Re: Lilypond interfaces

[Malte Meyn]

Am 17.04.2018 um 22:17 schrieb Amir Teymuri:

Hello,

does anyone knows about interfaces and/or notation systems written in 
other programming languages which use lilypond as backend? Two examples 
of such interfaces are fomus (https://common-lisp.net/project/fomus/doc/)

and abjad (http://projectabjad.org/).


Not really independent software, but there are three “front-ends” that 
allow including LilyPond code in LaTeX, HTML and Open/LibreOffice documents:


1. lilypond-book 
(http://lilypond.org/doc/v2.19/Documentation/usage/lilypond_002dbook): 
This is distributed with LilyPond, output to LaTeX or HTML.
2. lyluatex (https://ctan.org/pkg/lyluatex or 
https://github.com/jperon/lyluatex): This is for LuaLaTeX. It works 
similar to lilypond-book but is a little bit easier to handle as you 
don’t have to use another program outside LaTeX.
3. OOoLilyPond (http://ooolilypond.sourceforge.net/) for OpenOffice and 
LibreOffice. It might be possible that this is rewritten in the near 
future (see http://lilypond.org/google-summer-of-code.html).


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Re: Consistent vertical alignment of annotations, disable time signiture

[Malte Meyn]

Am 16.04.2018 um 20:39 schrieb Simon Albrecht:

On 16.04.2018 20:05, Robert Hickman wrote:
So far I have the result attached, which is close to what I want, but 
I haven't found a clear example of how to get the two text annotations 
to align vertically.


Try overriding TextScript.staff-padding – which will also move them up 
at appropriate values.



I'd also like to move both up a bit.

I'd also like to remove the time signature as it isn't needed in this 
example.


That’s easy: \omit TimeSignature ;-)


Depending on where this is placed, it has to be

\omit Staff.TimeSignature

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Re: SVG enormous fonts issue

[Malte Meyn]

Am 16.04.2018 um 18:27 schrieb Noeck:

Your svg looks fine here.

Tested with firefox, thunderbird, eog on Ubuntu.


Looks good for my eom (the MATE equivalent of eog) but not for my 
firefox (59.0.1) on Manjaro.


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LilyPond in a CMS [was: Re: Defining custom symbols]

[Malte Meyn]

Am 15.04.2018 um 12:41 schrieb Robert Hickman:

Second thought: (see my previous, sorry about double posting).

What are the risks of integrating lillypond into a CMS from a security 
perspective, does it allow you to run shell commands for instance? I 
will not be exposing this publicly, just to the admin interface only I 
use. I like to know what exploits anything I use could expose howeaver.


Have a look at the options --jail and -dsafe at 
http://lilypond.org/doc/v2.19/Documentation/usage-big-page.html


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Re: cannot run ../.ly file which includes another file

[Malte Meyn]

Am 13.04.2018 um 21:22 schrieb Federico Bruni:

I don't think this is the problem you think it is. It's actually

myMusic = \relative c' { c4 d e f | } \myMusic

where the definition of myMusic tries to eat itself.



Doh, I forgot the basics. Thanks David.
I've now moved \myMusic into a \score block and it works.


You don’t even need a score block but *something* that isn’t \myMusic. I 
use #'() for this:



myMusic = \relative c { c4 d e f | }
#'()
\myMusic

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Re: Tremolo repeats and groups of notes

[Malte Meyn]

Am 12.04.2018 um 19:25 schrieb Mark Stephen Mrotek:

Marco,

In the attached I got the beaming you want. Do not know how to give each 
tuplet is own 3.


Have a look at my answer to that question: setting subdivideBeams (and 
baseMoment) is way easier than setting stemLeftBeamCount and 
stemRightBeamCount ;)


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Re: Tremolo repeats and groups of notes

[Malte Meyn]

Am 12.04.2018 um 15:11 schrieb Marco Bagolin:

I am trying, but I don't find the correct sintax...


Just add the \override command somewhere at the start of music.

\version "2.18.2"

\relative c'
{
  \override StemTremolo.slope = 0.5
  \time 4/4
  \key bes \major
  \tuplet 3/2 { d8:16 -\markup { \tiny \italic { rep. notes opt. }} \f 
f8:16 bes8:16 } d4 \tuplet 3/2 { c,8:16 ees?8:16 aes8:16 } c4|

}

Il giorno gio 12 apr 2018 alle 14:56 Malte Meyn <mailto:lilyp...@maltemeyn.de>> ha scritto:




Am 12.04.2018 um 11:24 schrieb Marco Bagolin:
 > I solved the second question using your proposal of code.
 >
 > I did not solved the first question.

Have you tried overriding the slope?

And have you read my recommendation? Probably it would be possible to
bring the StemTremolos nearer to the note heads but it would be
complicated and it would be against common notation practice.



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Re: \include command and local network folders

[Malte Meyn]

Am 12.04.2018 um 15:10 schrieb foxfanfare:

That's odd, I don't understand why but however Lilypond seems to find my
file! :




That’s not LilyPond but Frescobaldi finding the file …

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Re: Download for 2.19.81

[Malte Meyn]

Am 12.04.2018 um 13:59 schrieb Andrew Bernard:

Why is 2.19.81 not in:

http://download.linuxaudio.org/lilypond/binaries/linux-64/

Highest rev is 2.19.80. 81 seems to come and go.

Andrew


That’s a known problem, have a look at 
http://lilypond.org/downloads/binaries/linux-64/ instead.


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Re: Tremolo repeats and groups of notes

[Malte Meyn]

Am 12.04.2018 um 11:24 schrieb Marco Bagolin:

I solved the second question using your proposal of code.

I did not solved the first question.


Have you tried overriding the slope?

And have you read my recommendation? Probably it would be possible to 
bring the StemTremolos nearer to the note heads but it would be 
complicated and it would be against common notation practice.


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Re: Tremolo repeats and groups of notes

[Malte Meyn]

Am 12.04.2018 um 07:13 schrieb Marco Bagolin:

Hi all,
please someone can help me?


Hi Mark,

please always give minimal *working* examples. Your code doesn’t compile.

Also it would be better to write simple text emails instead of HTML, 
because then it’s easier to copy the code and have it nicely formatted.


For your second question:

\set Timing.subdivideBeams = ##t
\set Timing.baseMoment = #(ly:make-moment 1/8)

For your first question:

You could try something like

\override StemTremolo.slope = #0.5

but I’d recommend not to try to copy the notation you posted exactly 
because the tremolo beams should be near the beams (see also Gould, 
“Behind Bars”).


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Re: {SPAM 02.4} Re: Repeating \markup commands

[Malte Meyn]

Am 08.04.2018 um 20:13 schrieb David Sumbler:

\version "2.19.81"
nar = ^\markup \whiteout \pad-markup #2 \etc

Unfortunately the above produces "syntax error, unexpected \etc"
The older version works fine.


That’s because that’s a very recent change that hasn’t been released yet 
so “\version "2.19.81"” isn’t correct.


In current master it works. That means that it’ll be available for you 
in 2.21.0 or perhaps 2.19.82/2.20.0.



It would be nice to get the newer version to work, because in principle
this type of syntax should make it much easier for me to create my own
functions in future instead of bothering the list so often.  But so far
I haven't been able to get it to work even after trying quite a lot of
small changes (purely on a "trial and error" basis


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Re: Articulation sign in Haydn

[Malte Meyn]

Am 05.04.2018 um 20:48 schrieb Lukas-Fabian Moser:

Can I help in any way?


You could review my proposed changes at 
https://codereview.appspot.com/340660043


You don’t need to compile or review the code itself, just have a look at 
the PDF I attached here: 
https://sourceforge.net/p/testlilyissues/issues/3128/


I’m not sure whether the stem of the \slashturn is long enough and 
whether the \haydnturn should be bolder/thicker or more or less curly.


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Re: Corrected: Beaming in LilyPond

[Malte Meyn]

Am 07.04.2018 um 22:44 schrieb Filip May'r:

Hello, I'm sending my response in an attachment.


Best,


Filip


Why don’t you write a regular e-mail but send a Word document that is 
classified as junk by my mail program?



The God’s words are a tool to defend one’s arguments. Opinions are changing and 
fleeting in time, and so are the quotes of men. But the Word of God stands fast 
for all generations, places, and times. It is written in the Psalms: […]


It’s weird how one can rely on the Word of God to discuss about 
everything including nick names on the internet …



Furthermore, music and talents are a gift of God […]
Nope. And also I don’t have to be religious just because I like Bach’s 
music and Bach was religious.


Please don’t get me wrong: I’m neither religious nor atheist. I just 
don’t care much about religion. And I don’t have anything against 
religious people. But could you please keep such off-topic things off 
this list?


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Re: Cross-staff chords question

[Malte Meyn]

Am 07.04.2018 um 10:51 schrieb Menu Jacques:
I’m no pianist though: is this OK for a keyboard player, or is Finale’s 
output: […] better, and if so, how can I obtain the cross-staves stems this way?


What is better depends on whether it should be played with one hand or 
two. Please always give a minimal code example, not this way too much 
generated code.


\version "2.19.81"

\new PianoStaff \with {
  \consists #Span_stem_engraver
} <<
  \new Staff = "top" \relative {
s1
s4 \crossStaff { \stemDown \autoBeamOff c'8  }
  }
  \new Staff = "bot" \relative {
\clef bass
a8 \change Staff = "top" e' \change Staff = "bot" a, \change Staff 
= "top" e'

c' e, \change Staff = "bot" a, \change Staff = "top" b'
\stemDown
\change Staff = "bot"  \change Staff = "top"  
\change Staff = "bot"  g'

  }
>>

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Re: Corrected: Beaming in LilyPond

[Malte Meyn]

Am 06.04.2018 um 17:57 schrieb Filip May'r:
Notwithstanding I think it would be better to find a different signature 
because it may send a wrong idea about the intent. Moreover, we are made 
in the image of God who is upright and just and never does harm, and we 
should seek to reflect that image in us.


Really? He should change his name (even if it’s “only” a pseudonym) 
because it has a meaning in a different language that affect your 
religious feelings?


What about German Hacker, the mayor of the German city Herzogenaurach? 
Should he change his name because this sounds weird to some people in 
English?


Apart from that, this is a place to discuss about LilyPond, not to 
evangelize. I have to admit that I find it strange when some people sign 
their e-mails to this list with quotes from the Bible but that doesn’t 
bother me as long as the mail itself is on-topic.


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Re: Articulation sign in Haydn

[Malte Meyn]

Am 04.04.2018 um 23:23 schrieb Noeck:


I see at least three options:
1. Use a \turn or \mordent
2. Use the symbol from Bravura (there is something like \smuflglyph
"ornamentHaydn" if you use openlilylib)
3. Create your own symbol from existing glyphs like:
   { d'^\markup \combine \huge "~" \teeny \translate #'(0.35 . 0.2) "|" }


I see another option:
4. Add this ornament to Feta.

SMuFL is a good argument for that, if we want to support it some day. 
Would you, Lukas, be willing to wait for 2.21.0 and use that or compile 
your own LilyPond? Then I’d try to add such a glyph to Feta in the next 
few weeks.


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Re: Problem with a font

[Malte Meyn]

Am 03.04.2018 um 17:30 schrieb Walter Garcia-Fontes:

* Abraham Lee, tisimst.lilyp...@gmail.com [03/04/18 17:23]:

Hi, Walter!
I took at a look at the internals of the font and you're not seeing
anything unintended (unfortunately). The single ASCII apostrophe is set
abnormally low compared to most any other font out there, which is why it
looks vertically offset by LilyPond. In LibreOffice and other
word-processors, when the user hits the button on the keyboard for the
ASCII apostrophe (same goes for quotation marks), the ASCII character gets
replaced by the true (curly) typographic apostrophe, which is set in the
more appropriate vertical position. Could be just an oversight or it could
be intentional. I'm not sure, but from what I am seeing, it's a "feature"
of the font and nothing that LilyPond is doing wrong. The obvious
alternative is to use typographic aposotrophes/quotation marks in your
source file and the problem should go away, appearing just like in
LibreOffice.


Thanks a lot!, that's very clear.

Just a question, sorry if it is obvious, what do you mean by
"typographic apostrophes/quotation marks"?



ASCII: He said "I'd call it 'clear'."
That’s the forms used on typewriters which were included in the ASCII 
standard and found on most keyboards.


typographic: He said “I’d call it ‘clear’.”
That’s the forms used in books which are not part of ASCII but of 
Unicode and cannot be input on many keyboards; therefore some programs 
like Microsoft Office and OpenOffice/LibreOffice replace the ASCII forms 
by these.


Different languages use different typographic forms:

German style: Er sagte „Ich würd’s ‚klar‘ nennen.“
German style in some books: Er sagte »Ich würd’s ›klar‹ nennen.«

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Re: Temporarily split lyrics

[Malte Meyn]

Am 02.04.2018 um 15:01 schrieb Malte Meyn:
I don’t know whether \addlyrics or \lyricsto "split" would work here but 
if you have only a short split section you can do the durations by hand.


Of course I meant \lyricsto "alto", not \lyricsto "split" …

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Re: Temporarily split lyrics

[Malte Meyn]

Am 02.04.2018 um 14:55 schrieb li...@openlilylib.org:

Hm, thanks for the idea, but the problem is that this would require the "empty" 
lyrics to actually start at the beginning of the piece.


You could try something like (pseudo-code):

%
\new Voice = "alto" \relative {
[music before the lyrics split]
<<
[music during the split lyrics]
\new Lyrics = "split" \lyricmode {
[verse 2, lower part]
}
>>
[music after the lyrics split]
}
\addlyrics {
[verse 1]
}
\new Lyrics \lyricsto "alto" {
[verse 2, upper part]
}
%

I don’t know whether \addlyrics or \lyricsto "split" would work here but 
if you have only a short split section you can do the durations by hand.


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Re: Temporarily split lyrics

[Malte Meyn]

Am 02.04.2018 um 14:32 schrieb u...@openlilylib.org:

Hi all,

what would be the most efficient way of typesetting lyrics that are 
split for a few words, ideally together with some sort of brackets 
similar to what can be seen in 
https://git.openlilylib.org/bfsc/kayser/issues/58

?


Might not be the most efficient way, but how about this?

\version "2.19.81"
\language "deutsch"

\relative {
  \clef alto
  \key es \major
  \time 2/4
  d'8. d16 es8 f
  g f16( es)b'8 c16( as)
  f4 r
}
\addlyrics {
  op -- ti -- me! in -- dul -- ge gra -- ti -- am,
}
\addlyrics {
  ge -- ne -- ris
  \override LyricText.Y-offset = 1
  \markup { \raise #-0.5 \left-brace #25 hanc }
  Spon -- \markup { ſam \raise #-0.5 \right-brace #25 }
  \revert LyricText.Y-offset
  re -- cre -- a,
}
\addlyrics {
  _ _ _
  \override LyricText.Y-offset = 1
  has
  Spon -- ſas
  \revert LyricText.Y-offset
}

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Re: OpenLilyLib with Windows

[Malte Meyn]

Am 01.04.2018 um 15:48 schrieb foxfanfare:


When I applied your settings  with #(set-global-staff-size 17)  and later
#:factor (/ staff-height pt 20), I find the result a bit strange as all the
music seems to be smaller. Is it the same to put something like :

#(set-global-staff-size 20) / #:factor (/ staff-height pt 22.5) ?


#(set-global-staff-size X) does what its name says: it changes the 
global staff size from 20pt (LilyPond’s default value) to whatever X is.


#:factor is then needed because the font has to be scaled to this new 
staff size.


If you don’t want to change the staff size you won’t need those two things.

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Re: Links to version 2.19.81-1 binaries

[Malte Meyn]

Am 01.04.2018 um 17:22 schrieb David Sumbler:

Is this a temporary blip, or should I use the earlier version?


I think it’s a known problem but you can download it from here:

http://lilypond.org/downloads/
http://lilypond.org/downloads/binaries/linux-64/lilypond-2.19.81-1.linux-64.sh

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Re: Upline articulation

[Malte Meyn]

Am 01.04.2018 um 17:00 schrieb Andrew Bernard:
I cannot recall where I obtained this code from. But I want to have the 
line thicker. I don't know how to modify this. Grepping the lilypond 
installation I am unable to find the function make-draw-line-markup. 
Where does that come from? Can I use another function that takes a 
thickness as an additional parameter?


The function make-draw-line-markup is the markup command draw-line that 
can be used as

#(make-draw-line-markup '(0 . 1))
or
\markup \draw-line #'(0 . 1)
or
#(markup #:draw-line '(0 . 1)
Same for all other markup commands.

So you can just replace the line
(make-draw-line-markup '(0 . 1)))
in your original code by
(make-override-markup '(thickness . 3)
  (make-draw-line-markup '(0 . 1)
or by
(markup #:override '(thickness . 3)
  #:draw-line '(0 . 1
or by
#{ \markup \override #'(thickness . 3)
 \draw-line #'(0 . 1) #}))


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Re: Problem with \ottava #-1

[Malte Meyn]

Am 01.04.2018 um 12:54 schrieb Malte Meyn:


I would strongly suggest either to look for another possible notation 
(f. e. use a third staff, put the upper voice in the upper staff, or 
don’t use an ottava here because three ledger lines aren’t that much for 
piano) or to add a “loco” sign at the upper voice.


I forgot another possible notation: if the lower voice has only few 
notes as in your example, you could write “8vb” without a bracket.


Here are all three suggestions for both voices on one staff, this time 
with your original example code: (the exact usage of \voiceOne, \stemUp, 
\slurNeutral etc. should be checked in context)


%m
\version "2.19.81"

PartPFourVoiceOne = {
  \clef "bass" \key c \minor \time 9/8

  % m. 1
  \once \voiceOne r8 8( [ as8 ]  g8) [ bes8( f8 ] es4.)| 
%P4V1-16a


  % m. 2
  \voiceOne \slurNeutral \set Voice.middleCPosition = 6
  r8-\tweak X-offset -0.5 -\markup \italic "loco" 8( [ as8 ] 
 g8) [ bes8( f8 ] es4.)| %P4V1-16b


  % m. 3
  \voiceOne \slurNeutral
  r8 8( [ as8 ]  g8) [ bes8( f8 ] es4.)| %P4V1-16b
}
PartPFiveVoiceOne = {
  \clef "bass" \key c \minor \time 9/8

  % m. 1
  \voiceTwo
  g,,2.~ g,,4.  | %P5V1-16

  % m. 2
  \voiceTwo
  \ottava #-1 g,,2.~ g,,4. \ottava #0 | %P5V1-16

  % m. 3
  \voiceTwo \set Voice.middleCPosition = 13
  g,,2.~-\markup \italic "8vb" g,,4. | %P5V1-16
}
\score {
  \new Staff = "lower"
  <<
\new  Voice = "PartPFourVoiceOne"  \PartPFourVoiceOne
\new  Voice = "PartPFiveVoiceOne" \PartPFiveVoiceOne
  >>
}

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Re: Problem with \ottava #-1

[Malte Meyn]

Am 01.04.2018 um 12:17 schrieb Robert Blackstone:

But something strange happened. This \ottava #-1 also changed the  notes of 
voice 4, the upper voice of the lower staff.


That’s not so strange … see my explanation below.


I have not been able to reproduce this effect in a ME, which works perfectly, 
as seen in this snippet


Is it really that hard to make a minimal example? I mean, you could have 
used less notes, no time and key signature, no slurs etc. Here is a much 
smaller example which also shows the solution:


%%%
\version "2.19.81"

four = {
  \clef bass
  b1^"original"
  b,^"desired"
  \set Voice.middleCPosition = 6
  b^"reality"
}

five = {
  \clef bass
  g,,1
  \ottava -1 g,,
  g,,
}

\new Staff <<
  \new Voice \four
  \new Voice \five
>>
%%%


Does anybody know, or suspect what could be the cause of this aberration?

Thanks in advance for any advice or suggestion.


In traditional notation, ottava brackets (almost) always affect the 
whole staff. There are counterexamples but that can be read only from 
context (f. e. cross-staff chords in the left hand while the right hand 
has an ottava bracket).


I would strongly suggest either to look for another possible notation 
(f. e. use a third staff, put the upper voice in the upper staff, or 
don’t use an ottava here because three ledger lines aren’t that much for 
piano) or to add a “loco” sign at the upper voice.


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Re: 2.19.81 pitchedTrill ending on rest

[Malte Meyn]

Am 01.04.2018 um 06:37 schrieb Mark Stephen Mrotek:

I compiled

\version "2.19.80"

\relative c'' {
   g2 (\pitchedTrill a) \startTrillSpan bes
   r4\stopTrillSpan }

No warning! Check the version you are using.


I get the warning both with 2.19.80 and 2.19.81 (and with 2.18.2 and 
current master too).


If you just want to get rid of the warning, you could either expect it:

  #(ly:expect-warning "Ignoring grob for slur: TrillPitchAccidental")

or set avoid-slur to some value:

  \override TrillPitchAccidental.avoid-slur = #'inside

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Re: OpenLilyLib with Windows

[Malte Meyn]

Am 31.03.2018 um 19:14 schrieb foxfanfare:

- Could someone please make a quick tutorial on how include the bravura
font?


Have a look at section 3.4.4 of the Notation Reference: 
http://lilypond.org/doc/v2.19/Documentation/notation/replacing-the-notation-font.html 
(this is the english version, not sure whether other languages have been 
updated yet). Does that help you?


The LilyPond-compatible version of Bravura is called Profondo, you can 
download it from https://github.com/OpenLilyPondFonts



- Is it necessary to work with openLilyLib or is it possible to do something
easier? I only succed to include other alternative free fonts made before by
tisimst.


No, it’s not necessary to use openLilyLib, just install the font files 
and then put something like


\paper {
  #(define fonts
(set-global-fonts
 #:music "profondo"
 #:brace "profondo"))
}

in your file. If you want to use set-global-staffsize, you have to do 
this before the \paper block and add another line:


#(set-global-staff-size 17)
\paper {
  #(define fonts
 (set-global-fonts
  #:music "profondo"
  #:brace "profondo"
  #:factor (/ staff-height pt 20)))
}


- Is also SMuFL well implemented in Lilypond?


Not yet, but hopefully this will be done soon (not before 2.20 tough 
probably). It’s one of the Google Summer of Code suggestions: 
http://lilypond.org/google-summer-of-code.html


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Re: Tweaking individual BassFigures

[Malte Meyn]

Am 31.03.2018 um 00:17 schrieb Simon Albrecht:

Hello everybody,

it is currently not possible to tweak individual BassFigures – this:

\version "2.19.80"
\figures {
   <\single \hide BassFigure 6 3>
}

gives a

syntax error, unexpected MUSIC_FUNCTION.

How fundamental are the reasons for this?


I’m not an expert but here is what I found:

• A chord of figures creates multiple grobs (<6 4 3> → three BassFigure 
grobs).
• Chords of figures and chords of other music work differently, see 
parser.yy line 3086ff.
• The number part of a bass figure can be an unsigned integer, string, 
symbol, markup, or scheme expression that is tested to be an unsigned 
integer or markup, see parser.yy line 3536 and the code below.
• Unlike chords of other music, chords of bass figures don’t allow music 
functions.


So you can do \markup magic (including scheme functions returning 
markups) here but no \tweaks. I don’t know how easy it would be to 
change this.


%%
\version "2.19.81"

#(define (invisible num)
   (markup #:transparent #:number #:tiny (number->string num)))

\figures {
  % UNSIGNED
  <6 4 3>
  % STRING
  <"6" 4 3>
  % SYMBOL: is this really a symbol or just an unquoted string?
  
  % full_markup
  <\markup \with-color #red \number \tiny 6 4 3>
  <\markup \transparent \number \tiny 6 4 3>
  % embedded_scm_bare, tested to be unsigned integer or markup
  <#6 4 3>
  <#(markup #:transparent #:number #:tiny "6") 4 3>
  <#(invisible 6) 4 3>
}
%%

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Re: \offset argument order

[Malte Meyn]

Am 23.03.2018 um 19:25 schrieb David Kastrup:

Why is this on the bug list?


That was an accident, sorry (typed lilypond, hit enter, didn’t realise 
that autocompletion did not what I had expected)



You get the drift.


Yes, now that I got to know both versions of the command (\override and 
\tweak style) it’s clear why things are as they are and that it doesn’t 
make much sense to change it.


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Re: PianoStaff and StaffGroup brackets are truncating single line DrumStaff at top left of staff system.

[Malte Meyn]

Am 22.03.2018 um 15:22 schrieb David Kastrup:

I am not fixing the awful things your mail program did to your code
(consider using an attachment instead).


Off-topic:
To me it seems as if it was your mail program that did awful things. 
Mine displays the code (including long lines) correctly.


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Re: How to write a ly:pitch? as element of a pair?

[Malte Meyn]

Am 21.03.2018 um 15:28 schrieb Urs Liska:

Hi all,

I have a with block where I would like to let the user enter a pair as a 
value, and one of the elements of the pair should be a pitch.


Something like:

\with {
   transposition = #'( d' . "D")
}

But this doesn't work, just like

   transposition = #'( #{ d' #} . "D")


How about #`( ,#{ d' #} . "D") ?

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Re: trillspann without trill

[Malte Meyn]

Am 19.03.2018 um 18:11 schrieb Ali Cuota:

Hi again,

for Bach BWV 528, 2nd mvt,  meas. 38-39, I need a trillspann without
trill (see not-so-tiny pic).

How can I achieve this?


Try one of the following:

\version "2.19.81"

{
  \override TrillSpanner.bound-details.left.text = #'()
  b1\startTrillSpan b\stopTrillSpan
  b\prall
  b\prallprall
}

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Re: MIDI tick resolution

[Malte Meyn]

Am 19.03.2018 um 14:59 schrieb David Kastrup:

I think we'd rather want this value to be
read from some \midi layout block variable when Midi is getting
initialized.


That would be better than reading from a context property of course.

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Re: MIDI tick resolution

[Malte Meyn]

Am 19.03.2018 um 14:47 schrieb k...@aspodata.se:

You could try the attached rudimentary patch and recompile your
lilypond source, see if that solves your problem, and report back.


Would it be possible to make a patch that reads this from a context 
property so that the user could input something like


\set Score.midiTickResolution = 960

?

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Re: Combine tied notes

[Malte Meyn]

Am 18.03.2018 um 12:58 schrieb paolo prete:

Hello,

given a sequence of tied notes/chords, is there a way to automatically 
combine them into a minimal

sequence of long notes obtained with the sum of the sequence's durations?

Something like:

c4~ c4~ c4~  > c2.

c4~ c4~ c4~ c4~ c4   ---> c1~ c4

c4~ c4~ c4~ c4~ c4~ c4~ c4   >  c1~ c2.

Thanks.


One could write a Scheme function that does that, yes. But why should 
the last one be c1~ c2. and not c1.. ?


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Re: Build error. MergeFonts: Can't find font: feta11.pfb

[Malte Meyn]

Am 17.03.2018 um 20:01 schrieb Lucas Werkmeister:

Can confirm, coredumpctl shows loads of t1asm core dumps (no idea why
there’s no error message in the terminal), and downgrading to t1utils
1.39 fixed the problem (1.40 seems buggy as well). Thanks for the info!


I’m back from Lisbon and can confirm that downgrading to 1.39 works :)

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Re: Ending repeat sign for first section in AABB form not displayed

[Malte Meyn]

Am 13.03.2018 um 06:24 schrieb Robert Schmaus:

You should use just one bar sign, in your case the double bar ":|.|:"


Or the double bar ":..:". That’s the default for \repeat volta, but of 
course it’s a matter of taste.


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Re: Build error. MergeFonts: Can't find font: feta11.pfb

[Malte Meyn]

Am 11.03.2018 um 01:01 schrieb Lucas Werkmeister:

Hi everyone,

I’m getting the following error message when trying to build LilyPond 
from git (specifically, building the AUR lilypond-git package).


[…]

The requested file, feta11.pfb, does not exist


I have a similar problem after installing a new system (Manjaro, which 
uses the AUR too) on my laptop:


[…]
Invoking "t1asm parmesan-noteheads14.pt1 parmesan-noteheads14.pfb"...
mf2pt1: You'll need either to install t1utils and rerun mf2pt1 or find 
another way to convert parmesan-noteheads14.pt1 to parmesan-noteheads14.pfb

[…]

t1utils (including t1asm) are installed in the correct version, so I 
don’t know why it doesn’t do its job …


Forwarding this to the developer list.

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Re: Absolute temporal positioning of mm-rests

[Malte Meyn]

Am 09.03.2018 um 11:45 schrieb Arttu Punkkinen:


I was wondering, if there is a way to specify a multimeasure rest which 
length is only relatively defined so that it ends at predetermined bar 
number?


I often find myself needing to adjust or add material between 
multimeasure rests, which currently need manual adjustment to keep 
alignment.


Not for bar numbers but for “anchors” that can be placed in a separate 
music expression, you could use the code below. You find the file 
alignTo.ily attached. This is a modified version of the file posted 
here: http://lists.gnu.org/archive/html/lilypond-user/2015-07/msg00235.html


The following commands are defined:
• \anchor, to be used as
\anchor "anchorname"
• \until, to be used as
s \until "anchorname"
or
R \until "anchorname"
or even
f \until "anchorname"
The latter for long notes is probably useful only if you use the 
Completion_heads_engraver.

• \quoteUntil, to be used as
\quoteUntil "instrument" "anchorname"
Here you have to use \alignTo in the \addQuote command for correct results.
• \alignTo and \useAndAlignTo, to be used as
\alignTo \anchormusic \music
The former only makes use of the anchors, the latter also uses the music 
of \anchormusic (f. e. key signature changes).


Thanks to the original authors!

%%%

\version "2.19.81"

\include "alignTo.ily"

global = {
  \key es \major
  s1*3
  \anchor "1st theme"
  \time 3/4
  s2.*8
  \anchor "mid"
  s2.*4
  \anchor "coda"
  \tempo "Coda"
  s2. \bar "|."
}

flute = \relative {
  R \until "1st theme"
  es'4 f g as bes c d2.
  s \until "mid"
  es4 d c bes as g f es f es2.
}
\addQuote "flute" \alignTo \global \flute

clarinet = \relative {
  \transposition bes
  c'1
  R \until "mid"
  es4 f g as bes c
  \quoteUntil "flute" "coda"
  es2.
}
\addQuote "clarinet" \alignTo \global \clarinet

\new StaffGroup <<
  \new Staff \useAndAlignTo \global \flute
  \new Staff \transpose bes c' \useAndAlignTo \global \clarinet
>>
\version "2.19.25"

#(define anchor-color blue)

% slightly modified/improved version of
% alignTo from 
http://lists.gnu.org/archive/html/lilypond-user/2015-07/msg00235.html
alignTo =
#(define-music-function (conductor music) (ly:music? ly:music?)
   "Lengthen any note or rest in the sequence MUSIC just before each tag
that matches a tag in the sequence CONDUCTOR, so that the tags occur
at the same times from to the beginnings of MUSIC and CONDUCTOR."
   (define (find-sequence music)
 (or (fold-some-music
  (lambda (x) (music-is-of-type? x 'sequential-music))
  (lambda (x e1) (or e1 ; use the first nonempty sequence
 (let ((es (ly:music-property x 'elements)))
   (if (null? es) #f es
  #f
  music)
 (begin
  (ly:input-warning (ly:music-property music 'origin)
"alignTo: cannot find sequential music")
  '(
   (let loop ((aligner (find-sequence conductor))
  (alignee (find-sequence music))
  (time-left (ly:music-length conductor)))
 (case (length alignee)
   ((0) music)
   ((1) music)
   (else
(let* ((a (first alignee)) ; music that might be lengthened,
(b (second alignee)) ; if this music is tagged
; if a has an until property, add this to tag (which is b’s 
tags)
(tag (if (not (null? (ly:music-property a 'until)))
 (cons (ly:music-property a 'until)
   (ly:music-property b 'tags))
 (ly:music-property b 'tags)))
(tail (and (not (null? tag))
   (find-tail
(lambda (x)
  (not (null? (lset-intersection
   eq? tag
   (ly:music-property x 'tags)
aligner
  (if tail
  (let ((tail-length (ly:music-length
  (make-sequential-music tail
(if (ly:moment>
   #})

anchor =
#(define-music-function (text) (string?)
   (if (ly:get-option 'point-and-click)
   #{
 \tag #(string->symbol text)
 \single \override RehearsalMark.self-alignment-X = #LEFT
 \mark \markup \with-color #anchor-color #text
   #}
   #{
 \tag #(string->symbol text) s1*0
   #}))

until =
#(define-music-function (anchor) (string?)
   #{
 \tag #(string->symbol anchor) s1*0
   #})

% don’t redefine quoteUntil if advancedQuote.ily was included before
% because of different transposition behaviour
#(if (not (defined? 'quoteUntil))
 (define quoteUntil
   (define-music-function (what anchor) (string? string?)
 (make-music 'QuoteMusic
   'until (string->symbol anchor)
   'quoted-music-name wha

Re: Für Kurzentschlossene: Plätze im Linuxbus Ruhr nach Chemnitz!

[Malte Meyn]

Am 08.03.2018 um 23:24 schrieb Carl Sorensen:

I ran this through Google Translate, and it mostly worked well.  Except it named Harm as 
"Grief", which brought me a smile.

I think the German “Harm” is similar to “harm” in English ;)
(see also “harmlos” = “harmless”)

On topic:
Ich hab sowohl Freitagabend als auch den kompletten Sonntag verplant, 
bin also leider nicht dabei.


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Re: How to write this note from chaconne?

[Malte Meyn]

Am 08.03.2018 um 02:01 schrieb Simon Albrecht:

On 08.03.2018 01:39, Edmundo Carmona Antoranz wrote:

So I asked
around[1] and apparently it's a "harmonic delay" or a prolongation...


There is no reason whatsoever for any fancy words. It’s just a dotted 
note with the dot written at the rhythmic position where it actually 
happens.
I’ve never seen any realisation of this in LilyPond – would be good to 
have an LSR snippet.


There is a thread at the German user forum: 
https://archiv.lilypondforum.de/index.php/topic,1789.0.html
I don’t have time to read it and explain in English but maybe Simon or 
Harm (who was involved in this thread) can help?


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Re: OpenType in LilyPond

[Malte Meyn]

Am 03.03.2018 um 22:15 schrieb Malte Meyn:



Am 03.03.2018 um 20:47 schrieb Noeck:



Am 26.08.2017 um 13:16 schrieb Malte Meyn:

In case someone is interested: here comes the adapted snippet (with
usage example).



Hi Malte,

this is great news! Can this be also applied to the default font
(outside the score)? For markup in general?


I haven’t tried to find such a general solution yet. As said earlier in 
this thread I don’t need titles, pagenumbers and other markups (that’s 
because I use it only for snippets in a (Lua)LaTeX document).


You could try to make a shortcut \mymarkup for
\markup \override #'(font-features . ("ss11" "dlig" "liga=0")))
and use that. Or maybe Jay (or someone else) can find a general solution 
like mentioned earlier in this thread.


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Re: OpenType in LilyPond

[Malte Meyn]

Am 03.03.2018 um 20:47 schrieb Noeck:



Am 26.08.2017 um 13:16 schrieb Malte Meyn:

In case someone is interested: here comes the adapted snippet (with
usage example).



Hi Malte,

this is great news! Can this be also applied to the default font
(outside the score)? For markup in general?


I haven’t tried to find such a general solution yet. As said earlier in 
this thread I don’t need titles, pagenumbers and other markups (that’s 
because I use it only for snippets in a (Lua)LaTeX document).


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Re: Extract pitch and duration from ly:music

[Malte Meyn]

Am 21.02.2018 um 15:46 schrieb Malte Meyn:
Oh, I forgot to say: This doesn’t work with 2.18.2 so you’re partially 
right.


And again I made a mistake: It *does* work but only if you surround the 
pitch by ##{ #}


\version "2.18.2"

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note $dur #})

\fun ##{c'#} 4

Sorry for the mess.

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Re: Extract pitch and duration from ly:music

[Malte Meyn]

Am 21.02.2018 um 15:44 schrieb Malte Meyn:



Am 21.02.2018 um 15:40 schrieb Joshua Stutter:

[…]

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note$dur #})

and create notes from pitches and durations within #{ #}. I explained 
that, to the best of my knowledge, this is not possible and new notes 
must be constructed within Scheme and cannot be concatenated like this.

That’s not true, you simply need a space between $note and $dur:

\version "2.19.81"

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note $dur #})

\fun c' 4


Oh, I forgot to say: This doesn’t work with 2.18.2 so you’re partially 
right. I should’ve seen that: in 2.19.81 you wouldn’t need parser and 
location anymore.


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Re: Extract pitch and duration from ly:music

[Malte Meyn]

Am 21.02.2018 um 15:40 schrieb Joshua Stutter:

[…]

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note$dur #})

and create notes from pitches and durations within #{ #}. I explained 
that, to the best of my knowledge, this is not possible and new notes 
must be constructed within Scheme and cannot be concatenated like this.

That’s not true, you simply need a space between $note and $dur:

\version "2.19.81"

fun = #(define-music-function (parser location note dur) (ly:pitch? 
ly:duration?)

#{ $note $dur #})

\fun c' 4

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Re: Three simultaneous slurs

[Malte Meyn]

Am 21.02.2018 um 15:18 schrieb David Kastrup:

Marc Hohl  writes:


Oh sorry, it looks lie a tie between b-flat and b-flat


With a syncopated rhythm adding up to a simple on-beat amount?  That
would be quite curious for a tie.


But it’s quite common to have something like 4~ 8 instead of 4. …

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Re: Very small rhythmic values

[Malte Meyn]

Am 20.02.2018 um 16:57 schrieb Malte Meyn:


it’s possible with beamed notes but not (yet) for rests and flagged 
notes because there are no rest/flag glyphs in the font for these note 
durations. But they could be added …


Update: I made a patch that adds these glyphs but that will take some 
time to get released. (It needs review, probably some changes, and then 
it might be contained in the 2.21.0 release.)


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Re: Very small rhythmic values

[Malte Meyn]

Am 20.02.2018 um 12:04 schrieb Amir Teymuri:

Hello,

is a 128 the smallest possible rhythmic value one can write in Lilypond 
or is there a way to write even shorter values (e.g. 256 or even smaller)?


Thanks in advance,

- - - - - - - - - - -
ateymur...@gmail.com


Hi Amir,

it’s possible with beamed notes but not (yet) for rests and flagged 
notes because there are no rest/flag glyphs in the font for these note 
durations. But they could be added … See also the thread you started at 
the German-speaking user forum.


Cheers,
Malte

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Re: Bad tie position

[Malte Meyn]

Am 19.02.2018 um 15:42 schrieb Ethan Sue:

\clef bass
b16 b b8 b b16 b16 ~ b4 a8 b


Tie looks like a bump.


Cannot reproduce (2.18.2, 2.19.81).

That’s why we need *compilable* minimal examples.

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Re: quetion about slur in the "<< .... \\ .....>>"

[Malte Meyn]

Am 30.01.2018 um 09:01 schrieb mosea chen:

Hi,
     I found it difficult to engrave the staff as the fingure:
内嵌图片 1

the "slur" just does not work.
The source is as follows:

\version "2.19.80"
{
     \clef bass
     \time 3/4
     fis-2 ( e-1 d-2|
     <<
         { r4 ) e4 a8 ( g8  |}
         \\
         { a,2. |  }
     >>
     fis4 ) r4 r4
}


I would change this to


\version "2.19.80"
{
 \clef bass
 \time 3/4
 fis-2 ( e-1 d-2|
 <<
 { r4 ) e4 a8 ( g8  | \oneVoice fis4) }
 \\
 { a,2. |  }
 >>
 r4 r4
}

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Re: turning a blind eye to dotted note

[Malte Meyn]

Am 29.01.2018 um 10:53 schrieb Blöchl Bernhard:
In my limited knowledge of music I think that bar is wrong because of 
the dotted 8th note?


Regards


%\version "2.19.80"
\version "2.18.20"
mus = \relative c'' {
d4  cis8  c8  b8. ais8  a  gis
}
<<
   \new Voice \mus




LilyPond does the right thing here. Depending on what you want to 
achieve you might consider using bar checks, \cadenzaOn, or the 
Completion_heads_engraver.


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Re: Rests vs spacers style question

[Malte Meyn]

Am 24.01.2018 um 07:28 schrieb Menu Jacques:

Hello folks,

P_POne_Staff_One_Voice_Two below contains rests which may seem to be 
make the score more difficult to read that spacers.


Apart for single voice staves where rests are necessary, is there a 
best-practise style for multivoice staves?


This depends on several things:

1. Are the rhythmical positions clear without rests? If not, use them.

2. Who will play or sing that?
• Two voices/instruments from one staff? ⇒ use rests.
• One instrument that usually plays only one note at a time but can do 
more (i. e. strings)? ⇒ only use polyphony and rests if it’s a real 
polyphony (f. e. a fugue)
• One instrument that usually plays several notes at a time (i. e. 
plucked or keyboard instruments)? ⇒ Depends on whether you really want 
polyphony or chords.


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Re: Empty Staves & Overriding Sequences

[Malte Meyn]

Am 24.01.2018 um 02:58 schrieb joedavnport:
Q1. Is there a way to create (and show) an empty stave in a score, 
rather than creating {s1 s1 s1} spaces?


You can write s1*3 instead of s1 s1 s1 ;)

Q2. Sometimes I want to omit a phrasing for certain files (e.g. showing 
repeat marks), instead of showing the variation for a repeated phrase, 
or section. Feel free to share if this seems more or less integriful 
(music wise) but for the most part I'm wondering if it can be done 
beside phrases ordered within a single variable.


Have a look at the \tag command and its friends \keepWithTag, 
\removeWithTag and (if you use LilyPond 2.19.xx) \tagGroup. See section 
3.3.2 of the notation reference:


2.18.2 
http://lilypond.org/doc/v2.18/Documentation/notation/different-editions-from-one-source.html
2.19.80 
http://lilypond.org/doc/v2.19/Documentation/notation/different-editions-from-one-source.html


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Re: Transcriber title

[Malte Meyn]

Am 22.01.2018 um 06:49 schrieb Brian Barker:

   arranger = \markup {
     \column {
   \fill-line { " " "Arranger: Jacob Collier" }
   \fill-line { " " "Transcriber: Álvaro Cáceres Muñoz" }
     }
   }


More simple solution for the same effect (but maybe with less side 
effects in case there is some other header on the left side):


  arranger = \markup \right-column {
"Arranger: Jacob Collier"
"Transcriber: Álvaro Cáceres Muñoz"
  }

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Re: \set TabStaff.minimumFret = #x

[Malte Meyn]

Am 21.01.2018 um 14:57 schrieb bb:

I use

   \set TabStaff.minimumFret = #7
   \set TabStaff.restrainOpenStrings = ##t

[…]

Is there any possibility to throw an exception for a single note or a 
group of notes?


How about \once \unset TabStaff.minimumFret ?

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Re: Long syllable vs. span bar

[Malte Meyn]

Am 19.01.2018 um 17:29 schrieb Torsten Hämmerle:

Probably the easiest way to achieve this is just to use *ChoirStaff* and add
the Span_bar_engraver to get the bar lines.
That way, Lyrics will nonchalantly cross the bar lines as if they weren't
there and by setting the whiteout property, you're there.
Nice. Maybe one should \override Lyrics.LyricText.layer and 
ChoirStaff.SpanBar.layer so that ties etc. aren’t covered by the whiteout.


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Re: Left-handed fretboard?

[Malte Meyn]

Am 18.01.2018 um 14:09 schrieb Torsten Hämmerle:

Ah, yes, when in landscape mode, setting a negative string-distance makes the
whole diagram flip below the baseline.

Oh dear, another effect (in general):
capo numbers and other objects that should be placed in the margin of the
diagram.
When setting a negative string-distance, they flip inside the diagram.

Probably we should extend issue 5264 to all negative string-number problems.


Maybe it would be better not to support negative string-distance but add 
a property that inverts the string order (or maybe extend the 
orientation property).


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Re: Left-handed fretboard?

[Malte Meyn]

Am 17.01.2018 um 22:59 schrieb Thomas Morley:

2018-01-17 22:36 GMT+01:00 David Kastrup :

Thomas Morley  writes:



Should we document it as is or introduce a details.subproperty setting
string-distance negative?


Left-handed diagrams are peculiar enough that if there is a reasonably
simple expedient to get them, we should likely document that (and put it
in the index, of course), maybe with a quoted snippet.  If it seems to
work well enough...



For now I opened
https://sourceforge.net/p/testlilyissues/issues/5263/
so it gets not forgotten.
I've currently not the time to do it, might be better in a few weeks.


There’s not only issue 5264 but another problem with string-distance = 
-1: the vertical alignment (maybe also in \markup fretboards?).


\version "2.19.80"
\include "predefined-guitar-fretboards.ly"

\new FretBoards \with {
  \override FretBoard.fret-diagram-details.orientation = #'landscape
} \chordmode {
  c
  \override FretBoard.fret-diagram-details.string-distance = #-1
  c
}

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Re: odd marcato placement

[Malte Meyn]

Am 18.01.2018 um 05:58 schrieb Shane Brandes:

The following code produces what looks to me as an an unanticipated
result as the second two marcato marks are slightly elevated. I fixed
it with a Script.extra-offset but still wonder if this is some odd
edge case.

\version "2.18.2"


\new Staff \relative c' {

\tuplet 6/4  {
  8 ^^ [8 ^^
 8 ^^ 8 ^^
 ^^ ] }
}


This is a bug that has been fixed in 2.19.xx so you could just use 
2.19.80 instead of 2.18.2.


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Re: Guitar palm mutes - almost done

[Malte Meyn]

Am 31.12.2017 um 17:20 schrieb Neo Anderson:
1. How to change the look of the extender lines (dashes)? I'd like them 
to be more dense or compact. The following -\tweaks with various values 
won't make a difference.

     -\tweak bound-details.dash-fraction #0
     -\tweak bound-details.dash-period #0


You’re almost there: omit the bound-details, i. e.

-\tweak dash-fraction #0
-\tweak dash-period #0


2. The following code, which sets both variables on the same "line",
     \override TextScript.staff-padding = #6
creates a padding for both text in a variable ("PM") and any other text 
attached to a note ("Aaa").
How to integrate the code into the said variable, so that the padding 
won't affect the text attached to notes? I tried

     \override #'(staff-padding . 6)
but it doesn't do anything.


PM = -\tweak staff-padding #6
 _\markup  {
   \tiny \fontsize #-1 \halign #-0.5 "P.M."
 }

and then use it as d\PM instead of d_\PM

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Re: fixed vertical spacing within staff-group

[Malte Meyn]

Hi Eby,

I cannot see the problem. To me it looks as if it worked as expected. I 
won’t dig further into that because your file is more than 350 lines of 
code.


Please always keep things on-list.

Am 30.12.2017 um 17:49 schrieb Eby Mani:

Hi Malte, I'm working on BWV1016 for Violin and Organ, the output is transposed 
to F Maj. Do let me know how to set fixed vertical spacing for staff-group. 
Please reply thru the lilypond user list and do not share the file on the list. 
Thanks.


On Fri, 29/12/17, Malte Meyn  wrote:
  \override
  StaffGrouper.staff-staff-spacing.padding = #-inf.0
  \override
  StaffGrouper.staff-staff-spacing.stretchability = 0
  \override
  StaffGrouper.staff-staff-spacing.basic-distance = 10
  \override
  StaffGrouper.staff-staff-spacing.minimum-distance = 10


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Re: fixed vertical spacing within staff-group

[Malte Meyn]

Am 29.12.2017 um 05:30 schrieb Eby Mani:

Hi,

How to set fixed vertical spacing within staff-group ?.


Hi,

please always give a minimal working (and compilable) code example that 
shows what you are doing currently.



I have tried the following in \layout { \context } section. Vertical spacing 
keep on varying if there are beams, ledger lines or cross-staff notation. Even 
tried with padding=#0. Without the StaffGrouper, spacing is somewhat ok(but i 
feel little more spacing is required), except the cross-staff part.

\override StaffGrouper.staff-staff-spacing.padding = #2
\override StaffGrouper.staff-staff-spacing.basic-distance = #6


Have a look at http://joramberger.de/files/LilypondSpacing.pdf Because 
you didn’t provide code, I cannot test, but I think, something like the 
following might work:


\override StaffGrouper.staff-staff-spacing.padding = #-inf.0
\override StaffGrouper.staff-staff-spacing.stretchability = 0
\override StaffGrouper.staff-staff-spacing.basic-distance = 10
\override StaffGrouper.staff-staff-spacing.minimum-distance = 10

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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 17:11 schrieb Wols Lists:

On 28/12/17 16:07, Malte Meyn wrote:

Have a look at the PDF in the post linked above: The function can do
both uppercase (AA) and mixedcase (Aa) (but not yet lowercase (aa)).


Sorry, I did look, but obviously missed it ... :-(


No problem ;)

Mixed-case (Aa) can be found in the Breitkopf & Härtel editions of 
Tchaikovsky’s symphonies, f. e. 
http://petrucci.mus.auth.gr/imglnks/usimg/a/ae/IMSLP38803-PMLP02739-Tchaikovsky-Op64.Timpani.pdf


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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 16:57 schrieb Wols Lists:

My reaction would be to take your version, and rewrite all the others to
call it. That way you don't break existing code, but you simplify lily
itself in that there is just one function.


That’s what I would do too. I just have to figure out, which functions 
have to be put in which files. The current functions and markup-commands 
are spread across translation-functions.scm and define-markup-commands.scm.



Oh, and by the way, to throw yet another variation into the mix, in the
(very few) scores I've seen that go past Z, they all go AA, BB, and not
Aa, Bb.


Have a look at the PDF in the post linked above: The function can do 
both uppercase (AA) and mixedcase (Aa) (but not yet lowercase (aa)).


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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 16:34 schrieb Malte Meyn:



Am 28.12.2017 um 16:03 schrieb Jérôme Plût:

1. I am typesetting some music which is in 2/1, and mark using a cut
time signature. How is it possible with Lilypond to put a ℂ symbol for
a 2/1 time ? (see attachment, line 1)


   \time 2/1
   \set Score.timeSignatureFraction = 2/2


2. In virtually all orchestra scores I play the alphabetic marks skip
the letter J. However format-mark-box-letters skips the letter I. So
at each rehearsal this confuses all my colleagues. Since they are
obviously slow to learn that I == J, does there exist a simple way to
make a format-mark-box-letters that uses I instead of J, or should I
start scheming something out of of make-markalphabet-markup?
(see attachment, line 2)


I made a generic mark formatting function that can do that, I just have 
to find it, give me some minutes ;)


https://lists.gnu.org/archive/html/lilypond-user/2016-05/msg00156.html

If you (or someone else) like it, I’ll follow Harm’s suggestion in the 
quoted post and make a patch for discussion.


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Re: Two short questions

[Malte Meyn]

Am 28.12.2017 um 16:03 schrieb Jérôme Plût:

1. I am typesetting some music which is in 2/1, and mark using a cut
time signature. How is it possible with Lilypond to put a ℂ symbol for
a 2/1 time ? (see attachment, line 1)


  \time 2/1
  \set Score.timeSignatureFraction = 2/2


2. In virtually all orchestra scores I play the alphabetic marks skip
the letter J. However format-mark-box-letters skips the letter I. So
at each rehearsal this confuses all my colleagues. Since they are
obviously slow to learn that I == J, does there exist a simple way to
make a format-mark-box-letters that uses I instead of J, or should I
start scheming something out of of make-markalphabet-markup?
(see attachment, line 2)


I made a generic mark formatting function that can do that, I just have 
to find it, give me some minutes ;)


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Re: TAB-problem

[Malte Meyn]

Am 28.12.2017 um 15:54 schrieb bb:

Thank you for answering. Your code has exactly the problem I wanted to
overcome. There is a "cleftext"  every time the clef changes!


No it has not. Have a close look: I do

\omit Clef
\once \override Clef.stencil

You do

\override Clef.stencil

That’s different.

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Re: TAB-problem

[Malte Meyn]

Am 28.12.2017 um 15:22 schrieb Malte Meyn:
Set the clef stencil to ##f (\omit is a shorthand for that) and only set 
the stencil for the first occurence.


As I realised some seconds after sending the message, this isn’t enough 
if you want to have the clef at the beginning of each line. Then you 
should use explicitClefVisibility instead:


%%
\version "2.19.65"

D-Dorian =  \relative {
  \clef "bass_8"
  c1
  \clef "treble_8"
  c
  \break
  \clef "bass_8"
  c
  \break
  c
}

<<
  \new Staff { \D-Dorian }
  \new TabStaff \with {
\omit ClefModifier
\override Clef.text = "cleftext"
\override Clef.stencil = #ly:text-interface::print
explicitClefVisibility = #begin-of-line-visible
  } {
\D-Dorian
  }
>>

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Re: TAB-problem

[Malte Meyn]

Am 28.12.2017 um 14:21 schrieb bb:

I attach an example code. (Sorry, my skills are just not developed
enough to shorten the code essential.)


Here is a much smaller example. It’s not minimal but near. How to build 
such an example? Well, just leave everything out that has nothing to do 
with the problem. In your case that is:


• layout things like set-global-staff-size or indent = 0
• complicated music (triplets, rests, extra barlines)
• \tabFullNotation
• instrument tweaks (stringTunings, minimumFret etc.)
• transpositions (btw the clefs should do that correctly)
• complicated markup for the clef

How to find out what things aren’t necessary? Just delete them and see 
if the problem persists.


The following example contains also a possible solution: Set the clef 
stencil to ##f (\omit is a shorthand for that) and only set the stencil 
for the first occurence.


%%
\version "2.19.65"

D-Dorian =  \relative {
  \clef "bass_8"
  c1
  \clef "treble_8"
  c
  \clef "bass_8"
  c
}

<<
  \new Staff { \D-Dorian }
  \new TabStaff \with {
\omit Clef
\omit ClefModifier
\override Clef.text = "cleftext"
  } {
\once \override TabStaff.Clef.stencil = #ly:text-interface::print
\D-Dorian
  }
>>

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Re: Dynmaic size

[Malte Meyn]

Am 27.12.2017 um 20:57 schrieb Johannes Roeßler:


So I found this: (Its scheme? right?)
ep = #(make-dynamic-script (markup #:dynamic "p" ))
- but I have no idea how to integrate the size here.


You can use #:huge and friends or #:fontsize as seen below. Or you 
switch to “non-scheme lilypond markup mode”:


\version "2.19.80"

ep = #(make-dynamic-script
   #{
 \markup \huge "p"
   #})

eep = #(make-dynamic-script
(markup
 #:huge "p"))

eeep = #(make-dynamic-script
 (markup
  #:fontsize 5 "p"))

{ r\p r\ep r\eep r\eeep }

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Re: Staff Group Bracket

[Malte Meyn]

Am 27.12.2017 um 20:59 schrieb Johannes Roeßler:

Hi,

is it possible (ok, its Lilypond, let me rephrase that... HOW is it 
possible) to tweek the distance of the staff-group bracket from the 
staff lines? (See attachment for clarification)


Cheers Joei


\version "2.19.80"

\new StaffGroup \with {
  \override SystemStartBracket.padding = 5
} <<
  \new Staff R1
  \new Staff R1
>>


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Re: No Time Signature

[Malte Meyn]

Am 27.12.2017 um 16:54 schrieb nokel81:

Hello, is there a way so that lilypond treats an entire staff as a single bar
and just break the notes where it is best? I want to do this with stem-less
notes for modern chant.


How about this?

\version "2.19.80"

\relative {
  \omit Staff.TimeSignature
  \cadenzaOn
  \set Score.barAlways = ##t
  \set Score.defaultBarType = ""
  \omit Stem
  \repeat unfold 7 { c'4 d e f g a b c b a g f e d }
}

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Re: Changing the car or cdr of a pair

[Malte Meyn]

Am 25.12.2017 um 19:01 schrieb David Kastrup:

David Kastrup  writes:

\once \override Staff.LigatureBracket.edge-height =
#(grob-transformer 'edge-height
   (lambda (grob original)
(cons 0.3 (cdr original

For example.


Malte's suggestion to use \offset does something similar internally and
employs a nicer user interface.



If you want to add something to the original value(s), \offset is 
easier, yes. But if you want to use absolute values, using 
grob-transformer instead of before-line-breaking is easier so I would 
prefer your suggestion in that case:


My suggested solution

\once \override LigatureBracket.before-line-breaking =
  #(lambda (grob)
 (let* ((orig-height (ly:grob-property grob 'edge-height))
(orig-left (car orig-height)))
   (ly:grob-set-property! grob 'edge-height (cons orig-left 3

has the same effect as this variant of your simpler solution:

\once \override LigatureBracket.edge-height =
  #(grob-transformer 'edge-height
 (lambda (grob original)
   (cons (car original) 3)))


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Re: Changing the car or cdr of a pair

[Malte Meyn]

Am 25.12.2017 um 17:48 schrieb Menu Jacques:

The edge-height pair can be given a value with:

\once \override Staff.LigatureBracket.edge-height = #'(0 . +0.7)

but how can I change only one of the members of the pair, leaving the other one 
as it is?


There are two options: Either use the \offset command (if you want to 
add a number to one of the members) or \override before-line-breaking 
(if you want to replace one of the members without depending on the 
original value). Both options can be seen in the following code (have a 
close look to the exact output for difference).


\version "2.19.80"

{
  % this takes the original values and adds 0 to left and 3 to right
  \once \offset edge-height #'(0 . 3) LigatureBracket
  \[ c'1 d' \]

  % this takes the originale value for left and sets 3 (not 3+original) 
for right

  \once \override LigatureBracket.before-line-breaking =
  #(lambda (grob)
 (let* ((orig-height (ly:grob-property grob 'edge-height))
(orig-left (car orig-height)))
   (ly:grob-set-property! grob 'edge-height (cons orig-left 3
  \[ c'1 d' \]
}

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Re: change regular/staccato/staccatissimo midi duration 2.19.80

[Malte Meyn]

Am 25.12.2017 um 14:22 schrieb Gianmaria Lari:

This code generate some 'regular', staccato and staccatissimo notes:

\version "2.19.80"
\score {
   \fixed c' {c8 d e-. f-. g-! a-! r4}
   \midi{}
   \layout {}
}


Is there any way to change the default duration of 'regular', staccato 
and staccatissimo notes?


Have a look at the definition of staccato in the file script-init.ly:

staccato = #(make-articulation "staccato"
 'midi-length
 (lambda (len context)
   (moment-min (ly:moment-mul len (ly:make-moment 1/2))
   (seconds->moment 1/2 context)))
 'midi-extra-velocity 4)

Maybe this can be copied and changed?

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Re: getting paid for an include (I offer)

[Malte Meyn]

Am 23.12.2017 um 20:38 schrieb Ali Cuota:

Excuse me, the New German Tabulatur is my topic.
https://de.wikipedia.org/wiki/Tabulatur#Neue_deutsche_Orgeltabulatur


Hi, I would be interested maybe; coincidentally I’m just now reading 
Willi Apel’s book on notation and the next chapter I’ll read is about 
the old and the new German organ tab.


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Re: Lining up the word "subito"

[Malte Meyn]

Am 23.12.2017 um 10:17 schrieb Malte Meyn:


\version "2.19.65"
\include "english.ly"


A small, slightly off-topic remark on these lines: Instead of \including 
the file english.ly the standard way of setting the note name language 
now (since version 2.14) is using the language command:


\language "english"

\including the file does exactly the same but the file is only there for 
backwards-compatibility (see 
http://lilypond.org/doc/v2.14/Documentation/changes/).


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Re: Lining up the word "subito"

[Malte Meyn]

Am 23.12.2017 um 10:10 schrieb Andrew Bernard:


Also, with respect, when asking for help on the list people usually 
provide an MWE, a minimum working example. For a case like this just a 
note or two would suffice. If you give an MWE it is a lot easier for 
people to help out, as they don't have to scan through large amounts of 
stuff that is irrelevant to the question in hand.


I agree. But it’s (almost) Christmas and I have nothing else to do, so 
here is a small (not really minimal, but this size would be ok IMO to 
show the spacing problem with downwards stems etc.) example which 
contains a possible solution. I aligned the p to the hairpin and put the 
sub. above. For understanding you can delete (or change the values of) 
the \override, \with-dimensions, \text, and \medium commands.


\version "2.19.65"
\include "english.ly"

subP =
#(make-dynamic-script
  #{
\markup
% this decreases the vertical space between sub. and p
\override #'(baseline-skip . 1.5)
% this changes the behaviour of the following line
\override #`(direction . ,UP)
% dir-column is used to align the p to the cresc. and put the sub. 
above

\dir-column {
   % this is already in \dynamic mode because of make-dynamic-script
  p
  % this makes the sub. take less horizontal space so that the
  % cresc. hairpin is extended left below the sub. to reach the p
  \with-dimensions #'(0 . 0.5) #'(0 . 1.5)
  % \text reverts \dynamic, \medium reverts \bold
  \text \medium "sub."
}
  #})

\relative {
  <<
{
  \tuplet 3/2 8 { bf16 d' f a,, cs' fs } r4
} \\ {
  bf,,8\subP\< a g4\f
}
  >>
}

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Re: accedentals

[Malte Meyn]

Am 17.12.2017 um 15:58 schrieb Vivyan:

I'm not sure why my accidentals arn't working?
Screen_Shot_2017-12-17_at_14.png



Please always give a minimal example of your code (as text, not 
screenshot); looking at a screen shot of only a part of the relevant 
code isn’t enough for answering most questions quickly.


I can only guess: Probably you have a line like

\language "english"

in your file. This changes the names of the notes, depending on the 
language, b sharp has different names:


bs or b-sharp (english)
his (german/finnish/norwegian)
sid (italian/french)
…

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Re: Font for headers

[Malte Meyn]

Am 13.12.2017 um 16:58 schrieb Edward Neeman:
I apologize if this is an obvious question: is there a way to set a font 
for headers only? One that applies to all header elements but not the 
score.


Thanks,
Edward


Select from the following \paper block what fits your needs:

%%%
\version "2.19.80"

\paper {
  bookTitleMarkup  = \markup \override #'(font-name . "Helvetica") 
\bookTitleMarkup
  scoreTitleMarkup = \markup \override #'(font-name . "Helvetica") 
\scoreTitleMarkup

  tagline  = \markup \override #'(font-name . "Helvetica") \tagline
  oddHeaderMarkup  = \markup \override #'(font-name . "Helvetica") 
\oddHeaderMarkup
  evenHeaderMarkup = \markup \override #'(font-name . "Helvetica") 
\evenHeaderMarkup
  oddFooterMarkup  = \markup \override #'(font-name . "Helvetica") 
\oddFooterMarkup

}

\header {
  title = "Foo"
  composer = "Foo"
  piece = "Foo"
  instrument = "Foo"
  copyright = "Foo"
  dedication = "Foo"
}

{ \tempo "Foo" c'-"Foo" }
\pageBreak
{ \tempo "Foo" c'-"Foo" }
\pageBreak
{ \tempo "Foo" c'-"Foo" }
\markup "Foo"

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Re: How to show split stems

[Malte Meyn]

Am 10.12.2017 um 08:08 schrieb Phil Hanna:


I have a measure with two notes on the same line of the staff, a D 
natural and a D sharp. I'm trying to figure out how to have the stems 
split as shown in the image, but I can't find anything obvious in the 
documentation. Thanks for any help.


Have a look at Snippet 505: http://lsr.di.unimi.it/LSR/Item?id=505

Or, if you need more complex chords or a better automatic solution, try 
something from these threads:


This mailing list: 
https://lists.gnu.org/archive/html/lilypond-user/2012-07/msg00336.html
The German user forum: 
https://archiv.lilypondforum.de/index.php/topic,1176.0.html


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Re: Fontsize ornaments

[Malte Meyn]

Am 07.12.2017 um 17:57 schrieb Pieter Terpstra:

Do you think this could be made in to a configuration file and
store it in the /usr/share/lilypond/$VERSION/ly directory?


You could have a “personal/private includes directory” in your home dir, 
f. e. something like


~/MyLilyIncludes

which contains files like

~/MyLilyIncludes/big-grace-fingering.ily
~/MyLilyIncludes/house-style.ily
~/MyLilyIncludes/shorthands.ily

and call lilypond with the -I option (lilypond -I~/MyLilyIncludes).

Then you can \include any of these files without having to use absolute 
paths.


IMO that’s a cleaner solution than adding such files to the lilypond 
installion directory.


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Re: Fermata below text

[Malte Meyn]

Am 04.12.2017 um 19:34 schrieb Phil Holmes:

I've tried over-riding Script.outside-staff-priority


Are you sure? Setting it to something < 450 works for me in 2.18.2 and 
2.19.80.


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Re: Fontsize ornaments

[Malte Meyn]

Am 03.12.2017 um 09:47 schrieb Malte Meyn:
You can change this by copying the definition of 
general-grace-settings/score-grace-settings and commenting out the 
Fingering.font-size.


Of course, you can adjust the value instead of commenting the whole line 
out if you want smaller but not so small numbers for graces ;)


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Re: Fontsize ornaments

[Malte Meyn]

Am 03.12.2017 um 09:34 schrieb Malte Meyn:
It *seems* (I’m not sure whether it actually works like that) like 
Fingering.font-size is based on the context property fontSize and that 
is set to -3 for grace notes (Fingering.font-size = fontSize - 5) so for 
normal notes it’s -5 and for grace notes -8.


This assumption was wrong. In the file music-functions.scm in the 
definition of general-grace-settings, Fingering.font-size is set 
explicitely to -8 so this is hardcoded.


You can change this by copying the definition of 
general-grace-settings/score-grace-settings and commenting out the 
Fingering.font-size. This has the advantage that you don’t need to 
change this for every type of grace notes (grace, slashedGrace, 
acciaccatura, appoggiatura):


\version "2.19.80"

#(define my-score-grace-settings
  `((Voice Stem direction ,UP)
(Voice Slur direction ,DOWN)
(Voice Stem font-size -3)
(Voice Flag font-size -3)
(Voice NoteHead font-size -3)
(Voice TabNoteHead font-size -4)
(Voice Dots font-size -3)
(Voice Stem length-fraction 0.8)
(Voice Stem no-stem-extend #t)
(Voice Beam beam-thickness 0.384)
(Voice Beam length-fraction 0.8)
(Voice Accidental font-size -4)
(Voice AccidentalCautionary font-size -4)
(Voice Script font-size -3)
;(Voice Fingering font-size -8)
(Voice StringNumber font-size -8)))

\layout {
  \context {
\Score
graceSettings = #my-score-grace-settings
  }
}

\relative {
  c'4-1 \acciaccatura e8-3 d4-2 \appoggiatura { g16-5 f-4 } e4-3
}

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Re: Fontsize ornaments

[Malte Meyn]

Am 03.12.2017 um 01:43 schrieb Pieter Terpstra:

Dear People,
Have a piece here with a lot, lots of acciaccatura's.
The fingering numbers font size under the principal notes is good but those 
under the
  acciaccatura's are too small to read.
Is there a way to increase the fontsize under the acciaccatura's all at once, 
without changing the
fontsize under the principal notes?


It *seems* (I’m not sure whether it actually works like that) like 
Fingering.font-size is based on the context property fontSize and that 
is set to -3 for grace notes (Fingering.font-size = fontSize - 5) so for 
normal notes it’s -5 and for grace notes -8.


You can override this by taking the definitions of 
startAcciaccaturaMusic and stopAcciaccaturaMusic from the file 
grace-init.ly and adding an override that sets the font-size explicitely 
to -5:


\version "2.19.80"

startAcciaccaturaMusic =  {
  <>\startGraceSlur
  \temporary \override Flag.stroke-style = #"grace"
  \temporary \override Fingering.font-size = -5
}

stopAcciaccaturaMusic =  {
  \revert Fingering.font-size
  \revert Flag.stroke-style
  <>\stopGraceSlur
}

\relative {
  c'4-1 \acciaccatura e8-3 d4-2 \acciaccatura { g16-5 f-4 } e4-3
}

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Re: Full bar rest R time 6/8 and 9/8

[Malte Meyn]

Am 29.11.2017 um 18:36 schrieb David Kastrup:

Ming Tsang  writes:


Lilyponders:

1  for time 4/4R1 provides full bar rest centered;
2  for time 2/4R2 provides full bar rest centered
3  for time 3/4   R2. Provides full bar rest centered
  How to code :
4  for time 6/8; for time 9/8


How about R1*6/8 (or even R1*6/8*5 for five bars)l R1*9/8



Instead of R1*6/8 I would just use R2. but for 9/8 there’s probably no 
simpler way.


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Re: variable

[Malte Meyn]

Am 24.11.2017 um 09:37 schrieb Gianmaria Lari:

I'm sorry for the trivial question but why this code is wrong?

\version "2.19.80"

music = {a b}
\music


The easiest way to deal with this is to add some scheme code that does 
nothing:


\version "2.19.80"

music = {a b}
#'()
\music

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Re: [OT] Linux Users

[Malte Meyn]

Am 19.11.2017 um 20:28 schrieb David Kastrup:

Jacques Peron  writes:

The only thing I don't know how to do is to have the same name (lilypond)
for thé command and for the environment. So I privileged the
environment.


Neither are called lilypond.  It's not particularly great, but there are
examples for the sharing of command and environment.  Basically you
check whether @currenvir is set to LilyPond.  As long as you don't
_nest_ those constructs...

Basically:

\newenvironment{lilypond}
{...}
{...}

\newcommand{\lilypondcommand}{...}

\let\lilypond@envcode\lilypond
\protected\def\lilypond{\def\reserved@a{lilypond}%
   \ifx\reserved@a\@currenv \expandafter\lilypond@envcode
   \else \expandafter \lilypondcommand \fi}

Ugly, sure.  But I think LilyPond upstream would be sympathetic to
making command and environment named differently in the long run.



I don’t know enough about (La?)TeX internals to understand the code 
above but if you redefined the command \lilypond, would things like the 
following still be possible?


\newenvironment{dly}{
\center
\ly
\language "deutsch"

\paper {
##(define fonts
(set-global-fonts
##:music "cadence"
##:brace "cadence"
##:roman "Vollkorn"
##:factor (/ staff-height pt 20)))
}

\layout {
% some other general things
}

% some includes and function definitions
}{\endly\endcenter}

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Re: [OT] Linux Users

[Malte Meyn]

Am 19.11.2017 um 16:57 schrieb Urs Liska:



Am 19.11.2017 um 16:46 schrieb Marc Hohl:

Am 18.11.2017 um 17:58 schrieb Jacques Peron:
Linux, LilyPond, LuaLaTeX (and Gregorio for gregorian chant) here. To 
integrate LilyPond into LaTeX, I developped lyluatex 
.


Which is a great tool and IMHO easier to use than lilypond-book!


I have just read through the README, and I think this is a really great 
tool.


Yes, it really is. You don’t need to call an extra program but only 
(Lua)LaTeX. And it compiles only those LilyPond snippets that have 
changed so changes only to LaTeX code don’t add compilation time for 
LilyPond ;)


I would love to see an introduction to that toolchain on 
lilypondblog.org. Jacques, would you write such a post, please?


That would be nice. And maybe, if or when this has been tested enough by 
different users on different systems, it could become part of the 
official lilypond releases? I’m not sure whether this could be done 
without manual installation of the files in a directory that can be seen 
by LaTeX … But at least a mention in the docs would be nice.


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stanza alignment

[Malte Meyn]

Hi list,

when I have multiple verses the stanza numbers are aligned. This works 
also I put some verses above the a staff and some below. But it doesn’t 
work anymore if I then add another staff. Any ideas how to solve this 
problem? Is this a bug?


Cheers,
Malte

%

\version "2.19.80"

<<
  % uncommenting the following line will break (?) the stanza alignment
  %\new Staff { b b b b }
  \lyrics {
\set stanza = "3." a a a a
  }
  \new Staff { b b b b }
  \lyrics {
\set stanza = "1." aa a a a
  }
  \lyrics {
\set stanza = "2." a a a a
  }
>>

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\startGroup and \=

[Malte Meyn]

Hi list,

it seems like \= doesn’t work for \startGroup and \stopGroup as it does 
for slurs and phrasing slurs. Any ideas how to achieve the same effect 
for analysis brackets?


Cheers,
Malte

%%

\version "2.19.80"

% this is nice
\relative {
  \cadenzaOn
  g\=1(
  a b c\=2(
  d e\=1)
  f g a\=2)
}

% this *would be* nice
\new Voice \with {
  \consists Horizontal_bracket_engraver
} \relative {
  \cadenzaOn
  g\=1\startGroup
  a b c\=2\startGroup
  d e\=1\stopGroup
  f g a\=2\stopGroup
}

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Re: mix dynamic within markup on single note

[Malte Meyn]

Am 11.11.2017 um 07:20 schrieb Ryan Michael:
I am trying to place "submit" markings after dynamics, but I would like 
the dynamics to be the actual default dynamic font as opposed to bold text.


Just replace \bold by \dynamic ;)


%%
\version "2.18.2"

{
\time 4/4
d'4\pp fis' fis'\fermata bes'-\markup{\dynamic "ff" \italic "sub."}

}
%

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Re: Transposing an entire score

[Malte Meyn]

Am 07.11.2017 um 17:54 schrieb peter.gam...@homecall.co.uk:
I have a piece of choral music written in 7 parts. It's around 80 bars 
long.

It's in the key of F major, which is too low for my choir.
I'd like to transpose it up 3 semitones to A flat major.
I'm new to Lilypond and the syntax gives me nightmares. I read the 
manual's section on transposing and now have a headache.
Please could someone either give me an idiot's guide to how to do this, 
or amend the enclosed.


Please always (try to) give a minimal working example. This could 
something like the following for choral music:


%

\version "2.19.80"

\new ChoirStaff <<
  \new Staff { \key f \major d' } \addlyrics { "blah" }
  \new Staff { \key f \major c' } \addlyrics { "blah" }
>>

%

You can transpose the whole score by simply adding the \transpose 
command before the music. This will transpose pitches and key signatures:


%

\version "2.19.80"

\transpose f as \new ChoirStaff <<
  \new Staff { \key f \major d' } \addlyrics { "blah" }
  \new Staff { \key f \major c' } \addlyrics { "blah" }
>>

%

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Re: "Guide notes"

[Malte Meyn]

Am 07.11.2017 um 16:45 schrieb David Wright:

Thanks for the replies. I did try specifying a chord, but the
"pitch" parameter won't take it.


That’s because I didn’t know that you wanted chords … Of course it’s 
possible to specify a chord, see the following code. There’s only one 
reason I first only allowed pitches: You then wouldn’t have to input the 
duration.



%%%

\version "2.19.80"

enharmonicGuide =
#(define-music-function (music guide) (ly:music? ly:music?)
   #{
 \afterGrace #music {
   \once \omit Stem
   \override ParenthesesItem.font-size = -1
   \override ParenthesesItem.padding = 0.1
   \parenthesize
   #guide
 }
   #})

afterGraceFraction = 15/16

\relative {
  2 \enharmonicGuide  4
  2 
}

%%%

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Re: "Guide notes"

[Malte Meyn]

Am 01.11.2017 um 16:03 schrieb David Wright:

I've sung (strictly, not sung) a great many of these
without knowing what they're officially called.
I've created this one with what looks like an awful
hack. Is there a better way in LP? (Googling
 lilypond guide note
turns up anything but.)


You could try to use \afterGrace for that:

%%%

\version "2.19.80"

enharmonicGuide =
#(define-music-function (music guide) (ly:music? ly:pitch?)
   #{
 \afterGrace #music {
   \once \omit Stem
   \override ParenthesesItem.font-size = -1
   \override ParenthesesItem.padding = 0.1
   \parenthesize
   $guide 4
 }
   #})

afterGraceFraction = 15/16

\relative {
  fis''2 \enharmonicGuide dis es
  c a
}

%%%

Try different values for font-size and padding. Also, I find the way 
LilyPond handles after-grace notes by default not optimal. You can 
either try using different afterGraceFraction values (like above) or the 
following override:

  \override Score.SpacingSpanner.strict-grace-spacing = ##t
The latter looks bad for this minimal example but might work better than 
setting afterGraceFraction in other contexts.



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Re: How to end a melisma

[Malte Meyn]

Am 01.11.2017 um 01:19 schrieb Simon Albrecht:

The correct way would be

Music = \relative c'' {
   c4 d e f\melisma
   c d e f\melismaEnd
   r d e f
   c d e f
}


Ok, obviously that’s more correct than my solution. I didn’t know these 
commands, nice to learn something new about LilyPond every now and then :)


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Re: How to end a melisma

[Malte Meyn]

Am 31.10.2017 um 18:09 schrieb pkarl:


My next naive attempt was to try to positively indicate where the 
melisma should end:


Music = \relative c'' { c4 d e f    c d e f    r d e f    c d e f }
Lyrics = \lyricmode { do re mi fa __ _ _ _ _  " "
   \repeat unfold 2 { \skip 1 } sol la ti do }

But that didn't work either.

What did work was to change the single blank to two blanks:

Lyrics = \lyricmode { do re mi fa __ _ _ _ _  "  "
   \repeat unfold 2 { \skip 1 } sol la ti do }

No blanks ("") work also; I’d recommend that. Another hint: You don’t need

\repeat unfold 2 { \skip 1 }

if you just can write

_ _

;) So here’s what I would do:

Lyrics = \lyricmode {
  do re mi fa __ _ _ _ _ "" _ _ sol la ti do
}

I think that there’s no more “correct” way because it seems like 
addlyrics is made for “every note is sung”.


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