Re: Unbound variable: \markup
Lukas-Fabian Moser writes:
> Hi Freeman,
>
> Am 04.05.20 um 16:02 schrieb Freeman Gilmore:
>> The first one below works fine but the second does not work when the
>> dollar is replaced with \markup \vcenter \huge \bold "$". Please
>> explain why?Why is \markup bound in the first and not in the
>> second.I see \markup used in many places like to the second
>> example that works, what is the difference?
>
> The # in \override Accidental.before-line-breaking = #... enters
> Scheme-mode, so to speak. You may reference LilyPond variables (your
> first version), but \markup ... is LilyPond syntax which cannot be
> used in Scheme mode. (Rule of thumb: No \anything inside of #...)
>
> (You see the difference even in the way you reference your dollar
> variable: In LilyPond mode, you'd have to write \dollar, but in Scheme
> mode, it's just dollar.)
>
> Solution: Either construct your markup in Scheme mode, or use the
> wonderful #{ #} way of switching back to LilyPond mode. I'm not sure
> if the latter is available in 2.18.2 (which should be considered
> outdated by now!), since I lost track of when which syntax
> simplification was added (probably by David K.),
I may be mistaken, but I think it was the comparatively vaguely
described and actually rather small commit
commit d8ee829c73452cc35ef17c6c22abf5b47c754c15
Author: David Kastrup
Date: Sat Aug 27 22:23:44 2011 +0200
Make #{ #} accept everything an assignment accepts.
This also makes #{ #} return a void music event, and does not create
sequential music if not necessary.
which would correspond to version 2.15.9 . So it's comparatively old
news.
> but you can try:
>
> (ly:grob-set-property! grob 'text #{ \markup \vcenter \huge
> \with-color #darkgreen \bold "$" #})
>
> If it doesn't work, or if you insist on writing everything in Scheme,
> you can find out what to write by using your dollar variable
>
> dollar = \markup \vcenter \huge \bold "$"
>
> and asking LilyPond what it looks like in Scheme:
>
> #(display-scheme-music dollar)
>
> which displays
>
> (markup #:vcenter (#:huge (#:bold "$")))
>
> Hence, you may write
>
> (ly:grob-set-property! grob 'text (markup #:vcenter (#:huge (#:bold "$"
Personally, I'd just recommend to go with #{ ... #} here.
--
David Kastrup
Re: Stanzas with different rhythms
> On 4 May, 2020, at 3:20 PM, Fr. Samuel Springuel > wrote: > > Now, I’m almost certain the answer is yes (at least in principle), but before > I start trying to write a music function that does [concatenates a variable > consisting of pairs of keys and music expressions into a single music > expression], I want to make sure that such a function doesn’t already exist. > If it doesn’t, I’d like to know from the scheme experts out there if there > are any technical reasons why such a function hasn’t been written, or if it’s > simply a case of no one’s thought of trying this before. > Turns out that function is much simpler than I thought. Attached is basic proof-of-concept. Comments welcome. ✝✝ Fr. Samuel, OSB (R. Padraic Springuel) St. Anselm’s Abbey 4501 South Dakota Ave, NE Washington, DC, 20017 202-269-2300 (c) 202-853-7036 PAX ☧ ΧΡΙΣΤΟΣ null_voice.ly Description: Binary data
Re: Stanzas with different rhythms
> On 4 May, 2020, at 12:45 PM, David Wright wrote:
>
> Of course, you can break up the music into several variables
> from which you assemble the different versions, in order to
> localise the variation and make it easier to maintain.
So, attached is my first go at that sort of “assembly-required” structure.
Originally I defined several music variables with “_a”, “_b”, etc. suffixes
(preserved for alt_music). However, I recalled from earlier list activity that
one could also use “.1”, “.2”, etc. in variable names. Now, as I understanding
it, if I define music variables main_music.1, main_music.2, etc. then the
underlying scheme creates a single variable main_music which is a list of
pairs. Each pair consists of the number as the first element (car) and the
musical contents as the second element (cdr). Now, I can just manually build
up the whole main melody using { \main_music.1 \main_music.2 … } (as is
currently done in the attached), but the scheme construction of it as a list
got me thinking, is there a way to programmatically accomplish this
concatenation?
Now, I’m almost certain the answer is yes (at least in principle), but before I
start trying to write a music function that does this, I want to make sure that
such a function doesn’t already exist. If it doesn’t, I’d like to know from
the scheme experts out there if there are any technical reasons why such a
function hasn’t been written, or if it’s simply a case of no one’s thought of
trying this before.
✝✝
Fr. Samuel, OSB
(R. Padraic Springuel)
St. Anselm’s Abbey
4501 South Dakota Ave, NE
Washington, DC, 20017
202-269-2300
(c) 202-853-7036
PAX ☧ ΧΡΙΣΤΟΣ
null_voice.ly
Description: Binary data
Re: Stanzas with different rhythms
Em seg., 4 de mai. de 2020 às 13:46, David Wright escreveu: > From your example's "music" variable, I would derive two simple > versions, musicA and musicIII, each for one rhythm. The words > would contain no specific indications, but set with NullVoice > to the appropriate music. > > Of course, you can break up the music into several variables > from which you assemble the different versions, in order to > localise the variation and make it easier to maintain. > Maybe if we could separate durations and pitch or durations and syllables in different variables this would be much simpler. I've been missing this feature in Lilypond for many years. If you know a way of doing this please let me know. Or maybe I will have some time to implement this now that I'm stuck inside like everyone due to the pandemia. Caio
Re: Unbound variable: \markup
Lukas and Kevin:
Thank you, this should do it. Looks like it answers many question I have
been having.
ƒg
On Mon, May 4, 2020 at 10:51 AM Kevin Barry wrote:
> Hi Freeman,
>
> > The first one below works fine but the second does not work when the
> > dollar is replaced with \markup \vcenter \huge \bold "$". Please
> > explain why?Why is \markup bound in the first and not in the
> > second.I see \markup used in many places like to the second
> > example that works, what is the difference?
>
> If you want to include lilypond syntax inside scheme syntax you have to
> put #{ #} around it. Here is your second example, with that included
> (which made the error go away for me):
>
> \layout {
> \context {
> \Voice
> \override Accidental.before-line-breaking =
> #(lambda (grob)
>(if (eqv? (ly:grob-property grob 'alteration) SHARP)
>(begin
> (ly:grob-set-property!
> grob 'horizontal-skylines
> ly:grob::horizontal-skylines-from-stencil)
> (ly:grob-set-property!
> grob 'text #{ \markup \vcenter \huge \bold "$" #})
> (ly:grob-set-property!
> grob 'stencil ly:text-interface::print
> }
> }
>
> Hope that works for you
>
> Kevin
>
Re: Stanzas with different rhythms
> On 4 May, 2020, at 12:45 PM, David Wright wrote: > > Well, in a sense, you haven't managed to localise the complications > because the lyrics are stuffed with redundant associatedVoices when > reused elsewhere. Very true. Getting the separation I want is still very much a work in progress. > Where the differences are this minor (same syllable count, and > mixed music that's easily distiguished), I would put all the > complication where it's unavoidable: in the notes. > > From your example's "music" variable, I would derive two simple > versions, musicA and musicIII, each for one rhythm. The words > would contain no specific indications, but set with NullVoice > to the appropriate music. > > Of course, you can break up the music into several variables > from which you assemble the different versions, in order to > localise the variation and make it easier to maintain. Now that’s an idea I hadn’t thought of. I just got a basic edition-engraver example working (see attached), but I’ll try this method out too and see which I like better. ✝✝ Fr. Samuel, OSB (R. Padraic Springuel) St. Anselm’s Abbey 4501 South Dakota Ave, NE Washington, DC, 20017 202-269-2300 (c) 202-853-7036 PAX ☧ ΧΡΙΣΤΟΣ lyrics-alternative.ly Description: Binary data
Re: Stanzas with different rhythms
On Mon 04 May 2020 at 11:14:43 (-0400), Fr. Samuel Springuel wrote:
> > On 3 May, 2020, at 3:57 PM, Caio Barros wrote:
> >
> > Personally I tend to use explicit durations (no \lyricsto) in complex cases
> > like this, but a workaround would be simply:
>
> I’m avoiding explicit durations in this project because each set of words can
> be set to multiple possible tunes. These tunes may have the same meter
> (number of syllables per phrase) but not necessarily the same rhythm (indeed,
> at least one alternative is usually a chant setting while at least one is
> measured). Explicit durations would mean having separate copies of the same
> lyrics for each tune, something I’m trying to avoid.
>
> Indeed, your workaround suffers from a similar problem, as that empty
> syllable isn’t needed in the other melody.
Well, in a sense, you haven't managed to localise the complications
because the lyrics are stuffed with redundant associatedVoices when
reused elsewhere.
> > I guess what is happening here is that when you switch to the previous
> > voice LilyPond will just align the next syllable to the next note in voice
> > you switched to, ignoring the duration of the previous syllable.
>
> Hmm… If that’s true, then what I need is a way of timing the \unset command
> to happen 1/8 later for this melody. Controlling when commands occur in time
> makes me think of the Edition Engraver, which I’ve always meant to come to
> terms with. Perhaps this is the song which finally forces me down that route.
Where the differences are this minor (same syllable count, and
mixed music that's easily distiguished), I would put all the
complication where it's unavoidable: in the notes.
>From your example's "music" variable, I would derive two simple
versions, musicA and musicIII, each for one rhythm. The words
would contain no specific indications, but set with NullVoice
to the appropriate music.
Of course, you can break up the music into several variables
from which you assemble the different versions, in order to
localise the variation and make it easier to maintain.
Cheers,
David.
\language "english"
global = { \key f-sharp \minor \time 4/4 }
music = {
f-sharp'4 e'8 f-sharp' << { \voiceOne a'4. a'8 } \new Voice = "v3" {
\voiceTwo \teeny a'4_\markup{v.3} a' } >> \oneVoice |
g-sharp'8( f-sharp') g-sharp' e' f-sharp'2 \bar "|."
}
musicA = {
f-sharp'4 e'8 f-sharp' a'4. a'8 |
g-sharp'8( f-sharp') g-sharp' e' f-sharp'2 \bar "|."
}
musicIII = {
f-sharp'4 e'8 f-sharp' a'4 a' |
g-sharp'8( f-sharp') g-sharp' e' f-sharp'2 \bar "|."
}
verseII = \lyricmode {
Tak -- ing our way, you walked with us there.
}
verseIII = \lyricmode {
Gen -- tle and strong one, Lord of our way.
}
\new Staff
<<
\new Voice { << \global \music >> }
\new NullVoice { << \global \musicA >> }
\addlyrics { \verseII }
\new NullVoice { << \global \musicIII >> }
\addlyrics { \verseIII }
>>
stanzas.pdf
Description: Adobe PDF document
Re: 2.21.1 change of behavior of \compressMMRests?
On 5/4/20 2:10 AM, Mats Bengtsson wrote:
On 2020-05-04 08:14, Valentin Villenave wrote:
On 5/3/20, Paul Scott wrote:
Out of simple curiosity what is the purpose of the \compressMMRests { }
structure rather than the \set or \override action I would think of?
I'm guessing \compressMMRests does \set \unset or \override \revert
pairs.
As you can see if you open the music-functions-init.ly file in your
LilyPond installation, it’s a fairly simple music function that relies
on the skipBars property:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/music-functions-init.ly#n313
As does compressEmptyMeasures, formerly compressFullBarRests -- but
these are just a mere override:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/property-init.ly#n168
Now, your question is exactly why I felt the need to add a whole new
subsection to the Notation Reference:
http://lilypond.org/doc/v2.21/Documentation/notation/writing-parts#compressing-empty-measures
I hope this can answer your question (as well as the rationale behind
the renaming of FullbarRests into EmptyMeasures); please do tell us if
that seems unclear to you or if you have some suggestions to improve
that part of the documentation.
What was the rationale to recommend (and only mention)
\compressMMRests instead of \compressEmptyMeasures in
http://lilypond.org/doc/v2.21/Documentation/notation/writing-rests#full-measure-rests?
In my opinion, it's a bit more cumbersome to use the music function
syntax than the macro \compressEmptyMeasures, especially for
unexperienced LilyPond users. The situation with multi-measure note
durations, described in your new subsection, should be extremely rare
in practice (perhaps except in cases where the user made a typo in the
input). During all my years of lilypond use, I've never suffered from
the problem and I've used the predecessor of \compressEmptyMeasures
quite a lot.
Mats
Thank you, Mats.
I couldn't have said it better.
Paul
Re: Stanzas with different rhythms
> On 3 May, 2020, at 3:57 PM, Caio Barros wrote: > > Personally I tend to use explicit durations (no \lyricsto) in complex cases > like this, but a workaround would be simply: I’m avoiding explicit durations in this project because each set of words can be set to multiple possible tunes. These tunes may have the same meter (number of syllables per phrase) but not necessarily the same rhythm (indeed, at least one alternative is usually a chant setting while at least one is measured). Explicit durations would mean having separate copies of the same lyrics for each tune, something I’m trying to avoid. Indeed, your workaround suffers from a similar problem, as that empty syllable isn’t needed in the other melody. > I guess what is happening here is that when you switch to the previous voice > LilyPond will just align the next syllable to the next note in voice you > switched to, ignoring the duration of the previous syllable. Hmm… If that’s true, then what I need is a way of timing the \unset command to happen 1/8 later for this melody. Controlling when commands occur in time makes me think of the Edition Engraver, which I’ve always meant to come to terms with. Perhaps this is the song which finally forces me down that route. ✝✝ Fr. Samuel, OSB (R. Padraic Springuel) St. Anselm’s Abbey 4501 South Dakota Ave, NE Washington, DC, 20017 202-269-2300 (c) 202-853-7036 PAX ☧ ΧΡΙΣΤΟΣ
Re: Unbound variable: \markup
Hi Freeman,
> The first one below works fine but the second does not work when the
> dollar is replaced with \markup \vcenter \huge \bold "$". Please
> explain why?Why is \markup bound in the first and not in the
> second.I see \markup used in many places like to the second
> example that works, what is the difference?
If you want to include lilypond syntax inside scheme syntax you have to
put #{ #} around it. Here is your second example, with that included
(which made the error go away for me):
\layout {
\context {
\Voice
\override Accidental.before-line-breaking =
#(lambda (grob)
(if (eqv? (ly:grob-property grob 'alteration) SHARP)
(begin
(ly:grob-set-property!
grob 'horizontal-skylines
ly:grob::horizontal-skylines-from-stencil)
(ly:grob-set-property!
grob 'text #{ \markup \vcenter \huge \bold "$" #})
(ly:grob-set-property!
grob 'stencil ly:text-interface::print
}
}
Hope that works for you
Kevin
Re: Unbound variable: \markup
Hi Freeman,
Am 04.05.20 um 16:02 schrieb Freeman Gilmore:
The first one below works fine but the second does not work when the
dollar is replaced with \markup \vcenter \huge \bold "$". Please
explain why?Why is \markup bound in the first and not in the
second.I see \markup used in many places like to the second
example that works, what is the difference?
The # in \override Accidental.before-line-breaking = #... enters
Scheme-mode, so to speak. You may reference LilyPond variables (your
first version), but \markup ... is LilyPond syntax which cannot be used
in Scheme mode. (Rule of thumb: No \anything inside of #...)
(You see the difference even in the way you reference your dollar
variable: In LilyPond mode, you'd have to write \dollar, but in Scheme
mode, it's just dollar.)
Solution: Either construct your markup in Scheme mode, or use the
wonderful #{ #} way of switching back to LilyPond mode. I'm not sure if
the latter is available in 2.18.2 (which should be considered outdated
by now!), since I lost track of when which syntax simplification was
added (probably by David K.), but you can try:
(ly:grob-set-property! grob 'text #{ \markup \vcenter \huge \with-color #darkgreen \bold
"$" #})
If it doesn't work, or if you insist on writing everything in Scheme,
you can find out what to write by using your dollar variable
dollar = \markup \vcenter \huge \bold "$"
and asking LilyPond what it looks like in Scheme:
#(display-scheme-music dollar)
which displays
(markup #:vcenter (#:huge (#:bold "$")))
Hence, you may write
(ly:grob-set-property! grob 'text (markup #:vcenter (#:huge (#:bold "$"
Best
Lukas
Unbound variable: \markup
The first one below works fine but the second does not work when the
dollar is replaced with \markup \vcenter \huge \bold "$". Please
explain why?Why is \markup bound in the first and not in the
second.I see \markup used in many places like to the second
example that works, what is the difference?
Thank you, ƒg
\version "2.18.2"
dollar = \markup \vcenter \huge \bold "$"
\layout { \context { \Voice
\override Accidental.before-line-breaking = #(lambda (grob)
(if (eqv? (ly:grob-property grob 'alteration) SHARP)
(begin (ly:grob-set-property! grob 'horizontal-skylines
ly:grob::horizontal-skylines-from-stencil)
(ly:grob-set-property! grob 'text dollar)
(ly:grob-set-property! grob 'stencil
ly:text-interface::print
} }
{ e'4 fis' bes' gis' | fis'8 gisis' fis'2 r4 }
%
\layout { \context { \Voice
\override Accidental.before-line-breaking = #(lambda (grob)
(if (eqv? (ly:grob-property grob 'alteration) SHARP)
(begin (ly:grob-set-property! grob 'horizontal-skylines
ly:grob::horizontal-skylines-from-stencil)
(ly:grob-set-property! grob 'text \markup \vcenter
\huge \bold "$")
(ly:grob-set-property! grob 'stencil
ly:text-interface::print
} }
{ e'4 fis' bes' gis' | fis'8 gisis' fis'2 r4 }
Re: resetting accidentals at word breaks
Hi Lukas/Samuel,
On Thu, Apr 30, 2020 at 10:24:27AM +0200, Lukas-Fabian Moser wrote:
> in contrast to my above definition of "lyric?" using music-is-of-type?.
>
> 1) Which variant is to be preferred?
> 2) What is the difference between 'LyricEvent and 'lyric-event ?
Looking at the code, it appears that, for a lyrics event, the 'name
property of the music object will be 'LyricEvent whereas 'lyric-event
will be one of its 'types:
(LyricEvent
. ((description . "A lyric syllable. Must be entered in lyrics mode,
i.e., @code{\\lyrics @{ twinkle4 twinkle4 @} }.")
(iterator-ctor . ,ly:rhythmic-music-iterator::constructor)
(types . (rhythmic-event lyric-event event))
))
The music-is-of-type function checks the 'types list, so you would need
to check for 'lyric-event. If you are using ly:music-property, then you
would need to check the 'name for 'LyricEvent. It looks like 'LyricEvent
is the only class that includes lyric-event in its 'types, so as long as
that is true the two checks are equivalent (as far as I can tell).
Kevin
Re: Combining roughly 70 separate files into a single book
Federico,
Thank you very much for this. I had no idea that's what I'd been doing
wrong all this time! I tried it many years ago and just assumed it was
impossible -- my eyes have been opened. Now I can get on with things.
With much gratitude,
Brent.
On Mon, 4 May 2020 at 19:56, Federico Bruni wrote:
> Il giorno lun 4 mag 2020 alle 14:39, Brent Annable
> ha scritto:
> > Your strategy seems like good advice, and I've changed the files
> > around so I can do it. But the master file is getting very long and
> > complicated with all the \score blocks, so I have a question: can you
> > put a \score block into a variable, to avoid all the extra code in
> > the master file? Whenever I try to do that I get an error message,
> > using the syntax below:
> >
>
> This is exactly what I do: I save each score block in a variable so I
> can use it wherever I want to.
>
> > myScore = { \score { \new Staff [etc.] } }
> >
> > \myScore
> >
> > Is there some special way of putting the \score block into a variable
> > so it doesn't produce an error?
>
> David has already given the solution: you should not wrap it using {}
>
>
>
>
Re: Re: 2.21.1 change of behavior of \compressMMRests?
On 5/4/20, Mats Bengtsson wrote:
> What was the rationale to recommend (and only mention) \compressMMRests
> instead of \compressEmptyMeasures in
> http://lilypond.org/doc/v2.21/Documentation/notation/writing-rests#full-measure-rests?
Well, precisely the fact that \compressEmptyMeasures is applied
blindly to all objects, not just rests.
https://sourceforge.net/p/testlilyissues/issues/3687/
https://sourceforge.net/p/testlilyissues/issues/4375/
> In my opinion, it's a bit more cumbersome to use the music function
> syntax than the macro \compressEmptyMeasures
I actually agree. Having to wrap stuff into a music function doesn’t
make things easier.
In fact, \compressFullBarRests (or \compressEmptyMeasures) was no
longer explained nor mentioned *anywhere* as soon as
\compressMMRests{} was implemented, which is why I thought it should
deserve a proper explanation in a subsection of its own.
Besides, the similarity between \compressEmptyMeasures and
\compressMMRests remains unfortunate and prone to confusion. (I
actually toyed with the idea of naming one of them
\contractEmptyMeasures, then opted against it.)
> The situation with multi-measure note
> durations, described in your new subsection, should be extremely rare in
> practice
Apparently this may occur in some old editions. Can’t say I’ve ever
encountered one myself.
Since you’re much more experienced than I am in dealing with newcomers
and fundamental ease-of-use, please feel free to suggest what sort of
implementation may make things easier.
V.
Re[3]: 2.21.1 change of behavior of \compressMMRests?
Hi Mats From: "Mats Bengtsson" What was the rationale to recommend (and only mention) \compressMMRests instead of \compressEmptyMeasures in http://lilypond.org/doc/v2.21/Documentation/notation/writing-rests#full-measure-rests? In my opinion, it's a bit more cumbersome to use the music function syntax than the macro \compressEmptyMeasures, especially for unexperienced LilyPond users. The situation with multi-measure note durations, described in your new subsection, should be extremely rare in practice (perhaps except in cases where the user made a typo in the input). During all my years of lilypond use, I've never suffered from the problem and I've used the predecessor of \compressEmptyMeasures quite a lot. The issue which eventually led to this change was originally reported here: https://lists.gnu.org/archive/html/lilypond-devel/2015-03/msg00212.html so it did apparently affect some users adversely. Trevor
Re: Combining roughly 70 separate files into a single book
Il giorno lun 4 mag 2020 alle 14:39, Brent Annable
ha scritto:
Your strategy seems like good advice, and I've changed the files
around so I can do it. But the master file is getting very long and
complicated with all the \score blocks, so I have a question: can you
put a \score block into a variable, to avoid all the extra code in
the master file? Whenever I try to do that I get an error message,
using the syntax below:
This is exactly what I do: I save each score block in a variable so I
can use it wherever I want to.
myScore = { \score { \new Staff [etc.] } }
\myScore
Is there some special way of putting the \score block into a variable
so it doesn't produce an error?
David has already given the solution: you should not wrap it using {}
Re: Chordname - fret-diagram line - in different order
Hi Rita,
you can put the chord names below the fret-boards:
\version "2.20.0"
chrd = \chordmode { a1 c1 }
<<
\new FretBoards \chrd
\new ChordNames \chrd
\chrd
>>
By the way, in the second word of your lyrics, a space is missing and
you can see the double hyphen in the image. It should be
ha -- lá -- lo -- san
instead of
ha --lá -- lo -- san.
Best,
Joram
Re: gitar chordname - without sus
Am Mo., 4. Mai 2020 um 11:00 Uhr schrieb Rita Composer :
>
> Dear Helpers,
>
> I wrote in the ly file
>
> \chordmode
> { \germanChords a1 a2:4 s2 s1 a1 s1 a fis:m e a fis:m gis cis cis:m
> cis:m fis:m h cis:m
> cis:m fis:m h cis:m
>
> And in the note/score appeared
> A4sus3
>
> How can I manage simple A4?
>
> Thank you!
> Rita
As far as I can tell, "sus" is hardcoded.
You need to go for chordNameExceptions, see NR
Btw, a:4 will include the third. See:
chrds = \chordmode { a2:4 a:1.4 a:1.4.5 }
<<
\new ChordNames \chrds
\new Staff \chrds
>>
Cheers,
Harm
Re: Re: 2.21.1 change of behavior of \compressMMRests?
On 2020-05-04 08:14, Valentin Villenave wrote:
On 5/3/20, Paul Scott wrote:
Out of simple curiosity what is the purpose of the \compressMMRests { }
structure rather than the \set or \override action I would think of?
I'm guessing \compressMMRests does \set \unset or \override \revert pairs.
As you can see if you open the music-functions-init.ly file in your
LilyPond installation, it’s a fairly simple music function that relies
on the skipBars property:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/music-functions-init.ly#n313
As does compressEmptyMeasures, formerly compressFullBarRests -- but
these are just a mere override:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/property-init.ly#n168
Now, your question is exactly why I felt the need to add a whole new
subsection to the Notation Reference:
http://lilypond.org/doc/v2.21/Documentation/notation/writing-parts#compressing-empty-measures
I hope this can answer your question (as well as the rationale behind
the renaming of FullbarRests into EmptyMeasures); please do tell us if
that seems unclear to you or if you have some suggestions to improve
that part of the documentation.
What was the rationale to recommend (and only mention) \compressMMRests
instead of \compressEmptyMeasures in
http://lilypond.org/doc/v2.21/Documentation/notation/writing-rests#full-measure-rests?
In my opinion, it's a bit more cumbersome to use the music function
syntax than the macro \compressEmptyMeasures, especially for
unexperienced LilyPond users. The situation with multi-measure note
durations, described in your new subsection, should be extremely rare in
practice (perhaps except in cases where the user made a typo in the
input). During all my years of lilypond use, I've never suffered from
the problem and I've used the predecessor of \compressEmptyMeasures
quite a lot.
Mats
Chordname - fret-diagram line - in different order
Dear Helpers, I would like to use fret-diagram just few time, and I wish the chords above the tune. How can I change...that the fret-diagram should be on the top? Or It would be ok for me, if there is NO fret-diagram, the simple chords would be on their normal place, not at so high. [image: Screenshot 2020-05-04 10.16.59.png] Thanks for your help, Rita
gitar chordname - without sus
Dear Helpers,
I wrote in the ly file
\chordmode
{ \germanChords a1 *a2:4* s2 s1 a1 s1 a fis:m e a fis:m gis cis cis:m
cis:m fis:m h cis:m
cis:m fis:m h cis:m
And in the note/score appeared
A4sus3
How can I manage simple A4?
Thank you!
Rita
Re: Combining roughly 70 separate files into a single book
Brent Annable writes:
> Hi Federico,
>
> Your strategy seems like good advice, and I've changed the files around so
> I can do it. But the master file is getting very long and complicated with
> all the \score blocks, so I have a question: can you put a \score block
> into a variable, to avoid all the extra code in the master file? Whenever I
> try to do that I get an error message, using the syntax below:
>
> myScore = { \score { \new Staff [etc.] } }
>
> \myScore
>
> Is there some special way of putting the \score block into a variable so it
> doesn't produce an error?
Only a rather unspecial way.
myScore = \score { \new Staff [etc.] }
Like with () parens in Scheme, {} braces in LilyPond are not redundant
but carry meaning. You cannot just add additional layers and expect
things to behave the same.
--
David Kastrup
Re: 2.21.1 change of behavior of \compressMMRests?
Thank you for this, Valentin.
On 5/3/20 11:14 PM, Valentin Villenave wrote:
On 5/3/20, Paul Scott wrote:
Out of simple curiosity what is the purpose of the \compressMMRests { }
structure rather than the \set or \override action I would think of?
I'm guessing \compressMMRests does \set \unset or \override \revert pairs.
As you can see if you open the music-functions-init.ly file in your
LilyPond installation, it’s a fairly simple music function that relies
on the skipBars property:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/music-functions-init.ly#n313
As does compressEmptyMeasures, formerly compressFullBarRests -- but
these are just a mere override:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/property-init.ly#n168
Now, your question is exactly why I felt the need to add a whole new
subsection to the Notation Reference:
http://lilypond.org/doc/v2.21/Documentation/notation/writing-parts#compressing-empty-measures
I hope this can answer your question (as well as the rationale behind
the renaming of FullbarRests into EmptyMeasures); please do tell us if
that seems unclear to you or if you have some suggestions to improve
that part of the documentation.
I did look at that documentation when this first came up and rejected
\compressEmptyMeasures both because of the less logical (to me) name and
this documentation whose first example suggests behavior that I wouldn't
want for any music I work with, i.e. writing a whole note in 2/4 rather
than two tied half notes.
Taking all the feedback I have received in this thread I believe all I
should have ever used is
\set Score.skipBars = ##t
I just thought \compressFullBarRests was the sophisticated way and less
vulnerable to lower level LilyPond code changes.
Stay well,
Paul
Cheers,
-- V.
Re: Combining roughly 70 separate files into a single book
Hello Brent,
I you use the same names in numerous files, you can change them automatically
in all of them with a script of some sort to make them distinct, to avoid
cumbersome manual editing.
JM
> Le 4 mai 2020 à 06:39, Brent Annable a écrit :
>
> Hi Federico,
>
> Your strategy seems like good advice, and I've changed the files around so I
> can do it. But the master file is getting very long and complicated with all
> the \score blocks, so I have a question: can you put a \score block into a
> variable, to avoid all the extra code in the master file? Whenever I try to
> do that I get an error message, using the syntax below:
>
> myScore = { \score { \new Staff [etc.] } }
>
> \myScore
>
> Is there some special way of putting the \score block into a variable so it
> doesn't produce an error?
>
> Regards,
>
> Brent.
>
> On Wed, 29 Apr 2020 at 06:37, Federico Bruni > wrote:
> Il giorno mer 29 apr 2020 alle 02:36, Brent Annable
> mailto:brentanna...@gmail.com>> ha scritto:
> > Does that do page numbers as well? I'd really like to eliminate any
> > extra steps if possible; my goal is to have a master file that I can
> > adjust as necessary, and then just press a button to spit the whole
> > thing out every time I need a new version.
> >
> > Based on Jerry's suggestion I've done a little experimenting. Using a
> > structure like this:
> >
> > \book {
> > \bookpart {\include "O-Welt-ich-muss-dich.ly"}
> > \bookpart {\include "O-Welt-ich-muss-dich.ly"}
> > }
> >
> > does produce scores in sequence with headings, etc. in place, but the
> > music processing is full of errors and the output is nonsensical (see
> > attachment). Can someone explain to me why this approach doesn't
> > work? I thought that anything in a \bookpart block should be
> > independent of everything around it, is that not the case? I even
> > tried it with multiple \book blocks, but that produced nothing at all.
>
> IIRC the reason is that you cannot include, within a bookpart, a file
> which contains top level expressions.
> This means that, even if you remove the top level expressions (such as
> \score), in any case you'll need an extra file to produce the PDF of
> the single piece.
>
> I usually follow this strategy:
>
> - Piece-Name.ily: file containing only music variables (doesn't produce
> any output), including a variable for the \score block. You'd better
> use variable names which are unique within your project.
> - Piece-Name.ly: here I include above file and call the \score
> variable, to print a single PDF.
> - If the piece is part of a collection, the collection.ly
>
Re: lilybin
On 5/3/20, Kevin Barry wrote: > I was able to find the broken link in our unstable documentation > version. It looks like it's a bug arising from a switch to https (this > link was probably changed unintentionally). Indeed. Thanks Stefan, I’ve just pushed a fix and it should appear on the next website update! Cheers, V.
Re: 2.21.1 change of behavior of \compressMMRests?
On 5/3/20, Paul Scott wrote:
> Out of simple curiosity what is the purpose of the \compressMMRests { }
> structure rather than the \set or \override action I would think of?
> I'm guessing \compressMMRests does \set \unset or \override \revert pairs.
As you can see if you open the music-functions-init.ly file in your
LilyPond installation, it’s a fairly simple music function that relies
on the skipBars property:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/music-functions-init.ly#n313
As does compressEmptyMeasures, formerly compressFullBarRests -- but
these are just a mere override:
https://git.savannah.gnu.org/cgit/lilypond.git/tree/ly/property-init.ly#n168
Now, your question is exactly why I felt the need to add a whole new
subsection to the Notation Reference:
http://lilypond.org/doc/v2.21/Documentation/notation/writing-parts#compressing-empty-measures
I hope this can answer your question (as well as the rationale behind
the renaming of FullbarRests into EmptyMeasures); please do tell us if
that seems unclear to you or if you have some suggestions to improve
that part of the documentation.
Cheers,
-- V.
