Re: Use jazz fonts in LilyPond?

[Malte Meyn]

Am 05.03.2016 um 23:40 schrieb Sharon Rosner:

Where do one get hold of these alternative fonts for Lilypond?


Try here:  https://github.com/noteflakes/lyp-lilyjazz/


This is the original font by Torsten Hämmerle. Since LilyPond 2.19.12 
it’s possible to use several notation fonts (including LilyJAZZ) without 
having to install lyp or similar things. These fonts could be found on 
fonts.openlilylib.org and are maintained and updated by Abraham Lee (and 
others?). Currently this site is moving but I’ll send the font files to you.


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Re: Problems with midi2ly

[Malte Meyn]

Am 05.03.2016 um 18:37 schrieb mark damerell:

1. Where is the manual? The man page says it is a texinfo document, but
I cannot find it.


There is a section about midi2ly in the ‘Usage’ documentation: 
http://lilypond.org/doc/v2.18/Documentation/usage-big-page.html#invoking-midi2ly


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Re: Changing color when using \draw-line

[Malte Meyn]

Am 05.03.2016 um 16:23 schrieb Joseph N. Srednicki:

Can anyone tell me how to change the color when using \draw-line?


\with-color #blue
\draw-line #'(0 . 3)

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Re: OT: pagenumber

[Malte Meyn]

Am 04.03.2016 um 21:54 schrieb Noeck:

   myfoo = "ok" % but
   mybar = bliblablup % why is that allowed?


Because LilyPond allows strings without quotes as long as they contain 
only certain characters (alphabet and probably some others). Good for 
lyrics for example, but also when using \clef etc.


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Re: OT: pagenumber

[Malte Meyn]

Am 04.03.2016 um 21:42 schrieb Blöchl Bernhard:

Just a guess, try
pagenumber = #f


That’s not ‘more correct’; false is ##f, not #f in LilyPond … Besides of 
that, what you mean is


\paper {
  print-page-number = ##f
}

So maybe try out before guessing ;)

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LaissezVibrerTies, RepeatTies and ties at repeat alternatives

[Malte Meyn]

Hi list,

I’m not very happy about LilyPond’s ties and semi-ties. Some 
problems/questions:


1. Is there any difference between LaissezVibrerTies and RepeatTies 
except of the default head-direction? Or could one save redundant code 
(including different grob names for basically the same thing etc.) here?


2. IMO LaissezVibrerTies are almost always too short. And there are only 
very ugly hacks like http://lsr.di.unimi.it/LSR/Item?id=715 to change 
the length; it would be nice to have a grob property 'length or 
'minimum-length.


3. This is what annoys me most: Hacks like 
http://lsr.di.unimi.it/LSR/Item?id=794 shouldn’t be necessary; instead, 
LilyPond should be able to take input ~ at repeat alternatives and get 
things right automagically. Or at least there should be easy-to-use 
commands for ties from/to barlines so abusing \laissezVibrer and 
\repeatTie isn’t necessary. Probably they should behave as if there was 
a line break and then print only the needed half.


(4. Slurs at repeats aren’t really nice either …)

Some opinions on that? How easy would that be implemented?

Here some ideas for 3. and 4.



\version "2.19.36"

% (approximately) desired output
\relative {
  \tieDown \slurUp % for better readability
  d'2( c~
  \repeat volta 2 { c4 d) c( d~ }
  \alternative {
{ d c) d( \afterGrace c\laissezVibrer { \once \hideNotes d) } }
{ \grace { \once \hideNotes c^( } d2\repeatTie c) }
  }
}

% suggested input
%{
\relative {
  \tieDown \slurUp % for better readability
  d'2( c~
  \repeat volta 2 { c4 d) c( d~ }
  \alternative {
{ d c) d( c~ \stopTieAtBarline \stopSlurAtBarline }
{ \startTieAtBarline \startSlurAtBarline d2 c) }
  }
}
%}

% alternative input: detect needed spanners automatically
%{
\relative {
  \tieDown \slurUp % for better readability
  d'2( c~
  \repeat volta 2 { c4 d) c( d~ }
  \alternative {
{ d c) d( c~ \stopSpannersAtBarline }
{ \startSpannersAtBarline d2 c) }
  }
}
%}

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Re: line break anywhere-but-not-here ?

[Malte Meyn]

Am 28.02.2016 um 13:22 schrieb Kristin Rollins:

it did not appear to have any effect on the output on my
installation of 2.19.36


Probably you put it at the wrong place. It has to be put at the place 
where the break would be. The following works for me:


\version "2.19.36"

\relative c'' {
  \repeat unfold 10 { c1 }
  c2\fermata r4 \breathe \tempo "Tempo Primo" r4 | \noBreak
  \repeat unfold 14 { c1 }
}

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Re: line break anywhere-but-not-here ?

[Malte Meyn]

Am 28.02.2016 um 13:06 schrieb Graham King:

Is there any way to
tell her: "put line breaks wherever you wish, but_not here_" ?


How about \noBreak? ;)

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Re: install frescoba 2.18.2 in Ubuntu

[Malte Meyn]

Am 27.02.2016 um 19:11 schrieb Noeck:

- Should it mention the --prefix option?


IMO: Yes, and maybe the possibility of installing as root; these options 
seem to be commonly unknown.



- Should it mention that you can have several versions installed in
   parallel?


Would be nice, I didn’t know that for a long time ;)

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Re: Tied Notes in Voices, or change of time

[Malte Meyn]

Am 27.02.2016 um 03:22 schrieb William Marchant:

Hi All,
I have attached a snippet of code which shows a problem I have
encountered.  Notice that in the first measure in Voice One, there is a
c16 tied to a c4,  and below in Voice Two an e16 tied to e4. This I
expected.  Note however, at the end of the first measure while the e16
is tied to the e4 in the next measure, the d16 below it is not tied to
the e4.  As far as I can see the syntax is the same for both events, but
the result is different.
Different Voices?  Different Times?  Possible Bug?  Can someone throw
any light on this for me?



You don’t need to begin and start again the two Voices for the time 
signature change. Also, it’s much easier IMO to use << { … } \\ { … } >> 
than explicitely adding Voices and using \voiceOne, \voiceTwo, and 
\oneVoice.


Some other things I noticed:

I would put the \language "english" to the very beginning of the file 
instead of somewhere into a music expression. I don’t know why it worked 
there too, but it’s very unusual.


I assume that you write \new ChoirStaff and \new Staff because you’ll 
have some more staves; until now it’s not necessary. But even with more 
staves you’ll need \new Voice only in very few cases ;) Are you sure you 
want to use ChoirStaff instead of StaffGroup? This doesn’t look like 
choir music to me.


Oh, and you don’t need the ! to force the natural sign of the c; 
LilyPond will put it there automatically because you’re in d major )


%

\version "2.18.2"
\language "english"

melody = \relative c' {
  \key d \major
  <<
{
  e'4 d8 e16 c~ c4 b8 c16 a~ |
  \time 2/4
  a4 g16 fs8. |
}
\\
{
  g4 g8. e16~ e4 d8. d16~ |
  d4 d |
}
  >>
  \time 4/4
}

\score {
  \melody
}

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Re: override StaffSymbol.line-count

[Malte Meyn]

Am 26.02.2016 um 16:28 schrieb Bernard:

/tmp/frescobaldi-CgvCtP/tmpYKvR5j/test3.ly:10:47: error: GUILE signaled
an error for the expression beginning here
   \override StaffSymbol.line-count = #2  #
generate syntax error
2) What causes the error now I am using the correct version?


# in LilyPond is not for comments but for beginning scheme/guile 
expressions. The “comment” “generate syntax error” shows that this seems 
to be intended ;)


% This is a single line LilyPond comment
%{
  This is a LilyPond block comment.
%}

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Re: override StaffSymbol.line-count

[Malte Meyn]

Am 26.02.2016 um 13:06 schrieb David Kastrup:

Executed :
sudo chmod +x  lilypond-2.18.2-1.linux-64.sh  (not in manual, but requered)
sh linux-64/lilypond-2.18.2-1.linux-64.sh

Lilipond seemed to be installed, but is not.

type in shell :
lilypond

returns the message, lilypond is currently not installed, with the
suggestion using apt-get to install.


There are two possibilities:

1. Install using sudo: sudo sh lilypond-2.18.2-1.linux-64.sh
This will install lilypond to something like /usr/local/lilypond instead 
of your home directory. This makes lilypond available for all users 
(just like the install with apt-get).


2. If you don’t install as root LilyPond will be installed to your home 
directory, so you’ll have to add ~/bin to your PATH as David suggested:




It's likely installed where you told the installer to install it, but is
not in your PATH variable.  Try setting up your PATH appropriately in
your
~/.bashrc
or whatever startup file may be relevant for your system.



2a. If you don’t want to install to ~/bin and ~/lilypond you can use the 
--prefix option to choose another installation directory instead of ~.


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Re: Music function for arrow directions in arpeggios

[Malte Meyn]

Am 23.02.2016 um 15:52 schrieb Caio Giovaneti de Barros:

I'm trying to write a function to make easier for me to change arrow
directions in arpeggios.


I would prefer an event function with a tweak:

\version "2.19.36"

arpeggioUp = \tweak arpeggio-direction #UP \arpeggio

\relative c' { \arpeggioUp }

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Re: Install on linux

[Malte Meyn]

Am 21.02.2016 um 22:02 schrieb David Wright:

On Sun 21 Feb 2016 at 19:10:29 (+0100), Peter O'Doherty wrote:

Thanks a lot. Sorted now using sudo sh lilypond...


I can't help wondering what the ... stands for.


It’s the install script, something like

lilypond-2.18.2-1.linux-64.sh

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Re: Install on linux

[Malte Meyn]

Am 21.02.2016 um 13:21 schrieb Malte Meyn:

You should either install as root (using sudo):

cd PATH-TO-DOWNLOAD-DIRECTORY
sudo sh lilypond-2.18.2-OS-TYPE.sh



Advantage: You (and all other users) can start lilypond directly from 
terminal etc. without changing PATH/make it known to Frescobaldi, …



or specify another installation directory (f. e. ~/LP2.18.2 instead of ~):

cd PATH-TO-DOWNLOAD-DIRECTORY
sh lilypond-2.18.2-OS-TYPE.sh --prefix ~/LP2.18.2



Advantage: You can install several different versions of LilyPond.

I use this second method: I’ve installed five different versions and 
make all of them known to Frescobaldi; Frescobaldi will then choose the 
used version according to the \version statement.


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Re: Install on linux

[Malte Meyn]

Am 21.02.2016 um 13:18 schrieb Jean Bréfort:

Why don't you directly use the lilypond package?
sudo apt-get install lilypond

The installation would be clean.



This only works for packaged LilyPond versions ;)


Le dimanche 21 février 2016 à 13:13 +0100, Peter O'Doherty a écrit :

cd PATH-TO-DOWNLOAD-DIRECTORY
sh lilypond-2.18.2-OS-TYPE.sh


You should either install as root (using sudo):

cd PATH-TO-DOWNLOAD-DIRECTORY
sudo sh lilypond-2.18.2-OS-TYPE.sh

or specify another installation directory (f. e. ~/LP2.18.2 instead of ~):

cd PATH-TO-DOWNLOAD-DIRECTORY
sh lilypond-2.18.2-OS-TYPE.sh --prefix ~/LP2.18.2

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Re: convert-ly in 2.19.36-1

[Malte Meyn]

Am 15.02.2016 um 08:01 schrieb Anders Eriksson:

When I take an old .ly file, with version \version "2.19.15", and run
convert-ly I get \version "2.19.32"

Have I done something wrong or is there a "bug"?


This means that there are no syntax changes between 2.19.32 and 
2.19.36/no convert-ly rules after 2.19.32. Everything ok ;)



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Re: Gregorian clefs

[Malte Meyn]

Am 31.01.2016 um 21:02 schrieb Joseph Folens:
> So, it seems the programm
> does not recognize its own clefs, or is there something I missed?
>  

> \include "gregorian.ly"
> \clef vaticana-do2
> \score {

Two things are wrong:
1. The \clef command is placed outside the score; it won’t have any
effect. You should put it into the VaticanaVoice.
2. Clef names (like all identifiers and strings) containing numbers must
be quoted:
\clef "vaticana-do2"
Quoting other names (like \clef "bass") is possible but not mandatory.

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Re: proportional horizontal space in accelerando and ritardando

[Malte Meyn]

Am 26.01.2016 um 21:19 schrieb Caio Giovaneti de Barros::
> 
> http://www.music.indiana.edu/departments/academic/composition/style-guide/images/newimages/featherEX.gif
> 
> 
> What do you think would be the best way to implement this in Lilypond?
> 
This is already implemented; see section 1.2.4 of the notation reference
(this is called “feathered beams”).

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Re: Font of accidentals changes after line break

[Malte Meyn]

Am 26.01.2016 um 21:36 schrieb Robert Schmaus:
> I guess the missing fonts are to be found on
> https://fonts.openlilylib.org ... which seems to be currently
> unavailable, alas.

Your guess is correct; “currently” has been a few days or weeks now.
I’ll send them to you off-list.

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Re: Non-traditional key signature with double sharps/flats?

[Malte Meyn]

Am 26.01.2016 um 20:51 schrieb Brian Voyer:
> I'm looking for something like the standard syntax for defining a scale, 
> but I need the ability to have double sharps and flats.
> synthetic = #`((0 . ,NATURAL) (1 . ,SHARPSHARP) (2 . ,SHARP)
> (3 . ,NATURAL) (4 . ,FLAT) (5 . ,FLAT) (6 . ,FLATFLAT))

DOUBLE-SHARP and DOUBLE-FLAT instead of SHARPSHARP and FLATFLAT should work.

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Re: Font of accidentals changes after line break

[Malte Meyn]

Am 25.01.2016 um 21:20 schrieb Robert Schmaus:
> Unfortunately, it doesn't work ... LP v2.19.34 exits ungracefully with
> an error message "fatal error: cannot find font: `LilyJAZZ-11'"
> 
> Well, the font is there

Where exactly? LilyPond looks only at the directory where
Emmentaler/Feta is located. In my case, that is

/usr/local/lilypond/usr/share/lilypond/current/fonts/otf

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Re: Font of accidentals changes after line break

[Malte Meyn]

Am 25.01.2016 um 10:00 schrieb Robert Schmaus:
> 
> One more thought: My original approach of simply \include-ing LilyJAZZ should 
> be the standard way of using it. Which makes me think, that there's either 
> something missing in LilyJAZZ to work in v2.19 ... or a bug in Lilypond. 

Since version 2.19.12 vanilla LilyPond supports other music fonts like
LilyJAZZ. So the “standard way of using” has changed in this version;
you don’t need any include files anymore but something like

\paper {
  #(define fonts
(set-global-fonts
#:music "lilyjazz"
#:brace "lilyjazz"
#:roman "lilyjazz-text"
#:sans "lilyjazz-chord"
#:factor (/ staff-height pt 20)
  ))
}

The openlilylib stylesheets are just files which switch the font but
also do some other changes (slur, stem, barline thicknesses, text fonts, …).

> Shouldn't I notify the bug team of this and if so, how do I do that?

I don’t think it’s a bug because Lily has this new way of using music
fonts and doesn’t need the old hacks anymore ;)

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Re: tuplet number

[Malte Meyn]

Am 18.01.2016 um 23:52 schrieb Mark Stephen Mrotek:
> In 2.18,
> 
> Tuplet - no number\override TupletNumber #'stencil = ##f

Setting the stencil to ##f is exactly what \omit does ;) (\omit already
exists in 2.18)

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Re: tuplet number

[Malte Meyn]

Am 18.01.2016 um 23:46 schrieb Stanton Sanderson:
> How does one revert  \omit TupletNumber to allow the number to appear for a 
> specific tuplet?

There are two options:

1. If you want to omit only one TupletNumber you can use \once:
… \once \omit TupletNumber \tuplet …
2. Revert the \omit using \undo:
… \omit TupletNumber \tuplet … \undo \omit TupletNumber …

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Re: Instrument names and smallest possible bounding box

[Malte Meyn]

Am 17.01.2016 um 12:10 schrieb Carl-Henrik Buschmann:
> 
> 1) Instrument names.
> 
> The default placement of instrument names seems a bit messy compared to my 
> default Sibelius output:
> 
> 
> Lilypond:
> They seem "off", not alligned properly. This is of course the fault of the 
> author. Most likely there is a easy fix. Suggestions?

LilyPond tries to center-align the instrument names. Long names which
don’t fit into the margin defined by indent (default 1.5cm (?)) are
right-aligned (“Woodwind” in your example). This “mixing” behaviour
looks odd, I agree. You can make the indent bigger so all names are
center-aligned or change the alignment of instrument names globally;
here are both solutions (they also can be combined):


\version "2.19.35"

\paper {
  %indent = 1.8\cm % short center-aligned (in this margin), long right
  %indent = 3.5\cm % both center-aligned
}

%{
\layout {
  \context {
\Staff
\override InstrumentName.self-alignment-X = #RIGHT
  }
}
%}

<<
  \new Staff \with {
instrumentName = "very long name"
  } { R1 \break R1 }
  \new Staff \with {
instrumentName = "short"
  } { R1 \break R1 }
>>


> 
> 2) I need to export pngs for my latex documents and i would like the bounding 
> box to be as small as possible. How do i do this?
> 

There is a lilypond option -dpreview which does this iirc. And apart
from that: Do you know lilypond-book?

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Re: unterminated tie

[Malte Meyn]

Am 15.01.2016 um 20:49 schrieb Mark Stephen Mrotek:
> r4 q2 | r4 2 | q2. |
> 
> r4 2 | r4 2 | % this line highlighted.
> 
> 2. ( | ) |

Please give a complete example; I see two possible reasons (maybe there
are more) but can’t tell more from this incomplete code.

1. You are in absolute mode (instead of relative) => two different notes
f' and f cannot be tied.
2. You didn’t set tieWaitForNote to ##t => ties cannot cross rests by
default.

Btw, you can tie chords with just one single tilde:

~ 

This will tie the fs and aess but not the ces and bes.

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Re: Repeat 8va

[Malte Meyn]

Am 11.01.2016 um 21:02 schrieb John Gourlay:
> The pdf output contained the music I hoped for but the midi output does not 
> contain the second measure of this three-measure opus.

You should use \unfoldRepeats (or \articulate):

\version "2.18.2"

foo = \relative {
  \repeat volta 2 {
c'4 d e f
\transposition c''
  }
  \transposition c'
  c e d f
}

\score {
  \foo
  \layout { }
}

\score {
  \unfoldRepeats \foo
  \midi { }
}

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Re: Overriding tie-configuration & \shape breaks custom Scheme function since 2.19.24

[Malte Meyn]

Am 10.01.2016 um 02:50 schrieb Peter Crighton:
>   (if (or (music-is-of-type? mus 'rest-event)
>   (music-is-of-type? mus 'multi-measure-rest))

The overrides fall into the ‘else’ case and then the tweaks are applied.
I’m not sure why this is changing all of the following note heads (bug?)
but I have a solution for your problem: Just tweak only if there is a
rhythmic-event.

\version "2.19.35"

bgr =
#(define-music-function (music) (ly:music?)
   (music-map
(lambda (mus)
  (cond
   ((or (music-is-of-type? mus 'rest-event)
(music-is-of-type? mus 'multi-measure-rest))
(make-music 'SkipEvent mus))
   ((music-is-of-type? mus 'rhythmic-event)
#{
  \tweak NoteHead.font-size #-2
  \tweak Accidental.font-size #-2
  #mus
#})
   (else
mus)))
music))

\new Staff <<
  \new Voice <<
\relative c' {
  <<
{
  c4 d e f~
  f g a b
}

\bgr {
  g a b c~
  \once \override TieColumn.tie-configuration = #'((0 . 1) (0 . -1))
  c d e f
}
  >>
}
  >>
>>

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Re: How to reproduce this?

[Malte Meyn]

Am 07.01.2016 um 22:53 schrieb Malte Meyn:
> 
> 
> Am 07.01.2016 um 21:59 schrieb Simon Albrecht:
>> \offset positions #'(.5 . .5) Beam
> 
> I’ve never seen that function before and I don’t find it in the
> documentation. Since when does this exist? (it’s defined in
> music-functions-init.ly)
> 

git blame tells me this comes from commit a82d8622 in April 2013, so
this is new in version 2.18.

It’s documented neither in the Changes, nor in the Learning Manual nor
in the Notation Reference.

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Re: How to reproduce this?

[Malte Meyn]

Am 07.01.2016 um 21:59 schrieb Simon Albrecht:
> \offset positions #'(.5 . .5) Beam

I’ve never seen that function before and I don’t find it in the
documentation. Since when does this exist? (it’s defined in
music-functions-init.ly)

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Re: Dynamics and markup inside tuplet bracket

[Malte Meyn]

Am 01.01.2016 um 11:54 schrieb Andrew Bernard:
>  Is there a list of outside staff priority values somewhere? I seem to 
> vaguely recall, but cannot locate it.

An incomplete list can be found in the Learning Manual, section 4.4.3.
Nothing in the Notation Reference but you can find all values in the
Internals Reference.

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Re: Dynamics and markup inside tuplet bracket

[Malte Meyn]

Am 01.01.2016 um 04:12 schrieb Andrew Bernard:
> How does one go about getting dynamics and/or markup inside a tuplet bracket?
> 

Just change out-side-staff-priority of the dynamics/markup or the bracket:

> \version "2.19.34"
> 
> \relative c'' {
  \once \override TupletBracket.outside-staff-priority = 250
>   \tuplet 5/4 { c^\mf bes^\markup { x } fis d ges }
> }
> 

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Re: Question about page break time indices

[Malte Meyn]

Am 30.12.2015 um 13:03 schrieb Thomas Morley:
> there were some similiar projects for videos etc, can't remember, though.
> Others?

There is ly2video: https://github.com/aspiers/ly2video For examples
search for ly2video on youtube.

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Re: Strings as variable names

[Malte Meyn]

Am 28.12.2015 um 20:30 schrieb David Kastrup:
> Malte Meyn  writes:
> 
>> Am 28.12.2015 um 19:20 schrieb David Kastrup:
>>> What's wrong with violinI ?
>>
>> lexicographical sorting (of file names) ≠ roman numeral sorting
> 
> File names are not variable names.
> 

That’s true. I just don’t like to have two different naming schemes
(horn4.pdf contains hornIV) where it’s not really necessary ...

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Re: Strings as variable names

[Malte Meyn]

Am 28.12.2015 um 19:20 schrieb David Kastrup:
> What's wrong with violinI ?

lexicographical sorting (of file names) ≠ roman numeral sorting

>> flute_phrase01 =
>> flute_phrase02 =
>>
>> or similar.
> 
> When would you ever want to do that?

Variations (one score per variation):

fluteTheme = …
fluteVar1 = …
…
fluteVar14 = …

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Re: Notation snippets

[Malte Meyn]

Am 27.12.2015 um 16:18 schrieb Jayaratna:
> I hope these will be understandable:
> 
> workex.ly   
> 
>  
> 
> It should be like this, but I can't extend the lines over the clefs.

You could use LilyPond version 2.19.33. Your code gives the attached result.
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Re: Notation snippets

[Malte Meyn]

Am 27.12.2015 um 14:34 schrieb Jayaratna:
> Dear Lilipondians,
> 
> I am trying to make a page which shows a series of music symbols, each of
> them appearing on a standard staff of a given measure. So far I can print
> clefs and other symbols, but with no staff lines.
> 
> Any idea on how to make this?
> 
> Thank you,
> A

Your \layout blocks are messed up (don’t compile, MensuralStaff vs.
Staff). Did you want to do something like the following?

\version "2.19.33"

\paper {
  indent = 0
}

\markup {
  \fill-line {
\score {
  \new Staff \with {
\omit TimeSignature
  } {
\clef violin
  }
}
\hspace #2
\score {
  \new Staff \with {
\omit Clef
  } {
\time 4/4
  }
}
  }
}

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Re: Writing converter to display Notes as Numbers

[Malte Meyn]

Am 21.12.2015 um 12:12 schrieb David Kastrup:

You presumably mean Jianpu
https://en.wikipedia.org/wiki/Numbered_musical_notation>.


From the article:
“There are technical methods of printing numbered notation (in various 
forms) with GNU LilyPond.[10][11][12]”


You might want to look at these references 10 to 12 ;)

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Re: Renaissance 4/2 time signature

[Malte Meyn]

Am 04.12.2015 um 13:42 schrieb Andrew Bernard:

In my option this piece is in 4/2 and I want to set it as such, and I want to 
retain the cut c time signature used by the original printer.


\version "2.19.30"

\relative {
  \time 2/2
  \set Score.measureLength = #(ly:make-moment 4/2)
  c'2 d e f g f e d c\breve
}

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Re: Rehearsal mark/tempo collision

[Malte Meyn]

Am 27.11.2015 um 21:10 schrieb Craig Dabelstein:

and get the tempo marks to be moved a little to the
right.


Just do that ;) (\once) \override MetronomeMark.X-offset = 3 or 
something similar.


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Re: cross-staff stems for only two of three staves

[Malte Meyn]

Am 20.11.2015 um 20:50 schrieb Malte Meyn:

Hi list,

I would like to set cross staff stems in a three-staff piano score. With
stems from the middle to lower or upper staff everything works fine but
not the other way (from outer to middle staff). Does anyone have an idea
how to fix that or work around?



Ok, here’s my dirty hack:
\once \override NoteColumn.X-offset = 0.0001
in the staff that shouldn’t be connected to the cross staff stem.

That works (the offset is so small you don’t see it) but it would be 
nice if there was a clean solution.



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Re: Confused about output

[Malte Meyn]

Am 25.11.2015 um 02:19 schrieb Shane Brandes:

After fiddling with this for hours i cannot figure out why the added
lyrics e and i drop below the bass as opposed to the voices they ought
to be associated with which is here "melody" and "mel" that live on
the soprano staff. What am I missing?


You can use alignBelowContext. I must admit I didn’t really overlook 
your code structure so I didn’t use any variables. But it should be 
possible with your code structure too.


\version "2.18.2"

\score {
  <<
\new Staff \with {
  instrumentName = "Soprano"
} \new Voice = "soprano_v1" {
  a2
  <<
c'
\new Voice {
  \voiceTwo a
}
\new Lyrics \with {
  alignBelowContext = "soprano_l1"
} \lyricmode {
  i
}
  >>
}
\new Lyrics = "soprano_l1" \lyricsto "soprano_v1" {
  a e
}
\new Staff \with {
  instrumentName = "Bass"
} \relative {
  \clef bass
  f e
}
\addlyrics {
  o u
}
  >>
}

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Re: cross-staff stems for only two of three staves

[Malte Meyn]

Hi Stephen,

thank you for your reply. (Please always reply to the list.)

I should have been clearer: I want three notes in three staves, all with 
stem up, and a stem only from the lower to the middle staff but not to 
the upper. (You suggested to omit the flag from the middle staff; that 
would be a good solution if I wanted the stem across all three staves.) 
Please have a look at the attached image (made with LilyPond and GIMP) 
to see what I mean.


Any other ideas?

Malte

Am 24.11.2015 um 22:32 schrieb Stephen MacNeil:

Since no one answered you I thought I would let you know I would just omit
them since it doesn't happen by default

%%%

\new PianoStaff \with {

\consists #Span_stem_engraver

\autoBeamOff

} <<

\new Staff {

e'8 f'

\crossStaff e'' f'' % not ok

}

\new Staff {

% both work omit leaves out printable space

% \omit Flag

% hide is more like transparent -- space is occupied

% \hide Flag

d'8 \crossStaff e' % ok

d'' \crossStaff e'' % ok

% to undo hide or omit

% \undo \omit Flag

% \undo \hide Flag

}

\new Staff {

\crossStaff c'8 d' % not ok

c'' d''

}









you could write a function that takes care of the undo for omits and hides
within a group ...{ }

HTH
Stephen

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Re: function to replace notes by rests

[Malte Meyn]

Am 24.11.2015 um 08:10 schrieb Marc Hohl:

Thanks or sharing! The drawbacks in relative mode are neglectable, I'll
use absolute mode.



Alternatively you could use

1. another \relative block inside of notesToRests
\relative {
  c' d e f \notesToRests \relative { g' a b2 g8 c } f' e c2
}

or

2. octave checks if you don’t mind the warnings
\relative {
  c' d e f \notesToRests { g a b2 g8 c } f='' e c2
}

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Re: Automatically transforming a FiguredBass line into a sequence of chords ?

[Malte Meyn]

Am 23.11.2015 um 23:56 schrieb Michael Gerdau:

Hi list,

does someone know of a function or snipped that automatically transforms
some music together with a FigruedBass line into a sequence of chords


I once wanted to do that but I hadn’t enough time and automatic a 
correct right hand for a figured bass is really complex so I abandoned 
the project ...

http://lists.gnu.org/archive/html/lilypond-user/2014-04/msg00168.html


like illustrated in the example below ?


Probably that’s much simpler that a totally correct and playable 
version. It seems like you don’t care about parallel fifths (m. 1 to 2) 
and don’t add notes that aren’t explicitely there (f. e. <6 5> like in 
m. 3 always means <6 5 3> so you would have to add an e).


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Re: tieWaitForNote

[Malte Meyn]

Am 24.11.2015 um 06:53 schrieb Mark Stephen Mrotek:

Everything is correct except that the ties do not appear. What is my error?


If you really want these note length values you need a << >> construct 
but without \\ because that would create new Voices. The only new Voice 
you need is the one for the rest because LilyPond cannot put a r8 and a 
g4. to the same stem (that’s what it tries if you use << >> without \\).


\version "2.18.2"

\relative c {
  \key e \minor
  \time 6/8
  \set tieWaitForNote = ##t
  \tieDown
  <<
\new Voice { \voiceOne r8 }
{ s8 s d'~ }
{ g,4.~ }
{ s8 b4~ }
  >>
  4.
  \tieNeutral
}

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Re: outside-staff-priority?

[Malte Meyn]

Am 23.11.2015 um 21:58 schrieb Ralph Palmer:

I tried setting the outside-staff-priority of each
and/or both, but without success.


\override Score.MetronomeMark.outside-staff-priority = 1501
% or
\override Score.RehearsalMark.outside-staff-priority = 999

You probably missed the “Score.”


I'm also not sure if MetronomeMark is the
correct designation for the \tempo indication.


Yes, it is.

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Re: function to replace notes by rests

[Malte Meyn]

Am 23.11.2015 um 10:46 schrieb Marc Hohl:

As the file is a bit lengthy, I think of a way to just redefine
\xNotes to change every note to its corresponding rest, instead of
rewriting the whole file (or using sed or any other external script).

Has anyone a scheme routine at hand that does exactly this job?


I wrote this but it doesn’t work well in relative mode:

\version "2.19.30"

notesToRests =
#(define-music-function (music) (ly:music?)
   (music-map
(lambda (m)
  (if (eq? (ly:music-property m 'name) 'NoteEvent)
  (make-music 'RestEvent
'duration (ly:music-property m 'duration))
  m))
music))

\relative {
  c' d e f \notesToRests { g a b2 g8 c } f e c2
}

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Re: Clashing ties & slurs with tieWaitForNote

[Malte Meyn]

Am 21.11.2015 um 20:30 schrieb David Kastrup:

Urs Liska  writes:


Thanks, that makes things clearer.  This is definitely what I
suggested. The "outer" slur is not a tie but a phrasing slur and the
inner one a slur indicating the bowing.


That would not make much sense, really.  Phrasing slurs in violin music
are only necessary when you can't avoid changing bow direction, so if
they are present, they are much longer.

The tied notation makes more sense, indicating that you change from a
one-string note to a double-stop and then revert back to the one-string
note.


I disagree: In Finlandia this note is definitely *not* tied. Obviously 
Sibelius writes both a “technical” slur (for bow change) and a 
“musical/melodical” slur (not really “phrasing” in musical language but 
in lilypond language).


For a more secure proof have a look at the third bar after rehearsal 
mark L: This cannot be played as double stops.


And the first bar after L is the same in the cello part and not (or 
hardly) playable as double stops on a cello. Also there is no other 
instrument that holds the c …



This kind of "hold a note on one string and touch notes on next
string" phrasing is used in a few movements in the Bach solo partitas as
well.  The notation of Steve was a reasonable rendition for that:
writing this as strictly two voices makes it harder to indicate the
slurring.


The Bach solo partitas are polyphonic. This part of Finlandia is 
definitely not.


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warning if line is too wide?

[Malte Meyn]

Hi list,

is it possible to be informed by LilyPond if a line in the pdf is too 
wide because of too many notes or \noBreak etc. (like LaTeX’ overfull 
hbox warnings)? Sometimes this would be useful (f. e. in cases where a 
line is only a little bit too wide).


Malte

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cross-staff stems for only two of three staves

[Malte Meyn]

Hi list,

I would like to set cross staff stems in a three-staff piano score. With 
stems from the middle to lower or upper staff everything works fine but 
not the other way (from outer to middle staff). Does anyone have an idea 
how to fix that or work around?


\version "2.19.30"

\new PianoStaff \with {
  \consists #Span_stem_engraver
  \autoBeamOff
} <<
  \new Staff {
e'8 f'
\crossStaff e'' f'' % not ok
  }
  \new Staff {
d'8 \crossStaff e' % ok
d'' \crossStaff e'' % ok
  }
  \new Staff {
\crossStaff c'8 d' % not ok
c'' d''
  }
>>

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Re: misleading message and exit code when "program too old"

[Malte Meyn]

Am 11.11.2015 um 14:19 schrieb Johannes Waldmann:

Hi. I am getting this:

Parsing...
error: program too old: 2.18.2 (file requires: 2.19.0)

but apparently it's not an error,
Yes, it is because the file states to need version 2.19.0 and you cannot 
be sure that 2.18.2 will be sufficient.

since the processing continues,
and the pdf file is produced.

It might run without any other errors because you don’t use new 
functions or syntax from 2.19.0. But the output of 2.19 is different in 
some cases (f. e. the whiteouts and multi-measure rests) so it makes 
sense to report the different versions.


If you’re okay with the changes 2.19.0 makes, why not change the 
\version statement? (And why 2.19.0, not 2.19.2x?)


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Re: Cadenza...

[Malte Meyn]

Am 03.11.2015 um 22:33 schrieb Alberto Simões:

Making the measure have a different duration is easy...


Do you know the commands \cadenzaOn and \cadenzaOff? You don’t have to 
modify measure lengths if you use them ;)



my
main question is the notes size.



You can set the font size
\set fontSize = -2 % 2 1 0 -1 -2 -3, other values possible
or use shortcuts that do the same thing.
\tiny % \huge \large \normalsize \small \tiny \teeny

In LilyPond versions above 2.19.something there is the more advanced 
command \magnifyMusic that scales also stem lengths, beam thicknesses 
and some other things.

\magnifyMusic #(magstep -2) { here comes the music }
% magstep -2 is the same factor as fontSize = -2, i. e. 2^(-2/6)

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Re: How to force tempo markings on single line

[Malte Meyn]

Am 03.11.2015 um 00:38 schrieb H. S. Teoh:

I'm generating parts from an orchestral score, and am running an issue
where long tempo markings over collapsed multi-measure rests would force
the text to stack up in an ugly way on top of each other. Is there some
way of telling lilypond to prefer stretching the horizontal width of the
bars instead?


There is a way: It’s the command \markLengthOn

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Re: Using Stem.french-beaming causes segfault

[Malte Meyn]

Am 02.11.2015 um 23:07 schrieb Jean Menezes da Rocha:

Hello,

I am trying to compile a score and its parts using lilypond version
2.19.30. If I activate french-beaming (using \override Stem.french-beaming
= ##t in the \context \Staff), the program returns a segfault. When
french-beaming is not active, the compilation runs nicely. I have attached
to this message one of the .ly files that is suffering from this problem
(there are others that cause the same issue) and a full output/backtrace
from gdb.
When trying to compile using 2.18.2, the problem is the same.

Thanks for your attention!



Please try to find a minimal example that produces the same error.
1. Try to reduce it to as few notes as possible (by commenting out large 
chunks of music or even whole staves and testing whether the error still 
appears).
2. Try to reduce unnecessary articulations, clefs, complex score 
structure, paper and layout settings, etc. that don’t contribute to the 
error.


The result can look like this:

\version "2.19.30"

{
  \override Stem.french-beaming = ##t
  r8[ g r]
}

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Re: Valse des Sylphes - Charles GOUNOD

[Malte Meyn]

Hi, I don’t have the time to look at the whole score. But the f sharp in 
m. 1 is wrong. Maybe you or someone else should check again the whole 
piece for correct pitches.


Am 02.11.2015 um 22:44 schrieb Alberto Simões:

Hello

After your precious help, I consider my task of transcribing this music
complete. Of course, I am happy to fix any issue:

   https://github.com/ambs/music/tree/master/Gounod/ValseDesSylphes

Best regards,
Alberto



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\stopStaff bug? [was: Re: New Staff doesn't go away after end symbol]

[Malte Meyn]

I know this problem, IMO it’s a bug. You can work around by putting 
spacer rests after the \stopStaff until the next barline occurs. In your 
case s16*10 if I counted correctly.


Am 28.10.2015 um 21:58 schrieb Ryan Michael:

Thank you. This is almost 100% what I was trying to achieve. The only thing
that remains, if possible, is to remove the printing of the additional clef
symbol below the now solo staff with staff lines. The stop staff stops
printing the staff lines of the new staff, however the score still engraves
and extra staff symbol below each real staff with lines.

Please see attached.



On Wed, Oct 28, 2015 at 1:44 PM, Malte Meyn  wrote:




Am 28.10.2015 um 21:26 schrieb Ryan Michael:


On Wed, Oct 28, 2015 at 12:52 PM, Malte Meyn 
wrote:




Am 28.10.2015 um 20:37 schrieb Ryan Michael:

The following is the snippet that happens *within *my single voice cello

score.

\new Staff <<
 \new Voice = "first"
   { \voiceOne \clef treble
  aes8 ges8 16 16 d16  g\harmonic\f
r16
aes16
}
 \new Voice= "second"
   { \voiceTwo \clef bass \tuplet 3/2{ r4  r4 } r8 eih8 r16
\xNote
16
}





You don’t create any new staves here, so this can’t be the code that

produces the score you attached. Please show the correct code or have a
look at the notation reference (search for “ossia staff”).

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[(almost) complete code here]



Use \stopStaff for stopping the second staff as Joram suggested. And to
get the music to the correct staves: You wrote

[music …] \new Staff << [upper voice] [lower voice] >> [… music]

This starts a new staff and puts both voices into that staff. The correct
solution is

[music …] << [upper voice] \new Staff { [lower voice] } >> [… music]

This puts the upper voice into the original staff and simultaneously
starts a new staff which contains the lower voice.

Here is the complete, working code:

\version "2.19.28"

cello = \relative c' {
   \set Staff.instrumentName = "Cello"
   \clef treble

   r32 r8 \grace des32
   \tuplet 3/2 {
 ees8  e16\p d16
   }
   fis8 \xNote g16 bes,16

   <<
 {
   \clef treble
   aes8 ges8 16 16 d16  g\harmonic\f r16
aes16
 }
 \new Staff {
   \clef bass \tuplet 3/2{ r4  r4 } r8 eih8 r16
   \xNote 16
   \stopStaff
 }
   >>

   r16
   \tuplet 3/2 8 {
 16  
 16  
   }
}

\score {
   \new StaffGroup {
 \new Staff <<
   \cello
 >>
   }
   \layout { }
   \midi { }

}

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Re: New Staff doesn't go away after end symbol

[Malte Meyn]

Am 28.10.2015 um 21:26 schrieb Ryan Michael:

On Wed, Oct 28, 2015 at 12:52 PM, Malte Meyn  wrote:




Am 28.10.2015 um 20:37 schrieb Ryan Michael:


The following is the snippet that happens *within *my single voice cello
score.

\new Staff <<
\new Voice = "first"
  { \voiceOne \clef treble
 aes8 ges8 16 16 d16  g\harmonic\f r16
aes16
}
\new Voice= "second"
  { \voiceTwo \clef bass \tuplet 3/2{ r4  r4 } r8 eih8 r16
\xNote
16
}






You don’t create any new staves here, so this can’t be the code that
produces the score you attached. Please show the correct code or have a
look at the notation reference (search for “ossia staff”).

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[(almost) complete code here]


Use \stopStaff for stopping the second staff as Joram suggested. And to 
get the music to the correct staves: You wrote


[music …] \new Staff << [upper voice] [lower voice] >> [… music]

This starts a new staff and puts both voices into that staff. The 
correct solution is


[music …] << [upper voice] \new Staff { [lower voice] } >> [… music]

This puts the upper voice into the original staff and simultaneously 
starts a new staff which contains the lower voice.


Here is the complete, working code:

\version "2.19.28"

cello = \relative c' {
  \set Staff.instrumentName = "Cello"
  \clef treble

  r32 r8 \grace des32
  \tuplet 3/2 {
ees8  e16\p d16
  }
  fis8 \xNote g16 bes,16

  <<
{
  \clef treble
  aes8 ges8 16 16 d16  g\harmonic\f 
r16 aes16

}
\new Staff {
  \clef bass \tuplet 3/2{ r4  r4 } r8 eih8 r16
  \xNote 16
  \stopStaff
}
  >>

  r16
  \tuplet 3/2 8 {
16  
16  
  }
}

\score {
  \new StaffGroup {
\new Staff <<
  \cello
>>
  }
  \layout { }
  \midi { }
}

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Re: New Staff doesn't go away after end symbol

[Malte Meyn]

Am 28.10.2015 um 20:37 schrieb Ryan Michael:

The following is the snippet that happens *within *my single voice cello
score.

\new Staff <<
   \new Voice = "first"
 { \voiceOne \clef treble
aes8 ges8 16 16 d16  g\harmonic\f r16
aes16
}
   \new Voice= "second"
 { \voiceTwo \clef bass \tuplet 3/2{ r4  r4 } r8 eih8 r16 \xNote
16
}




You don’t create any new staves here, so this can’t be the code that 
produces the score you attached. Please show the correct code or have a 
look at the notation reference (search for “ossia staff”).


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Re: Hiding bars and crescendo on last bar of a piece

[Malte Meyn]

Am 24.10.2015 um 16:06 schrieb Karl Husum:

That did the trick, thank you! :-) , but how do you hide a complete bar
in lilypond?



Of course one could do something like the following, but why would you 
want that? Please let us know about your use case, maybe there is a much 
simpler solution (f. e. if you want to end the last line somewhere in 
the middle of the page width you should use “ragged-last = ##t” in the 
\paper block).


\version "2.19.28"

\relative {
  c'4 d e f
  \stopStaff
  \hide NoteHead
  \hide Stem
  g f e d
  \undo \hide NoteHead
  \undo \hide Stem
  \startStaff
  c1
}

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Re: Hiding bars and crescendo on last bar of a piece

[Malte Meyn]

Am 24.10.2015 um 15:17 schrieb Karl Husum:

I want to hide the bar, not the barline :-)
I am trying to put the end of the crescendo on an ekstra bar in the
piece, and then hide it.
Not sure if it the most elegant solution, but it should mbe possible.



You can have a last bar of zero length:

\version "2.19.28"

{
  b1\<
  \bar "|."
  s1*0\!
}

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Re: Custom dynamic vertical positioning

[Malte Meyn]

Am 20.10.2015 um 07:59 schrieb Andrew Bernard:

When making a simple custom dynamic, a p followed by an em dash, compared to 
the same thing for a p followed by a hyphen, the vertical alignment differs. 
What am I doing wrong, or not understanding? I thought the alignment of the two 
in the same context would be identical.


I can only guess: The emdash is wider than the hyphen, so the p is 
shifted more to the left. Therefore it fits beside the stem and can be 
positioned nearer to the staff without collision.


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Re: dynamic with markup

[Malte Meyn]

Am 11.10.2015 um 03:58 schrieb Mark Stephen Mrotek:

Hello,
I recall that instructions were once given to achieve:
p ma ben marcato,
yet my search of the LSP was not successful.
Please direct me to its location.
Thank you for your kind attention.
Mark


If you need these ‘composite’ dynamics more often, you should have a 
look at the openlilylib snippet for easy custom dynamics 
(https://github.com/openlilylib/openlilylib/tree/master/input-shorthands/easy-custom-dynamics). 
It is used like this:


\dynamic "p ma ben marcato"

The p then is a ‘dynamic p’ and the rest an italic text.

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Re: Percussion Notation

[Malte Meyn]

Am 07.10.2015 um 02:57 schrieb Spencer Raybourne:

Could someone please explain Lilypond percussion notation vs. Standard 
percussion notation (if there is such a thing). I have seen several examples in 
books that are different from Lilypond.

There seems to be no such thing like a standard. Some things are mostly 
agreed on (normal note heads in lowest space of the staff for bass drum, 
same in the third-to-lowest for snare drum…) but some things aren’t (how 
to write toms and cymbals and various other instruments, write chords or 
polyphonic (or mix it), how to write the equivalent of fingerings for 
hands R/L (I don’t know a better term)). Timpani rolls can be notated as 
(stem) tremolo (c1:32) or as trill or trill spanner, rolls across 
several bars with or without ties (though one timpanist I talked to 
prefers tremolo and ties).


I’m not a percussionist but that’s my impression after talking to some 
percussionists/drummers.


I’m sure it is possible to get LilyPond to use a different notation but 
since I’ve never done that I don’t know how.


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partcombineApart and combined dynamics

[Malte Meyn]

Hi list,

I searched the list for a solution but haven’t found one yet. Is there a 
possibility to have \partcombine combine identical dynamics even when 
there are automatic or forced polyphonic sections? I’ve tried different 
things (see attached .ly). I don’t want to simply omit the dynamic of 
one voice (using \tag) because it doesn’t solve the problem: I would’ve 
to print everything polyphonic because hairpins from chords to 
polyphonic would fail. Any other ideas?


Malte
\version "2.19.27"

{
  \partcombine
  \relative {
\repeat unfold 3 {
  c''2\< c
  d(\f c)
  \break
}
  }
  \relative {
\tempo "automatic behaviour in this case: apart"
f'2\< f
f1\f
\tempo "You can force chords but this will be ugly for obvious reasons."
\partcombineChords
f2\< f
f1\f
\tempo "So force only the first measure; that leads to an unterminated/missing cresc."
f2\< f
\partcombineAutomatic
f1\f
  }

  \relative {
\tempo "Should look like this. But this is impractical for bigger examples."
2\< q
<< \new Voice { \voiceOne d'( c) } f,1\f >>
  }
}

partcombine_dynamics.pdf
Description: Adobe PDF document
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Re: Tie doesn't show

[Malte Meyn]

Am 02.10.2015 um 19:34 schrieb S:

4| %10
  <<{e e as as}\\{f,2 f}>> | %11

Ties can only start and end in the same voice. The << \\ >> construct 
begins two new voices so you can’t have a tie from outside of this 
construct to inside. But you can do the following:



<<
  { e e as as }
  \new Voice { f,2 f }
>>

This should only create one new voice. Perhaps (I didn’t test the code 
above) you have to use the \voiceOne, \voiceTwo, \oneVoice commands for 
correct stem directions etc.


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Re: Best Practices for file structures, score and parts

[Malte Meyn]

Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:

Is there a better way to structure the files? How do I extract the
instrument variables into separate part files? Can I just \include all the
separate movement files, and then add the Voice variables in sequence? In
other words: each movement is a separate file, but in each file the
instruments have the same name for their variable. How do I set up part
files so that each part has all the movements, from all the masses, in
order and correctly transposed and everything?

This gets back to what I was asking the thread about a few months ago: what
is the "best practice" (good heavens I hate that term; corporate
management-babble totally ruined what is otherwise a perfectly defensible
concept) for putting together a work such as this, with multiple individual
pieces, each in multiple movements, for an ensemble of nontrivial size? If
each instrument (11 total), in each movement (five in a normal mass,
right?), in each mass (six total) is a separate file, I'm looking at a file
structure of over 300 individual files. That seems … excessive.

This many files are good for collaborating (see Urs’ project “Das 
trunkne Lied”) but when you’re alone you could rely on 
LilyPond’s/Frescobaldi’s point-and-click functionality. For a symphony I 
have the following files:


global.ily: contains things like title, including custom headers (f. e. 
for a different music font), and other global settings (like the 
markFormatter)


I.ily to IV.ily: contain the music of the movements I to IV (in concert 
pitch):

Iglobal = { \key … }
IfluteI = \relative { … } \addQuote "IfluteI" \IfluteI
IfluteII = \relative …
They include global.ily.

score.ly: contains paper and layout settings for the full score, also 
partcombine and transpose/transposition; has a \score block for every 
movement. This includes I.ily to IV.ily. Outputs score.pdf.


parts.ly: this contains a \book block (with custom \bookOutputName) for 
every instrument. Includes I.ily to IV.ily. Outputs fluteI.pdf, …, 
doublebass.pdf.


midiI.ly to midiIV.ly: like score.ly but without layout, 
instrumentNames, transposition, StaffGroups, partcombine and all that 
‘unnecessary stuff’. Could’ve used only one file with several \book blocks.


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Re: Best Practices for file structures, score and parts

[Malte Meyn]

Am 02.10.2015 um 09:58 schrieb N. Andrew Walsh:

do I enter the transposing instruments into the score in concert pitch or
transposed? Can Frescobaldi (my editor of choice) take an entire Voice and
transpose it into concert pitch after I've edited, or should I enter the
content in concert pitch (transposing back into C on the fly as I type)?



I prefer entering everything in concert pitch (transposing back when 
copying music and simply writing what I want to hear when composing) and 
doing the transposition in the \score block. This makes correct quoting 
easier IMO (unisono voices, cue notes). And it allows you to have a 
score in concert pitch whithout transposing back.


Frescobaldi is able to transpose music (tools→pitches→transpose) but I 
remember an issue with note names in german (and perhaps other 
languages) when you have several names (asas and ases) for the same 
pitch (a flat). I’m not sure whether this has been fixed.


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Re: Whiteout on hairpins?

[Malte Meyn]

(\once) \override Hairpin.whiteout = ##t

You may have to adjust the layer to see the white:

(\once) \override Hairpin.layer = 5

Am 01.10.2015 um 20:07 schrieb Connor Harris:

Is there any way to print hairpins while whiting out parts of anything
(specifically, in this case, note stems and beams) that they cross,
analogous to what the \whiteout command does for text markup?

Best,
Connor Harris


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Re: Having some trouble getting LilyPond to run on the command line

[Malte Meyn]

Am 25.09.2015 um 17:13 schrieb Malte Meyn:



Am 25.09.2015 um 16:53 schrieb David Kastrup:


Now it sounds as if you did not get a useful answer on Stackoverflow.

But he did on Facebook. So I am one of the people who spent time and
posted a solution that was no longer needed (I did this before reading
the mails from the list) …
And worse: He deleted the thread. So the (redundant) information isn’t 
there anymore. Not even a link to this list.


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Re: Having some trouble getting LilyPond to run on the command line

[Malte Meyn]

Am 25.09.2015 um 16:53 schrieb David Kastrup:


Now it sounds as if you did not get a useful answer on Stackoverflow.
But he did on Facebook. So I am one of the people who spent time and 
posted a solution that was no longer needed (I did this before reading 
the mails from the list) …


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Re: Getting an override into a markup function

[Malte Meyn]

Am 25.09.2015 um 10:58 schrieb Urs Liska:

{
   \override TextScript.self-alignment-X = #LEFT
   c'2 ^\markup \rotate #90 "This is a long markup" c
}



You could use an event function:

%
\version "2.19.27"

verticalText =
#(define-event-function (text) (markup?)
   #{
 -\tweak TextScript.self-alignment-X #LEFT
 -\markup \rotate #90 #text
   #})

{
  c'2^\verticalText \markup \italic "This is a long markup" c
  c'2\verticalText "This is a long text" c
}
%

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Re: Chords and what they mean

[Malte Meyn]

Am 17.09.2015 um 20:17 schrieb Noeck:

Hi,

why is the number 5 larger than other numbers?


\powerChords from ly/chord-modifiers-init.ly uses \normal-size-super 
instead of \super but I’ve no idea why.



Does Csus4 3 make sense?



I’ve seen that once in Cm^sus4 for  but it doesn’t make sense 
to me; I would prefer Cm^add4 (or perhaps Cm^add11). LilyPond prints es f g> as C^sus4♭3.


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Re: Suppressing numbers on tupelos

[Malte Meyn]

Am 16.09.2015 um 13:42 schrieb Erich Neuwirth:

I am using only triplets in a score, and I would like to suppress all the 3s
next to the beams.


An alternative to Kieren’s solution: Don’t use the \tuplet command but 
scaled eights.


c8*2/3 d e
% or
\scaleDurations 2/3 { c8 d e }

% Kieren’s solution:
%\omit TupletNumber
%\tuplet 3/2 { c8 d e }

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Re: superimposing different lengths and ties across triplets

[Malte Meyn]

Am 16.09.2015 um 12:43 schrieb Erich Neuwirth:

%% I need a tie between the second note of the first triplet and the first note 
of the second triplet,


  \set tieWaitForNote = ##t
or (if outside of the polyphonic construction)
  \set Staff.tieWaitForNote ##t
should help.


%% and I need the notehead of the d (upper note at first position) to be a half 
note.
%% superimposing the half note and the triplet note gives the full head, not 
the hollow head.


This can be done with
  \mergeDifferentlyHeadedOn
which merges half note heads and note heads of eighths or smaller. You 
won’t need the \shiftOnn and force-hshift anymore ;)


Maybe it would help you to read the Learning Manual. It has a very nice 
example how to deal with collisions in polyphony (section 4.5.3).


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Re: triplet beam between staves

[Malte Meyn]

Am 16.09.2015 um 11:33 schrieb Erich Neuwirth:

%% Can I get the beams of the triplets between the staves
%% such that the stems are up up down?


Stem directions can be manually changed by the commands \stemDown, 
\stemUp, \stemNeutral and by \voiceOne, \voiceTwo, \voiceThree, 
\voiceFour, \oneVoice. The latter also change tie and dot directions and 
some other things. You can just use “\once \stemUp” in front of your “g'”s.


Slightly offtopic: It’s easier to use the two voices for the whole 
measure (or even longer parts of music), you don’t need a << \\ >> for 
every note:


lower = \relative c' {
  \clef bass
  \key c \major
  \time 2/4
  <<
{
  \tuplet 3/2 {b8 c  \change Staff = "upper" \once \stemDown g'}
  \change Staff = "lower"
  \tuplet 3/2 {g,8 c \change Staff = "upper" \once \stemDown g'}
  \change Staff = "lower"
}
\\
{
  g,4 d
}
  >>
}



%% The second triplet wrongli incorporates the quarternote d,4
%% and the beam also shuld be above the first two notes,]
%% like in the first triplet


It’s not really LilyPond’s fault: << music othermusic >> tries to make 
chords from music and othermusic, while << music \\ othermusic >> makes 
true polyphony. So just add \\ like you did in the first half of the 
measure.


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Re: Misplaced rests

[Malte Meyn]

Am 16.09.2015 um 11:17 schrieb Erich Neuwirth:

%% The rests in the third voice in the middle phrase{b,8 r8 c r}
%% are placed way too high, close to the triplet beam
%% Can I correct this?


Yes, this is possible. Have a look at the Notation Reference or Learning 
Manual about polyphony. You will see that LilyPond wants the voices of a 
polyphonic section in a special order:


<<
  highest
  \\
  lowest
  \\
  second-to-highest
  \\
  second-to-lowest
  \\
  ...
>>

So you should switch the “b8 r c r” and “g4~ g” voices. Then you’ll see 
that the “g4~ g” voice has its stems up. You can correct that by writing 
\voiceFour (default behaviour of the third is like \voiceThree).


%%
\version "2.19.27"

lower = \relative c' {
  \clef bass
  \key g \major
  \time 2/4
  <<
\tuplet 3/2 {b8 d g}
\\
{
  g, r
}
  >>
  <<
{
  \tuplet 3/2 {g8 d' g}
  \tuplet 3/2 {g,8 e' g}
}
\\
{
  b,,8 r8 c r
}
\\
{
  \voiceFour
  g'4~ g4
}
  >>
  <<
\tuplet 3/2 {g8 c g'}
\\
{
  e, r
}
  >>
}

\score {
  <<
\new Staff  {
  \lower
}
  >>
}

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Re: Time signature denominator as a note rather than number?

[Malte Meyn]

Am 16.09.2015 um 11:07 schrieb Malte Meyn:

Am 16.09.2015 um 05:02 schrieb Kieren MacMillan:

Have a look at this LSR snippet: http://lsr.di.unimi.it/LSR/Item?id=642


(let* ((frac (ly:grob-property grob 'fraction))
   (num (if (pair? frac) (car frac) 4))
   (den (if (pair? frac) (cdr frac) 4))


I copied these lines from the snippet but I don’t know any case where 
defaulting to 4/4 would be necessary; 'fraction exists even if there is 
no explicite time signature. (So

;;
  (num (car frac))
  (den (cdr frac))
;;
should suffice.)


#:override '(style . default)


I also have no idea what this is and why it should be necessary …

Probably important is the used lilypond version; I use 2.19.27.

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Re: Time signature denominator as a note rather than number?

[Malte Meyn]

Am 16.09.2015 um 05:02 schrieb Kieren MacMillan:

Have a look at this LSR snippet: http://lsr.di.unimi.it/LSR/Item?id=642


Yes! That one suffices — and is more elegant — if you don’t need “strange note 
values” (like dotted notes) in your denominator(s).

And if you do, you can change the function to make f. e. “2/4.” instead 
of 6/8 like this:




\version "2.19.27"

#(define-public (format-time-sig-note grob)
   (let* ((frac (ly:grob-property grob 'fraction))
  (num (if (pair? frac) (car frac) 4))
  (den (if (pair? frac) (cdr frac) 4))
  (m
   (if (and (< 3 num) (= 0 (modulo num 3)))
   (markup #:override '(baseline-skip . 0.5)
 #:center-column
 (#:concat (#:number (number->string (/ num 3)) 
#:hspace 0.8)

   #:override '(style . default)
   #:note (string-append (number->string (/ den 2)) 
".") DOWN))

   (markup #:override '(baseline-skip . 0.5)
 #:center-column
 (#:number (number->string num)
   #:override '(style . default)
   #:note (number->string den) DOWN)
 (grob-interpret-markup grob m)))

\relative c' {
  \override Staff.TimeSignature.stencil = #format-time-sig-note
  \time 2/8
  \repeat unfold 2 c8
  \time 3/8
  \repeat unfold 3 c8
  \time 4/8
  \repeat unfold 4 c8
  \time 5/8
  \repeat unfold 5 c8
  \time 6/8
  \repeat unfold 6 c8
  \time 7/8
  \repeat unfold 7 c8
  \time 9/8
  \repeat unfold 9 c8
  \time 12/8
  \repeat unfold 12 c8
  \time 15/16
  \repeat unfold 15 c16
  \time 6/4
  \repeat unfold 6 c4
  \time 6/2
  \repeat unfold 6 c2
  \bar"|."
}


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Re: Poor man's ossia, continued

[Malte Meyn]

Am 15.09.2015 um 10:26 schrieb Menu Jacques:

Hello folks,

Trying to define a function using the solution provided by this list, I bump
into the following:
- I have to use \relative before \poorMansOssia, otherwise the music in the
"ossia" is taken into account to determine the following note’s octave;
That’s how relative works: Lily doesn’t automatically start a new 
“relative block” for new voices. IMO that’s good because it’s easier to 
find out the pitch of the last entered note than that one of the last 
note in the current voice.

- there’s a missing bar in the first staff, can’t find where to put the « | » to
get it;
No, there isn’t. There are only notes for two bars. Did you mean a bar 
*line*? Then | won’t set a bar line but complain when you place it 
somewhere and there shouldn’t be a bar line. You might want to use one 
of the \bar (for a line in mid-measure) or \partial (for a shorter 
measure) commands or override measureLength or measurePosition (dito).

- the "ossia" in the second staff is offset to the right, while it isn’t in the
first one.
This happens because the NoteHeads are aligned, even when they are 
hidden. You can try to override the NoteHead’s stem-attachment or the 
Stem’s and Beam’s extra-offset but I don’t know how to find the exact 
values.


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Re: Poor man' ossia

[Malte Meyn]

Am 14.09.2015 um 10:43 schrieb Menu Jacques:

Trouble is that the two 16th are too much on the right


\override NoteColumn.ignore-collision = ##t
(in the “ossia” voice)

and the stems of the

« main » voice are too long.


\override Beam.collision-voice-only = ##t
(in the “main” voice)

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Re: how to get notes without tails?

[Malte Meyn]

Am 30.08.2015 um 16:20 schrieb BB:

I actually do some work with arabic scales (maqamat) and would like
notes without tails. Is there any switch in lilypond?

(As example see http://maqamworld.com/maqamat/bayati.html)



The ‘tails’ you probably mean are called stems. You can remove them:

\omit Stem

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Re: LilyJAZZ

[Malte Meyn]

Am 23.08.2015 um 21:39 schrieb Blöchl Bernhard:

Forgot to add \include "lilyjazz.ily". And still »lilyjazz-11« cannot be
found as well.
Tried to copy the files "lilyjazz-11" into the directory of the lilypond
source - does not help!



The following should work:

(1) put lilyjazz*.otf into 
/usr/local/lilypond/usr/share/lilypond/current/fonts/otf/ (You’ll need 
the otf fonts for PDF output. svg and woff fonts are for svg output and 
[???])

(2) put yourjazzexample.ly into ~/yourmusic/
(3a) put lilyjazz.ily into ~/yourmusic/
(3b) \include "lilyjazz.ily" in yourjazzexample.ly

Because you use 2.19.25 (and that’s > 2.19.11) you don’t have to change 
fonts.scm or other files—it’s builtin now :)


Instead of (3a) and (3b) you can write the \paper block you posted in 
yourjazzexample.ly—you don’t need both. Have a look at lilyjazz.ily: 
you’ll see that it has the same \paper block and some additional layout 
tweaks and commands.


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Re: LilyJAZZ

[Malte Meyn]

Am 23.08.2015 um 13:56 schrieb BB:

Does anybody sucessful use LilyJAZZ?



Yes. You should have a look at fonts.openlilylib.org. The use of other 
fonts than Feta/Emmentaler has been simplified in version 2.19.12 but 
you’ll find also instructions how to use these fonts in 2.18.2. And when 
there are updates to LilyJAZZ, you’ll find them there.


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Re: quarter tone - hide natural that appears to cancel key sig

[Malte Meyn]

Am 22.08.2015 um 00:35 schrieb Ian Rashkin:

Hi,

So, I am in the key of B flat, and one melody line has in it a beh (B
quarter-flat). When it renders, I get a natural sign followed by a
quarter-flat sign - how can I have just the quarter flat? The natural
seems redundant in this context.

Thanks.



See Learning Manual 3.3.4 or Notation Reference 1.1.1

\version "2.19.25"

{
  \key bes \major
  \set Staff.extraNatural = ##f
  beh
}

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Re: Lining up notes in staves with different rhythms and time signatures

[Malte Meyn]

Am 21.08.2015 um 21:40 schrieb David Kastrup:

Malte Meyn  writes:


Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:

Interesting! New rules for basics of music.


I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would trust the original typeset here.



Not every time signature change is printed in every music. Even if you
see it as a “basic rule”. See for example the last one of
Rachmaninov’s Etudes-Tableaux. Rachmaninov knew what he did.


The point of music notation is that others also get to know what you do.

Ok, I could have been more precise: Rachmaninov knew that others would 
understand what he did. He just didn’t overcomplicate things.


I think he was aware that key signatures wouldn’t be necessary at this 
place to be unambiguous. The notation and the music is so clear and 
unmistakable that I didn’t even notice the time changes for a few days 
or even weeks. And when I noticed them I realised that it isn’t 
necessary to print them; in a worst-case scenario they would distract 
the player from the long musical line. Musical notation always can have 
a big influence on musical performance.


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Re: Lining up notes in staves with different rhythms and time signatures

[Malte Meyn]

Am 21.08.2015 um 20:45 schrieb Blöchl Bernhard:

Interesting! New rules for basics of music.


I think this is too bold an assumption. It may very well be that there
is one 3/4 measure here, and I would trust the original typeset here.



Not every time signature change is printed in every music. Even if you 
see it as a “basic rule”. See for example the last one of Rachmaninov’s 
Etudes-Tableaux. Rachmaninov knew what he did.


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Re: Randomness in layout

[Malte Meyn]

Am 21.08.2015 um 20:31 schrieb Nathan Ho:

On Fri, Aug 21, 2015 at 4:16 AM, Malte Meyn  wrote:



Am 21.08.2015 um 12:55 schrieb Malte Meyn:


I think that it should be possible to redefine "(" to tweak every slur
with some randomness.



Here you go:


You can also do \relative { \override Slur.eccentricity = #(lambda
(grob) (* 0.5 (random:normal))) c'2( d) c( d) ... }

That’s even better because all slurs in \repeat unfold 20 { c'2( d) } 
look different (redefining "(" doesn’t do that).


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Re: Randomness in layout

[Malte Meyn]

Am 21.08.2015 um 12:55 schrieb Malte Meyn:

I think that it should be possible to redefine "(" to tweak every slur
with some randomness.


Here you go:

%%%
\version "2.19.25"

"(" =
#(define-event-function () ()
   #{
 \single \override Slur.eccentricity = #(* 0.5 (random:normal))
   #(make-span-event 'SlurEvent START)
   #})

\relative {
  c'2( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
  c( d)
}
%%%

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Re: Randomness in layout

[Malte Meyn]

Am 21.08.2015 um 10:13 schrieb Sharon Rosner:

Hi all,

I have a question that is both general and specific. Is there a way to 
automatically introduce a bit of randomness into the way different objects are 
layed-out in Lilypond? Specifically, I’m trying to find a way to make slurs 
look more “hand-drawn” by slightly changing eccentricity, thickness, ratio etc 
for each slur, in an automatic manner.

Thanks,
Sharon Rosner

Nice idea, f. e. when combining with the Improviso music font. It’s 
generally possible to use scheme functions to create random things in 
LilyPond, f. e. random pitches (http://lsr.di.unimi.it/LSR/Item?id=274). 
I’ve never seen something similar to your suggestion but I think that it 
should be possible to redefine "(" to tweak every slur with some randomness.


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Re: Lining up notes in staves with different rhythms and time signatures

[Malte Meyn]

Am 20.08.2015 um 20:07 schrieb Jack Taylor:


I have managed to make the time signatures for each song independent, but
I'm having problems making the notes line up (and with stopping the music
from running off the page). I've dumped my current code at PasteBin
  if you want to inspect it (it's not very long).


Probably the easiest way to achieve something very similar to the image 
you posted is to scale the durations of the second staff (f. e. if there 
is a “e4. r4” in the upper staff and a “e4.” in the lower, scale it to 
“e4.*5/3”) and set beams and bar lines manually (turn the automatic 
behaviour off with \cadenzaOn).


Here is a solution (I also moved the Metronome_mark_engraver from Score 
to Staff to be able to print to a tempo on each staff):


\version "2.18.2"

\layout {
  \context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
\remove "Metronome_mark_engraver" % this and
  }
  \context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
\consists "Metronome_mark_engraver" % this are for the two \tempos
  }
}

\score {
  <<
\new Staff \with {
  instrumentName = "a)"
} \relative c'' {
  \time 6/8
  \tempo "Tempo Giusto"
  \partial 8 g8 |
  c4 b8 d4 a8 |
  g4. r4 g'8 |
  g4 d8 g4 f8 |
  e4. r4 c8 |
  g'4 a8 g4 e8 |
  c4. r4 e8 |
  d4 b8 c4 a8 |
  g4. r4
}
\addlyrics  {
  Jó | es -- tét bar -- na | lányMi | lö -- le te -- ge | det?
  | Ta -- | lán a va -- cso -- | rádNem | i -- gen jól e -- | sett
}
\new Staff \with {
  instrumentName =  "b)"
  \omit TimeSignature % don’t print it
} \relative c'' {
  \tempo "Rubato"
  \cadenzaOn % don’t do barchecks, barlines, etc. automatically
  % now scale durations so that they fit to the other voice
  % you have to set manual beams [ ]
  g8[ c8*2 d8 c8*2] \bar "|"
  a8 g4.*5/3 \bar "|"
  e'8[ g8*2 d8 e8*2] \bar "|"
  g8 e4.*5/3 \bar "|"
  e8[ g8*2 a8 g8*2] \bar "|"
  e8 c4.*5/3 \bar "|"
  d8 d4.*2/3
  a16*2 c8.*4/3 \bar "|"
  a8 g4.*5/3 \bar "|"
}
\addlyrics {
  Vi -- rá -- gim, vi -- rá -- gim Gyö -- nyö -- rü vi -- rá -- gim
  föd -- re bo -- re ja tok, En -- gem si -- ras -- sa tok
}
  >>
}

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Re: Note extension lines

[Malte Meyn]

Am 20.08.2015 um 07:07 schrieb Andrew Bernard:

I need to be able to specify an arbitrary length, and unconnected to a 
following note.


Do you mean arbitrary time (like (ly:make-moment x y z)) or arbitrary 
length x in staff spaces/cm/inch? I have an idea for the latter:


\override Fingering.stencil = #(make-a-line-of-length x)
\set fingeringOrientations = #'(right)

(of course with a custom abbreviation)

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Re: bug in german manual

[Malte Meyn]

Am 18.08.2015 um 09:01 schrieb Blöchl Bernhard:

Thanks for clarifying my confusion. As long as I used lilypond I always
used \tuplet and argue that I did not even know that \times was/is a
possible alternative.

\time and \times are very close and so - I think - dangerous and
error-prone.


I think the \times command should be removed completely from lilypond as 
soon as possible (2.19.xx/2.20.0) for the following reasons:
(1) The two commands \times and \tuplet do the same with different 
syntax => confusion (especially for new users who copy old code which 
works in new versions without using convert-ly but doesn’t use the 
\tuplet function mentioned in the LM and NR).
(2) \tuplet has a feature that \times doesn’t have (easily setting 
tupletSpannerDuration) but not the other way round, so using \times has 
no advantage => \times won’t be missed.
(3) As Berndhard said ‘time’ and ‘times’ are indeed very similar words 
and ‘tuplet’ describes the functionality better.


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format-mark function for A, B, C, …, X, Y, Z, Aa, Bb, Cc, …

[Malte Meyn]

Hi list,

sometimes there are more than 25 or 26 rehearsal marks in a piece. 
LilyPond’s format-mark-(alphabet|letters) function and friends continue 
after X, Y, Z with AA, AB, AC, …


I have never seen this in printed scores. Instead all scores I’ve seen 
continue with doubled letters (the second lowercase): Aa, Bb, Cc. And 
once I’ve even seen … Yy, Zz, Aaa, Bbb, …


I made functions format-mark-(alphabet|letter)-var and boxed and circled 
variants which implement this behaviour (see attached patch). So now I 
would like to know:


Is there an interest in having this behaviour in LilyPond (maybe as a 
variant)? Or have you seen something similar (f. e. everything 
uppercase)? If so, how to name these functions? And would I have to post 
this to bug- or dev-list? They’re not perfect yet, for example I didn’t 
know how to use vector-map ;)


Or is this something for openlilylib instead of original LilyPond?

Malte
>From 0e6853a2378f345d14d1b9f417d9b560f271a8f7 Mon Sep 17 00:00:00 2001
From: Malte Meyn 
Date: Sun, 16 Aug 2015 19:24:23 +0200
Subject: [PATCH] define variants of format-mark-alphabet & friends
MIME-Version: 1.0
Content-Type: text/plain; charset=UTF-8
Content-Transfer-Encoding: 8bit

after Z they continue with Aa Bb Cc instead of AA AB AC

TODO: I’ve no idea why vector-map doesn’t work
---
 scm/define-markup-commands.scm | 48 ++
 scm/translation-functions.scm  | 17 +++
 2 files changed, 65 insertions(+)

diff --git a/scm/define-markup-commands.scm b/scm/define-markup-commands.scm
index d7c0f22..752ab86 100644
--- a/scm/define-markup-commands.scm
+++ b/scm/define-markup-commands.scm
@@ -3172,9 +3172,15 @@ format require the prefix @code{#x}.
   (vector-set! number->mark-letter-vector j
(integer->char (+ i (char->integer #\A)
 
+; TODO: use vector-map instead of list->vector (map (vector->list ?
+(define number->mark-letter-lowercase-vector (list->vector (map char-downcase (vector->list number->mark-letter-vector
+
 (define number->mark-alphabet-vector (list->vector
   (map (lambda (i) (integer->char (+ i (char->integer #\A (iota 26
 
+; TODO: use vector-map instead of list->vector (map (vector->list ?
+(define number->mark-alphabet-lowercase-vector (list->vector (map char-downcase (vector->list number->mark-alphabet-vector
+
 (define (number->markletter-string vec n)
   "Double letters for big marks."
   (let* ((lst (vector-length vec)))
@@ -3184,6 +3190,14 @@ format require the prefix @code{#x}.
(number->markletter-string vec (remainder n lst)))
 (make-string 1 (vector-ref vec n)
 
+(define (number->markletter-var-string vecu vecl n)
+  "Double letters for big marks, variant."
+  (let* ((lst (vector-length vecu))
+ (q (quotient n lst))
+ (r (remainder n lst)))
+(string-append (make-string 1 (vector-ref vecu r))
+   (make-string q (vector-ref vecl r)
+
 (define-markup-command (markletter layout props num)
   (integer?)
   #:category other
@@ -3216,6 +3230,40 @@ and continue with double letters.
   (ly:text-interface::interpret-markup layout props
(number->markletter-string number->mark-alphabet-vector num)))
 
+(define-markup-command (markletter-var layout props num)
+  (integer?)
+  #:category other
+  "Make a markup letter for @var{num}.  The letters start with A
+to@tie{}Z (skipping letter@tie{}I), and continue with double letters.
+This is a variant: it doesn’t continue with AA AB AC but Aa Bb Cc.
+
+@lilypond[verbatim,quote]
+\\markup {
+  \\markletter #8
+  \\hspace #2
+  \\markletter #26
+}
+@end lilypond"
+  (ly:text-interface::interpret-markup layout props
+   (number->markletter-var-string number->mark-letter-vector number->mark-letter-lowercase-vector num)))
+
+(define-markup-command (markalphabet-var layout props num)
+  (integer?)
+  #:category other
+  "Make a markup letter for @var{num}.  The letters start with A to@tie{}Z
+and continue with double letters.
+This is a variant: it doesn’t continue with AA AB AC but Aa Bb Cc.
+
+@lilypond[verbatim,quote]
+\\markup {
+  \\markalphabet #8
+  \\hspace #2
+  \\markalphabet #26
+}
+@end lilypond"
+  (ly:text-interface::interpret-markup layout props
+   (number->markletter-var-string number->mark-alphabet-vector number->mark-alphabet-lowercase-vector num)))
+
 (define-public (horizontal-slash-interval num forward number-interval mag)
   (if forward
   (cond ;; ((= num 6) (interval-widen number-interval (* mag 0.5)))
diff --git a/scm/translation-functions.scm b/scm/translation-functions.scm
index 219275f..d466f5e 100644
--- a/scm/translation-functions.scm
+++ b/scm/translation-function

Re: Remove 3rd Staff in PianoStaff if empty

[Malte Meyn]

Am 15.08.2015 um 15:49 schrieb Orm Finnendahl:

I tried all sorts of combinations of removing and consisting the
keep-alive-together engraver, tried to create an explicit staffgroup
for the main piano staves within the PianoStaff (this results in
loosing the centered instrument name and the curly braces), but it
didn't work.


If PianoStaff accepts StaffGroup the alignment works, so here is a solution:

\version "2.19.25"

\new PianoStaff \with {
  instrumentName = "Piano"
} <<
  \new Staff {
R1 % music
  }
  \new StaffGroup <<
\new Staff {
  R1 % music
}
\new Staff {
  R1 % music
}
  >>
>>

\layout {
  \context {
\Staff
\RemoveEmptyStaves
  }
  \context {
\StaffGroup
\consists Keep_alive_together_engraver
\remove System_start_delimiter_engraver
  }
  \context {
\PianoStaff
\accepts StaffGroup
\remove Keep_alive_together_engraver
  }
}

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Re: Parenthesised articulation issue

[Malte Meyn]

Am 15.08.2015 um 05:41 schrieb Andrew Bernard:

Apologies for the somewhat lengthy MWE, but I only get this problem in this 
context, and have not found a shorter way to generate the issue.



Just try to leave out things. Try less notes (and less voices), less 
different pitches, less staff switches, only one example of failing 
\parenthesize; leave out unnecessary overrides and explicit script and 
stem directions, clefs, time signatures, and function definitions that 
aren’t necessary for the example …  And try to completely leave out the 
staff switch (but print a kneed beam on one staff) and you’ll find that 
it seems to be necessary to reproduce the error, so leave it in. Here is 
a much smaller example:


\version "2.19.25"

<<
  \new Staff = "upper" {
s4
  }
  \new Staff {
b16-\parenthesize-> b b
\change Staff = upper
b
  }
>>



What am I doing wrong?



This seems to be a lilypond bug, so you’re not doing anything wrong. I 
reported it to the bug list.


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Re: string harmonics with cue notes

[Malte Meyn]

Am 14.08.2015 um 19:34 schrieb Malte Meyn:


This is not a very clean solution but you might find something helpful
in it ;)



For example, I haven’t understood completely yet when to use #arg and 
when $arg in a music. duration apparently needs a $ but the other 
occurences of $ can be changed to # without any visible change …


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Re: string harmonics with cue notes

[Malte Meyn]

Am 14.08.2015 um 16:30 schrieb Orm Finnendahl:

Hi,

  I often need to notate harmonics for strings and like to indicate the
resulting pitch as a small parenthesized notehead above the fingered
pitch.



Here are some solutions, see attachments.

\harmonicChord doesn’t set an explicit duration (uses the duration from 
the previous note/chord)

\harmonicChordWithDuration lets you set a duration
\harmonicChordWithBase allows to add another fingered base note or 
dynamics, articulations, etc.


This is not a very clean solution but you might find something helpful 
in it ;)


Malte
\version "2.19.25"

harmonicChord =
#(define-music-function (finger sound) (ly:pitch? ly:pitch?)
   #{
 \once \omit Stem
 <
 \tweak style #'harmonic
 $finger
 \tweak font-size -3
 \tweak Accidental.font-size -3
 \tweak ParenthesesItem.font-size -3
 \tweak duration-log 2
 \parenthesize
 $sound
 >
   #})

harmonicChordWithDuration =
#(define-music-function (duration finger sound) (ly:duration? ly:pitch? ly:pitch?)
   #{
 \once \omit Stem
 <
 \tweak style #'harmonic
 $finger
 \tweak font-size -3
 \tweak Accidental.font-size -3
 \tweak ParenthesesItem.font-size -3
 \tweak duration-log 2
 \parenthesize
 $sound
 >
 $duration
   #})

harmonicChordWithBase =
#(define-music-function (base finger sound) (ly:music? ly:pitch? ly:pitch?)
   #{
 <<
   {
 \once \stemDown
 $base
   }
   \new Voice {
 \once \override NoteColumn.ignore-collision = ##t
 \once \omit Stem
 <
 \tweak style #'harmonic
 $finger
 \tweak font-size -3
 \tweak Accidental.font-size -3
 \tweak ParenthesesItem.font-size -3
 \tweak duration-log 2
 \parenthesize
 $sound
 >
   }
 >>
   #})

<<
  \new Staff \relative {
d'2
\harmonicChord fis fis''
\harmonicChordWithDuration 4 g d''
\harmonicChordWithDuration 2 a a'
\harmonicChordWithBase g4 c g''
\harmonicChordWithBase s2\f fis, fis''
\harmonicChordWithBase s_> g d''
  }
  \new Staff \relative {
\clef bass \repeat unfold 12 d4
  }
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Re: Text spanner text in the middle

[Malte Meyn]

Am 14.08.2015 um 12:32 schrieb Andrew Bernard:

Just re my own suggestion of text spanners with text in the middle, although 
the present need is for a repeat indication, I am well aware that this is poor 
design, since a textual mark does not indicate a repeat structure to lilypond, 
so it is architecturally incorrect, which would be grounds for rejecting such a 
request for enhancement. But apart from repeats, I have many uses for text 
centred in spanners, where the semantics are perfectly OK.

One could go even further and have text spanners with not only two or, 
with centered text, three but an arbitrary number of texts evenly 
distributed over the length of the spanner.


\override TextSpanner.texts = #("poco" "a" "poco" "stringendo")

And then one could also add the possibility to specify where a dashed 
lines/hyphens should be.


\override TextSpanner.texts = #("poco" "a" "poco" "strin" "gen" "do")
\override TextSpanner.hyphens = #(#f #f #f #t #t)

Same for DynamicLineSpanners (poco a poco crescendo).

Maybe we can think a bit about the details and then have a feature 
request (for centered text or for more texts or both).


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