Midi2Lily

[Cynthia Karl]

--- Begin Message ---
I mentioned previously that I wrote a program to convert MIDI files to LilyPond 
files. That program is called MidiToLily and it’s now freely available on 
GitHub. It’s a console app, doesn’t have an installer, and doesn’t store things 
in the registry or anywhere else. It does have command line help, including a 
few examples.

https://github.com/victimofleisure/MidiToLily

Notes can be quantized to a regular grid, a triplet grid, or both grids, in 
which case the note snaps to whichever grid is nearest.
The title, composer, and copyright can be specified, with Unicode support. Clef 
overrides, sections, and ottavas are also supported.
The tempo, time signature, and key signature are read from the input MIDI file. 
I have only tested MidiToLily on type 1 MIDI files.
MidiToLily includes a verification feature which is very useful to me. It 
depends on the fact that LilyPond can output a MIDI file that corresponds to 
its engraving. MidiToLily invokes this feature in the .ly file it creates, so 
after LilyPond runs, in addition to a PDF, you’ll also have a .mid file. Run 
MidiToLily a second time, specifying the verify flag, and instead of outputting 
a LilyPond file, MidiToLily looks for a .mid file with the same name as the 
output file. It then compares that LilyPond-generated MIDI file to the original 
MIDI file. The comparison automatically accounts for certain expected 
differences, and it creates two text files: MidiToLilyIn.txt for the original 
MIDI, and LilyPondMidi.txt for LilyPond’s MIDI. If MidiToLily reports 
differences, you can investigate them by comparing these two text files, using 
a source comparison utility, such as WinMerge for example.
MidiToLily does what I need it to do, but undoubtably it could be improved. I 
make no claim that it’s useful to others, but I hope so.
Best regards,Chrishttps://www.chriskorda.com/


--- End Message ---
--- Begin Message ---
I mentioned previously that I wrote a program to convert MIDI files to LilyPond 
files. That program is called MidiToLily and it’s now freely available on 
GitHub. It’s a console app, doesn’t have an installer, and doesn’t store things 
in the registry or anywhere else. It does have command line help, including a 
few examples.

https://github.com/victimofleisure/MidiToLily

Notes can be quantized to a regular grid, a triplet grid, or both grids, in 
which case the note snaps to whichever grid is nearest.
The title, composer, and copyright can be specified, with Unicode support. Clef 
overrides, sections, and ottavas are also supported.
The tempo, time signature, and key signature are read from the input MIDI file. 
I have only tested MidiToLily on type 1 MIDI files.
MidiToLily includes a verification feature which is very useful to me. It 
depends on the fact that LilyPond can output a MIDI file that corresponds to 
its engraving. MidiToLily invokes this feature in the .ly file it creates, so 
after LilyPond runs, in addition to a PDF, you’ll also have a .mid file. Run 
MidiToLily a second time, specifying the verify flag, and instead of outputting 
a LilyPond file, MidiToLily looks for a .mid file with the same name as the 
output file. It then compares that LilyPond-generated MIDI file to the original 
MIDI file. The comparison automatically accounts for certain expected 
differences, and it creates two text files: MidiToLilyIn.txt for the original 
MIDI, and LilyPondMidi.txt for LilyPond’s MIDI. If MidiToLily reports 
differences, you can investigate them by comparing these two text files, using 
a source comparison utility, such as WinMerge for example.
MidiToLily does what I need it to do, but undoubtably it could be improved. I 
make no claim that it’s useful to others, but I hope so.
Best regards,Chrishttps://www.chriskorda.com/


--- End Message ---
--- Begin Message ---
I mentioned previously that I wrote a program to convert MIDI files to LilyPond 
files. That program is called MidiToLily and it’s now freely available on 
GitHub. It’s a console app, doesn’t have an installer, and doesn’t store things 
in the registry or anywhere else. It does have command line help, including a 
few examples.

https://github.com/victimofleisure/MidiToLily

Notes can be quantized to a regular grid, a triplet grid, or both grids, in 
which case the note snaps to whichever grid is nearest.
The title, composer, and copyright can be specified, with Unicode support. Clef 
overrides, sections, and ottavas are also supported.
The tempo, time signature, and key signature are read from the input MIDI file. 
I have only tested MidiToLily on type 1 MIDI files.
MidiToLily includes a verification feature which is very useful to me. It 
depends on the fact that LilyPond can output a MIDI file that corresponds to 
its engraving. MidiToLily invokes this feature in the .ly file it creates, so 
after LilyPond runs, in addition to a PDF, you’ll also have a .mid file. Run 
MidiToLily a second time, specifying the verify flag, and 

Re: Puzzled about r1 issue in 3/4 time

[Cynthia Karl via lilypond-user]

> From: Michael Wagner 
> Subject: Puzzled about r1 issue in 3/4 time 
> Date: October 23, 2019 at 2:59:06 PM CDT
> To: lilypond-user@gnu.org
> 
> 
> I am seeing some behavior I don’t understand. I have ended the music for 
> “Silver Bells” into lilypond, and I am seeing a puzzling error.
> 
> The song is in 3/4 time, but the rest in measure 33 seems to betaking 4 beats 
> - I get a bar check failed and there are one two rests in measure 34, and an 
> extra measure is inserted at the end.
> 
> What am I doing wrong? 
> 
The most serious thing you’re doing wrong is not submitting an MWE to 
illustrate your problem, e.g.:

\version “2.18.2”
{ \time 3/4 r1 | r1 }

The next most serious thing you’re doing wrong is not reading the 
documentation, e,g, since you’re having a problem with rests, section 1.2.2 
“Writing Rests” of the Notation RM has a subsection called “Full Measure 
Rests”.  So the way to fix your problem is to write:

\version “2.18.2”
{ \time 3/4 R2. | R2. }

(You might also upgrade to version 2.19.83, which is very stable and fixes a 
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Bar numbers not always printed at beginning of line

[Cynthia Karl]

The first sentence of the Bar numbers subsection of section "1.2.5 Bars” states:Bar numbers are typeset by default at the start of every line except the first line.However, the 2nd line of the output of the following snippet does not get a bar number:

BarNumberProblem.ly
Description: Binary data
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Re:v2.19.82 documentation unusable? (Aaron Hill)

[Cynthia Karl]

> On Nov 24, 2018, at 9:51 AM,Aaron Hill  wrote:
> 
> 
> Message: 1
> Date: Fri, 23 Nov 2018 10:34:39 -0800
> From: Aaron Hill 
> To: lilypond-user@gnu.org
> Subject: Re: v2.19.82 documentation unusable?
> Message-ID: <3cf7a16e59434b69a91678193e225...@hillvisions.com>
> Content-Type: text/plain; charset=UTF-8; format=flowed
> 
> On 2018-11-23 7:30 am, David Kastrup wrote:
>> Patrick Karl  writes:
>> 
>>> I thank everyone for the replies.  I?ll just wait till it?s fixed.
>>> 
>>> I tried to find a version of Emmentaler-20 I could install on my mac,
>>> but had no luck.  Is that a way out?  I have to admit that fonts are
>>> pretty much a black hole for me.
>> 
>> PDF files should embed every font they contain.  If you have to install
>> external fonts for viewing them, something is broken.  Try using the
>> documentation files of 2.19.81 instead.
> 
> Since the issue is that fonts are not embedded, I wondered if the 
> solution is as simple as embedding them after the fact.  The important 
> missing fonts in question are shipped with LilyPond, so then it was 
> matter of looking online for a little bit of GhostScript:
> 
> gs -o path-to-fixed.pdf \
>   -sDEVICE=pdfwrite -dEmbedAllFonts=true \
>   -sFONTPATH="path-to-fonts" \
>   path-to-broken.pdf
> 
> On my system, "path-to-fonts" would be:
> 
> /usr/local/lilypond/usr/share/lilypond/current/fonts/otf/
> 
> Running the command against all of the 2.19.82 PDFs from the web site, 
> the results are a significant improvement.  There were only a few 
> substitutions due to additional missing fonts, but those are largely 
> irrelevant (i.e. "LuxiMono" used as an example of overriding the 
> typewriter font).
> 
> Something for folks to consider to tide us over until the next release.
> 
> -- Aaron Hill
> 
On my mac I had to do:

GS_LIB=/Applications/LilyPond.app/Contents/Resources/share/ghostscript/9.21/Resource/Init
 
export GS_LIB

or gs would not execute due not being able to find gs_init.ps.  I tried to use 
“-x” with the above path but gs didn’t recognize the “-x”. Also, 
“path-to-fonts” on my system was:

/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/fonts/otf

I have run your command on changes.pdf, and it seems to have fixed the problem.

Thanks to all for their comments.  I wonder if there might be some new users 
(or old) that tried v2.19.82 and ran into this problem and got frustrated.  
Maybe it would be helpful to delete the English versions of the v2.19.82 
manuals from the lilypond.org site, possibly with a note to use the v2.19.81 
versions, at least until a new version of lilypond without this problem comes 
out.
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Re:\bookparts and scaling (Karlin High)

[Cynthia Karl]

> 
> Message: 2
> Date: Fri, 29 Jun 2018 13:18:18 -0500
> From: Karlin High 
> To: lilypond-user@gnu.org, David Wright ,
>   crimsonsunr...@protonmail.com
> Cc: torsten.haemme...@web.de, David Kastrup 
> Subject: Re: \bookparts and scaling
> Message-ID: 
> Content-Type: text/plain; charset=utf-8; format=flowed
> 
> On 6/29/2018 10:46 AM, David Wright wrote:
>> software is more like a work of art that has to be sculpted into perfection,
>> which takes time, trouble and effort.
> 
> Okay, moving in that direction.
> 
> The documentation could be updated to better reflect the current state 
> of these staff-size commands.
> 
> Or, would it be possible to have a command that does what the OP 
> expects? Namely, applying the effect of set-global-staff-size to 
> bookparts individually and independently, whether via 
> layout-set-staff-size or something else.
> 
> I can poke around some more at that 
> layout-set-absolute-staff-size-in-module thing in paper.scm, but it 
> would be nice to have some input from someone who actually understands 
> these internals, about whether that approach is likely to succeed.

Unfortunately, I cannot claim to be that someone who actually understands these 
internals.  However, ever since someone posted a scheme function called 
“staffSize”, I have no problems with staff sizes.

Here is the staffSize function:

% Define staves, e.g., so:  \new Staff \with {\staffSize #4 } 

staffSize = #(define-music-function (new-size) (number?)
#{
  \set fontSize = #new-size
  \override StaffSymbol #'staff-space = #(magstep new-size)
  \override StaffSymbol #'thickness = #(magstep new-size)
#})

An example of its usage:

music = { … }

\score {
  new StaffGroup \with { \staffSize #0 } <<
\new Staff \with { \staffSize #4 } \music
\new Staff \music
\new Staff \with { \staffSize #-4 } \music
  <<
}

This score block will produce a pdf with a group of three staves, the first one
at 24 pts, the second one at the default 20 pts (inherited from the StaffGroup 
\with
block), and the third one at 16 pts.

It appears that each occurrence of \score in a book resets the staff size to 
the default 20 pts.



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Re: Unwanted spacing in text

[Cynthia Karl]

> On Nov 12, 2017, at 12:12 PM, Cynthia Karl <pck...@mac.com> wrote:
> 
> 
>> On Nov 12, 2017, at 10:35 AM, lilypond-user-requ...@gnu.org wrote:
>> 
>> \version "2.18.2"
>> 
>> \header {
>> ? title = \markup { \char ##x00c6 "nigma" }
>> }
>> 
>> \score {
>> ? \new Staff = \relative c' { c1 }
>> }
>> 
> If you’re using Frescobaldi, the easiest way is to go to "Tools/Special 
> Characters" and double-click on the AE ligature to insert it directly into 
> your string:
> 
> title = \markup { "Ænigma” }
> 
> There are no spacing problems with this.

After you go to “Tools/Special Characters”, you must select “Latin-1 
Supplement”.


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Re: Unwanted spacing in text

[Cynthia Karl]

> On Nov 12, 2017, at 10:35 AM, lilypond-user-requ...@gnu.org wrote:
> 
> \version "2.18.2"
> 
> \header {
> ? title = \markup { \char ##x00c6 "nigma" }
> }
> 
> \score {
> ? \new Staff = \relative c' { c1 }
> }
> 
If you’re using Frescobaldi, the easiest way is to go to "Tools/Special 
Characters" and double-click on the AE ligature to insert it directly into your 
string:

title = \markup { "Ænigma” }

There are no spacing problems with this.
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Re: An 'interpreter' for lilypond

[Cynthia Karl]

> 
> Message: 5
> Date: Sat, 1 Apr 2017 12:39:23 -0700 (MST)
> From: tisimst 
> To: lilypond-user@gnu.org
> Subject: Re: An 'interpreter' for lilypond
> Message-ID:
>   
> Content-Type: text/plain; charset="us-ascii"
> 
> On Sat, Apr 1, 2017 at 1:22 PM, Son_V [via Lilypond] <
> ml-node+s1069038n201838...@n5.nabble.com> wrote:
> 
>> @Abraham
>> Thanks, You're gentle.
>> But... if nabble is not the correct way, where should I post?
>> Remember, I just googled for "Lilypond forum" and I got nabble.
>> 
> 
> There's nothing wrong with using Nabble, but you must not have actually
> subscribed to the lilypond-user mailing list:
> https://lists.gnu.org/mailman/listinfo/lilypond-user. I suggest you do so
> (does Nabble not ask you if you're subscribed to the respective list
> anymore? It used to...).
> 
> Either way, instead of clicking on "Reply", first click on "More v" and you
> should see the option "Reply to author". Click that one instead and it will
> automatically add the quoted text from the post you're going to comment on,
> then you can add your response below it (after trimming any parts that
> aren't directly related to your response, of course).

That might work in your world, but not in mine.  I get the lilypond user digest 
on a mac.  There is no “More v” or “Reply to author”.  I have to click on 
reply, change the subject line, and delete all the messages in the digest 
except the one I’m replying to.  Is there a better way?

Regards,
Pat
> 
> Best,
> Abraham
> 
> 
> 
> 


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Re: lrouble Combining Repeats and Closing Bars in tunes

[Cynthia Karl]

> --
> 
> Message: 2
> Date: Mon, 17 Oct 2016 23:24:51 -0400
> From: Ben Beeson 
> To: lilypond-user 
> Subject: Trouble Combining Repeats and Closing Bars in tunes
> 
> Hi,
> 
> I am looking at a 4 - part tune where the first and third parts are
> repeated and the second and fourth parts are not repeated. Try as I
> may, I cannot get Lilypond to put ?the repeats and closing bars in the
> right place when engraving the tune. The following is just about as
> simple as I can get it and still show the issue. 

> % BarExample.ly 
> \version "2.19.48"
> 
> example = {   \time 2/4
>   \relative c''{
>  \repeat volta 2 { a8 a8 a8 a8 | a8 a8 a8 a8 | 
> \break  }  
>   \bar ".|" d8 d8 d8 d8 |  d8 d8 
> d8 d8 | \bar "|." \break
>  \repeat volta 2 { a8 a8 a8 a8 | a8 a8 a8 a8 | 
> \break } 
>   \bar ".|"  d8 d8 d8 d8 | d8 d8 
> d8 d8 | \bar "|." \break }
> }
>  
> 
> \score   
> {
>   \new Staff <<
>   
>   \new Voice {
>   \example
>   }   
>   >>   
> }
> % end BarExample.ly 
> 
> This produces the following which is clearly not what I intended since
> the first and third lines should be repeated and the second and fourth
> lines are not repeated.?
> 
> 
> ?What am I doing wrong and what is the best way to fix it short of
> using separate score blocks for each part??

Try:



BarExample.ly
Description: Binary data

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Re:v2.19.47 on Mac x86 (Jacques Menu Muzhic)

[Cynthia Karl]

> Message: 5
> Date: Sun, 4 Sep 2016 17:41:42 +0200
> From: Jacques Menu Muzhic 
> To: Andrew Bernard 
> Cc: Jacques Menu Muzhic ,  lilypond-user
>   
> Subject: Re: v2.19.47 on Mac x86
> I run El Capitan 10.11.6:
> 
> menu@macbookprojm:~/Documents/LaTeX/PartitionsLilypond > uname -a
> Darwin macbookprojm 15.6.0 Darwin Kernel Version 15.6.0: Mon Aug 29 20:21:34 
> PDT 2016; root:xnu-3248.60.11~1/RELEASE_X86_64 x86_64
> 
> and I get:
> 
> menu@macbookprojm:~ > sudo dtruss lilypond --version


I run El Capitan 10.11.6 and get the exact same output for “uname -a”.

I wanted to see what the difference was between v2.19.46 and v2.19.47, so I ran 
them both on the following file:

bash-3.2$ cat 1note.ly
\version "2.19.46"
{ c4 }

bash-3.2$ time lilypond 1note.ly
GNU LilyPond 2.19.46
Processing `1note.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `/tmp/lilypond-22EfXs'...
Converting to `1note.pdf'...
Deleting `/tmp/lilypond-22EfXs'...
Success: compilation successfully completed

real0m0.820s
user0m0.638s
sys 0m0.093s


bash-3.2$ LP47=$l47
bash-3.2$ echo $LP47
/Users/pat/Downloads/LilyPond.app/Contents/Resources/bin/lilypond
bash-3.2$ time $LP47 1note.ly
GNU LilyPond 2.19.47
Processing `1note.ly'
Parsing...
Interpreting music...
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `/tmp/lilypond-B2ws6y'...
Converting to `1note.pdf'...
Deleting `/tmp/lilypond-B2ws6y'...
Success: compilation successfully completed

real1m2.364s
user0m46.848s
sys 0m15.145s

I then ran dtruss -c on both versions to see what the difference in system 
calls was.

The following table shows the number of system calls which have a Count > 100 
for the v2.19.47 version and the corresponding count for the v2.19.46 version:

CALLCOUNT LP46  COUNT LP47
…   …   …
getattrlist 112 128
stat178 171
stat64  207 207
sigaltstack 222 228
sigprocmask 263 269
select_nocancel 320 323
lseek 57  123013
read_nocancel   341   125474

I then did a count of the number of lseeks on file descriptors <= 13 (at first 
glance there are no file descriptors greater than 12:

lseek(0xfiledes v46 v47

lseek(0x01   23
lseek(0x11 1
lseek(0x21 1
lseek(0x32 2
lseek(0x40 0
lseek(0x50 0
lseek(0x62 2
lseek(0x7   35   35
lseek(0x8 8 122969
lseek(0x9 3   3
lseek(0xA 11
lseek(0xB 33
lseek(0xC 00

Hopefully, this information might be of use to someone trying to figure this 
problem out.

The most salient questions would be:  what is filedes 8 used for?  And why is 
this problem only occurring on Macs?





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Re: Dynamic marks and vertical space

[Cynthia Karl]

> On Aug 27, 2016, at 02:24:41 +0300,Timofey Misarenkov wrote:
> 
> Message: 2
> Date: Sat, 27 Aug 2016 02:24:41 +0300
> From: Timofey Misarenkov 
> Subject: Dynamic marks and vertical space
> 
> The sample code below has one flaw: it wastes too much vertical space
> due to \ff. In the real case its even worse, because of  has
> duration of 1 and uses more space. I'm trying to move \ff to the left,
> but unsuccessfully. (DynamicText.extra-offset can help to move, but
> vertical space waste remains the same. And using same approach to move
> \p and hairpin do not helps either.)
> 
> So, the question is: how to make \ff to appear at the left of s ?
> 
> \version "2.18.2"
> 
> \score {
> \new GrandStaff <<
>   \new Staff = "up"  \relative c' {
> \clef treble
> 4-> \repeat unfold 12 {16-.}
>   }
>   \new Dynamics = "dynamics" { s8\ff s8\p\< s2 s8. s16\! |}

Change the above line to:

  \new Dynamics = "dynamics" { 
  s8-\tweak X-offset #-4 \ff s8-\tweak X-offset #1 \p\< s2 s8. s16\! |
  }

>   \new Staff = "down" \relative c, {
> \clef bass
> 4-> \repeat unfold 12 {16-.}
>   }
>>> 
> \layout {}
> }


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Re: Problem coloring Ambitus ledger-lines

[Cynthia Karl]

Sat, 9 Jul 2016 16:51:25 +0200 Thomas Morley :

> Subject: Re: Problem coloring Ambitus ledger-lines
> 
> 2016-07-09 16:22 GMT+02:00 Patrick Karl :
>> The following MWE:
>> 
>> \version "2.19.38"
>> 
>> music =  { c'4 c''' r2 }
>> 
>> \score {
>>   \new Staff \music
>>   \layout {
>>  \context { \Staff \consists "Ambitus_engraver"
>>  \with { \override AmbitusNoteHead.color = #red
>> \override AmbitusLine.color = #red
>> % \override LedgerLineSpanner.color = #red
>>  }
>>  }
>>   }
>> }
>> 
>> seems to illustrate a problem with Ambitus, namely, there doesn't seem to be
>> a way to change the color of ledger lines within the Ambitus.  The output of
>> the above snippet is attached; it shows the Ambitus ledger lines as black.
>> Uncommenting the "\override LedgerLineSpanner.color = #red" statement
>> changes the color of not only the ledger lines within the score, but also
>> within the Ambitus.
>> 
>> It looks like there should be a grob, AmbitusLedgerLineSpanner, independent
>> from LedgerLineSpanner.
> 
> We have the start/stopStaff-functionality to insert changes for p.e.
> StaffSymbol and LedgerLineSpanner,.
> 
>> Or am I overlooking something?
> 
> How about:
> 
> music =  {
> \once \override Staff.LedgerLineSpanner.color = #red
> \grace s128
> \stopStaff
> \startStaff
> c'4 c''' r2
> }

Well, that seems awfully hackish.  The first problem is that it triggers the 
notorious and perpetual problem with coordinating staves that begin with a 
grace note.  And in my actual scores as opposed to my MWE I’m running into 
problems that seem related and that I don’t yet understand how to fix.  For 
example, I have one staff that is using cueDuringWithClef initially, and the 
cued clef is engraved at the very beginning of the staff, i.e., before the 
actual clef, key and time signatures.

I guess that for the time being I’ll either not color the Ambitus at all (my 
actual color is grey in order to make the ambitus a little less obtrusive), or 
just live with a few bold ledger lines.

I’m guessing from all this that the Ambitus is actually part of the 
StaffSymbol. Is that right?

Thanks for your input.
Patrick Karl


> 
> \score {
>   \new Staff \music
>   \layout {
>  \context {
>\Staff
>\consists "Ambitus_engraver"
>\override AmbitusNoteHead.color = #red
>\override AmbitusLine.color = #red
>  }
>   }
> }
> 
> Cheers.
> Harm


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Re: attachments and digest mode

[Cynthia Karl]

> On May 5, 2016, at 7:05 PM, Carl Sorensen <c_soren...@byu.edu> wrote:
> 
> 
> 
> On 5/4/16 8:00 PM, "Cynthia Karl" <pck...@mac.com> wrote:
> 
>> 
>> In my experience, all are available through links, but never the ones
>> given in the digest.
> 
> Links on digest work for me, but I get them in a special mode on Outlook.

The special mode must originate with the digest sender, because I can’t imagine 
how Outlook could otherwise convert the links I get into the actual links.

What mode is it?  Can you send me in private an example of such a digest?

Thanks,
Pat

> 
> Carl


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Re:attachments and digest mode

[Cynthia Karl]

> Message: 4
> Date: Fri, 29 Apr 2016 20:21:28 -0500
> From: David Wright 
> To: Flaming Hakama by Elaine 
> Subject: Re: attachments and digest mode
> 
> On Fri 29 Apr 2016 at 17:05:05 (-0700), Flaming Hakama by Elaine wrote:
> 
>> I will note, however, that the suggestions about using images or
>> attachments don't seem to work with the list in digest mode.
>> 
>> Choosing an example from the latest digest, the attachment link yeilds a
>> 404 error.
>> 
>> Is that intentional, that attachments are neither included in the digest,
>> nor are they available through links?
> 
> Some are available through links; just not the ones given in the digest.
> I don't know the particulars of your example because I had already
> deleted it (not interested in chord mode) by the time I read your posting.

In my experience, all are available through links, but never the ones given in 
the digest.
> 
> I pointed this out to the powers that be at gnu.org a while back,
> but that might have been sent too high up the chain of admin. So
> I'll try copying David Linn into this email instead.

This thread is dying a quick death.  I have raised this issue with the 
nonsensical digest attachments several times in the last several years.  Those 
threads also died a quick death.  I wonder how many get the Lilypond user list 
via the digest rather than as individual emails.  I would guess maybe 4 or 5 
get the digest, or else this issue would get at least a little attention. 

Did you succeed in copying David Linn?  Did you get a response?  I don’t think 
he’s responded on the list.  Do you know any powers that be at gnu.org that are 
a little lower in the hierarchy?

Does anyone that gets the digest receive valid attachment URLs?

Thanks,
Pat Karl


> 
> Cheers,
> David.


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Re: duration using variable (Gianmaria Lari)

[Cynthia Karl]

> On Apr 27, 2016, at 3:57 AM, lilypond-user-requ...@gnu.org wrote:
> 
> Message: 4
> Date: Wed, 27 Apr 2016 10:56:53 +0200
> From: Gianmaria Lari 
> Subject: duration using variable
> 
> In the previous example the cC variable contains a quarter note (and a
> quarter bichord) and I would like to change it to an half note. I tried
> with the "changePitch.ly" snippet (
> http://gillesth.free.fr/Lilypond/changePitch/changePitchDoc-sources/changePitch-doc.pdf)
> writing
> 
> \changePitch {a2} \cC
> 
> but this does not work.

I think that is because at the time \changePitch is invoked, \keepWithTag has 
not yet been invoked and changePitch removes the tags as can be demonstrated 
with displayLilyMusic:

 \displayLilyMusic \changePitch {a2} \cC

So there’s no chance for the two \keepWithTag expressions to do what you want.

> 
> Here it is the whole code 

> Any suggestion?

Try this:

\version "2.19.38"
\include "changePitch.ly"

mynote = c
mynoteExp = {\mynote}
mynoteDouble = {<\mynote' \mynote>}

cC = { \tag #'midiOut \mynoteDouble
  \tag #'screenOut \mynoteExp }

music_screenOut =
{
\time 3/4 \clef bass
\changePitch {a2} \keepWithTag #'screenOut \cC
}

music_midiOut =
{
\time 3/4 \clef bass
\changePitch {a2} \keepWithTag #'midiOut \cC
}

\score
{
\music_screenOut
\layout {}
}

\score
{
\music_midiOut
\layout {}
\midi {}
}

HTH
Pat
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Inline images, was Re: Variable slur thickness

[Cynthia Karl]

On Thu, 10 Mar 2016 06:04:57 -0700 (MST) tisimst  
schrieb:
> 
> HTH,
> Abraham
> 
> P.S. Some of the power users on this list filter inline images, so if you
> wouldn't mind making the image an attachment next time, I know they'll
> appreciate it. :-)

Why on earth would anyone filter inline images?  They are extremely convenient. 
 They’re right there in the email, one doesn’t have to change context to a 
browser and interrupt the flow of reading the message.

On the other hand, for me who gets the lilypond-user messages in the Digest 
form, attachments suck big time.  For example, below after the " next 
part “ line is a link to such an attachment (I think).  When I click on 
that link, the result is:

> Not Found
> 
> The requested URL 
> /archive/html/lilypond-user/attachments/20160310/4addc8f3/attachment.html was 
> not found on this server.

That’s not very convenient at all.  Am I the only one with this problem?  
What’s the solution?   

Maybe it would be nice if inline images were also added as attachments?

Regards,
Pat Karl
> 
> --
> View this message in context: 
> http://lilypond.1069038.n5.nabble.com/Variable-slur-thickness-tp188374p188377.html
> Sent from the User mailing list archive at Nabble.com.
> -- next part --
> An HTML attachment was scrubbed...
> URL: 
> 
> 


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Re: Impossible or ambiguous (de)crescendo in MIDI

[Cynthia Karl]

> Date: Wed, 02 Mar 2016 14:37:44 +
> From: Graham King 
> To: LilyPond Users 
> Subject: Impossible or ambiguous (de)crescendo in MIDI.
> Message-ID: <1456929464.11804.791.ca...@oberon.tremagi.org.uk>
> Content-Type: text/plain; charset="us-ascii”
> 


> 2) The second problem arose when I finally tracked down one such error.
> Here's the minimal example:
> 
>  \version "2.19.35"
> 
>  music = \relative {
>c''2\p\< c |
>c1\fz\>%-\omit\mf |
>c\p  |
>  }
> 
>  \score {
>\music
>  }
> 
>  \score {
>\music
>\midi {}
>  }
> 
> 
> As it stands, this gives two of these error messages.  

I think I understand why these errors are generated.  It would appear that \fz 
is not intended to be used as a dynamic - it is not mentioned in the NR.  
Nevertheless, is is defined as a dynamic script in the LP file 
dynamic-scripts-init.ly.  Unfortunately, there is no corresponding entry in 
midi.scm to assign a “factor of total volume” for this dynamic, without which 
the midi performer is unable to do anything sensible.

It is possible you might get the results you want by rewriting the snippet as:

>  music = \relative {
>c''2\p\< c |
>\tag #'pdf c1\fz\>
>\tag #'midi c1\f->\>
>c\p  |
>  }
> 
>  \score {
>\keepWithTag #'pdf \music
>  }
> 
>  \score {
>\keepWithTag #'midi \music
>\midi {}
>  }
> 


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Re: When to Use Pound Signs

[Cynthia Karl]

> Message: 6
> Date: Tue, 5 Jan 2016 21:55:42 -0700
> From: Colin Campbell 
> To: lilypond-user@gnu.org
> Subject: Re: When to Use Pound Signs
> Message-ID: <568c9e4e.6060...@shaw.ca>
> 
> On 16-01-05 09:47 PM, Andrew Bernard wrote:
> 
> I wonder if the spaces delimited by the lines are thorpes? I' also 
> carpent for a living, though.

The main problem with that theory is that there are nine such thorps.

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How to shift stem from one side of a note to the other side

[Cynthia Karl]

(note newfound knowledge used to create a new topic without hijacking a thread.)

I’m engraving a piece that has what appears to me to be an unusual-looking 
polyphonic chord (beat 3, music is \time 4/4):



So far the closest I can come to that chord is:


with the following code:



StemShift.ly
Description: Binary data


Is there a way to shift the stem from the right side of the half-note f to the 
left side with simpler code?  I’m hoping for something like \set 
Stem.attachmentSide = #’left to replace all four of the \override’s and the 
fiddling needed to determine the various numerical quantities.

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Re: lilypond-user Digest, Vol 157, Issue 92

[Cynthia Karl]

> On Dec 21, 2015, at 3:10 AM, Simon Albrecht  wrote:
> 
> Pardon, did you want to include any text with this e-mail?
> Also please remember editing the subject line.
> 
> Yours, Simon
> 

No, it was an error, completely inadvertent.  Please accept my abject apologies.

Pat Karl


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Re: lilypond-user Digest, Vol 157, Issue 92

[Cynthia Karl]

Sent from my iPhone

> On Dec 20, 2015, at 6:16 PM, lilypond-user-requ...@gnu.org wrote:
> 
> Send lilypond-user mailing list submissions to
>lilypond-user@gnu.org
> 
> To subscribe or unsubscribe via the World Wide Web, visit
>https://lists.gnu.org/mailman/listinfo/lilypond-user
> or, via email, send a message with subject or body 'help' to
>lilypond-user-requ...@gnu.org
> 
> You can reach the person managing the list at
>lilypond-user-ow...@gnu.org
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of lilypond-user digest..."
> 
> 
> Today's Topics: 
> 
>   1. Re:big (?) challenge: multi-segment / multi-angle
>  OttavaBracket (Kieren MacMillan)
>   2. Re:saxophon multiphonic, how to (Klaus Blum)
>   3. Re:Telemann's "Strich" (Andrew Bernard)
>   4. Re:big (?) challenge: multi-segment / multi-angle
>  OttavaBracket (Thomas Morley)
>   5. Re:Telemann's "Strich" (Andrew Bernard)
>   6. Re:big (?) challenge: multi-segment / multi-angle
>  OttavaBracket (Kieren MacMillan)
>   7. Re:Telemann's "Strich" (Simon Albrecht)
>   8. pretty-print and localAlterations (Simon Albrecht)
> 
> 
> --
> 
> Message: 1
> Date: Sun, 20 Dec 2015 17:50:55 -0500
> From: Kieren MacMillan 
> To: Thomas Morley 
> Cc: Lilypond-User Mailing List 
> Subject: Re: big (?) challenge: multi-segment / multi-angle
>OttavaBracket
> Message-ID: <6e5d24fe-910a-4780-b260-d92a87c92...@sympatico.ca>
> Content-Type: text/plain; charset=utf-8
> 
> Hi Harm,
> 
>> you don't provide any code ;)
> 
> Well, to be honest, I didn?t expect an actual [honest-to-goodness Lilypond 
> code] fix: I thought the answer would either be ?look at X snippet? or ?can?t 
> be done? or ?this is issue Y?, or in the very best case scenario ?one *could* 
> create a ?kneed-spanner? thingee, if one wanted to??
> 
> I sometimes forget there are [amazing] people like you on this list, who 
> might actually take it upon themselves to solve such a gargantuan problem as 
> a first response.  =\
> 
> In the future, I?ll make it more explicit when I?m only looking [at first] 
> for a quick ?possible/impossible? answer.
> 
>> I really dislike inline-images.
> 
> Hmmm? I think that?s a problem with my mail application; I?ll look into it, 
> and try to use only outline (?) attachments from now on.
> 
>> Below some code, which hopefully does what you want
> 
> HOLY M OLY! This is fabulous.
> 1. Yes, it appears (at least, from your snippet) to do exactly what I want; I 
> will test it ?in production", and report back ASAP.
> 2. Let me know (off-line, if desired) what a reasonable fee is for your work; 
> I?ll definitely pay you something.
> 
>> Every layout-change will likely result in the need of readjusting?
> 
> That?s fine by me, at least in the short term: I can do all of the tweaking 
> in the edition-engraver (post-layout).
> 
>> It would be far simpler if one could add an option to make-path-stencil to 
>> draw dashed lines.
>> But I found no way to do so. Thus I defined `make-dashed-line-stencil' and 
>> `make-connected-dashed-line-stencil' first.
>> With `kneed-line' I try to give you a little easier to use code at hand, but 
>> I'm really not convinced.
> 
> Well, if anyone else finds this idea worth pursuing/sponsoring, perhaps we 
> can crowd-source your code into an awesome patch!?
> 
> Thanks again!
> I?ll report back soon.
> 
> Cheers,
> Kieren.
> 
> 
> Kieren MacMillan, composer
> ? website: www.kierenmacmillan.info
> ? email: i...@kierenmacmillan.info
> 
> 
> 
> 
> --
> 
> Message: 2
> Date: Sun, 20 Dec 2015 16:03:15 -0700 (MST)
> From: Klaus Blum 
> To: lilypond-user@gnu.org
> Subject: Re: saxophon multiphonic, how to
> Message-ID: <1450652595379-184925.p...@n5.nabble.com>
> Content-Type: text/plain; charset=us-ascii
> 
> Hi Stefan, 
> 
> according to a saxophone tutor written by Jean-Marie Londeix, the three keys
> for the left palm are called C1, C2 and C4: 
> 
> % --
> 
> \markup \line { 
>  \center-column {
>C1
>" "
>\scale #'(-1 . 1) \woodwind-diagram
>#'saxophone
>#'(
>(cc . ())
>(lh . (d))
>(rh . ())
>)
>  }
>  \hspace #4
>  \center-column {
>C2
>" "
>\scale #'(-1 . 1) \woodwind-diagram
>#'saxophone
>#'(
>(cc . ())
>(lh . (ees))
>(rh . ())
>)
>  }
>  \hspace #4
>  \center-column {
>C4
>" "
>\scale #'(-1 . 1) \woodwind-diagram
>#'saxophone
>#'(
>(cc . ())
>(lh . (f))
>(rh . ())
>)
>  }
> }
> 
> % --
> 
> As you might see, I've flipped the charts with \scale #'(-1 . 1), so they
> show the fingerings from the 

Re: Why does \skip extend an extender

[Cynthia Karl]

> On Nov 29, 2014, at 9:51 AM, Phil Holmes <m...@philholmes.net> wrote:
> 
> - Original Message - From: "Patrick or Cynthia Karl" <pck...@me.com>
> To: <lilypond-user@gnu.org>
> Sent: Saturday, November 29, 2014 3:41 PM
> Subject: Why does \skip extend an extender
> 
> 
>> In the following snippet:
>> 
>> music = \relative b' {
>> c4 d e f
>> f g a b
>> c,1
>> }
>> 
>> Lyrics = \lyricmode {
>> c d e __ _
>> _ \skip 1 \skip 1 \skip 1
>> C
>> }
>> 
>> \score {
>> \new Staff \music
>> \addlyrics \Lyrics
>> \layout { }
>> }
>> 
>> I want the three skips to skip past the notes "g a b".  That is, I want the 
>> singing of “e” to terminate with the 2nd “f”.  But for some reason the 
>> extender is extended through the notes “g a b”.  How can I fix this?
> 
> Clearly the extender continues since the expectation is that the singer has 
> to do something with these notes, and continuing to sing "e" is the only 
> option.  If the extender ended on the 2nd f, I would have no idea what is 
> intended for the next 3 notes.  It would be very confusing.

I guess I don’t really understand the thinking here.  Does it not frequently 
happen that an instrument performer and a singer “play” the same notes, the 
performer on his instrument and the singer with his voice?  And if that ever 
does happen, wouldn’t it be conceivable that there might come a time when the 
singer should be silent while the performer continues on with the notes?

I just ran into this again this morning with the song by Anonymous, "Si de vos 
mi bien me aparto”, from Venice in the 1500s.  The cantus part has a second 
verse in the first staff of the piece, then silence until the last staff of the 
piece, when the second verse reappears.

Expectations aside, I have been unable to find documentation supporting this 
quirk of \skip.  I don’t see why \skip has to take on the duties of “_” in 
extending an extender another note.
> 
> However, if you want to do this, replace \skip with "".
> 
> --
> Phil Holmes 


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Extending staff lines through key change

[Cynthia Karl]

I’m engraving a piece that ends with a D.C. al Fine.  Also the key at the 
beginning of the piece is different from the key at the end of the piece.  So, 
in order to cue the performer, a final key change is issued for the initial key:

\version "2.19.32"

{ \relative c'' {
\key g\major
\repeat unfold 4 { c d e fis }
\break

\key f\major
\repeat unfold 4 { c d e f }
\mark\markup { D.C. }
\key g\major
} }

The problem with this is that the staff lines do not extend through the final 
key change.  Is there a way do do this?___
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Re: Stacked letters in markup

[Cynthia Karl]

> Message: 1
> Date: Thu, 1 Oct 2015 15:33:51 +0200
> From: Urs Liska 
> To: lilypond-user 
> Subject: Stacked letters in markup
> Message-ID: <560d363f.9010...@openlilylib.org>
> Content-Type: text/plain; charset=utf-8
> 
> Sorry, I have to ask this *without* looking for a solution before. Just
> don't have any time left this time:
> 
> How can I overlay letters in lyrics? I want to print two "D"s that
> overlap, one left-top, the other bottom-right. The default symbol for a
> double dominant.
> 
How about:

\version "2.19.26"

music = \relative c'' { c d e f }
Lyrics = \lyricmode {
\markup {
   \raise #.5 D
   \hspace #-1.8
   \raise #-.5 D
}
}

\score {
\new Staff \music
\addlyrics \Lyrics
}


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non-text attachment, was Re: Ties and repeats

[Cynthia Karl]

> Message: 6
> Date: Wed, 16 Sep 2015 12:45:27 +0200
> From: David Kastrup 
> To: Frank Wuest 
> Subject: Re: Ties and repeats
> 
> Frank Wuest  writes:
> 
>> Hi everyone,
>> 
>> Hi, David,

Most of your responses on the lilypond-user Digest come to me as of late so:

>> Is there a way to accomplish this?
> 
> Well, if you include a rather horrific bug workaround, you can do this
> with something like
> 
> -- next part --
> A non-text attachment was scrubbed...
> Name: frank.ly
> Type: text/x-lilypond
> Size: 65 bytes
> Desc: not available
> URL: 
> 
> -- next part ———
> 
I went to the archive and found that your response was actually:

> { c'1-\tweak RepeatTieColumn.cause ##f \parenthesize \repeatTie }

Do you know why this “non-text attachment” scrubbing has become necessary for 
your posts.  It wouldn’t be so bad, but the link given in the URL: field in 
these “next part” segments does not work.  So I have to go to the archive 
manually, find the appropriate subject, then find your response to see your 
words of wisdom.  I hate to miss any of your responses, but sometimes that’s 
just too much work.

Thanks



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How to get slur-event in cueDuring notes

[Cynthia Karl]

The following snippet seems to show a problem getting a slur-event to appear in 
music generated by \cueDuring:

\version 2.19.23

A = \relative c'' {
\set Staff.instrumentName = A
c( d e f)
g f e d
}

\addQuote a \A

B = \relative c'' {
\set Staff.instrumentName = B
^\markup{\teeny CueNotes }
\cueDuring a #DOWN R1
g4 f e d
}

\score {
  
\set Score.quotedEventTypes = #'(note-event articulation-event
crescendo-event rest-event
slur-event dynamic-event)
 \new Staff \A
 \new Staff \B

}

Can anyone off me a clue?  Thanks___
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Positioning Dynamics Contexts

[Cynthia Karl]

Is there a useful way to get closer association of a staff and a dynamics 
context in the following snippet?

\version 2.19.23

musicA = \relative c'' {\repeat unfold 24 c4 \break \repeat unfold 
24 d4}
dynamicsA = {s1 s\p s s\f s s s1\p s\mp s\mf s\f s\ff s\fff}
musicB = \relative c'' {\repeat unfold 24 b4\break\repeat unfold 24 
a4}
dynamicsB = {s1 s^espress. s s s\startTextSpan s\stopTextSpans1 s s s 
s s}

\score {
\new StaffGroup 
\new Staff \musicA
\new Dynamics \dynamicsA
\new Dynamics \dynamicsB
\new Staff \musicB

}

The problem is in the 2nd staff where dynamicsB has no “content”.  This results 
in the spacing engine positioning dynamicsA (almost) exactly in the middle of 
the two staves.  I would prefer that even in the 2nd system dynamicsA should be 
a lot closer to the upper staff.  Basically, I would like the 2nd system to be 
treated as if dynamicsB actually had some invisible content, forcing spacing 
like in the 1st system.___
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Re: Positioning Dynamics Contexts

[Cynthia Karl]

 On Aug 4, 2015, at 10:04 AM, Kevin Barry barr...@gmail.com wrote:
 
 On Tue, Aug 4, 2015 at 3:53 PM, Cynthia Karl pck...@mac.com wrote:
 Is there a useful way to get closer association of a staff and a dynamics
 context in the following snippet?
 
 Two things suggest themselves, although you may not like either idea:
 
 1) You could add dynamicsA to the upper Staff (instead of it having
 its own Dynamics context). That would keep everything in it closer to
 the upper staff, viz.
 
 \new Staff  \musicA \dynamicsA 

I really like that idea because my real case is a 10 page ms with seven 
instruments, for which I need to produce not only a score but various 
combinations of parts; the 2nd idea of adding invisible stuff to the dynamics 
to keep them alive in all systems seems a little unwieldy.

But I’ve run into a problem I don’t understand, illustrated by the following 
snippet:

\version 2.19.23

PocoAccel = {
 \override TextSpanner.bound-details.left.text = poco accel. 
}

musicA = \relative c'' {\repeat unfold 16 c4 }
dynamicsAHigh = \new Dynamics {s1^AHigh s \PocoAccel s\startTextSpan 
s\stopTextSpan}
dynamicsALow  = \new Dynamics {s1^ALow  s\p  s s\f}
musicB = \relative c'' {\repeat unfold 16 b4   }
dynamicsBHigh = \new Dynamics {   s1^BHigh s^espress. s s }
dynamicsBLow =  \new Dynamics {   s1^BLow  s\f s s }

\score {
\new StaffGroup 
\new Staff  \dynamicsAHigh \musicA \dynamicsALow 
\new Staff  \dynamicsBHigh \musicB \dynamicsBLow

}

Here I want each musical staff to have two dynamics contexts, one above the 
musical staff for text spanners, etc., and one below for articulations and 
dynamics.  But the above snippet results in both dynamics contexts being placed 
below their musical staff instead of one above and one below.
  
Shouldn’t the line:

\new Staff  \dynamicsAHigh \musicA \dynamicsALow 

resullt in the ordering in the score:

dynamicsAHigh
musicA
dynamicsALow

instead of

musicA
dynamicsAHigh
dynamicsALow
?




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currentBarNumber has no effect on quoted music

[Cynthia Karl]

Suppose I have a piece of music to perform that has both simple and difficult 
passages.  It would be helpful if I could derive a practice piece that had only 
the difficult passages.  My first attempt at doing this is:

 \version 2.19.20
 
 music = \relative c'' {
 c1 d
 \tuplet 3/2 16 { c32 d e f e f g f e d c d  }
   \tuplet 3/2 4 { c8 d e f e f g f e  }
 d1 c
 }
 
 { \music }
 
 \addQuote music \music
 
 practice = \relative c'' {
 \set Timing.currentBarNumber = 3
 \quoteDuring #music s1
 }
 
 { \practice }


Apparently, however, setting the currentBarNumber has no effect on the music 
quoted by \quoteDuring; the quoted music starts at measure 1, not measure 3.  
Is there some other way of affecting what music gets quoted temporally?


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Re: repeated _\markup{} at same distance from staff...?

[Cynthia Karl]

 On May 7, 2015, at 6:00 AM, lilypond-user-requ...@gnu.org wrote:
 Message: 4
 Date: Thu, 7 May 2015 21:00:40 +1000
 From: B~M viola1...@gmail.com
 To: lilypond-user@gnu.org
 Subject: repeated _\markup{} at same distance from staff...?
 Message-ID:
   camd7vnwfoavdriyn_c1_ffepyf_ysi-jcgotmprp3zjf47h...@mail.gmail.com
 Content-Type: text/plain; charset=utf-8
 
 Dear ALL, at the risk of great embarrassment, I cannot seem to find what
 must be a simple
 command to set _\markup{} at a constant offset from the staff, rather than
 following the music
 up and down etc. I've attached my example which is a simple SATB harmony
 showing only the Soprano and
 Bass. The chord indications (shown int he first bar only) are the symbols I
 want to all be at the same distance from the
 staff, not the notes.
 There seems to be functions to do this for dynamics to be offset a constant
 distance from the staff, but I could
 not find a similar command for _\markup (or alternatively ^\markup{}).
 Any examples or pointers to the manual ?

Put the markups in a Dynamics context.  (I would have modified your snippet but 
it was too convoluted for the subject.)
 
 Paul


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Re: Tie engraver

[Cynthia Karl]

 
 Message: 4
 Date: Tue, 28 Apr 2015 19:46:29 +1000
 From: Andrew Bernard andrew.bern...@gmail.com
 To: Urs Liska u...@openlilylib.org, lilypond-user@gnu.org, David
   Nalesnik david.nales...@gmail.com
 Subject: Re: Tie engraver
 
 Hi Urs and David,
 
 Thanks so much. Yes, my chords are in voices so the slurs all face the same 
 direction accordingly. I was completely unaware of this aspect of engraving. 
 I had better study more scores and order that copy of Behind Bars!
 
 But then the question becomes transformed - can you tell the tie engraver for 
 a voice to override its default behaviour, even though that may be 
 technically incorrect? I have literally several hundred I need to tweak.

As I recall from your initial query, the tie pattern depends only on the number 
of notes in the chord.  It would be easy to write a bash shell script, call it 
“x”, that you could invoke with the notes in your chord and it would respond 
with the chord with the ties as you want them, e.g.:

$ x c e g
c^~ e^~ g_~

You could then copy and paste the output into your lilypond file.

It seems that it would be simple to do the same thing in Scheme so that you 
could do a similar invocation directly in your lilypond file and the 
appropriate chord notation would be generated, eliminating the copy  paste 
step.

If you want the shell script, let me know.  Unfortunately not for the Scheme 
version.
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Re: How to determine if a font is a fallback font?

[Cynthia Karl]

 Message: 6
 Date: Tue, 28 Apr 2015 09:48:51 +0200
 From: Urs Liska u...@openlilylib.org
 To: Werner LEMBERG w...@gnu.org
 Subject: Re: How to determine if a font is a fallback font?
 
 Am 28.04.2015 um 09:38 schrieb Werner LEMBERG:
 Is there a function to retrieve the font name from a given file
 name?  It would be a viable approach if I could compare the result
 of that request with the original font name.
 For TTFs and TTCs (either with TrueType outlines or embedded CFFs) you
 can use `ly:ttf-ps-name'.
 
 Thanks that seems to work perfectly. Try
 
 \version  2.19.19
 
 fontExists =
 #(define-void-function  (parser location font-name)(string?)
(let*  ((font-file (ly:font-config-get-font-file  font-name))
   (reverse-font-name (ly:ttf-ps-name  font-file))
   (font-exists (string=?  font-name reverse-font-name)))
  (ly:message  (format  \nGiven font name: ~a  font-name))
  (ly:message  (format  Determined font file: ~a  font-file))
  (ly:message  (format  Actual font in that file: ~a  reverse-font-name))
  (ly:message  (format  Given font is present: ~a  font-exists
 
 \fontExists  Emmentaler-13
 \fontExists  Fancy-Font
 
 
 
 Looking into lilypond's code, however, I don't see why this shouldn't
 work for Type1 fonts (or even pure CFFs) also.  It's worth a try ? and
 if it works, we should provide an alias name for `ly:ttf-ps-name'.
 
 I don't know how to proceed with this.
 
 However, in the context of my current patch I will add a variant of the 
 above function to font.scm.

I tried the above snippet with:

\fontExists  Emmentaler-13
\fontExists  Fancy-Font
\fontExists Ariel
\fontExists Ariel Black
\fontExists LucindaGrande
\fontExists Feta-13
\fontExists Minion Pro
\fontExists Century Schoolbook
\fontExists “Avenir”

In each case, even for the case “LucindaGrande”, I get (with the correct Given 
font name):

Given font name: LucindaGrande
Determined font file: /System/Library/Fonts/LucidaGrande.ttc
Actual font in that file: LucidaGrande
Given font is present: #f

That doesn’t seem right.  Any clues?  Or is it right?


 Re: How to determine if a fon
 
 Urs


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Re: Putting text IN the staff

[Cynthia Karl]

 Message: 3
 Date: Sun, 26 Apr 2015 23:14:32 +0100
 From: Anthonys Lists antli...@youngman.org.uk
 To: lilypond user list lilypond-user@gnu.org
 Subject: Putting text IN the staff
 Message-ID: 553d634...@youngman.org.uk
 Content-Type: text/plain; charset=utf-8; format=flowed
 
 Simple problem, I can't find the solution ... :-)
 
 Basically, what I want is \StaffOff   ...text...   \StaffOn. So, 
 thinking treble clef, the text would be centred on the b line. Markup, 
 however, seems to want to be above or below the staff, and that's it. 
 How do I force it IN the staff, or am I using the wrong technique 
 completely? I know you can force a rest to a note-position, is there any 
 way of doing the same with text?
 

I guarantee you’ll get more help if you would include a tiny example showing 
what you’ve tried that illustrates the problem.  We don’t want to waste our 
time trying to think up what your probem might be.  You’re the only one who 
knows.  Tell us.

 Cheers,
 Wol


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Re: odd behavior with acciaccatura in 1st position

[Cynthia Karl]

 
 Message: 2
 Date: Sun, 26 Apr 2015 10:09:13 +1000
 From: Andrew Bernard andrew.bern...@gmail.com
 To: lilypond-user@gnu.org
 Subject: Re: odd behavior with acciaccatura in 1st position
 Message-ID: etPan.553c2ca9.6b8b4567.185c@darkenergy.local
 Content-Type: text/plain; charset=utf-8
 
 Aha - of course you are correct! That?s the true root cause of the problem.
 
 Andrew


Thanks.  I didn’t realize I was correct.  And, of course, I haven’t the 
slightest idea what you’re talking about.  Something to do with grace notes?

Regards,
Patrick Karl
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Re: Do we really offer the future?

[Cynthia Karl]

 
 Message: 1
 Date: Wed, 22 Apr 2015 17:11:34 -0400
 From: Kieren MacMillan kieren_macmil...@sympatico.ca
 To: Noeck noeck.marb...@gmx.de
 Subject: Re: Do we really offer the future?
 
 Hi Joram (et al.),
 
 just use point-and-click in Frescobaldi which brings me
 quickly to the place where I want to change something.
 
 That feature doesn't work for me.
 Is that because of the way I?ve structured my files?

Is it possible that you always use the “LilyPond/Engrave (Publish)” option to 
run LilyPond?  This removes the links between the input and the pdf.  If you 
use “LilyPond/Engrave (Preview)” or the LilyPond icon on the toolbar, the links 
are included in the pdf.

Regards,
Patrick
 
 Thanks,
 Kieren.


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Re: Font access testers needed

[Cynthia Karl]

 Message: 5
 Date: Tue, 21 Apr 2015 19:43:02 +0200
 From: Urs Liska u...@openlilylib.org
 To: lilypond-user lilypond-user@gnu.org
 Subject: Font access testers needed
 
 Hi,
 
 I'd like to have a few people who are interested in testing and 
 discussing a new way to select music and text fonts in LilyPond. When 
 finishing the infrastructure in openLilyLib it turned out that it's 
 better to include (major) parts in LilyPond itself. As a teaser I 
 attach the test file here ;-)

I would be willing to try it.  I assume one of the files to be overwritten will
implement the “setNotationFont” command.

I’m running LilyPond 2.19.18 on OSX 10.10.3.

Regards,
Patrick Karl
 
 I'd particularly need at least one Windows user - as I *assume* it 
 doesn't work yet there.
 
 Requirement is willingness to overwrite two files in the LilyPond 
 installation.
 
 -- 
 Urs Liska
 www.openlilylib.org
 -- next part --
 \version 2.19.19
 
 % External directory where LilyPond fonts are stored.
 % Should usually be passed through the command line
 % One directory with all file types in it (can be discussed)
 %
 % When the option is set this directory will be searched first,
 % only when a font is not found there the installation's path will be 
 searched.
 % Order of precedence:
 % 'fontdir - installation directory
 % font-with-opticals - font-without-opticals - Emmentaler
 % The fallback is done for each component individually
 %
 %#(ly:set-option 'fontdir /shared/fonts/lilypond)
 
 \paper {
 % Uncomment the following invocations one by one
 % Note that a default text font is automatically set.
 
 % Load a font and the corresponding brace font
 % Font name is case insensitive
  fonts = \setNotationFont LilyJAZZ
 
 % Load a font, missing brace font will fallback to Emmentaler
  %fonts = \setNotationFont Paganini
 
 % Combination of music and brace font can be given as dot-list
  %fonts = \setNotationFont paganini.LilyJAZZ
 
 % Special brace keyword 'none' will use Emmentaler
  %fonts = \setNotationFont Improviso.none
 
 % Traditional list notation is also valid
 % (and necessary for gutenberg1939)
  %fonts = \setNotationFont #'(Haydn Gutenberg1939)
 
 
 }
 
 \score {
  \new PianoStaff 
\new Staff
{
  c' ^\markup Test text fonts d' e' f'
}
\new Staff s1
 
 }
 


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Re: Windows performance

[Cynthia Karl]

 Message: 4
 Date: Thu, 16 Apr 2015 15:28:35 +0100
 From: Trevor Daniels t.dani...@treda.co.uk
 To: Phil Holmes philehol...@googlemail.com,   LilyPond User Group
   lilypond-user@gnu.org
 Subject: Re: Windows performance
 Message-ID:
   assp.154812a152.24D5F6F494F544389C536A4DA2947FBB@TrevorLaptop
 Content-Type: text/plain; charset=iso-8859-1
 
 
 Phil Holmes wrote Thursday, April 16, 2015 2:00 PM
 
 
 The performance of LilyPond 2.19.18 on Windows is _much_ better than
 previous versions.  Some examples:
 
 A 26 page multi-score piece I've been working on:
 2.19.16: 114s to compile
 2.19.18: 52s
 ... [etc]
 
 That's remarkable.  I can see no change between 2.19.16
 and 2.19.18 that might account for this enormous change.
 The only effect of this magnitude which I've seen in the
 past is to do with setting up the font library when LP
 is run for the first time.  But that would be an increase.
 
 Any chance your 2.19.18 is using a different hard disk, 
 an SSD maybe, which the others weren't?

I just repeated Phil’s 3-line stress test on a Mac Pro (2.66 GHz Quad-Core 
Intel Xeon, 16 GB RAM) with the following versions of LP and compile times:

 
 LP v2.19.18:  13.0s
 LP v2.19.15:  24.4s
 LP v2.18.2:24.2s

I’d say a significant difference from 2.19.15 to 2.19.18.

Regards,
Pat Karl


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Re: Double clef when using cueDuringWithClef with a simultaneous clef change

[Cynthia Karl]

 Message: 5
 Date: Thu, 09 Apr 2015 13:45:39 +0200
 From: Reinhold Kainhofer reinh...@kainhofer.com
 To: LilyPond User Mailinglist lilypond-user@gnu.org
 Subject: Double clef when using cueDuringWithClef with a simultaneous
   clefchange
 Message-ID: 5523.7040...@kainhofer.com
 Content-Type: text/plain; charset=utf-8; Format=flowed
 
 Hi all,
 I have a piece, where the Fagotto part is written in tenor clef and 
 after some measures rests switches to bass clef. Now, when I use 
 \cueDuringWithClef to cue other instruments during those rests, the end 
 of the cue notes will display two clefs: one to revert the cue clef 
 (smaller) and one to make the actual clef change. Attached is a minimal 
 example.
 
 I have tried everything, like \hide CueClef etc, but I have not found 
 any way to prevent the second cue clef (to unset the treble cue clef) 
 from appearing...
 
 Any idea how I can suppress the bass cue clef in this example?

Why not switch to the bass clef at the beginning of the measures of rests 
rather than at the end?

 
 Thanks a lot,
 Reinhold
 
 -- 
 --
 Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com/
  * Open Tools, Software Development, http://www.open-tools.net/
  * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com/
 


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Re: Staff ends before \clef, \time and \key

[Cynthia Karl]

 On Apr 6, 2015, at 2:04 PM, lilypond-user-requ...@gnu.org wrote:
 
 Message: 3
 Date: Mon, 06 Apr 2015 21:04:22 +0200
 From: Reinhold Kainhofer reinh...@kainhofer.com
 Subject: Staff ends before \clef, \time and \key
 
 Hi all,
 It's been quite a while since I last used LilyPond, and I finally 
 decided to wrap up the last, huge edition I was working on for quite a 
 while.
 
 Here is the first issue I'm running into:
 If I end a piece with a \bar || and after that only want to indicate a 
 key/clef/time change, the staff lines stop with the bar line. A typical 
 use case is in a work with multiple movements to indicate attacca to 
 the next movement, which is written as a separate \score. Minimal example:
 
 \version 2.19.19
 \relative c'' {
   c4 a b c
   \bar||
   \key f \major \time 3/4
 s8
 }
 
 Output PDF is attached.
 
 Any idea how to keep the staff lines alive until the key/time/clef change?
 
 Thanks,
 Reinhold
 
 -- 
 --
 Reinhold Kainhofer, reinh...@kainhofer.com, http://www.kainhofer.com/
  * Open Tools, Software Development, http://www.open-tools.net/
  * Edition Kainhofer, Music Publisher, http://www.edition-kainhofer.com/


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Re: 2 \tempo command at the same time

[Cynthia Karl]

 Message: 3
 Date: Fri, 20 Mar 2015 10:03:10 +0100
 From: Anton Curl curl.an...@gmail.com
 To: Craig Dabelstein craig.dabelst...@gmail.com,
   lilypond-user@gnu.org
 Subject: Re: 2 \tempo command at the same time
 
 That's not exactly what I want.
 
 \tempo Swing 4=125 seems to mean the tempo is Swing which 
 correspond to 4=125. Whereas what I want is 2 different independent 
 indications. The same result but without the parenthesis for example.
 
 Maybe the \tempo command is not the command to use in this case. But I 
 didn't find another way to have an indication once in the score and in 
 each part.

I think you're looking for the \mark command, which does exactly what you're 
looking for, once in the score and in each part:


\new Staff \relative c'' { \tempo 4=120 \mark \markup { \hspace #30 swing 
} c d e f }
\new Staff \relative c'' { \tempo 4=120 \mark \markup { \hspace #30 swing 
} f e d c }




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musicxml2ly

[Cynthia Karl]

 
 Message: 4
 Date: Thu, 19 Mar 2015 20:06:23 +
 From: Craig Dabelstein craig.dabelst...@gmail.com
 Subject: musicxml2ly
 
 Is there a command for converting a whole folder of xml files to lilypond,
 rather than doing them one by one?

In any OS with a bash-like shell:

for f in *.xml
do
  musicxml2ly [option...] $f
done

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Re:Quoted music and midi (Cynthia Karl)

[Cynthia Karl]

 Date: Fri, 06 Mar 2015 16:00:10 -0600
 From: Cynthia Karl pck...@mac.com
 Subject: Re: Quoted music and midi

 I wouldn?t consider that a problem... if I quote the violin part in a
 trumpet part, I wouldn?t expect to hear the brass honking away in the
 MIDI rendition.  Quoting, IMO, is best for cues, not for actual
 duplicating played music.
 
 ~Chris
 
 Here's what the Notation Manual has to say about quoteDuring:
 
 Quoting other voices
 
 It is very common for one voice to use the same notes as those from another 
 voice. For example,
 first and second violins playing the same phrase during a particular passage 
 of the music. This
 is done by letting one voice quote the other, without having to re-enter the 
 music all over again
 for the second voice.
 
 It doesn't say anything about borrowing the midiInstrument as well as quoting 
 the notes.  It seems to me that the snippet I submitted is exactly the 
 situation described by the NM.  The only question is, why no midi output for 
 the quoted notes?

Poke.

Really?  Nobody (else) has an opinion on this (that agrees with mine)?  Am I 
qualified to submit a bug report?  I have read some comments that imply that 
bug reports from Joe User are not welcome.


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Re: Slurred staccato in a tremolo (Menu Jacques)

[Cynthia Karl]

 On Mar 8, 2015, at 4:07 PM, Menu Jacques imj-...@bluewin.ch wrote:
 
 Hello Pat,
 
 I tried:
 
 {
  \time 3/4
  \clef bass
  \repeat tremolo 6 e8 -\markup {\draw-dotted-line #'(5.1 . 2.3)} |
 }
 
 but the slur doesn’t show up.

Try:

{
 \time 3/4
 \clef bass
 \repeat tremolo 6 e8^\markup { 
\hspace #-1.2
\override #'(thickness . 4)
\override #'(off . 0.05 ) 
\draw-dotted-line #'(4 . 0)} |
}


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Re: Slurred staccato in a tremolo (Menu Jacques)

[Cynthia Karl]

 On Mar 8, 2015, at 2:42 PM, Menu Jacques imj-...@bluewin.ch wrote:
 
 Hello Cynthia and Klaus,
 
 Thanks for your answers.
 
 With 2.19.15, the « tongue » function produces the 6 dots alright, but the 
 \shape command seems to have no effect.
 
 Any other hint regarding the slur?

Shape doesn't affect the tongue output because there is no Bezier curve 
controlling the layout of the dots.  PhrasingSlur along with 
\phrasingSlurDotted would work with \shape ok, but I don't know how to control 
the number of dots in the slur nor the thickness of the dots.

It appears that you want the dots to be in a horizontal line.  It might be able 
to accomplish that with \markup { \draw-dotted-line }.

Pat Karl (Cynthia my wife, we share this mail account)

 
 JM
 
 %
 \version 2.19.15
 
 {
  \time 3/4
  \clef bass
  
\repeat tremolo 6 {e8 -.  }
\shape #'((-2 . 0.2) (-1 . 0.2) (0 . 0.2) (0 . 0.6)) Slur {s4( s s)}
 |
 }
 
 tongue =
 #(define-music-function (parser location dots) (integer?)
   (let ((script (make-music 'ArticulationEvent
   'articulation-type staccato)))
 (set! (ly:music-property script 'tweaks)
   (acons 'stencil
 (lambda (grob)
   (let ((stil (ly:script-interface::print grob)))
 (let loop ((count (1- dots)) (new-stil stil))
   (if ( count 0)
   (loop (1- count)
 (ly:stencil-combine-at-edge new-stil X RIGHT stil 
 0.2))
   (ly:stencil-aligned-to new-stil X CENTER)
 (ly:music-property script 'tweaks)))
 script))
 
 {
  \time 3/4
  \clef bass
  \repeat tremolo 6 e8 -\tongue #6 |
 }
 
 {
  \time 3/4
  \clef bass
  
\repeat tremolo 6 e8 -\tongue #6
\shape #'((-2 . 0.2) (-1 . 0.2) (0 . 0.2) (0 . 0.6)) Slur {s4( s s)}
 
 }
 %
 
 
 give the same rest
 Le 8 mars 2015 à 19:25, Klaus Blum benbigno...@gmx.de a écrit :
 
 Hi Jacques, 
 
 there is already a snippet that might help:
 http://lsr.di.unimi.it/LSR/Item?id=772
 http://lsr.di.unimi.it/LSR/Item?id=772  
 
 Cheers, 
 Klaus
 
 
 
 Le 8 mars 2015 à 19:31, Cynthia Karl pck...@mac.com a écrit :
 
 Message: 2
 Date: Sun, 8 Mar 2015 18:37:15 +0100
 From: Menu Jacques imj-...@bluewin.ch
 Subject: Slurred staccato in a tremolo
 
 Is there a way to get the slur above the tremolo in the sample below, as 
 found in the attached manuscript image?
 
 Thanks for you help!
 
 JM
 
 
 \version 2.19.15
 
 {
 \time 3/4
 \clef bass
 \repeat tremolo 6 { e8 -. } |
 }
 
 
 How about:
 
 {
 \time 3/4
 \clef bass
 \repeat tremolo 6 {e8 -.  } 
  \shape #'((-2 . 0.2) (-1 . 0.2) (0 . 0.2) (0 . 0.6)) Slur
  {s4( s s)} |
 }
 
 
 
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Re: Slurred staccato in a tremolo (Menu Jacques)

[Cynthia Karl]

 Message: 2
 Date: Sun, 8 Mar 2015 18:37:15 +0100
 From: Menu Jacques imj-...@bluewin.ch
 Subject: Slurred staccato in a tremolo
 
 Is there a way to get the slur above the tremolo in the sample below, as 
 found in the attached manuscript image?
 
 Thanks for you help!
 
 JM
 
 
 \version 2.19.15
 
 {
  \time 3/4
  \clef bass
  \repeat tremolo 6 { e8 -. } |
 }
 
 
How about:

{
 \time 3/4
 \clef bass
 \repeat tremolo 6 {e8 -.  } 
   \shape #'((-2 . 0.2) (-1 . 0.2) (0 . 0.2) (0 . 0.6)) Slur
   {s4( s s)} |
}

 
 
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Quoted music and midi

[Cynthia Karl]

Consider the following snippet:

\version 2.19.16

music = \relative c'' { c,4 d e f | g a b c | }

\addQuote music \music

moreMusic = \relative c'' {
r2 \quoteDuring music s2
r2 \quoteDuring music s2
}

\score { 
\new Staff \music
\new Staff \moreMusic
 
 \layout { }
 \midi { }
 }

The printed output is fine:

,
but although it makes a midi file with two channels, there don't seem to be any 
notes in midi channel 2:



QuotedMusicOnMidi.midi
Description: MIDI audio


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Re: Quoted music and midi

[Cynthia Karl]

 
 Message: 3
 Date: Fri, 06 Mar 2015 14:17:08 -0600
 From: Christopher R. Maden cr...@maden.org
 Subject: Re: Quoted music and midi
 On 03/06/2015 11:36 AM, Cynthia Karl wrote:
 The printed output is fine: but although it makes a midi file with
 two channels, there don't seem to be any notes in midi channel 2:
 
 Is this a known problem?
 
 I wouldn?t consider that a problem... if I quote the violin part in a
 trumpet part, I wouldn?t expect to hear the brass honking away in the
 MIDI rendition.  Quoting, IMO, is best for cues, not for actual
 duplicating played music.
 
 ~Chris

Here's what the Notation Manual has to say about quoteDuring:

 Quoting other voices

 It is very common for one voice to use the same notes as those from another 
 voice. For example,
 first and second violins playing the same phrase during a particular passage 
 of the music. This
 is done by letting one voice quote the other, without having to re-enter the 
 music all over again
 for the second voice.

It doesn't say anything about borrowing the midiInstrument as well as quoting 
the notes.  It seems to me that the snippet I submitted is exactly the 
situation described by the NM.  The only question is, why no midi output for 
the quoted notes?

 Message: 4
 Date: Fri, 6 Mar 2015 12:22:51 -0800
 From: H. S. Teoh hst...@quickfur.ath.cx
 Subject: Re: Quoted music and midi
 
 On Fri, Mar 06, 2015 at 02:17:08PM -0600, Christopher R. Maden wrote:
 On 03/06/2015 11:36 AM, Cynthia Karl wrote:
 The printed output is fine: but although it makes a midi file with
 two channels, there don't seem to be any notes in midi channel 2:
 
 Is this a known problem?
 
 I wouldn?t consider that a problem... if I quote the violin part in a
 trumpet part, I wouldn?t expect to hear the brass honking away in the
 MIDI rendition.  Quoting, IMO, is best for cues, not for actual
 duplicating played music.
 [...]
 
 Yeah, if you want to actually duplicate the music, you should consider
 using variables instead.

Perhaps the above cite from the NM needs rewriting, eh?

 
 
 T


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staffSize music function unreliable at LP v2.19.16

[Cynthia Karl]

The following snippet:

\version 2.19.15

staffSize = #(define-music-function (parser location new-size) (number?)
#{
  \set fontSize = #new-size
  \override StaffSymbol #'staff-space = #(magstep new-size)
  \override StaffSymbol #'thickness   = #(magstep new-size)
#})

Ab = \relative c' { f4 g a b  }

\score {
\new Staff  \with { \staffSize #2  { \Ab }
\layout {   }
}

produces at LP v2.19.15:



but at LP v2.19.16 produces:



Besides being wrong (see, e.g., Behind Bars by Elaine Gould, p.13), this 
causes many scores to require an additional page.

Applying convert-ly to the above snippet changes only the \version number.

I tried all values for new-size between -8 and +8; the only ones that failed 
were -4 and 2.

(The staffSize music-function was kindly contributed by Eluze in 2013 on this 
list to overcome limitations of layout-set-staff-size.)




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Re: I question about this file?..

[Cynthia Karl]

 On Feb 28, 2015, at 2:57 PM,Peter Teeson peter.tee...@icloud.com:
 
 
 My lead sheet is coming along fine thanks to your help.
 But I have this question:
 
 1. How can I make the lyrics to the bridge start after the 2nd repeat?
 Right now they appear as a 3rd stanza.

Bridge = \lyricmode {
\override Lyrics.LyricHyphen.minimum-distance = 1
\repeat unfold 34 { \skip 1}
Like Jack Horn -- er in the cor -- ner, don't go no -- where 
}

Regards,
Pat Karl

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Re: 2 questions re this file

[Cynthia Karl]

 On Feb 28, 2015, at 11:50 AM,Peter Teeson peter.tee...@icloud.com wrote:
 
 
 Hi:
 
 1. How can I break the composer text so it appears like this on the score:
   Music: Thomas 'Fats' Waller 
 Harry Brooks

 composer = \markup { \concat { Music:   
\column { Thomas 'Fats' Waller \vspace #-.4  
 Harry Brooks } } }

 
 2. How can I make the last word of VerseTwo appear in the 2nd repeat (not in 
 the 1st as happens now)

You have two choices (I think the 2nd one looks better):

*  make the last line of VerseTwo read:  \skip 1 you __

* make the last line of VerseOne read:  you __ you __

HTH
Pat Karl
 Here is the pdf  
 -- next part --
 A non-text attachment was scrubbed...
 Name: Ain't Misbehavin v3.pdf
 Type: application/pdf
 Size: 66428 bytes
 Desc: not available
 URL: 
 http://lists.gnu.org/archive/html/lilypond-user/attachments/20150228/92554492/attachment.pdf
 -- next part --
 
 (NOTE: The console log is clean except for the ubiquitous barcheck issue 99!!)
 
 TIA
 
 Peter
 -- here is the .ly file 
 
 \version 2.19.15
 \header {
  title = Ain't Misbehavin'
  poet = Words: Andy Razal 
  composer = Music: Thomas 'Fats' Waller  Harry Brooks
  meter = Slowly
  tagline = \markup {
\column {
  LilyPond file by Peter Teeson, Toronto 2015/02/25
}
  }
 }
 
 \include english.ly  % English accidental names f = flat, s = sharp
 #(set-global-staff-size 30)
 
 melody = \relative c' {
   \key ef \major
   \time 2/2 
   \clef treble
   \repeat volta 2 { 
   r8 ef f ef d' d4. | r8 f, g f c'2 |
   r8 bf c bf ef ef4 d8 | f ef c  g~ g gf4 f8 |
   r8 ef f ef d' d4. | r8 f, g f c' c4 bf8 |
   }
   \alternative {
   { g1~ | g1 |}
   { g1~ | g2. r4}
}
 }
 
 VerseOne = \lyricmode {
   \override Lyrics.LyricHyphen.minimum-distance = 1
   \set stanza = #1. 
   No one to talk with, | all by my -- self,
   no one to walk with, but | I'm hap -- py on __ the shelf, |
   Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
   you __ |
 }
 
 VerseTwo = \lyricmode {
   \override Lyrics.LyricHyphen.minimum-distance = 1
   \set stanza = #2. 
   I know for cer -- tain | the one I love, 
   I'm thru with flir -- tin' | it's just you I'm think -- in' of.
   Ain't Mis -- be -- hav -- in' | I'm sav -- in' my love for |
   you __ |
 }
 
 \score {
 
   \new Voice = one { \melody }
   \new Lyrics \lyricsto one { \VerseOne }
   \new Lyrics \lyricsto one { \VerseTwo }
   
   \layout { }
   \midi { }
 }
 
 --


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\articulate command doesn't handle {c4 4}

[Cynthia Karl]

The Notation Manual seems to allow a naked duration to represent the last pitch 
with that duration.  The following extract from the NM shows what I'm talking 
about:



(you'd think that since we're only on p6, it would be easy to find the explicit 
permission to do this, but I can't find it.  Maybe it's somewhere later in the 
NM.  You'd probably also think that since the difference between absolute and 
relative pitch entry has already been discussed this snippet should read:  
cis''1~ 1~ \break cis''.)

Another illustration of this use of naked duration occurs on NM p371:



which produces:



If examples such as this are modified by the \articulate command, the midi file 
is non-representative of the LP input.  For example,

\version 2.19.15
\include articulate.ly

\score { {
\unfoldRepeats \articulate
\new Staff  {cis''1~ 1~ \break cis''}
 }
 \midi {  }
}

produces a midi file which consists of 4 beats of cis'' folowed by 4 beats of 
rest or silence followed by 4 beats of cis''.






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\articulate command and rit. was: Re: lilypond-user Digest, Vol 147, Issue 102

[Cynthia Karl]

 
 Message: 5
 Date: Sat, 14 Feb 2015 20:20:37 +0100
 From: Thomas Morley thomasmorle...@gmail.com
 To: Patrick Karl patrickk...@me.com
 Cc: lilypond-user lilypond-user@gnu.org
 Subject: Re: lilypond-user Digest, Vol 137, Issue 62
 Message-ID:
   cabsfgywvb0td_yi6tkg-_tkndlcocqxpxj8mgek0fdcqa+5...@mail.gmail.com
 Content-Type: text/plain; charset=UTF-8
 
 2015-02-14 18:18 GMT+01:00 Patrick Karl patrickk...@me.com:
 I have run into a couple of anomalies with the \articulate command and the 
 abbreviation rit.
 
 First,
 
 \version 2.19.15
 \include articulate.ly
 
 \score{
\unfoldRepeats \articulate
 ^^
\new ChoirStaff 
\new Staff c-rit.
\new Staff c-rit.
 
\layout { }
\midi { }
 }
 
 throws a warning:   warning: Two simultaneous tempo-change events, 
 junking this one
warning: Previous tempo-change event here
 
 If rit. is replaced with \markup { rit. }, no warning is thrown. 
 Section 1.8.1 Writing text pretty much implies that those two ways of 
 generating text are equivalent.
 
 I don't think this warning should occur.  Isn't it a common thing to place 
 such a notation in all staves so that if parts are generated, each part will 
 have the notation.
 
 http://www.lilypond.org/doc/v2.18/Documentation/notation/repeats-in-midi
 
 
 When creating a score file using \unfoldRepeats for MIDI, it is
 necessary to make two \score blocks: one for MIDI (with unfolded
 repeats) and one for notation (with volta, tremolo, and percent
 repeats). For example,
 
 \score {
  ?music?
  \layout { ? }
 }
 \score {
  \unfoldRepeats ?music?
  \midi { ? }
 }
 
Yes, I knew that.  But I didn't think it was necessary if my music didn't 
contain any \repeat volta's.  Is that wrong?

Do you think that doing the midi in a separate score will cure the rit. 
problem?  I tried it, it doesn't.

Maybe you can answer a question about \articulate:  if I generate a pdf file 
for the score containing the \midi block, why doesn't the pdf file reflect what 
is in the midi file?  For example, the pdf file generated by my original 
snippet shows a time signature of 4/4, but each measure actually contains 8 
quarter-note beats.



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Re: Problem with r2. in two voices

[Cynthia Karl]

 On Feb 7, 2015, at 9:07 PM, Kieren MacMillan kieren_macmil...@sympatico.ca 
 wrote:
 
 Hi Cynthia,
 
 In fact the output generated is just nonsensical.  Two stacked augmentation 
 dots?  That just doesn’t seem right.
 
 No, it’s perfectly sensible, if you want (need) to make it visually explicit 
 that there are two voices at the same time — otherwise, how would the reader 
 know?

But I don’t want to make it visually that there are two voices here, I want to 
make it visually explicit that there is a single voice.  That’s why each voice 
has issued the \oneVoice command before asserting the r2.  And why is it only 
rests and notes that have augmentation dots are affected in \oneVoice mode this 
way? There is no way other than clashing note column warnings to tell that two 
voices have each issued concurrent rests in \oneVoice mode.  It’s just kind of 
weird that augmentation dots get this special treatment.

I guess the only way out is to rewrite the two voices so that one of them 
issues hidden rests in the score, but the rests in the parts, via tags.
 
 Consider, for example, the following related snippet:
 
 \version 2.19.15
 \score {
  \new Staff 
\time 4/2
{ d''2 c''1. }  \\
\new Voice { b'2 c''1. }
 
 }
 
 The reason this output makes sense is the same reason there are two stacked 
 augmentation dots in your rest example.


On Sun, Feb 08, 2015 at 12:03AM , Paul Scott wrote:

 What kind of music are you trying to write?
 
 Paul Scott


Concerto Op3 No12 by Francesco Manfredini.
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RE: Problem with r2. in two voices

[Cynthia Karl]

 
 Message: 2
 Date: Sat, 7 Feb 2015 18:24:30 -0800
 From: Mark Stephen Mrotek carsonm...@ca.rr.com
 To: 'Cynthia Karl' pck...@mac.com,lilypond-user@gnu.org
 Subject: RE: Problem with r2. in two voices
 Message-ID: 00c201d04346$5ef30160$1cd90420$@ca.rr.com
 Content-Type: text/plain; charset=utf-8
 
 Cynthia,
 
 
 
 Actually there are two r2. rests, one in each voice. Replace one with s2. and 
 it shall disappear.
 

And then when I want to generate parts, what shall I do then?  Tags?

I guess what I’m saying is that the output of LP for my snippet is just wrong.  
Why doea that happen?  It seems that what I have written shouldn’t generate the 
output that it does.  In fact the output generated is just nonsensical.  Two 
stacked augmentation dots?  That just doesn’t seem right.
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Problem with r2. in two voices

[Cynthia Karl]

I don’t understand two things about the following snippet:

\version 2.19.15

Aa = \relative c'' {\oneVoice r2. }
Ab = \relative c'' {\oneVoice r2. }

\score {  
  \new Staff  
  \time 3/4
  \new Voice \Aa 
  \new Voice \Ab 
   
  \layout {}


}First, why does the r2. rest have a two augmentation dots?  Is there any way 
to fix that?

which produces:




Second, why does that snippet throw the following two warnings:



warning: cannot resolve rest collision: rest direction not set
\oneVoice
r2.
warning: cannot resolve rest collision: rest direction not set
\oneVoice
r2.
I see some information in the Notation Manual about Multimeasure Rest 
direction, but that’s not involved here.  There is, as best as I can determine, 
anything about simple rest collision/direction in any of the v2.19.15 
documentation set.  Furthermore, the lack of resolution of rest collision 
doesn’t seem to lead to any problems.___
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Re: architecture problem with midi2ly on a mac

[Cynthia Karl]

 On Feb 4, 2015, at 11:38 AM, Cynthia Karl pck...@mac.com wrote:
 
 
 On Feb 4, 2015, at 11:05 AM, Hans Aberg haber...@telia.com 
 mailto:haber...@telia.com wrote:
 
 
 On 4 Feb 2015, at 16:26, Cynthia Karl pck...@mac.com 
 mailto:pck...@mac.com wrote:
 
 This is on a MacBook Pro running OS X 10.10.2.
 
 Is there any way I can get midi2ly running on this computer?
 
 It works with a script, named say “midi2ly” and put in the PATH, with the 
 single line:
 exec /usr/bin/python 
 /Applications/LilyPond.app/Contents/Resources/bin/midi2ly $@“
 
 Thanks, but unfortunately I still have the problem with that:
 
 Patricks-MacBook-Pro:Larkin pat$ which midi2ly
 /Users/pat/bin/midi2ly
 Patricks-MacBook-Pro:Larkin pat$ cat /Users/pat/bin/midi2ly
 #!/bin/bash
 
 exec /usr/bin/python 
 /Applications/LilyPond.app/Contents/Resources/bin/midi2ly $@
 Patricks-MacBook-Pro:Larkin pat$ /Users/pat/bin/midi2ly --help
 Traceback (most recent call last):
   File /Applications/LilyPond.app/Contents/Resources/bin/midi2ly, line 54, 
 in module
 import midi
 ImportError: 
 dlopen(/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so,
  2): no suitable image found.  Did find:
   
 /Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so:
  mach-o, but wrong architecture
 
 
 It seems like a python problem.
 
 Patricks-MacBook-Pro:Larkin pat$ which python
 /usr/bin/python
 Patricks-MacBook-Pro:Larkin pat$ /usr/bin/python --version
 Python 2.7.6
 Patricks-MacBook-Pro:Larkin pat$ /usr/bin/env python --version
 Python 2.7.6

To be more precise, it seems to be a problem with the file 
/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so,
which, as python reports, is mach-o but wrong architecture.

Patricks-MacBook-Pro:~ pat$ file 
/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so
/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so:
 Mach-O bundle i386
Patricks-MacBook-Pro:~ pat$ machine
i486

So perhaps i need a midi.so which is for i486 architecture, not i386 
architecture?  (I’ve left my safety zone now.)



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Re: architecture problem with midi2ly on a mac

[Cynthia Karl]

 On Feb 4, 2015, at 11:05 AM, Hans Aberg haber...@telia.com wrote:
 
 
 On 4 Feb 2015, at 16:26, Cynthia Karl pck...@mac.com wrote:
 
 This is on a MacBook Pro running OS X 10.10.2.
 
 Is there any way I can get midi2ly running on this computer?
 
 It works with a script, named say “midi2ly” and put in the PATH, with the 
 single line:
 exec /usr/bin/python 
 /Applications/LilyPond.app/Contents/Resources/bin/midi2ly $@“

Thanks, but unfortunately I still have the problem with that:

Patricks-MacBook-Pro:Larkin pat$ which midi2ly
/Users/pat/bin/midi2ly
Patricks-MacBook-Pro:Larkin pat$ cat /Users/pat/bin/midi2ly
#!/bin/bash

exec /usr/bin/python /Applications/LilyPond.app/Contents/Resources/bin/midi2ly 
$@
Patricks-MacBook-Pro:Larkin pat$ /Users/pat/bin/midi2ly --help
Traceback (most recent call last):
  File /Applications/LilyPond.app/Contents/Resources/bin/midi2ly, line 54, in 
module
import midi
ImportError: 
dlopen(/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so,
 2): no suitable image found.  Did find:

/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so:
 mach-o, but wrong architecture


It seems like a python problem.

Patricks-MacBook-Pro:Larkin pat$ which python
/usr/bin/python
Patricks-MacBook-Pro:Larkin pat$ /usr/bin/python --version
Python 2.7.6
Patricks-MacBook-Pro:Larkin pat$ /usr/bin/env python --version
Python 2.7.6



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architecture problem with midi2ly on a mac

[Cynthia Karl]

When I do:  midi2ly —help

I get:
Patricks-MacBook-Pro:mi2ly.0.12 pat$ midi2ly --help
Traceback (most recent call last):
  File /Applications/LilyPond.app/Contents/Resources/bin/midi2ly, line 54, in 
module
import midi
ImportError: 
dlopen(/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so,
 2): no suitable image found.  Did find:

/Applications/LilyPond.app/Contents/Resources/lib/lilypond/current/python/midi.so:
 mach-o, but wrong architecture

This is on a MacBook Pro running OS X 10.10.2.

uname -a gives:

Darwin Patricks-MacBook-Pro 14.1.0 Darwin Kernel Version 14.1.0: Mon Dec 22 
23:10:38 PST 2014; root:xnu-2782.10.72~2/RELEASE_X86_64 x86_64

I’m pretty sure that means 64-bit mode.

Is there any way I can get midi2ly running on this computer?___
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Rehearsal mark an end of one system and another at the begin of next system

[Cynthia Karl]

Is there any way to modify the following snippet and get “Fine” at the end of 
the 1st system and “A” at the begin of the next system.  The “A” is discarded 
because it is deemed to be simultaneous with the “Fine”.

The chief reason for using a rehearsal mark for the “Fine”, of course, is to 
produce a score with only one “Fine” at the top of the system and yet produce 
parts that each have the “Fine”.  

\version 2.19.15

\relative c'' {
\override Score.RehearsalMark.self-alignment-X = #RIGHT
\override Score.RehearsalMark #'break-visibility = #end-of-line-visible
\repeat unfold 20 c4 \mark\markup { \bold \italic Fine }%= want Fine 
at end%   of 1st system

\break

\override Score.RehearsalMark.self-alignment-X = #LEFT
\override Score.RehearsalMark #'break-visibility = #begin-of-line-visible

\mark\def \repeat unfold 20 c4%= want standard rehearsal mark at 
%   begin of next system

\override Score.RehearsalMark.self-alignment-X = #RIGHT
\override Score.RehearsalMark #'break-visibility = #end-of-line-visible
\mark\markup { \bold \italic D.C. al Fine” }%= reason for Fine 
%at end of 1st system
}

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Re: 2.19.15 slur accidental collision (Paul Scott)

[Cynthia Karl]

 Message: 2
 Date: Sat, 31 Jan 2015 13:31:14 -0700
 From: Paul Scott waterho...@ultrasw.com
 To: lilypond-user@gnu.org
 Subject: 2.19.15 slur accidental collision
 Message-ID: 20150131203114.GA12158@joy3
 Content-Type: text/plain; charset=us-ascii
 
 Hi,
 
 I am trying to make a slur not collide with an accidental.  Reading the 
 Learning Manual I find how to do:
 
  \override Slur.avoid-slur = #'inside
 or
  \override Accidental.avoid-slur = #'inside
 which doesn't seem to do the job.
 
 From the LM and the IR I don't follow how to set a value for 
 accidental-collision.  Using the LyricText example I thought that 
 
  \override Slur.accidental-collision = #20 
 would work but that gets an warning:
 
 warning: cannot find property type-check for `accidental-collision' 
 (backend-type?).  perhaps a typing error?
 
 \version 2.19.15
 
 \relative{
  \override Slur.avoid-slur = #'inside
  \override Accidental.avoid-slur = #'inside
  \override Slur.accidental-collision = #20 
  \override Accidental.accidental-collision = #20 
  f'8( bes4)
 }
 
 TIA for any help with this,

How about:

\version 2.19.15

\relative{
\shape #'((-1.2 . 2.9) (0 . 2) (0 . 2) (0 . 0)) Slur 
f'8( bes4)
}

 
 Paul Scott


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Re: Repeats - Strange behavior??

[Cynthia Karl]

 Message: 6
 Date: Wed, 28 Jan 2015 00:02:13 +0100
 From: Thomas Morley thomasmorle...@gmail.com
 To: Chris Trahan trahan.ch...@gmail.com
 Cc: LilyPond User Group lilypond-user@gnu.org
 Subject: Re: Repeats - Strange behavior??
 Message-ID:
   CABsfGyW9kO7-oi1O_=-o-3_cqhjet6slgasy2gmzhb9kpdn...@mail.gmail.com
 Content-Type: text/plain; charset=UTF-8
 
 2015-01-27 23:35 GMT+01:00 Chris Trahan trahan.ch...@gmail.com:
 I have two examples in the following code.
 
 The fist one shows a repeated section starting at measure 4.
 
 The second shows the same code, except that a double bar ends measure 3.  In
 this case, the repeated section is not correct.
 
 Is this a bug or by design?
 
 Hi,
 
 it's hardcoded in repeat-acknowledge-engraver.cc not to set the
 'which-bar-property (i.e. the opening repeat-sign, taken from the
 relevant context-property), if the user sets an own 'which-bar, i.e.
 in this case: \bar ||
 
 So it's by design prefering the users choice ;)

Das ist Quatsch!  The user simply wanted the section of music before the 
repeated section to end with a double bar.  He didn't want the opening 
repeat-sign  to be suppressed.  :(

 
 \version 2.18.2
 
 
 \score {
  \relative c'' {
%% When a double bar is added, the repeat is not correct.
\repeat unfold 3 {c d e f} \bar || \break
 
 use \bar .|:-|| instead, see NR ;)

Why shouldn't it be changed to work like the 99% would like?  Let those who 
want the current behavior use, say, \bar ~://? to indicate that they don't 
want the usual opening repeat-sign to appear.  The others don't want to delve 
into the arcana of the various bar signs.  They just want the section before a 
repeat section to end with a double-bar.

 
\repeat volta 2 {
  s4^Not correct
  \repeat unfold 3 {g a b c}
}
  }
 }
 
 HTH,
  Harm
 
 


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Re: Rehearsal marks and grace notes at the beginning of bars

[Cynthia Karl]

 On Jan 26, 2015, at 6:08 PM, Flaming Hakama by Elaine 
 ela...@flaminghakama.com wrote:
 
 Patrick, 
 
 Thanks for your explanation and advice.
 
 The only question I have is in terms of what you consider to be the 
 appropriate fix, which amounts to adding grace note rests to every other 
 part.  
 
 In this case, it is not much of an issue since this is just a trio piece.  
 But if I were working on a larger orchestration, this seems like kind of a 
 lot of work, modifying every other part, rather than just modifying the one 
 part that has the grace notes.  
 
 I am wondering if I am missing something about the character of the problem 
 and the solution that makes you recommend the grace note rest approach, 
 rather than tweaking the order of the grace notes and rehearsal mark in the 
 part that actually has them?

Did you not notice what happened to the key signature in my third example?  Not 
pretty.  Why it doesn’t happen in your “fixed” example I don’t know.  What I am 
recommending is simply what the Notation Manual recommends:  

This can be remedied by inserting grace skips of the corresponding 
durations in the other staves.” 

 I think that your solution will not always fix the problem satisfactorily.
 
 
 Thanks,
  
 From: Cynthia Karl pck...@mac.com mailto:pck...@mac.com
 Subject: Re: Rehearsal marks and grace notes at the beginning of bars
   
  From: Flaming Hakama by Elaine ela...@flaminghakama.com 
  mailto:ela...@flaminghakama.com
  To: lilypond-user@gnu.org mailto:lilypond-user@gnu.org
  Subject: Rehearsal marks and grace notes at the beginning of bars
 
  Hello everyone,
 
  I ran into a problem today when I had an instrument with grace notes.
  It made rehearsal marks between different instruments not line up, printing
  duplicate rehearsal marks.
 
  The fix was to put the grace notes before the rehearsal mark.
 
  I was just wondering if this was expected behavior.
 
 See v.2.19.15 Notation Manual, Section 1.2.6, Special rhythmic concerns, 
 subsection Grace notes, subsubsection Known issues and warnings:  Grace 
 note synchronization can also lead to surprises.  You just ran into a 
 surprise.
 
 LilyPond has problems when (I think) it gets into negative time on one staff 
 and not on a concurrent one.  Grace notes apparently lead to negative time 
 after bar lines.  The following snippet is equivalent to yours with all the 
 stuff irrelevant to your issue removed, and shows the four possible cases:
 
 \version 2.19.5
 
 violinOK = \relative c'' {
\mark\default \grace e16  e4 r r2
 }
 
 violinBroken = \relative c'' {
   \grace e16 \mark\default e4 r r2
 }
 
 clarinetBroken = \relative c' {
   \mark\default R1
 }
 
 clarinetFixed = \relative c' {
   \mark\default \grace s16 R1
 }
 
 global = { \key g\major }
 
  \score {
 
  \new Staff { \global \clarinetBroken }
  \new Staff { \global \violinOK }
  
  }
 
  \score {
 
  \new Staff { \global \clarinetFixed }
  \new Staff { \global \violinOK }

  }
 
  \score {

  \new Staff { \global \clarinetBroken }
  \new Staff { \global \violinBroken }

  }
 
  \score {

  \new Staff { \global \clarinetFixed }
  \new Staff { \global \violinBroken }

  }
 
 In my viewpoint, the original violin part wasn't broken, so it didn't need 
 fixing.  The clarinet part needed the fixing.  So what you call violinBroken 
 I call violinOK, your clarinet is my clarinetBroken, my clarinetFixed, which 
 you don't have, follows the cited warnings, and your violinFixed is my 
 violinBroken.
 
 HTH.
 
 
 
 
 
 David Elaine Alt
 415 . 341 .4954   Confusion is 
 highly underrated
 ela...@flaminghakama.com mailto:ela...@flaminghakama.com
 self-immolation.info http://self-immolation.info/
 skype: flaming_hakama
 Producer ~ Composer ~ Instrumentalist
 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

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Re: Rehearsal marks and grace notes at the beginning of bars

[Cynthia Karl]

 
 Message: 4
 Date: Sun, 25 Jan 2015 22:22:02 -0800
 From: Flaming Hakama by Elaine ela...@flaminghakama.com
 To: lilypond-user@gnu.org
 Subject: Rehearsal marks and grace notes at the beginning of bars
 Message-ID:
   CACX-=8xa0ezkphbzw79326ttqm2_ccl_gt42wemzw2a85ze...@mail.gmail.com
 Content-Type: text/plain; charset=utf-8
 
 Hello everyone,
 
 I ran into a problem today when I had an instrument with grace notes.
 It made rehearsal marks between different instruments not line up, printing
 duplicate rehearsal marks.
 
 The fix was to put the grace notes before the rehearsal mark.
 
 I was just wondering if this was expected behavior.

See v.2.19.15 Notation Manual, Section 1.2.6, Special rhythmic concerns, 
subsection Grace notes, subsubsection Known issues and warnings:  Grace 
note synchronization can also lead to surprises.  You just ran into a surprise.

LilyPond has problems when (I think) it gets into negative time on one staff 
and not on a concurrent one.  Grace notes apparently lead to negative time 
after bar lines.  The following snippet is equivalent to yours with all the 
stuff irrelevant to your issue removed, and shows the four possible cases:

\version 2.19.5

violinOK = \relative c'' {
   \mark\default \grace e16  e4 r r2
}

violinBroken = \relative c'' {
  \grace e16 \mark\default e4 r r2
}

clarinetBroken = \relative c' {
  \mark\default R1
}

clarinetFixed = \relative c' {   
  \mark\default \grace s16 R1 
}

global = { \key g\major }

 \score {

 \new Staff { \global \clarinetBroken }
 \new Staff { \global \violinOK }
 
 }

 \score {

 \new Staff { \global \clarinetFixed }
 \new Staff { \global \violinOK }
   
 }
 
 \score {
   
 \new Staff { \global \clarinetBroken }
 \new Staff { \global \violinBroken }
   
 }
 
 \score {
   
 \new Staff { \global \clarinetFixed }
 \new Staff { \global \violinBroken }
   
 }

In my viewpoint, the original violin part wasn't broken, so it didn't need 
fixing.  The clarinet part needed the fixing.  So what you call violinBroken I 
call violinOK, your clarinet is my clarinetBroken, my clarinetFixed, which you 
don't have, follows the cited warnings, and your violinFixed is my violinBroken.

HTH.

Patrick Karl
 
 \version 2.19.5
 \include english.ly
 
 violinBroken = \relative c'' {
  \key d \minor
  \numericTimeSignature
  \time 4/4
  \tempo 4=230
  r2 r8 d8\f e [ a, ] \bar ||
  f' a,4-. a, e'-- d | f a,-. a,8 e' bf-- ~ e bf e bf d4-. | f
 a,4-. f a,2- \grace { e16 ( d } cs8 ) d-. | r1 \bar ||
 
  % With grace notes in the 'proper' place, we get duplcate marks in the
 wrong place
  \mark \markup { \box Bridge }
  \grace { e16 ( ds } cs8 ds ) e fs as4-- fs-. | as4-- e8 as-. ~ as as
 fs4-- | a?4-. a2- r4 | r1 \bar |.
 }
 
 violinFixed = \relative c'' {
  \key d \minor
  \numericTimeSignature
  \time 4/4
  \tempo 4=230
  r2 r8 d8\f e [ a, ] \bar ||
  f' a,4-. a, e'-- d | f a,-. a,8 e' bf-- ~ e bf e bf d4-. | f
 a,4-. f a,2- \grace { e16 ( d } cs8 ) d-. | r1 \bar ||
 
  % With grace notes in the 'improper' place, we get marks in the right
 place
  \grace { e16 ( ds }
  \mark \markup { \box Bridge }
  cs8 ds ) e fs as4-- fs-. | as4-- e8 as-. ~ as as fs4-- | a?4-. a2- r4 |
 r1 \bar |.
 }
 
 clarinet = \relative c' {
  \key d \minor
  \numericTimeSignature
  \time 4/4
  \tempo 4=230
  r4 cs8\mf bf? a g f e \bar ||
  d4. d8 f a4 bf8 ~ | bf4 a bf cs | d4. d8 ~ d4 cs8 d | r1
  \mark \markup { \box Bridge }
  r1 | \grace { e16 ( ds } cs8 ds ) e fs as4-- cs-. | ds4-. r8 ds r4 ds ~ |
 ds fs8 ds cs b r4 \bar |.
 }
 
  \score {
  \new StaffGroup 
  \new Staff {
\set Staff.instrumentName = #Bb Clarinet
\transpose bf, c { \clarinet }
  }
  \new Staff {
\set Staff.instrumentName = #Violin
\violinBroken
  }
 
  }
 
  \score {
\new StaffGroup 
  \new Staff {
\set Staff.instrumentName = #Bb Clarinet
\transpose bf, c { \clarinet }
  }
  \new Staff {
\set Staff.instrumentName = #Violin
\violinFixed
  }
 
  }
 
 
 
 Thanks,
 
 David Elaine Alt


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Tag problem

[Cynthia Karl]

I'm confused about the Using tags subsection of section 3.3.2 Different 
editions from one source:

 Known issues and warnings

 Calling \relative on a music expression obtained by filtering music through 
 \keepWithTag or
 \removeWithTag might cause the octave relations to change, as only the 
 pitches actually remaining
 in the filtered expression will be considered. Applying \relative first, 
 before \keepWithTag
 or \removeWithTag, avoids this danger as \relative then acts on all the 
 pitches as-input.

Consider the following snippet:

\version 2.19.15
\header { tagline = ##f }

music = {
  \tag #'one {c d e f}
  \tag #'two {c' d e f}
  f e d c
}

\keepWithTag #'one {\relative c' \music}
\keepWithTag #'two {\relative c''\music}

\relative c' {\keepWithTag #'one \music}
\relative c' {\keepWithTag #'two \music}

which produces:



tag_problem.pdf
Description: Adobe PDF document


It seems to me that the first output is wrong,and that the problem is fixed by 
disregarding the Known issues and warning section and applying \relative to the 
music after filtering it with \keepWithTag.  Or is the thinking of {a}pplying 
\relative first is not meant temporally, but in some other sense.

Is there a way to get correct output from music?  I consider the 3rd and 4th 
outputs to be correct.  (Maybe that's the problem?  If so, is there a way to 
get the last two outputs using tags? and not duplicating the line f e d c?)


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Re: Custom DrumStaff

[Cynthia Karl]

 On Jan 22, 2015, at 10:52 PM, Kevin Tough ke...@toughlife.org wrote:
 
 I just tried your example and Lilypond produced the following error
 messaages. Could it be due to my version of 2.18.2?
 
 Parsing...
 TwoInstruments.ly:14:16: error: syntax error, unexpected UNSIGNED
  r8\p bol8 r8
   8% 4
 TwoInstruments.ly:26:10: error: syntax error, unexpected UNSIGNED
  boh8\p
 8 r8 8 % 1
 TwoInstruments.ly:33:1: error: errors found, ignoring music
 expression

Yes, I get those errors with version 2.18.2, but not with 2.19.15.  Do Release 
Notes for the various releases exist?  That would show, e.g. all differences 
between v.2.19.15 and v.1.18.2 or between v.2.19.15 and v.2.19.14?  Or between 
the current stable versionj and the current developmental version?
 
 On Thu, 2015-01-22 at 22:19 -0600, Cynthia Karl wrote:
 On Jan 22, 2015, at 6:06 PM, Rutger Hofman rut...@cs.vu.nl wrote:
 
 On 01/23/2015 12:28 AM, Cynthia Karl wrote:
 I'm trying to duplicate the behavior shown in the next two images:
 
 The major things wrong with this output are:
 
* the rests should be centered on their line, not above it
* there should be a full-measure rest on the lower line of measure 5
* the 8th rest in beat 2 of measure 4 of upperMusic has disappeared, 
 presumable consumed by the corresponding quarter rest in lower music at 
 that time.
* I get the warning:  30: 5: warning: cannot resolve rest collision: 
 rest direction not set
 4
r4  % 4
 
 Can anyone give me a hint or two?  Is a DrumStaff the wrong approach? ( 
 Maybe a couple of RhythmicStaffs would be better?)
 
 Using version 2.19.15.
 
 The rest positions are correct when you use \voiceOne for the upper line in 
 stead of \stemUp, and \voiceTwo for the lower line in stead of \stemDown. 
 Sadly, for full-measure rests in the upper line the result is incorrect. 
 These must be positioned with \oneVoice.
 
 HTH
 
 I think that's going to help a lot. Thanks.


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Re: Custom DrumStaff

[Cynthia Karl]

 On Jan 22, 2015, at 6:06 PM, Rutger Hofman rut...@cs.vu.nl wrote:
 
 On 01/23/2015 12:28 AM, Cynthia Karl wrote:
 I'm trying to duplicate the behavior shown in the next two images:
 
 The major things wrong with this output are:
 
  * the rests should be centered on their line, not above it
  * there should be a full-measure rest on the lower line of measure 5
  * the 8th rest in beat 2 of measure 4 of upperMusic has disappeared, 
 presumable consumed by the corresponding quarter rest in lower music at that 
 time.
  * I get the warning:  30: 5: warning: cannot resolve rest collision: 
 rest direction not set
   4
  r4  % 4
 
 Can anyone give me a hint or two?  Is a DrumStaff the wrong approach? ( 
 Maybe a couple of RhythmicStaffs would be better?)
 
 Using version 2.19.15.
 
 The rest positions are correct when you use \voiceOne for the upper line in 
 stead of \stemUp, and \voiceTwo for the lower line in stead of \stemDown. 
 Sadly, for full-measure rests in the upper line the result is incorrect. 
 These must be positioned with \oneVoice.
 
 HTH

I think that's going to help a lot. Thanks.
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Custom DrumStaff

[Cynthia Karl]

I'm trying to duplicate the behavior shown in the next two images:






(the dash above the eighth rest in the upper line in beat 1 of measure 4 is an 
artifact; ignore it)

My best effort so far is:

\version 2.19.15

\paper {
  ragged-right = ##t
}
#(define percussion '((lobongo default #t  3)
   (hibongo default #t -3)))
upperMusic = \drummode {
  \time 2/4
  \stemUp
  R1*2/4% 1
  \break
  R1*2*2/4  % 2-3
  r8\p bol8 r8 8% 4
  R1*2/4% 5
}

lowerMusic = \drummode {
  \time 2/4
  \overrideTimeSignatureSettings
2/4 % timeSignatureFraction
 1/4 % baseMomentFraction
 #'(2) % beatStructure
 #'() % beamExceptions
  \stemDown
  boh8\p 8 r8 8 % 1
  8 8 8 8   % 2
  8 8 8 8   % 3
  4 r4  % 4
  R1*2/4% 5
}

\new DrumStaff {
  \set DrumStaff.instrumentName = \markup { \center-column { Tri CS} }
  \override DrumStaff.StaffSymbol #'line-positions = #'(3 -3)
  \set DrumStaff.drumStyleTable = #(alist-hash-table percussion)
 
 \new DrumVoice  \lowerMusic
 \new DrumVoice \upperMusic
  
}

which yields:



DrumStaffExperiment1.pdf
Description: Adobe PDF document


The major things wrong with this output are:
  
* the rests should be centered on their line, not above it
* there should be a full-measure rest on the lower line of measure 5
* the 8th rest in beat 2 of measure 4 of upperMusic has disappeared, 
presumable consumed by the corresponding quarter rest in lower music at that 
time.
* I get the warning:  30: 5: warning: cannot resolve rest collision: 
rest direction not set
 4 
r4  % 4

Can anyone give me a hint or two?  Is a DrumStaff the wrong approach? ( Maybe a 
couple of RhythmicStaffs would be better?)

Thanks.___
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Re: Staccato

[Cynthia Karl]

 On Jan 20, 2015, at 7:14 AM, Noeck noeck.marb...@gmx.de wrote:
 
 
 4. To find the override for staccatos, I tried to find the property of
 Script that specifies the direction. I used the Frescobaldi autocomplete
 and typed \override Script. and Ctrl+Space which showed me
 that there is a property called direction, which sounds good.
 I could also have clicked on the word 'Script' in the pdf above, which
 would have brought me to:
 http://www.lilypond.org/doc/v2.18/Documentation/internals/script
 Where direction is also mentioned.
 = \override Scripts.direction = and then?

On a mac, it's apparently Cmnd+Space.  But when I tried that I got the 
Spotlight popup. There was a keyboard setting that apparently overrode 
Frescobaldi's use of the shortcut.  So I turned that off:  Apple-System 
Preferences-
Keyboard-Shortcuts-Spotlight-Show Spotlight search.  There was another usage 
of Cmnd+Space in Keyboard-Input Sources, which I also turned off (I wonder how 
that shortcut sharing thingy is supposed to work).

Now when I do what you described above, I get the Completion Popup.  Yay!  

Thanks.

Nobody seems very enthused about my suggestion to modify the definition of 
Staccato in Musical Glossary. An entry for Augmentation Dot might also be nice. 
 I might also suggest to add a little documentation for dotsDown in the 
Notation Manual.

Is Gould's Behind Bars the unofficial go-to reference for LilyPond notation 
questions?
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Re: Staccato

[Cynthia Karl]

 Date: Mon, 19 Jan 2015 23:18:31 +0100
 From: Noeck noeck.marb...@gmx.de
 Subject: Re: Staccato
 Am 19.01.2015 um 20:29 schrieb Cynthia Karl:
 
 On Jan 19, 2015, at 1:20 PM, Ed Gordijn ed.klari...@gmail.com
 mailto:ed.klari...@gmail.com wrote:
 
 Hi Cynthia,
 Is there a way to get the second snippet to produce regular staccato dots?
 
 You van use \dotsDown or \dotsUp
 
 I confirm ? as it has been written before ? that these dots are augmentation
 dots like in ?a4.? and not staccato dots.

You must have an intimate knowledge of LP source code to be able to say that.  
In the Learning Manual, there is a single mention of dotsDown, in a discussion 
of UP and DOWN.  In the Notation Manual, there are five mentions, one saying 
simply that it is a predefined command, and four references to that statement 
in the appendices.  I don't think there are any other mentions of dotsDown in 
the other LP documentation.  How would anyone know what \dotsDown does?

 Staccato dots are ?Script?s in LilyPond and their direction can be set via:
 \override Script.direction = #UP
 or
 \override Script.direction = #DOWN

Again, you must have an intimate knowledge LP source code to know that.  There 
are a couple of mention of scripts associated with staccato in the Notation 
Manual, but nothing that leaps out and grabs one.  In the Learning Manual, a 
single mention of staccato in an appendix that points to a section that shows 
-. but doesn't mention the word staccato.
 
 However, as also expressed before, LilyPond does it correctly in your 
 examples.

Don't you think at least that the statement in the Music Glossary (Staccato is 
indicated by a dot above or below the note head.) should be amended?  I think 
there is only a single reference to Elaine Gould in all the LP documentation, 
in the Notation Manual, p85:  See Gould, p. 153.  The Notation Manual doesn't 
have an evident bibliography, so the meaning of that reference is obscure.  As 
indicated earlier, I have found authorities (Gardner Read: Music Notation and 
GeorgeHeussenstamm:  The Norton Manual of Music Notation) that agree with LP's 
current position (in the Music Glossary).  So it's not entirely clear that LP 
is doing it correctly in my examples.  It's certainly not doing it correctly in 
the sense of its own stated definition of where a staccato dot goes.


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Re: Staccato

[Cynthia Karl]

 On Jan 19, 2015, at 1:20 PM, Ed Gordijn ed.klari...@gmail.com wrote:
 
 Hi Cynthia,
  Is there a way to get the second snippet to produce regular staccato dots?
 
 You van use \dotsDown or \dotsUp
 
 Greetings, Ed
 

It’s difficult to tell exactly what those commands do, but I don’t think 
they’re intended to modify placement of staccato dots, but rather the dots that 
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Staccato

[Cynthia Karl]

Section 1.285 staccato of the 2.19.15 LilyPond Music Glossary says:  Staccato 
is indicated by a dot above or below the note head.  Gardner Read (Music 
Notation:  A Manual of Modern Practice) agrees with this and has a little 
picture showing a stem-up note with a dot just beneath the note-head and a 
stem-down note with a dot just above the note-head.

Ordinarily, LP follows both Read's and its own guideline on the placement of 
the dot, e.g., the following snippet:

\version 2.19.15

\relative c'' { g8-. a-. b-. c-. d-. e-. f-. g-. a-. b-. c-.}

yields:


SingleVoiceStaccato-crop.pdf
Description: Adobe PDF document


However, the following snippet:

\version 2.19.15

music = \relative c'' {
 {\voiceOne   g8-. a-. b-. c-. d-. e-. f-. g-. a4-. b-. c-. 
b-.}
   \new Voice { \voiceTwo g,2~ g2~ g2~ g2}
 \oneVoice
}

\score {
\new ChoirStaff  \new Staff  \music 
layout {}
}

yields:



PolyphonicStaccato-crop.pdf
Description: Adobe PDF document



Besides being pretty ugly, this violates LP's own guidelines.

Is there a way to get the second snippet to produce regular staccato dots?___
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Question about \afterGrace

[Cynthia Karl]

The following snippet is based on the afterGrace snippet on p.136 of the 
2.19.15 Notation manual:

\version 2.19.15

\score {
  
  \new Staff \relative c'' {   
 d1~\afterGrace
 d1\startTrillSpan { c32[ d]\stopTrillSpan }
 c2 r2
  }
  \new Staff \relative c'' {
 \repeat unfold 16 d8 
 d8 r8 r4 r2
  }
  
  \layout {}
  \midi {}
}

This snippet produces the attached output, showing that the two grace notes 
occur after beat 3 and before beat 4 of the second measure; the midi file also 
shows this.  This doesn't seem right to me.  I think they should occur much 
later in the second measure.  Is this output correct?  Is there a way to slide 
them to just before the bar line at the end of measure 2?



dummy.pdf
Description: Adobe PDF document
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Problem with position of a dynamics context

[Cynthia Karl]

Consider the following snippet and the attached graphic (--png) file it 
generates:

\version 2.19.15
\paper {ragged-last-bottom = ##f}

music =  {
  \mark \default \repeat unfold 8 s1
  \break
  \mark \default \repeat unfold 8 s1
  \break
  \mark \default \repeat unfold 8 s1
  \break
  \mark \default \repeat unfold 8 s1
  \break
  \mark \default \repeat unfold 8 s1
  \break
  \mark \default \repeat unfold 8 s1
}

lowerDynamics = {
  s1\p \repeat unfold 7 s1
  s1\p \repeat unfold 7 s1
  s1\p \repeat unfold 7 s1
  s1\p \repeat unfold 7 s1
  s1\p \repeat unfold 7 s1
  s1\p \repeat unfold 7 s1
}
upperDynamics = {
  \repeat unfold 8 s1
  \repeat unfold 8 s1
  \repeat unfold 8 s1
  s1-x \repeat unfold 7 s1
  \repeat unfold 8 s1
  \repeat unfold 8 s1
}

\score {

   \new Dynamics \upperDynamics
\new Staff  \music 
\new Dynamics \lowerDynamics

\layout {   }
}

The lowerDynamics places a \p dynamic mark under the first measure of every 
staff, while the upperDynamics places the letter x above the first measure of 
staff D.  Note the placement of those \p's (and thus their dynamic context):  
They are approximately centered between staves A  B, B  C, D  E, and E  F.  
(We'll ignore the one under staff F as it's a special case.) But note that the 
\p is not centered between staves C  D, but rather positioned much closer to 
its staff.  This latter positioning is what I was hoping for.  It is clearly 
caused by the non--null upperDynamics content in the next staff, D.  This 
positioning remains even if the x is changed to a blank.

Is there a good way to achieve what I want without having to be sure to have 
some non-null content in the upperDynamics of each staff's next staff?

Note that one workaround is to add:  

 \context {\Dynamics \override 
VerticalAxisGroup.nonstaff-relatedstaff-spacing.stretchability= #0 }

to the layout block.  Another workaround is to eliminate the upperDynamics 
context.  (This latter workaround implies that the interplay between two 
dynamics contexts on a staff is very complicated; this same result can also be 
gotten by changing the  s1-x to s1-.)


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snippet throws programming errors

[Cynthia Karl]

The following snippet:

\version 2.19.15

music = \relative c'' { e2 g, }
 
\score  {
  \new Staff  \key c \major  \music 
  \layout {
\context { \Voice \consists Ambitus_engraver } 
  }
}

throws the following two programming errors:

*   programming error: Note-column without heads and stem
continuing, cross fingers
*   programming error: note-column has no direction
continuing, cross fingers

The pdf output looks perfect, so I guess the finger crossing worked.  

These two errors can be eliminated in any one of several ways:

* eliminate \key c \major from the \new Staff statement (!!!)
* replace ... with {...} on the \new Staff statement.
* eliminate the \context statement in the \layout block

Where can I find out what's happening here?  and is there a way to suppress 
these errors similar to the way that warnings can be suppressed.  
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Re:snippet throws programming errors (Jim Long) 53

[Cynthia Karl]

 
 Message: 7
 Date: Mon, 12 Jan 2015 20:10:20 -0800
 From: Jim Long lilyp...@umpquanet.com
 Subject: Re: snippet throws programming errors
 
 On Mon, Jan 12, 2015 at 05:25:55PM -0600, Cynthia Karl wrote:
 The following snippet:
 
 \version 2.19.15
 
 music = \relative c'' { e2 g, }
 
 \score   {
  \new Staff  \key c \major  \music 
  \layout {
\context { \Voice \consists Ambitus_engraver } 
  }
 }
 
 Your Staff line is equivalent to:
 
 \new Staff
  
{ \key c \major }
{ \music }
 
 
 Thus, there is no music in the first expression.  In a nutshell, that
 is what is causing your issue.

Then why does:

\version 2.19.15

music = \relative c'' { e2 g, }

\score  {
 \new Staff  \key c \major  \music 
 \layout {
 }
}

not cause any problem at all?  It has the same lack of music in its first 
expression.

 ...
  * replace ... with {...} on the \new Staff statement.
 ...
 
 That is the correct solution, IMO.
 
The solution to what problem?  IMO, the problem is that my simple snippet 
causes LilyPond to declare that programing errors have occurred.  Programming 
errors are a serious problem.  Programming errors are only solved by correcting 
the program, not by avoiding them by modifying the input to the program.  You 
are suggesting that LilyPond is incapable of diagnosing a simple syntax error 
in its input.


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\articulate problem

[Patrick or Cynthia Karl]

The following snippet shows several problems:

\version 2.19.15
\include articulate.ly

S = \relative b' {
  \set Staff.instrumentName = S
  \clef treble
  c4 c16\prall e r8 r r r r
  c4 c c c
}

A = \relative c'' {
  \set Staff.instrumentName = A
  \clef treble
  c4 c c c
  c4 c c c
}

\score {
 \unfoldRepeats \articulate
  \new ChoirStaff 
\new Staff { \S }
\new Staff { \A }
  
  \layout { }
  \midi { }
}

The chief problem is that it generates a defective midi file in that there is a 
eighth note shift in the 2nd measure between the two systems.
This shift can also be seen in the engraved file.

Another problem is the representation of the \prall in the engraved file, which 
includes a quarter note head without a stem and a whole note.

The final problem is the huge number of warnings and programming error messages 
in the log file.  These include:

  * two instances of:

Articulate_problem.ly:7:20: warning: adding note head to 
incompatible stem (type = 1/1)
c4 c16\prall 
e r8 r r r r

   *  fourteen instances of:  programming error: insane spring distance 
requested, ignoring it

   *  one instance of:programming error: insane spring min_distance 
requested, ignoring it

   *  one instance of:programming error: insane spring constant

   *  seventeen instances of:   continuing, cross fingers

   *  one instance of:programming error:  going back in MIDI time



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Re: Autochange for two voices

[Cynthia Karl]

 Message: 2
 Date: Sat, 20 Dec 2014 21:57:00 + (UTC)
 From: Justin justin.domin...@hotmail.com
 Subject: Autochange for two voices
 
 Hello,
 
 I am trying to typeset scales for two hands on the piano like so : 
 http://postimg.org/image/bq0hqyv1z/
 
 I was able to get to this point: http://postimg.org/image/qfsrmlo85/
 
 but I can't seem to find a way to disconnect the upper voice from the 
 lower voice. I am using \autochange which I believe might be the cause 
 of the issue.
 
 Does anyone know how to properly format the music? 
 
 Here is my current code (short version): http://pastebin.com/FAyGj0z4

Here's how I would do it.  There are other ways to position the text.  I've 
left the remaining left-hand fingering to you:

 \version 2.19.15

S = \relative c'' {
  \clef treble

\repeat volta 2 {
  \stemUp
  c,16-1 d e f-1 g a b c-1 d e f-1 g a b c-5 b a g f-1 e-3 d c-1 b-4 a 
g f-1 e-3 d
}
c4 \mark \markup {\column {MAJOR SC.} }
\bar |.
}

B = \relative g {
  \clef bass

\repeat volta 2 {
  \stemDown
  \set fingeringOrientations = #'(down)
  c,-416 d e f-1 g a b c 
  \change Staff = up d e f g a b c b a g f e d c b a 
  \change Staff = down g f e d
}
c4
\bar |.
}


global= { \key c \major \tempo \markup { \column {In Octaves. C Major }}  
\time 8/4  }

\score {
\new PianoStaff 
   \new Staff = up  { \global \S }
   \new Staff = down { \global  \B }

\layout {
  \context {
\Staff
\remove Time_signature_engraver
  }
}
}


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Whole measure rests in Compound duple meter

[Cynthia Karl]

 On Dec 10, 2014, at 5:02 PM, vegasart...@hotmail.com wrote:
 
 Message: 4
 Date: Wed, 10 Dec 2014 13:54:28 -0800
 From: Do something Artistic vegasart...@hotmail.com
 To: lilypond-user@gnu.org lilypond-user@gnu.org
 Subject: FW: Whole measure rests in Compound duple meter
 
 Can't figure out why sometimes these don't go through
 
 
 From: vegasart...@hotmail.com
 To: lilypond-user@gnu.org
 Subject: Whole measure rests in Compound duple meter
 Date: Tue, 9 Dec 2014 15:46:14 -0800
 
 
 
 
 Trying to figure out the notation for whole measure rests in 6/8 time. My 
 work around right now is r2. which seems to fill up the measure but I find 
 this aesthetically unpleasant. Is there another way.

I think the following is succinct and correct:

* the notation for a whole measure rest in a time signature of m/n, 
e.g., 6/8 or 5/4 or even 4/4,is:  R1*m/n
   (the fraction m/n can be reduced to lowest terms, and if the result 
is 1, it can be eliminated.)

* for a sequence of k whole measure rests in a row, the notation is:  
R1*m/n*k

Examples:   *  a whole measure rest in \time 6/8 is R1*6/8, or, 
equivalently, R1*3/4
*  a sequence of 3 whole rests in \time 6/8 is R1*6/8*3



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Why does \skip extend an extender

[Patrick or Cynthia Karl]

In the following snippet:

music = \relative b' {
c4 d e f
f g a b
c,1
}

Lyrics = \lyricmode {
c d e __ _
_ \skip 1 \skip 1 \skip 1
C
}

\score {
\new Staff \music
\addlyrics \Lyrics
\layout { }
}

I want the three skips to skip past the notes g a b.  That is, I want the 
singing of “e” to terminate with the 2nd “f”.  But for some reason the extender 
is extended through the notes “g a b”.  How can I fix this?
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Problem with ChordNames

[Patrick or Cynthia Karl]

I am using LilyPond 2.19.15 on a mac running OSX 10.10 (Yosemite).

The following snippet (from section 2.7.2 Displaying Chords of the Notation 
Manual):

 \version 2.19.15

\new ChordNames {
  \chordmode {
c2 f4. g8
  }
}

fails with the following in the log file:

Drawing systems...
Layout output to `document.ps'...
warning: do not know how to embed 
BitstreamVeraSans-Roman=/Library/Fonts/Vera.tff
Converting to `./document.pdf'...
warning: `(gs -q -dSAFER -dDEVICEWIDTHPOINTS=595.28 -dDEVICEHEIGHTPOINTS=841.89 
-dCompatibilityLevel=1.4 -dNOPAUSE -dBATCH -r1200 -sDEVICE=pdfwrite 
-sOutputFile=./document.pdf -c.setpdfwrite -fdocument.ps)' failed (256)

fatal error: failed files: 
/var/folders/3_/fhptxgks4vd0t5spsm5mbjd8gn/T/frescobaldi-G7De3Y/tmp_ThbNw/document.ly
Exited with return code 1.

This seems to be identical to a problem reported in 2011 (Can't embed font for 
chord changes), but the answer was that OSX 10.6.7 had a font bug.  Is this 
still the case?  Is there a workaround?
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Re: Anacrusis in multiple tunes on page

[Patrick or Cynthia Karl]

Recently you posted:

 It seems clear to me that I am mis-formatting something.
 
 What I am trying to do is is to put multiple tunes on a single page
 as for a set of tunes for a dance. The problem that I'm having is
 that many of these tunes start both the A part and the B part
 with an anacrusis and end the part with a shorter measure to 
 make the  number of beats work out.
 
 Partial works fine for the initial anacrusis, but if the piece has multiple
 parts, each with an anacrusis, the processor complains about the
 subsequent \partial directives. It also doesn't much like a \partial
 at the end of the section.
 
 I've tried just leaving them out, but the programmer in me does not
 like the warning messages that result.
 
 I've noticed that I can account for the missing beats with s and the
 missing time, but this results in unnecessary whitespace and throws
 the overall note spacing out.
 
 Is there an alternative to s that would allow Lilypond to account for
 the missing beats without adding space that I do not want?
 
 More or less minimal example follows -- I've left in the directive blocks
 on the off chance that there's something there or missing from there
 that would influence the problem.
 
 Thanks,
 
 -Don

and Keith Ohara responded:

 From what you wrote I see no problem,

I think what he means is that your more or less minimal example doesn't throw 
any warning or error messages in LilyPond 2.18.0.  Here is a minimal example:

\version 2.18.0

\paper { ragged-right = ##t }

music = \relative b' {
\partial 4 c4
c1
\break
\partial 4 d4
d1
}

\score {
\music
\layout {}
}

 which does throw the warning:

Interpreting music...
SpuriousPartialWarning.ly:11:3: warning: trying to use \partial after the start 
of a piece
  
  \partial 4 d4

I think the difference is that your anacruces(?) are in different scores, while 
mine are in the same score.

The good news is that the above snippet doesn't throw any warning messages at 
2.19.15.  So you could upgrade to that or wait for 2.20 to be released.





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Question about a midi file

[Patrick or Cynthia Karl]

When I compile the following:

 \version 2.19.15

Drum  = \drummode { 
  \set Staff.midiInstrument =#woodblock
  hiwoodblock4 wbh8 wbh wbh wbh wbh4
  r4 r8 wbh8 r4 r8 wbh8
  wbh4 \repeat unfold 12  { wbh16  }
}

\score {
  \new DrumStaff \with { drumStyleTable = #percussion-style
  \override StaffSymbol.line-count = #1 
}
 \Drum
  \layout { }
  \midi { }   
}

the midi notes appear on channel 10 as they should, but they are overlaid by 
what appears to be another percussion instrument playing the following 
simultaneously:

\repeat unfold 3 { toml4\f toml\p toml toml }

i.e., it sounds like a 4-beat metronome.  Here I am using toml only because I 
don't know what percussion instrument is actually involved.

What might be the explanation for this?  and how to stop it?
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Re: Question about a midi file

[Patrick or Cynthia Karl]

On Oct 14, 2014, at 3:30 PM, Peter Crighton wrote:

 2014-10-14 21:54 GMT+02:00 Patrick or Cynthia Karl pck...@mac.com:
 
 When I compile the following:
 
  \version 2.19.15
 
 Drum  = \drummode {
   \set Staff.midiInstrument =#woodblock
   hiwoodblock4 wbh8 wbh wbh wbh wbh4
   r4 r8 wbh8 r4 r8 wbh8
   wbh4 \repeat unfold 12  { wbh16  }
 }
 
 \score {
   \new DrumStaff \with { drumStyleTable = #percussion-style
   \override StaffSymbol.line-count = 
 #1 }
  \Drum
   \layout { }
   \midi { }
 }
 
 the midi notes appear on channel 10 as they should, but they are overlaid by 
 what appears to be another percussion instrument playing the following 
 simultaneously:
 
 \repeat unfold 3 { toml4\f toml\p toml toml }
 
 i.e., it sounds like a 4-beat metronome.  Here I am using toml only because I 
 don't know what percussion instrument is actually involved.
 
 What might be the explanation for this?  and how to stop it?
 
 I don’t get this behaviour (in 2.19.13).
 How do you playback the MIDI file? Are the metronome-notes actually in the 
 MIDI file, or does your MIDI player software maybe have a metronome activated?

Thanks for the information.  I was using a midi player called Sweet Midi 
Player.  I recompiled my problem file with lilypond v2.18.2 and found that I 
still had the problem.  Then I played both midi's with QuickTime 7; there was 
no problem.

Futher investigation showed that Sweet Midi Player did have an option to output 
metronome clicks on channel 10, and that it was enabled.  I disabled it and the 
problem disappeared.

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parallel music with selective repeats

[Patrick or Cynthia Karl]

I have a piece of music that needs to have all staves but one repeat, and that 
non-repeating staff is twice as long as the repeating.  I tried the following 
but got no joy:

 \version 2.19.15

musicA = \relative b' { c d e f }
musicB = \relative f'  { f e d c }

\score {

\new Staff { \musicA \musicB}
\new ChoirStaff 

\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicA }

   
\layout {}
\midi {}
}

The repeat bar is in all three staves, with musicB following on the first staff.

If I add the unfoldRepeats command to the score, all three stave in the pdf 
are as I wish, and the midi file agrees.

I have tried a couple of things to suppress the repeat bar line on the first 
staff:

  * adding \bar | between musicA and musicB
  * adding \set Score.repeatCommands = #'(#f) both before and after \musicA in 
the 1st staff
  * adding \with { \remove Volta Engraver } to the first staff

but the repeat bar is printed in the 1st staff every time.

Is there a way to suppress that repeat sign?  How?
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Re: lilypond-user Digest, Vol 143, Issue 83

[Patrick or Cynthia Karl]

 Message: 5
 Date: Mon, 13 Oct 2014 21:08:41 +0200
 From: David Kastrup d...@gnu.org
 Subject: Re: parallel music with selective repeats
 
 Patrick or Cynthia Karl pck...@mac.com writes:
 
 I have a piece of music that needs to have all staves but one repeat, and 
 that non-repeating staff is twice as long as the repeating.  I tried the 
 following but got no joy:
 
 \version 2.19.15
 
 musicA = \relative b' { c d e f }
 musicB = \relative f'  { f e d c }
 
 \score {

\new Staff { \musicA \musicB}
\new ChoirStaff 

\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicA }
 
 
\layout {}
\midi {}
 }
 
 The repeat bar is in all three staves, with musicB following on the first 
 staff.
 
 If I add the unfoldRepeats command to the score, all three stave in the 
 pdf are as I wish, and the midi file agrees.
 
 I have tried a couple of things to suppress the repeat bar line on the first 
 staff:
 
  * adding \bar | between musicA and musicB
  * adding \set Score.repeatCommands = #'(#f) both before and after \musicA 
 in the 1st staff
  * adding \with { \remove Volta Engraver } to the first staff
 
 but the repeat bar is printed in the 1st staff every time.
 
 Is there a way to suppress that repeat sign?  How?
 
 \layout {
  \context {
\Score \remove Timing_translator
\remove Default_bar_line_engraver
\remove Repeat_acknowledge_engraver
  }
  \context {
\Staff \consists Timing_translator
\consists Default_bar_line_engraver
\consists Repeat_acknowledge_engraver
  }
 }
 
 But it seems like an astonishingly bad idea.

Why?  It seems like an outstandingly good idea to me.  

The original piece had the equivalent of :

musicA = \relative b' { c d e f }
musicB = \relative c''  { f e d c }

\score {
\new ChoirStaff 

\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicB }

\new Staff { \repeat volta 2 \musicA }
\new Staff { \repeat volta 2 \musicA }

   
\layout {}
\midi {}
}

with a note that the first staff was to be played the first time, and a note 
that the second staff was to be played the second time.  I didn't see how that 
would generate a desired midi file.  Is there a way?

Anyway, with your method I get an accurate printed score and an accurate midi 
file.  Thanks.
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Re: lilypond input filename access (Paul Morris)

[Patrick or Cynthia Karl]

On Aug 31, 2014, at 5:14 AM, Phil Holmes m...@philholmes.net wrote:

 - Original Message - From: Patrick or Cynthia Karl pck...@me.com
 To: lilypond-user@gnu.org; Paul Morris p...@paulwmorris.com
 Sent: Saturday, August 30, 2014 8:27 PM
 Subject: Re:lilypond input filename access (Paul Morris)
 
 
 
 Message: 8
 Date: Sat, 30 Aug 2014 08:34:40 -0700 (PDT)
 From: Paul Morris p...@paulwmorris.com
 To: lilypond-user@gnu.org
 Subject: Re: lilypond input filename access
 
 Patrick or Cynthia Karl wrote
 Is there a way to access the input filename that lilypond was invoked with
 in order to include it in text output to the pdf file generated?
 
 This snippet shows how:
 http://lsr.di.unimi.it/LSR/Item?id=197
 
 HTH
 
 That helps a lot.  However,  that snippet begins:
 
 % originally made for
 % \version 2.14.0
 % Modified by David Kastrup for V:2.18 on Feb. 2014
 and doesn’t compile without errors.  I added a '\version “2.14.0” ‘ statement 
 and ran the version 2.18.2 convert-ly on it and the result compiles without 
 error.  It looks like David’s actual mods have gotten lost somehow.
 
 
 
 Could you let us have a copy of the working version, please?

Yes, appended.

Note that although the result compiles without error, there appear to be 
defects in the generated pdf in that several text strings lie partially outside 
the page.

(It’s also curious that the comment in line 6 was changed from % \version 
“2.14.0” to % \version “2.18.0”.  I have manually changed this back to the 
original comment.

The modified snippet:

\version 2.18.0
%% http://lsr.dsi.unimi.it/LSR/Item?id=197
%% see also 
http://lilypond.1069038.n5.nabble.com/LSR-v-2-18-quot-File-Information-quot-strange-warnings-tc159399.html

% originally made for
% \version 2.14.0
% Modified by David Kastrup for V:2.18 on Feb. 2014

%{ Display ly file information on the score, including file name, file size,
 LilyPond version, date processed, time processed, time last modified, and
 the LilyPond command line. %}

#(define comml(object-string (command-line)))
#(define loc  (+ (string-rindex comml #\space ) 2)) 
#(define commllen (- (string-length comml) 2))
#(define filen(substring comml loc commllen))
#(define siz  (object-string (stat:size (stat filen
#(define ver  (object-string (lilypond-version)))
#(define dat  (strftime %m/%d/%Y (localtime (current-time
#(define tim  (strftime %H:%M:%S (localtime (current-time
#(define modt (stat:mtime (stat filen)))
#(define modts(strftime %m/%d/%Y %H:%M:%S (localtime modt)))
\header { dedication = \markup \column {
{ - - - - - - Using Scheme \define\-  - - - - - } % 
\line { File Name = \filen }
\line { File Size = \siz   }
\line { LilyPond Version =  \ver   }
\line { Date Processed =\dat   }
\line { Time Processed =\tim   }
\line { Last Modified = \modts }
\line { Command Line =  \comml }
{  }
{ - - - - - - Using \ly:export\ - - - - - - } % 
{ $(string-appendFile Name = 
  (substring (object-string (command-line))
   (+ (string-rindex (object-string (command-line)) #\sp ) 1)
   (- (string-length (object-string (command-line))) 1))) }
{ $(string-appendFile Size = 
  (object-string (stat:size (stat filen } 
{ $(string-appendLilyPond Version = 
  (lilypond-version)) } 
{ $(string-appendDate Processed = 
  (strftime %m/%d/%Y (localtime (current-time }
{ $(string-appendTime Processed = 
  (strftime %H:%M:%S (localtime (current-time }
{ $(string-appendLast Modified = 
  (strftime %m/%d/%Y %H:%M:%S
  (localtime (stat:mtime (stat filen) }
{ $(string-appendCommand Line = 
  (object-string (command-line))) } 
}   }
{ c''1_\markup { \column {
{ - - - - - - In \markup\ - - - - - - } % 
\line { File Name = \filen }
\line { File Size = \siz   }
\line { LilyPond Version =  \ver   }
\line { Date Processed =\dat   }
\line { Time Processed =\tim   }
\line { Last Modified = \modts }
\line { Command Line =  \comml }
}}}



 
 --
 Phil Holmes 

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lilypond input filename access

[Patrick or Cynthia Karl]

Is there a way to access the input filename that lilypond was invoked with in 
order to include it in text output to the pdf file generated?
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Re:lilypond input filename access (Paul Morris)

[Patrick or Cynthia Karl]

 Message: 8
 Date: Sat, 30 Aug 2014 08:34:40 -0700 (PDT)
 From: Paul Morris p...@paulwmorris.com
 To: lilypond-user@gnu.org
 Subject: Re: lilypond input filename access
 
 Patrick or Cynthia Karl wrote
 Is there a way to access the input filename that lilypond was invoked with
 in order to include it in text output to the pdf file generated?
 
 This snippet shows how:
 http://lsr.di.unimi.it/LSR/Item?id=197
 
 HTH

That helps a lot.  However,  that snippet begins:

% originally made for
% \version 2.14.0
% Modified by David Kastrup for V:2.18 on Feb. 2014
and doesn’t compile without errors.  I added a '\version “2.14.0” ‘ statement 
and ran the version 2.18.2 convert-ly on it and the result compiles without 
error.  It looks like David’s actual mods have gotten lost somehow.

I also stumbled upon the following:

filename = #(ly:parser-output-name parser)

which results in only the filename without the path to the file included.
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Re: lilypond-user Digest, Vol 139, Issue 68

[Patrick or Cynthia Karl]

I frequently need do something like:  c \tweak font-size #-2 c' in order to 
show that one of the two notes is preferred, but the other one is acceptable.  
The problem is that the -2 in the \tweak command is an absolute value, i.e., 
it is not relative to the fontSize being used.  If the fontSize were -3, e.g., 
then the smaller note would actually be bigger than the preferred one.

What I would like to do is substitute for the -2 the value fontSize-2.  Is 
this possible?  If so,how?



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relative note size, was: Re: lilypond-user Digest, Vol 139, Issue 68

[Patrick or Cynthia Karl]

Sorry for the poor Subject.

On Aug 2, 2014, at 10:01 AM, Patrick or Cynthia Karl wrote:

 
 I frequently need do something like:  c \tweak font-size #-2 c' in order to 
 show that one of the two notes is preferred, but the other one is acceptable. 
  The problem is that the -2 in the \tweak command is an absolute value, 
 i.e., it is not relative to the fontSize being used.  If the fontSize were 
 -3, e.g., then the smaller note would actually be bigger than the preferred 
 one.
 
 What I would like to do is substitute for the -2 the value fontSize-2.  
 Is this possible?  If so,how?
 
 


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Re: justified paragraphs in bookTitleMarkup

[Patrick or Cynthia Karl]

 
 Message: 3
 Date: Fri, 18 Jul 2014 16:06:40 +0200
 From: Thomas Morley thomasmorle...@gmail.com
 To: Urs Liska u...@openlilylib.org
 Cc: lilypond-user lilypond-user@gnu.org
 Subject: Re: justified paragraphs in bookTitleMarkup
 Message-ID:
   CABsfGyWdRsxnY-g3U7EHCepSu+TwohTbeYX=x7mpvgm+wvq...@mail.gmail.com
 Content-Type: text/plain; charset=UTF-8
 
 2014-07-18 13:58 GMT+02:00 Urs Liska u...@openlilylib.org:
 Am 18.07.2014 13:45, schrieb Thomas Morley:
 
 2014-07-18 12:57 GMT+02:00 Urs Liska u...@openlilylib.org:
 
 Hi,
 
 I still don't seem to understand this markup stuff sufficiently :-(
 
 ...
 
 Best
 Urs
 
 
 
 Does justify-string what you want?
 
 
 Unfortunately not. It's the same as with justify-field. The result is
 basically right, but I can only supply a string to it and not a markup (i.e.
 no further formatting).
 
 Best I can think of right now is the coding below.
 You'll need to insert \n (or another separator-sign) manually at the
 appropiate places.
 I didn't manage to make the empty lines being automagically recognized 
 instead.
 

If you mean as a blank line between paragraphs, I like the looks of the 
following:

\version 2.18.2

\header {
 desc = \markup \column { \justify-string
   #When working on a score it is often necessary to mark the state of
   development on a given intermediate state (printout or shared PDF).
   Instead of simply adding a date it can be very useful to add information
   about the Git revision if the document is in a version control repository.


   \justify-string
   #This module provides markup commands that retrieve information about the
   current Git repository. It is not only possible to get information about
   the current commit but also whether the repository is in a clean state
   (i.e. whether the score represents the state of a commit or contains
   modifications in the working tree).


   \justify-string
   #A generic command can be used to issue arbitrary Git commands.
   For a list of defined commands see the usage example.




 }
}

\paper {
 bookTitleMarkup = \markup {
\fromproperty #'header:desc
 }
}

{ c' }



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Problem ordering staves

[Patrick or Cynthia Karl]

I'm trying to do a score where one group of instruments splits and plays 
different music for a while.  I guess that this might be an instance of 
ostia, but I am required to place the new music on two staves in their own 
staff group.  What I came up with is the following:

 \version 2.18.2
 
 A =   \relative b' {
   \set Staff.instrumentName = #A
 
   \repeat unfold 4 { c d e f }
   \break
   \new ChoirStaff {
   \set ChoirStaff.systemStartDelimiter = #'SystemStartBrace
   \set ChoirStaff.shortInstrumentName = #A
   \new Staff { \repeat unfold 4 { c d e f } }
   \new Staff { \repeat unfold 4 { f e d c } }
   }
 }
 
 T = \relative b' {
   \set Staff.instrumentName = #T
   \set Staff.shortInstrumentName = #T
   \repeat unfold 8 { b b b b }
 }
   
 \score {
   \new ChoirStaff 
   \new Staff { \A  }
   \new Staff { \T }
   
   \layout {\context { \Staff \RemoveEmptyStaves} }
 }

This works almost perfectly.  The only problem is that the order of the staves 
after the break is reversed from what I want, i.e., in the first system the A 
staff is above the T staff, but in the second system, the T staff is above the 
group of A staves.  I am attaching a png of the above example.

I can see that somehow the new ChoirStaff is independent of the A staff, which 
is why I am using the command \RemoveEmptyStafes; without it an empty staff 
occupies the position above the T staff.

How can I get the ChoirStaff staves to appear above the T staff in the second 
system?

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What is it with \bar ||?

[Patrick or Cynthia Karl]

I recently had a problem with a \bar || at the end of a line suppressing the 
initial repeat sign in the following repeat volta section.  The answer was to 
use some magical \bar instead which cured the problem.  It was not clear to me 
then why the \bar || seemed to cause the following section to be treated as a 
new piece.

I am now having a similar problem with the following code:

\version 2.18.2

A =   \relative b' {
f4 g g a% 16
\bar ||
(f4) f f f  % 17
}

which throws an error: syntax error, unexpected EVENT_IDENTIFIER
for the attempted slur across the double bar line.

Is there a workaround for this?  If so, should I be able to figure it out?

I still think the documentation about repeat signs only being suppressed at the 
beginning of a piece is wrong and should be fixed.  It might also be nice to 
have a better explanation why the \bar || has the effects it does.

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Re: lilypond-user Digest, Vol 139, Issue 116

[Patrick or Cynthia Karl]

 Message: 2
 Date: Sun, 29 Jun 2014 22:04:05 +0200
 From: Thomas Morley thomasmorle...@gmail.com
 Subject: Re: What is it with \bar ||?
 
 
 Actually it is a little more complicated.

First of all let me say that I appreciate everyone's patience with me.  I have 
learned more that I thought I would from this discussion.

Second, it seems to me that this topic is much more complicated that it ought 
to be.

Finally, I still think that the following statement in section 1.4 of the 
Notation documentation:

volta   ... If the repeat is at the beginning of a piece, a repeat bar line is 
only printed at the end of
the repeat.

needs modification because it is misleading.  It implies that if the repeat is 
not at the beginning of a piece, a repeat bar will be printed at the beginning 
of the repeat.  That implication is evidently false.



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Re: What is it with \bar ||?

[Patrick or Cynthia Karl]

Sorry for not having changed the subject appropriately.

On Jun 29, 2014, at 9:40 PM, Patrick or Cynthia Karl wrote:

 
 Message: 2
 Date: Sun, 29 Jun 2014 22:04:05 +0200
 From: Thomas Morley thomasmorle...@gmail.com
 Subject: Re: What is it with \bar ||?
 
 
 Actually it is a little more complicated.
 
 First of all let me say that I appreciate everyone's patience with me.  I 
 have learned more that I thought I would from this discussion.
 
 Second, it seems to me that this topic is much more complicated that it ought 
 to be.
 
 Finally, I still think that the following statement in section 1.4 of the 
 Notation documentation:
 
 volta ... If the repeat is at the beginning of a piece, a repeat bar 
 line is only printed at the end of
   the repeat.
 
 needs modification because it is misleading.  It implies that if the repeat 
 is not at the beginning of a piece, a repeat bar will be printed at the 
 beginning of the repeat.  That implication is evidently false.
 
 


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Re: Repeat volta not at beginning of piece doesn't get initial repeat bar line

[Patrick or Cynthia Karl]

 Message: 6
 Date: Thu, 26 Jun 2014 20:20:16 +0200
 From: Marc Hohl m...@hohlart.de
 Subject: Re: Repeat volta not at beginning of piece doesn't get
   initial repeat  bar line
 [...]
 Sorry, that doesn't work for me, result is the same.  I assume you're saying 
 to replace the \bar || with \bar .|:-||.
 
 Typo?

No, I cut and pasted.

It turns out that in my zeal to come up with a minimal example, I omitted 
\score { \new Staff { \music }}.  My example compiled, but didn't generate the 
initial repeat bar line.  Putting it in makes it work.  Thanks for the info.

Do you know why omitting the \score info causes the initial repeat to also be 
omitted?

 
 \version 2.18.2
 
 music = \relative b' {
a1 a a a
\bar .|:-||
 
\break
 
\repeat volta 2 { a4 b c d }
 }
 
 \score  {
   \new Staff { \music }
 }
 
 compiles for me and yields in a || at the end of the first and a .|: at
 the beginning of the next line.


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Repeat volta not at beginning of piece doesn't get initial repeat bar line

[Patrick or Cynthia Karl]

Section 1.4 of the Notation Manual says about volta repeats:

volta   The repeated music is not written out but enclosed between 
repeat bar lines. If the repeat is at the beginning 
of a piece, a repeat bar line is only printed at the end of the 
 repeat.

But the following snippet does not generate the initial repeat bar line, 
apparently because of the || bar line.  But the || bar line does not 
indicate the end of a piece.

I have tried several things to get the inital repeat bar line to appear without 
success.  I suspect it's not very difficult.  Can anyone please tell me how to 
do it?  And if I'm correct about the problem being caused by the || bar line, 
the documentation should probably be changed.

\version 2.18.2

music = \relative b' {
a1 a a a
\bar ||

\break

\repeat volta 2 { a4 b c d }
}


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Re: Repeat volta not at beginning of piece doesn't get initial repeat bar line

[Patrick or Cynthia Karl]

 In lilypond-user Digest, Vol 139, Issue 98 Message: 6, Jay Anderson wrote:

 Date: Thu, 26 Jun 2014 08:53:23 -0700
 From: Jay Anderson horndud...@gmail.com
 To: Patrick or Cynthia Karl pck...@mac.com
 Subject: Re: Repeat volta not at beginning of piece doesn't get
   initial repeat  bar line
 
 On Thu, Jun 26, 2014 at 8:37 AM, Patrick or Cynthia Karl pck...@mac.com 
 wrote:
 Section 1.4 of the Notation Manual says about volta repeats:
 
 volta   The repeated music is not written out but enclosed between 
 repeat bar lines. If the repeat is at the 
 beginning of a piece, a repeat bar line is only printed at the end of the
   repeat.
 
 But the following snippet does not generate the initial repeat bar line, 
 apparently because of the || bar line.  But the || bar line does not 
 indicate the end of a piece.
 
 I have tried several things to get the inital repeat bar line to appear 
 without success.  I suspect it's not very difficult.  Can anyone please tell 
 me how to do it?  And if I'm correct about the problem being caused by the 
 || bar line, the documentation should probably be changed.
 
 \version 2.18.2
 
 music = \relative b' {
a1 a a a
\bar ||
 
\break
 
\repeat volta 2 { a4 b c d }
 }
 
 You're right that the \bar || is overriding the repeat bar. I assume
 you're wanting a double bar before the break. Use \bar .|:-||
 instead. You can lookup valid bar strings in bar-line.scm.

Sorry, that doesn't work for me, result is the same.  I assume you're saying to 
replace the \bar || with \bar .|:-||.

I still don't understand why the || bar is overriding the repeat bar, as || 
doesn't signify end-of-piece so the \repeat volta is not at the beginning of a 
piece so the initial repeat bar line should be printed.


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Variable length bars

[Patrick or Cynthia Karl]

I'm trying to set a John Dowland piece (Come Ye Heavy States of Night) which 
has a single initial time signature of 4/2 2/2 followed by measures that are 
either 4 half-note beats or 2 half-note beats long, in quasi-random fashion.

It's clear that if I can get that time signature printed, I can set the piece 
by appropriate use of \set Timing.measureLength.

Can anyone point me to a way to do that?

Thanks

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Guile error starts occurring all of a sudden

[Patrick or Cynthia Karl]

I have been using the command(?) #(include-special-characters) all morning and 
yesterday.  Then all of a sudden I start getting this error:

Parsing...
/Users/pat/Documents/LilyPond/tmp/test_guile.ly:3:2: error: GUILE signaled an 
error for the 

expression beginning here
#
 (include-special-characters)
Unbound variable: include-special-characters

I get this error with the following lilypond file, called test_guile.ly:

\version 2.18.2

#(include-special-characters)

Ordinarily, I run jEdit, but I also get the error when running lilypond from 
the command line:

$ lilypond -V test_guile.ly
Log level set to 287
GNU LilyPond 2.18.2
.
.
.
Using `nederlands' note names...
 [test_guile.lyBacktrace:
In unknown file:
   ?:  0* [lilypond-main (test_guile.ly)]
In 
/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm/lily.scm:
 965:  1* (let* ((failed #)) (if (ly:get-option #) (begin #)) ...)
 965:  2* [lilypond-all (test_guile.ly)]
 978:  3  (let* ((failed #) (separate-logs #) (ping-log #) ...) (gc) ...)
 990:  4* [for-each #procedure #f (x) (test_guile.ly)]
In unknown file:
   ?:  5* [#procedure #f (x) test_guile.ly]
In 
/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm/lily.scm:
 992:  6* (let* (# # #) (if separate-logs #) (if ping-log #) ...)
1003:  7* [lilypond-file #procedure #f (key failed-file) test_guile.ly]
1038:  8  [catch ly-file-failed #procedure #f () #procedure #f (x . args)]
In unknown file:
   ?:  9* [#procedure #f ()]
In 
/Applications/LilyPond.app/Contents/Resources/share/lilypond/current/scm/lily.scm:
1039: 10* [ly:parse-file test_guile.ly]
In test_guile.ly:
   3: 11* (include-special-characters)

test_guile.ly:3:1: In expression (include-special-characters):
test_guile.ly:3:1: Unbound variable: include-special-characters

My OS is OSX 10.7.5.

I ran Disk Utility (verify disk) on my hard disk (where /Applications lives) 
and got a clean bill-of-health.
When I first encountered the error, I was still running LilyPond 2.18.0, but I 
have downloaded and installed version 2.18.2 and still get the error.

Does anyone have any clue for me?




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