Fwd: Stanzas with different rhythms

[Helge Kruse]

 Weitergeleitete Nachricht 
Betreff:Re: Stanzas with different rythms
Datum:  Fri, 20 May 2022 13:01:10 -0600
Von:Carl Sorensen 
An: Helge Kruse 


My way of doing it (based on the way it is done in the hymnals with
which I am most familiar) is not to use small notes, but instead to use
dashed ties.

\version "2.19.80"

\paper {
    ragged-right = ##f
}

% First stanza with correct rythm.
stanzaOneRhythm = \relative c' {
    \time 6/4
    \partial 4
    e4 |
    a2 a4  e4. 8 4 |
    f2. c2 4 |
    d2 e4 f2 d4
}
stanzaOneLyrics = \lyricmode {
    Es war ein Kö -- nig in Thu -- le gar treu bis an das
}

% Second stanza omitted
% Third stanza with correct rythm.
stanzaThreeRhythm = \relative c' {
    \time 6/4
    \partial 4
    e4 |
    a2 a4 e2 4 |
    f2. c2 4 |
    d2 \autoBeamOff e8 8 f2 d4
}
stanzaThreeLyrics = \lyricmode {
    Und als er kam zu ster -- ben, zählt er sei -- ne Städt im
}

displayedRhythm =  \relative c' {
    \time 6/4
    \partial 4
    e4 |
    a2 a4 \tieDashed e4.~8 \tieSolid 4 |
    f2. c2 4 |
    d2 \autoBeamOff \tieDashed e8~8 \tieSolid f2 d4
}

<<
   \new Staff <<
     \new Voice = "displayed" {\displayedRhythm}
     \new NullVoice = "stanzaOne" {\stanzaOneRhythm}
     \new NullVoice = "stanzaThree" {\stanzaThreeRhythm}
   >>
   \new Lyrics {
     \lyricsto "stanzaOne" \stanzaOneLyrics
   }
   \new Lyrics {
     \lyricsto "stanzaThree" \stanzaThreeLyrics
   }
 >>

HTH,

%%%

Yes, indeed it helps.

The idea with the NullVoice and independent rhythms is great. All in
all, there are 6 stanzas with 5 rhythm variants because of the diffent
numbers of syllables. Defining one displayed voice with the (potential)
shorter notes and individual rhythms for the stanzas gives me a very
good replication of the original score.

That's also the reason I don't want to use the dashed tie. Probably it
is a more readable form for rhythm variations in songs. But since I'm
unexperience with songs, I try to keep near the original.

Thanks,
Helge

Carl

Stanzas with different rythms

[Helge Kruse]

Although using Lilypond for some years I am a beginner in typsettings
songs. I want to copy an existing sheet and replicate the style as far
as possible. One idea is that the melody shows the rythm for the first
stanza. The differences of other stanzas should be indicated with
smaller notes (head and stem).

How can I combine the stanzas and create small notes for changes in
later stanzas?

I hope the following is a minimal example. In the first measure "Kö-nig
in" must be matched with shorter notes. In the third measure it's
"sei-ne Städt".

Best regards,
Helge

\version "2.19.80"

\paper {
  ragged-right = ##f
}

% First stanza with correct rythm.
\relative c' {
  \time 6/4
  \partial 4
  e4 |
  a2 a4  e4. 8 4 |
  f2. c2 4 |
  d2 e4 f2 d4
}
\addlyrics {
  Es war ein Kö -- nig in Thu -- le gar treu bis an das
}

% Second stanza omitted
% Third stanza with correct rythm.
\relative c' {
  \time 6/4
  \partial 4
  e4 |
  a2 a4 e2 4 |
  f2. c2 4 |
  d2 \autoBeamOff e8 8 f2 d4
}
\addlyrics {
  Und als er kam zu ster -- ben, zählt er sei -- ne Städt im
}

% Combine stanzas with different rythms.
% The note heads look ok, but all between << >> is not used.
\relative c' {
  \time 6/4
  \partial 4
  e4 |
  a2 a4 << { e4. 8 4} \\ { \small e2 } >> |
  f2. c2 4 |
  d2 << e4 \\ { \autoBeamOff e8 8 } >>
}
\addlyrics {
  Es war ein Kö -- nig in Thu -- le gar treu bis an das
}
\addlyrics {
  Und als er kam zu ster -- ben, zählt er sei -- ne Städt im
}

Re: Version 2.22.1 problem

[Helge Kruse]

On 21.11.2021 18:52, Leonid Hrabovsky wrote:

Ok, I will check. My Windows version is 8. The errors are:

"Error opening file for writing:

C:\Program Files (x86)\LilyPond\usr\ bin\libexpat-1.dll

Ther is a space in front of the "bin" in the directory name. That's
strange. If this is not a typo in the mail but an actually present part
of the path, it could be a problem.

Regards,
Helge

Re: Windows Media Player alternatives for midi playing?

[Helge Kruse]

Am 31.10.2021 um 02:02 schrieb Wol:


On 30/10/2021 08:42, Pablo Cordal wrote:

The problem: WMP blocks the midi file while (and after) it's playing,
so if I modify something in lilypond and I want to hear it, I have to
close WMP, then compile, go to the folder and reproduce again.. and
I'm composing so I do it a LOT of times.


Except that's NOT the problem. The problem is that WINDOWS locks the
file against writing if anything else has it open. You need to get WMP
to drop the file.


Please don't mix up Windows operating sytem and Windows applications.
The OS provides the apps the capabiliies to lock or to share files.
There's no reason to blame Microsoft for choosing Adobe the option to
lock the file.


I have exactly the same problem with Acrobat Reader - if I'm viewing a
score I can't run lilypond until I close Acrobat, otherwise it just
fails on me because it can't overwrite the pdf.


Yes, Adobe probably doesn't read the entire file and needs to re-read
some chunks from the file. So Adobe choosed to lock the file.



Question: anybody knows a mid player with does not block the file, so
it loads the file each time for playing it?


Switch to linux? Because linux doesn't tie the file name to the file,
it can delete the old file without messing up any program that's got
the file open, and create a new file with the same name.


So if I ask for a tire, you offer an entire car? There are good reason
to choose an operating system. If one tool in the tool set doesn't fit,
it's not necessary to switch to a new OS.

Regards,
Helge

Re: Windows Media Player alternatives for midi playing?

[Helge Kruse]

Am 30.10.2021 um 09:42 schrieb Pablo Cordal:


Question: anybody knows a mid player with does not block the file, so
it loads the file each time for playing it?


You can try the DesktopMidiPlayer.
(http://breakoutbox.de/software/desktopmidi/desktopmidi.htm). This /app/
doesn't lock the file. But I don't have experience with sound files. So
you will have to check if it meets your needs.

Regards,
Helge

Re: attenzione: troppe collisioni tra pause

[Helge Kruse]

On 25.09.2021 09:31, Mario Moles wrote:

Ok! Here is an example in the attached file!



You are engraving music for a single guitar in a single system. Your
source source is not complete yet, two voices are empty in the example.
But it looks like you want the player to play four voices
simultaneously. I feel that can be challenging for the player.

Anyway, if you engrave multi-voice music, each voice should be visible
in the score. This is done with note heads orientation up and down. The
LilyPond Notation Reference will help here:
https://lilypond.org/doc/v2.22/Documentation/notation/multiple-voices

You can fix your example by changing a voice:

classicalGuitarVoiceTwo = \relative c' {
  \global
  \voiceOne
  8 b\rest  b\rest  b\rest  s|
}

There is a logical mismatch between classicalGuitarVoice_Two_ and
\voice_One_. But as already said in the introduction the number of voice
for a guitar play is limited.

Best regards,
Helge

Re: attenzione: troppe collisioni tra pause

[Helge Kruse]

On 24.09.2021 06:57, Mario Moles wrote:

Hi!

How to solve this warning:

attenzione: troppe collisioni tra pause

?

t's annoying!


May be. But it's also hard to find an answer without more details. There
is the idea of a minimum working example. Could you try to provide the
snippet that causes the warning?

Best regards,
Helge

Re: Gracenote bug?

[Helge Kruse]

14 years, wow!

I thought GCC bug 1773 would be the oldest bug. But that had been closed
a decade ago.

Helge

Am 23.08.2021 um 20:49 schrieb Kees van den Doel:

A 14 year old bug must be some sort of record.
Workaround seems to put a grace note in all voices, but use 's' to
make unwanted ones invisible.

Cheers,
Kees

On Mon, Aug 23, 2021 at 11:41 AM Aaron Hill mailto:lilyp...@hillvisions.com>> wrote:

On 2021-08-23 11:30 am, Kees van den Doel wrote:
> Trying to shift a note away from the barline which it's touching by
> adding
> a \grace s16, but I ran into what appears a bug?
> [ . . . ]

One of the longest-standing bugs, in fact.  See [1].

[1]: https://gitlab.com/lilypond/lilypond/-/issues/34



-- Aaron Hill

Re: Barcheck failed when MIDI is enabled

[Helge Kruse]

Hi Lukas,

Am 14.05.21 um 08:45 schrieb Lukas-Fabian Moser:

Hi Helge,

Am 14.05.21 um 07:43 schrieb Helge Kruse:


Why do I get the warning only for MIDI output and how can I avoid it?


It seems MIDI creation does not deal correctly with the incomplete
bars in the \alternative's. I didn't have time to check whether this
is a known issue, but as a workaround, you can let LilyPond unfold the
repeats for MIDI.


Thanks for that workaround. Now I get both at the same time: layout and
MIDI without any warning. Works perfect.

Best regards,
Helge

Barcheck failed when MIDI is enabled

[Helge Kruse]

Hello,

I am copying a manuscript that uses volta repeats. The first measure is
a upbeat (partial 4).

I get the expected result. I looks like the manuscript. I also want to
use the MIDI playback to get an impression how it will sound.
Unfortunately I get

PartialRepeat1.ly:65:31: warning: barcheck failed at: 1/2 4 
r8. 16 |

if the MIDI output is enabled.

Why do I get the warning only for MIDI output and how can I avoid it?

Best regards, Helge

\version "2.20.0" \language "deutsch" \header {   title = "Pastorale"  
composer = "Georg Friedrich Händel" } % set as br={} if you don't want
original line breaks br=\break upper = \relative c' {   \key b \major  
\numericTimeSignature   \time 3/4   \partial 4   \repeat volta 2 {    
4\f |     R2.*5 \br     R2.*2  4(\> )\!   }  
\repeat volta 2 {     4\f |     R2. \br     R2.*5 \br     R2.*4
\br     % page 2     R2.*3   }   \alternative {     { 4  }
    { 4  r }   } \br   4  r8. 16 | R2.*3
\br   R2.*3 \acciaccatura { c,16 f } b16 a g f f2 | } \score {   \new
PianoStaff <<     \new Staff = "upper" \with {   midiInstrument =
"orchestral harp"     } \upper   >>   \layout { } %  \midi { } }

FingeringOrientation ignored

[Helge Kruse]

Hello,

corresponding to

http://lilypond.org/doc/v2.19/Documentation/notation/inside-the-staff#Ausgewahlte-Schnipsel-21

I want to change the position of the fingering. This doesn't work in my
case. Wrong's wrong here?

\version "2.19.80"
\relative c' {
  \key es\major
  \clef bass
  \set fingeringOrientations = #'(down)
  c-1^\( bes-2 as-3 g-4 |
  f-1 es-2 d-3 es-2\) |
}

Best regards,
Helge

Leadsheet for voice and ukulele

[Helge Kruse]

Hello,

I want to transpose a song consisting of leadsheat and ukulele. It's my
first song I typeset with Lilypond.

At least I get an output that shows the most parts. But I am not
satisfied in some points. I hope you can give me some hints how to
improve it.

- There are a lot of warnings "No string for pitch #..." In the fret
diagram I find damped strings. E.g. the first fret diagram Dm should
show all for strings corresponding to the appendix A of the notation
reference. How can I get the fret diagram with all for strings.

- The chord Csus4 is written only as C4 (omitting the sus). Even if the
sus is correct in the sense of music theory, I would like to stay witht
the C4. Unfortunately I didn't fount this in the NR. Any idea?

- This distance between the last verse and the rythm staff should be
increased.

If there are other clumsy things in my notation, any comment is appreciated.

Reagrds,
Helge

\version "2.19.80"

\include "deutsch.ly"

\header {
  title = "SCARBOROUGH FAIR"
  composer = "Traditional"
}

global = {
  \key c \major
  \time 3/4
}

chordNames = \chordmode {
  \global
  d2.:m
  s
  c4. c8:sus4 c4
  d2:m c4:6
  d2:m c4:6

  f2.
  d:m
  s4 g s
  a2.
  s2 a4:sus4
  d2.:m
  f
  s
  c4 f c
  f c2
  d2.:m
  c2 c4:sus4
  a4:m a:sus4 a:m
  d2:m c4:6
  d2.:m
}

melody = \relative c' {
  \global
  d2 d4 |
  a'4 4 4 |
  e4. f8 e4 |
  d2. ~
  d |
  \break
  r4 a' c |
  d2 c4 |
  a h g |
  a2. ~
  a2 d4 |
  \break
  d2 4 |
  c2 a4 |
  a g f |
  e8 d c2 ~ |
  c2. |
  \break
  d2 a'4 |
  g2 f4 |
  e d c |
  d2. ~ d
  \bar "|."

}

verse = \lyricmode {
  Are you go- ing to
  Scar- bo- rough Fair?
  Pars- ley, sage, rose- ma- ry and thyme.
  Re- mem- ber me to one who lives there, _ _
  she once was a true love of mine.
}

verseII = \lyricmode {
  Tell her to make me a cam- bric shirt
  Pars- ley, sage, rose- ma- ry, and thyme.
  With- out no seams nor nee _ dle work, _ _
  then she'll be a true love of mine.
}

verseIII = \lyricmode {
  Tell her to find me an a- cre of land
  Pars- ley, sage, rose- ma- ry and thyme.
  Be- tween the salt wa- ter and the sea strands
  then she'll be a true love of mine.
}

rythm = {
  \improvisationOn
  \stemDown
  c4\downbow 8\downbow 8\upbow 8[\downbow 8]\upbow |
  4\downbow 8\downbow 8\upbow 4\downbow |
  4 8 8 4 |
  4 8 8 8[ 8] |
  4 8 8 8[ 8] |

  4 8 8 8[ 8] |
  4 8 8 4 |
  4 4 4 |
  4 8 8 8[ 8] |
  4 8 8 4 |

  4 8 8 8[ 8] |
  4 8 8 8[ 8] |
  4 4 4
  4 8 8 8[ 8] |
  4 4 4 |

  4 8 8 8[ 8] |
  4 8 8 8[ 8] |
  4 4 4 |
  4 8 8 8[ 8] |
  2.
}

leadSheetPart = <<
  \new ChordNames \chordNames
  \new FretBoards {
\set Staff.stringTunings = #ukulele-tuning\chordNames  }
  \new Staff { \melody }
  \addlyrics { \verse }
  \addlyrics { \verseII }
  \addlyrics { \verseIII }
  \new RhythmicStaff { \rythm }
>>

%%{
\score {
  <<
\leadSheetPart
  >>
  \layout { }
}
%}

%%{
\score {
  <<
\transpose d a, \leadSheetPart
  >>
  \layout { }
}
%}

Leadsheet for voice and ukulele

[Helge Kruse]

Hello,

I want to transpose a song consisting of leadsheat and ukulele. It's my
first song I typeset with Lilypond.

At least I get an output that shows the most parts. But I am not
satisfied in some points. I hope you can give me some hints how to
improve it.

- There are a lot of warnings "No string for pitch #..." In the fret
diagram I find damped strings. E.g. the first fret diagram Dm should
show all for strings corresponding to the appendix A of the notation
reference. How can I get the fret diagram with all for strings.

- The chord Csus4 is written only as C4 (omitting the sus) in the
original sheet. Even if the sus is correct in the sense of music theory,
I would like to stay witht the C4. Unfortunately I didn't fount this in
the NR. Any idea?

- This distance between the last verse and the rythm staff should be
increased.

If there are other clumsy things in my notation, any comment is
appreciated.

Reagrds,
Helge

\version "2.19.80"

\include "deutsch.ly"

\header {
  title = "SCARBOROUGH FAIR"
  composer = "Traditional"
}

global = {
  \key c \major
  \time 3/4
}

chordNames = \chordmode {
  \global
  d2.:m
  s
  c4. c8:sus4 c4
  d2:m c4:6
  d2:m c4:6

  f2.
  d:m
  s4 g s
  a2.
  s2 a4:sus4
  d2.:m
  f
  s
  c4 f c
  f c2
  d2.:m
  c2 c4:sus4
  a4:m a:sus4 a:m
  d2:m c4:6
  d2.:m
}

melody = \relative c' {
  \global
  d2 d4 |
  a'4 4 4 |
  e4. f8 e4 |
  d2. ~
  d |
  \break
  r4 a' c |
  d2 c4 |
  a h g |
  a2. ~
  a2 d4 |
  \break
  d2 4 |
  c2 a4 |
  a g f |
  e8 d c2 ~ |
  c2. |
  \break
  d2 a'4 |
  g2 f4 |
  e d c |
  d2. ~ d
  \bar "|."

}

verse = \lyricmode {
  Are you go- ing to
  Scar- bo- rough Fair?
  Pars- ley, sage, rose- ma- ry and thyme.
  Re- mem- ber me to one who lives there, _ _
  she once was a true love of mine.
}

verseII = \lyricmode {
  Tell her to make me a cam- bric shirt
  Pars- ley, sage, rose- ma- ry, and thyme.
  With- out no seams nor nee _ dle work, _ _
  then she'll be a true love of mine.
}

verseIII = \lyricmode {
  Tell her to find me an a- cre of land
  Pars- ley, sage, rose- ma- ry and thyme.
  Be- tween the salt wa- ter and the sea strands
  then she'll be a true love of mine.
}

rythm = {
  \improvisationOn
  \stemDown
  c4\downbow 8\downbow 8\upbow 8[\downbow 8]\upbow |
  4\downbow 8\downbow 8\upbow 4\downbow |
  4 8 8 4 |
  4 8 8 8[ 8] |
  4 8 8 8[ 8] |

  4 8 8 8[ 8] |
  4 8 8 4 |
  4 4 4 |
  4 8 8 8[ 8] |
  4 8 8 4 |

  4 8 8 8[ 8] |
  4 8 8 8[ 8] |
  4 4 4
  4 8 8 8[ 8] |
  4 4 4 |

  4 8 8 8[ 8] |
  4 8 8 8[ 8] |
  4 4 4 |
  4 8 8 8[ 8] |
  2.
}

leadSheetPart = <<
  \new ChordNames \chordNames
  \new FretBoards {
\set Staff.stringTunings = #ukulele-tuning\chordNames  }
  \new Staff { \melody }
  \addlyrics { \verse }
  \addlyrics { \verseII }
  \addlyrics { \verseIII }
  \new RhythmicStaff { \rythm }
>>

%%{
\score {
  <<
\leadSheetPart
  >>
  \layout { }
}
%}

%%{
\score {
  <<
\transpose d a, \leadSheetPart
  >>
  \layout { }
}
%}

Re: Manual

[Helge Kruse]

On 15.04.2021 08:13, Mario Moles wrote:

Hi!
You know the manual for moveto, lineto etc ?
Thanks.


Sounds like you ask for PostScript commands. Would this help?
https://www.adobe.com/jp/print/postscript/pdfs/PLRM.pdf

Regards,
Helge

Implementing MIDI simile

[Helge Kruse]

Hi,

I have a score that follows a dynamic pattern over some lines. I want to
use the "simile" to indicate the pattern for the player and of course to
save typing effort.

Additionally I want to use the MID sound to verify my score.
Unfortunately my approach ends in a very silent MIDI output volume.

- How can typeset a proper "simile"?
- Why is the MIDI sound level at the start of the third measure (Takt)
than at the start of the second measure. The preceeding dynamics are the
same, and I would expect the same volume level.

Best regards,
Helge

\version "2.18.2"
\language "deutsch"

upper = \relative c' {
  \key g \major
  \time 3/4

  | r8\mp\< d h' a\> h d,\!
  | r\< d a' \tuplet 3/2 { h16 a g\> } a8 h\!

  | r8_\markup{simile} d, h' a h d,
  | r d a' \tuplet 3/2 { h16 a g } a8 h

  | r8 d, h' a h d,
  | r d a' \tuplet 3/2 { h16 a g } a8 h
}

\score {
  \new PianoStaff <<
\new Staff = "upper" \with {
  midiInstrument = "orchestral harp"
} \upper
  >>
  \layout { }
  \midi { }
}

Re: Position of fingering

[Helge Kruse]

Hi Mark,

Thanks, this was my first intention since I have to put *some* numbers
below the system.But I thought I had to use the underscore bar
additionally to the hyphen. Just the replacement does the job.

Best regards,
Helge

Am So., 26. Juli 2020 um 14:00 Uhr schrieb Thomas Morley
:
>
> Am So., 26. Juli 2020 um 13:50 Uhr schrieb Helge Kruse :
> >
> > Hi,
> >
> > I want to put the fingering information below the notes. Corresponding to
> > http://lilypond.org/doc/v2.18/Documentation/notation/inside-the-staff#fingering-instructions
> >
> > and
> >
> > http://lilypond.org/doc/v2.20/Documentation/notation/inside-the-staff#fingering-instructions
> >
> > this should be possible with
> >
> >  \set fingeringOrientations = #'(down)
> >
> > But as the example shwows it doesn't work. I am convinced that Lilypond
> > is able to do it correctly. Can you help fixing my example?
> >
> > Best regards,
> > Helge
> >
> >
> > % \version "2.18.9"
> > \version "2.20.0"
> > \language "deutsch"
> >
> > \score {
> > \new Staff \relative c'' {
> >   \clef bass
> >   \set fingeringOrientations = #'(down)
> >   | g,,8-4 d'-2 h'-1 g-2 d-4 a'-2 d4-1
> > }
> > }
> >
>
> fingeringOrientations is for in-chord-fingerings use \override
> Fingering.direction = #DOWN instead
>
> Cheers,
>   Harm
>


-- 
PGP Fingerprint: EDCE F8C8 B727 6CC5 7006  05C1 BD3F EADC 8922 1F61

Re: Position of fingering

[Helge Kruse]

Thanks, I realized my error.

Regards,
Helge

Am So., 26. Juli 2020 um 14:00 Uhr schrieb Thomas Morley
:
>
> Am So., 26. Juli 2020 um 13:50 Uhr schrieb Helge Kruse :
> >
> > Hi,
> >
> > I want to put the fingering information below the notes. Corresponding to
> > http://lilypond.org/doc/v2.18/Documentation/notation/inside-the-staff#fingering-instructions
> >
> > and
> >
> > http://lilypond.org/doc/v2.20/Documentation/notation/inside-the-staff#fingering-instructions
> >
> > this should be possible with
> >
> >  \set fingeringOrientations = #'(down)
> >
> > But as the example shwows it doesn't work. I am convinced that Lilypond
> > is able to do it correctly. Can you help fixing my example?
> >
> > Best regards,
> > Helge
> >
> >
> > % \version "2.18.9"
> > \version "2.20.0"
> > \language "deutsch"
> >
> > \score {
> > \new Staff \relative c'' {
> >   \clef bass
> >   \set fingeringOrientations = #'(down)
> >   | g,,8-4 d'-2 h'-1 g-2 d-4 a'-2 d4-1
> > }
> > }
> >
>
> fingeringOrientations is for in-chord-fingerings use \override
> Fingering.direction = #DOWN instead
>
> Cheers,
>   Harm
>


-- 
PGP Fingerprint: EDCE F8C8 B727 6CC5 7006  05C1 BD3F EADC 8922 1F61

Position of fingering

[Helge Kruse]

Hi,

I want to put the fingering information below the notes. Corresponding to
http://lilypond.org/doc/v2.18/Documentation/notation/inside-the-staff#fingering-instructions

and

http://lilypond.org/doc/v2.20/Documentation/notation/inside-the-staff#fingering-instructions

this should be possible with

 \set fingeringOrientations = #'(down)

But as the example shwows it doesn't work. I am convinced that Lilypond
is able to do it correctly. Can you help fixing my example?

Best regards,
Helge


% \version "2.18.9"
\version "2.20.0"
\language "deutsch"

\score {
\new Staff \relative c'' {
  \clef bass
  \set fingeringOrientations = #'(down)
  | g,,8-4 d'-2 h'-1 g-2 d-4 a'-2 d4-1
}
}

Re: Looking for inter-note ornament

[Helge Kruse]

Am 31.12.2018 um 14:56 schrieb Helge Kruse:
> It would be perfect to place them in the middle
> between the two notes but in the same y-position like the finger
> numbers. 

I found that this can be entered with two variables:

raus = \once -\tweak Script.X-offset #-2 \upbow
aus = \once -\tweak Script.X-offset #-1 \upbow

The piece has a first movement with a quarter and eighth notes and a
second with eighth and sixteenth notes. I needed to adjust the X offset
differently depending from the overall beat of the movement. So I use
one variable for the slow part the other for the fast part:


common = { \time 3/4 }
slowMovement = \relative c'' {
   a4.-3\! g8\raus-4 b-3 c-2 |
   d4.-1 s4. s2. s s s \bar "||"  }
fastMovement = \relative c'' {
   d8-2 d16-2\aus g-1 f-2 e-3 d8-4 d16-2\aus f-1 e-2 c-3 |
   s2. s s s s  }

\score {
  \new Staff { \common \slowMovement \break \fastMovement }
}


This doesn't place the ornament exactly in the middle between the notes
and the names "aus" and "raus" are not very intuitive. But this allows
sufficient tweaking of the X-offset without spreading many code into the
notes.


Thank you, and
Happy New Year!

Helge

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Re: Looking for inter-note ornament

[Helge Kruse]

Am 31.12.2018 um 14:41 schrieb Andrew Bernard:
> Hi Helge,
> 
> Can't you just use a violin upbow \upbow? Or are you asking how to offset
> it between notes?

Well the \upbow has the right shape but the wrong location. It should be
moved between the notes. It would be perfect to place them in the middle
between the two notes but in the same y-position like the finger
numbers. This includes the assumption, that it doesn't occur at the line
end or start where it's difficult to determine a "middle".

Regards,
Helge

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Looking for inter-note ornament

[Helge Kruse]

For harp fingerings it's important to have the fingers for each note.
But there is an additional annotation for removing all fingers and start
a new placing of the fingers for the next notes. My teacher calls this
"Auswerfen" or "Rauswerfen". I don't know how this is called in English.
All fingers shall be moved away from the strings. The impulse comes from
the wrist.

The symbol use for this instruction is placed above the staff but
*between* the notes. In the example between the D and the C. It looks
similar to a \upbow, but this has the wrong placement as it is related
to one note.

What is a good way to add this symbol to my Lilypond score?

Regards,
Helge

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Re: Function for tweaks

[Helge Kruse]

Am 06.10.2018 um 12:32 schrieb Lukas-Fabian Moser:
> makeSpace = #(define-event-function (size) (number?)
>    #{
>  -\tweak #'stencil #(ly:make-stencil '() '(0 . 0.1) `(0
> . ,size) ) _""
>    #}
>    )

Hi Lukas,

this works for me. I wasn't aware of the event function.

One remark: This construct doesn't work with Lilypond 2.18. You get an
error:
C:/Program Files
(x86)/Lilypond/usr/share/lilypond/current/scm/ly-syntax-constructors.scm:56:23:Wrong
number of arguments to #

So I have to switch to the unstable version 2.19.

Thanks
Helge


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Function for tweaks

[Helge Kruse]

Hi,

I want to use kneed beams for my score. These look ugly if the system
system distance is too small. Therefor I extend the spacing as in the
following example. Removing the percent character gives a reasonable
spacing.

\version "2.18.2"
\language "deutsch"

staffUpper = { \change Staff="upper" }
staffLower = { \change Staff="lower" }

upper = \relative c'' {
c1 % -\tweak #'stencil #(ly:make-stencil '() '(0 . 0.1) '(0 . 6.) ) _""
}

lower = \relative c' {
  \clef bass
  \override Beam.auto-knee-gap = #-8
  f,16 [ \staffUpper d'16 \staffLower
  as16 \staffUpper d16 ] \staffLower
  f,16 [ \staffUpper d'16 \staffLower
  as16 \staffUpper d16 ] \staffLower
  fis,16 [ \staffUpper es'16 \staffLower
  a,16 \staffUpper es'16 ] \staffLower
  fis,16 [ a16 \staffUpper es'16 \staffLower a,16 ]
}

\score {
  \new PianoStaff <<
\new Staff = "upper" \upper
\new Staff = "lower" \lower
  >>
}

I want to save typing and it's tedious to write the complete tweak each
time. But the Y size must be adapted each time. Therefore a function is
necessary to change the current required value that is 6 in the example.

I've experimented with define-markup-command and define-music-function
by GUILE always outputs errors.

How can this tweak be folded in a function? What kind of function is
required?

Best regards
Helge

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Re: Customize \RemoveEmptyStaves

[Helge Kruse]

Am 18.07.2018 um 03:36 schrieb Marcos Press:
> Link for the example image...
> https://drive.google.com/open?id=1vuTzR23XOfx1gTEra-aMv-oz35s_XY0h

That's the image that you already attached to a former mail (Date: Tue,
17 Jul 2018 14:11:38 -0300).
It shows a snippet from a sheet of music with incomplete lines.

Best regards,
Helge


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Re: Customize \RemoveEmptyStaves

[Helge Kruse]

Am 17.07.2018 um 19:09 schrieb Marcos Press:
> Actually I'm not certain of which method to use. Perhaps it should be other
> way.
> The attached image is what I'm transcribing.
> 
> It's for a double hand/staff instrument that lots of times use only one. Or
> both doing the same so we just write one hand.
> 
> The result is reduction of pages and unnecessary eye data.
> 
> How would you resolve these?

This looks like an example for \RemoveEmptyStaves. You could do
something like this:

\version "2.18.2"

cello = \relative c'' {
  \time 3/8
  \repeat unfold 10 { R4. }
  \repeat unfold 37 { c8 d e }
}

celloII = \relative c {
  \time 3/8
  \repeat unfold 40 { R4. }
  c c c c c c c
}

\score {
  <<
\new StaffGroup <<
  \new Staff { \clef treble \cello }
  \new Staff { \clef bass \celloII  }
>>
  >>
  \layout {
\context {
  \Staff \RemoveEmptyStaves
}
  }
}

Of course, this shows only the automatic disappearance of empty staff
lines but not your score.

Regards, Helge

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Re: Customize \RemoveEmptyStaves

[Helge Kruse]

Marcos Press  schrieb am Di., 17. Juli 2018, 02:58:

> Is there any way to set RemoveEmptyStaves just for SKIP's or when the
> rest/skip is larger than 1 (one) bar?
>
> {
> a1 | b4 a8 g b2 |
> R1 | % no Remove
> a1 | b4 a8 g b2 |
> R1*2 | % yes Remove
> a1 | b4 a8 g b2 |
> R1 | % no Remove
> f1 |
> }
>

RemoveEmptyStaves is used to remove entire staff lines in a multi staff
context. Your example looks as you want to remove individual measures. Why
should Lilypond do this?

Regards, Helge
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Splitting chaotic glissando to parts

[Helge Kruse]

I have struggling for a while with few measures and I am currently a bit
frustrated. I use the great fancy glissando from LSR 1066
(http://lsr.di.unimi.it/LSR/Item?id=1066) to write some chaotic
glissandi. The players should start one after the other. For that
purpose the composer used a triplet as then notation.

I think I got a acceptable result in the score. The starting points of
the glissando lines are a bit too far from the note heads though.

But it's hard to generate the parts. I tried \keepWithTag for the first
time to get just one item of the triplet. But now I get even more
unexpected results. The first part has a double glissando surprisingly.
The line ends not before but inside the terminating chord. The second
part has an additional gap between the starting chord and the begin of
the glissando line.

How can this be fixed (double line terminating x position in 1st part)
and improved (distance in 2nd and 3rd part)?

The example is not very minimal. But I hope it's short enough. The file
from the LSR is attached as file because I don't think that's in
question. The score in question is below.


Best regards,
Helge


\version "2.19.81"
\language "deutsch"

\include "FancyGliss.ily"


scoreDUpperHarpI = \relative c'' {
  \override Glissando.cross-staff = ##t
  \fancy-gliss
#'(
 (.5 -2)
 (1 -0.5)
 (1.5 -3)
 (2 0)
 (2.5 -12)
 (3 0)
 )

\tag #'partiture {
   \hideNotes e'8*16\glissando  \unHideNotes
< h h'>4 r
}
\tag #'partI {
  \tuplet 3/2 { 8\glissando
\temporary \override NoteColumn.glissando-skip = ##t
r r }
  s8*14

\revert NoteColumn.glissando-skip
< h h'>4 r
}
}

scoreDLowerHarpI = \relative c' {
  \time 2/4
   s2 s s s
   r4 r
}

scoreDUpperHarpII = \relative c'' {
\tag #'partII {
  \tuplet 3/2 { r8 8 r
  }
  \override Glissando.cross-staff = ##t
  \fancy-gliss
#'(
 (0.8 -14)
 (2.4 2)
 )
  \hideNotes g'8*14\glissando  \unHideNotes
  \revert NoteColumn.glissando-skip
  < h h'>4 r
}
\tag #'partiture
{
  s8
  \override Glissando.cross-staff = ##t
  \fancy-gliss
#'(
 (0.8 -14)
 (2.4 2)
 )
  \hideNotes e8*15\glissando  \unHideNotes
  < h h'>4 r
}
}

scoreDLowerHarpII = \relative c' {
   \time 2/4
   s2 s s s
   r4 r
}

scoreDUpperHarpIII = \relative c'' {
  |
\tuplet 3/2 {
  \tag #'partiture {
\voiceTwo
\change Staff=upperI 8
\change Staff=upperII 
\change Staff=upperIII 
  }
  \tag #'partIII {
r8 r 

  }
}
\override Glissando.cross-staff = ##t
\fancy-gliss
#'(
 (.1 -4)
 (.6 -2.5)
 (1.4 -5)
 (1.6 -2.5)
 (2.1 -14)
 (2.6 0)
 )
 \stemNeutral
\hideNotes e8*14\glissando  \unHideNotes
< h' h'>4 r
}

scoreDLowerHarpIII = \relative c' {
  \time 2/4
  s2 s s s
  r4 r
}


%% =
scoreDHarpIPart = \new PianoStaff <<
  \new Staff = "upperI"  <<  \scoreDUpperHarpI >>
  \new Staff = "lowerI"  { \clef bass \scoreDLowerHarpI }
>>

scoreDHarpIIPart = \new PianoStaff <<
  \new Staff = "upperII"  << \scoreDUpperHarpII >>
  \new Staff = "lowerII"  { \clef bass \scoreDLowerHarpII }
>>

scoreDHarpIIIPart = \new PianoStaff <<
  \new Staff = "upperIII"  << \scoreDUpperHarpIII >>
  \new Staff = "lowerIII"  { \clef bass \scoreDLowerHarpIII }
>>

\book {
\bookpart {
\score {
  \keepWithTag #'partiture
  <<
\scoreDHarpIPart
\scoreDHarpIIPart
\scoreDHarpIIIPart
  >>
}

\score { \keepWithTag #'partI  \scoreDHarpIPart }
\score { \keepWithTag #'partII \scoreDHarpIIPart }
\score { \keepWithTag #'partIII \scoreDHarpIIIPart }
  }
}

lengthen-gliss =
#(define-music-function (parser loation nmbr)(number?)
#{
  \once \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
  \once \override Glissando.minimum-length = #nmbr
#})

fancy-gliss =
#(define-music-function (parser location pts-list)(list?)
#{
 \once \override Glissando.after-line-breaking =
  #(lambda (grob)
(let ((stil (ly:line-spanner::print grob)))
 (if (ly:stencil? stil)
 (let*
   ((left-bound-info (ly:grob-property grob 'left-bound-info))
(left-bound (ly:spanner-bound grob LEFT))
(y-off (assoc-get 'Y left-bound-info))
(padding (assoc-get 'padding left-bound-info))
(note-column (ly:grob-parent left-bound X))
(note-heads (ly:grob-object note-column 'note-heads))
(ext-X
  (if (null? note-heads)
  '(0 . 0)
  (ly:relative-group-extent note-heads grob X)))
(dot-column (ly:note-column-dot-column note-column))
(dots
  (if (null? dot-column)
  '()
   

Non-double glissando

[Helge Kruse]

The Lilypond snippet

http://lilypond.org/doc/v2.19/Documentation/snippets/expressive-marks#expressive-marks-double-glissando

shows how to get a double glissando. It add adds a second voice to draw
the glissando lines with hidden notes:

\relative c {
  \clef bass
  <<
{
  % new voice ( = \voiceOne), hidden
  \hideNotes
  % attach glissando to note heads
  e2\glissando g
}
\\
{
  % original voice with chords rearranged so that
  % glissando is attached to a & c
  2\glissando 
}
  >>
}

But the lower part designated with "original voice ..." is sufficient to
get the double glissando. I wanted just one glissando line connecting
the chords.

I have tested this with Lilypond 2.18.2 and 2.19.81. I wanted to check
this with older versions. But unfortunately the download site
(http://download.linuxaudio.org/lilypond/binaries) is down. Or the link
at http://lilypond.org/old-downloads.de.html is broken.

Best regards
Helge

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Re: Glissando passing rest in tuplet

[Helge Kruse]

Am 03.06.2018 um 11:37 schrieb David Kastrup:
>> How can I write the (first) spacer rest as normal reset and keep the
>> glissando?
> 
> By setting glissando-skip for all involved note columns?  You can either
> replicate the \once \override, or you can use a temporary override and
> revert like this:
> 
> \version "2.18.2"
> 
> \relative c'' {
>   \time 2/4
>   \tuplet 3/2 { r8 8 \glissando
>   \temporary \override NoteColumn.glissando-skip = ##t r }
>   r8*15
>   \revert NoteColumn.glissando-skip
>   b'4 r
> }
> 
Thanks! That give (nearly) the expected result. I oversimplified the
example. The glissando ends at 4 instead of b'4. Now I get two
glissando lines. But I hope I will find a way...


> 
> So why don't you put the override inside as well?

Well, I did it. But it doesn't show the glissando as long as I don't
also add the
  \revert NoteColumn.glissando-skip
before the note the ends the glissando. That was my fault.

Thanks
Helge

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Glissando passing rest in tuplet

[Helge Kruse]

Hi,

I want to write a glissando over several measures. The exact starting
point shall be set with sufficient rests, but it's in a tuplet.
Therefore the composer writes the tuplet elements (rest chord rest).

Unfortunately Lilypond suppresses the glissando if there is a something
between start and stop of glissando. You can see this, if you replace
the spacer rest with a standard rest in this example:

\version "2.18.2"

\relative c'' {
  \time 2/4
  \tuplet 3/2 { r8 8 \glissando s }
  %\once\override NoteColumn.glissando-skip = ##t
  r8*15
  b'4 r
}

How can I write the (first) spacer rest as normal reset and keep the
glissando?

The NoteColumn.glissando-skip works for a rest that is outside the
tuplet. But I need the rest inside.

Best regards
Helge

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Re: Scheme learning

[Helge Kruse]

Am 27.05.2018 um 13:38 schrieb Andrew Bernard:
> I would recommend obtaining a copy of SICP, Structure and Interpretation of
> Computer Programs, by Ableson and Sussman, the MIT text and classic of
> computer science. This is the famous Wizard book, from the cover picture.
> My hardback copy sits on my bookshelf near me just to give daily
> inspiration. Although out of print, the full text is available on the web:
> 
> [list of resources]

Hey Andrew,

These resources can be read online. Do you know any ebook resources,
e.g. in epub format? While traveling the train it would be worth to use
the time to learn.

Regards,
Helge

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Re: \path and \postscript in staff

[Helge Kruse]

Am 25.05.2018 um 13:13 schrieb Thomas Morley:
> Hi,
> 
> you'll need a spanner from note to note, Glissando is your best bet, I'd say.
> I once made the attached code.

Wow! That solves the problem. This fancy glissando can be fine tuned for
each instrument, so that it produces nearly the picture of the autograph.

the function is now stored in an include file. The excerpt from the
score is attached.
Would it be worth to add it to the LSR?

Thank you,
Helge
\version "2.18.2"

\include "FancyGliss.ily"



partI = \new PianoStaff \with { connectArpeggios = ##t } <<
  \new Staff=upperI \relative c'' {
\time 2/4
| \override Glissando.cross-staff = ##t
  \fancy-gliss
#'(
 (.5 -2)
 (1 -0.5)
 (1.5 -3)
 (2 0)
 (2.5 -12)
 (3 0)
 )
  \hideNotes e8*12\glissando  \unHideNotes
| 4\arpeggio r
  }
  \new Staff=lowerI \relative c { \clef bass
| s2  s s
| 4\arpeggio r
  }
>>

partII = \new PianoStaff \with { connectArpeggios = ##t } <<
  \new Staff=upperII \relative c' {
\time 2/4
\override Glissando.cross-staff = ##t
s8
\fancy-gliss
#'(
 (.5 -5)
 (1 -2)
 (1.5 -11)
 (2 -7)
 (2.5 -14.5)
 (3 0)
 )
\hideNotes e'8*11\glissando  \unHideNotes
  | 4\arpeggio r
  }
  \new Staff=lowerII\relative c { \clef bass
| s2  s s
| 4\arpeggio r
  }
>>

partIII = \new PianoStaff \with { connectArpeggios = ##t } <<
  \new Staff=upperIII \relative c' {
\time 2/4
| \stemDown \tuplet 3/2 {
  \change Staff=upperI 8
  \change Staff=upperII 
  \change Staff=upperIII 
} \stemNeutral
\override Glissando.cross-staff = ##t
\fancy-gliss
#'(
 (.1 -4)
 (.6 -2.5)
 (1.4 -5)
 (1.6 -2.5)
 (2.1 -14)
 (2.6 0)
 )
\hideNotes e8*10\glissando  \unHideNotes
  | 4\arpeggio r
  }
  \new Staff=lowerIII \relative c { \clef bass
| s2  s s
| 4\arpeggio r
  }
>>

\score {
<<
  \partI
  \partII
  \partIII
>>
}
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Re: \path and \postscript in staff

[Helge Kruse]

Am 25.05.2018 um 13:44 schrieb Aaron Hill:
> On 2018-05-24 23:15, Helge Kruse wrote:
>> But these lines are outside the staff. If you change "(rlineto 10 1)" to
>> "(rlineto 10 10)" then the starting point is moved down to keep the
>> markup outside the stuff. Further it doesn't support the x-position of
>> the next/previous note column.
> 
> There is a difference in behavior between \path and \postscript
> regarding bounds.  See the following:
> 
> [...]
> 
> By forcing the bounds of the \path-created object to be "empty," it can
> overlap the staff.
Yes, but how can I draw a line to the next note or spacer rest position?

Helge

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\path and \postscript in staff

[Helge Kruse]

The appendix A.10.3 of the Lilypond notation manual describes several
possibilities to use \path or \postscript in a \markup context. So you
can use this to draw some lines:

\version "2.18.2"

<<
  \relative c' {
e4^\markup { \path #0.25 #'((rmoveto 0 0)

(rlineto 5 -1)
(closepath)) }

c'_\markup { \path #0.1 #'((rmoveto 0 0)
  (rlineto 10 1)
  (closepath)
  ) }
  }

  \relative c' {
g8 g g g
  }
>>

But these lines are outside the staff. If you change "(rlineto 10 1)" to
"(rlineto 10 10)" then the starting point is moved down to keep the
markup outside the stuff. Further it doesn't support the x-position of
the next/previous note column.

How can I draw lines from note head to next note head with \path or
\postscript inside the staff? This should be robust to changes in the
other staves, e.g. if the other staff changes to 32th notes.

Regards
Helge


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Re: Ad lib glissando

[Helge Kruse]

Am 21.05.2018 um 12:35 schrieb Andrew Bernard:
> I usually just draw this stuff as PostScript paths. Do you want me to do
> you an example?

Andrew,

I found some examples to put postscript in a Lilypond source file. But
that's all related to a \markup command. But challenge is to fill the
staves with appropriate lines. It would be highly appreciated to get an
example.

Best regards
Helge


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Re: Ad lib glissando

[Helge Kruse]

Am 21.05.2018 um 12:35 schrieb Andrew Bernard:
> Hi Helge.
> 
> I usually just draw this stuff as PostScript paths. Do you want me to do
> you an example?

That would be great.

Regards
Helge


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Re: Ad lib glissando

[Helge Kruse]

Am 21.05.2018 um 12:38 schrieb Ben:
> Hello,
>
> Maybe this code can help you?
> (see attached)

Ben,

thanks for reply. Unfortunately this works only for half and quarter
notes. If you have \quaver it's necessary to add "\omit Beam\omit Flag".

But the approach has a side effect. The next ordinary glissando after
the addGliss block has the glissando attached to the right side of the
note head. So I had to add more code to revert to the previous state. As
the previously PNG file shows I need also to attach the last glissando
to a chord.

This results in this working example. But it looks clumsy for me:

Regards
Helge


\version "2.19.15"

#(define (add-gliss m)
   (case (ly:music-property m 'name)
 ((NoteEvent) (set! (ly:music-property m 'articulations)
  (append (ly:music-property m 'articulations)
 (list (make-music (quote GlissandoEvent)
   m)
 (else #f)))

addGliss = #(define-music-function (parser location music)
 (ly:music?)
   (map-some-music add-gliss music))

\relative c'' {
  \override Glissando.thickness = #2
  \override Glissando.bound-details =#'(
 (right (attach-dir . 1) (padding . 0))
 (left  (attach-dir . 1) (padding . 0)))
  \override NoteHead.no-ledgers = ##t
  \addGliss {
d,2
\omit Stem
\omit Beam
\omit Flag
\override NoteHead.transparent = ##t
f' d, f'8 e, g'
  }

  \override Glissando.bound-details =
  #'(
  (right (attach-dir . -1) (padding .0))
  (left (attach-dir . 1) (padding .0)))
  d,\glissando

  \revert Glissando.bound-details
  \revert Glissando.thickness
  \revert NoteHead.transparent
  \revert Stem.stencil
  \revert Beam.stencil
  \revert NoteHead.no-ledgers

  


  \glissando d'
}

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Re: Spacer Rests Global Confusion

[Helge Kruse]

Am 26.04.2018 um 17:21 schrieb R:
> Thank you but I have difficult understanding why Frescobaldi configured
> the score like that if it's not prone to using the global block easily.
> For instance, what is different about your code structurely and is there
> a con to doing it your way? 

The Frescobaldy wizard adds a global variable in the upper part of the
source file. The reference \global to that block is inserted at the
beginning of each staff. I used this prepared setup but could not make
much benefit from it, because it contains only the common start of the
staves.

Kieren used the \global in a different way. The \global is not used
*before* the notes but *parallel* to it:

<< \global \cello >>

So you can write the time changes in the global since that is global to
all staves and write the notes to cello, right, and left.

I like this approach.

Best regards
Helge

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Re: Cross staff stems for beamed notes

[Helge Kruse]

Am 26.04.2018 um 16:43 schrieb Mark Stephen Mrotek:
> Helga,
> 

Mark,

\autoBeamOf/On and the correct placement of \crossStaff did the job
perfectly.

Thanks,
Helge

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Cross staff stems for beamed notes

[Helge Kruse]

I need to add cross staff stems and used the approach found in
http://lilypond.org/doc/v2.19/Documentation/snippets/staff-notation.html#staff-notation-cross-staff-stems

Unfortunately this doesn't give the expected result for eighth notes.
- If the stem points down, cross staff is not working
- The beam is visible in both staves.
- If I use manual beaming to remove the beam, the eighth note is
displayed as a fourth.

How can I resolve all three problems?

Regards,
Helge

\version "2.19.81"

\score {
  <<
\new PianoStaff <<
  \new Staff { \time 6/8 fis'4. \stemDown a' }
  \new Staff { \time 6/8 \clef bass \crossStaff { 4. < a!
a,!> } }
>>
\new PianoStaff <<
  \new Staff { \time 6/8 r8  q \stemUp q[ q] \stemDown q  }
  \new Staff { \time 6/8 \clef bass r8 \crossStaff { a8 a  \stemUp
a[ a] \stemDown a } }
>>
  >>

  \layout {
\context {
  \PianoStaff
  \consists #Span_stem_engraver
}
  }
}

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Re: Stanzas over staves

[Helge Kruse]

Am 20.04.2018 um 07:58 schrieb Partitura Organum:
> 
> 
> On 19-4-2018 22:19, Thomas Morley wrote:
>> The function expects `text' to be a string. So
>> (1) use wordwrap-string
>> (2) without {}
> 
> Thank you, now it works. And  I learned how to do calculations in scheme
> along the way as well. So the narrator function should be
> 
> narrator=#(define-music-function
>   (dim text) (number? string?)
>   #{
>   s1^\markup
>   \with-dimensions #(cons 0 (+ dim 2)) #'(0 . 0)
>   \whiteout
>   \override #(cons (quote line-width) dim)
>   \translate #'(0 . -1.5)
>   \wordwrap-string   #text
>    #})
Glad to here that's working for you. Unfortunately this doesn't work for
me. I reordered the lines a bit because I think that the override
changes the line-width property of wordwrap-string. But the reordering
doesn't change the ouput. The text crosses several measures in this
example. I thought that \with-dimensions defines the extend of the
markup. But this doesn't affect the measure width.

Regards
Helge

%%BEGIN
\version "2.19.65"
narrator=#(define-music-function (dim text) (number? string?)
  #{
  s1^\markup
  \with-dimensions #(cons 0 (+ dim 2)) #'(0 . 0)
  \whiteout
  \translate #'(0 . -1.5)
  \override #(cons (quote line-width) dim )
  \wordwrap-string   #text
   #})

{
  \new PianoStaff <<
\new Staff {
s1
\narrator 30 "The brown fox jumps quickly over the lazy dog."
s1 s
}
\new Staff { s1 s s s }
  >>
}
%%END


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Re: Stanzas over staves

[Helge Kruse]

Am 18.04.2018 um 12:39 schrieb Engraver:
> I use "with-dimensions" if I want to place some text over staves. And
> "\whiteout" can be used to blot out the staff-lines. See attached.
> It's rather hackish, so I hope the more knowledgeable members of the
> list have a more elegant solution for you.

This is one approach I would follow.
Since this repeats I would like to put this to a scheme construct. But I
don't have sufficient knowledge. Here is my (failed) try:

%%START
\version "2.19.65"

narrator =
#(define-music-function (dim text) (integer? string?)
   #{
 s1^\markup
  \with-dimensions #'(0 . dim) #'(0 . 0)
  \override #'(line-width . dim)
  \translate #'(0 . -1.5)
  \wordwrap {  text }
   #})


\score {
  \narrator #1  "The message"
}
%%END

It looks like the parameter 'dim' can't be used in this way to build a
valid parameter to with-dimension. Is this true? How to do it correctly?

How could I pass 'dim+2' to the override of line-width?

Regards,
Helge

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Re: Stanzas over staves

[Helge Kruse]

Am 17.04.2018 um 21:13 schrieb Kieren MacMillan:

it looks like you simply want to stack the text as markup above a measure-long 
rest (with fermatas in all parts, I would assume?).

Oh, my bad wording. I mean not above the lines but inside.


That's definitely a simple situation, easy to accomplish in Lilypond. Maybe try 
something like
Combining your snippet with snippet #780 from the Lilypond snippet 
repository I was able to create a minimum example. This shows how the 
text should overlap the staff. The choosen staff idicates what player is 
the narrator at the given measure.


But there are some open points.

- The harp requires two staff lines. I managed to remove the 
outside-staff-priority for one staff. But the other staff line is pushed 
away. How can I use both staves of one harp for the text? How could I 
place the text covering all staves of the score and avoid Lilyponds 
anti-collision routines that moves the staff lines away?


- The readability of the text could be improved by changing to color of 
the lines in the narrative measure to gray, light gray, or probably 
white. LSR #700 shows a way to color staff lines. But is there a simpler 
way when I need a common color for all lines?


Best regards
Helge

\version "2.19.80"

\header {
  title = "Max and Moritz"
}

% http://lsr.di.unimi.it/LSR/Item?id=780
narrative = {
  \once\override TextScript.extra-spacing-width = #'(0 . 0)
  \once\override TextScript.Y-offset = #-.5
  \once\override TextScript.outside-staff-priority = ##f
  \once\override TextScript.self-alignment-X = #LEFT
  \once\override Stem.transparent = ##t
  \once\override NoteHead.transparent = ##t
  \once\override NoteHead.no-ledgers = ##t
}


scoreAUpperHarpI = \relative c'' {
  c4 4 4 4
  s1
  s
  \narrative s1^\markup 
\override #'(line-width . 40)
\wordwrap { Of two youths, named Max and Moritz, Who, instead of early turning Their young minds to useful learning, Often leered with horrid features At their lessons and their teachers. }
  s
}

scoreALowerHarpI = \relative c' { s1 s s s s }

scoreAUpperHarpII = \relative c'' {
  s1
  \narrative 
   s^\markup 
\override #'(line-width . 20) 
\wordwrap   { Ah, how oft we read or hear of  Boys we almost stand in fear of!  For example, take these stories  
   }
   s1
   s
   e4 4 4 4
}

scoreALowerHarpII = \relative c' { s1 s s s s }

scoreAUpperHarpIII = \relative c'' { s s | d4 4 4 4 | s1 s }

scoreALowerHarpIII = \relative c' { s1 s s s s }

scoreAHarpIPart = \new PianoStaff \with {
  instrumentName = "Harfe I"
} <<
  \new Staff = "upper" \scoreAUpperHarpI
  \new Staff = "lower" { \clef bass \scoreALowerHarpI }
>>

scoreAHarpIIPart = \new PianoStaff \with {
  instrumentName = "Harfe II"
} <<
  \new Staff = "upper" \scoreAUpperHarpII
  \new Staff = "lower" { \clef bass \scoreALowerHarpII }
>>

scoreAHarpIIIPart = \new PianoStaff \with {
  instrumentName = "Harfe III"
} <<
  \new Staff = "upper" \scoreAUpperHarpIII
  \new Staff = "lower" { \clef bass \scoreALowerHarpIII }
>>

\score {
  <<
\scoreAHarpIPart
\scoreAHarpIIPart
\scoreAHarpIIIPart
  >>
  \layout { }
}
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Stanzas over staves

[Helge Kruse]

I am starting a small project for a harp trio. The score is in most part
"just" harp music. But in some measure one of the players shall recite
some text of the literary source. Example:

measure 1: some notes
measure 2: text: This is the story of Max and Moritz
measure 3: some notes
measure 4: text: Moritz
measure 5,6: more notes
measure 7: text AH, how oft we read or hear of Boys we almost stand in
fear of! For example, take these stories of two youths, named Max and
Moritz (as stack of lines)
measure 8-20: many notes

This is different from lyrics to a song since there
- is no melody, even no rythm, for the syllables
- is not sufficient space to write this outside the staves
- are multiple lines to place at (to stack)

Do you have a snippet where something similar has already been
implemented or some hint how I can approach this?

One approach would be to spread empty measures and to add the text
manually or with some glue and additional paper. This leads to the
question how to stretch an empty measure?

But it would be nice to enter the text in the Lilypond score.


Best regards
Helge


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Re: The search for an API

[Helge Kruse]

Hi Mason,

this is intentionally not to the Lilypond list to avoid unnecessary
traffic in that list.

I followed the link you posted. It doesn't address a sensible web
site. All you can read is:

  Web access is restricted. Please contact the administrator. (Parked Domains)
  (If you feel this site has been improperly categorized, please visit
here to submit a review.)

Can you check the link at send a mail with the intended URL to the list?

Best! Helge

2018-04-11 16:07 GMT+02:00 Mason Hock :
> Is this the sort of thing you're looking for?
>
> http://projectabjad.org/
>
> Mason

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Re: Exited with return code -1073741819

[Helge Kruse]

Am 05.04.2018 4:35 vorm. schrieb "David Wright" :


> > It seems that beyond a certain level of complexity I get Exit. In the
> > current example it's return code -1073741819, but it can be other codes.

Googling 1073741819 is jaw-dropping. I don't think you'll find out
anything specific from that particular code.

Well, using a search machine to find an error code interpretation is not
necesdarily sensible. The number -1073741819 (a bit different) can also
represented as 0xC005 assuming thar the program use a 32 bit number
range.
That error code is a composition of the error number (5: access denied) and
the error class. 0xC000 stands for generic error.
So all you get from the code is "access denied". The actual error can only
be found if Lilypond issues the function that returned this code. Do you
think that the complete error message could be shared?
I also wonder why the error codes are displayed as decimal numbers.
Wouldn't it improve tge user experience if the code is readable?

Best regards
Helge
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Re: First steps in Lilypond

[Helge Kruse]

Am 02.04.2018 um 13:44 schrieb foxfanfare:
> I started to ask some questions, I thought better to start a separate thread
> in order to ask some of my newbie questions!
Yes it's very appreciated to start a new thread if you have your own
topic. Responding to old mail and just changing the topic would look
ugly in mail readers that support threaded view of mails.

> I started working on LilyPond last week and I find this software really
> interesting, though quite difficult to learn for a start! So, my project
> [...]
> If I understood well the notation reference guide, when a voice start
> crossing staves, LP deactivate the automatic collusion. How can I solve this
> hairpin problem? I allready tried to write the dynamic marks either in the
> upper staff notes or in a separate dynamic voice, but I can't avoid the
> collusion.
Thanks for the good picture and the description what you have tried. But
we can't know how your Lilypond file looks like. It won't help you if
somebody guesses what you've done. Please strip down your score and
provide a minimal example of the source file that can be compiled by
Lilypond. Obviously you've already done the fist part, since you could
create the PNG file. Please attach the .ly file. Yo we can reproduce the
behavior exactly.

Best regards
Helge

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Re: Reduce PianoStaves for rest

[Helge Kruse]

Am 21.12.2017 um 23:19 schrieb David Kastrup:
> Easier to just use
> 
> \new GrandStaff << ... >>
> 
> The only difference is the Keep_alive_together_engraver if I remember
> correctly.

Yes, this works great. I never realized what actually is the difference
between the combined Staff types, except the obvious visual appearance.

The difference is described here, but I failed to find it.
http://lilypond.org/doc/v2.19/Documentation/internals/pianostaff

Thanks, and Merry Christmas!
Helge


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Reduce PianoStaves for rest

[Helge Kruse]

I have a score for an orchestra instrument (harp). The harp starts after 
tens of measures. There are several meter changes. Therfore a simple 
multi-measure-rest is inappropriate. Instead I would like to write all 
measures and meter changes, so that the harpist can follow the music and 
get the right moment to start.


For that purpose it's not necessary to write this multi lines of rest 
measures in two staves. I would like to reduce the lines that have only 
rests to a single staff line. I.e. somthing similar like 
\RemoveEmptyStaves, but it should leave one staff line. I tried to adapt 
http://lsr.di.unimi.it/LSR/Item?id=307 and changed ChoirStaff to 
PianoStaff. But this doesn't work if I make this change.


Any idea?

Best regards
Helge



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Re: Custom note heads

[Helge Kruse]

Am 17.12.2017 um 11:06 schrieb Thomas Morley:
> Some time ago Torsten (original author of the lily-jazz-font) created
> "circus"-note-heads.
> https://archiv.lilypondforum.de/index.php/topic,1432.msg7908.html#msg7908
> 
That is exactly the approach that is currently used for that boy who's
learning to play keyboard. I think I can use the font and the approach
shown in the German Lilypond forum.

> Looks pretty much like what you want.
What I wish is that the boy will get scores looking like standard ASAP.
But currently he wants a Christmas song and can't read standard notes yet.

Thanks to both of you. Andrew's hint to the LSR was great and I will
experiment to learn a bit more about postscript and scheme.

Best regards
Helge

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Custom note heads

[Helge Kruse]

Hello,

I've been asked to write some scores with custom note heads. These heads
are designed for beginners. I know that the Emmentaler font contains
some special heads but I don't know how to add new shapes.

I found this question at Stackoverflow
https://stackoverflow.com/questions/47341754/lilypond-custom-global-note-heads.
But this doesn't work, even if I add a file g.eps I get the error

Preprocessing graphical objects...C:/Program Files
(x86)/LilyPond-2.19-65/usr/share/lilypond/current/scm/stencil.scm:987:26:
In procedure list-ref in expression (list-ref bbox 2):
C:/Program Files
(x86)/LilyPond-2.19-65/usr/share/lilypond/current/scm/stencil.scm:987:26:
Wrong type argument in position 1: #f

How can I define my own custom note heads? I don't prefer EPS in this
field, can be any graphic file other format.

Or these other way round: At
http://lilypond.org/doc/v2.18/Documentation/notation/note-heads is a
Ez_numbers_engraver. Can this be modified to do the work?

Best regards
Helge

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Re: [OT] Grammatic gender

[Helge Kruse]

>> It's the same with gender - and that can also be confusing especially
>> when making a diminutive. "Die Frau" (feminine), "Das Fraulein"
>> (neuter). "Die Mad", "Das Madchen" likewise.
>
>
> Actually, the base word is „Die Maid“. Mark Twain has famously and
> hilariously roasted the German language, partly for its use of grammatic
> gender :-)

The suffix "-chen" make the words to the diminutive
(https://en.wikipedia.org/wiki/Diminutive), In German this is always
neuter.
The article doesn't follow the base word but the diminutive.

Examples
der Tropfen - das Tröpfchen
die Maid - das Mädchen
der Ball - das Bällchen

Regards,
Helge

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Re: MsLily - LilyPond Add-In for Word

[Helge Kruse]

The website announces a free and a standard edition. What are your plans
for difference between these two editions?

Best regards
Helge
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Re: OT!?

[Helge Kruse]

And why do you think that this is arranged with Lilypond/Frescobald? I
can't find a hint neither in the video nor the comment.

Regards
Helge

2017-06-30 8:10 GMT+02:00 Anders Eriksson :
> This is the link to the video
>
> https://www.youtube.com/watch?v=hiC1znjrRVk
>
> // Anders
>
>
>
> On 2017-06-30 08:07, Anders Eriksson wrote:
>>
>> The link goes to YouTube video manager, not to the video, and since we
>> don't have any rights to manage Marios videos we end up in our own manager
>> (if we have an YouTube account, or an error message if not).
>>
>> Resend with the link to the video.
>>
>> // Anders
>>
>>
>> On 2017-06-30 07:53, Jacques Menu Muzhic wrote:
>>>
>>> Hello Mario,
>>>
>>> Sorry I can’t see your example, I dont have any Google account.
>>>
>>> JM
>>>
 Le 30 juin 2017 à 02:55, Mario Moles  a écrit :

 Arranged with Lilypond/Frescobaldi!

 https://www.youtube.com/edit?o=U_id=hiC1znjrRVk


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Re: change staff

[Helge Kruse]

Am 26.01.2017 um 10:51 schrieb Gianmaria Lari:
> ... and this is one more way to do the change staff using a scheme function
> that toggle between the two staff.
> 
...
> Not sure it can be more useful than the other ones. Also have no idea if
> this logic should be written differently. But it has been a nice scheme
> exercise :)

I think it's better to use two switch the staves up and down. If you use
the same expression for both directions then you have to count the
instances to see where you are. This makes the Lilypond source less
readable. On the other side you would get a huge amount of warnings and
a scrambled output if you miss one of your \cs or misspelled it.

Regards,
Helge


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Re: Dorico announced

[Helge Kruse]

Am 18.05.2016 4:19 vorm. schrieb "Vaughan McAlley" :
>
> On 17 May 2016 11:37 p.m., "Kieren MacMillan" <
kieren_macmil...@sympatico.ca> wrote:
>
> Spanish for Dorian?
>
> As a name it is almost as esoteric as Lilypond. It reminds me of the
we're-not-leaving-until-we-have-a-name meeting the a male cappella group I
was in had.

The name, the meaning, and why it was choosen is described in the blog that
is linked at the web page.
Even if I don't want to change my encryption software I was curious enough
to to read it.

Regards
Helge
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Re: lilypond-windows.exc vs lilypond-exc

[Helge Kruse]

There is lilypond.exe and lilypond-windows.exe in the Lilypond edition
for Microsoft Windows.
You use lilypond.exe when you want to capture the output of the
program, e.g. error messages.
lilypond-windows.exe opens a new window, outputs the messages in this
windows and closes it finally.I usually make mistakes and want to see
the messages, so I use always lilypond.exe

Regards
Helge

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Re: Confused about line breaking

[Helge Kruse]

Andrew,

The last duration in the treble staff is 4*16 i.e. four whole notes
with a quarter note head.
The first note in the next voice (in the bass staff) inherits this length.

Use this:

bass = {
\clef bass
\time 4/4
c1   % set duration explicitly
c c
}

Regards
Helge

2016-02-23 2:55 GMT+01:00 Andrew Bernard :
> While trying to concoct a minimal example for my question about staff-staff
> spacing, I find I am confused. In the attached example, why are the bass
> notes spaced apart by the number of spacers in the voice for line breaking?
> I woild have thought they would be consecutive.
>
> Furthermore, if I put the ‘line-breaking’ voice before the voice for notes,
> it shows this problem in the treble. Clearly there is something very basic
> here that I am not understanding.
>
> Andrew
>
> — snip
>
> \version "2.19.36"
>
> \paper {
>   #(set-paper-size "a4" 'landscape)
> }
>
> treble = {
>   \clef treble
>   \time 4/4
>
>   <<
> \new Voice
> {
>   \repeat unfold 16 { c'' }
>   \repeat unfold 16 { c'' }
>   \repeat unfold 16 { c'' }
> }
> \new Voice % ‘line-breaking'
> {
>   s4 * 16 \break
>   s4 * 16 \break
>   s4 * 16 \pageBreak
> }
>   >>
> }
>
> bass = {
>   \clef bass
>   \time 4/4
>   c c c
> }
>
> \score {
>   \new PianoStaff
>   <<
> \new Staff \treble
> \new Staff \bass
>   >>
>   \layout { }
> }
>
> — snip
>
>
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Re: Is there a bug in the way Lilypond handles staccatos?

[Helge Kruse]

Maybe I'm wrong. But how are slurs related to stccatos?

Regards
Helge
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Re: Midi doesn't build correctly from version 2.12

[Helge Kruse]

Hi,

When you have a \score block without a \layout inside you still get a
layout. But when you add \midi you get the MIDI instead. That can be faster
than generating the PDF.

With your description the behavior isn't wrong for me.

I would try to add \layout and \midi in the \score.

Regards
Helge
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Re: LilyPond score used on PhotoScore site

[Helge Kruse]

Am 09.02.2016 um 18:12 schrieb Alberto Simões:
> 
>> I was pleasantly surprised to see a Mutopia score (Beethoven's Piano
>> Trio, Opus 11, Movement 1)
>> 
>>
>> "featured" on PhotoScore's product page. Here's the direct link to the
>> page:
>>
>> 
>> http://www.neuratron.com/photoscore2.htm
>>
>> and to the image itself:
>>
>> http://www.neuratron.com/images/PSOpenPDF_v8.png
> 
> Curious, as they integrate with Sibelius, that a Sibelius score was not
> used. But then, for them, Sibelius is great, but .ly is not
> understandable :-)

Did they remove this somewhere? I can't find the relation between the
neuratron site and Mutopia or Lilypond. I also didn't found that the
used a non-Sibilus score.

Can you get me a hint? Where is the Mutopia file featured?

Regards
Helge


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Re: override default bar width for only one bar

[Helge Kruse]

I don't see the difference except the bar number. You can set it though
before the next bar line is visible.

Regards
Helge
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Re: override default bar width for only one bar

[Helge Kruse]

You can hide the bar lines as in the example of the notation reference:
http://lilypond.org/doc/v2.18/Documentation/notation/visibility-of-objects

Regards
Helge
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Re: OCR to lilypond

[Helge Kruse]

2015-12-02 15:28 GMT+01:00 jerry :
> I find a  free online ocr   , it can
> recognize text from jpg, png, tiff, bmp and gif image.

Do you have lilypond code printed at paper that you want to scan?
As you wrote, this "Free Online OCR" recognizes text. It doesn't
recognizes score Elements.

Regards
Helge

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Aw: Re: PDF Links in Windows

[Helge Kruse]

> The most direct point-and-click connection involves:

> A: the pdf program sending the textedit URL
> B: having a custom Windows 'URL Protocol' tell your editor
> C: your editor going to the right place
 


I think the last two steps are described here: https://msdn.microsoft.com/en-us/library/aa767914(v=vs.85).aspx

Unfortunately I don't have a Lilypond installation at the computer I am currently using to make a proposal for a solution.

 

Best Regards

Helge


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Re: OT: Beauty of programming languages

[Helge Kruse]

I am 54 years old and work as software developer. Playing harp is my
hobby. I perform solo, in ensemble and in orchestras.

I used NoteWorthy Composer for a few years, tried MusixTex for a short
period of time and use Lilypond since many years. In most cases I
typeset music for harp, harp ensemble, and sometimes orchestral
percussion.

Regards
Helge

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Suppress one of two staves

[Helge Kruse]

Hello,

 

I have a harp score where there are a lot of lines that require only the upper staff. How can I suppress the lower staff in lines where it is empty. The following example illustrates this:

 



\version "2.18"

\new PianoStaff <<
  \new Staff \relative c' {
    \repeat unfold 5 { c4 e g c }
    \repeat unfold 12 { c2 a }
    \repeat unfold 20 { R1 }
    \repeat unfold 10 { c2 a }
    \repeat unfold 8 { c,4 e g c }
  }
  \new Staff \relative c {
    \clef bass
    \repeat unfold 5 { c4 e g c }
    \repeat unfold 42 s1
    \repeat unfold 8 { c,4 e g c }
  }
>>

\layout {
  \context {
%    \Staff \RemoveEmptyStaves
  }
}

 


 

Measure 18-48 should have no lower staff. RemoveEmptyStaves unfortunately doesn't work since the rests shall be printed in at least one staff.

 

Regards

Helge


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Re: Partial Bars

[Helge Kruse]

Hi Bill,

Can you please include a minimal compilable example that shows your
problem? I don't plan to do both
- goto the next shop or library to get that menut
- guess what 'part' expresses in the context of that piece
- write an example that could probably the same problems yours have

Partial measures are possible in different ways, also 'in the middle'.

Best regards
Helge
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Re: volta repeat with and without alternative ending

[Helge Kruse]

 Conductor will say bar number.
Nope. From my experience I would say she says everytime something different:
- from 3 measures before rehearsal mark B
- from the lyric measure
- second repeat, please
- proabaly from a specific bar number
Regards
Helge
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Re: Is Sibelius really as bad as this?

[Helge Kruse]

Am 29.05.2015 um 10:29 schrieb Urs Liska:
 This is correct. From my own experience and comments by others most
 (major) publishers require you to submit one of the following:;
 - Finale files
 - Sibelius files
 - SCORE files
 - PDF
 
 How can this be?
 
 Good question.
 Has to be put also the other way round: How can it be that practically
 noone accepts LilyPond yet? It can't be the text approach alone,
 otherwise they wouldn't use SCORE (and sometimes even Amadeus which is
 very similar to LilyPond in a way).

Well we shouldn't forget that you don't need only a program that
generates a good output. You also need employees who can get all the
benefits of that program. The learning curve is a hurdle. The other
programs are available, the staff is experienced.

If they have to issue a new version in a different paper format (e.g.
European vs. American market) they have to modify the files. If they
change the format of the copyright or any corporate identity they have
to modify. That's impossible with PDF, so it would be surprise if they
accept them. But if you have
- employees experienced with a limited set of programs
- tools and libraries built in-house for that programs
- work instructions for specific jobs to make modifications
then it can be an additional risk to add a new program.

We love Lilypond  Frescobaldi but it can be a challenge to convince
publishers tat just got a dozen of well typeset scores. They must learn
that their business get benefits. It could help if the experiences that
Urs learned with Das Trunkne Lied is consolidated and documented. The
approach to divers the job, edit only a chunk at a time and so on can
reduce the time effort that's necessary to issue the scores.

Publishers make that job to pay the salary at the end of the month. They
also issue scores of wonderful music to enjoy use. But the employees
stay there because the get money.

Best regards
Helge

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Re: ANN: Frescobaldi 2.18.1

[Helge Kruse]

Am 25.05.2015 um 08:58 schrieb Wilbert Berendsen:
 If you use the windows installer, you don't need to install python-ly 
 separately. 

Hi Wilbert,

many thanks for this excellent program and the installer. I had never
any problem with the installation as it runs out of the box. The
components in the installer are assembled by you with intention and I
have the impression with caution.

The download is done in a short time, for a DSL connection in seconds.
And the installer makes everything in in less than 20 seconds. I can't
imaging that I would waste my time with any manual installation experiments.

Regards
Helge

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connect arpeggio down

[Helge Kruse]

I have a problem with  connecting arpeggio. The arrow of
\arpeggioArrowDown or -Up vanishes when I connect the arpeggios of two
staves. You can reproduce it with the example below. Comment out the
connectArpeggios line and you see arrows.

Is this a known bug?

Regards Helge


\version 2.18.0

upperHarpII = \relative c'' {
  \arpeggioArrowDown  b c2\arpeggio r
}
lowerHarpII = \relative c' {
  \clef bass
  \arpeggioArrowDown  a e a,2\arpeggio r
}

\score {
  \new PianoStaff \with {
connectArpeggios = ##t
  } 
\new Staff \upperHarpII
\new Staff \lowerHarpII
  
}

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Re: arpeggio on single note

[Helge Kruse]

Am 30.01.2015 um 03:30 schrieb Br. Samuel Springuel:
  a cross staff arpeggio
 
 Ha!  I think I know where to find this one:
 
 http://lilypond.org/doc/v2.18/Documentation/notation/expressive-marks-as-lines#Selected-Snippets-33

Yes, this shows the cross-staff arpeggio. But the examples there have
always two notes in each staff. It would be interesting how to notate an
arpeggio when only one note is e.g. in the bass staff.

I propose to extend the documentation.

As far as I see this is exactly MING TSANGs wish.

Regards
Helge


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Re: Transposition of instruments

[Helge Kruse]

Am 27.01.2015 um 17:25 schrieb Marco Oros:

 I would like to write something for trumpet and clarinet and I know,
 that this musical instruments are tunned in various pitches, they can't
 use C-key, as for example notation for piano.

 So, It means, that I must write c-major song in as-major for clarinet,
 or it is automatically transposed of stave parameter?

You can write a c-major song in c-major (concert-pitch) and use
\transpose to generate the required notes. This is described here:

http://www.lilypond.org/doc/v2.19/Documentation/notation/changing-multiple-pitches.html#transpose

Best regards
Helge




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Re: Dynamic positioning in dynamic context

[Helge Kruse]

Can this be confirmed as a bug or an enhancement request? Or is there a
workaround to make the alignment in the dynamic context working as in
the staff context?

Best regards
Helge

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Re: Dynamic positioning in dynamic context

[Helge Kruse]

Am 06.01.2015 um 21:10 schrieb Thomas Morley:
 You may find the discussion here interesting:
 https://code.google.com/p/lilypond/issues/detail?id=621

Ah! That's interesting. And for me the workaround from Keith (comment
#30) solves my problem.

Thanks for pointing this.

Although the internals reference should be updated when this will be
part of Lilypond since here is more affected than the height.

Regards
Helge

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Dynamic positioning in dynamic context

[Helge Kruse]

Hello,

I have an improvement request.

The dynamic context has a lot of advantages. Most important it makes a
uniform vertical position of all dynamics in a line. Unfortunately it
doesn't behave with the horizontal spacing.

The following example starts with a spacer rest measure. The \p in the
second measure is placed as expected. But if the dynamic has more width
it collides with the bar. This doesn't happen when I add the dynamic to
the upper staff in the third measure. Here you can find a small space
between the bar and the first note (d).

Can this be improved so that the width of objects in the dynamic context
control the spacing in the staff context?


\version 2.19.15
\language deutsch

global = { \time 3/4 }
upper = \relative c' {
s2.
d4\p\( e \acciaccatura{g8} f4-\)
d4\( e \acciaccatura{g8} f4-\)
d4\ppp\\( e \acciaccatura{g8} f4-\)
s2.\! s
}
dynamic = {
  s2.
  s2.\p
  s2.\ppp\
  s2.\! s2.
}
lower = { s2. s s s }

\new PianoStaff

  \new Staff  = Staff_pfUpper  \global \upper  
  \new Dynamics = Dynamics_pf  \global \dynamic 
  \new Staff = Staff_pfLower   \global \lower 



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Autobeam constraints

[Helge Kruse]

The documentation about beams (
http://lilypond.org/doc/v2.19/Documentation/notation/beams) suggests that
you can enabel and disable automatic beaming in the measure. In the
following example I expected the last three notes to have the stem up like
in a voiceOne context:
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Re: Autobeam constraints

[Helge Kruse]

Sorry, hit the send key too early.

The documentation about beams (
http://lilypond.org/doc/v2.19/Documentation/notation/beams) suggests that
you can enabel and disable automatic beaming in the measure. In the
following example I expected the last three notes to have the stem up like
in a voiceOne context:

\version 2.18.0

\relative c'' {
  \time 3/4  \key es \major

  %% need stem up
  as8\ c f
  %% neeed stem down
  as c f\! |
}

So I placed the corresponding voice commands and added \autoBeamOff to
interrupt the beaming for two notes:

\relative c'' {
  \time 3/4  \key es \major

  \voiceTwo as8\ c \autoBeamOff f
  \voiceOne as \autoBeamOn c f\! |
}

But the result isn't convincing. The beam is added for f and as altough it
should be possible inside the measure. Finally I managed the score with
disabling the automatic beaming for the whole measure. But why is this
necessary? Is the doc not exact?


\relative c'' {
  \time 3/4  \key es \major

  \autoBeamOff
  \voiceTwo as8[\ c]  f
  \voiceOne as  c[ f]\! |
  \autoBeamOn
}

Best Regards
Helge
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Re: Autobeam constraints

[Helge Kruse]

2014-12-31 12:00 GMT+01:00 Simon Albrecht simon.albre...@mail.de:


 \noBeam after the third and fourth notes should do what you want.

 Ah, yes. And it is documented on the cited page of the manual. I should
have read more carefully.

Adding \noBeam to each individual note might be a bit cumbersome when it
comes to more voices with more notes, but in my case it works.

Thanks,
Helge
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Re: Frescobaldi 2.17

[Helge Kruse]

Am 26.12.2014 um 10:59 schrieb Wilbert Berendsen:

Dear all,

A new release of Frescobaldi is out with some new features, bug fixes
and improvements.

Hello Wilbert,

thanks for the new version. It's a great Xmas gift. The new feature 
(#488) works great.


Best regards
Helge


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Re: Use of Stackoverflow for Question/Answer forum

[Helge Kruse]

2014-12-23 23:24 GMT+01:00 Johan Vromans jvrom...@squirrel.nl:


 Maybe google 'VPN' ?

 Sorry, don't understand how that helps anbody that is the exclusive club
of long lear readers of this list.
And VPN wouldn't help when I am off home. (I am one of the humans that save
power by switching PCs off when I don't use them).

Regards
Helge
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Re: Use of Stackoverflow for Question/Answer forum

[Helge Kruse]

Am 23.12.2014 um 08:23 schrieb Johan Vromans:
The list is a 'push' model interaction. SO and other forums are 'pull' 
- I need to visit them and ask for questions. I'm subscribed to 50+ 
forums, and 20+ mailing lists. It would take hours just to visit all 
forums. Browsing the messages from the mailing lists takes minutes.
Yes, that's true I have the mailing list in my Thunderbird folder and 
can search for answer. Even when I'm currently not writing notes the 
folder is pushed from the mailing list.


That's true as long I am at home with my PC. When I am visting somebody 
and need my folder I am lost. So I have to use google like any nooby. 
And then I am at the pull.


The mailing list is very good. But when you have something like 
stackexchange where

- the question and answers are put together
- you can format the text including code highlight
- you can search only for the questions with specific tags
then it can become a valueable knowledge base.

Regards
Helge


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Re: 2 Table of contents in same source file

[Helge Kruse]

This looks like a bug for me. The toc-item-list holds the items inside
toc-init,ly but there is no mean to reset the list.

Could you move the two \book in separates files that \include the original
content. In that case you have only one \book per file.

Regards, Helge
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shorten hairpin

[Helge Kruse]

Hello,

I have a staff for a cello where the player should reduce the tone during
the note quite fast. Therfore the normal haiping like this is too long:


\version 2.18.0

cello = \relative c' {
  \time 6/8
  \key a\major
  \clef tenor
  fis2.~\downbow\p\ %%% this is the hairpin line
  |
  fis4.\! r8 r4
}

harp = \relative c' {
  \time 6/8
  \key a\major
  r16 e e e e e
  r16 e e e e e
}

\score {
  
\new Staff \cello
\new Staff \harp
  
}


I have somehow written something that looks nearly like what I want to
achive

cello = \relative c' {
  
{ s8\p\ s\! } \\
{ fis'2.^~^\downbow | fis4.  }
  
  r8 r4
}

But this is ugly to code and not perfect to read.
- The tie sarts at a different point.
- The dots are a line too low.
- The piano is a bit too left.

How can I code this more elegant and avoid the changes?


The original score is
http://conquest.imslp.info/files/imglnks/usimg/a/ad/IMSLP113653-PMLP232035-HASSELMANS_confidence.pdf,
measure 18.

Best regards
Helge
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Re: How to prevent natural signs from being printed when the key signature changes

[Helge Kruse]

You did it as describe in the notation manual. Further it works for key
signatures that have a sharp.

But it doesn't work for C major without a neither a sharp nor a flat.
I assume it's a bug.

Regards,
Helge

2014-11-06 12:42 GMT+01:00 Jayaratna jayara...@gmail.com:

 Dear Lilyfriends,
 I am following the steps from the notation manual at this location:

 http://lilypond.org/doc/v2.18/Documentation/notation/displaying-pitches#key-signature

 \version 2.18.2
 \score {
   \relative c'  {
 \key f \major c d e f
 \set Staff.printKeyCancellation = ##f
 \clef soprano \key c \major g a g f
   }
 }

 But I still get the natural sign printed.


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Re: How to prevent natural signs from being printed when the key signature changes

[Helge Kruse]

Just wait a minute!

If you don't have the natural sign and the next key signature has neither
sharp nor flat sign, how would you read the new key signature? I think the
flat is necessary here.

Helge
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Re: Point and click off by one after markup

[Helge Kruse]

I think you should not added control characters like newline to the markup
text.When you want to have more than one line, please use the \column
markup.

http://lilypond.org/doc/v2.18/Documentation/notation/formatting-text#index-font-families

\markup{
  \column {
\bold{hi}
 
  }
}

Regards
Helge
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Re: Crescendo Hairpin above the staff

[Helge Kruse]

You can use this:

{ c^\ d f\! }

Regards
Helge
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Re: suppressing header info in bookparts

[Helge Kruse]

Hello Flaming Hakama,

I did this with a small piece of Scheme.

%% Bookpart first page and last page predicates
#(define (not-part-first-page layout props arg)
   (if (= (chain-assoc-get 'page:page-number props -1)
  (ly:output-def-lookup layout 'first-page-number))
   empty-stencil
   (interpret-markup layout props arg)))

\paper {
print-page-number = ##t
print-first-page-number = ##f
oddHeaderMarkup = \markup {
\on-the-fly #print-page-number-check-first
\fill-line {
\on-the-fly #not-part-first-page \fromproperty #'header:poet
\line {
\titleLeft
\titleKern
\emDash
\pageNumberKern
\lower #0.55 \fontsize #6 \fromproperty
#'page:page-number-string
\pageNumberKern
\emDash
\titleKern
\titleRight
}
\on-the-fly #not-part-first-page \fromproperty #'header:composer
}
}
evenHeaderMarkup = \oddHeaderMarkup
oddFooterMarkup = \markup { \fill-line { \fromproperty
#'header:copyright } }
evenFooterMarkup = \oddFooterMarkup
}

Regards Helge
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Re: Merge Multimeasure rests

[Helge Kruse]

Probably this may help:
http://lilypond.1069038.n5.nabble.com/new-snippet-combine-multimeasure-rests-td144688.html
I haven't Lilypond at hand at the moment.

Regards,
Helge
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Tweaked Trillspanner

[Helge Kruse]

Hello,

I am transcribing some drum notes. I found two kinds of spanners that 
look similar to a trill spanner that have been tweeked a bit. Both have 
the wavy line but don't include the \trill in front of the line.


The first spanner starts at the note and stops at the end of the measure.
The secon spanner starts at the note and stops at the next note.

Probably there isn't such a big difference. I assume I can a result as 
in the attach graphic when the first spanner is terminated at the 
first not of the next measure.



But how can I get the tweaked spanner? Any idea how to remive the tr 
in front of it?


Regards
Helge



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Re: Tweaked Trillspanner

[Helge Kruse]

Am 30.08.2014 16:04, schrieb Brian Barker:

Does this help:
http://osdir.com/ml/lilypond-user-gnu/2011-04/msg00625.html ?


Yes, that's great. With the Lilypond 2.18 syntax I use:

  \override TrillSpanner.bound-details.left.text = #'() and
  \override TrillSpanner.bound-details.left.padding = #'-1

The second \override moves the starting point of the spanner to the 
desired position.


Regards
Helge

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Change order of above staff objects

[Helge Kruse]

Hello,

I have a score with some long tempo items. Since my part has multiple 
full bar rests I get several rehearsal marks in the area of the tempo. 
Unfortunately they are placed above the tempo. How can I get the 
rehearsal mark immediately above the staff line?


Minimum example:

\version 2.18.0
{
  \tempo Allegretto ma non troppo 4=100
  \time 4/4
  %\compressFullBarRests
  R1*2 \mark\default
  R1 R
b' d'' f'' a'' %c'''

}

The rehearsal mark is too high. Somehow it gets a lower place when I 
remove *both* comment characters.


Regards
Helge



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Skipping reminder accidentals in

[Helge Kruse]

The q may be used for repeated chords what makes notation efficient. I 
duplicates the last chord literally. But when it contains reminder 
accidentals they make no sense in the repeat. Is there a way to tell q 
that it should skip these accidentals?


Example:

\relative c'

{
  % q duplicates literally the accidentals

fis a d fis4 f! a d f! q q |

  % desired output

fis a d fis4 f! a d f! f a d f q |

}


Regards Helge


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Re: Change order of above staff objects

[Helge Kruse]

Am 13.07.2014 10:44, schrieb Pierre Perol-Schneider:

\version 2.18.0

{
   \once\override Score.MetronomeMark.outside-staff-priority = #2000
   \tempo Allegretto ma non troppo 4=100
   \time 4/4
   \compressFullBarRests
   R1*2
   \mark\default
   R1 R
   b' d'' f'' a'' c'''
}

See also :
http://www.lilypond.org/doc/v2.18/Documentation/learning/outside_002dstaff-objects.html#the-outside_002dstaff_002dpriority-property



Great, this works perfectly. I searched the notation reference only but 
missed the corresponding paragraph. But it's there:


4.4.3 Vertical collision avoidance

Regards Helge



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Re: Skipping reminder accidentals in q

[Helge Kruse]

Am 13.07.2014 11:57, schrieb David Kastrup:


fis a d fis4f! a d f!  f a d f  q
Well, just write the latter version.

Well. this means don't use q when you have accidentals in a chord.
My example has a fourth chord. Without it the latter version doesn't 
have any q.



It appears I have
mentioned this when entering issue 3593 as having _also_ been discussed,
illustrating how important the bug squad is for not letting reports get
dropped silently.

So is this considered as a bug? Since #3593 is closed it should be 
recorded as a new bug?


Regards Helge


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Rehearsal marks in markup

[Helge Kruse]

I want to writing somthing like

\markup{\tempoFormat{Allegretto} \circle{1}-\circle{16} tacet}

To indicate that the player shall rest until the orchester is at 
rehearshal mark 16. I would like to place this in the Dynamic line of 
the PianoStaff


\new PianoStaff 
  \new Staff=upper { c'1 \bar || s1 | \mark#16 d'1 }
  \new Dynamics { s1 s1^\markup{ Allegretto 1-16 tacet } \break s4 }
  \new Staff=lower { R1s1 | d'1


The \circle{} is no Lilypond syntax. It shall indicate that the 
rehearshal mark shall be displayed in the currently selected 
#format-mark-circle-numbers.


I did not find a way to call the format-mark-circle-numbers function 
to insert the reahearsal marks in the \markup. Additionally I would also 
like to format the tempo in the format that is used in \tempo.


How can this be achived?


Regards Helge

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Re: Separate pedal staff shifts notes in music staves

[Helge Kruse]

To reproduce the behaviour you just have to extend on staff. e.g. the 
first stuff:


  \new Staff \relative c''{
\time 6/4

  { c2.( d2) d4 | c2.( d2) d4 | }
  \\
  { g,2. a | g2. a |}

c1. c c c c c c c
  }

Regards
Helge

Am 02.06.2014 04:27, schrieb Javier Ruiz-Alma:

I have Pedal markings on a separate 'dynamics staff within a PianoStaff


I need to place a sustainOff between 5th and 6th beats (on 6/4 time).
If I place the sustainOff on the 5th beat, the 6 quarter notes in the bass are 
kept at equal distances, however, if I place the sustainOff after the 5th beat, 
the note column of the 6th beat is shifted left.

I'm attaching images of the typesetting:

PedalStaff1.png (equal beat spacing when sustainOff placed on 5th beat):
s1\sustainOn s4 s4\sustainOff

PedalStaff2.png (compressed 6th beat when sustainOff placed after 5th beat):
{s1\sustainOn s8. s16\sustainOff s4}, or {s1\sustainOn s8 s8\sustainOff s4}

I tried to replicate with a tiny example, but I can't replicate this shifting 
behavior :

\version 2.18.2
\new PianoStaff

\new Staff \relative c''{
\time 6/4
{ c2.( d2) d4 | c2.( d2) d4 | } \\
{ g,2. a | g2. a |}



}
\new Staff \relative c'{
\clef bass
c4( ees f,ees'g f)
c4( ees f,ees'g f)
}
\new Dynamics {
\time 6/4
s1\sustainOn s4 s4\sustainOff
s1\sustainOn s8. s16\sustainOff s4
}




The issue does occur in bar78 in the following score:
https://gist.github.com/dominicus/8085e4d3e8692ca64d27


Any ideas as to why a separate pedal staff may influence the note columns in 
other staves?


Javier Ruiz-Alma




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Hairping length

[Helge Kruse]

Hello,

I just read about some open Mutopia requests 
(https://github.com/chrissawer/The-Mutopia-Project/issues/355) and 
started typesetting for fun. Unfortunately the fun vanished after some 
measures of issue #361.


So here comes the Lilypond related problem:

\version 2.18.0
\relative c'' {
  \time 2/4
  \key e\major
  r8 r r e(\ |
  fis4)\! r|
  r8 e(\ fis4)\!
}

This chunk shows two hairpins. Obviously the first is too short. It 
should have been longer then the second because of the additional bar 
line. I managed to fix the problem with this code:


\relative c'' {
  \time 2/4
  \key e\major
  r8 r r

{ \oneVoice e( | fis4)  } \\
{ s8\ | s8 s\! }
 r4 |
  r8 e(\ fis4)\!
}

But I think this can't be the solution. Is there a better way to 
circumvent the problem?



Best Regards
Helge





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