Re: DIfferent note values within a chord
On 2024-05-21 6:55 am, Xavier Scheuer wrote:
\relative c' {
\key bes \major
\stemDown
<\tweak duration-log 2 bes bes' f'>2\f
<\tweak duration-log 2 bes' f' d'>2 |
<\tweak duration-log 2 c, a' c>2\fermata
}
It is interesting how we interpreted the clef and key signature
differently when trying to recreate the image. You did manage to the
squeeze in the forte, which I did not.
-- Aaron Hill
Re: DIfferent note values within a chord
On 2024-05-21 6:40 am, Jun Tamura wrote:
Hello,
Could someone give me a pointer for this?
This is a quite popular notation for bowed string instruments. I’m
almost certain that I saw a way to achieve this before but could not
find it this time.
What you typically do is \tweak the duration-log property of the
notehead you want to change. In the example you provided, begin with
all notes simply as half-notes. The only notehead you need to adjust
will be the low one.
\version "2.25.13"
{
\clef bass \omit Staff.Clef
\omit Staff.TimeSignature
\stemDown
<\tweak duration-log 2 d, d a>2
<\tweak duration-log 2 d a f'>2
<\tweak duration-log 2 e, c e>2 \fermata
}
-- Aaron Hill
Re: Cry for help - lost plot ....
On 2024-05-18 8:49 am, Giles Boardman wrote:
\score {
… music …
\layout { }
\midi { }
}
Please, someone help me while I still have a little hair left to pull
out on a later occasion :-}
\score basically expects just one "music". You are providing many
"musics". The question is how you want to handle it.
Normally, we have simultaneous music where the parts are meant to run in
parallel. But you can also do sequential music.
So, this means your \score block should have one of these two patterns:
\score {
<<
...simultaneous music...
>>
\layout { }
\midi { }
}
\score {
{
...sequential music...
}
\layout { }
\midi { }
}
-- Aaron Hill
Re: Problems hiding clef using \omit
On 2024-05-17 10:15 am, kie...@kierenmacmillan.info wrote: Hi Dirck, I don't know what the term is for this "8", so i was not successful searching the manuals and snippets. ClefModifier <https://lilypond.org/doc/v2.25/Documentation/internals/clefmodifier> Also if you need help with identifying grobs, the visual index [1] should be your first place to check. [1]: https://lilypond.org/doc/v2.25/Documentation/ly-examples/visualindex.pdf -- Aaron Hill
Re: \omit TupletBracket
On 2024-05-16 7:54 pm, carsonm...@ca.rr.com wrote: Aaron, Thank you for the instruction yet how does it apply to my notation? It is simply a fairly common mistake we see post on the mailing list. For instance, new users are often tempted to put the square brackets *around* the notes: [c16 r 8] This does not associate the beaming start with the c16. Since [ is a post-event, it must look like this: c16[ r 8] -- Aaron Hill
Re: \omit TupletBracket
On 2024-05-16 5:57 pm, carsonm...@ca.rr.com wrote: c16 [r c8] It is important to understand that the syntax for beaming, like slurs, requires the symbols to be post-fixed. As such it is best to keep the symbols snug to the event they apply: c16[ r c8] To a seasoned LilyPonder, this clearly indicates beaming beginning with the 16th note and ending with the 8th. -- Aaron Hill
Re: Rehearsal mark on right side of measure?
On 2024-05-05 6:49 pm, Dirck Nagy wrote:
Hi all
I am using rehearsal marks (\mark \default, to mark off repeated
sections as "A", "B", etc., instead of Dal Segno.
One of these sections ends at the end of a line. Is there an easy way
to move the rehearsal mark to the right side of the measure, instead of
the left? I can't find a command that works.
Or should I be using markup commands instead?
No, \mark for RehearsalMarks is perfectly fine. What you need to do is
firstly ensure the \mark command is located at the correct moment in the
music--it sounds like you are putting the \mark at the beginning of a
measure when it should appear at the next bar line--and then ensure its
break-visibility is set appropriately so the mark appears on the correct
line. Consider:
\version "2.25.13"
{
\repeat unfold 3 { b'4 4 2 }
\tweak break-visibility #end-of-line-visible
\tweak self-alignment-X #RIGHT
\mark \default \break
\repeat unfold 3 { b'4 4 2 } 1 \fine
}
-- Aaron Hill
Re: Tunable Context Properties
On 2024-05-04 8:06 am, Fr. Samuel Springuel wrote:
1) Can I establish that shortVocalName should default to vocalName at
the top level of the file (effectively placing it where I can transport
it over to my format file)?
Yes, you do something like this:
\version "2.24.3"
\layout {
\context {
\Lyrics
\override InstrumentName.stencil =
#(lambda (grob)
;; Use long-text for text, as needed.
(or (markup? (ly:grob-property grob 'text))
(ly:grob-set-property! grob 'text
(ly:grob-property grob 'long-text)))
(system-start-text::print grob))
}
}
If vocalName is set but not shortVocalName, then the value of vocalName
(long-text) is copied into the shortVocalName (text). This gives you
some flexibility as you can define them independently as needed.
2) Can I automate the numbering so that I don’t have to manually number
the verses? I’ve seen http://lsr.di.unimi.it/LSR/Item?id=543, but this
has two problems: one, the counter increments each time the markup is
printed, which is problematic for verse numbers which should stay the
same within a verse, no matter how many times it is printed, and only
increment between verses. Two, it introduces a spurious space after
the counter that I don’t know how to get rid of.
I would use more helper functions to automate things. Consider:
\version "2.24.3"
\layout {
\context {
\Lyrics
\override InstrumentName.self-alignment-X = #RIGHT
}
}
stanza =
#(define-scheme-function (stanza) (markup?)
(let ((markup #{ \markup \italic #stanza #}))
#{ \with { vocalName = #markup shortVocalName = #markup } #}))
autoStanza =
#(let ((ctr 0))
(define-scheme-function (fmt) ((string? "~d."))
(set! ctr (1+ ctr))
#{ \stanza #(format #f fmt ctr) #}))
\layout { ragged-right = ##t }
music = \relative { f' g a c | \break c a g f | \break f e d c }
verseI = \lyricmode { \repeat unfold 12 a }
verseII = \lyricmode { \repeat unfold 12 b }
verseIII = \lyricmode { \repeat unfold 12 c }
verseIV = \lyricmode { \repeat unfold 12 d }
\new Staff
<<
\new Voice = "mel" { \music }
\new Lyrics \with \autoStanza \default \lyricsto "mel" { \verseI }
\new Lyrics \with \autoStanza "~@(~:r.~)" \lyricsto "mel" { \verseII }
\new Lyrics \with \autoStanza "~@r." \lyricsto "mel" { \verseIII }
\new Lyrics \with \autoStanza "~(~:@r.~)" \lyricsto "mel" { \verseIV }
Note above that \stanza takes care of setting both vocalName and
shortVocalName to the same markup, so the stencil override I showed is
not necessary. I am also doing the work within the \with block for each
Lyrics context rather than \setting. You could modify this logic to use
\set instead if you needed to change the vocalName/shortVocalName.
You'd need to use define-music-function rather than
define-scheme-function.
The \autoStanza takes care of the counter logic, although it only
supports one global counter. For most scores, this is probably
sufficient. The formatting string gives you some customization options
based on the formatted printing facility within Scheme. If you used
this a lot, it probably make sense to define the format strings with
sensible naming:
ordinal = "~@(~:r.~)"
newRomanUpper = "~@r."
oldRomanLower = "~(~:@r.~)"
%% . . .
\new Lyrics \with \autoStanza \oldRomanLower \lyricsto "mel" { ... }
In fact, you could take automation even further to reduce typing:
lyricsWithAutoStanzaOrdinal =
#(define-music-function (lyrics) (ly:music?)
#{ \new Lyrics \with \autoStanza \ordinal \lyricsto mel $lyrics #})
%% . . .
\lyricsWithAutoStanzaOrdinal \verseII
-- Aaron Hill
Re: parenthesis around dot only (note value indication)
On 2024-05-01 12:18 am, David Kastrup wrote:
{
\tweak Dots.extra-spacing-width #'(.2 . .2)
4.
}
Wish I could get the actual dots to move, but maybe someone else has an
idea for that.
Looks like the DotColumn is controlling things. This seems to work:
{
\once \override Staff.DotColumn.padding = #1
4.
}
-- Aaron Hill
Re: Transparent box around notes
On 2024-04-30 5:30 pm, David Nalesnik wrote: What LilyPond version is the LSR currently running? (I'm wondering if you are able to use the revised add-grob-definition there.) This is documented on the Contributing page [1]. [1]: https://lsr.di.unimi.it/LSR/html/contributing.html LSR appears to be running 2.24.x at the moment. -- Aaron Hill
Re: Issue with durations and roman numeral analysis tool
On 2024-04-30 4:54 pm, Joseph Srednicki wrote:
Hello:
I am having difficulty with durations and the roman numeral analysis
tool roman_numeral_analysis_tool.ily, which I downloaded from GitHub -
lyp-packages/roman-numerals: LilyPond typesetter for Roman numeral
harmonic analysis
See the tiny example below.
In this example, I have used beat durations in the analysis section of
the source code.
Based on the input, I expect the vi 6 4 to appear beneath the final
sixteenth note of the second beat of the measure. However, the vi 6 4
appears under the first note of the third beat in the measure.
Can anyone please help detect the error that I am making?
Thanks for your help.
Joe Srednicki
-
\version "2.24.0"\language "english"% Change the following line to the
path of the roman numeral analysis tool on your computer\include
"C:/docs/frescobaldi/roman_num/roman_numeral_analysis_tool.ily"
global = { \key ef \major \time 3/4}
right = \relative c'' { \global r4 r2}
leftOne = \relative c'' { \global \clef treble r4 g8. af16 f8.\prall
e32 f }
leftTwo = \relative c' { \global r4 bf8. c16 af8._\prall g32 af | %
1}
pedal = \relative c { \global \clef bass ef,4 ef' bf | % 1}
analysis = \lyricmode { \override LyricText.self-alignment-X = #-0.6
\offset StanzaNumber.X-offset #-3 \set stanza = \markup{E \flat:}
\skip 4 \markup \rN { I }8. \markup \rN { vi 6 4 }16 % 1}
\score { << \new PianoStaff << \new Staff = "right" \right
\new Staff = "left" { \clef bass << \leftOne \\ \leftTwo >> } >>
\context Staff = "pedal" << \context Voice = pedal { <<
\pedal >> } \new Lyrics \with { } \lyricsto "pedal" {
\analysis } >> >>}
It appears you are using \lyricsto which ignores the durations specified
and instead associates each syllable with a note in the named voice.
You should just reference the lyrics variable directly: \new Lyrics {
\analysis }
-- Aaron Hill
Re: Fw: Frescobaldi ... panic alternatives?
On 2024-04-30 10:05 am, Karlin High wrote: On 4/30/2024 10:25 AM, Jennifer Doering wrote: What happened to the Frescobaldi dev? Just doesn't have time to maintain it anymore? Link to past discussion: <https://lists.gnu.org/archive/html/lilypond-user/2022-11/msg00131.html> His software development activity appears reduced after a health crisis in 2021. Can relate to that. Had open heart surgery myself last year and still recovering, in and out of hospital. Wishing all the best to him and his family. -- Aaron Hill
Re: Conditional markup? UP|DOWN
On 2024-04-29 7:50 am, Pierre-Luc Gauthier wrote:
Can a markup command introspect its direction ?
Is it possible to set in a markup command some conditionals (not paper
related) ?
\version "2.25.15"
#(define-markup-command (conditionalMrkp layout props)
()
(interpret-markup layout props #{
\markup {
%\if #DOWN
"↑"
%\if #UP
"↓"
}#}))
{b'^\markup \conditionalMrkp b'_\markup \conditionalMrkp}
\version "2.24.3"
is-directional =
#(lambda (layout props)
(number? (chain-assoc-get 'direction props #f)))
is-upward =
#(lambda (layout props)
(eq? UP (chain-assoc-get 'direction props #f)))
is-downward =
#(lambda (layout props)
(eq? DOWN (chain-assoc-get 'direction props #f)))
asdf = \markup \circle \overlay {
\if \is-upward ↑ \if \is-downward ↓
\unless \is-directional \pad-around #0.25 *
}
\layout { indent = 0 }
\asdf
{ b'4-\asdf 4_\asdf 2^\asdf }
-- Aaron Hill
Re: Note names are causing text marks to be duplicated
On 2024-04-26 7:44 am, Eric Benson wrote:
I see. How hard would it be to write a Scheme function that would copy
a
melody variable and remove the text marks, or in fact everything other
than
the note values, which are all I want in the NoteNames variable? That
would
be preferable to entering a separate sequence containing only the text
marks in my application.
\tagging your \textMarks would let you apply them only where you intend:
\version "2.24.3"
textMark = \tag textMark \textMark \etc
withTextMarks = \keepWithTag textMark \etc
withoutTextMarks = \removeWithTag textMark \etc
melody = { b'4 4 \textMark "Hey!" 2 }
<< \withTextMarks \melody \\ \withoutTextMarks \melody >>
-- Aaron Hill
Re: Note names are causing text marks to be duplicated
On 2024-04-25 9:43 pm, Eric Benson wrote:
I took one of the NoteName examples from the documentation and dropped
a
\textMark in the middle of it, and there is an extra copy of that text
mark
for each NoteName staff.
This makes sense, since the \textMark command is within the \melody
music variable, which gets used three times. The same behavior occurs
without NoteNames:
\version "2.24.3"
melody = { b'4 4 \textMark Hey 2 }
<< \melody \\ \melody >>
-- Aaron Hill
Re: Lyrics and Barchecks
It is known (and documented) that bar checks need to be used with care
within Lyrics contexts. I was thinking about this problem and wondered
if a custom engraver would be able to assist. (The actual bar checks
are implemented in an iterator, presumably because it results in faster
processing when skipping typesetting.) At this time, I am not sure if
custom iterators can be created within Scheme, so consider this just a
proof-of-concept using a Scheme engraver.
It would seem that for the case of lyrics, the behavior of a so-called
"lyric bar check" would be less precise than that of the normal bar
check. Instead of requiring the bar check to occur only at the first
moment of a measure, the logic instead simply checks that no lyrics have
been created from the beginning of the measure to the time of the lyric
bar check. That is to say, the lyric bar check should be the first
"thing" that occurs in a measure when it appears.
Attached is the proof-of-concept code.
NOTE: The final lyric bar check intentionally is an example of a failing
case. Here is the expected compiled output:
lyric-bar-check.ly:64:54: warning: lyric bar check failed
\addlyrics { | lo -- rem | ips -- um | do -- lor sit
| a -- met }
Also NOTE: The code includes a toplevel-music-function that converts
normal bar checks that occur within Lyrics contexts into lyric bar
checks that the custom engraver handles. This was done so that the user
could input lyric bar checks using the same symbol as for normal music
but get the unique behavior. Not sure if this transparent approach is
best, as it could be seen as surprising to some users.
-- Aaron Hill\version "2.25.13"
#(define-event-class 'lyric-bar-check 'music-event)
#(define custom-music-descriptions
`((LyricBarCheck
. ((description . "Check whether lyrics correlate with
the start of the measure.")
(types . (lyric-bar-check event))
#(set!
custom-music-descriptions
(map (lambda (x)
(set-object-property! (car x)
'music-description
(cdr (assq 'description (cdr x
(let ((lst (cdr x)))
(set! lst (assoc-set! lst 'name (car x)))
(set! lst (assq-remove! lst 'description))
(hashq-set! music-name-to-property-table (car x) lst)
(cons (car x) lst)))
custom-music-descriptions))
#(set! music-descriptions
(sort
(append music-descriptions custom-music-descriptions)
alist
Re: Highlighting lyric words
On 2024-04-24 4:05 pm, Walt North wrote:
Thanks, that's close enough to what I wanted. I was originally for
yellow background with back letters... but red (or other bright) font
will suffice.
Here is an (over-engineered and probably bug-ridden) approach:
\version "2.25.13"
#(define-markup-command
(highlight layout props arg) (markup?)
#:category other
#:properties ((blot 0.2)
(color yellow)
(padding 0.2))
(let* ((stencil (interpret-markup layout props arg))
(strut (interpret-markup layout props
#{ \markup qxb #}))
(x-extent (ly:stencil-extent stencil X))
(y-extent (interval-union
(ly:stencil-extent stencil Y)
(ly:stencil-extent strut Y)))
(x-extent-wide (interval-widen x-extent padding))
(y-extent-wide (interval-widen y-extent padding)))
(interpret-markup layout props #{
\markup \combine
\with-color #color
\with-dimensions #x-extent #y-extent
\filled-box #x-extent-wide #y-extent-wide #blot
\stencil #stencil
#})))
#(define (highlighter blot color padding)
(grob-transformer 'stencil
(lambda (grob orig)
(grob-interpret-markup grob #{
\markup
\override #`(blot . ,blot)
\override #`(color . ,color)
\override #`(padding . ,padding)
\highlight \stencil #orig
#}
\markup {
\pad-around #1
\override #'(blot . 1.5)
\override #`(color . ,(x11-color 'orange))
\override #'(padding . 0.5)
\highlight \line { \bold lorem \italic ipsum }
}
myHighlight = \override LyricText.stencil =
#(highlighter 0.6 (x11-color 'cornflowerblue) 0.1)
\paper { indent = 0 }
{ \repeat unfold 3 { b'4 4 2 } }
\addlyrics {
no high -- light
\myHighlight high --
\tweak font-family #'sans
\tweak font-series #'bold
light -- er
\undo \myHighlight none
\once \myHighlight once
done
}
-- Aaron Hill
Re: String pressure notation
On 2024-04-14 8:45 pm, Richard Davis wrote:
In my head, whatever implementation this requires would somehow
"collect" these levels and generate the final shape as
necessary. However, I don't know nearly enough scheme to even know
where
to begin on this. The reddit contributor to the original did suggest
using DynamicLineSpanners may be more productive, but I also don't
quite
understand how to go about that.
I apologize for the lengthy question; I hope it makes sense. Any help
would be greatly appreciated!
Whew. I'm nowhere as good as folks like Harm when it comes to this
custom engraver stuff, but I think I got something useable.
Firstly, the syntax is pretty close to what Richard requested:
{ b'4 \startBowPressure 1 4 \bowPressure 2 2 \stopBowPressure 0 \fine }
The pressure values probably should be strictly in [0, 1], but I opted
to take the value literally when generating the polygon shape. If you
want to stick to "normal" values, then the engraver probably needs to
support a customizable height parameter for scaling the resulting
indicators, particularly if this scaling were in staff-space units.
There is a hard-coded padding value that I used to help keep the
beginning and ends of the indicator from clashing with one another.
Along with this value, there are a number of properties that \polygon
supports that could be exposed to the user. For instance, a user might
want an unfilled shape, optionally with vertical lines at the transition
points.
One thing I got lucky with was that \tweaking the color of ink worked
automatically. You can see this in the attached demonstration. The
version with line breaks was done in \markup with \score-lines because I
wanted to better see the relationship between the broken spanners. One
improvement I could see is trying to estimate what fraction between
pressures should be used at the boundaries. Currently, I just use the
midpoint, which does result in different slopes. But I think it is a
reasonable trade-off.
I originally started building this against 2.25.13. With a little work
to address a missing function, I have the demonstration running on
stable 2.24.3. To go back to 2.22.x would require more work, but I
think it is good enough to ensure stable works.
P.S. I am running a little bit low on sleep, so I expect there are
coding mistakes and/or inefficiencies. My apologies.
-- Aaron Hill\version "2.24.3"
%%
%% Bow_pressure_engraver
#(define-event-class 'bow-pressure-event 'span-event)
#(define custom-music-descriptions `(
(BowPressureEvent .
((description . "Start/change/stop a bow pressure span.")
(types . (post-event span-event event bow-pressure-event))
))
))
#(begin
;; NOTE: Code sourced from define-music-types.scm
(set!
custom-music-descriptions
(map (lambda (x)
(set-object-property! (car x)
'music-description
(cdr (assq 'description (cdr x
(let ((lst (cdr x)))
(set! lst (assoc-set! lst 'name (car x)))
(set! lst (assq-remove! lst 'description))
(hashq-set! music-name-to-property-table (car x) lst)
(cons (car x) lst)))
custom-music-descriptions))
(set! music-descriptions
(sort (append music-descriptions custom-music-descriptions) alist
bow-pressure.pdf
Description: Adobe PDF document
Re: String pressure notation
On 2024-04-16 12:46 pm, Dimitri Sykias wrote: Is it possible to make the text italic? I tried \tweak text \italic “x” and it didn’t work. You need to specify \markup: \tweak text \markup \italic x -- Aaron Hill
Re: String pressure notation
On 2024-04-16 4:03 am, Aaron Hill wrote:
On 2024-04-16 3:59 am, Aaron Hill wrote:
What you are looking for, however, can be done with
horizontal/analysis brackets:
\version "2.25.13"
\new Voice
\with { \consists Horizontal_bracket_engraver }
{
b'4
-\tweak layer 0
-\tweak direction #UP
-\tweak bracket-flare #'(0 . 0)
-\tweak HorizontalBracketText.Y-offset -0.5
-\tweak HorizontalBracketText.text
\markup \whiteout \pad-around #0.5 "9\""
-\startGroup 4 2\stopGroup
}
Oh, and if you need the brackets to align to the measures and not
notes, then the Measure_spanner_engraver is what you probably want.
Sorry for the extra noise. I meant to include an example snippet in my
earlier mail.
\version "2.25.13"
\new Voice
\with { \consists Measure_spanner_engraver }
{
\tweak spacing-pair #'(time-signature . staff-bar)
\tweak text "9\""
\startMeasureSpanner
b'4 4 2
\stopMeasureSpanner
}
-- Aaron Hill
Re: String pressure notation
On 2024-04-16 3:59 am, Aaron Hill wrote:
What you are looking for, however, can be done with horizontal/analysis
brackets:
\version "2.25.13"
\new Voice
\with { \consists Horizontal_bracket_engraver }
{
b'4
-\tweak layer 0
-\tweak direction #UP
-\tweak bracket-flare #'(0 . 0)
-\tweak HorizontalBracketText.Y-offset -0.5
-\tweak HorizontalBracketText.text
\markup \whiteout \pad-around #0.5 "9\""
-\startGroup 4 2\stopGroup
}
Oh, and if you need the brackets to align to the measures and not notes,
then the Measure_spanner_engraver is what you probably want.
-- Aaron Hill
Re: String pressure notation
On 2024-04-16 3:41 am, Archer Endrich wrote:
Hello Richard,
Your bow-pressure graphic looks great, and I hope your question about
horizontal proportions can be answered soon.
Another feature of your illustration is relevant to my wish list: the
downward-pointing brackets with 9" in the middle. I've been trying to
find a way to do this for some time. Could you forward the code for
this feature? Perhaps it is just something basic that I've missed.
I believe you misunderstood. The picture provided was an external
reference, not LilyPond output. (It's easy to spot because the treble
clef is leaning as if it would fall to the right. Most non-LilyPond
fonts have this flaw.) The point of the attached image was to provide a
visual example of the desired feature, not that such feature is
implemented in LilyPond yet.
What you are looking for, however, can be done with horizontal/analysis
brackets:
\version "2.25.13"
\new Voice
\with { \consists Horizontal_bracket_engraver }
{
b'4
-\tweak layer 0
-\tweak direction #UP
-\tweak bracket-flare #'(0 . 0)
-\tweak HorizontalBracketText.Y-offset -0.5
-\tweak HorizontalBracketText.text
\markup \whiteout \pad-around #0.5 "9\""
-\startGroup 4 2\stopGroup
}
-- Aaron Hill
Re: String pressure notation
On 2024-04-14 8:45 pm, Richard Davis wrote:
Ideally I'd want to be able to anchor specific levels along this
spanner
to rhythmic events, perhaps by specifying "levels" of pressure like so:
{
c4\startBowSpan 0.0 c4\pressure 1.0 c4\pressure 0.5 c4\stopBowSpan
0.0
}
In my head, whatever implementation this requires would somehow
"collect" these levels and generate the final shape as
necessary. However, I don't know nearly enough scheme to even know
where
to begin on this. The reddit contributor to the original did suggest
using DynamicLineSpanners may be more productive, but I also don't
quite
understand how to go about that.
Hi, Richard. I was the one helping you on Reddit. I think the best
option is to create a custom grob and engraver for this type of
notation. In fact, a more generalized continuous controller notation
(with MIDI output) would be ideal, and bow pressure could just be one
special form. I started investigating going down this path, but I ran
into some time constraints due to some personal health issues. But I
know there are several folks on the mailing list that have experience
with creating custom grobs and engravers. If they have the availability
and interest, I am sure they can help get you to a better working
solution than the one I threw together.
By the by, my comment about the DynamicLineSpanner was because I
consider this type of notation to be akin to any other standard dynamics
indication. One would probably want all of these pressure indicators to
vertically line up with each other, so I was thinking the Dynamics
context would be the eventual home.
-- Aaron Hill
Re: make-music?
On 2024-04-13 1:08 pm, Pierre-Luc Gauthier wrote:
But what about the parenthesised alist -> (alist) ‽
Difference between a variable containing an alist versus a *procedure*
that returns an alist. This defers the evaluation of aSymbol until such
time as it is defined.
Here is another approach:
\version "2.25.13"
#(define anAList '((aVariable . aSymbol)))
aSymbol = { cis' }
{
#(module-ref (current-module) (cdr (assoc 'aVariable anAList)))
}
%%%%
-- Aaron Hill
Re: Overriding default text of \f, \p, etc.
On 2024-04-12 1:54 am, David Kastrup wrote:
YTG 1234 writes:
Hello List,
I want to override the default text markup used with commands such as
\f, \p, \mf, etc.
However, trying to define f = #(make-dynamic-script ...) doesn't work
because Lilypond interprets f as a note-name.
You could switch to Italian note names temporarily… Just kidding: the
sane solution of using quote marks has been already covered in two
replies.
\version "2.25.13"
\language italiano
f = -\tweak color #red \f
\language english
{ b'4 4 2\f }
That's hilarious. David, have you been hoarding other tricks? /s
-- Aaron Hill
Re: Overriding default text of \f, \p, etc.
On 2024-04-12 12:21 am, YTG 1234 wrote:
Hello List,
I want to override the default text markup used with commands such as
\f, \p, \mf, etc.
However, trying to define f = #(make-dynamic-script ...) doesn't work
because Lilypond interprets f as a note-name.
Additionally, how would I be able to change the text while maintaining
the MIDI effect? I tried using \tweak DynamicText.text but it doesn't
seem to override the text...
Since f is a pitch, you need to put it in quotes. Consider:
\version "2.25.13"
"f" =
-\tweak color #red
-\tweak text \markup \circle f
\f
{ b'4 4 2\f }
-- Aaron Hill
Re: Installing 2.24.1
On 2024-04-11 1:14 pm, Wol wrote:
So it looks like it's searching the program directory for my include
files, and not the current directory where they actually are! Note that
running the older lilypond correctly compiles the file.
I am having trouble reproducing the behavior you are seeing. On a
Windows 10 machine (22H2, 19045.4170) that does not have Frescobaldi nor
any prior LilyPond installation, I took the following steps:
1) Download LilyPond for Windows (version 2.24.3, also 2.25.14 from the
development page)
2) Unzip to my Downloads folder (produced subfolders lilypond-2.24.3 and
lilypond-2.25.14)
3) Opened a terminal window within the Downloads folder...
4) Ran "lilypond-2.24.3/bin/lilypond --version" to verify the download
and extraction worked
5) Created two files on my Desktop:
%% test.ily %%
\version "2.24.0"
test = { b'4 4 2 }
%% test.ly %%
\version "2.24.0"
\include "test.ily"
{ \test \test }
6) Opened a terminal window within the Desktop folder...
7) Ran "..\..\Downloads\lilypond-2.24.3\bin\lilypond --version" to
verify pathing worked
8) Ran "..\..\Downloads\lilypond-2.24.3\bin\lilypond test.ly" to verify
compilation
At this point, test.pdf was created without any issues. (Well,
actually, it did fail due to a wrong version number, but that was
because I was running on autopilot and had mistyped the \version
statements in my test documents as 2.25.14, since I was also testing
against that version as well. Correcting the \version statements as
noted above resolved that.)
9) From an *elevated* command prompt...
10) Ran "assoc .ly=LilyPond"
11) Ran "ftype LilyPond=\lilypond-2.24.3\bin\lilypond.exe
%1"
NOTE: The path above was to my user's Downloads folder from which I had
been running LilyPond during testing.
12) Back in a normal command prompt from the Desktop folder...
13) Ran "test.ly" to verify file association and compilation.
No issues.
14) Double-clicked "test.ly" from my Desktop.
No issues.
-- Aaron Hill
Re: PianoPedalBracket.to-barline doesn't always work as expected
On 2024-04-09 2:55 pm, Maurits Lamers via LilyPond user discussion
wrote:
Only when the \sustainOff is placed outside of the tremolo, the bracket
extends to the barline:
%%%
\version "2.24.0"
\score {
\new Staff {
\clef bass
\time 6/8
\relative c' {
c8 b a g e c |
\set Staff.pedalSustainStyle = #'mixed
\override Staff.PianoPedalBracket.to-barline = ##t
\repeat tremolo 12 { b,32\sustainOn b' } |
\repeat tremolo 12 { b,32 b' } \sustainOff |
c8 e f g a
}
}
}
%%%
However, this leads to Lilypond complaining about an unattached
SustainEvent. Is this a bug?
Does the empty chord construct help?
<>\sustainOff
(I'm away from my normal environment, so I cannot test this locally to
confirm.)
-- Aaron Hill
Re: Lead sheets: Maj. 7 chords
On 2024-04-09 1:43 pm, Ivan Kuznetsov wrote:
have been creating some lead sheets in
the style of the "Real Book", using
the \chords{} syntax. However,
I do not like the way the default
notates "major 7 chords", that is,
a major triad with a major seventh.
The default is to use a "triangle"
to notate such a chord (shown below
in my example" but I much prefer
the way the Real Book notates
such chords, by writing out
"maj7".
How can I get the \chords {} syntax
to notate "major 7 chords as
I prefer, using the notation
"maj7" ?
You need to adjust the majorSevenSymbol [1].
[1]:
https://lilypond.org/doc/v2.25/Documentation/notation/customizing-chord-names#chord-name-major7
-- Aaron Hill
Re: \quoteDuring #'("piccolo" "fluteI" "fluteII" "oboeI") {o_O!}
On 2024-04-05 10:20 am, Pierre-Luc Gauthier wrote:
Hi there,
Is there a way to quote multiple quotables ?
I use it often for piano reductions and what not.
e.g.:
\version "2.25.15"
\addQuote "piccolo" {c4}
\addQuote "fluteI" {g'''4}
\addQuote "fluteII" {e'''4}
\addQuote "oboeI" {c'''4}
\new Voice <<
\ottava 1
\quoteDuring "piccolo" {s4}
\quoteDuring "fluteI" {s4}
\quoteDuring "fluteII" {s4}
\quoteDuring "oboeI" {s4}
Wouldn't elegance suggests something like :
pianoReduction = \quoteDuring #'("piccolo" "fluteI" "fluteII" "oboeI")
{s4}
I thought maybe the \quoteDuring command could accept lists but I have
not managed to get it to work... :-(
\version "2.25.13"
#(define (string-list? arg) (and (list? arg) (every string? arg)))
#(define (string-or-string-list? arg) (or (string? arg) (string-list?
arg)))
quoteDuring =
#(define-music-function (what main-music) (string-or-string-list?
ly:music?)
(fold (lambda (elem prev)
(make-music 'QuoteMusic
'element prev
'quoted-music-name elem))
main-music (if (list? what) what (list what
%% - - - - %%
\addQuote "piccolo" {c4}
\addQuote "fluteI" {g'''4}
\addQuote "fluteII" {e'''4}
\addQuote "oboeI" {c'''4}
\new Voice {
\ottava 1
\quoteDuring #'("piccolo" "fluteI" "fluteII" "oboeI") { s4 }
}
NOTE: The modified \quoteDurring above produces a nested music
expression, as if you had written:
\quoteDuring "oboeI" \quoteDuring "fluteII" \quoteDuring "fluteI"
\quoteDuring "piccolo" { s4 }
-- Aaron Hill
Re: organizing shared libraries
On 2024-04-04 6:53 am, Tom Brennan wrote: Sort of answering my own question, but I figure that you don't get much out of creating scheme modules directly, unless they can live entirely outside of the lilypond world. Generally it seems better to create shared libraries somewhere and include them with `--include/-I`. If you were doing lots of Scheme programming and wanted to avoid polluting the end user's namespace, then modules could make sense. Mind you, if you are the only consumer of your shared library, you probably can mitigate naming collisions on your own. Another case is the backend pattern LilyPond uses, where each backend lives in its own module but ultimately exposes the same public interface. This allows abstract driver logic to be wired up dynamically with the concrete behavior with minimal coupling and the ability for the front-end and back-end to vary independently. -- Aaron Hill
Re: define-public
On 2024-03-29 2:41 am, Rip _Mus wrote: Hello, on mac, I want to insert this flag on compilation: -e '(define-public part 'cello)' But this give me an "error near unexpected token". I think that the problem is the ' near the symbol name. I tried enclosing in double quotation marks, as on Windows, but it is not working. I'm using szh on terminal. In the Lilypond file i put the #(use-modules (guile-user)) Can somebody help me? For most shells, you escape single quotes with the '\'' pattern if you are working within single-quoted strings: -e '(define-public part '\''cello)' Not sure why the double-quoted string would have failed, though. -- Aaron Hill
Re: remove key change at end of line
On 2024-03-25 2:18 pm, bobr...@centrum.is wrote: I want to remove a key change from the ends of lines/systems. I am *not* referring to just key cancellation, which I do also want. I mean, at the end of a line the new key should not appear before the new line. I haven't worked it out. Shouldn't it be nothing more than setting break-visibility to 'end-of-line-invisible? https://lilypond.org/doc/v2.25/Documentation/notation/using-break_002dvisibility -- Aaron Hill
Re: nested \set ?
On 2024-03-25 4:13 am, Jean Abou Samra wrote:
No, this doesn't exist OOTB. It could be implemented with a
Scheme engraver, but that would probably be overkill, unless
for some reason it's really important for what you're trying
to do?
Here's a simple non-engraver way to potentially get close:
\version "2.25.13"
#(define context-stack '())
#(define (context-stack-find property)
(ly:assoc-get property context-stack '()))
#(define (context-stack-push! property value)
(set! context-stack
(assoc-set! context-stack property
(cons value (context-stack-find property)
#(define (context-stack-pop! property)
(let ((stack (context-stack-find property)))
(if (null? stack) '()
(let ((value (car stack)) (rest (cdr stack)))
(set! context-stack
(if (null? rest)
(assoc-remove! context-stack property)
(assoc-set! context-stack property rest)))
value
push =
#(define-music-function
(property value)
(symbol? scheme?)
(define (proc ctxt)
(let ((value (ly:context-property ctxt property '(
(or (null? value)
(context-stack-push! property value)))
(ly:context-set-property! ctxt property value)
;; (format #t "~a\n" context-stack)
)
#{ \applyContext #proc #})
pop =
#(define-music-function
(property)
(symbol?)
(define (proc ctxt)
(let ((value (context-stack-pop! property)))
(if (null? value)
(ly:context-unset-property ctxt property)
(ly:context-set-property! ctxt property value)))
;; (format #t "~a\n" context-stack)
)
#{ \applyContext #proc #})
{
\repeat unfold 8 b'8
%% This example involves a property
%% that already has a value set...
\push autoBeaming ##f
\repeat unfold 8 b'8
\pop autoBeaming
\repeat unfold 8 b'8
}
{
\repeat unfold 2 { 4( ) }
%% This example involves a property
%% that was unset initially...
\push doubleSlurs ##t
\repeat unfold 2 { 4( ) }
\pop doubleSlurs
\repeat unfold 2 { 4( ) }
}
It is probably missing some edge case handling, and certainly the
`context-stack` should itself be stored within the context rather than
just some arbitrary global variable. Another issue would be not
handling the extended \set syntax as in, say, `\set Score.skipBars =
##t`. The property argument would need to become a `key-list?` with the
appropriate handling to redirect to another named context.
-- Aaron Hill
Re: LilyPond 2.25.14
On 2024-03-24 3:45 am, Jonas Hahnfeld wrote: On Sun, 2024-03-24 at 03:20 -0700, Aaron Hill wrote: Based on the email thread you linked, perhaps I should nuke all my WSL distros at this point and start from scratch with the latest Ubuntu (22, I gather). Not sure if Alma is an option for WSL. You don't need Alma, the binaries should run on any distribution that is newer than that. Ubuntu is perfectly fine, and likely better tested with WSL (but I don't have experience with it myself). Yeah, Ubuntu has been the de facto default for WSL, as it was my understanding that Canonical and Microsoft teamed up to create the original WSL project. Interestingly, it turns out Alma is a supported WSL distro (8 and 9 are both in the Windows Store). -- Aaron Hill
Re: LilyPond 2.25.14
On 2024-03-24 1:23 am, Jonas Hahnfeld wrote: On Sat, 2024-03-23 at 18:18 -0700, Aaron Hill wrote: On 2024-03-23 6:25 am, Jonas Hahnfeld wrote: > We are happy to announce the release of LilyPond 2.25.14. This is > termed a development release, but these are usually reliable for > testing new features and recent bug fixes. However, if you require > stability, we recommend using version 2.24.3, the current stable > release. > Please refer to the Installing section in the Learning Manual for > instructions how to set up the provided binaries: > https://lilypond.org/doc/v2.25/Documentation/learning/installing /opt/lilypond/2.25.14/bin/lilypond: /lib/x86_64-linux-gnu/libc.so.6: version `GLIBC_2.28' not found (required by /opt/lilypond/2.25.14/bin/lilypond) Something changed from .13 to .14? I'm presuming my system is just out-of-date, and this might be expected. Yes, 2.25.14 is built in Alma Linux 8 instead of CentOS 7 which raises the glibc requirement. I didn't mention it in the release email because I thought it wouldn't make a practical difference as outlined in https://lists.gnu.org/archive/html/lilypond-devel/2024-02/msg00052.html Which distribution are you running? The error occurred from my WSL1 environment running Ubuntu 18.04. Probably my own fault for keeping bionic around. I do have Ubuntu 20.04 under WSL2. I can confirm 2.25.14 runs under focal without complaining about glibc. Based on the email thread you linked, perhaps I should nuke all my WSL distros at this point and start from scratch with the latest Ubuntu (22, I gather). Not sure if Alma is an option for WSL. -- Aaron Hill
Re: LilyPond 2.25.14
On 2024-03-23 6:25 am, Jonas Hahnfeld via Discussions on LilyPond development wrote: We are happy to announce the release of LilyPond 2.25.14. This is termed a development release, but these are usually reliable for testing new features and recent bug fixes. However, if you require stability, we recommend using version 2.24.3, the current stable release. Please refer to the Installing section in the Learning Manual for instructions how to set up the provided binaries: https://lilypond.org/doc/v2.25/Documentation/learning/installing /opt/lilypond/2.25.14/bin/lilypond: /lib/x86_64-linux-gnu/libc.so.6: version `GLIBC_2.28' not found (required by /opt/lilypond/2.25.14/bin/lilypond) Something changed from .13 to .14? I'm presuming my system is just out-of-date, and this might be expected. -- Aaron Hill
Re: multipart choral music - disable barlines between staves when using GrandStaff within ChoirStaff
On 2024-03-23 2:12 am, Eby Mani wrote:
Two questions.
1, How do i set instrument names as per attached "example_1" picture.
2, example_1 - How do i disable connecting barlines between staves when
using PianoStaff or GrandStaff within ChoirStaff.
This is not the complete scenario with all voices and lyrics, but it
should give you the general idea:
1. Use the ChoirStaff which already omits the SpanBar.
2. Change the delimiter to the brace, like the GrandStaff (or
PianoStaff).
3. Apply an instrument name to the group of related voices to get its
label shown between the individual voices.
\version "2.25.13"
startBrace = \with { systemStartDelimiter = #'SystemStartBrace }
notes = { \repeat unfold 5 { b'4 8 8 2 | 4. 8 2 } | 1 \fine }
\new ChoirStaff <<
\new ChoirStaff \with { \startBrace instrumentName = "Soprano"
shortInstrumentName = "S." } <<
\new Staff = sopranoI \with { instrumentName = "I"
shortInstrumentName = "I" } \notes
\new Staff = sopranoII \with { instrumentName = "II"
shortInstrumentName = "II" } \notes
>>
\new ChoirStaff \with { \startBrace instrumentName = "Alto"
shortInstrumentName = "A." } <<
\new Staff = altoI \with { instrumentName = "I"
shortInstrumentName = "I" } \notes
\new Staff = altoII \with { instrumentName = "II"
shortInstrumentName = "II" } \notes
>>
>>
NOTE: If you do need to use a GrandStaff (or PianoStaff), you can remove
the Span_bar_engraver similar to what the ChoirStaff already does:
\new PianoStaff \with { \remove Span_bar_engraver } { . . . }
-- Aaron Hill
Re: Dynamics collide with span bar
On 2024-03-22 5:30 pm, Michael Bret wrote: Then, it should be added that transposing your first fix (namely, BarLine.bar-extent = #'(0 . 1) and transparent = ##t) DOES solve the issue WITH “Bar_engraver” consisted. How does that make sense? I probably don’t get what "Span_bar_stub_engraver getting tripped up by the Bar_engraver” entails. It might be useful to keep it in mind, in order to identify cases where the fix messes up something. In reviewing the code for Span_bar_stub_engraver, it intentionally does not create stubs for contexts that have the Bar_engraver. But the stubs are not specifically needed if you have an actual BarLine grob. That is why my earlier workaround worked. Neither Lyrics nor ChordNames consist the Bar_engraver, so they rely on Span_bar_stub_engraver. And the issue for ChordNames was the lack of Pure_from_neighbor_engraver. Dynamics is interesting because it does consist the Bar_engraver, so it needs to be handled a little differently. Of course, there are some elements of Dynamics such as hairpins that normally are acceptable to span across measures. So, we would need to be careful that any changes to Dynamics does not break how people expect it to work. -- Aaron Hill
Re: Dynamics collide with span bar (was Re: Chord names collide with span bar)
On 2024-03-22 4:08 pm, Michael Bret wrote:
Dear Werner, Aaron and Knute,
(it is y first time attempting to contribute to such lilypond
discussion so I don’t dare cc-ing the whole mailing list)
(Adding the mailing list for visibility...)
Regardless of your experience or comfort level, it is always recommended
to include the mailing list in all discussions unless something must be
privately communicated. The reason is simple: All of us are volunteers,
in one form or another. Our time and availability are subject to change
on a whim. Directly emailing individuals greatly limits your chances of
getting a prompt response (or any response at all), whereas writing to
the broader audience increases the likelihood of a reply from someone
who has the time to get back to sooner. It is also very helpful to have
email archives that are complete. Off-list messages can disrupt proper
threading of emails.
Is this issue related to this one (collision between dynamic text and
span bar)?
https://music.stackexchange.com/questions/116312/lilypond-auto-horizontal-space-for-dynamic-text
Root cause seems similar since it is about the skyline of span-bar not
being extended.
However, the solution provided by Werner doesn’t seem to transpose
effectively. I tried this to no avail:
This would appear to be related, although a new wrinkle has appeared.
Something to note is that the Dynamics context already consists the
Bar_engraver in order to make use of the to-barline property. In my
testing, I found that having the Bar_engraver consisted is getting in
the way. If you remove Bar_engraver and consist
Pure_from_neighbor_engraver within Dynamics, it behaves similar to the
ChordNames fix. So, it would seem the Span_bar_stub_engraver is perhaps
getting tripped up by the Bar_engraver.
\version "2.25.13"
\language "italiano"
common = {
\key sol \minor
\time 4/4
\tempo "Largo [Широко]"
}
right = \relative do'' {
\key sol \major
sol8 (fad re mi sol fad re4) |
sol8 (fad re mib sol fad re4)
}
left = \relative do' {
\key sol \major
sol,8 (re' si' re,) sol, (re' do' re,) |
sol, (re' sib' re,) sol, (re' do' re,) |
}
dynamics = {
s1 |
\override DynamicText.extra-spacing-width = #'(-1 . 1)
s8 \ppp s8 s8 s8 s8 s8 s4
}
%% #(ly:set-option 'debug-skylines #t)
\layout {
\context { \Dynamics
\consists Pure_from_neighbor_engraver
\remove Bar_engraver
}
}
\score {
\new PianoStaff <<
\new Staff = "right" \right
\new Dynamics \dynamics
\new Staff = "left" { \clef bass \left }
>>
}
-- Aaron Hill
Re: Tie an afterGrace note produces warning
On 2024-03-22 8:24 am, Knute Snortum wrote:
Hi all,
I am trying to tie an afterGrace note to the next note and I get a
warning. This code:
\version "2.25.13"
\relative {
\afterGrace c''4\trill { b16 c~ } c4
}
...produces this warning:
/tmp/frescobaldi-ieh3nrny/tmpq4qpjmjp/document.ly:4:33 <0>: warning:
unterminated tie
\afterGrace c''4\trill { b16 c
~ } c4
Is there any way around this, as I need this for my current project?
\version "2.25.13"
\relative {
\afterGrace c''4\trill { b16 \set tieWaitForNote = ##t c~ } c4
}
-- Aaron Hill
Re: How to use define-music-function?
On 2024-03-20 8:53 am, enejati--- via LilyPond user discussion wrote:
Hello,
I'm a new lilypond user. I want to create multiple scores in a single
file. These scores have some values on common. So I want to use
`define-music-function` in order to avoid repetition.
[ . . . ]
A few things. Firstly, you must prefix make-score with a slash, just
like any other music function. Secondly, define-music-function is not
structured the same as Scheme's define. The procedure name will go
outside:
myFunction = #(define-music-function (arg1 arg2) (type? type?) ...)
Lastly, a music function must return what LilyPond considers music.
Top-level things like a \score or \book will not count. Instead, what
you will need is define-void-function, which does not return anything.
Within this function, you can call the internal functions for processing
scores and books directly:
make-score =
#(define-void-function
(instrumentName bookSuffix musicContent)
(string? string? ly:music?)
(toplevel-score-handler #{
\score {
\new Staff \with {
instrumentName = #instrumentName
} { #musicContent }
\layout { }
}
#})
(toplevel-book-handler #{
\book {
\bookOutputSuffix #bookSuffix
\score {
\new Staff \with {
midiInstrument = "piccolo"
} { #musicContent }
\midi {
\tempo 4 = 80
}
}
}
#}))
% Usage
\make-score "۱" "1" { b'4 4 2 }
\make-score "۲" "2" { b'4 4 2 }
\make-score "3" "3" { b'4 4 2 }
-- Aaron Hill
Re: Wanting to parenthesize (b5) superscript
On 2024-03-19 10:13 pm, John Helly wrote:
Aloha.
I'm trying to improve a score that my colleagues find confusing since
they mis-interpret A(b5) as Ab5; that is, when cis1:5- is transposed to
A(b5).
The transpose (cis to a) is not applied in the example below and that
may further complicate things as I'm not sure whether parentheses
could/should be added before the transpose or after. So, this may
actually be two problems.
So I'm seeking a way to put parentheses around the (b5) superscript. I
found this related snippet in the docs but can't seem to apply it
usefully to this situation.
Suggestions would be much appreciated.
Does this help?
\version "2.22.0"
% Exception music is chords with markups.
% Specifically, chords rooted on C.
chExceptionMusic = {
1-\markup \super { ( \flat 5 ) }
}
% Convert music to list and prepend to existing exceptions.
chExceptions = #(append
(sequential-music-to-chord-exceptions chExceptionMusic #t)
ignatzekExceptions)
theMusic = \chordmode {
\set chordNameExceptions = #chExceptions
cis1:5-
des1:5-
}
\layout {
ragged-right = ##t
}
\new ChordNames { \theMusic }
-- Aaron Hill
Re: Footer text from header
On 2024-03-19 1:50 pm, Johannes Roeßler wrote:
thx again Aaron,
I tried it with
%%%
\line {\fromproperty #'header:composer " - " \as-string
\fromproperty #'header:title }
%%%
- then the title (in the footnote) was empty.
But you gave so many valuable insights, that I'll use it to make it in
a better way - very instructive,
thank you very much!
Aha! \as-string (as I defined it) is not going to work with
\fromproperty. The problem is that \fromproperty needs to be
interpretted to get its contents. \as-string is processing too soon, so
it will not work. Also, once markup is interpretted, it becomes a
stencil. And that is basically useless for our purposes.
One solution would be to customize \fromproperty itself:
\version "2.22.0"
%% Based on code from define-markup-commands.scm:
#(define-markup-command
(frompropertystring layout props symbol) (symbol?)
(let ((m (chain-assoc-get symbol props)))
(if (markup? m)
(interpret-markup
layout
(cons (list (cons symbol `(,property-recursive-markup
,symbol))) props)
(markup->string m))
empty-stencil)))
\header {
asdf = \markup \with-color #red \bold \line { "Hello," "World!" }
title = \markup \fromproperty #'header:asdf
subtitle = \markup \frompropertystring #'header:asdf
}
\score { { b'1 } }
Again, this is probably not the best approach. For instance, a nested
\fromproperty within a field is going to fail much the same way. So,
then we are looking at redefining \fromproperty itself to be able to
call markup->string as needed. Doable, but it really starts to feel
like a clunky hack.
I think the best approach is to avoid putting markup around data that
needs to be accessed in different ways. Keep the fields as simple text,
so there is no need for an \as-string or \frompropertystring command.
-- Aaron Hill
Re: Footer text from header
On 2024-03-19 11:15 am, Johannes Roeßler wrote:
And I aim to separate content from style - but in order to have the
right (and changing) footer text for each piece in a book environment,
I need to get this information from the header and can't define it in
the common \paper env - or do I miss something?
You should be able to define oddFooterMarkup in a suitably generic
manner. All of the related markup paper variables are intended to work
this way, so anything specific to a score lives in a \header block.
And defining and adding your idea with the \as-string command seems not
to work:
The idea is that \as-string strips any commands for the markup you
provide it. But the usage you wrote is not what was intended.
\as-string would be used just before the \fromproperty commands.
Something closer to this:
oddFooterMarkup = \markup {
\fill-line {
\tiny {
{ "Edited by Joei" }
\line {
\as-string \fromproperty #'header:composer " - "
\as-string \fromproperty #'header:title
}
"Copyright 2024"
}
}
}
NOTE: You should probably be using \header fields for copyright and
editor.
Here's a more complete example with the goal of keeping the \header
blocks free of \markup commands:
\version "2.22.0"
\paper {
bookTitleMarkup = \markup
\override #'(baseline-skip . 1.75) \column {
\fill-line {
\override #'(font-name . "Lobster") \line {
\fontsize #6 \fromproperty #'header:title
\fontsize #3 \fromproperty #'header:subtitle
}
\bold \fromproperty #'header:composer
}
\override #'(thickness . 2) \draw-hline
}
oddFooterMarkup = \markup \tiny \fill-line {
\line { Edited by \fromproperty #'header:editor }
\line {
\fromproperty #'header:composer
– % en-dash
\fromproperty #'header:title
}
\fromproperty #'header:copyright
}
}
\header {
editor = "Anon E. "
}
%% - - -
\header {
title = "Lorem Ipsum"
subtitle = "(dolor sit amet)"
composer = \markup { "John Doe" \smallCaps (asdf) }
copyright = "© 2024 John Doe Music"
}
\score { { b'1 } }
In this case, the composer's affiliation with the fictitious ASDF group
is written in small caps. This markup command belongs in the \header
block as we would ideally want it included anywhere that field is
referenced. Now, that is only one way to achieve things, as we could
have just as easily defined a new header field instead:
\header {
title = "Lorem Ipsum"
subtitle = "(dolor sit amet)"
composer = "John Doe"
affiliation = "ASDF"
copyright = "© 2024 John Doe Music"
}
Of course, the \paper block would need to be updated to support this new
field. (I'll leave that as an exercise for the reader.)
It will be up to you to determine where you are going to strike the
balance between markup in the \paper block versus the \header block. As
in the example above, I think that it is perfectly fine to mix a little
bit of useful formatting in the metadata, especially if such a thing is
going to be relatively rare across the majority of your scores.
Otherwise, anything that is shared should ideally be defined once, in
some globally-referenced resource.
It can be a little tricky to plan out how to build your \paper markup
variables, so that they function well when fields are defined or left
undefined. In the example I provided, the subtitle can be safely
omitted. However, note that I opted to put the parentheses within the
subtitle field itself. Had I put them in the \paper block, then you'd
find an empty set of parens next to any title that did not also include
a subtitle; not really what you'd want. So, either one would need some
clever custom \markup commands to automatically do the work, or we just
"cheat" and put the parens in the header field. Again, it comes back to
that balancing act.
(The careful reader should observe that due to how the footer was
defined, editor is effectively not an optional field. The text "Edited
by" will still appear even when the editor field is undefined. I would
encourage you to consider how you could improve this, assuming such
flexibility is necessary. The advanced exercise involves showing
"Edited by" only when the editor field is defined without moving such
text to the field itself. Of course, consider your own real-world
scenario. Are you the editor for all of your scores? If so, there may
be no need to add complexity where it is otherwise wasted effort.)
-- Aaron Hill
Re: Footer text from header
On 2024-03-19 9:35 am, Johannes Roeßler wrote:
Hi,
I'd like to make an automatic footer, using infos from the header
block.
What do I have to change, to get rid of (or override) the format from
the title?
-8<--
\version "2.24.0"
{a4}
\header {
title =
\markup
\fill-line {
\override #'(font-name . "Calluna")
\abs-fontsize #22 "Title"
\null
}
composer = "Composer"
}
\paper {
oddFooterMarkup = \markup {
\fill-line {
\tiny {
{"Edited by Joei"}
\line {\fromproperty #'header:composer " - " \fromproperty
#'header:title }
"Copyright 2024"
}
}
}
}
-->8---
It should be possible to strip markup down to a simple string with the
Scheme function markup->string.
\version "2.22.0"
foo = \markup \huge \bold "Hello"
#(define-markup-command
(as-string layout props arg) (markup?)
(interpret-markup layout props (markup->string arg)))
\markup \foo
\markup \as-string \foo
However, the best approach would be to separate content from styling.
When you define things like title, specify only the simple string value.
Place all formatting/styling commands instead within the paper
variables like bookTitleMarkup, scoreTitleMarkup, oddHeaderMarkup, etc.
Reference the file titling-init.ly within your LilyPond installation to
see what the default values are for these markup paper variables.
Copy-and-paste the default definitions and adjust to your needs. NOTE:
These are the sort of things that are best put into include files, so
you can reuse them and easily standardize your formatting across many
scores.
-- Aaron Hill
Re: B.A.C.H. motif
On 2024-03-19 5:55 am, Peter Mayes wrote:
Being relatively new to this forum, I suspect I am not the first person
to ask this.
And it is more out of curiosity than necessity.
But does anybody have lilypond code to engrave the famous B.A.C.H.
motif in the attached image?
I did not check for prior work, so here is what I just put together:
\version "2.22.0"
\language deutsch
\layout { \context { \Score
\omit SystemStartBar
\omit TimeSignature
\omit BarLine
} }
%% Offsets
#(define x1 -0.88)
#(define y1 0.062)
#(define x2 0.438)
#(define y2 0.88)
#(define x3 -0.15)
#(define y3 0.03)
accLeft = \once \override
Accidental.extra-offset = #'(-1 . 0)
noNH = \once \hide NoteHead
\markup \overlay {
\translate #(cons (+ x1 x3) (+ y1 y3))
\general-align #X #CENTER \vcenter
\score { { \clef treble \accLeft b'1 } }
\translate #(cons (- x2 x3) (- y2 y3))
\general-align #X #CENTER \vcenter
\rotate #-90
\score { { \clef tenorvarC \noNH a1 } }
\translate #(cons (- x3 x1) (- y3 y1))
\general-align #X #CENTER \vcenter
\rotate #180
\score { { \clef altovarC \noNH c'1 } }
\translate #(cons (- 0 x2 x3) (- 0 y2 y3))
\general-align #X #CENTER \vcenter
\rotate #90
\score { { \clef treble \accLeft \noNH h'! 1 } }
}
-- Aaron Hill
Re: coloring notes with more voices in a staff
On 2024-03-18 9:41 am, Go77 wrote:
Hi,
I'm trying to color the note heads of a single voice in a staff. I
tried to do that with the following code:
/\version "2.24.3"
\relative c
{
f'2( g4.)
<< { d8 | f4 f4 g16 a }
{ \override NoteHead.color = #red
g8 | d4 d4 e16 f
\revert NoteHead.color } >>
a8 r4
} /
This results in the noteheads of /both /voices being colored instead of
only the upper one (in this case):
So, is there any way to achieve my goal of coloring only the upper
notes?
Since you did not use \\ within the << >>, there is no implicit voice
creation. As it stands, you only have one voice.
You can review the documentation ([1] and [2]) for more information on
creating voice contexts.
[1]:
https://lilypond.org/doc/v2.24/Documentation/learning/i_0027m-hearing-voices
[2]:
https://lilypond.org/doc/v2.24/Documentation/learning/explicitly-instantiating-voices
-- Aaron Hill
Re: Best way to center beam between upper/lower staff?
On 2024-03-07 9:12 pm, Andy Bradford wrote: Hello, This has to be a FAQ, yet all my searching turned up a mixed bag. I'm trying to have some notes cross from the lower staff to the upper staff but want the beam to automatically center. In my example this is accomplished in measure 3 with much manual work. Is there a better way? Is `\autoChange` [1] what you were looking for? [1]: https://lilypond.org/doc/v2.25/Documentation/notation/changing-staff-automatically You might also need to play with `Beam.auto-knee-gap` [2]. [2]: https://lilypond.org/doc/v2.25/Documentation/notation/automatic-beams -- Aaron Hill
Re: search and replace on all included files on compile
On 2024-03-06 10:56 am, Michael Winter via LilyPond user discussion
wrote:
I have a programmatically generated score and am now realizing that I
want to make a small tweak to text markups that are throughout the
score in multiple files that are included at multiple levels.
" 1↑" replace with " 1" (e.g. remove the up arrow when it is preceded
by a 1)
Is it possible to do this with a global search and replace on compile
such that I do not need to edit each individual file (of which there
are hundreds) manually?
LilyPond does support basic replacements for text markup:
\paper {
#(add-text-replacements! '(("1↑" . "1")))
}
-- Aaron Hill
Re: warning
On 2024-03-05 1:53 pm, ming tsang wrote: Hi users, I got the following warning message. I read some where one should not ignore the warning message. warning: cannot find context Voice = soprano how to make context specification? Without more information or a MWE, we are going to be making blind guesses. But the most likely cause for a context not being found is that it was not kept alive. Please review the information here [1] and see if that helps in your situation. [1]: https://lilypond.org/doc/v2.24/Documentation/notation/keeping-contexts-alive -- Aaron Hill
Re: How to align second repeat verse against second voice
On 2024-02-24 4:04 pm, Andy Bradford wrote:
Hello,
I have a piece with two verses in a repeat. The second time
through
there is a slight alteration in one of the measures which
adds
additional notes. I've been able to accomplish this using a
temporary
voice, but I'm not sure if this is the best way as the words "ma -
mo
mu" end up shifted down another line. Here is the smallest section
that
I could provide, but I wonder if I can align the text better?
[ . . . ]
Each new Lyrics context will appear on its own line. This is sometimes
desirable, but if you need to keep lyrics on the same line, they will
have to share the same Lyrics context.
Probably the easiest the option is to \set associatedVoice to
temporarily align your lyrics to the alternate notes. The important
quirk of associatedVoice is that you must make the change a syllable
ahead of when you need it:
<<
\new Voice = melody \relative {
| c'4 d
<<
\once \voiceOne e2
\new Voice = alt \magnifyMusic #0.618 {
\voiceTwo
e8 f e4
}
>>
| g1
}
\new Lyrics \lyricsto melody { a i u o }
\new Lyrics \lyricsto melody {
% a i u e u o
% ↑ │ ↑ │ We switch voices one syllable earlier.
% └─┘ └─┘
a \set associatedVoice = alt
i u e \unset associatedVoice
u o
}
>>
-- Aaron Hill
Rousseau's boustrophedon notation
Just read a side note on Wikipedia about a supposed "boustrophedon" notation. The citation does not link to the image in question, which is an unfortunate oversight. I was curious whether this approach applied only to Rousseau's numeric notation or if it was intended to work with standard notation. I suspect his numeric notation is more vulnerable to misreading as it would be harder to jump from the end of one line to the beginning of the next. It seems like LilyPond could theoretically support this by alternately reflecting every other system, assuming the intention is to mirror image all symbols in the right-to-left systems. Does anyone have more details about this? -- Aaron Hill
Re: define-music-function with afterGrace and {}
On 2024-02-23 4:46 am, jca...@web.de wrote:
My previous attempt:
graceGliss =
#(define-music-function
(starttone endtone)
(ly:music? ly:music?)
#{
\afterGrace #starttone \glissando {\once \hide Stem
\parenthesize #endtone}
#})
doesn't work, Return Code 1.
You will need to include whitespace between #endtone and the closing
brace that follows.
-- Aaron Hill
Re: markup for circular bowing
On 2024-02-14 1:59 am, Orm Finnendahl wrote:
Hi,
I'd like to make a sign for circular bowing like in the attached
png. The example was done using an epsfile, but unfortunately that
doesn't export to svg, which I need. So it should be done using
lilypond's builtin markup commands (or scheme code). Can someone point
me to examples to do circular arcs with attached arrows (can also be
scheme code)?
I couldn't find anything similar in the docs/internet.
Here's a pretty simple attempt:
\version "2.22.0"
circular-bow =
-\tweak parent-alignment-X #CENTER
-\markup \overlay {
\path #0.15
#'((moveto 1 0)
(curveto 1 -0.55 0.55 -1 0 -1)
(curveto -0.55 -1 -1 -0.55 -1 0)
(curveto -1 0.55 -0.55 1 0 1)
(curveto 0.33 1 0.55 0.85 0.707 0.707)
)
\translate #'(0.707 . 0.707)
\rotate #-45
\fontsize #-5
\general-align #X #0.2
\arrow-head #X #RIGHT ##t
}
{ c''1^\circular-bow }
-- Aaron Hill
Re: Skipping syllables from lyrics
On 2024-02-13 11:05 am, Morten Lemvigh wrote:
Hi,
I have some choir pieces, where all voices are singing the same verses,
but
in some places one voice is omitting one or a few words. Is there some
way
of skipping syllables from the lyrics from within the voice context.
Like
entering "null notes" that would be bound to lyrics but cause them to
not
be rendered? For example in the music for the tenor voice I would like
to
enter "skip 2 syllables from the lyrics at this point".
My current alternative is to create lyric snippets for all the
consecutive
parts and then glue them together for each voice. But with just a few
skipped words in a couple of voices it quickly becomes unmanageable.
Alternatively I could have complete copies of each verse for each
voice,
but making corrections to that is not very attractive.
Any ideas for a better approach are highly appreciated.
Tags can be useful for keeping things organized:
\version "2.22.0"
words = \lyricmode {
one two
\tag soprano { three four }
\tag alto { \markup \italic three __ _ }
five
}
soprano = \relative {
c''4 a g b | c1
}
alto = \relative {
e'4 f e8 d~ 4 | e1
}
\new ChoirStaff <<
\new Staff = staff <<
\new Voice = soprano { \voiceOne \soprano }
\new Voice = alto { \voiceTwo \alto }
>>
\new Lyrics \with { alignAboveContext = staff }
\lyricsto soprano { \keepWithTag soprano \words }
\new Lyrics
\lyricsto alto { \keepWithTag alto \words }
>>
-- Aaron Hill
Re: Compute \tempo from variables
On 2024-02-01 7:36 am, David Hobach wrote:
Hi all,
I'd like to compute the \tempo directive from variables, but couldn't
yet figure out how to do it.
For example, let's say I have two variables such as
myTempoBase = 4
myTempo = 80
Then I'd like to do something such as
global = {
\key c \major
\time 4/4
\tempo \myTempoBase = \myTempo
}
I'd expect it to resolve to \tempo 4 = 80. The above code however fails
on 2.24.1.
Any ideas?
myTempoBase = ##{ 4 #}
That seems to work. Otherwise, myTempoBase is just a number and not a
duration.
-- Aaron Hill
Re: In 2.24, EADG string tuning for bass guitar tablature?
On 2024-01-30 8:20 am, Kevin Cole wrote:
Are you able to provide a link to the source score? If it shows both
the tablature as well as standard notation, it should be pretty easy
to
verify the intended tuning.
A newer MWE plus images that illustrate my question... a bit:
\version "2.24.2"
\language "english"
riff = \relative {
\time 5/4
\clef "bass_8"% I assume from examples that's right.
c8[ g8] r8 c,8 ds8[ g8] f4 f'8 r8
}
\score {
\new Staff
<<
\new Voice\with { \omit StringNumber } \riff
\new TabStaff \with { stringTunings = #bass-tuning } \riff
>>
}
original.png is what I'm copying from and mwe.png is what the above
produces.
NOTE: I've changed mandolin-tuning back to bass-tuning.
Ok, the source does just use the standard EADG tuning.
But the reason mandolin-tuning did not work is that the strings are
tuned too high for the notes. Compare from string-tunings-init.ly:
\makeDefaultStringTuning #'bass-tuning \stringTuning
\makeDefaultStringTuning #'mandolin-tuning \stringTuning
Now LilyPond is going to prefer fretting closer to the nut, so you will
need to use string numbers to get the output to match the source
tablature which is the ideal fretting position for that measure.
And be careful with the \clef command being inside the \riff music
variable. TabStaff has its own specialized clef for printing the word
"TAB". You'll only want to apply the \clef to the Staff.
\version "2.22.0"
\language "english"
riff = \relative {
\time 5/4
c8\2[ g8\3] r8 c,8\4 ds8\4[ g8\3] f4\3 f'8\1 r8
}
\score {
\new StaffGroup <<
\new Staff \with { \omit StringNumber } { \clef "bass_8" \riff }
\new TabStaff \with { stringTunings = #bass-tuning } { \riff }
>>
}
(StaffGroup will also get you that nice bracket out front.)
-- Aaron Hill
Re: In 2.24, EADG string tuning for bass guitar tablature?
On 2024-01-30 7:17 am, Kevin Cole wrote: I don't play bass guitar and my music theory-fu leaves a lot to be desired, but I am attempting to transcribe from an existing score that shows a tablature staff explicitly saying that it uses EAGD tuning. After poking around a bit, I found that the mandolin uses the same tuning (? I don't play any stringed instruments. So maybe that's not right.) Speaking as a bass player, EAGD just looks like someone fat-fingered the standard EADG tuning. You would almost certainly have to re-string with lighter gauge to achieve it (especially if that D is a high D). That, or the tuning results from swapping the D and G strings of the standard form, producing more interesting fingerings that the original bassist preferred. (Some lefties who learned on right-handed basses are used to the upside-down fingerings, so it is not impossible to imagine a lefty getting a true left-handed bass but still wanting an upside-down or nearly upside-down layout.) Are you able to provide a link to the source score? If it shows both the tablature as well as standard notation, it should be pretty easy to verify the intended tuning. -- Aaron Hill
Re: Piece, to be centered and \Large
On 2024-01-28 6:06 am, Bernhard Kleine wrote:
ERROR: In procedure ly:parse-file:
In procedure reverse!: Wrong type argument in position 1:
("print-all-headers" . #f)
Drat, was hoping I could cheat a bit and use an older version of
titling-init.ly as a reference. Obviously something changed so that the
code is not correct.
Okay, so 2.25.x titling-init.ly should look something like this:
scoreTitleMarkup = \markup { \column {
\if \should-print-all-headers { \bookTitleMarkup \hspace #1 }
\fill-line {
\fromproperty #'header:piece
\fromproperty #'header:opus
}
}
}
Just apply the changes to the \fill-line section as you need.
-- Aaron Hill
Re: Piece, to be centered and \Large
On 2024-01-28 3:44 am, Bernhard Kleine wrote:
I am sorry: I can read it having some experience with latex, but I am
unable to twist it to my purpose.
No worries.
One option would be to insert a \null markup so \fill-line has three
things it needs to play with (i.e. something to the left, something
centered, and something to the right).
\paper {
scoreTitleMarkup = \markup { \column {
\on-the-fly \print-all-headers { \bookTitleMarkup \hspace #1 }
\fill-line {
\null
\fromproperty #'header:piece
\fromproperty #'header:opus
}
}
}
}
If you do not care about the opus header field, you could just omit it
altogether. Then \fill-line only needs to deal with one thing:
\paper {
scoreTitleMarkup = \markup { \column {
\on-the-fly \print-all-headers { \bookTitleMarkup \hspace #1 }
\fill-line { \fromproperty #'header:piece }
}
}
}
Oh, and in your original question you mentioned wanting to adjust font
size, so you can do that too:
\larger \fromproperty #'header:piece
-- Aaron Hill
Re: Piece, to be centered and \Large
On 2024-01-28 12:09 am, Bernhard Kleine wrote:
\header {
title = "Pastoral-Messe in C"
piece = "Kyrie"
}
If you take a look at titling-init.ly, you'll see the default definition
of scoreTitleMarkup.
scoreTitleMarkup = \markup { \column {
\on-the-fly \print-all-headers { \bookTitleMarkup \hspace #1 }
\fill-line {
\fromproperty #'header:piece
\fromproperty #'header:opus
}
}
}
From this, we can see that piece and opus normally occupy the same line
(piece to the left, opus to the right). All you need to do is provide a
customized scoreTitleMarkup in your \paper that applies the header
fields how you wish.
-- Aaron Hill
Re: Include all files in a folder
On 2024-01-21 4:43 pm, Karlin High wrote: The question was answered in 2016: <https://lists.gnu.org/archive/html/lilypond-user/2016-08/msg00560.html> What would be the current version of the answer? \includePattern [1] has a \version statement with 2.24.0, so it would appear to still be relevant. [1]: https://github.com/openlilylib/oll-core/blob/master/util/include-pattern.ily -- Aaron Hill
Re: Two novice questions
On 2024-01-17 10:00 am, Knute Snortum wrote: On Wed, Jan 17, 2024 at 9:48 AM Peter Mayes wrote: 2. I have a lot of consecutive notes all staccato. Marking each one individually is a bit of pain. Any way to specify that the next *n* notes are all staccato? I'd like to know the answer to that one too! It may be something that could go in Frescobaldi, if you use that editor. What about LSR 82? https://lsr.di.unimi.it/LSR/Item?id=82 -- Aaron Hill
Re: Including input files via command line
On 2024-01-16 10:12 am, Benjamin Bruce wrote: Is there a way to compile multiple input files into one output file via the command line? Currently I am using \include, but I would like to be able to choose the included file on the fly without editing the main file. If I recall correctly, LilyPond will process each source file included on the command-line individually. You could use the shell to concatenate all your sources together and pass them via standard input. (Pass the filename "-" to LilyPond to instruct it to read from STDIN.) Another thought I had was maybe there is a way to pass a value to the .ly file via the command line and use Scheme to choose the appropriate file to import based on that value. But that may be even more far-fetched. You could do this, but my Spidey-Sense™ tingles and suggests this may be an XY problem. But I simply do not have enough information about what you are needing to accomplish. But for reference: lilypond -e '(define-public a 42)' Then within your .ly source, you'll need to bring in the guile-user module: #(use-modules (guile-user)) %% The variable `a` should now be in scope. NOTE: All of the above is documented in the first sections of the Usage manual. https://lilypond.org/doc/v2.24/Documentation/usage/command_002dline-usage -- Aaron Hill
Re: Setting the emoji font
On 2024-01-16 9:12 am, YTG 1234 wrote:
I want to use emoji within markup, and I can see in the output log that
Lilypond can't find a character in its default emoji font (Symbola). I
can't figure out how to override the default font.
%%%
\markup {
"" %% This character isn't be found
}
%%%
I saw an old thread recommending to use \override #'(font-name .
"..."), but that doesn't seem to work in modern versions (I'm on
2.25.11). Overriding the serif font doesn't work either, as I don't
think Lilypond tries it at all.
Cannot reproduce locally running either 2.22.0 or 2.25.11.
\version "2.22.0"
\markup
{ }
\markup
\override #'(font-name . "DejaVu Sans")
{ }
\markup
\override #'(font-name . "Segoe UI Emoji")
{ }
This probably has less to do with LilyPond and nearly everything to do
with FontConfig and what fonts are installed and accessible. At the
very least, the markup \override command has not changed behavior, as
far as I can tell. And what works on my machine is largely irrelevant
to what you'll need to do on your system.
Things to check: Run LilyPond with the -dshow-available-fonts option and
grep the output to ensure the font in question appears. If it does not,
then something may be screwy with FontConfig. If the font does appear,
then make sure you input the name fully with the font-name override.
Some fonts include as part of their family name what appears to be a
style, and this has been known to cause problems. Adding a trailing
comma seems to help, e.g. use "Times New Roman," instead of "Times New
Roman".
-- Aaron Hill
Re: Can I define custom bar lengths in LilyPond?
On 2024-01-16 8:06 am, Hajo Baess wrote: Hello LilyPond users, I wonder if there is a possibility to define a custom bar length, thus for once cancelling LilyPond's automatic insertion of bar lines. I have a complicated measure here with quite a bit of markup to accommodate in one bar. I have worked out a solution which is maybe good enough, but it contains lots of tweaks in order to squeeze everything into the automatically assigned bar length. If I could define my own bar lengths, I would get more space in the bar, so I hope at least. My search in the documentation did not yield a result for me, but maybe I did not look in the right places. Hopefully someone here can troubleshoot me. Any help is much appreciated. I suspect we are going to need more information as there are at least two interpretations of "length" here. This is why we highly recommend including MWEs (minimum working examples) with questions, as this gives us a common starting point without having to make potentially derailing guesses. Length interpretation one: Metrical length (i.e. number of beats in a bar) If you need to momentarily step away from the defined time signature, the easiest option I find is to use a cadenza--a section of music that is not bound by the time signature. Begin the section with \cadenzaOn, cram whatever notes you want, and then end the section with \cadenzaOff to resume the original time signature. NOTE: LilyPond will not attempt to subdivide a cadenza on its own for the purposes of line breaking. You can of course provide hints using \bar "" as needed. For more information, see: NR 1.2.3 - Displaying Rhythms; Unmetered Music https://lilypond.org/doc/v2.24/Documentation/notation/displaying-rhythms#unmetered-music Length interpretation two: Dimensional width (i.e. physical space on the paper) LilyPond's spacing engine tries to keep things unified across the music, so notes should look consistently spaced throughout the piece. You can define a new "spacing section" within your score with the aptly named \newSpacingSection command. Each use of this command will break up the larger score into chunks that the spacing engine will handle independently. There are several context properties that affect note spacing, and these can be adjusted within each spacing section as desired. For your scenario of a measure that just needs to be wider than everyone else, you would at a minimum need to start a new spacing section coming into the measure and then start yet another section for the subsequent measure--a total of three sections: one before, one for the "fat" measure, and one after. For more information, see: NR 4.5.2 - New Spacing Section https://lilypond.org/doc/v2.24/Documentation/notation/new-spacing-section If you are talking about something else entirely, please see about providing a brief example of what you have tried. -- Aaron Hill
Re: Error with \layout and \context
On 2024-01-12 5:00 pm, Ivan Kuznetsov wrote:
\layout {
\context {
\Score
\override BarLine.transparent = ##t
\override SpacingSpanner.base-shortest-duration =
#(ly:make-moment 1 8)
\override Stem.transparent = ##t
}
\context {
\Voice
\consists Horizontal_bracket_engraver
}
}
}
You need to do your mods in separate \context sections. See above.
-- Aaron Hill
Re: Transpose from major to minor key
On 2024-01-10 6:30 pm, Freeman Gilmore wrote: Aaron Does LP have that?That would be a trick for modes other than between major and minor and that may not work well. Thank you, ƒg Sorry for not linking the docs directly. https://lilypond.org/doc/v2.25/Documentation/notation/modal-transformations On Wed, Jan 10, 2024 at 5:20 PM Aaron Hill via LilyPond user discussion < lilypond-user@gnu.org> wrote: On 2024-01-10 1:26 pm, Butter Cream wrote: > Hi, I have a piece of music written in the key of G major and I want > the pitches to transpose to e minor. How do I do this. > > When I use the command \transpose g e it changes to E major (all g > notes are sharped) I think you'll need to use \modalTranspose to achieve what you want. -- Aaron Hill
Re: Transpose from major to minor key
On 2024-01-10 1:26 pm, Butter Cream wrote: Hi, I have a piece of music written in the key of G major and I want the pitches to transpose to e minor. How do I do this. When I use the command \transpose g e it changes to E major (all g notes are sharped) I think you'll need to use \modalTranspose to achieve what you want. -- Aaron Hill
Re: Question about \include options
On 2024-01-07 11:14 pm, John Helly wrote: Aloha. In reading the documentation about \include (https://lilypond.org/doc/v2.24/Documentation/notation/including-lilypond-files), I find the following sentence but can't find any explanation anywhere about what *#f and #t *are or do. Can anyone enlighten me, please? They seem to have something to do with the file system but...? #t and #f are just the Scheme ways of indicating the Boolean values of true and false, respectively. So, for a setting like relative-includes, #t would enable the feature; #f would disable it. '... Complex file structures, that require to|\include|/both/files relative to the main directory and files relative to some other directory, may even be devised by setting|relative-includes|to*|#f|or|#t|***at appropriate places in the files. ...' This part of the documentation is simply indicating that the relative-includes setting can be freely changed during input processing as needed. So when you go to \include something, it is the current setting that will affect where LilyPond will search for the file in question. -- Aaron Hill
Re: remove extra line in outside staff notes
On 2023-12-29 7:01 am, Cordelia wrote:
Hello,
is it possible to remove the outside staff lines notes in a "\override
StaffSymbol.line-count = #1"?
Thank you,
Cordelia
Are you referring to ledger lines?
\layout {
\context {
\Staff
\override StaffSymbol.line-count = #1
\remove "Ledger_line_engraver"
% or %
\omit LedgerLineSpanner
}
}
-- Aaron Hill
Re: Help with music function
On 2023-12-17 9:33 pm, Mark Probert wrote:
Hi.
I'm struggling some with writing a music function for rests. Basically
I
want to be able to write something like
\rel-rest( b', 1)
Minor nit: Functions in LilyPond do not use parentheses and commas for
arguments in this way. You need only say something like the following
to invoke your function:
\rel-rest b' 1
which would place a dotted quarter rest on the indicated pitch (the
equivalent of
b'1\rest
I'm starting with
rel-rest =
#(define-music-function (pit dur) (ly:pitch? ly:duration?)
#{
#pit#dur\rest
#})
but that gives me an error.
Any suggestions?
There are a few things the errors in the output log should be
communicating.
Unbound variable: #{pit\#dur\\rest}#
Firstly, whitespace is important in Scheme. Jamming together
#pit#dur\rest gives the parser little hope to understand what you mean.
It thinks this refers to a singular named thing, which in this context
does not exist.
So, give each part of that expression some room to breathe:
#pit #dur \rest
But then LilyPond is not satisfied that this represents a valid music
expression. When using variables, often the number sign (#) is correct,
however there are some spots when you need to use the dollar sign ($)
instead.
$pit $dur \rest
Lastly, I am not sure why using the duration "1" as you indicated would
result in a dotted quarter rest. Did you mean "4." or is the point of
the music function to manipulate the inputs in some way? I am not sure
I see the connection/logic there, so you are going to be a bit on your
own there.
But with the modification indicated above, you can now do this:
{ \rel-rest b' 4. }
%% ...or even...
{ \rel-rest b'4. }
However, this feels like more typing than just using the \rest
post-event, apart from being prefixed.
-- Aaron Hill
Re: Can't call some functions from translation-functions
On 2023-12-16 5:27 am, Aaron Hill wrote: On 2023-12-16 5:20 am, Sebastian Käppler wrote: Hello Aaron, thanks for your response. I tried use-modules and got " no code for module (scm display-lily)". If that is of interest, I use Frescobaldi on Windows with lilypond 2.24.1. Oh, whoops. I'm still back on 2.22.0, myself. I think it's (use-modules (lily display-lily)) now. Sigh, and adding the mailing list back to the thread for visibility. Sorry about that. -- Aaron Hill
Re: Can't call some functions from translation-functions
On 2023-12-16 4:48 am, Sebastian Käppler wrote: Hello, I'm trying to use some of the functions in translation-functions.scm to create my own note name markup. However, if I use note-name->lily-string or octave->lily-string, I get an "unbound variable" error for that function. I even tried to copy the whole note-name-markup code from the source to my code and rename it to note-name-custom-markup. But if I use this in \set noteNameFunction, I get that same error. Sorry if this is a dumb question, but I'm still trying to familiarize myself with most concepts of scheme... Odd. A function like note-name->lily-string is exported from define-music-display-methods.scm. Have you tried adding an explicit... (use-modules (scm display-lily)) ...in your source file? -- Aaron Hill
Re: lilypond "preprocessor"?
On 2023-12-12 1:04 pm, David Kastrup wrote: Aaron Hill writes: #(define (add-midi-to-score score) (define (has-midi? score) (any (lambda (x) (ly:output-def-lookup x 'is-midi)) Wouldn't that need to be (ly:output-def-lookup x 'is-midi #f) ? The default is to return '() which I thought was falsey. -- Aaron Hill
Re: lilypond "preprocessor"?
On 2023-12-12 12:06 pm, Stefano Antonelli wrote:
On Tue, 2023-12-12 at 02:31 -0800, Aaron Hill wrote:
Would this not work?
#(define (add-midi-to-score score)
#{ \score { $score \midi {} } #})
toplevel-score-handler =
#(lambda (score)
(collect-scores-for-book (add-midi-to-score score)))
Indeed it does!
Without a \midi block one midi file is produced.
However, if there is already a \midi block, two midi files are
produced. I'm not sure if that's going to be a problem aside from the
extra processing time.
Any better?
#(define (add-midi-to-score score)
(define (has-midi? score)
(any (lambda (x) (ly:output-def-lookup x 'is-midi))
(ly:score-output-defs score)))
(if (has-midi? score) score
#{ \score { $score \midi {} } #}))
-- Aaron Hill
Re: lilypond "preprocessor"?
On 2023-12-12 2:01 am, Jean Abou Samra wrote:
One thing occurred to me. If the original \score did not have a \midi
block, would it be possible to ask lilypond to produce midi output
without modifying the input file?
No, this is not currently possible, although it would be a nice
addition.
Would this not work?
#(define (add-midi-to-score score)
#{ \score { $score \midi {} } #})
toplevel-score-handler =
#(lambda (score)
(collect-scores-for-book (add-midi-to-score score)))
-- Aaron Hill
Re: lilypond "preprocessor"?
On 2023-12-10 9:33 pm, Stefano Antonelli wrote: On Sun, 2023-12-10 at 08:46 -0500, Michael Werner wrote: I'm not at all familiar with ly2video, so I really have no idea if this'll be directly useful to you. But for getting the headers from an included file, this is how I do it with nearly all the music I engrave. Maybe it can serve as a starting point. The issue is that ly2video parses anotherFile.ly directly and it can't see the fields in the header block because they are defined in song.ly. It doesn't have lilypond's smarts to parse "\include song.ly". (Apologies for jumping in here.) Why should ly2video need any such smarts at all? Since there are myriad ways an end user can structure their input files, let LilyPond do its job and have ly2video ask it for all the information needed. It sounds like ly2video is already injecting code to add new engravers and what not for extracting timing details. Do the same but dump all of the relevant header fields while you are at it. At this point, ly2video only needs to parse this extracted data and can completely ignore what the end user is doing in their source. P.S. I should note that I have never used ly2video before, so I am commenting mainly as an outside observer to this use case. -- Aaron Hill
Re: Lyricmode and fonts
On 2023-12-06 12:32 am, Henning Hraban Ramm wrote:
You can override a whole Lyrics context with
\override Lyrics.LyricText.font-shape = #'italic
But that’s only suitable if you have your versions in different lines.
Pretty sure this would work for a single Lyrics context:
\lyricmode {
nor -- mal text
\override LyricText.font-shape = #'italic
i -- tal -- ic text
\revert LyricText.font-shape
nor -- mal text a -- gain
}
-- Aaron Hill
Re: Pickup measure
On 2023-10-27 6:13 pm, Will Turner wrote: I imported a Musicxml file of a hymn. The first measure is a pickup measure but it imports as a full measure 3/4 with only a quarter note in it. You can see that the measure appears to contain room for 3 beats instead of one. When I play this in Musescore, it plays as a pickup measure, and the measure doesn't have all that space in it. Using \partial 4 on the first measure, I'm trying to make the existing first measure look like a pickup measure and, if possible, actually be a pickup measure. The result I get looks like this. It redistributes the other measures and the end of every line is now a pickup measure. How do I make only the first measure a pickup measure? Without the .ly file itself, it is hard to say. But I suspect the quarter notes from the first measure are being converted to something like 4*3, essentially making a quarter take up the whole time of the measure, which sort of looks like a pickup note. (This would likely be a problem with the source XML or the converter.) When you add the \partial 4, the first quarter duration of the 4*3 is in the anacrusis and then its other two quarters of time push the dotted quarter to beat three, which leads to all the other alignment errors. -- Aaron Hill
Clipping of ornamentation glyphs (was: what is the musical ornament...)
On 2023-10-27 6:57 am, Mark Stephen Mrotek wrote: \downprall See: https://lilypond.org/doc/v2.22/Documentation/notation/list-of-articulations#ornament-scripts I just noticed something with both that version of the documentation as well as 2.25 [1]. The curl of the "up" or "down" is getting clipped at the top and bottom of the ornamentation snippets. However, "line" seems to be intact. Are the bounds of these curl glyphs not being calculated correctly in the underlying font? Or is something else causing the snippets to clip too tightly? [1]: https://lilypond.org/doc/v2.25/Documentation/notation/ornament-scripts -- Aaron Hill
Re: Setting line-width for individual lines
On 2023-10-16 7:15 pm, Benjamin Bruce wrote: I know how to set line-width in the \layout block to apply it to the whole score. But is it possible to set line-widths on an individual line basis (or for groups of lines), for example one width for lines 1-2, and then a different width for lines 3-4? I know about ragged-right, but I don't like the look of the ragged edge and would rather have the power to specify just how wide I want each line to be. Perhaps something like \pseudoIndents from LSR 1098 [1] would be helpful. [1]: https://lsr.di.unimi.it/LSR/Item?id=1098 -- Aaron Hill
Re: lilypond 'not recognized'
On 2023-09-28 12:22 am, Jean Abou Samra wrote: Le jeudi 28 septembre 2023 à 06:26 +, bobr...@centrum.is a écrit : Understood. As noted in my original post, I also still have v2.22.2 installed which I installed with the installer. The fact that I installed 2.22.2 with the installer leaves me puzzled as to why I can't invoke it without the full path. I think you might need to call it as "lilypond.exe", not "lilypond". Or maybe "lilypond-windows.exe". I don't really know much about Windows terminals though. lilypond-windows.exe differs only in that the executable targets the GUI subsystem. The effect is that it runs without needing to spawn a visible terminal window with the process. When setting up file association for .ly files, it can be very useful. If you are already in a console environment however, then there should be no functional difference between lilypond.exe versus lilypond-windows.exe. In general, executable types (.exe, .com, .bat, .cmd...) are assumed by the classic* command prompt, so typing "lilypond" should be able to find and resolve to a "lilypond.exe" in the PATH if it exists. You can run "where lilypond" to verify not only that it is being found but also the locations of all matches if there are multiple. (* By "classic", I mean the old-school cmd.exe shell. If you are running an alternate shell such as PowerShell, then you will need to consult its documentation.) -- Aaron Hill
Re: Initial rests in MIDI not included?
On 2023-09-27 4:20 am, Kevin Cole wrote:
I just tried it again with the attached, and still do not get "The
Sound of
Silence" ;-)
$ cat mwe.ly
\version "2.24.2"
\language "english"
global = {
\time 4/4
\key f \major
\tempo 4=150
}
PartFour = \relative a {
\global
\clef "treble"
\partial 4 a4
}
\score {
\new Voice = "PartFour" {
R1*32 R1*24
\repeat unfold 4 {
\transpose c c,, { \PartFour }
}
}
\midi { }
}
$ lilypond mwe.ly
GNU LilyPond 2.24.2 (running Guile 2.2)
Processing `mwe.ly'
Parsing...
Interpreting music...
MIDI output to `mwe.midi'...
Success: compilation successfully completed
$ timidity mwe.midi
Playing mwe.midi
MIDI file: mwe.midi
Format: 1 Tracks: 2 Divisions: 384
Text: creator:
Text: LilyPond 2.24.2
Track name: \new:PartFour
Playing time: ~5 seconds
Notes cut: 0
Notes lost totally: 0
Loads into a sequencer as expected, so the MIDI file itself seems fine.
-- Aaron Hill
Re: Voice synthesis
On 2023-04-25 4:34 am, Andrew Bernard wrote: As an aside, MIDI has no representation of text so the VST I pointed out and other suggestions will be best done in a DAW. There are lyric meta events [1] that you can include in a standard MIDI file. [1]: https://www.midi.org/specifications/file-format-specifications/standard-midi-files/smf-lyric-meta-event-definition -- Aaron Hill
Re: Voice synthesis
On 2023-04-25 3:53 am, J Martin Rushton wrote: I was playing back a MIDI piece and wondered if anyone had ever combined voice synthesis with MIDI? I know that you can get MIDI "ah"s, but I was meaning voiced from the text like a text reader. Purely idle wondering, no-one need to make any great effort and I don't (currently) have a use case. It just seemed the next step in the development of computer music. You could look into Vocaloid. Its origins are with Japanese phonetics, but I have heard folks use it for other languages. -- Aaron Hill
Re: How to fix markup horizontal position relative to edge of page
Hello all,
I am trying to layout some documents where the score is centered on the
page, and underneath it is some markup text that is aligned left,
relative to the edge of the page. In some documents the score will be
wider, in some it will be narrower, but the text below it should always
be in the same horizontal position relative to the page.
One option I did not see mentioned was putting the score into a markup
to horizontally center it:
asdf = \score {
\relative { c'4 d e f \break g a b c }
\layout { line-width = 4\in }
}
\markup \fill-line { \null \score { \asdf } \null }
-- Aaron Hill
Re: How to fix markup horizontal position relative to edge of page
On 2023-04-10 2:35 pm, Ya Gloops wrote: ...Bacon ipsum... Ah, I see you are an individual of culture. :) -- Aaron Hill
Re: conflict in dymanics signs
On 2023-04-06 2:26 pm, Dario Marrini wrote:
Thanks Aaron,
but, forgive me because I' wasn't clear in my request, my goal is to
get a
MIDI file performing the crescendo while making the right expression
inside
of it, then my request; if it'd be possible get it while keeping the
original writing it'd be better
I am not sure LilyPond is able to accurately perform this passage as
intended via MIDI.
If I were sequencing this, I would use a combination of CC messages for
both channel volume to perform the overall crescendo up to the
fortissimo and expression level to perform the swelling/damping of the
paired hairpins. (Channel or key aftertouch is another option, but that
requires a synth/patch that support it.) That is not to say this is the
only way to sequence this passage, but LilyPond is going to be limited
to note-on velocities.
The crescendo and decrescendo events are indeed in conflict and cannot
coexist on the same Voice. You could move the \cresc and terminating
\ff to another Voice or a Dynamics context (as shown below):
<< { b\> g\! es\< g\! f\> es\! b\< es\! f2\) f-> f-> f-> }
\new Dynamics { s2*7\cresc s2\ff } >>
Note that the \cresc above results in a dynamics line spanner which you
could remove:
s2*7 -\tweak DynamicTextSpanner.style #'none \cresc
Also note the fortissimo lives vertically aligned to the "cresc." text.
But a little tweak moves it closer to the note:
s2 -\tweak Y-offset #1 \ff
Of course, I think the line spanner helps clarify the passage, so I
would keep it and leave the \ff position alone.
-- Aaron Hill
Re: conflict in dymanics signs
On 2023-04-06 1:39 pm, Dario Marrini wrote: Hi lilypond people, I'm trying to transcribe an orchestral part; this is a solo Oboe part; there is a "cresc" ending in a "ff", but in the meanwhile there are other dynamics signs (expression?); I don't know how to combine the general crescendo with single dynamics expression signs; lilypond warning me about a conflict, and it ignores the two 'decrescendo' signs; how to do for nesting expression signs inside the longer and general crescendo? I would get it keeping the score original signs. the original the lily output : the code : as'\(\! b\cresc\> g\! es\< g\! f\> es\! b\< es\! f2\) f-> f-> f->\ff Probably the easiest option is to use markup for the "cresc." text: %%%% b\>_\markup \italic "cresc." -- Aaron Hill
Re: -dgui option dropped in 2.24 - how to stop the black box on Windows now?
On 2023-04-03 10:31 am, Jean Abou Samra wrote: Le 3 avr. 2023 à 12:21, Richard Shann a écrit : Is there any chance the developers might re-instate the lilypond-windows.exe? Maybe. Is it as easy as compiling with -mconsole ? Does that have other effects to take care of? Is there a use case where the current mode is important or could we just switch to the other mode? LilyPond would still need to be able to be run purely from the terminal, so the main target should continue to use the console subsystem. This importantly covers the scenarios of scripting and automation where you need standard I/O to be mapped properly. The use case for a third-party GUI application running LilyPond behind-the-scenes is where the "windows" subsystem could be useful, providing the application is unable to spawn the child process in a hidden manner. This goes to my question of which application has the real problem. Denemo relied on LilyPond providing two entrypoints, so it was not really at fault. But Denemo probably should have been spawning the worker process hidden to begin with, thus never relying on lilypond-windows.exe in the first place. However, that would require working around glib to use the Win32 API directly (and adding platform-specific development overhead), or by getting the glib developers to expose the underlying process creation flag. But for all I know, it might be out-of-scope for glib to support this scenario, thus pushing the work back to Denemo. It should be noted that this dual subsystem approach is very common on Windows. Take the Windows scripting host itself. It comes in two flavors: wscript.exe and cscript.exe. The first is for use without an attached terminal, and the second is meant to be run from the command-line. Java likewise has always shipped with two frontends: java.exe and javaw.exe. So, LilyPond would not be doing anything unusual by shipping two executables. -- Aaron Hill
Re: -dgui option dropped in 2.24 - how to stop the black box on Windows now?
On 2023-04-03 3:19 am, Richard Shann wrote: On Sun, 2023-04-02 at 11:54 -0700, Aaron Hill wrote: I have never looked at Denemo or its source code, so what I am going to say might not be so trivially applicable. But in the Win32 API, you can call CreateProcess and use the process flag CREATE_NO_WINDOW. You were quite right to be doubtful - Denemo tries to off-load the target machine dependent stuff onto libraries, in this case glib which provides the routine to spawn a process, and sadly does not expose the CREATE_NO_WINDOW part of the Win32 API. Ah, such is the bane of cross-platform programming. Often these edge cases get overlooked with API abstractions. For now I'll disable the autocompilation option for Windows with LilyPond 2.24. Is there any chance the developers might re-instate the lilypond-windows.exe? The question of the hour is: Is this a LilyPond problem or a Denemo problem? (Well, one could also ask whether this is a glib problem.) If another third-party tool like Frescobaldi is still working given the change in LilyPond, then the case could be made that this is something best addressed in Denemo itself. However, if LilyPond could easily provide both entrypoints as it used to, then the issue should be filed against LilyPond. This is something I have not tested, but there are some indications that the subsystem of a Windows portable executable can be changed after it has been built. There are two references to Perl modules that do this: https://metacpan.org/pod/Win32::Exe https://metacpan.org/dist/Tk/view/exetype It sounds like you could manually copy lilypond.exe to lilypond-windows.exe and then change the copy's subsystem. Not really a long-term solution, but it might help you keep auto-compilation as that really does sound like a useful workflow. -- Aaron Hill
Re: -dgui option dropped in 2.24 - how to stop the black box on Windows now?
On 2023-04-02 8:38 am, Richard Shann wrote:
there used to be an executable lilypond-windows.exe in addition to the
lilypond.exe which has also vanished. I suspect it was compiled using
the option
-mconsole
passed to gcc as this is how Denemo is compiled to avoid leaving a
terminal around that would tempt the user to kill everything by
dismissing it (Windows users are generally not familiar with
terminals).
Yup. On Windows, the executable takes two forms based on whether it is
CLI-based or GUI-based. lilypond-windows.exe was in all practical ways
identical to lilypond.exe except that it had WinMain as its entrypoint
instead of main. This meant Windows did not automatically allocate a
console window. Do note that even GUI-based applications are afforded a
text console but they must explicitly call the AllocConsole API.
If I understand this correctly, it looks like I will have to spawn a
process that runs a windows batch file that processes the command line
parameters and synthesizes the names of the log file that LilyPond used
to create and then calls LilyPond with re-direction of the output. I'm
not sure that this can be done without a terminal popping up to annoy
the user.
I have never looked at Denemo or its source code, so what I am going to
say might not be so trivially applicable. But in the Win32 API, you can
call CreateProcess [1] and use the process flag CREATE_NO_WINDOW [2].
This should prevent the console window appearing if the child process is
CLI-based.
[1]:
https://learn.microsoft.com/en-us/windows/win32/api/processthreadsapi/nf-processthreadsapi-createprocessa
[2]:
https://learn.microsoft.com/en-us/windows/win32/procthread/process-creation-flags
Is there anyway of spawning a LilyPond 2.24 process on Windows now
without plaguing the user with terminals?
You might be able to shim with a VBS wrapper. I do this a lot for
custom scheduled tasks that would normally run in the terminal but that
I do not want to interrupt what I am doing by spawning a window at odd
times. Something like this should work, passing arguments to the script
along to LilyPond:
' Turn WScript.Arguments into a proper array.
Dim args()
ReDim args(WScript.Arguments.Count - 1)
For i = 0 To WScript.Arguments.Count - 1
args(i) = Chr(34) & WScript.Arguments(i) & Chr(34)
Next
Dim shell
Set shell = WScript.CreateObject("WScript.Shell")
shell.Run "lilypond.exe " & Join(args), 0, True
NOTE: The important parameter here is the zero (0) to shell.Run. This
hides the spawned process. The True waits for the child process to
finish, which probably is what you need for this use case. But if you
just want to fire off a child process and not have the scripting host
stick around, change that to False.
-- Aaron Hill
Re: temporarily overriding paper variables
On 2023-03-29 1:51 am, Werner LEMBERG wrote: Alas, it *still* doesn't work as expected. Obviously, I have simplified the code example too much: adding a `ChordNames` context prevents alignment. Note that the top skyline of the chord symbol doesn't show anything suspicious. Okay, then I think we are hitting something else. I imagine this whole business with inverted vertical extents working only sometimes is by fluke, not by intentional design. Would it suffice for you to remove the global padding and manually insert any spacing where it is needed as opposed to trying to remove the padding in the spot where you do not need it? Not knowing what you are trying to tackle, this might be a non-trivial amount of work. But I think it might be best option given that it does not rely on the uncertain behavior of internal arithmetic. -- Aaron Hill
Re: temporarily overriding paper variables
On 2023-03-28 11:51 pm, Werner LEMBERG wrote:
\markup \with-dimensions #'(0 . 0) #'(0 . -2.5) \column {
\vspace #0.55
"foo"
}
I want the violin clef touch the top edge of the page.
Ah, you need to adjust the vertical extent in the other direction:
\markup \with-dimensions #'(0 . 0) #'(2.5 . 0)
\general-align #Y #UP "foo"
The vertical extents #'(0 . -2.5) and #'(2.5 . 0) both have the same
effective height of -2.5 units, however they have a different relative
starting point which is important for what may appear *below* the
markup. In my example, I needed the red rectangle to snugly fit with
the scores on both sides, so I apologize that it was not very clear how
the vertical extent had been altered to achieve that.
Also, do use \general-align to avoid futzing with \vspace in your
markup.
-- Aaron Hill
Re: temporarily overriding paper variables
On 2023-03-28 8:26 am, Werner LEMBERG wrote:
It would be cool if this worked some day. However, the next best
thing would probably be to allow negative widths and heights for
`\markup` boxes (if set with `\with-dimensions` and friends).
Was messing about a bit. Does this work on your side?
\version "2.22.0"
\paper {
score-markup-spacing =
#'((basic-distance . 0) (minimum-distance . 0)
(padding . 4) (stretchability . 0))
markup-system-spacing =
#'((basic-distance . 0) (minimum-distance . 0)
(padding . 4) (stretchability . 0))
}
\score { { b'4 } \layout { indent = 0 } }
\markup
\with-color #green \filled-box #'(0 . 10) #'(0 . 5) #0
\score { { b'4 } \layout { indent = 0 } }
\markup
\with-dimensions #'(0 . 0) #'(-1 . -4)
\general-align #Y #UP
\with-color #red \filled-box #'(0 . 10) #'(0 . 5) #0
\score { { b'4 } \layout { indent = 0 } }
-- Aaron Hill
Re: temporarily overriding paper variables
On 2023-03-28 2:34 am, Werner LEMBERG wrote:
```
\markup \with-dimensions #'(0 . 0) #'(0 . 0) {
...
}
If you don't want vertical padding, your horizontal dimensions must
be an empty interval, not a point interval.
OK, but how do I do that for `\markup`?
Maybe this: \markup \with-dimension #X #empty-interval ...
(Assumes you are using 2.24 that supports the axis-specific command.)
-- Aaron Hill
Re: Vertical position of Tie and Script
On 2023-03-26 4:45 am, Mark Mathias wrote:
Perhaps try:
\version "2.24.0"
{
\override Tie.outside-staff-priority = #1375
c''1--~ c''
c''1--~ c''
}
%
And, of course, add "\once" for a particular instance.
When you find you are doing \once \override, you should consider \tweak:
{ c''1-- \tweak outside-staff-priority 12345 ~ c'' }
If this is something you need to do a lot, you can define a cheeky
shorthand:
veryOutside = \tweak outside-staff-priority 8675309 \etc
{ c''1-- \veryOutside ~ c'' }
-- Aaron Hill
Re: Coda/Segno sign color override not working: LiliyPond 2.24.0
On 2023-03-25 7:58 am, Mark Mathias wrote:
Oops... Except it doesn't. The accent remains black when I run it in
2.24.0. (I'm only beginning to get a glimmer of how to use Scheme with
LilyPond.)
Hmm... I currently run 2.22 for my scores, and the snippet from the
email thread does appear to work. Perhaps something changed in 2.24
that breaks the snippet's usage of a before-line-breaking procedure.
Here is something I threw together that utilizes a custom music function
to do something similar, albeit with a local effect rather than global:
\version "2.22.0"
tweakArticulations =
#(define-music-function
(articulation property value music)
(string? key-list? scheme? ly:music?)
(define (process-articulation art)
(let ((type (ly:music-property art 'articulation-type)))
(if (string=? articulation type)
#{ \tweak $property $value $art #}
art)))
(define (process-music mus)
(let ((arts (ly:music-property mus 'articulations #f)))
(if (list? arts)
(ly:music-set-property! mus 'articulations
(map process-articulation arts)))
mus))
(music-map process-music (ly:music-deep-copy music)))
asdf = { b'4 -. -+ 2 -\tweak font-size 3 -> -. 4 -+ -> }
{
%% Example of applying one tweak:
\tweakArticulations accent color #red \asdf
%% Example of chaining multiple tweaks:
\tweakArticulations stopped color #green
\tweakArticulations stopped padding 2 \asdf
}
-- Aaron Hill
