.

Resulting pattern, in a scale using names A B C D E F G:
  Ab' A'  A#'
  Gb  G   G#
  Fb  F   F#
  Eb  E   E#
  Db  D   D#
  Cb  C   C#
  Bb  B   B#
  Ab  A   A#
For traditional interval names:
  D8  P8  A8
  D7  m7  M7  A7
  D6  m6  M6  A6
  D5  P5  A5
  D4  P4  A4
  D3  m3  M3  A3
  D2  m2  M2  A2
  D1  P1  A1
writing
  P  pure
  M  major
  m  minor
  A  augmented
  D  diminished
plus numbers: 1st, 2nd, etc.

Then transpose by translating, also between the two diagrams.



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RE: Help with piano tenuto notes

[Mark Stephen Mrotek]

Giampaolo,

 

Maybe a \set tieWiatForNote as in the attached?

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Giampaolo Orrigo
Sent: Sunday, May 20, 2018 10:12 AM
To: lilypond-user 
Subject: Help with piano tenuto notes

 

[Reposting with link to big attachment, instead of attaching it]

 

Hello,

 

I am trying to replicate the notation in the linked picture, but the best I can 
do is to create different voices but when I try I get the attached example. If 
I try to create multiple voices on the last chord, I get too many notehead 
clashes and it doesn't look good at all.

Any suggestion?

 

Thanks!




Giampaolo

 

 https://ibb.co/d3DdFo

 

 

\version "2.18.2"
\language "english"

\header {
  % Remove default LilyPond tagline
  tagline = ##f
}

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

global = {
  \key a \minor
  \numericTimeSignature
  \time 3/8
}

right = \relative c'' {
  \global
  \set tieWaitForNote = ##t
  a,16 b c e~ c~ b~ 
   
  4.\fermata
  \bar "|."
}

left = \relative c' {
  \global
  % Music follows here.
  a,4.~ a\fermata \bar "|."
}

\score {
  \new PianoStaff <<
\new Staff = "right" \right
\new Staff = "left" { \clef bass \left }
  >>
  \layout { }
}
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Re: Help with piano tenuto notes

[Kieren MacMillan]

Hi Giampaolo,

> I am trying to replicate the notation in the linked picture, but the best I 
> can do is to create different voices but when I try I get the attached 
> example. If I try to create multiple voices on the last chord, I get too many 
> notehead clashes and it doesn't look good at all.
> Any suggestion?

Maybe something like this?

%%%  SNIPPET BEGINS
\version "2.18.2"
\language "english"

\header {
  % Remove default LilyPond tagline
  tagline = ##f
}

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

global = {
  \key a \minor
  \numericTimeSignature
  \time 3/8
}

right = {
  \global
  \mergeDifferentlyHeadedOn
  \mergeDifferentlyDottedOn
  <<
{ \voiceOne  a16 b c' \set tieWaitForNote = ##t e' ~ c' ~ b ~ 4.\fermata }
\\
   \new Voice { \voiceTwo s8. e'8.*1/3 \noBeam c'8*1/2 \noBeam b16  }
>>
  \bar "|."
}

left = \relative c' {
  \global
  a,4.~ a\fermata \bar "|."
}

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

Hope that helps!
Kieren.


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


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Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

[Mason Hock]

On 05/20, Urs Liska wrote:
> I will find the code when I'm back home - and Piaras won't be faster ...

Great! Thank you, Urs.

Mason

> Am 20. Mai 2018 18:49:28 MESZ schrieb Mason Hock :
> >On 05/20, Urs Liska wrote:
> >> Hi Mason,
> >> 
> >> I'm not *fully* clear what you want to achieve, but the attached is
> >> something Piaras Hoban once shared with the list.
> >
> >Thanks for your response, Urs. This looks very close to what I need. If
> >I can modify the solution so that the glissando terminates on an
> >ordinary note (as opposed to a grace note) then it will be perfect.
> >
> >> If this is (close to) what
> >> you need you might search the archives for posts by him.
> >
> >In the archives I have found a post[1] by Piaras linking to a pdf of
> >various effects, including this one, but it does not include the code
> >used to acheive these effects. I also found a post[2] of yours in which
> >you demonstrate the syntax as
> >
> >\stemmedGlissando #'(15 . #f) c'4 
> >
> >which looks great, and state that Piaras wrote this function when you
> >asked for such a function on the list. However, I was unable to find
> >the thread in which he provided you with this function. Do you still
> >have the code?
> >
> >Piaras, I have cc'd you in case you can help out. I'll be very grateful
> >if either of you can provide the code for stemmedGlissando.
> >
> >Thanks,
> >
> >Mason
> >
> >[1]
> >https://lists.gnu.org/archive/html/lilypond-user/2014-10/msg00313.html 
> >[2]
> >https://lists.gnu.org/archive/html/lilypond-user/2014-10/msg00252.html
> >
> >> Good luck
> >> Urs
> >> 
> >> 
> >> Am 19.05.2018 um 23:16 schrieb Mason Hock:
> >> > \version "2.19.81"
> >> > \language "english"
> >> > 
> >> > % starts an extended glissand
> >> > glon = {
> >> >\override NoteColumn.glissando-skip = ##t
> >> >\hide NoteHead
> >> >\override NoteHead.no-ledgers = ##t
> >> >\override Stem.thickness = #0.5
> >> >\override Accidental #'stencil = ##f
> >> > }
> >> > % terminates an extended glissando
> >> > gloff = {
> >> >\revert NoteColumn.glissando-skip
> >> >\undo \hide NoteHead
> >> >\revert Glissando #'stencil
> >> >\revert NoteHead.no-ledgers
> >> >\revert Stem.thickness
> >> >\revert Accidental #'stencil
> >> > }
> >> > % slightly increase slope of glissando so that line is
> >> > % not perfectly horizontal when glissing between notes
> >> > % on same staff line/space
> >> > glup = { \once\override Glissando.extra-dy = #0.5 }
> >> > gldown = { \once\override Glissando.extra-dy = #-0.5 }
> >> > 
> >> > \relative c' {
> >> >\glup c8 \glissando \glon c-_ d-_ e-_ \tuplet 5/4 { e-_ f-_ g g
> >a } |
> >> >\gloff a a \gldown a \glissando \glon a a a \gloff af4 |
> >> >\gldown af2 \glissando \gldown g4( \glissando \glon f |
> >> >e) \gloff e r2 |
> >> > }
> >> 
> >
> >
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Help with piano tenuto notes

[Giampaolo Orrigo]

 [Reposting with link to big attachment, instead of attaching it]

Hello,

I am trying to replicate the notation in the linked picture, but the best I
can do is to create different voices but when I try I get the attached
example. If I try to create multiple voices on the last chord, I get too
many notehead clashes and it doesn't look good at all.
Any suggestion?

Thanks!

Giampaolo

 https://ibb.co/d3DdFo
\version "2.18.2"
\language "english"

\header {
  % Remove default LilyPond tagline
  tagline = ##f
}

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

global = {
  \key a \minor
  \numericTimeSignature
  \time 3/8
}

right = \relative c'' {
  \global
  % Music follows here.
  << \mergeDifferentlyHeadedOn
\mergeDifferentlyDottedOn
{ \voiceOne  a,16 b c e c b } \\
   { \voiceTwo \tieUp s8. e8.~ } \\ { \voiceTwo \tieUp s4 c8~ } \\
  { \voiceTwo \tieUp s4 s16 \hideNotes b16~ } >> 
  4.\fermata
  \bar "|."
}

left = \relative c' {
  \global
  % Music follows here.
  a,4.~ a\fermata \bar "|."
}

\score {
  \new PianoStaff <<
\new Staff = "right" \right
\new Staff = "left" { \clef bass \left }
  >>
  \layout { }
}
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Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

[Urs Liska]

I will find the code when I'm back home - and Piaras won't be faster ...

Am 20. Mai 2018 18:49:28 MESZ schrieb Mason Hock :
>On 05/20, Urs Liska wrote:
>> Hi Mason,
>> 
>> I'm not *fully* clear what you want to achieve, but the attached is
>> something Piaras Hoban once shared with the list.
>
>Thanks for your response, Urs. This looks very close to what I need. If
>I can modify the solution so that the glissando terminates on an
>ordinary note (as opposed to a grace note) then it will be perfect.
>
>> If this is (close to) what
>> you need you might search the archives for posts by him.
>
>In the archives I have found a post[1] by Piaras linking to a pdf of
>various effects, including this one, but it does not include the code
>used to acheive these effects. I also found a post[2] of yours in which
>you demonstrate the syntax as
>
>\stemmedGlissando #'(15 . #f) c'4 
>
>which looks great, and state that Piaras wrote this function when you
>asked for such a function on the list. However, I was unable to find
>the thread in which he provided you with this function. Do you still
>have the code?
>
>Piaras, I have cc'd you in case you can help out. I'll be very grateful
>if either of you can provide the code for stemmedGlissando.
>
>Thanks,
>
>Mason
>
>[1]
>https://lists.gnu.org/archive/html/lilypond-user/2014-10/msg00313.html 
>[2]
>https://lists.gnu.org/archive/html/lilypond-user/2014-10/msg00252.html
>
>> Good luck
>> Urs
>> 
>> 
>> Am 19.05.2018 um 23:16 schrieb Mason Hock:
>> > \version "2.19.81"
>> > \language "english"
>> > 
>> > % starts an extended glissand
>> > glon = {
>> >\override NoteColumn.glissando-skip = ##t
>> >\hide NoteHead
>> >\override NoteHead.no-ledgers = ##t
>> >\override Stem.thickness = #0.5
>> >\override Accidental #'stencil = ##f
>> > }
>> > % terminates an extended glissando
>> > gloff = {
>> >\revert NoteColumn.glissando-skip
>> >\undo \hide NoteHead
>> >\revert Glissando #'stencil
>> >\revert NoteHead.no-ledgers
>> >\revert Stem.thickness
>> >\revert Accidental #'stencil
>> > }
>> > % slightly increase slope of glissando so that line is
>> > % not perfectly horizontal when glissing between notes
>> > % on same staff line/space
>> > glup = { \once\override Glissando.extra-dy = #0.5 }
>> > gldown = { \once\override Glissando.extra-dy = #-0.5 }
>> > 
>> > \relative c' {
>> >\glup c8 \glissando \glon c-_ d-_ e-_ \tuplet 5/4 { e-_ f-_ g g
>a } |
>> >\gloff a a \gldown a \glissando \glon a a a \gloff af4 |
>> >\gldown af2 \glissando \gldown g4( \glissando \glon f |
>> >e) \gloff e r2 |
>> > }
>> 
>
>
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Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

[Mason Hock]

On 05/20, Urs Liska wrote:
> Hi Mason,
> 
> I'm not *fully* clear what you want to achieve, but the attached is
> something Piaras Hoban once shared with the list.

Thanks for your response, Urs. This looks very close to what I need. If I can 
modify the solution so that the glissando terminates on an ordinary note (as 
opposed to a grace note) then it will be perfect.

> If this is (close to) what
> you need you might search the archives for posts by him.

In the archives I have found a post[1] by Piaras linking to a pdf of various 
effects, including this one, but it does not include the code used to acheive 
these effects. I also found a post[2] of yours in which you demonstrate the 
syntax as

\stemmedGlissando #'(15 . #f) c'4 

which looks great, and state that Piaras wrote this function when you asked for 
such a function on the list. However, I was unable to find the thread in which 
he provided you with this function. Do you still have the code?

Piaras, I have cc'd you in case you can help out. I'll be very grateful if 
either of you can provide the code for stemmedGlissando.

Thanks,

Mason

[1] https://lists.gnu.org/archive/html/lilypond-user/2014-10/msg00313.html 
[2] https://lists.gnu.org/archive/html/lilypond-user/2014-10/msg00252.html

> Good luck
> Urs
> 
> 
> Am 19.05.2018 um 23:16 schrieb Mason Hock:
> > \version "2.19.81"
> > \language "english"
> > 
> > % starts an extended glissand
> > glon = {
> >\override NoteColumn.glissando-skip = ##t
> >\hide NoteHead
> >\override NoteHead.no-ledgers = ##t
> >\override Stem.thickness = #0.5
> >\override Accidental #'stencil = ##f
> > }
> > % terminates an extended glissando
> > gloff = {
> >\revert NoteColumn.glissando-skip
> >\undo \hide NoteHead
> >\revert Glissando #'stencil
> >\revert NoteHead.no-ledgers
> >\revert Stem.thickness
> >\revert Accidental #'stencil
> > }
> > % slightly increase slope of glissando so that line is
> > % not perfectly horizontal when glissing between notes
> > % on same staff line/space
> > glup = { \once\override Glissando.extra-dy = #0.5 }
> > gldown = { \once\override Glissando.extra-dy = #-0.5 }
> > 
> > \relative c' {
> >\glup c8 \glissando \glon c-_ d-_ e-_ \tuplet 5/4 { e-_ f-_ g g a } |
> >\gloff a a \gldown a \glissando \glon a a a \gloff af4 |
> >\gldown af2 \glissando \gldown g4( \glissando \glon f |
> >e) \gloff e r2 |
> > }
> 


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Re: Intervals between various B pitches

[Hans Åberg]

> On 20 May 2018, at 15:59, Freeman Gilmore  wrote:
> 
> On Sun, May 20, 2018 at 7:16 AM, Hans Åberg  wrote:
> 
>> Use the keyboard layout below, which I made for a ChucK program. Take 
>> two-dimensional pattern and transpose between the two diagrams. 

> P perfect.
> Use a Fixed With​ font for better alignment; if that will work on this forum.

Indeed. If you got something else, it was probably on your side.



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Re: Intervals between various B pitches

[Hans Åberg]

> On 20 May 2018, at 16:23, Aaron Hill  wrote:
> 
> Hans, would you confirm whether the "D2" dangling at the end should actually 
> be "D8"?

Yes, indeed, typo. Here a repost for easy copy (for use with a monospace font). 
Available at [1], the files for use with ChucK [2].

The keyboard layout is altering pitches as follows:
   ^ #
  /
 . -> M
/ \
 b v   v m
where M (resp. m) is the major (resp. minor) second, and the
the sharp # (resp. flat b) raises (resp lower) with the interval
M - m, that is, the difference between the major and minor seconds.

Resulting key pattern, in a scale using names A B C D E F G:
  C#  D#  E#
C   D   E   F#  G#  A#  B#
  Cb  Db  Eb  F   G   A   B
Fb  Gb  Ab  Bb  C'
In terms of traditional interval names, writing
  P  pure
  M  major
  m  minor
  A  augmented
  D  diminished
plus numbers: 1st, 2nd, etc., this is
  A1  A2  A3
P1  M2  M3  A4  A5  A6  A7
  D1  m2  m3  P4  P5  M6  M7  A8
D2  D3  D4  D5  m6  m7  P8
  D8


1. 
https://secure2.storegate.com/Shares/Home.aspx?ShareID=f2f70b60-a7f7-4d15-9c36-6763de133c62
2. http://chuck.cs.princeton.edu/release/



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RE: Parenthesis/bracket/brace questions

[Mark Stephen Mrotek]

Brent,

 

As to No. 1, perhaps a cross staff arpeggio/bracket?

 

http://lilypond.org/doc/v2.19/Documentation/notation/expressive-marks-as-lines#arpeggio

 

Mark

 

From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Brent Annable
Sent: Sunday, May 20, 2018 7:31 AM
To: lilypond-user 
Subject: Parenthesis/bracket/brace questions

 

 

Hi all,

 

So I'm working on a score at the moment and have run into two challenges:

 

1. Does anybody have an idea how to insert large, cross-staff square braces 
(effectively parenthesizing the entire staff) as in the link below? I have no 
idea how to even start.

 

https://imgur.com/a/gTnREC6

 

2. I would like to parenthesize a couple of two-note chords in the tenor part. 
Has anybody come up with a decent way to put parentheses around entire chords 
yet? I've rummaged around the old threads but can't really find anything that 
fits the bill. 

 

The below example shows the two chords I need; the solution to the second one 
kind of works because the chord has a middle note that can be parenthesized and 
made invisible (and I assume the dot as well, although I haven't figured that 
out yet), then the parenthesis enlarged to span the entire chord. But the chord 
before it doesn't, and I can't figure out a way to either move or centre the 
parentheses:

 

 

\version "2.19.65"

 

\relative c' { \override ParenthesesItem.font-size = #3

\key es \major

 < bes \hide \parenthesize g es>2.

}

 

 

I would be grateful for any help.

 

Thanks and regards,

 

Brent.

 

 

 

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Slurs and Ties break-overshoot

[foxfanfare]

Hi everyone,

Here's an exemple of the music I'm currently writting:

 

As you can see at a line break, I have configured the beams to keep a
certain distance to the barline when breaking, using the command
"Beam.break-overshoot"

I noticed Ties and Slurs doesn't have the same behavior for this: Ties have
a little gap, but slur strictly align with the barline.

My question is: how is it possible to configure the Slurs and Ties for a
specific break-overshoot like I did with beams? I'd prefer not use a shape
command evry time!

Here is the final outup I'd like to get (set in Siblius):
 

Thanks for your advice!



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

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Parenthesis/bracket/brace questions

[Brent Annable]

Hi all,

So I'm working on a score at the moment and have run into two challenges:

1. Does anybody have an idea how to insert large, cross-staff square braces
(effectively parenthesizing the entire staff) as in the link below? I have
no idea how to even start.

https://imgur.com/a/gTnREC6

2. I would like to parenthesize a couple of two-note chords in the tenor
part. Has anybody come up with a decent way to put parentheses around
entire chords yet? I've rummaged around the old threads but can't really
find anything that fits the bill.

The below example shows the two chords I need; the solution to the second
one kind of works because the chord has a middle note that can be
parenthesized and made invisible (and I assume the dot as well, although I
haven't figured that out yet), then the parenthesis enlarged to span the
entire chord. But the chord before it doesn't, and I can't figure out a way
to either move or centre the parentheses:


\version "2.19.65"

\relative c' { \override ParenthesesItem.font-size = #3
\key es \major
 < bes \hide \parenthesize g es>2.
}


I would be grateful for any help.

Thanks and regards,

Brent.
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Re: Intervals between various B pitches

[Aaron Hill]

On 2018-05-20 04:16, Hans Åberg wrote:

The keyboard layout is altering pitches as follows:
   ^ #
  /
 . -> M
/ \
 b v   v m
where M (resp. m) is the major (resp. minor) second, and the
the sharp # (resp. flat b) raises (resp lower) with the interval
M - m, that is, the difference between the major and minor seconds.

Resulting key pattern, in a scale using names A B C D E F G:
  C#  D#  E#
C   D   E   F#  G#  A#  B#
  Cb  Db  Eb  F   G   A   B
Fb  Gb  Ab  Bb  C'
In terms of traditional interval names, writing
  P  pure
  M  major
  m  minor
  A  augmented
  D  diminished
plus numbers: 1st, 2nd, etc., this is
  A1  A2  A3
P1  M2  M3  A4  A5  A6  A7
  D1  m2  m3  P4  P5  M6  M7  A8
D2  D3  D4  D5  m6  m7  P8
  D2


Hans, would you confirm whether the "D2" dangling at the end should 
actually be "D8"?


-- Aaron Hill

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Re: Intervals between various B pitches

[Freeman Gilmore]

On Sun, May 20, 2018 at 7:16 AM, Hans Åberg  wrote:

>
> > On 20 May 2018, at 11:45, Menu Jacques  wrote:
> >
> > Working on intervals, I bump into this question.
> >
> > How is the right column below to be filled?
> >
> > Downward interval between B## and:
> >
> >   B#:augmented unison or minor second?
> >   B: major second or ...?
> >   Bb:minor third or ...?
> >   Bbb:   major third or ...?
>
>
>
> Use the keyboard layout below, which I made for a ChucK program. Take
> two-dimensional pattern and transpose between the two diagrams.
>
>
> The keyboard layout is altering pitches as follows:
>^ #
>   /
>  . -> M
> / \
>  b v   v m
> where M (resp. m) is the major (resp. minor) second, and the
> the sharp # (resp. flat b) raises (resp lower) with the interval
> M - m, that is, the difference between the major and minor seconds.
>
> Resulting key pattern, in a scale using names A B C D E F G:
>   C#  D#  E#
> C   D   E   F#  G#  A#  B#
>   Cb  Db  Eb  F   G   A   B
> Fb  Gb  Ab  Bb  C'
> In terms of traditional interval names, writing
>   P  pure
>   M  major
>   m  minor
>   A  augmented
>   D  diminished
> plus numbers: 1st, 2nd, etc., this is
>   A1  A2  A3
> P1  M2  M3  A4  A5  A6  A7
>   D1  m2  m3  P4  P5  M6  M7  A8
> D2  D3  D4  D5  m6  m7  P8
>   D2
>
> ​
P perfect.
Use a Fixed With​ font for better alignment; if that will work on this
forum.
ƒg
​


>
>
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Re: naming a glyph

[Freeman Gilmore]

​

On Sun, May 20, 2018 at 5:01 AM, Torsten Hämmerle 
wrote:

> Freeman Gilmore wrote
> > ​Where are the rules for naming a glyph located?
>
>
> The naming conventions for glyph names can be found in mf/README:
>
>
> mf/README wrote
>
> > Glyph name rules
>
> >
> > Most glyph names have the form
> > 
> > .
> > 
> > , where
> > 
> >  is defined with the 'fet_begingroup' command, and
> > 
> >  is given with 'fet_beginchar' (within a 'fet_begingroup' block).
> > Example: 'clefs.vaticana.fa'.
> >
> > Sometimes it would be sensible to use negative numbers in glyph names.
> > However, the '-' character shouldn't be used in a glyph name.  Replace it
> > with 'M'.  For example, write 'rests.M3mensural' instead of
> > 'rests.-3mensural'.
> >
> > Glyphs that exist in both an 'up' and 'down' version should start the
> > 
> >  part with either 'u' or 'd', respectively.  Example: 'flags.d3',
> > 'flags.u3'.  Glyphs that are neutral w.r.t. the direction, and where
> > members of the glyph group exist that have 'up' and 'down' versions,
> > should start with an 's'.
> > Example: 'noteheads.s0re'.
>
>
> All the Emmentaler glyph names can be found in the  LilyPond Notation
> Reference: Appendix A.8 - The Emmentaler font
>  emmentaler-font.html>
>
> You can generate a list of all the Emmentaler glyph names using the scheme
> function ly:otf-glyph-list:
>
>   #(pretty-print (ly:otf-glyph-list (ly:system-font-load "emmentaler-20")))
>
>
> HTH,
> Torsten
>

​

This is still confusing, I read *mf/README several time before asked my
question.   The above helps.  I do not know how to ask this because this is
all new to me.   Say I was going to create the glyph “#” for the first
time.   Using the naming convention I name it “accidentals.sharp” (if this
is the complete name?).   BUT I would use the name (or one of it equals)
“…is” to print “#...”? *

*Why two names?*

*What convention is used for the second name (not a part of mf/readme);
this is the one I am more interested in?*

*Is “#” markup (not clear what this means)? *

*Thank you,*

*ƒg*
​
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Re: Intervals between various B pitches

[Hans Åberg]

> On 20 May 2018, at 11:45, Menu Jacques  wrote:
> 
> Working on intervals, I bump into this question.
> 
> How is the right column below to be filled?
> 
> Downward interval between B## and:
> 
>   B#:augmented unison or minor second?
>   B: major second or ...?
>   Bb:minor third or ...?
>   Bbb:   major third or ...?



Use the keyboard layout below, which I made for a ChucK program. Take 
two-dimensional pattern and transpose between the two diagrams. 


The keyboard layout is altering pitches as follows:
   ^ #
  /
 . -> M
/ \
 b v   v m
where M (resp. m) is the major (resp. minor) second, and the
the sharp # (resp. flat b) raises (resp lower) with the interval
M - m, that is, the difference between the major and minor seconds.

Resulting key pattern, in a scale using names A B C D E F G:
  C#  D#  E#
C   D   E   F#  G#  A#  B#
  Cb  Db  Eb  F   G   A   B
Fb  Gb  Ab  Bb  C'
In terms of traditional interval names, writing
  P  pure
  M  major
  m  minor
  A  augmented
  D  diminished
plus numbers: 1st, 2nd, etc., this is
  A1  A2  A3
P1  M2  M3  A4  A5  A6  A7
  D1  m2  m3  P4  P5  M6  M7  A8
D2  D3  D4  D5  m6  m7  P8
  D2



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Re: Intervals between various B pitches

[Andrew Bernard]

Can I add a comment to this?

The reason they must be referred to as unisons is because the notes are on
the same staff position, and they have the same note name. This
distinguishes them from chromatic semitones, or seconds, etc.

I would say that in music theory the B is called the note (I know that
'note' may mean something different in lilypond), the sharps and flats are
called accidentals, and in music theory the octave is generally not given.

There's a music theory group over at StackExchange:

https://music.stackexchange.com/

[But you will likely find better experts here!]

This is not entirely academic. Consider the Archicembalo, of which a
historical example exists, and there are modern copies. It is a harpsichord
designed by Trasuntino for 31 ET, a valid temperament, and it actually had
36 notes per octave. You can hear one here:

https://youtu.be/bhGwjgZ8zIY


So you can actually play these unisons on such an instrument.

Given that this instrument was built in 1555 (!) I would not return a void
or null for these intervals in the code, but the actual name. Just my
thoughts on this interesting OT topic.


Andrew



On 20 May 2018 at 20:16, Malte Meyn  wrote:

>
>
> Am 20.05.2018 um 11:45 schrieb Menu Jacques:
>
>> Hello folks,
>>
>> Working on intervals, I bump into this question.
>>
>> How is the right column below to be filled?
>>
>> Downward interval between B## and:
>>
>> B#:augmented unison or minor second?
>> B: major second or ...?
>> Bb:minor third or ...?
>> Bbb:   major third or ...?
>>
>> Thanks for your help!
>>
>
> All of these are unisons:
>
> B♯–B♯♯: augmented unison
> B–B♯♯: double augmented unison
> B♭–B♯♯: triple augmented unison
> B♭♭–B♯♯: quadruple augmented unison
>
> A pitch consists of three parts:
>
> 1. (I don’t know how it’s called correctly, maybe “diatonic name” or
> something similar?): The “B” part in “B♯♯”
> 2. an accidental: the “♯♯”
> 3. the octave: the “4” in “B♯♯4”
>
>
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Re: Intervals between various B pitches

[Jacques Menu Muzhic]

Hello Malte and Simon,

I must apologize for the subject of this post being off-topic for this list, 
but you guys here are the best experts I can contact for such a specific 
question.

I’m programming a function computing the interval between two pitches, to 
display for example the inner intervals in chords.

This way, the b-f’ in a g dominant chord  will show up as a 
diminished fifth.

It's in this context that my question arose, for the sake of completeness of 
the code.

I’ll thus return a non-value for such cases that don’t occur in real musical 
life.

BTW, does anyone know whether/how Music21 support such a functionality?

Sorry for not telling about the context beforehand, thanks for your help, and a 
nice day!

JM

> Le 20 mai 2018 à 12:16, Malte Meyn  a écrit :
> 
> 
> 
> Am 20.05.2018 um 11:45 schrieb Menu Jacques:
>> Hello folks,
>> Working on intervals, I bump into this question.
>> How is the right column below to be filled?
>> Downward interval between B## and:
>>  B#:augmented unison or minor second?
>>  B: major second or ...?
>>  Bb:minor third or ...?
>>  Bbb:   major third or ...?
>> Thanks for your help!
> 
> All of these are unisons:
> 
> B♯–B♯♯: augmented unison
> B–B♯♯: double augmented unison
> B♭–B♯♯: triple augmented unison
> B♭♭–B♯♯: quadruple augmented unison
> 
> A pitch consists of three parts:
> 
> 1. (I don’t know how it’s called correctly, maybe “diatonic name” or 
> something similar?): The “B” part in “B♯♯”
> 2. an accidental: the “♯♯”
> 3. the octave: the “4” in “B♯♯4”
> 
> Only part 1 and 3 decide whether you have a unison, second, third, fourth, …
> 
> But why would someone use such extreme intervals as B♭♭–B♯♯? The only reason 
> I can think of is temperaments of more than 12 pitches per octave.
> 
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Re: Intervals between various B pitches

[Malte Meyn]

Am 20.05.2018 um 11:45 schrieb Menu Jacques:

Hello folks,

Working on intervals, I bump into this question.

How is the right column below to be filled?

Downward interval between B## and:

B#:augmented unison or minor second?
B: major second or ...?
Bb:minor third or ...?
Bbb:   major third or ...?

Thanks for your help!


All of these are unisons:

B♯–B♯♯: augmented unison
B–B♯♯: double augmented unison
B♭–B♯♯: triple augmented unison
B♭♭–B♯♯: quadruple augmented unison

A pitch consists of three parts:

1. (I don’t know how it’s called correctly, maybe “diatonic name” or 
something similar?): The “B” part in “B♯♯”

2. an accidental: the “♯♯”
3. the octave: the “4” in “B♯♯4”

Only part 1 and 3 decide whether you have a unison, second, third, fourth, …

But why would someone use such extreme intervals as B♭♭–B♯♯? The only 
reason I can think of is temperaments of more than 12 pitches per octave.


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Re: Intervals between various B pitches

[Simon Albrecht]

Hi Jacques,

the question seems slightly off topic, but I'll still answer: you're looking 
for double/triple/quadruple augmented unison. However, these names are a mere 
theoretical construct with no foundation in actual use...

Best, Simon



> Hello folks,
> 
> Working on intervals, I bump into this question.
> 
> How is the right column below to be filled?
> 
> Downward interval between B## and:
> 
>   B#: augmented unison or minor second?
>   B: major second or ...?
>   Bb: minor third or ...?
>   Bbb: major third or ...?
> 
> Thanks for your help!
> 
> JM
> 
> 
> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user


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Intervals between various B pitches

[Menu Jacques]

Hello folks,

Working on intervals, I bump into this question.

How is the right column below to be filled?

Downward interval between B## and:

B#:augmented unison or minor second?
B: major second or ...?
Bb:minor third or ...?
Bbb:   major third or ...?

Thanks for your help!

JM


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Re: naming a glyph

[Torsten Hämmerle]

Freeman Gilmore wrote
> ​Where are the rules for naming a glyph located?


The naming conventions for glyph names can be found in mf/README:


mf/README wrote

> Glyph name rules

> 
> Most glyph names have the form 
> 
> .
> 
> , where 
> 
>  is defined with the 'fet_begingroup' command, and 
> 
>  is given with 'fet_beginchar' (within a 'fet_begingroup' block).
> Example: 'clefs.vaticana.fa'.
> 
> Sometimes it would be sensible to use negative numbers in glyph names. 
> However, the '-' character shouldn't be used in a glyph name.  Replace it
> with 'M'.  For example, write 'rests.M3mensural' instead of
> 'rests.-3mensural'.
> 
> Glyphs that exist in both an 'up' and 'down' version should start the 
> 
>  part with either 'u' or 'd', respectively.  Example: 'flags.d3',
> 'flags.u3'.  Glyphs that are neutral w.r.t. the direction, and where
> members of the glyph group exist that have 'up' and 'down' versions,
> should start with an 's'.  
> Example: 'noteheads.s0re'.


All the Emmentaler glyph names can be found in the  LilyPond Notation
Reference: Appendix A.8 - The Emmentaler font
 
 

You can generate a list of all the Emmentaler glyph names using the scheme
function ly:otf-glyph-list:

  #(pretty-print (ly:otf-glyph-list (ly:system-font-load "emmentaler-20")))


HTH,
Torsten





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

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Re: Need edition-engraver-compatible extended glissandi, will pay for solution if necessary

[Urs Liska]

Hi Mason,

I'm not *fully* clear what you want to achieve, but the attached is 
something Piaras Hoban once shared with the list. If this is (close to) 
what you need you might search the archives for posts by him.


Good luck
Urs


Am 19.05.2018 um 23:16 schrieb Mason Hock:

\version "2.19.81"
\language "english"

% starts an extended glissand
glon = {
   \override NoteColumn.glissando-skip = ##t
   \hide NoteHead
   \override NoteHead.no-ledgers = ##t
   \override Stem.thickness = #0.5
   \override Accidental #'stencil = ##f
}
% terminates an extended glissando
gloff = {
   \revert NoteColumn.glissando-skip
   \undo \hide NoteHead
   \revert Glissando #'stencil
   \revert NoteHead.no-ledgers
   \revert Stem.thickness
   \revert Accidental #'stencil
}
% slightly increase slope of glissando so that line is
% not perfectly horizontal when glissing between notes
% on same staff line/space
glup = { \once\override Glissando.extra-dy = #0.5 }
gldown = { \once\override Glissando.extra-dy = #-0.5 }

\relative c' {
   \glup c8 \glissando \glon c-_ d-_ e-_ \tuplet 5/4 { e-_ f-_ g g a } |
   \gloff a a \gldown a \glissando \glon a a a \gloff af4 |
   \gldown af2 \glissando \gldown g4( \glissando \glon f |
   e) \gloff e r2 |
}


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