Re: strange time changes - req help

[Malte Meyn]

Am 28.03.20 um 15:30 schrieb Aaron Hill:


Would something like this work?


\version "2.20.0"

{
   \time 4/4
   \partial 8*7 | b'2 4. \bar "||"


You don’t need this \partial 8*7. In fact it’s better to omit it for 
correct autobeaming and bar checks. (Your code gives a bar check warning.)



   \time 6/8
   \partial 8 b'8 | b'4 8 8 8 8
   \partial 8*4 | b'4.~ 8 \bar "||"


Same for this \partial 8*4.


   \time 4/4
   \partial 4 b'4 | b'1
}

Re: Strange gap-behaviour with whole-note tremolo Beams

[Malte Meyn]

Am 27.03.20 um 12:23 schrieb Thomas Morley:

I have no clue why this happens and where those added values came from.

Any insights?


Wild guess, to be tested: ll. 558 ff. of beam.cc.

Re: raise markup

[Malte Meyn]

Am 22.03.20 um 09:06 schrieb bobr...@centrum.is:

I've created a markup, simplified to 'X' in my example, and I would like to 
move it up partway into the staff.  I can move it down with a negative number 
but it won't move higher than '0' in \translate.  There must be a way to do 
this.


Yes, there is a way: You have to set outside-staff-priority and 
staff-padding to #'(). You can then use Y-offset instead of \translate 
to fine-tune the position.


You can either use [\once] \override or \tweak, the following works both 
for LilyPond 2.18.2 and 2.20.0:


{
  \once \override Score.MultiMeasureRestText.outside-staff-priority = #'()
  \once \override Score.MultiMeasureRestText.staff-padding = #'()
  \once \override Score.MultiMeasureRestText.Y-offset = -2
  R1_"X"

  R1-\tweak staff-padding #'() -\tweak outside-staff-priority #'() 
-\tweak Y-offset -2 _"X"

}

Re: version 2.18.2 - incorrect bar numbers with full measure rests

[Malte Meyn]

Am 18.03.20 um 17:44 schrieb Eby Mani:

With 4/2 time, Bar numbers are incorrectly printed when using full measure 
rests.

Even printing bar numbers for each measure is numbered incorrectly(attached 
sample).
\context {\Score \override BarNumber.break-visibility = #all-visible }

Is there a way to print them properly other than manually adding them ?.


What other output do you expect?

IMO, LilyPond does everything correctly here. Bar numbers don’t count 
whole notes but whole measures.

Re: Double Parenthesis

[Malte Meyn]

Am 09.02.20 um 15:02 schrieb Freeman Gilmore:

This is taken from the "Scheme Book".

Question why double parenthesis  for  let ((rand (random 100))) ?


A let expression can have several definitions, f. e.

(let
  (
(rand (random 100))
(notrand (* 6 7))
  )
  […]
)

Re: hide Stuff

[Malte Meyn]

Please keep all conversation on the list.

Am 14.01.20 um 11:36 schrieb bb:

Thanks for reply. Works only partially.

1st there stays a Staff artefact


This is because you tagged only the music inside the staff, not the 
staff itself.



2nd ther is no midi sound for the hidden notes

I need the midi sound, but not the grafics.

Is there a solution?


You’ll need two scores for both of the following solutions:

Either you don’t put \metronome into the \layout score.

\version "2.19.83"

metronome = { 4 4 4 4 }
music = \relative { c' d e f }

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

\score {
  <<
\new Staff \metronome
\new Staff \music
  >>
  \midi { }
}


Or you use the same score for both \score blocks and remove the 
metronome by using \tag.


\version "2.19.83"

metronome = { 4 4 4 4 }
music = \relative { c' d e f }
everything = <<
  \tag metronome \new Staff \metronome
  \new Staff \music
>>

\score {
  \everything
  \layout { }
}

\score {
  \removeWithTag metronome \everything
  \midi { }
}

Re: hide Stuff

[Malte Meyn]

Am 13.01.20 um 16:02 schrieb bb:

I need the Stuff only for midi output and want to hide it from the pdf.
Is it possible?

regards


Yes, you can use several \score blocks or the \tag command.

Re: named strings in TABs

[Malte Meyn]

Am 05.01.20 um 10:55 schrieb bb:

I named the strings in my TABs successfully as long as I use natural
note names. If I use flats and sharps I get an error. How do I gat flats
and sharps?


How did you input the sharps? #, ♯, or \sharp? The character # is 
special in LilyPond, you’d have to enclose the note name in quotes "f#". 
But I’d recommend true sharp symbols using \sharp:


\markup \center-column {
  \concat { f \hspace #0.5 \raise #0.6 \sharp  }
  \concat { c \hspace #0.2 \raise #0.6 \sharp  }
}

Re: align aftergraces

[Malte Meyn]

Am 04.01.20 um 17:38 schrieb Mark Stephen Mrotek:

Hello all,

In the following, the two aftergraces do not align.


The 15/16 in \afterGrace 15/16 … is not a duration but a fraction of the 
duration of the following note. In the upper staff you have a half note, 
in the lower staff a quarter note. To align the grace notes, you’ll need 
31/32 in the upper or 7/8 in the lower staff.

Re: positioning a natural

[Malte Meyn]

Am 03.01.20 um 06:55 schrieb Mark Stephen Mrotek:

Hello All,

In the following the natural should be associated with the a4.

Any suggestions/corrections welcome.


How about this?

\version "2.19.83"
\relative c'' {

  <<
{
  ais8 ([b])
} \\ {
  \once \override NoteColumn.force-hshift = #2.2
  \once \override Accidental.X-extent = #'(1 . 0)
  \once \override Accidental.extra-offset = #'(3 . 0)
  a!4
}
  >>

}

Re: Frescobaldi Quick key for Lily button

[Malte Meyn]

Am 29.12.19 um 16:44 schrieb Freeman Gilmore:
In Frescobaldi is there a quick key that can be used in place of 
the Lily button?


Yes, it’s Ctrl+M.

   And one that will also clear the Music View or better
one that would do both?    The problem is that the old view may not be 
updated when you compile something that doe not show an error message.  
I would like a quick way to clear the Music View.


I don’t know a shortcut for clearing music view but maybe Ctrl+E to show 
the error log (and highlighting the first error if there is any) is 
sufficient for your needs?

Re: Output file extension

[Malte Meyn]

Am 23.12.19 um 10:19 schrieb Malte Meyn:

might have something to do with Scheme modules


The reason for this guess: I copied and changed the definition for 
output-preview-framework and it didn’t work as expected. So I looked 
where this function is called and found the file lily/paper-book.cc. The 
function output-preview-framework isn’t just called directly but the 
name 'output-preview-framework is looked up in a module resolved from 
some string probably containing "svg". I have no idea what LilyPond and 
I are doing here but maybe it’s a hint for someone else searching for a 
solution.

Re: Output file extension

[Malte Meyn]

Am 23.12.19 um 03:31 schrieb Paolo Prete:
is it possible, in some way (without an external script) to override the 
extension for the output file?


I need that output.svg is renamed as output.html


Yes, that’s possible. The extension .svg as well as .preview.svg, 
.cropped.svg and -[number].svg are hardcoded in the file 
scm/framework-svg.scm. You can change them directly in that file if you 
want to have this change for everything you do with LilyPond.


If you want the change only for one project, you’d have to redefine 
output-framework & Co. in your LilyPond input file. I tried that (inside 
\book and on toplevel) but without success, it seems like it’s “too 
late” for redefinition. But maybe there is a possibility to make it work 
that I don’t know of (might have something to do with Scheme modules or 
including init files after the redefinition?).

Re: A suggestion - add rf to built-in dynamics

[Malte Meyn]

Am 22.12.19 um 13:23 schrieb Peter Toye:
I 
agree about \sp and \spp - what on earth are they meant to mean - a 
sudden quiet note in the middle of louder ones? Not a common musical 
gesture.
Maybe they mean “subito piano” and “subito pianissimo”? Then they would 
not be for only a single not like an accent (fz, sf, …) but for all 
future notes like a regular “piano”, just with an additional “don’t 
decresc. before this”. But that’s only me guessing …

Re: Separating note names into pitch and accidentals

[Malte Meyn]

Am 22.12.19 um 10:51 schrieb Hans Åberg:

To simplify the writing of note input names, they might be separated into 
separate parts for pitch and accidentals (or intervals). Testing this, I made 
C++ code where one first reads the longest pitch name available in a table, and 
then proceeds for a succession of accidentals, also the longest available in a 
separate table, and it looks like nice.


I’m not sure if I understand correctly, but if I do that won’t work for 
all languages: In German “fes” is f-flat, while “f es” is f and e-flat, 
you cannot know whether “es” is the suffix “-flat” or the complete pitch 
name “e-flat”. And how about “feses”? That could be “f es es”, “fes es” 
or “f eses”.

Re: A suggestion - add rf to built-in dynamics

[Malte Meyn]

Am 21.12.19 um 13:42 schrieb Peter Toye:
May I suggest adding 'rf' to the built-in dynamics? Beethoven and Brahms 
used it quite a lot, even if it is synonymous with 'rfz' (pedants might 
disagree). As did some other, lesser, composers (one of whose music I am 
currently engraving).


A far as I can see, it just needs adding

rfz = #(make-dynamic-script "rfz")

to dynamic-scripts-init.ly


Should LilyPond support other dynamics that are not present yet? Looking 
at https://w3c.github.io/smufl/gitbook/tables/dynamics.html I’d propose


\pp
\ff
\sfzp
\sffz
\pf

I have never seen the last one but I’ve also never seen LilyPond’s \sp 
and \spp. However, I have seen \mfp and \ffp for accents weaker/stronger 
than \fp. So maybe one could add them too?

Re: Merge_rests_engraver bug with whole measure rest?

[Malte Meyn]

Am 10.12.19 um 10:57 schrieb Thomas Morley:

Am Di., 10. Dez. 2019 um 10:42 Uhr schrieb Jens Gyldenkærne Jensen
:


The example from the manual regarding merging of rests 
(http://lilypond.org/doc/v2.19/Documentation/notation/multiple-voices#merging-rests)
 show a strange difference between whole measure rests and smaller rests. The 
crotchet rest in bar one is placed in the middle of the staff whereas the whole 
note rest in bar two is placed at the top (similar to the placement of the 
\voiceOne rest in the unmerged staff). Is this intentional or a bug? I would 
think that the correct placement would be in the middle of the staff.


This is fixed in upcoming 2.21.0, probably in upcoming 2.20.0 as well.


I can confirm: 2.19.84/2.20.0 contains the fix.

Re: Piano Staves equidistant from Middle C?

[Malte Meyn]

Am 04.12.19 um 14:46 schrieb Kale Good:

Hello,

I'm trying to get my piano staves equidistant from middle C, with 
precisely the width of one staff-space between middle C and the top line 
of the bass clef and the bottom line of the treble.


I’m not sure why setting values for 
PianoStaff.StaffGrouper.staff-staff-spacing doesn’t work here after 
looking at https://joramberger.de/files/LilypondSpacing.pdf but setting 
the spacing below the top staff works:


\version "2.19.83"

\new PianoStaff <<
  \new Staff \with {
\override VerticalAxisGroup.staff-staff-spacing.minimum-distance = 6
  } \relative { g'1 f e d c d e f g }
  \new Staff \relative { \clef bass f g a b s b a g f }
>>

Re: Markup problem

[Malte Meyn]

Am 04.12.19 um 10:19 schrieb Jacques Menu:

Hello folks,

In the following example, the markup doesn’t show up in the score, one 
only gets:


Removing the \book around the \score avoids this problem, though. I’ve 
missed something it seems...


Shouldn’t the \markup live inside the \book too?

Re: 8va superscript

[Malte Meyn]

Hi Martin,

AFAIK all of this can be done, yes. However, it’s a bit hacky and will 
be much easier in the not yet published 2.21.0 which will have improved 
ottava brackets.


Am 28.11.19 um 10:36 schrieb Martin Tarenskeen:
- 8va above the staff with the "va" superscripted like in the attached 
png, and the dotted extenderline vertically aligned with the 
superscripted "va", or the top of the "8" or the superscripted "va".


The vertical alignment is probably the most tricky part. I’m not sure 
whether this can be done without a hacky \markup \translate in 2.19.83 
which doesn’t work well with collision detection …


I mostly use the traditional 8va below the staff in pianomusic instead 
of more modern 8vb. (Which I don't like - personal taste I guess. You 
may call me oldfashioned)




The new default will be numbers only (#ottavation-numbers) with a simple 
option to use super-/subscript "8va" with a both for alta and bassa:


\set ottavationMarkups = #ottavation-ordinals

I don’t know when 2.21.0 will be released. IIRC there have been some 
good ottava hacks for older versions on this list.


Cheers,
Malte

Re: Availability of music notation font in LibreOffice (Malte Meyn)

[Malte Meyn]

Am 27.11.19 um 13:52 schrieb Malte Meyn:



Am 27.11.19 um 12:58 schrieb Peter Toye:
Bravura sounds like a good idea, except that I'm trying to work out 
how to get it. It seems that I have to download something (but the 
readme file doesn't exactly say what) from github and then install it 
using a proprietary installer which I've had to search for. Not very 
good marketing here!


I agree, it’s not easy to find. I have it installed though (on Linux) 
and I’m pretty sure that I downloaded it from the Steinberg website 
without installers … Why would you even want an executable (?) installer 
for something as simple as a font?




Shortly after writing this I realised that the font files can be found 
in the github repository, but in the subdirectory redist.

Re: Availability of music notation font in LibreOffice (Malte Meyn)

[Malte Meyn]

Am 27.11.19 um 12:58 schrieb Peter Toye:
Bravura sounds like a good idea, except that I'm trying to work out how 
to get it. It seems that I have to download something (but the readme 
file doesn't exactly say what) from github and then install it using a 
proprietary installer which I've had to search for. Not very good 
marketing here!


I agree, it’s not easy to find. I have it installed though (on Linux) 
and I’m pretty sure that I downloaded it from the Steinberg website 
without installers … Why would you even want an executable (?) installer 
for something as simple as a font?

Re: Availability of music notation font in LibreOffice

[Malte Meyn]

Am 26.11.19 um 12:45 schrieb Peter Toye:
I want to write some editorial notes which will be mostly free-form test 
but will include some musical symbols (dynamics, notes). A word 
processor (I use Libre office) is easiest for the text, but how do I 
include the musical symbols? Is the Feta font available to use - it 
doesn't appear in my Windows font list?


You could try “Bravura Text”. It has the same symbols as the notation 
font “Bravura” but with metrics suitable for including symbols in text.

Re: \repeat percent not working for chordmode ?

[Malte Meyn]

Am 20.11.19 um 15:22 schrieb Sandro Santilli:

I'd like to use percent signs for chord repeats but
in a \chordmode block the repeats seem to end up being
just not rendered (nothing printed for the repetition
measures).

Is there a way to get those percent signs ?


Yes, you’ll need to include the Percent_repeat_engraver into the 
ChorNames context, f.e.:


\version "2.19.83"

<<
  \chords \with {
\consists Percent_repeat_engraver
\override PercentRepeat.Y-offset = 1
  } {
\repeat percent 4 f1
\repeat unfold 4 f1
  }
  \new Staff { R1*8 }
>>

Re: Full measure rests does not display in partial measure

[Malte Meyn]

Am 19.11.19 um 18:34 schrieb Павел Буданов:

<<
    { \partial 4*3 b b b b b b b }
    \\
    { R1*3/4 R1 }




How to solve subject problem? I did not find the answer in the archive.


A partial measure is partial, not full, so why do you want a full 
measure rest?


In 4/4 time the rest should be written as “r4 r2”.

Re: How to color objects that cause collision

[Malte Meyn]

Am 15.11.19 um 01:50 schrieb Paolo Prete:


I think that a very useful function would be a way to highlight or 
change the color for all the objects that are causing a collision.

Is there already some code for that?
Look for example at the two slurs in the following snippet:

[…]

When there are many and many graphic objects on a score, it's easy to 
ignore some of these errors relying on observation only...


If LilyPond knew that there was a collision it wouldn’t engrave it that 
way so IMO that’s a bug. Without knowing about a collision LilyPond 
cannot tell you about it ;)

Re: \epsfile

[Malte Meyn]

Am 15.11.19 um 10:47 schrieb Martin Tarenskeen:
I am experimenting with the \epsfile command to include various pictures 
in my score. 
http://lilypond.org/doc/v2.19/Documentation/notation/graphic.en.html 
describes:


  \epsfile axis (number) size (number) file-name (string)
     Inline an EPS image. The image is scaled along axis to size.

I don't quite understand what "axis (number)" means and how it works. I 
can reproduce the examples, using my own images, but would like to 
understand the values better.


size gives the height *or* width of the image, depending on axis which 
should be set to #X (for height) or #Y.




Related issue: When using frescobaldi the syntax help and autocompletion 
balloon gives "\eps-file" instead of "\epsfile". A little bug?




Seems so, yes. IIUC it has been \epsfile for at least a very long time 
(f. e. version 2.7.30) if not ever so Frescobaldi is wrong here.

Re: drawing a range reguardless of transposition

[Malte Meyn]

Am 14.11.19 um 18:09 schrieb Aaron Hill:

On 2019-11-14 8:53 am, Sandro Santilli wrote:

In order to determine if I'm writing something that can
be played by an instrument, is there a way to display
on the score the supported range by that instrument ?

I'd like to have something that doesn't change when I
transpose, so to know if transpositions are possible
at all...


You could do something like this:


\version "2.19.83"

highlightOutOfRange = #(define-scheme-function
   (color lower upper)
   ((color? red) ly:pitch? ly:pitch?)
   (grob-transformer 'color (lambda (grob orig)
     (let* ((cause (ly:grob-property grob 'cause))
     (pitch (ly:event-property cause 'pitch)))
   (if (or (ly:pitch

Nice! This should be added at least to the snippet repository if not to 
vanilla LilyPond. I don’t know whether many people would use it but it’s 
a small addition and AFAIK this feature is present in every other 
engraving software I know …

Re: Macro with

[Malte Meyn]

Am 14.11.19 um 10:02 schrieb David Menéndez Hurtado:
I am transcribing a piece that is filled with the rhythmic motif "8. 16 
8" at different pitches. Being a LaTeX user, I want to write a macro 
like \myrithm{c a g}.


Maybe http://lsr.di.unimi.it/LSR/Item?id=465 or 
http://lsr.di.unimi.it/LSR/Item?id=654 is the right thing for you?

Re: lilypond-user Digest, Vol 204, Issue 61

[Malte Meyn]

Am 13.11.19 um 20:43 schrieb bill wolf:

Is there another way that avoids the fiddly adjustments--or even using two 
voices?


You’ll need the two voices because of the opposite stem directions in 
the second half of the measure. However you can save some typing by 
using { } \\ { } instead of \new Voice and \voiceXXX settings. This also 
sets \voiceTwo internally instead of \voiceFour for the lower voice 
which makes the force-hshift unnecessary.


\version "2.18.2"

\new Staff {
  <<
{
  s4 s8 \once \hideNotes g~ g g g4
} \\ {
  4 q8  c2
}
  >>
}

Re: m7.5- transposed to sus#4 b3 ??

[Malte Meyn]

Am 12.11.19 um 09:56 schrieb Sandro Santilli:

On Mon, Nov 11, 2019 at 10:08:07PM +0100, Thomas Morley wrote:

Am Mo., 11. Nov. 2019 um 21:38 Uhr schrieb Sandro Santilli :


I transcribed an A major song with this chords snippet:

   ees:m7.5- | aes:7 | aes:m7.5- | des:7 |

When transposing it to Eb major it is rendered as:

   Bbbø | Ebb7 | Ebb7sus#4 b3 | Abb7



If you transpose the note eeses down an augmented 4th the note beseses results.


I did not transpose eeses, but ees.


If you let the chords display in \new Staff you get a warning:
2.18.2:
warning: Transposing eeses'' by ges makes alteration larger than double


Indeed I do get that warning, but I was not transposing eeses ??
Where does 'eeses' come from ?


It comes from the aes:m7.5- chord. LilyPond represents chords as pitches 
internally, so that is represented as .





To circumvent, you could do \transpose a dis instead.


Yup, this one fixes the warning and the weird rendering.
Still uses double-alterations (double-sharps) but that's a
separate issue (does lilypond have any support to automatically
simpmlify those notes and/or chords?).


Vanilla LilyPond doesn’t have such an automatism but I think there are 
functions for that in the LilyPond Snippet Repository. But after writing 
down my findings below I’d go for the harmonically correct sharps even 
in the untransposed version.





Though, tbh I doubt chords based on ees, aes, des _in_ a-major are
correct at all.
Probably some modulation/key-change before? Or copy from a weird source?


It's "The Shadow Of Your Smile" from the Real Book. I'm not sure
what's going on there, harmonically.


You seem to use the Bb version of The Real Book (vol. 1):
Eb-7b5 Ab7 Ab-7 Db7
The C version of The Real Book uses the harmonically more correct sharps:
C#-7b5 F#7 F#-7 B7
The Bb version of The New Real Book (vol. 3) uses the sharp version:
D#mi7(b5) G#7 G#mi7(b5) C#7

Note that you wrote a half diminished chord (m7b5) on Ab where the Real 
Book (at least the 5th edition) writes a minor 7 chord (m7).


If you have a close look at the melody in these measures (13–16) you’ll 
see that The Real Book in Bb uses the sharp version too:

a'2. cis'4 bis2. a'4 gis1~ gis4 …

Re: m7.5- transposed to sus#4 b3 ??

[Malte Meyn]

Am 11.11.19 um 21:38 schrieb Sandro Santilli:

I transcribed an A major song with this chords snippet:

   ees:m7.5- | aes:7 | aes:m7.5- | des:7 |


Are you sure you want those chords instead of

dis:m7.5- gis:7 gis:m7.5- cis:7

? Who wants to read a a-flat half-diminished chord (a-flat c-flat 
e-doubleflat g-flat)?




When transposing it to Eb major it is rendered as:

   Bbbø | Ebb7 | Ebb7sus#4 b3 | Abb7

I don't understand why the third chord (m7.5-)
gets rendered as a "7sus#4 b3" chord, very hard
to read ...


The bigger problem is that while a-flat half-diminished is at least hard 
to read, e-doubleflat half-diminished is just insane.


LilyPond 2.18.2 did the most sane thing it could do and changed the 
b-tripleflat to a a-flat in that chord. You can see this if you output 
not only as ChordNames but also as regular notes:


%%
\version "2.18.2"

C = \chordmode {
  ees:m7.5-  aes:7 aes:m7.5- des:7
}

<<
\new Staff \C
\new ChordNames \C
\new Staff \transpose a es \C
\new ChordNames \transpose a es \C
>>
%%


Ideally I'd also like to avoid the double flats,


You definitely should do that. Ideally by not using the single flat 
chords in the a major version in the first place … But if you really 
want to keep them, try transposing to d-sharp instead of e-flat.



but what strikes me is the "sus#4 b3" part, is it
a bug ? I'm using GNU LilyPond 2.18.2 and the
.ly file has a \version "2.18.2" header.


LilyPond 2.19.83 can handle triple flats (but cannot show them as notes 
because it doesn’t really know how a triple flat accidental should look 
like) so the output of the snippet above is “correct” with that version.

Re: Why is the notehead shifted?

[Malte Meyn]

Am 09.11.19 um 13:16 schrieb Peter Toye:
  In this MWE the first  a is shifted to the left of the stem but the 
second one isn't. OK, it's a bit cramped, but I thought that the 
noteheads were scaled to the size of the staff to avoid this.


Oddly, if the local staff size is changed to a global staff size, the 
anomaly disappears.


This is a bug that was fixed in july: 
https://sourceforge.net/p/testlilyissues/issues/5303/


The fix has not been included in a released version yet.

Re: 'Compressing' a 1 bar full bar rest

[Malte Meyn]

Am 06.11.19 um 09:38 schrieb Jacques Menu:

Hello folks,

I’d like to show that explicitly with a number, i.e. to have a ‘1’ above 
measure 2 in this example:


\version "2.19.83"

{
   \time 4/4
   \compressFullBarRests

   R1*2 |
   R1*1 |
   c' |
}
How can that be achieved?
Thanks for your help!


\set restNumberThreshold = 0

\RemoveAllEmptyStaves, TabStaff and \set commands [was: TabStaff.keepAliveInterfaces]

[Malte Meyn]

Am 02.11.19 um 09:39 schrieb Malte Meyn:
Seems like the \set TabStaff… partly 
revives the TabStaff from being hidden.


I just realized that other \set commands (not involving 
keepAliveInterfaces) show the same problem:


\version "2.19.83"

bla = { \repeat unfold 100 e'4 }
git = {
  \set TabStaff.middleCPosition = 0
  R1*10
  \repeat unfold 60 c'4
}

<<
  \new Staff \bla
  \new Staff \with { \RemoveAllEmptyStaves } \git
  \new TabStaff \with { \RemoveAllEmptyStaves } \git
>>

TabStaff.keepAliveInterfaces

[Malte Meyn]

Hi list,

what am I (or what is LilyPond) doing wrong here?

%%%

\version "2.19.83"

bla = { \repeat unfold 100 e'4 }
git = {
  \set TabStaff.keepAliveInterfaces = #'()
  R1*10
  \repeat unfold 60 c'4
}

<<
  \new Staff \bla
  \new Staff \with { \RemoveAllEmptyStaves } \git
  \new TabStaff \with { \RemoveAllEmptyStaves } \git
>>

%%%

A stub for the first TabStaff is printed (clef and short staff lines). If I
• don’t \set TabStaff.keepAliveInterfaces or
• \set Staff.keepAliveInterfaces = #'() too
the TabStaff is hidden as expected. Seems like the \set TabStaff… partly 
revives the TabStaff from being hidden. But why does the \set Staff… 
have an effect at all?


Cheers,
Malte

Re: Notation in Soprano Clef

[Malte Meyn]

Am 02.11.19 um 00:19 schrieb David Kastrup:

Afterwards you use Frescobaldi's transpose function to transpose your
input to the actual original key, proofread with soprano clef and
finally reprint with treble clef.



Even better: Frescobaldi does modal transpose too so you just can input 
notes as you would read them in treble clef and then apply a modal 
transpose.

Re: Puzzled about r1 issue in 3/4 time

[Malte Meyn]

Am 23.10.19 um 23:38 schrieb Michael Gerdau:



Lilypond is right, r1 is 4 beats long. What you probably want is
r1*3/4 or most likely (and better) R1*3/4 instead of r1.



More like R2.


What is the difference between R2. and R1*3/4 apart from the obvious difference 
in the source file?


It’s “half with dot” vs. “whole scaled by 3/4” even in the internal 
structure which you can show with displayMusic:


\displayMusic {
  \time 3/4
  R2.
  R1*3/4
  R4*3
}

LilyPond’s Duration type makes this distinction, Moment doesn’t:

#(display (ly:duration-length #{ 2. #}))
#(display (ly:duration-length #{ 1*3/4 #}))
#(display (ly:duration-length #{ 4*3 #}))

For the output of MultiMeasureRests it doesn’t make a difference, for 
Rests and NoteHeads the choice of the duration affects the glyph choice.


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Re: Puzzled about r1 issue in 3/4 time

[Malte Meyn]

Am 23.10.19 um 23:09 schrieb Carl Sorensen:
As you have identified, you can use “r2.” to get a ¾ note rest.  This 
rest will appear in the same note column as the first quarter note in 
the measure.  You can also use “R1*3/4” or “R2.” in ¾ time to get a ¾ 
note (whole measure) rest. This rest will appear centered in the 
measure.


Correct, but I don’t agree with:


It is up to you to decide which you want


There are debatable conventions in notation but it’s a hard rule to use 
centered whole rest symbols for full measure rests—according to Gould 
only in complicated music from the 20th century (complicated rhythms 
paired with many time signature changes) you might deviate from that rule.


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Re: Puzzled about r1 issue in 3/4 time

[Malte Meyn]

Am 23.10.19 um 21:59 schrieb Michael Wagner:
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?


“r1” means a whole (=4/4) rest, not a whole measure rest.

The offending r1 is on the 3rd line of the first branch of the 
alternative below - and if I change that r1 to “r4 r4 r4”,  or to “r2.”, 
the issue goes away.


Yes, “r2.” has the correct length. But you probably wanted to follow the 
engraving rule (as you should) and have a whole rest *symbol*. For that 
you have to tell LilyPond that it’s a *full measure* rest by using a 
capital R: “R2.” LilyPond will then use the correct symbol and center it 
horizontally.


You can read about full measure and multi measure rests here: 
http://lilypond.org/doc/v2.19/Documentation/notation/writing-rests#full-measure-rests


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Re: MIDI, rests and end-of-track

[Malte Meyn]

Hi Cam,

please start a new thread for a new topic. (You replied to a thread 
about double clefs. You changed the subject but the information that 
it’s a reply to that thread is still there so it will be shown as part 
of that thread.)


Am 22.10.19 um 17:06 schrieb Cam:

\version "2.18.2"

[…]

My concern is that the track chunk which contains the actual notes is 
shown as ending immediately after the e8 note. You can tell it ends 
there because the end-of-track meta-event has a MIDI tick of zero, 
showing that it happens as soon as the e8 is over. To my mind the 
end-of-track event should have had a tick of 384 indicating that it 
ended after the r4 quarter note rest.


[…]

Is this a bug, a feature or just me not understanding something?


It is a bug that was fixed in more recent versions. Although it is 
called “unstable” it is safe to install 2.19.83; it’s a pretty stable 
pre-release for the next stable 2.20.0.


HTH,
Malte

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Re: midi instrument for ChordNames

[Malte Meyn]

Am 22.10.19 um 09:54 schrieb Sandro Santilli:

On Mon, Oct 21, 2019 at 12:15:47PM +0200, Thomas Morley wrote:


please always provide a MWE, with the lily-version in it.


What's MWE ?


A minimal working example, see http://lilypond.org/tiny-examples for why 
and how to create one.


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Re: Double clefs (or even triple)

[Malte Meyn]

Am 19.10.19 um 14:56 schrieb Alexandre Ficagna:

Hi

as Lilypond now have double G clefs with the \clef GG I'm wondering why 
there's no \clef FF or even more like \clef GGG and \clef FFF for 15a 
and 15b


Hi Alexandre,

I’ve never seen that, when are such clefs used?

Cheers,
Malte


Still, I tried this:
doubleF =  {
   \override Staff.Clef.stencil = #ly:text-interface::print
   \override Staff.Clef.text = \markup { \combine \musicglyph #"clefs.F"
\translate #'(2 . 0) \musicglyph #"clefs.F" }
}

But the ":" in the first F clef keep it away from an elegant solution.

Any help?


You could lay a white rectangle over the dots:

%
\version "2.19.83"

doubleF =  {
  \omit Staff.ClefModifier
  \override Staff.Clef.layer = -1
  \override Staff.Clef.stencil = #ly:text-interface::print
  \override Staff.Clef.text = \markup {
\combine \combine
\musicglyph #"clefs.F"
\translate #'(2.2 . 0) \with-color #white \beam #0.5 #0 #1.5
\translate #'(1.7 . 0) \musicglyph #"clefs.F"
  }
}

doubleG =  {
  \omit Staff.ClefModifier
  \override Staff.Clef.stencil = #ly:text-interface::print
  \override Staff.Clef.text = \markup {
\combine \musicglyph #"clefs.G"
\translate #'(1.5 . 0) \musicglyph #"clefs.G"
  }
}

\relative {
  \clef GG
  g1
  \clef "treble_8"
  \doubleG
  g
  \clef "bass_8"
  \doubleF
  f,
}
%

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Re: How can I apply default automatic beam logic for 4/4 meter to a piece written in 2/2 meter

[Malte Meyn]

Am 19.10.19 um 13:56 schrieb 田村 淳 via lilypond-user:

If I set "\time 4/4” then the automatic beam works almost perfectly. Very 
little manual tweaking is required.


Maybe then the easiest way is to use \time 4/4 and \set 
timeSignatureFraction = 2/2.


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Re: Easy way of suppessing tuplet numbers?

[Malte Meyn]

Am 19.10.19 um 13:23 schrieb Peter Toye:
Is there an easy way to suppress tuplet numbers? When there's a long 
passage of triplets it gets too fussy having a "3" every time. I know it 
can be done with


c*2/3 d*2/3 e*2/3 etc. but this takes ages to type, and is very 
inflexible if I decide to add or subtract a tuplet number.


As far as I can see, the tuplet doesn't have a "visible" property which 
can be switched on and off.


Am I missing something?


You could use

\omit TupletNumber and \omit TupletBracket

or

\scaleDurations

and you don’t need the factor always:

c8*2/3 d e d e f e f g

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Re: Set /bookOutputName to Conjunction of Variable and String

[Malte Meyn]

Am 18.10.19 um 14:29 schrieb foxfanfare:

David Kastrup wrote

So you need to
put basically anything after the assignment to "num" before calling the
\include statement.


Thanks for your answer David, but I'm sorry I'm not following you here. What
should I call before the include statement exactly? Because the whole point
is that what comes after is referring to the file which had been include.


I use #'() in such cases. For me that’s the best “anything” because it’s 
more or less nothing ;)


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Re: Disabling beamExceptions and beatStructure

[Malte Meyn]

Am 03.10.19 um 10:51 schrieb Leo Correia de Verdier:

Dear list!

I am working on a piece with constantly changing meters and it got me wondering 
if there is a way to set beamExceptions to #’() and beat structure to a 
suitably long sequence of ones for all time signatures in the whole piece at 
once. At the moment I’m doing so for each time signature change, every other 
bar or so, but this feels somewhat clumsy and makes me suppose there should be 
a better way.

/Leo


Would \autoBeamOff be sufficient for your needs?

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Re: transpose for baritone sax

[Malte Meyn]

Am 27.09.19 um 02:33 schrieb Francesco Petrogalli:

I understand that the correct way of doing this is first write the
notes in the tonality of the instrument, and _then_ use \transposition
to get the correct pitches in the midi, but I already have the notes
in the ly file with the orchestral pitch and I would like to avoid
rewriting the whole part.


If you write everything “in C” you can use it for the score directly (I 
guess that’s what you call “orchestral pitch”?).


You are right: For the transposed parts with midi in C you need 
\transposition. But you don’t have to rewrite everything, just use 
\transpose too:


%

\version "2.19.83"

altosax = \relative {
  \key c \major
  c d e f g a b c
}

horn = \relative {
  \key c \major
  c d e f g a b c
}

trombone = \relative {
  \clef bass
  \key c \major
  c d e f g a b c
}

\score {
  \new StaffGroup <<
\new Staff \altosax
\new Staff \horn
\new Staff \trombone
  >>
  \layout { }
  \midi { }
}

\score {
  {
\transposition es
\transpose es c' \altosax
  }
  \layout { }
  \midi { }
}

\score {
  {
\transposition f
\transpose f c' \horn
  }
  \layout { }
  \midi { }
}

\score {
  \trombone
  \layout { }
  \midi { }
}

%

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Fwd: Re: drinking song symbols

[Malte Meyn]

Forgot the list …

Am 17.09.19 um 22:01 schrieb k...@aspodata.se:

  As an idea a saw somewhere, I made a little wineglass symbol
  where in the song you are to take a drink, as in bar 14 in:
http://aspodata.se/choir/ud/k%C3%A4y_metsolan_halki/k%C3%A4y_metsolan_halki.pdf
  source code in
http://aspodata.se/git/musik/Eduard_Hermes/k%C3%A4y_metsolan_halki/

Perhaps someone would be interested in improving the design, currently
it is a simple postscript markup:


You could search for a font containing the wine emoji and include that as

\markup \override #'(font-name . "my font") \char ##x1f377

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Re: A periodic enquiry re 2.20

[Malte Meyn]

Probable background of Urs’ question: 
https://www.uni-mozarteum.at/en/kunst/music-engraving-conference.php


Am 17.09.19 um 09:10 schrieb Urs Liska:

To be a bit more specific: is there any chance for a release by mid-January?

Am 17. September 2019 02:42:26 MESZ schrieb Andrew Bernard 
:


Will 2.20 be released at any stage? Is there a roadmap? It seems
like a very long time now with no news.


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Re: Sacred Harp Repeats

[Malte Meyn]

Am 11.09.19 um 15:46 schrieb Anzick:

276_-_Worlds_Beyond_The_Sky.ly

SHRepeats.ly 

Hello, I have been able to get the sacred harp style repeats to show. Does
anyone know how to make them work? I've included the files I am using.


You have to adapt the code to the LilyPond version you’re using:

1. The grob property for the bar line type is now called 'glyph, not 
'glyph-name.

2. The repeat bar lines are now ".|:" and ":|.", not "|:" and ":|".

#(define (with-shapenote-repeats grob)
   (let ((g-n (ly:grob-property grob 'glyph)))
 (cond
  ((string=? g-n ":") (dotFn grob))
  ((string=? g-n ".|:") (barDotSt grob))
  ((string=? g-n ":|.") (barDotFn grob))
  ((string=? g-n "|.") (barDotFnD grob))
  (else (ly:bar-line::print grob)

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Re: Global chord modifications for multiple scores

[Malte Meyn]

Am 05.09.19 um 09:27 schrieb Witold Uchman:

Hi all!

Is there a way to globally modify chord properties in multiple scores 
contained in one file? I would like all the chords to be \germanChords 
with chordNameLowercaseMinor = ##t, but I could not find a way to put it 
in the \layout block...


Hi Witold,

the global \layout block is the correct place:

%%
\layout {
  % this was already present:
  \context {
\Lyrics
\override LyricText.self-alignment-X = #-1
  }
  % this is new:
  \context {
\ChordNames
\germanChords
chordNameLowercaseMinor = ##t
  }
}
%%

The \context block contains the name of the context (ChordNames) and all 
\overrides and \sets that should affect all contexts of that kind. The 
\set command has to be omitted.


HTH,
Malte

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Re: Melisma breaking converting from 2.18 to 2.19

[Malte Meyn]

Am 27.08.19 um 10:56 schrieb Malte Meyn:
Yes, it does. The following two scores look the same in 2.18.2 and 
different in 2.19.83:
This changed somewhere between 2.19.13 and 2.19.14. Without testing it 
looks like commit df3457d8 “Allow \addlyrics to work with arbitrary 
contexts” could be the reason.


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Re: Melisma breaking converting from 2.18 to 2.19

[Malte Meyn]

Am 27.08.19 um 04:40 schrieb Vaughan McAlley:


I’m trying to convert a large choral project to 2.19. When I compile 
with 2.19, melismas don't work at all. For example:


c'4 \melisma d' e' \melismaEnd f

puts a note on every syllable.

[…]

Does this ring a bell with anyone?


Yes, it does. The following two scores look the same in 2.18.2 and 
different in 2.19.83:


%%

\version "2.18.2"
%\version "2.19.83"

global = {
  s1
  \bar "|."
}

sop = \relative {
  c'4( d) e f
}

soptext = \lyricmode {
  Me -- lis -- ma
}

\new Staff << \global \sop >> \addlyrics \soptext

\new Staff << \global \sop \addlyrics \soptext >>

%%

Is this a bug/regression?

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Re: Horizontal spacing algorithm

[Malte Meyn]

Am 26.08.19 um 09:56 schrieb Michael Gerdau:

Anyway, have you actualliy tried the provided spacing examples given in
the (old?) article with a current version of lilypond?

Find attached my tests with the current (2 weeks old) git version.


For those who don’t want to compile from git themselves: It’s the same 
spacing in 2.19.83 and much better than in 2.18.2.


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Re: Suppress Volta Starting Repeat

[Malte Meyn]

Am 26.08.19 um 03:22 schrieb keith Luke:

Is it possible to suppress the a volta starting repeat?


Yes, that should be possible.


The following code generates a repeat in front of the g1.


No, it doesn’t. Please always give a minimal *working* (i. e. 
compilable) example. Which LilyPond version do you use?



   \set Score.voltaSpannerDuration = #(ly:make-moment 4/4)
   \repeat volta 2 { g1 ~ }
   \alternative {
     {
       g4 r8 g8 d'4 c4 ~
     }
     {{ g2 \repeatTie r2 }}

As an alternative solution, is it possible to generate volta brackets as 
markkups?


I don’t think so. And how would volta brackets have to do with a 
starting repeat?


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Re: Colored box behind a single note

[Malte Meyn]

Am 25.07.19 um 15:26 schrieb David Kastrup:

So how do you distinguish a nested bracket starting and ending at the
same musical moment to ending one bracket and starting the next at the
same musical moment?


Good question.

Slightly off-topic: Currently it’s not possible to end one bracket and 
start the next at the same moment, that’s 
https://sourceforge.net/p/testlilyissues/issues/5240/ where I mentioned 
overlapping brackets. IIRC the brackets are started and ended when the 
bracket count is increased or decreased by \startGroup/\endGroup. That 
makes the grobs dependent and inflexible. Maybe that whole thing should 
be rewritten?


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break-align-symbols for MetronomeMark/RehearsalMark

[Malte Meyn]

Hi list,

I’m unsure whether that’s a bug, poorly documented or my error: To me it 
looks like some break-align-symbols work for some grobs and others for 
others. The following code gives output that is highly inconsistent IMO. 
Any idea what I’m doing or expecting wrong?


Cheers,
Malte

%%
\version "2.21.0"

\layout {
  \context {
\Score
\override RehearsalMark.self-alignment-X = #LEFT
  }
}

music = {
  \key d \major
  \tempo "MetronomeMark"
  \mark "RehearsalMark"
  \bar ".|:"
  b2
}

\markup "default"
\new Score \music

\markup "[empty list]"
\new Score \with {
  \override RehearsalMark.break-align-symbols = #'()
  \override MetronomeMark.break-align-symbols = #'()
} \music

\markup "left-edge"
\new Score \with {
  \override RehearsalMark.break-align-symbols = #'(left-edge)
  \override MetronomeMark.break-align-symbols = #'(left-edge)
} \music

\markup "clef"
\new Score \with {
  \override RehearsalMark.break-align-symbols = #'(clef)
  \override MetronomeMark.break-align-symbols = #'(clef)
} \music

\markup "key-signature"
\new Score \with {
  \override RehearsalMark.break-align-symbols = #'(key-signature)
  \override MetronomeMark.break-align-symbols = #'(key-signature)
} \music

\markup "time-signature"
\new Score \with {
  \override RehearsalMark.break-align-symbols = #'(time-signature)
  \override MetronomeMark.break-align-symbols = #'(time-signature)
} \music

\markup "staff-bar"
\new Score \with {
  \override RehearsalMark.break-align-symbols = #'(staff-bar)
  \override MetronomeMark.break-align-symbols = #'(staff-bar)
} \music

\markup "first-note"
\new Score \with {
  \override RehearsalMark.break-align-symbols = #'(first-note)
  \override MetronomeMark.break-align-symbols = #'(first-note)
} \music
%%

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Re: Problem with merging whole measure rests

[Malte Meyn]

Hi David,

if I understand correctly you see a problem with the 
Merge_rests_engraver (your attached file from-NR.ly)?


That engraver didn’t merge MultiMeasureRests until 2.19.65 and does so 
since 2.19.80 (the first prerelease for 2.20.0, hence the version number 
jump from 65 to 80). However, merging of MultiMeasureRests gives them an 
incorrect vertical position in 2.19.80–2.19.83. The not yet released 
2.21.0 fixes this.


@someone who knows about such things: Would it make sense to cherry-pick 
that fix into the stable/2.20 branch?


Cheers,
Malte

Am 20.07.19 um 18:55 schrieb David Wright:

Obviously 2.18 can't run the NR example, so I've attached some
files that demonstrate the old fix and the new manifestation.
IOW the first two should print correctly but the third prints
as in the NR.


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Re: vertical position of OttavaBracket

[Malte Meyn]

Am 15.07.19 um 08:12 schrieb Robin Bannister:

It is normal 'automagic' for
    \box { "X" "Y" "Z"}
to be mapped into
    { \box "X" \box "Y" \box "Z" }
giving you 3 boxes in a markup list
to which \concat can be applied.


Seems like that magic happens only for LilyPond syntax markups.


The mapping case
    \markup \concat \box { "X" "Y" "Z" }
gives 3 boxes without complaint, but
    #(markup #:concat #:box ("X" "Y" "Z"))
is errored.

Reformulating it as
    #(markup (make-concat-markup (make-box-markup ("X" "Y" "Z"
is also errored.


So if magic doesn’t work, one can do it by hand:

#(markup (make-concat-markup (map make-box-markup (list "X" "Y" "Z"

This looks like for my usecase it’s easier to use the LilyPond syntax …

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Re: vertical position of OttavaBracket

[Malte Meyn]

Am 14.07.19 um 16:21 schrieb Robin Bannister:

Malte Meyn wrote:



How can this made be top- or bottom-aligned (or aligned depending
according to the 'direction property)?


Inside a #(define-markup-command (command-name layout props arg1 arg2 …)
you can collect 'direction as follows:
   (let* ((dir-prop (chain-assoc-get 'direction props  1)))


It seems as if my question was unclear here: How could the dashed line 
(not the text) be aligned different?



P. S.: I tried Scheme syntax for the markups in the code above but
#(markup #:concat #:general-align Y UP ("16" #:teeny "ma"))
doesn’t work. What am I doing wrong?


Well, you get the error:
warning: cannot find property type-check for `ottavationMarkups'


That’s a new feature I would like to add, that’s why I commented it out 
;) The feature itself works, and

#{ \markup \concat \general-align #Y #UP { "16" \teeny "ma" } #}
works but
(markup #:concat #:general-align Y UP ("16" #:teeny "ma"))
doesn’t and I don’t know why …

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Re: vertical position of OttavaBracket

[Malte Meyn]

Am 14.07.19 um 13:15 schrieb Andrew Bernard:
Provide the mechanism, sure, but don't prescribe a single appearance. I 
don't even think there is a default that would suit everybody, that's 
the point.


Of course I wouldn’t change LilyPond’s default. The markups I showed 
would be only an example for snippets/docs.


My question was more about the position of the line that I would change 
in that same example to match the text. By the way: Elaine Gould 
recommends top-/bottom-aligned dashed lines ;)


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Re: tabstaff minimumfret behaving badly

[Malte Meyn]

Am 14.07.19 um 12:42 schrieb Immanuel Litzroth:

Am I doing something wrong? Is there a way to fix this?


minimum-fret allows open strings because you don’t need the left hand 
for them. You can disallow that behaviour:


\set TabStaff.restrainOpenStrings = ##t

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vertical position of OttavaBracket

[Malte Meyn]

Hi list,

I’m currently working on a patch that would make the default ottavation 
texts/markups (currently "8va"/"15ma" and "8vb"/"15mb") changeable by 
the user without having to \set Staff.ottavation after each \ottava, see 
the following code and attached picture:


%
\version "2.21.0"
.
  %{
  \set Staff.ottavationMarkups =
  #`(( 2 . ,#{ \markup \concat \general-align #Y #UP { "16" \teeny "ma" 
} #})
 ( 1 . ,#{ \markup \concat \general-align #Y #UP { "8" \teeny "va" 
} #})

 (-1 . ,#{ \markup \concat { "8" \teeny "va bassa" } #})
 (-2 . ,#{ \markup \concat { "16" \teeny "ma bassa" } #}))
  %}
  c''4 4 4 4
  \ottava 1
  c'''4 4 4 4
  \ottava 2
  c4 4 4 4
  \ottava -1
  c'4 4 4 4
  \ottava -2
  c4 4 4 4
  \ottava 0
  c''4 4 4 4
}
%

The superscript/top-aligned "va"/"ma" that I’ve seen sometimes in sheet 
music doesn’t work well with the center-aligned OttavaBracket dashed 
line. How can this made be top- or bottom-aligned (or aligned depending 
according to the 'direction property)?


Cheers,
Malte

P. S.: I tried Scheme syntax for the markups in the code above but
#(markup #:concat #:general-align Y UP ("16" #:teeny "ma"))
doesn’t work. What am I doing wrong?
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Re: Metronome marks above piano staff of vocal score?

[Malte Meyn]

Am 09.07.19 um 18:52 schrieb Steven Smith:
Is there a a way to have the metronome mark created by "\tempo 4=80" 
appear next to the piano staff as well as above the top staff of a 
SATB/Piano score? My research indicates that this placement is fairly 
common in choral pieces. Also, some submission typesetting guidelines of 
various contest suggest that metronome marks appear above certain staff 
groups in orchestral scores (top of score,string section, percussion, etc).


Hi Steven,

the version 2.21.0 that will hopefully be released soon, fixes a bug 
that used to hinder an easy solution. Here is that solution:


\version "2.21.0"

\layout {
  % Depending on score layout, that engraver
  % should be added to the ChoirStaff context
  % as well and removed from the Score context.
  % If you want it only for some PianoStaves/StaffGroups/…,
  % you can use the \consists command in the respective
  % \with blocks.
  \context {
\PianoStaff
\consists Metronome_mark_engraver
  }
}

<<
  \new ChoirStaff <<
\new Staff \with { vocalName = "Soprano" } { R1 }
\new Staff \with { vocalName = "Alto" } { R1 }
\new Staff \with { vocalName = "Tenor" } { \clef "treble_8" R1 }
\new Staff \with { vocalName = "Bass" } { \clef bass R1 }
  >>
  \new PianoStaff \with { instrumentName = "Piano" } <<
\new Staff { \tempo 4 = 80 R1 }
\new Staff { \clef bass R1 }
  >>
>>


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Re: More font ligatures

[Malte Meyn]

Am 06.07.19 um 03:38 schrieb Vaughan McAlley:
Elam Rotam, of Early Music Sources fame, has created a font that 
recreates 16th century typesetting. It could be useful for doing quick, 
good looking incipits:


https://www.earlymusicsources.com/more/font-serenissima

https://youtu.be/HH1oUc4E1CA

The one issue is that it relies heavily on font ligatures. I'll have to 
try it on 2.19.83.


It doesn’t work for me in 2.19.83 but it does work in 2.21.0.

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Re: Aesthetics question -- how would you typeset this?

[Malte Meyn]

Am 03.07.19 um 06:36 schrieb Evan Driscoll:

It's for cello, and just the part, no score.


Is that playable? I sadly haven’t touched my cello for a few months now 
and it’s 350 km away so I can’t try but I think I couldn’t play that 
passage despite having long fingers …


It's a transcription of the violin part of the violin+piano arrangement 
of Danse Macabre. For the violin, it's up an octave and the problem I 
have with it doesn't arise -- it's comes out much the same as tenor 
clef. Lots of it can't be reasonably written without treble clef, so 
being capable in that clef is necessary; the high note I think is a'' / 
A5 (the A just above the top of the treble staff)


The violin part has b flat in the lower voice, not g. That makes it 
playable on the cello too but brings me to the question how you’ll 
arrange the following measure …



 >      { s4^"The default, but melody 'lost' in the other visual
noise" }

Looks fine IMO.


I also got rid of some elaboration of why I thought this was a problem 
in the first place, which is that I find it difficult to see the line of 
the top notes there; to me, the inter-note intervals are kind of buried 
amidst a ton of stems and staff lines and such. In fact, that actually 
held one of just two typos I've found that made it through all my 
proofreading and to the point where I started to actually work from the 
part. But who knows... maybe I'm the odd one out here and most people 
*wouldn't* have any problem with it; maybe I'm too stuck up on the fact 
that I made a typo and am trying to overcorrect.


If it’s hard to read because of a “ton of stems and staff lines and 
such” maybe there is a layout problem, f. e. too small staff size, 
staves not far enough apart. Changing the stem direction shouldn’t be 
necessary.


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Re: Aesthetics question -- how would you typeset this?

[Malte Meyn]

Am 03.07.19 um 05:54 schrieb Evan Driscoll:
I've got a couple measures that I'm struggling to even figure out what I 
want the result from Lilypond to be. I've pasted the snippet below. As 
picky connoisseurs of good notation, I'm wondering what other people 
would do or like to see. :-) I'm leaning toward the second option but am 
uncertain.




Important question: What instrument(s) will play this? Is this from a 
part or a full score?



     { s4^"The default, but melody 'lost' in the other visual noise" }


Looks fine IMO.

     { s4^"I like this more but is forcing the stems departing too much 
from standard practice?" }


This needs too much space on the lower side. IMO that departs too much.

     { s4^"This also works well but this is an area already with tons of 
clef changes and this adds two more"}


What instrument(s) is this for? Piano/harp/violin(s)/…: NO! They don’t 
know that clef. Bassoons/cello(s): Yes, use treble clef only if really 
necessary (in most cases); either this or the first solution is fine. 
Trombones: YES! AFAIK they don’t know treble clef.



   r4^"I don't like this but for completeness..."


Piano? → depends on whether this should be played with one (big) or two 
hands. Two instruments/divisi: Maybe better than the first solution. One 
or unisonon violins: the first solution is better.


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Re: Part name going off screen

[Malte Meyn]

Am 07.06.19 um 05:36 schrieb branden marbaugh:
So I am using Frescobaldi and used the setup wizard for a 4-voice 
project. The first line of the 4 voices is good but in the 2nd line, the 
instrument name goes off screen.


Hi Branden,

you have to set short-indent (default 0) in a layout or paper block, f.e.

\paper {
  short-indent = 1\cm
}

HTH,
Malte

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Re: Barcheck with full measure rests

[Malte Meyn]

Am 21.05.19 um 13:08 schrieb J Martin Rushton:

The notation reference for 2.18.2 doesn't seem to mention using
fractions with multi-measure rests.  Using just {R1*3/4} generates
programming errors and no rest is output.


The fraction is not the problem:

{ \time 3/4 R1*3/4 }

This works because it’s a *full* measure rest now. Also, you could have 
written


{ \time 3/4 R2. }

or

{ \time 3/4 R4*3 }

instead.

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Re: Barcheck with full measure rests

[Malte Meyn]

Am 21.05.19 um 12:51 schrieb Michael Gerdau:

the following MWE triggers a barcheck failure. Is that intended or a bug?
And if it is intended I'd like to understand the rationale.

%
\version "2.21.0"
{ R1*3/4 s4 | }
%


Hi Michael,

that’s intended: R is used for full/multi-measure rests; they start and 
end at bar lines. Therefore, R produces not only the rest but also bar 
checks.


Those rests always are printed centered in the measure. What would you 
expect from the code above?


Cheers,
Malte

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Re: The "let vibrate" tie

[Malte Meyn]

Am 14.05.19 um 01:57 schrieb Vicente Sanches:

Hi everyone,

How can I input that l.v. ("let vibrate") tie used generally with 
timpani and mallets such as vibraphone em marimba?


Hi Vicente,

try \laissezVibrer. See also 
http://lilypond.org/doc/v2.19/Documentation/notation/writing-rhythms#index-_005claissezVibrer-1


HTH,
Malte

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Re: How to write notes for drums?

[Malte Meyn]

Am 12.05.19 um 07:53 schrieb Данил Костенков:

Hello everybody!
I want to write notes for drums. But I don’t know how it do. Give me some 
advices and instructions about this. Thank you in advance.


Hi Danil,

have a look at the “Percussion” section of the Notation Reference: 
http://lilypond.org/doc/v2.19/Documentation/notation/percussion


Cheers,
Malte

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Re: Vertical spacing of numeric time signature

[Malte Meyn]

Am 09.05.19 um 16:53 schrieb msk...@ansuz.sooke.bc.ca:

Is there any simple way to modify the vertical spacing between numerator
and denominator in a numeric time signature?



Not really simple. But it can be done by redefining the stencil:

\version "2.21.0"

#(define (fraction-with-gap gap)
   (lambda (grob)
 (let* ((frac (ly:grob-property grob 'fraction))
(num (car frac))
(den (cdr frac))
(fontsize (magnification->font-size (/ (- 4 gap) 4)))
(baseline-skip (+ 2 (/ gap 2)))
(m (markup
#:vcenter
#:fontsize fontsize
#:override `(baseline-skip . ,baseline-skip)
 #:center-column (#:number (number->string num)
   #:number (number->string den)
   (grob-interpret-markup grob m

{
  % The number 0.5 can be changed. It’s the size of the gap in 
staff-spaces.

  \override Staff.TimeSignature.stencil = #(fraction-with-gap 0.5)
  \time 3/4
  s2.
  \time 5/4
  s4*5
}

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Re: how to restore the override to it default.

[Malte Meyn]

Am 07.05.19 um 21:30 schrieb MING TSANG:

Lilyponders,

The override take effect for bar 2 to bar 4. I try to use \remove , but 
not working.


The correct command is \revert:

\revert NoteHead.style

or

\revert Stem.transparent

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Re: move rehearsal marks

[Malte Meyn]

Am 05.05.19 um 07:48 schrieb Gianmaria Lari:
How I can move a bit on the left the rehearsal mark "A" to make it 
taking less vertical space?


I’d use X-offset:

\override Score.RehearsalMark.X-offset = 1

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Re: \transposedQuoteDuring

[Malte Meyn]

Am 01.05.19 um 15:53 schrieb Pierre-Luc Gauthier:

Hi there,

Is there a way to transpose a quotation, say, an octave higher ?



I used the following code some years ago. IIRC you can call 
\color-music-if-point-and-click f. e. in a \layout { \context { \Voice … 
} } block to get grey quotes.


\version "2.19.25"

#(define quote-color grey)

color-music-if-point-and-click =
#(define-music-function (music) (ly:music?)
   (if (ly:get-option 'point-and-click)
   #{
 \temporary \override NoteHead.color = #quote-color
 \temporary \override Rest.color = #quote-color
 \temporary \override MultiMeasureRest.color = #quote-color
 #music
 \revert NoteHead.color
 \revert Rest.color
 \revert MultiMeasureRest.color
   #}
   music))

ottavaQuoteDuring =
#(define-music-function (ottava what main-music) (integer? string? 
ly:music?)

   (let ((thequote (make-music 'QuoteMusic
 'element main-music
 'quoted-music-name what
 'quoted-transposition (ly:make-pitch ottava 0 0
 (color-music-if-point-and-click thequote)))

quoteDuring = \ottavaQuoteDuring 0 \etc

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Re: Tools for harmonic analysis (Riemann style)

[Malte Meyn]

Hi Urs, Lukas, and everybody,

Am 26.04.19 um 14:45 schrieb Lukas-Fabian Moser:
And @Malte, am I wrong if I remember that I saw some work on functional 
analysis symbols done by you?


that’s true. For my thesis I needed such symbols for use both in LaTeX 
and LilyPond. I had made a LilyPond solution that uses a lot of string 
magic and markup functions but wasn’t able to include that into LaTeX. 
So then I decided I would need a software-independent solution and tried 
OpenType magic. The result is a font that I can use in LilyPond, LaTeX, 
LibreOffice, and other programs that support OpenType features. The 
current state is only a proof of concept without proper documentation 
and without really knowing whether I’ve done the OpenType magic 
correctly. But it’s been good enough for my needs so far. You can find 
it at https://github.com/mmeyn/Riemann. For usage, have a look at 
http://notat.io/viewtopic.php?f=4=403.


I’d very much like to improve that solution and make it more 
feature-complete, better usable, and less hacky. But that would probably 
need some expertise on OpenType and fonts in general.


Cheers,
Malte

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Re: Key Signature consisting of 7 naturals?

[Malte Meyn]

Am 22.04.19 um 19:06 schrieb Malte Meyn:

{
   \set Staff.keyAlterations =
   #`((3 . ,NATURAL)
  (0 . ,NATURAL)
  (4 . ,NATURAL)
  (1 . ,NATURAL)
  (5 . ,NATURAL)
  (2 . ,NATURAL)
  (6 . ,NATURAL))
   c'
}


That’s in the order they would appear after cancelling 6 sharps. You 
might want the reverse order (6251403) for cancelling 6 flats or 
something “neutral” like 5601234 or 4321065.


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Re: Key Signature consisting of 7 naturals?

[Malte Meyn]

Am 22.04.19 um 18:44 schrieb Stefano Troncaro:
I looked in the documentation and it 
states how to create synthetic key signatures, but it doesn't seem to 
tell how to make the naturals explicit.


It can be done the same way as with sharps and flats:

\version "2.21.0"

{
  \set Staff.keyAlterations =
  #`((3 . ,NATURAL)
 (0 . ,NATURAL)
 (4 . ,NATURAL)
 (1 . ,NATURAL)
 (5 . ,NATURAL)
 (2 . ,NATURAL)
 (6 . ,NATURAL))
  c'
}

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Re: scheme-question about accumulating lists of lists

[Malte Meyn]

Am 19.04.19 um 16:35 schrieb Thomas Morley:

I could do
(cons '(a b c) (list (car (list-pair)) (cdr (list-pair
and to get the last list: (last ...)
Looksy clumsy, though.

Any better method?


I’m not sure what you want to do here. But maybe it would be easier to 
convert the pair of lists to a lists of lists first?


\version "2.21.0"

#(begin
  (define (list-pair->list-list the-list-pair)
(list (car the-list-pair) (cdr the-list-pair)))
  (define foo '((a b c) . (d e f)))
  (display foo)
  (newline)
  (display (list-pair->list-list foo)))

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Re: rest + fermata

[Malte Meyn]

Am 14.04.19 um 13:38 schrieb Martin Tarenskeen:


Hi,

This is strange:

%%% start of tiny example

\version "2.19.83"
{
   r1\fermata
   R1\fermata
}

%%% end of tiny example

r1\fermata works fine, R1\fermata doesn't. No fermata sign is printed.
Is this a bug?

That’s the third time in a few weeks that someone asks why that doesn’t 
work at a list/forum/… that I read.


Looks like I should continue my work on issue 5486 
(https://sourceforge.net/p/testlilyissues/issues/5486/) and maybe find a 
way that \fermataMarkup isn’t needed anymore and R1\fermata works instead …


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Re: partCombine and direction of stems

[Malte Meyn]

Am 04.04.19 um 10:23 schrieb Gianmaria Lari:
I don't understand how lilypond manages the stem direction in the 
following code. Why the difference in the two scores?


\partCombine is for combining a first and a second (or upper and lower) 
part in a score, like flute 1 & flute 2 or soprano & alto. As long as 
the first/upper part has the higher notes, LilyPond will print simple 
chords. When the parts cross (first/upper part has the lower notes), 
this will be shown as two different voices so that the stem directions 
show the non-standard order of voices.


If you want two separate voices in both cases, you can use 
\partCombineApart or instead of \partCombine just << \\ >>.


If you want chords in both cases, you can use \partCombineChords or 
instead of \partCombine just << >> without \\.


%
\version "2.21.0"

upper = { c' d' e' f' }
lower = { a b c' d' }

\partCombine \upper \lower
\partCombine \lower \upper
\partCombine { \partCombineApart \upper } \lower
\partCombine { \partCombineChords \lower } \upper
<< \upper \\ \lower >>
\new Voice << \upper \lower >>
%

N.B. If someone wants to try this at home be aware that in 2.19.83 and 
earlier versions it has to be \partcombine, \partcombineApart, 
\partcombineChords (with lowercase c in “combine”).


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Re: SMuFL Bravura

[Malte Meyn]

Am 02.04.19 um 09:34 schrieb Urs Liska:
But that probably should wait until the release of 2.20.0 and 2.21.0, 
shouldn’t it?


I don't think so. Of course such a fundamental change doesn't belong in 
2.20, but adding stuff to the development branch doesn't seem 
problematic to me. If it should turn out that starting with these 
changes imposes any risk of breaking stuff we could still work on a 
branch for a longer time (and maybe merge that to 2.21 after a 2.20 
release).


An extra branch is a good idea. I thought of people who want to use the 
new features introduced in 2.21.0 but not 2.20.0 (there probably will be 
a lot of those), therefore I’d add changes to master only after the 
release of 2.21.0 (i. e. 2.21.1 would be the earliest possible release 
for big SMuFL changes).


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Re: SMuFL Bravura

[Malte Meyn]

Am 01.04.19 um 21:12 schrieb Urs Liska:

I fully agree with all of that, but I think what Johan wanted to say is that we 
should *first* work towards DMuFL compliance before spending manpower on 
Emmentaler extensions.
Which I think is true and not. If there is someone willing to spend efforts 
adding stuff to Emmentaler that's a great thing and shouldn't be discouraged 
because we have even more pressing things to do.


That sounds reasonable. And maybe I should try to make some 
contributions for SMuFL (renaming and rearranging glyphs should be not 
too hard). But that probably should wait until the release of 2.20.0 and 
2.21.0, shouldn’t it?


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Re: SMuFL Bravura

[Malte Meyn]

Am 01.04.19 um 12:01 schrieb Johan Vromans:

On Mon, 1 Apr 2019 09:17:26 +0200, Malte Meyn  wrote:


SMuFL integration and using Metafont for glyph creation don’t
contradict, do they?


They do, in so far that with limited resources you cannot do both.


[sending on-list, sorry Johan for the double post]

What do you mean by “limited resources”? A lack of manpower? I don’t 
think it’s a real problem:


“In order for a font to be considered SMuFL-compliant, it should 
implement as many of the recommended characters as are appropriate for 
the intended use of the font, at the specified code points. Fonts need 
not implement every recommended character, and need not implement any 
optional glyphs, in order to be considered SMuFL-compliant.” (SMuFL 
specification 
https://w3c.github.io/smufl/gitbook/about/recommended-chars-optional-glyphs.html)


I think that means that Emmentaler could be made SMuFL-compliant without 
having to add any characters: The intended use of Emmentaler is to work 
with LilyPond as it will have done before SMuFL-compliance. Of course, 
once this is done, additions can be made. But there is no need of new 
Metafont code for SMuFL-compliance so I don’t think we should abandon 
Metafont.


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Re: SMuFL Bravura

[Malte Meyn]

Am 01.04.19 um 08:59 schrieb Johan Vromans:

On Mon, 1 Apr 2019 11:37:42 +1100, Andrew Bernard
 wrote:


Now to learn Metafont then. Shouldn't be too hard -


As a retired TeXnician I have deep respect for TeX and MetaFont.
Nevertheless I think the right way now is to go for widely accepted
standards where possible.

So I'd rather see decent SMuFL integration than more home grown Emmentaler
extensions.


SMuFL integration and using Metafont for glyph creation don’t 
contradict, do they? Of course we should concentrate on glyphs requested 
by SMuFL instead of “home grown” symbols. But why not use Metafont for 
that? And if someone misses a glyph in Emmentaler that is not in SMuFL 
one should make an enhancement request 
(https://github.com/w3c/smufl/issues or 
https://lists.w3.org/Archives/Public/public-music-notation-contrib/)


Of course we would have to rename the Emmentaler glyphs and have a 
script that puts them at the correct code points in the font. And we 
would have to look at the specification 
(https://w3c.github.io/smufl/gitbook/specification/) for glyph metrics, 
ligatures etc. Probably when metrics change there have to be changes in 
the LilyPond source code too …


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Re: lilypond 2.21

[Malte Meyn]

Am 30.03.19 um 08:17 schrieb Gianmaria Lari:
Are there any istructions available to try to compile lilypond 2.21 on 
windows?


Thanks, g.


Hi Gianmaria,

if I’m not mistaken there is currently no way to compile on Windows 
itself. Instead, Windows executables are cross-compiled on Linux. AFAIK 
you can use the Linux “LilyDev” in a virtual machine running on Windows 
for that (dear developers, please correct me if that’s wrong, I’ve never 
used LilyDev nor cross-compiled). For LilyDev and its installation see 
http://lilypond.org/doc/v2.19/Documentation/contributor/lilydev


Cheers,
Malte


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Re: Force tablature position

[Malte Meyn]

Am 27.03.19 um 16:55 schrieb Anthony Rushforth:

Hello,

I would like to force a finger position in a tablature for a particular 
note in a chord, but the "\set TabStaff.minimumFret = #3 " seems to 
apply to the whole chord.


In this example I would like the b to be in string 3 (g), 4th position.


You can use \3 for placing it on the third string:

symbols = 1

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Re: \RemoveEmptyStaves

[Malte Meyn]

Am 04.03.19 um 03:17 schrieb Richard Gress:

Hi all,

Why is \RemoveEmptyStaves not working the way I’m using it? The output 
still shows blank staves in a ten-page document. Uncommenting the global 
command doesn’t work, either.


PianoStaff contains the Keep_alive_together_engraver. This means that 
individual staves aren’t hidden, only the PianoStaff as a whole when all 
staves are empty. This makes sense in orchestra music but not for piano 
solo. You can use a GradStaff instead or remove the 
Keep_alive_together_engraver:


\new GrandStaff <<
\new Staff …
\new Staff …
\new Staff …
\new Staff …
>>

\new PianoStaff \with {
\remove Keep_alive_together_engraver
} <<
\new Staff …
\new Staff …
\new Staff …
\new Staff …
>>

In fact, the Keep_align_together_engraver is the only difference between 
the two contexts, so both solutions are equivalent.


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Re: Question about eval-string

[Malte Meyn]

Am 02.03.19 um 13:34 schrieb Aaron Hill:


   $@(map eval-string '("voiceA" "voiceB"))


That should work too, I think.


Wow, that’s cool! I think I have seen $@ in the past but I didn’t know 
what it does ;) That should be enclosed in << >> though for Paolo’s use 
case:


<<
  $@(map eval-string '("voiceA" "voiceB"))
>>

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Re: Question about eval-string

[Malte Meyn]

Am 02.03.19 um 13:06 schrieb Paolo Cantamessa:

%this doesn't work
<<
   $(map eval-string '("voiceA" "voiceB"))
 >>



The map returns a list which means that the 'elements of the 
SequentialMusic (produced by << >>) is a list of lists instead of a list.


Try the following and have a look at the output produced by \displayMusic:


\version "2.19.82"

voiceA = { e' f' g' }
voiceB = { c' d' e' }

%this works
\displayMusic <<
  $(eval-string "voiceA")
  $(eval-string "voiceB")
>>

%this works too
$(make-music
  'SimultaneousMusic
  'elements
  (map eval-string '("voiceA" "voiceB")))


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Re: Short Fermata - Whole Measure Rest

[Malte Meyn]

Am 27.02.19 um 09:23 schrieb Malte Meyn:
Maybe one should add \shortfermataMarkup, \longfermataMarkup and 
\verylongfermataMarkup to LilyPond …


This is issue 5486 now: https://sourceforge.net/p/testlilyissues/issues/5486

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Re: printKeyCancellation not working as expected

[Malte Meyn]

Am 27.02.19 um 16:13 schrieb SK:

Hello,

I would like to be able to change key signatures without ANY hints for 
educational purposes. For this I use Staff.printKeyCancellation set to 
false, together with the visibility options for key signatures. It works 
fine for most keys, but when changing to a key without any accidentals 
such as c major, the natural signs are shown and tell the student where 
there have been accidentals before.

Any help would be very appreciated.


Try
\omit Staff.KeyCancellation
instead.

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Re: Multiple measures rests question

[Malte Meyn]

Am 27.02.19 um 10:07 schrieb Jacques Menu:

Hello,

Compressing multiple measure rests can be handled with:
\set Score.skipBars = ##t
and:
\compressFullBarRests
as shown below by snippets taken from the LPNR.

When and where should these be used?


From property-init.ly:

compressFullBarRests = \set Score.skipBars = ##t
expandFullBarRests   = \set Score.skipBars = ##f

It’s the same ;)

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Re: Short Fermata - Whole Measure Rest

[Malte Meyn]

Am 27.02.19 um 03:29 schrieb nagymusic:

Is it possible to attach a short fermata to a whole measure rest, similar
when using fermatas with regular rests: R1 \shortfermata? I know that
\fermataMarkup works well with a regular fermata.

Thank you!


\fermataMarkup produces a MultiMeasureTextEvent with 'text set to a 
markup that produces a fermata symbol (ufermata or dfermata depending on 
voice direction). You can tweak that 'text property (first solution 
below) or create a \shortfermataMarkup command (second solution):


%%%
\version "2.19.82"

% FIRST SOLUTION

{
  R1\fermataMarkup
  R1_\fermataMarkup
  R1-\tweak text \markup \musicglyph #"scripts.ushortfermata" 
\fermataMarkup
  R1_\tweak text \markup \musicglyph #"scripts.dshortfermata" 
\fermataMarkup

}

% SECOND SOLUTION

#(define-markup-command (shortfermata layout props) ()
   #:category music
   #:properties ((direction UP))
   (interpret-markup layout props
 (if (eqv? direction DOWN)
 (markup #:musicglyph "scripts.dshortfermata")
 (markup #:musicglyph "scripts.ushortfermata")
\version "2.19.82"

{
  R1\fermataMarkup
  R-\tweak text \markup \musicglyph #"scripts.ushortfermata" \fermataMarkup
})))

shortfermataMarkup =
#(make-music 'MultiMeasureTextEvent
   'text (make-shortfermata-markup)
   'tweaks '((outside-staff-priority . 40)
 (outside-staff-padding . 0)))


{
  R1\fermataMarkup
  R1_\fermataMarkup
  R1\shortfermataMarkup
  R1_\shortfermataMarkup
}
%%%

Maybe one should add \shortfermataMarkup, \longfermataMarkup and 
\verylongfermataMarkup to LilyPond …


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systems-per-page and ragged-last-bottom

[Malte Meyn]

Hi list,

IMHO systems-per-page should be ignored on the last page if (and only 
if) ragged-last-bottom is set to ##t. I think that systems-per-page is 
used for even spacing and ragged-last-bottom = ##t shows that the user 
wants an exception to such an even spacing on the last page.


Any other opinions?

Cheers,
Malte


\version "2.19.82"

\paper {

  % ragged-last-bottom = ##t: 10 systems à 3 measures
  %ragged-last-bottom = ##t

  % ragged-last-bottom = ##f: 6 systems à 2m., 6 systems à 3m.
  %ragged-last-bottom = ##f

  % systems-per-page = 3 and ragged-last-bottom = ##t:
  systems-per-page = 3
  ragged-last-bottom = ##t
  % IMHO this should print only 1 system on the 4th page (10=3*3+1)

}

<<
  \new Staff \repeat unfold 480 b'16
  \new Staff \repeat unfold 480 b'16
  \new Staff \repeat unfold 480 b'16
  \new Staff \repeat unfold 480 b'16
>>


P. S. systems-per-page also doesn’t work well with large headers or 
other markups. One might want less systems on the first page in this 
case too.


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Re: Horizontal shifting of chords

[Malte Meyn]

Am 04.02.19 um 08:59 schrieb Robert Blackstone:

Hi All,

I have been transcribing a  piano piece in \time 4/2, that ends with a 
chord \breve. The penultimate bar ends with the same chord half note.
What LilyPond does here I find rather ugly : both chords need more 
space, and I would like to center the breve and increase the distance 
between the penultimate chord and the bar line.

The available space would be would be more than sufficient.

[…]

Has anybody a suggestion or advice?


Hi Robert,

please always give a minimal code example. Does the following help?

%%%

\version "2.19.82"
\language "deutsch"

\new PianoStaff <<
  \new Staff {
\time 4/2
2 q q q
\once \override Staff.BarLine.extra-spacing-width = #'(-10 . 10)
q\breve
  }
  \new Staff {
\clef bass
2 q q q
q\breve
  }
>>

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Re: "Mensurstriche" (barlines between systems) and Repeat signs.

[Malte Meyn]

Am 01.02.19 um 18:42 schrieb Aaron Hill:

On 2019-02-01 9:04 am, Malte Meyn wrote:

Am 01.02.19 um 16:53 schrieb Aaron Hill:
"" is already a valid bar line that has an empty glyph, so just 
extend that one:



\version "2.19.82"

\defineBarLine "-span" #'("|" "|" "|")
\layout { \context { \Score defaultBarType = "-span" } }
\new StaffGroup << \new Staff \repeat unfold 12 b'4
    \new Staff \repeat unfold 12 b'4 >>



That’s not enough: #'("|" "|" "|") will make full bar lines at line
breaks. When I try #'("" "" "|") instead, no span bar is printed at
line end. But the following seems to work:


I goofed when I posted my solution, as I had intended it to be #'("" "" 
"|"), since it was meant to be only the span bar.



• in the middle of a line, the staff bar is taken from the name "-m"
and the span bar from the third argument "|"
• at the begin of a line, the second argument is used: "" is an empty
staff bar *with empty span bar* (default for "" bar lines)
• at the end of a line, the first argument is used: "" is not
sufficient here, because the span bar is taken from the "" definition
instead of the third argument; setting the first argument to "-m"
looks into the third argument of this definition.


That very much sounds like a bug and should be reported.  The final 
argument is the span setting which should be agnostic of start and end 
styles and vice versa.

Hm … I don’t think that this is correct: How about
\defineBarLine ".|:-||" #'("||" ".|:" ".|")
? If the span bar ".|" would be used at all positions, the output at 
line breaks wouldn’t be correct: the "||" bar at the line end would have 
a ".|" span bar too …


But I don’t know why we have the span bar argument at all then …

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Re: "Mensurstriche" (barlines between systems) and Repeat signs.

[Malte Meyn]

Am 01.02.19 um 16:53 schrieb Aaron Hill:
"" is already a valid bar line that has an empty glyph, so just extend 
that one:



\version "2.19.82"

\defineBarLine "-span" #'("|" "|" "|")
\layout { \context { \Score defaultBarType = "-span" } }
\new StaffGroup << \new Staff \repeat unfold 12 b'4
    \new Staff \repeat unfold 12 b'4 >>



That’s not enough: #'("|" "|" "|") will make full bar lines at line 
breaks. When I try #'("" "" "|") instead, no span bar is printed at line 
end. But the following seems to work:


%

\version "2.21.0"

\defineBarLine "-m" #'("-m" "" "|")

\layout {
  \context {
\Score
defaultBarType = "-m"
  }
}

mus = \relative {
  \repeat unfold 12 { c' d e d } \bar "|."
}

\new StaffGroup <<
  \new Staff \mus
  \new Staff \mus
>>

%

I’ll try to explain what I think is happening here:

• in the middle of a line, the staff bar is taken from the name "-m" and 
the span bar from the third argument "|"
• at the begin of a line, the second argument is used: "" is an empty 
staff bar *with empty span bar* (default for "" bar lines)
• at the end of a line, the first argument is used: "" is not sufficient 
here, because the span bar is taken from the "" definition instead of 
the third argument; setting the first argument to "-m" looks into the 
third argument of this definition.


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