Re: Is there a way to circle around tab numbers?

[Stephen MacNeil]

sorry I don't use tab and am not on lilypond that much because of my work
schedule. It shouldn't be that hard .. I suspect you are trying to mimic
guitar world notation or the like. If you still have problems let me know
and when I have a chance I will look at it.

On Sat, Sep 9, 2017 at 10:41 AM, Devin Ulibarri <devin@ulibarri.website>
wrote:

> Stephen MacNeil:
> > you could just change it to tab
>
> Thanks, this is helpful.
>
> If possible, I would like some more information about how to tweak the
> output.
>
> * Is it possible to make the space within the circle opaque, but without
> hiding the number (just hiding the tab line)? If so, how is this done?
>
> (I could do this in Inkscape, but would rather automate it if possible)
>
> Thanks!
> Devin
>
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Re: Is there a way to circle around tab numbers?

[Stephen MacNeil]

you could just change it to tab

circle =

\once \override TabNoteHead.stencil = #(lambda (grob)

(let* ((note (tab-note-head::print grob))

(combo-stencil (ly:stencil-add

note

(circle-stencil note 0.1 0.8

(ly:make-stencil (ly:stencil-expr combo-stencil)

(ly:stencil-extent note X)

(ly:stencil-extent note Y



\score {

\new TabStaff {

\tabFullNotation

\circle c'

}

}



HTH

Stephen
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Re:Consecutive slurs with differing dash patterns

[Stephen MacNeil]

{

\once \phrasingSlurDashed

c''4^\( c'' c''\)

^\( c'' c''\)

}


HTH

Stephen
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Re: Multiple slurs between chords

[Stephen MacNeil]

Ok thanks for the clarification

Stephen
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Re: Multiple slurs between chords

[Stephen MacNeil]

Hi David

I notice both

^(_(d)


and

^(_(d))


work. The last with ))


is one way "more" correct?


Stephen
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RE:Multiple slurs between chords

[Stephen MacNeil]

\set doubleSlurs = ##t

 (d)


other part


\set doubleSlurs = ##t

4.(4)


HTH

Stephen
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Re: slurs and repeats

[Stephen MacNeil]

Hi Martin

not sure if there is a better way but .
Do you mean like

\relative {

\partial 4

c'8( d | % this slur is OK

\repeat volta 2 {

e4) g g4. a8 | g4 e c4. d8 |

}

\alternative {

{ e4 e d c | d2. c8 d -\tweak control-points #'((-2 . -3.8) (-1 . -4.5) (0
. -4.5) (1 . -4)) ( <> ) | } % this slur is not allowed?

{ e4 e d d | c2. r4 } % ) added after e4

}\break

e -\tweak control-points #'((-1 . -3) (-.5 . -3.2) (0 . -3.4) (.7 . -2.8))
( <> ) r2.|

}


I didn't bother to make it look nice.. you have to do some work :)


all this and more can be found reading the docs!

http://lilypond.org/doc/v2.18/Documentation/notation/modifying-shapes

HTH
Stephen
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Re: Tuplet bracket and cross staff

[Stephen MacNeil]

can you share?

Stephen
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Re: Tuplet bracket and cross staff

[Stephen MacNeil]

good to know

Thanks
Stephen
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Re:Tuplet bracket and cross staff

[Stephen MacNeil]

Not the best way I am sure .. but it works. I am sure someone has a less
aggressive way. rotation seems to work when offset or extent does not.

RH_VIII = \relative do'' {

r2

\tupletUp

%\once \override Score.TupletBracket.staff-padding = #19


\once \override TupletBracket.rotation = #'(0.1 -120 0.1)


%%% both work

% use

%\once \override TupletNumber.Y-offset = #16.85

% or

\override TupletNumber.Y-offset = #(lambda (grob) (+ 1.5
(ly:tuplet-number::calc-y-offset grob)))




\tuplet 5/4 {

\staffDown r16 sol'-. \staffUp re'\( mib re

} sib'8\)-. r

|

}



HTH

Stephen
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RE:Multiple rhythms in same score

[Stephen MacNeil]

Hi Don

I see this a lot, (in guitar music -- typically vocals are added) the two
typical  ways are 1. use small notes eg 2. use the same size notes. I can
post examples if you need.

>>I'm guessing that the answer is  "no" since publishers like
>>to reduce the page count

really? it's been my experience they cram as much garbage as possible in
every book to increase the page count so they can charge more money.

HTH
Stephen
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Re:Decaying squiggle

[Stephen MacNeil]

You could also use the short predefined short cuts

\relative c' {


\vib #'(4 .2 0) c1\sVib c\eVib


}


Stephen
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RE:Decaying squiggle

[Stephen MacNeil]

Hi Andrew

This is common in guitar. Modern scores. Mark Witmer wrote code for this
it's old but I still use it.

%%%

\version "2.16.0"


% vibrato.ly

% Author: Mark Witmer


% Sets the next trill spanner to draw a waveform with the provided
wevelength

% and amplitudes. The waveform will go from one amplitude to the next in a

% linear fashion.

vibrato = #(define-music-function (parser location amplitudes wavelength)
(list? number?) #{

\once \override TrillSpanner #'after-line-breaking = $(lambda (grob)

(ly:grob-set-property! grob 'stencil (makevib grob amplitudes wavelength)))

#})

#(define adjustvib #t)


% Creates the postscript for one system of the vibrato marking

#(define (make_ps no-sib? lbound xspan span-so-far amplitude-vector
wavelength)

(if (or (= xspan -inf.0) (= xspan +inf.0))

""

(let ((lbound

(cond

((and (> span-so-far 0) adjustvib)

(- lbound 18))

(no-sib? (+ lbound 1))

(else lbound)))

(last

(inexact->exact (floor (/ (+ span-so-far xspan) wavelength)

(format

#f "gsave currentpoint translate 0.15 setlinewidth newpath /x ~a\

def\nx 0.0 moveto\n ~a ~a"

lbound

(let make-curve

((current (inexact->exact (floor (/ span-so-far wavelength)

(cond

((= current (vector-length amplitude-vector)) "")

((< (vector-ref amplitude-vector current) 0) "")

(else

(let ((current-ps

(format

#f " x ~a add ~a x ~a add ~a x ~a \

add 0.0 curveto\n/x x ~a add def\n"

(exact->inexact (/ wavelength 3))

(vector-ref amplitude-vector current)

(exact->inexact (* 2 (/ wavelength 3)))

(- (vector-ref amplitude-vector current))

wavelength

wavelength)))

(if (= (+ current 1) last)

current-ps

(format #f "~a~a" current-ps

(make-curve (+ 1 current

"stroke grestore"


% Returns the width of a grob

#(define (grob-width grob)

(if (or (= (car (ly:grob-property grob 'X-extent)) -inf.0)

(= (car (ly:grob-property grob 'X-extent)) +inf.0))

0

(- (cdr (ly:grob-property grob 'X-extent))

(car (ly:grob-property grob 'X-extent)


% Returns the number of ems already traversed by the grob's siblings in
previous systems

#(define (width-up-to grob siblings count)

(if (eq? (car siblings) grob)

count

(+ (+ count (width-up-to grob (cdr siblings) count))

(grob-width (car siblings)


% Returns the total width of the individual grobs for each system that make
up the original grob

#(define (calcfull siblings count)

(if (eqv? (length siblings) 0)

count

(calcfull (cdr siblings) (+ count (grob-width (car siblings))


% Fills a vector of length len with linear interpolations between the
values found in amplitudes

#(define (fill-amplitude-vector! amplitude-vector len current-index
amplitudes)

(if (> (length amplitudes) 1)

(let ((start-amplitude (car amplitudes))

(end-amplitude (cadr amplitudes))

(start-index current-index)

(end-index (+ current-index

(inexact->exact

(floor (/ (vector-length amplitude-vector)

(- len 1)))

(do ((n current-index (+ 1 n)))

((or (> n (+ start-index end-index))

(>= n (vector-length amplitude-vector

(vector-set! amplitude-vector n

(exact->inexact

(+ start-amplitude

(* (/ (- n start-index) (- end-index start-index))

(- end-amplitude start-amplitude))

(fill-amplitude-vector!

amplitude-vector len end-index (cdr amplitudes)


% Makes the vector of amplitudes for the vibrato marking

#(define (make-amplitude-vector amplitudes total-span wavelength)

(let* ((current-start 0)

(len (inexact->exact (floor (/ total-span wavelength

(amplitude-vector (make-vector len)))

(if (> (length amplitudes) 1)

(fill-amplitude-vector!

amplitude-vector (length amplitudes) 0 amplitudes)

(vector-fill! amplitude-vector (car amplitudes)))

amplitude-vector))


% Creates a stencil that draws a sine wave for vibrato based on the
provided amplitudes and wavelength

#(define (makevib grob amplitudes wavelength)

(let* ((orig (ly:grob-original grob))

(siblings (if (ly:grob? orig) (ly:spanner-broken-into orig) '()))

(span (ly:grob-property grob 'X-extent))

(xbeg (car span))

(xend (cdr span))

(xspan (- xend xbeg))

(total-span (if (eqv? (length siblings) 0) (- xspan 3) (- (calcfull
siblings 0) 3)))

(lbound (if (or (null? siblings) (eq? (car siblings) grob))

0 (+ 14 (cdr (assq 'X (ly:grob-property grob 'left-bound-info))

(span-so-far (if (null? siblings) 0

(width-up-to grob siblings 0

(ly:make-stencil

(list 'embedded-ps

(make_ps (null? siblings) lbound xspan span-so-far

(make-amplitude-vector amplitudes total-span wavelength)

wavelength))

'(0 . 0) '(-0.7 . 0.5


vib = #(define-music-function (parser location sizes) (list?) #{ \vibrato
$sizes #0.7 #})

sVib = \startTrillSpan

eVib = \stopTrillSpan


% Example:

\relative c' {\time 4/4 \key d \major \vibrato #'(4 0 4) #1.5
c\startTrillSpan d e d c d e d c\stopTrillSpan

\vibrato #'(1 6 2 1 3 7 4) #1 c\startTrillSpan d e d c d e d c d e d c d e
d c d e d c d e d c d e d c d e d

c d e d c d e d c d e d c d e d c d e d c d e d c d e d c d 

Re: bending: microtone TabNoteHeaded printed if in a chord

[Stephen MacNeil]

Thanks Harm :)

just a note on your comment

>>It's not hard to get and use a devel-version ;)
>>I can't recommend to grab the code and patch v2.18.2 with it...

Well it depends on your operating system! I would say that for me it is
extremely hard. I compile my box from source using LFS as a base, and have
so for many years. So what may seem easy to one is not for me, when you
take into account all of the dependencies.. and dependencies of
dependencies. etc. My computers usually take about 2 weeks or so to install
everything needed. I would be better just to start a new install... and I
may do shortly when I have 2 weeks or so free. But until then. 2.18.2
it is, I suppose I could see if the .sh file works. But in reality it
doesn't bother me that much. The only bend requirements I need are for
students, and as I said I never use tab so most of it already works, and if
not I have always found a workaround.

Cheers
Stephen
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Re:bending and line breaks [WAS:Re: Guitar bend error]

[Stephen MacNeil]

HI Federico

I looked through some scores and I would say about 90% had them. The ones
that didn't, it was do to the fact that such an occurrence in a score/song
is rare and even more so that it may be at that particular part of the
score. So the ones I didn't find it in I assume it's because it wasn't
needed.

here are some examples

Note:
There are different ways to indicate bends yet all the various methods will
do a bend on a line break. So I am not only showing one method here..


anyway

http://mglessons.com/bend/Guns_N_Roses_-_Use_Your_Illusion_II_pages_16-16.pdf
http://mglessons.com/bend/Iron_Maiden_-_Fear_Of_The_Dark_pages_9-9.pdf
http://mglessons.com/bend/Jimi_Hendrix_-_Are_you_experienced_pages_15-15.pdf
http://mglessons.com/bend/Jimi_Hendrix_-_Axis_Bold_As_Love_pages_104-104.pdf
http://mglessons.com/bend/Led_Zeppelin_-_Led_Zeppelin_I_pages_38-38.pdf
http://mglessons.com/bend/Metallica_-_Black_Album_pages_39-39.pdf
http://mglessons.com/bend/Police_The_Best_Of_pages_22-22.pdf
http://mglessons.com/bend/Smashing_Pumpkins_-_Mellon_collie_and_the_infinite_sadness_pages_26-26.pdf
http://mglessons.com/bend/The_Beatles_-_Complete_Scores_pages_171-171.pdf
http://mglessons.com/bend/Van_Halen_-_1984_pages_52-52.pdf
http://mglessons.com/bend/Van_Halen_-_1984_pages_61-61.pdf
http://mglessons.com/bend/Van_Halen_-_Van_Halen_II_pages_4-4.pdf

HTH
Stephen
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Re:bending and line breaks [WAS:Re: Guitar bend error]

[Stephen MacNeil]

Hi Federico

After teaching guitar for 20 years I will say it does happen, although very
rarely as it makes it hard to read. I avoid it at all costs in my own
typesetting. I grabbed a couple books from my studio library and the second
book I looked at had it on pg 22 so, ya it happens.

HTH
Stephen
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Re:bending: microtone TabNoteHeaded printed if in a chord

[Stephen MacNeil]

Nice work to those that got the "microtones" working.

Not a tab user but curious anyway, also part of my question applies to the
standard notation.

Questions:
1. when did this happen? I notice it works on lilybin 2.19.38 but not on
2.18.2, would it be hard to get that to work?
2. there are many ways of indicating bends, some more popular then others.
If they are clear then it's no real big issue. The type that the bend.ily
or definitions.ily emulate typically indicates the standard notation with
an up and down bend, and the tab usually joins 2 arrows unless the bends
are not the same. I did a hack of this before to get it printed for a friend

http://mglessons.com/lilypond/svg/Ex30.png

here is an example from a book

http://mglessons.com/lilypond/Jimi-H-Blues_pages_14-14.jpg

the same applies for all bends microtone or not.

Is this feature in the works?

Stephen
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RE:Fingering font

[Stephen MacNeil]

Hi Andrew

Those are not fingerings. Those are string numbers

{

\override Fingering.font-name = "Noto Sans"

c-1

\override StringNumber.font-name = "Noto Sans"

c\1

}


HTH

Stephen
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Re: RE:Programming error - cross fingers

[Stephen MacNeil]

Hi Graham

I do use %{ comments blocks, but typically only when testing new code. It's
much .. much faster to highlight a block and delete it. The alternative is
sectioning out a block... and then another etc... etc... etc... Granted the
time difference is minimal, but can add up in a large score especially when
narrowing an error down, and after all time is precious (to me anyway).
Also, my way tends to appeal greatly to the circumstance which is usually
great frustration. Somehow ... it just makes me happy :)

Stephen
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RE:Programming error - cross fingers

[Stephen MacNeil]

HI Andrew

The way I approach an error like this may or may not help. But I can tell
you what I do. I start deleting large sections of the source. Bottom up.
Make sure you create a backup. Once the error is gone and I know the
general area. I add the previous section removed and start with deleting
smaller portions. After a few minutes I can get to the line that causes the
problem. This all said there has been one score ... and only one where I
found the error, however the syntax was correct, so I copied the score to a
new file and it compiled while the other did not. I spent some time to deal
with that, but since the actual code worked saved as a new file, I could
only surmise that lily was tired of working on that file, and didn't
realize I had tricked her.

HTH
Stephen

Of course I was joking at the end :) oh and I rather like (crossing fingers)
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Re: hairpin length

[Stephen MacNeil]

This was discussed a while ago... more doing with the hairpin in relation
to the dynamic. But it may help


http://lilypond.1069038.n5.nabble.com/Dynamic-mark-at-the-end-of-a-bar-td177090.html

or

https://lists.gnu.org/archive/html/lilypond-user/2015-05/msg00717.html

HTH
Stephen
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Re: invisible note for expressive marks

[Stephen MacNeil]

I see

Thanks

Stephen
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Re: invisible note for expressive marks

[Stephen MacNeil]

sorry forgot to sent to list


Hi David

so based on that I would assume

\addlyrics { \repeat unfold 3 { c4 d e f } }


would work?


and it does, so It seems that with s1*0 you need c4 added to \addlyrics as
well?


Stephen
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Fwd: Re: Placing a section name at the start of a staff

[Stephen MacNeil]

like this



{


\set Staff.instrumentName = \markup \bold {\larger INTRO \halign #-1 \bold
.}

\repeat unfold 4 { s1 }\break

\repeat unfold 4 { s1 }\break

\repeat unfold 4 { s1 }\break

}


{

\set Staff.instrumentName = \markup { \concat {\larger \bold N \raise #1
\center-column\number { \fontsize #-7 \raise #.8 \sub o \vspace #-.35
\fontsize #-8 \raise #.4 \super \bold = }} \larger \bold \halign #-1 1
\halign #-1 \bold .}


\repeat unfold 4 { s1 }\break

\repeat unfold 4 { s1 }\break

\repeat unfold 4 { s1 }\break

}


{


\set Staff.instrumentName = \markup { \concat {\larger \bold N \raise #1
\center-column\number { \fontsize #-7 \raise #1 \sub o \vspace #-.35
\fontsize #.1 \raise #1 \bold . }} \larger \halign #-1 \bold 2 \halign #-1
\fontsize #1 \bold .}


\repeat unfold 4 { s1 }\break

\repeat unfold 4 { s1 }\break

\repeat unfold 4 { s1 }\break

}


%%%


HTH

Stephen
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Fwd: Re: Placing a section name at the start of a staff

[Stephen MacNeil]

hey I do those all the time :)

your scan was hard to read but it looks like it

as separate scores
%%%

{

\set Staff.instrumentName = \markup { \concat {\larger \bold N \raise #1
\center-column\number { \fontsize #-7 \raise #.8 \sub o \vspace #-.35
\fontsize #-8 \raise #.4 \super \bold = }} \larger \bold \halign #-1 1
\halign #-1 \bold .}


}

{

\set Staff.instrumentName = \markup { \bold \larger No.01 }

}

{

\set Staff.instrumentName = \markup { \concat {\larger \bold N \raise #1
\center-column\number { \fontsize #-7 \raise #1 \sub o \vspace #-.35
\fontsize #.1 \raise #1 \bold . }} \larger \halign #-1 \bold 2 \halign #-1
\fontsize #1 \bold .}

}


%%%

etc.


or as one


%%

{

\set Staff.instrumentName = \markup { \bold \larger No.01 }

\repeat unfold 4 {

c c c c

}\break

\set Staff.shortInstrumentName = \markup { \bold \larger No.04 }

\repeat unfold 4 {

c c c c

}

}

%%%


both work

in the one you posted I would use separate


HTH


Stephen
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Re: Placing a section name at the start of a staff

[Stephen MacNeil]

>>Thank you very much. It's close, but will need a little tweaking. Your example
is right-justified against the left margin, whereas I want it >>starting at
the left margin, and pushing the staff to the right

remove indent

\paper {


%indent = 0


%left-margin = 15


}

does that work?

>>The other glitch is the inter-score spacing seems to be slightly larger than
the intersystem spacing - I'm trying to tell by eye and it's >>difficult to
be sure - but if it's hard to tell then I should be able to live with it :-)

If I understand it's probably because the instrument name takes lager
space, so make it smaller? But I am not exactly sure that's what you mean.

Stephen
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RE: Placing a section name at the start of a staff

[Stephen MacNeil]

Actually I just noticed \halign -- that's not needed I copied it from
another one where it was needed

so those examples should just read

\set Staff.instrumentName = \markup { \box \fontsize #5 \pad-around #.5
\bold "B"}


etc.


Stephen
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RE: Placing a section name at the start of a staff

[Stephen MacNeil]

There are several ways I do this, I use this for students a lot

here are a few ways to achieve this

%

\version "2.18.2"

\paper {

indent = 0

left-margin = 15

}

A = \relative c' {

\set Staff.instrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "A"}

c d e f

}

B = \relative c'' {

\set Staff.instrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "B"}

g a b c

}


\score { \A }

\score { \B }


C = \relative c' {

c d e f

}

D = \relative c'' {

g a b c

}


% Or


\score {

\new Staff \with {

instrumentName = \markup {\halign #-2 \box \fontsize #5 \pad-around #.5
\bold "C"}

}

{ \C }

}

\score {

\new Staff \with {

instrumentName = \markup {\halign #-2 \box \fontsize #5 \pad-around #.5
\bold "D"}

}

{ \D }

}


% Together

\score {

\new Staff \with {

instrumentName = \markup {\halign #-2 \box \fontsize #5 \pad-around #.5
\bold "C D"}

}

{ \C \D }

}


% Also


E = \relative c' {

\set Staff.instrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "E"}

c d e f \break

\set Staff.shortInstrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "E.1"}

g a b c \break

\set Staff.shortInstrumentName = \markup {\halign #-2 \box \fontsize #5
\pad-around #.5 \bold "E.2"}

b a g f

}


\score {

\E

\layout{

\context {

\Score

\remove "Bar_number_engraver"

}

}

}


%%


HTH

Stephen
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Re: Guitar bend error

[Stephen MacNeil]

>I’ll see if I can get the openlilylib files to work first.

they should be the same file, unless the openlilylib has been updated. I
never modified the file I think

>how come the graceBend slurs are always facing down in the output when it
says “up” in the definitions file?

do you mean pointing down? probalbly to show it goes from a higher note to
a lower. Not sure I don't use tab so i could be wrong. are you referring to

\once \override Voice.Slur.direction = #UP

that puts the slur/bend mark above

>I need bend slurs without the TabStaff. Thanks for that, Stephen!

no problem, since i don't use tab i figured others could use it as well.
glad it's useful.

HTH
Stephen
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Re: Guitar bend error

[Stephen MacNeil]

>The code Stephan hosts is a nightmare, because all indentation has
>gone.

This is true :) but I actually read it better... not sure why. and not
being able to type fast it just works for me

cheers

Stephen
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Guitar bend error

[Stephen MacNeil]

Add a line break before bar 25

r4 r8 e' g2 | \break  % gradual bend on g2 towards a |

% BAR 25

\bendGrace g8( a2) g2( | % gradual bend on g2 towards a |

\bendGrace g8 a4 g8) e g2( | % gradual bend on g2 towards a |



HTH
Stephen

It was written by Marc Hohl I just adapted it to have no tab since I don't
use tab


see

https://github.com/openlilylib/openlilylib/tree/master/notation-snippets/guitar-string-bending

Line breaks over bending notes are not supported and they are currently
disabled, because otherwise the file would not compile as soon as page
formatting decisions create such a situation.
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Re: score as footnote/footer

[Stephen MacNeil]

You could also do something like this


\version "2.18.2"

\header {

title = "FootNote"

tagline = "FootNote"

}

%%%


footOne = \markup {

%% space

\vspace #2

%

\hspace #1

\dir-column {

%%

\vspace #0

\concat {

"*" \hspace #1.5

\score {

\relative c { c'8 d e f g a b c}

\layout {

indent = 0

}

}

}

%%

}

\hspace #2

\dir-column {

%%

% move it over

\halign #-3.4

%%

\concat {

"**" \hspace #1

\score {

\relative c { c''8 b a g f e d c }

\layout {

indent = 0

}

}

}

%%

}

}

%%

one = \markup{P}

\relative c' {

\override Score.FootnoteItem.annotation-line = ##f

\footnote "*" #'(0 . 3) \footOne c'8 c a g f e d c c2 c c'8^"**" b a g f e
d c}



HTH

STephen
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How to get swing feel from dotted notation?

[Stephen MacNeil]

Hi Colin

Sometime ago I came across a file on the net... not sure where. It was
written by Johannes Rohrer I believe. Anyway all you do is

\include "../SwingMarks.ly"  % location of file
#(load "../swing.scm")   % location of file

and it will play the midi in swing

and example is on my site

http://www.mglessons.com/lilypond/

source for the example is

http://www.mglessons.com/lilypond/svg/Ex25.ly

you can also download the files there


HTH

Stephen
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Re: Orientation of notes in chords

[Stephen MacNeil]

Hi Andrew

as I said it was a long time ago. bit i just played with it a few seconds.
to see if I could remember. first take the following code


top = \relative c' {

e,16

\displaceHeads #'(-.8 1 0)

\adjustStem #'(2 . -2)

 g,

\displaceHeads #'(-.05 .8 0)

\adjustStem #'(1.5 . -2)

 d,  c, 

}


bot = \relative c'' {

e,,8 [g] d' c

}


\score {

<<\top\\\bot>>

}



notice each adjustment needs different calculation \displaceHeads #'(-.8 1
0) ie. no longer worked the second time. That to me is more as you said
"inelegant and complicated". second where did my flags go?


again when I asked the question a year ago I was already done the score.
And I am sure there is a solution (there always is). I just couldn't be
bothered.


As for the the "complexity of using voices"... well I don't find it that
complex. I find in guitar music I have to use them often.


HTH

Stephen
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Re: Orientation of notes in chords

[Stephen MacNeil]

This is common in guitar music (upper note left). So I asked this same
question some time ago

found here

https://lists.gnu.org/archive/html/lilypond-user/2015-04/msg00010.html

I did look at

http://lsr.di.unimi.it/LSR/Item?id=861

But it didn't work as I needed so I ended up with


%


\version "2.18.2"

nh = {

\once \override NoteHead.rotation = #'(.1 0 -380)

\once \override Stem.transparent = ##t

% Not needed I think

% \once \override Flag.transparent = ##t

}


\relative c' {

\time 2/4


% default

<<{e,16 [] g, [] d, [] c, []}\\{e,,8 [g]
d' c}>>


% my solution

<<{e,16 [c''] g, [c'] d, [c'] c, [c']}\\{s \nh bes!16 s \nh bes s \nh bes16
s \nh bes }\\{\voiceTwo e,,8 [g] d' c}>>


}
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Re: Fonts from the former fonts.openlilylib.org

[Stephen MacNeil]

I don't think I read any where that Abraham was making the fonts
"proprietary" .. I do believe he said "Some fonts are becoming commercial".
And proprietary doesn't necessarily mean closed source. Although in most
cases it does, because proprietary software if modified holds ownership
"usually" with the owner. As for commercial software it can be licensed
many ways. It's main goal is sometimes revenue. As I suspect it will be
with Abraham.

Commercial software can still be free software. GNU is not against making
money.. it's about free software

the question is how Abraham intends to make it commercial.

I suggest people look up Richard Stallman.

or watch

https://www.youtube.com/watch?v=rEAgx7HgC18

HTH
Stephen
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Piano_Tab notation; how to disable clef and key engraver?

[Stephen MacNeil]

\omit Accidental

\omit Clef


HTH

Stephen
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RE:I'm not smart enough to figure out the math for this.

[Stephen MacNeil]

\relative c' {

\time 4/3

\cadenzaOn

c4 c c \bar "|"

c c c \bar "|"

}


HTH

Stephen
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Re: Help with fonts from a blind user

[Stephen MacNeil]

that said i don't even have icons so.

Stephen
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Re: Help with fonts from a blind user

[Stephen MacNeil]

This assumes one has a file  manager that is a GUI  (it's hard to do
this in say midnight commander or xterm)

for those without you can cd to your lilypond directory and put the fonts
there.

I use

cd /usr/local/lilypond-current/lilypond/usr/share/lilypond/current/fonts/

ls

otf  svg

HTH
STephen
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Re: Fingerings get crushed if key is removed. Bug?

[Stephen MacNeil]

or add

\override Fingering.add-stem-support = ##t

HTH
Stephen
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OT: Aligning upbows and downbows

[Stephen MacNeil]

Hi David

I would just like to point out that in guitar music, the capo now acts as
the open position. Therefore we write as if there was no capo at all. This
makes it easy for sight reading. As a professional guitarist I have only
came across a few scores written in what I would say an incorrect way.
Usually written by people more familiar with other instruments or
guitarists that typically only use tab.

In the end do it the way you find best, after all I am not the one reading
it.

here are some examples

http://www.mglessons.com/lilypond/HCTS-1.pdf

http://www.mglessons.com/lilypond/AD.pdf

Stephen
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RE:Bar number moves down inexplicably

[Stephen MacNeil]

as a workaround you can add \override Score.BarNumber.Y-offset = #3


\score {

\new ChoirStaff <<

\new Staff <<

%% add

\override Score.BarNumber.Y-offset = #3

%%

\clef treble \global

\new Voice { \ss }

>>

\new Staff <<

\clef treble \global

\new Voice { \aa }

>>

\new Staff <<

\clef "treble_8" \global

\new Voice { \tt }

>>

\new Staff <<

\clef bass \global

\new Voice { \bb }

>>

>>

\layout { }

}


HTH

Stephen
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RE: Reversing order of colliding noteheads?

[Stephen MacNeil]

How about


%%


\version "2.18.2"




timeKey = {


\key c \major

\time 4/4


}


tenorPart = {


\voiceOne

r2 e'8

\shape #'((0 . 0) (0 . 0.8) (0 . 0.8) (0 . 0.1)) Tie

c'4. ~ |

\once \override Voice.NoteColumn.force-hshift = #.6


c'4. r8 f'2 |


}


leadPart = {


\voiceTwo

e'2 c'2 |


d'2 a2 |


}


tenorWords = \lyricmode {


My girl

Oo


}


leadWords = \lyricmode {


Hold me, Love me


}


\bookpart { \score {


\new ChoirStaff \with {

systemStartDelimiter = #'SystemStartBar

} <<


\new Lyrics = "tenorLyrics" \with {

alignAboveContext = "staff"

\override VerticalAxisGroup.staff-affinity = #DOWN

}


\new Staff = "tenorlead" { << { \timeKey \clef "treble_8" }

\new Voice = "tenor" { <<

{ \tenorPart \bar "|." }

>> }


\new Voice = "lead" { <<

{ \leadPart \bar "|." }

>> }


>> }


\new Lyrics = "leadLyrics"

\context Lyrics = "tenorLyrics" \lyricsto "tenor" \tenorWords

\context Lyrics = "leadLyrics" \lyricsto "lead" \leadWords


>>


} }


%%%


Stephen
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RE:outside-staff-priority?

[Stephen MacNeil]

\override Score.MetronomeMark.padding = #5

\tempo "Mod. fast Bulgar" 4 = 110-115


HTH


Stephen
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RE:guitar scale diagram - change root

[Stephen MacNeil]

using the snippet given you would change the order and add the correct
position number

eg

((5 3) (5 5) becomes  ((5 3) (5 2 5) and the 5 is the new scale position --
so the root on 3rd fret (c) is before the second (b)


% cpenta= \markup\scale-diagramm #'((5 3) (5 5) (4 3) (4 5) (3 2)

%   (3 5) (2 3) (2 6) (1 3) (1 5) (1 8)) #5 #1.7

% becomes

cpenta=\markup\scale-diagramm #'((5 3) (5 2 5) (5 5 2) (4 3 3) (4 5 4) (3
5) (3 2 5) (2 3 2) (2 6 3) (1 3 4) (1 8) (1 5 5)) #5 #1.7


HTH

Stephen
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Re: left pointing note heads

[Stephen MacNeil]

or

%%

% Stem

Ri = {

\once \override Stem.extra-offset =

#(lambda (grob)

(if (eq? (ly:grob-property grob 'direction) right)

'(0 . 0) '(1.168 . -.05)))

% rotate head

\once \override NoteHead.rotation = #'(-58 0 0)

}

% Done

%%%

{

c''

\Ri c''

}


Stephen
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RE:TuxGuitar Export

[Stephen MacNeil]

any should work if use convert-ly I use 2.18.2

actually what i do is get guitar pro files (he writes in it) from a friend.
Use tuxguitar to convert to lily then update with convert-ly in 2.18.2


HTH
Stephen
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Re: Getting an override into a markup function

[Stephen MacNeil]

Hi Harm

you can still d/l acroread up to 9.5.5

ftp://ftp.adobe.com/pub/adobe/reader/unix/9.x/9.5.5/enu/

also Foxit Reader Goes upto 6400%

Stephen
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Re: Centering markup between staves

[Stephen MacNeil]

or

\override TextScript.Y-offset = #0


Stephen
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Re: stacking whole notes of different size

[Stephen MacNeil]

>Yup, creating a new Voice and applying force-hshift works, but the last
>tie looks quite different than the other ones:

Yup it does look different. Using \override Tie.Y-offset = #.3 fixes it a
bit but still ugly.

\shape #'((-0.5 . 0.5) (0 . 0.5) (0.5 . 0.3) (0.5 . 0.5)) Tie

looks better I think.

\version "2.18.2"


\relative c'' {

a2. fis4 | a1 |

<<

{ g1 | fis | e | d~ | d1~ | d1~ |

% if you want the notes joined

2 }

\new Voice \with { fontSize = #-3 } {

\override NoteColumn.force-hshift = #0.35

b'1 | bes! | cis | d~ | d1~ |

%looks ok ...

% \override Tie.Y-offset = #.3

% looks better

\shape #'((-0.5 . 0.5) (0 . 0.5) (0.5 . 0.3) (0.5 . 0.5)) Tie

d1~ |

% only if you want the notes together

\hideNotes d2

}

>>

}



> a2. fis4 | a1 |
   > <<
   >   { \voiceTwo g1 | fis | e | d~ | 1~ | 1~ | 2  }
   >  \new Voice \with { fontSize = #-3 } {
   >  \override NoteColumn.force-hshift = #0.15
   >  \voiceOne b'1 | h! | cis | d~ | 1~ | 1~ | 2
   > }
> >>

> see attached picture.

>Marc

Stephen

On Tue, Sep 1, 2015 at 1:21 AM, Marc Hohl <m...@hohlart.de> wrote:

> Am 31.08.2015 um 19:09 schrieb Stephen MacNeil:
>
>> \override NoteColumn.force-hshift = #.65 works but you would have to
>> create a new voice i believe.
>>
>
> Yup, creating a new Voice and applying force-hshift works, but the last
> tie looks quite different than the other ones:
>
> a2. fis4 | a1 |
>   <<
>  { \voiceTwo g1 | fis | e | d~ | 1~ | 1~ | 2  }
>  \new Voice \with { fontSize = #-3 } {
>   \override NoteColumn.force-hshift = #0.15
>   \voiceOne b'1 | h! | cis | d~ | 1~ | 1~ | 2
>  }
>   >>
>
> see attached picture.
>
> Marc
>
>>
>>
>> Stephen
>>
>>
>
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Re: stacking whole notes of different size

[Stephen MacNeil]

wow Harm that looks really nice.

Stephen
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Re: stacking whole notes of different size

[Stephen MacNeil]

\override NoteColumn.force-hshift = #.65 works but you would have to create
a new voice i believe.


Stephen
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RE:LilyPond crashes on \musicglyph #space

[Stephen MacNeil]

Starting lilypond 2.18.2 [Untitled]...

Processing `/tmp/frescobaldi-t71lRI/tmpBr7KhM/document.ly'

Parsing...

Interpreting music...

Preprocessing graphical objects...

Finding the ideal number of pages...

Fitting music on 1 page...

Drawing systems...

Layout output to `document.ps'...

Converting to `./document.pdf'...

Success: compilation successfully completed

Completed successfully in 4.1.



LFS 7.5


Stephen
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Print Double Percent Repeat inside a markup

[Stephen MacNeil]

how is



% inspired by: http://lsr.di.unimi.it/LSR/Item?id=908




\version 2.18.2


percentRepeat = \markup {

\combine

\translate #'(0.2 . 1.5)

\draw-circle #0.22 #0 ##t

\combine

\translate #'(1.8 . 0.5)

\draw-circle #0.22 #0 ##t

\rotate #90

\translate#'(0 . 2)

\beam #2 #-1 #0.58

}


{ c ^\markup \percentRepeat}


\markup \percentRepeat





HTH


Stephen
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RE: Tablature - Hiding Tied Notes

[Stephen MacNeil]

hi mike1951

As i said i only used tab for setting up certain functions - and only
looked at full-notation once - i think.
So I have absolutely no idea what you are after or what it should look
like. My knowledge on tab is limited to perhaps only a few days of
experimentation. Perhaps someone familiar with tab would know. Or post
an image of the desired output and I can see the differences.

Stephen
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Re: Tablature - Hiding Tied Notes

[Stephen MacNeil]

I have used (forced) tab only a few times when typesetting for people that
are slow or can't read. So i don't understand. Isn't the tied-to note
always hidden?
in fact I had to do a nasty trick just to get it to print. something like.

\version 2.18.2



\new Staff {

\relative c' {c2~c4 d~d e~e f~f2 g}

}

\new TabStaff{

\new TabVoice{

{c2~c4 d-4~|

d e~e f~|

f2 g|}\\{s1*2 \once\override TabStaff.TabNoteHead.display-cautionary = ##t
f2 s}

}

}




Sorry if i misunderstand. I am just confused by the post.


Thanks

Stephen
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RE: Tablature - Hiding Tied Notes

[Stephen MacNeil]

Sorry perhaps you mean on a line break. in that case you can do

\version 2.18.2



\new Staff {

\relative c' {c2~c4 d~d e~e f~\break f2 g}

}

\new TabStaff{

\new TabVoice{

c2~c4 d-4~|

d e~e f~|

\once \override TabStaff.TabNoteHead.transparent = ##t

f2 g|

}

}




Stephen
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Re: Guitar Chord Chart - Align Fret Diagram with Chord Names and Notes

[Stephen MacNeil]

Great to hear you found a solution

here is another approach

chord = \markup

{

\override #'(size . .7) \override #'(fret-diagram-details . ((finger-code .
below-string)

(dot-radius . 0.35)

(number-type . roman-lower)

(finger-code . below-string)

(fret-count . 3)))

\fret-diagram #6-x;5-o;4-2-2;3-2-3;2-1-1;1-o;

}

Name = \markup \fontsize #-2.5 {Am}


join = \markup

% position above

\halign #-.4

{

\combine

\raise #1

% move Chord Name position

\halign #-.6

\Name

\chord

}


\score {


a e' a' c'' e''^\join


}


Stephen

On Thu, Aug 20, 2015 at 11:11 AM, Antonio Mondragon generalar...@yahoo.com
wrote:

 Thanks.  Read your message after I posted a solution on the forums.  I
 will take a careful look at your solution.   I am satisfied with the one I
 posted though.  Need to finish this project, so I can do some actual
 recording.

 -Tone



 On Thursday, August 20, 2015 8:41 AM, Stephen MacNeil 
 classicalja...@gmail.com wrote:


 and
 % \halign #-13

 it's to early

 Stephen



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Re: Guitar Chord Chart - Align Fret Diagram with Chord Names and Notes

[Stephen MacNeil]

Hi tone

I tested your code on 2.18.2 (doesn't compile)
and on 2.19.24 (looks NOTHING like what you have)

I think the first issue I would solve is - why? why does it not look
correct on other versions. I only mention it because all your work could
become useless once you upgrade.

As a side note there are other approaches. I am not sure the best for your
case, but I have used \halign #x and \center-column\text in and out of
joint markups. In other words joint meaning create the fret diagram
then the chord name, and position them together in a markup, or use two
separate markups with \halign.

something like this. Of course positioned wherever needed.

\markup \fill-line {

\concat{


%% chord 1

\override #'(size . .7) \override #'(fret-diagram-details . ((finger-code .
below-string)

(dot-radius . 0.35)

(number-type . roman-lower)

(finger-code . below-string)

(fret-count . 3)))

\halign #-.72

\raise #0 \pad-around #.2 {

\center-column\text {

\halign #-13 \fontsize #-2.5 {

Am

}

\vspace #-.6

\fret-diagram #6-x;5-o;4-2-2;3-2-3;2-1-1;1-o;

}

}

}

}

Of course just looking at your code a quick solution for what you have may
be to add space. so fret 4 would be 4  and then us \halign for minor
adjustments. Not sure as I haven't tested it since they don't compile
correctly on my systems.

HTH

Stephen
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Re: Guitar Chord Chart - Align Fret Diagram with Chord Names and Notes

[Stephen MacNeil]

and

% \halign #-13


it's to early


Stephen
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Re: Guitar Chord Chart - Align Fret Diagram with Chord Names and Notes

[Stephen MacNeil]

Sorry you can comment out

%\fill-line

%\concat


I used them as a markup with several chords.


Stephen
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Re: PDF portfolio of 2.19.25 docs

[Stephen MacNeil]

Hi paul

You can convert the pdf and it will work in linux - I posted how a while
back (convert it to ps then back to pdf) - without the indexing or you can
d/l acroread 9.5.5 was the last linux version i think (not sure since I
never use it)

search

acroread 9.5.5 linux download

Stephen
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Re: difficult question to ask about spacing

[Stephen MacNeil]

sorry forgot to post to list


1.) Use \stopStaff, spacer rests, and \startStaff, or
2.) Use a markup line with two scores and a horizontal space in between.


Version 2 theoretically offers full flexibility, but all spacing (in 
particular,
vertical spacing) is computed separately from the overall score. If your
score is even slightly non-trivial, chances are that you will end up with a
imperfect solution even after fiddling around with many settings,


The markup solution works, I don't really understand the problem with
(in particular, vertical spacing)
1. I don't see any problem and
2. that can be changed. Could you give an example.

Bottom line: does anybody know whether it's possible to redraw a 
SystemStartBrace
in the middle of the line and thus solve the issue of the first version? I
already spent some hours (mostly trial-and-error) on that a while ago, but
could not achieve anything useful.

possible to redraw a SystemStartBrace

Not that I know of.

Stephen
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Re: difficult question to ask about spacing

[Stephen MacNeil]

not sure why you put the top score - that's do to ragged-last-bottom = ##f

The most prevalent problem with the score heights not being synchronized
over the markups can, of course, be corrected without too much trouble,
e.g. by adding hidden notes such that the optical ambitus is identical in
both partial scores.

I would used \once \override Score.StaffGrouper.staff-staff-spacing.padding
= #4.6 adjusted to previous height

 \markup {

% \line {

\score {

\new PianoStaff {



\new Staff { c'' c }

\new Dynamics { s4\pp }

\new Staff { c }



}

\layout {

 }

}

\score {

\new PianoStaff {



\new Staff {

\once \override Score.StaffGrouper.staff-staff-spacing.padding = #4.6

c''' }

\new Dynamics { s4 }

\new Staff { c' }



}

\layout {

\context {

\Score


 }

 }

}

% }

}


Slightly more annoying are the facts that
- the overall score is (logically) interrupted,

ya but that's more of a issue of you know it is so it bothers you i think
:) but I agree!

- measure numbers need to be changed afterwards, time signatures need to
be removed manually when the (logical) score continues, RehearsalMark
counters etc. as well,

yup

Nothing which cannot be worked around, I agree; but it will require some
dedication...

also you could use method one and create a false staff and move the grouper

something like this could easily be used as a template

this is based on one of the ways (this one I never posted) I tried for
scrapbook-cutaway ... anyway


\version 2.18.2

#(define-public (stack-stencil-overlay stencils)

Recursive function to add stencils together

(if (and (pair? stencils)

(ly:stencil? (car stencils)))

 (if (and (pair? (cdr stencils))

(ly:stencil? (cadr stencils)))

(let ((tail (stack-stencil-overlay (cdr stencils)))

(head (car stencils)))

(ly:stencil-add head tail))

(car stencils))

point-stencil))


#(define-markup-command (overlay layout props args)

(markup-list?)

Overlay arguments one on top of the next

(let ((stencils (interpret-markup-list layout props args)))

(stack-stencil-overlay

(remove ly:stencil-empty? stencils


up = {

\once \override Staff.StaffSymbol.color = #white

\once \override Staff.Clef.color = #white

\once \override Staff.TimeSignature.color = #white

\override Staff.Clef.layer = #-1

\override Staff.TimeSignature.layer = #-1

}

down = {

\once \override Staff.StaffSymbol.color = #white

\once \override Staff.Clef.color = #white

\once \override Staff.TimeSignature.color = #white

\override Staff.Clef.layer = #-1

\override Staff.TimeSignature.layer = #-1

}

\markup {

\overlay {


 \overlay {

\translate #'(33.1 . 0)

\score {

\new PianoStaff \with {

} 

\new Staff = up \with {


 \override VerticalAxisGroup.staff-staff-spacing = #'((basic-distance .
11.8))

} \up

\new Staff = down \with {


 } { \clef bass \down }



\layout { }

\midi {

\context {

\Score

}

}

}

}

\score {

\new PianoStaff {



\new Staff {

\key g \major

c'' c q q q

\stopStaff

\repeat unfold 2

{

s1

}

\startStaff

\override Staff.Clef.full-size-change = ##t

\once \override Staff.BarLine.transparent = ##t

\override Staff.BarLine.allow-span-bar = ##f

\once \override Staff.Clef.extra-offset = #'(1 . 0)

\once \override Staff.TimeSignature.extra-offset = #'(1 . 0)

 \clef treble

\key g \major

\time 4/4

c \override Staff.BarLine.allow-span-bar = ##t

c c c

 }

\new Dynamics { s4\pp }

\new Staff {

\key g \major

c c c c

\stopStaff

\repeat unfold 2

{

s1

}

\startStaff

\override Staff.Clef.full-size-change = ##t

\once \override Staff.BarLine.transparent = ##t

\override Staff.BarLine.allow-span-bar = ##f

\once \override Staff.Clef.extra-offset = #'(1 . 0)

\once \override Staff.TimeSignature.extra-offset = #'(1 . 0)

\once \override Staff.NoteHead.extra-spacing-width = #'(-2 . 0)

\clef treble

\key g \major

c'' c c c

}



}

\layout {}

}}}

good luck

Stephen


On Fri, Jul 24, 2015 at 2:31 PM, Alexander Kobel n...@a-kobel.de wrote:

 Hi Stephen, hi everybody.

 On 07/24/2015 07:50 PM, Stephen MacNeil wrote:

 1.) Use \stopStaff, spacer rests, and \startStaff, or 2.) Use a
 markup line with two scores and a horizontal space in between.


  Version 2 theoretically offers full flexibility, but all spacing
 (in particular, vertical spacing) is computed separately from the
 overall score. If your score is even slightly non-trivial, chances
 are that you will end up with a imperfect solution even after
 fiddling around with many settings,


 The markup solution works,


 Actually, I agree that it works a lot better than it used to a few
 versions ago.

  I don't really understand the problem with (in particular, vertical
 spacing)
 1. I don't see any problem and
 2. that can be changed.
 Could you give an example.


 Sure - find it attached. Contrieved, but trust me that similar issues
 occur in real scores.

 The most prevalent problem with the score heights not being synchronized
 over the markups can, of course, be corrected without too much trouble,
 e.g

RE:Attachment size

[Stephen MacNeil]

Not sure if this will help but, I only run LFS so no bells and whistles. So
to do this i wrote a few scripts that use ghostscript.

modify what you need or use it as it is

gsPdf - prints specified pages from a larger pdf
gsJpg - creates jpg images from pdf files

(all small in size)

they assume a  $HOME/tmp/ directory

http://mglessons.com/lilypond/gsPrint/gsJpg

http://mglessons.com/lilypond/gsPrint/gsPdf

Stephen
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RE:Change color after a line break

[Stephen MacNeil]

actually this is better

http://lsr.di.unimi.it/LSR/Item?id=700

stephen
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Re: \cueClefUnset problem

[Stephen MacNeil]

the problem is because of the change of clef, if you start with the bass
clef there is no issue. Bug? i would say so.
anyway a workaround is change the clef before then omit it.

%%


\relative {

\time 5/4


 r4 r4

%

\once\omit Staff.Clef

\clef bass

%



{

s4 s2

\cueClefUnset

}

\new CueVoice {

\set instrumentCueName = \markup{

\bold \concat {

\larger 1 \raise #0.5 ère   \larger Fl.

}

}

\cueClef treble

\stemDown

b'16 \p \ [ b b b ]

\bar !

c!8 -. [ c32 c c c ]

\!

cis8 -. [ cis32 cis cis cis ]

}



| % 81

\bar ||

\break


 %\once\omit Staff.Clef

\clef bass

\time 6/8 | % 81

g,8 \pp -. [ g8 -. ] r8 d'8 -. [ d8 -. d8 -. ] | % 82

c4 c8 c4. |

\bar |.

}


%

HTH

Stephen
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Re: \cueClefUnset problem

[Stephen MacNeil]

you can remove the second \clef bass as well, sorry I forgot to comment
that out

stephen

On Sat, Jul 11, 2015 at 9:42 AM, Jacques Menu imj-muz...@bluewin.ch wrote:

 Hello Stephen,

 Now, that’s clever, a better work-around still, thanks!

 JM

  Le 11 juil. 2015 à 13:28, Stephen MacNeil classicalja...@gmail.com a
 écrit :
 
  the problem is because of the change of clef, if you start with the bass
 clef there is no issue. Bug? i would say so.
  anyway a workaround is change the clef before then omit it.
 
  %%
 
 
  \relative {
  \time 5/4
 
  r4 r4
  %
  \once\omit Staff.Clef
  \clef bass
  %
  
  {
  s4 s2
  \cueClefUnset
  }
  \new CueVoice {
  \set instrumentCueName = \markup{
  \bold \concat {
  \larger 1 \raise #0.5 ère   \larger Fl.
  }
  }
  \cueClef treble
  \stemDown
  b'16 \p \ [ b b b ]
  \bar !
  c!8 -. [ c32 c c c ]
  \!
  cis8 -. [ cis32 cis cis cis ]
  }
  
  | % 81
  \bar ||
  \break
 
  %\once\omit Staff.Clef
  \clef bass
  \time 6/8 | % 81
  g,8 \pp -. [ g8 -. ] r8 d'8 -. [ d8 -. d8 -. ] | % 82
  c4 c8 c4. |
  \bar |.
  }
 
  %
 
  HTH
 
  Stephen


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RE: using python snippets in Lilypond

[Stephen MacNeil]

do you mean like this?

http://www.python-course.eu/python_scores.php

Stephen
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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

As I said i couldn't get your SpanBar to go. But your main brilliant
function - sortClef - well that inspired me.

here it is

http://mglessons.com/lilypond/try-klaus-stephen.ly

I think just roll all the functions into one and it's good?

Stephen
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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

Hi Klaus

glad you found it useful. I looked at your file nice job. We took the same
approach (creating a new StaffGroup). This means that to continue you need
to add 2 more -- another flute and another bassoon -- or else the grouping
is wrong.

I changed your file however i lost the SpanBar ... not sure why.

http://mglessons.com/lilypond/try-klaus.ly

I did have another approach - one without creating a new staff and using
the existing flute and bassoon section. It works however I was unable to
force the SpanBar and SystemStartBracket. I think ideally that would be the
way to go. Any idea how to force them to appear when it's not the beginning
of a system?

Stephen
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Re:Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

I won't bias your creativity by sharing what I tried. Let's see what
you've got!

- Abraham

Can I see what you tried?

Thanks
Stephen
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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

http://mglessons.com/lilypond/try-klaus-stephen2.ly

Stephen
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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

here are 4 and 5 of the ly files that I attempted

final is the same as 5 using variables

http://mglessons.com/lilypond/try-final.ly

http://mglessons.com/lilypond/try5.ly


confused how to keep the staff going I used 2 scores  anyway

http://mglessons.com/lilypond/try4.ly


Stephen
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Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

ok did it :)

One score no hacks really and ... ya works great!

http://mglessons.com/lilypond/try5.pdf

Stephen
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Re: combining simultaneous notes

[Stephen MacNeil]

What do you mean by ‘works’?

well what he posted .. The top looks like the bottom does! on 2.18.2

Well, this is clearly a hack. I’m surprised that Lily doesn’t complain.
More precisely: it’s improper to use two voices and fake the look of one
voice by tweaking stem direction.

OK 

And it won’t work in any but the simplest cases.
Also: please, for the sake of legibility, please put spaces around _every_
{ and = and \\. The \\ should get a line of its own, unless the entire
 expression is placed on one line. It’s just imprudent to be so greedy
with space at the expense of legibility, and if you’re publishing your
code, it’s not a matter of your personal preference alone.

:)

Regards, Simon

Stephen

On Wed, Jun 3, 2015 at 3:36 PM, Simon Albrecht simon.albre...@mail.de
wrote:

 Am 03.06.2015 um 21:19 schrieb Stephen MacNeil:

 The example works on

 What do you mean by ‘works’?


 \version 2.18.2

 so i guess it's a 2.19.22 issue

 I tested it on lilybin and this works in 2.19.21 for your example
 anyway. not sure of 2.19.22 as i don't have it


 \version 2.19.21
 aa={a4 b a b}
 bb={a4 g a g}
 \new Staff {
 
   \aa\\
   \stemUp\bb

 Well, this is clearly a hack. I’m surprised that Lily doesn’t complain.
 More precisely: it’s improper to use two voices and fake the look of one
 voice by tweaking stem direction. And it won’t work in any but the simplest
 cases. Also: please, for the sake of legibility, please put spaces around
 _every_ { and = and \\. The \\ should get a line of its own, unless the
 entire  expression is placed on one line. It’s just imprudent to be so
 greedy with space at the expense of legibility, and if you’re publishing
 your code, it’s not a matter of your personal preference alone.

 Regards, Simon

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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

Thanks
Stephen

On Wed, Jun 3, 2015 at 3:51 PM, Simon Albrecht simon.albre...@mail.de
wrote:

  You can see them on
 http://lilypond.1069038.n5.nabble.com/Creating-cut-away-or-scrapbook-scores-in-LilyPond-td177436.html
 http://lilypond.1069038.n5.nabble.com/Creating-cut-away-or-scrapbook-scores-in-LilyPond-td177436.html
 .
 ~ Simon


 Am 03.06.2015 um 21:41 schrieb Stephen MacNeil:

  No i doesn't show

  Stephen

 On Wed, Jun 3, 2015 at 3:27 PM, Simon Albrecht simon.albre...@mail.de
 wrote:

 Am 03.06.2015 um 21:26 schrieb Stephen MacNeil:

 have a sample of what it should look like?

  There was one inline, didn’t you receive it?
 ~ Simon




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RE:Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

have a sample of what it should look like?

Stephen
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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

No i doesn't show

Stephen

On Wed, Jun 3, 2015 at 3:27 PM, Simon Albrecht simon.albre...@mail.de
wrote:

 Am 03.06.2015 um 21:26 schrieb Stephen MacNeil:

 have a sample of what it should look like?

 There was one inline, didn’t you receive it?
 ~ Simon

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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

What one first or second?

http://mglessons.com/lilypond/try.pdf

http://mglessons.com/lilypond/try2.pdf

Stephen
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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

sorry missed sending here
This is what I got a bit different but as they say close enough for rock
and roll :)

http://mglessons.com/lilypond/try.pdf

On Wed, Jun 3, 2015 at 6:09 PM, Stephen MacNeil classicalja...@gmail.com
wrote:

 This is what I got a bit different but as they say close enough for rock
 and roll :)

 http://mglessons.com/lilypond/try.pdf

 Stephen

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RE:Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

well here are my goes at it
first
http://mglessons.com/lilypond/try.pdf

second
http://mglessons.com/lilypond/try2.pdf
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RE:Accidentals in cadenzas after barlines

[Stephen MacNeil]

you can also do

#(set-accidental-style 'forget 'Score)
then

#(set-accidental-style 'modern 'Score)

to go back

%%%



\version 2.18.2


\language english


\score {


 \new Staff \with {

\remove Time_signature_engraver

}


 \relative c {

\key c \major

\clef bass

\set Timing.defaultBarType = 

\cadenzaOn

#(set-accidental-style 'forget 'Score)

{

c4 cs \bar | c cs

}

\cadenzaOff

#(set-accidental-style 'modern 'Score)

c4 cs \bar | c cs

}

}



HTH
Stephen
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Re: Accidentals in cadenzas after barlines

[Stephen MacNeil]

I agree \accidentalStyle is nice syntax. And i agree my example was over
kill for the situation (But works). However I disagree, on Score vs
Voice/Staff. If you need to change in and out of using accidentals for
example in a book. Score works well.

Take this example

http://burrito.whatbox.ca:15263/imglnks/usimg/4/4b/IMSLP02260-Bach_-_BGA_-_BWV_1056.pdf

page 3

here is a quick typeset.

http://mglessons.com/lilypond/accid.pdf

If I want to switch in and out of styles I wouldn't put it in the layout
block or global so the solution is Score I could however right it in each
part that needs to be changed but that would be rather weird. I jest of
course. But that's my understanding of it -- Am i missing something?

Thanks
Stephen

Apart from \accidentalStyle having a nicer syntax, I strongly suspect
that you don't use the last argument correctly.  'Score implies that any
temporary accidentals should hold for the whole score across all
systems.  That would be kind of unusual.  Most accidentals hold
per-Staff.  Piano accidentals may hold per PianoStaff, and there are
also per-Voice accidentals.  But per-Score would be rather weird.

--
David Kastrup
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Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

Well I had fun at this game, so I wanted to see it in action. The first
section requires a little tweak here and there but after that it's good.

I modeled it after your example (spacing)

http://mglessons.com/lilypond/try4-orig.pdf

After i formatted it :)

then i adjusted the spacing. and here it is. My go at it.

http://mglessons.com/lilypond/try4.pdf

Stephen
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RE:Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

actually I just thought of a way to avoid to scores -- then it would be
perfect :) in my eyes.

Stephen
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Re: Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

Well as it's been pointed out in another thread from Simon. My work is
sometimes a bit hacky!

However I look at it this way if something needs to be done I do it the
best I can with the knowledge I have at the time.
If there is no solution then I think hacky works until one better comes
along! after all what is the alternative - not to do it? Wait?

Anyway it's Hacky :) i use two scores one for the intro and one for the
body etc. BUT it works! and after all i am more concerned about having a
printable sheet then having it the LP way. I figure any solution is better
then non!

That said sure you can have it but it's a big file and i was already nailed
on improper spacing and  \\ etc. so I can send it if you like. let me
know.

Stephen
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Creating cut-away or scrapbook scores in LilyPond

[Stephen MacNeil]

Here is my last (hope) attempt unless I get a better idea. but it seams
good.

http://mglessons.com/lilypond/try3.pdf

cheers
Stephen
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tuplet beam

[Stephen MacNeil]

use [ ]

eg

%%%

\version 2.18.0


\score {

\new PianoStaff 

\new Staff = upper

\relative c'' {

\clef treble

\key g \major

\time 6/8

\tempo \markup {Variation 5}


 \set Timing.beamExceptions = #'()

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

\set Timing.beatStructure = #'(1 1 1 1 1 1 )

\override TupletNumber #'stencil = ##f

\override TupletBracket #'bracket-visibility = ##f

  \partial 8 r8 |

\tuplet 3/2 {r16 d'-3 c b [bes-3 a] } g8-.

\tuplet 3/2 {r16 c-3 b a [gis g-2 ]} fis8-. |

   }

 \new Staff = lower

\relative c {

\clef bass

\key g \major

\time 6/8

 \partial 8 \clef treble  b''_3 d-1 8^. |

   }

 

 }

%%%


HTH

Stephen
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Re: tuplet beam

[Stephen MacNeil]

your welcome

Stephen

On Tue, Jun 2, 2015 at 12:05 PM, Mark Stephen Mrotek carsonm...@ca.rr.com
wrote:

 Stephen,



 Thank you .



 Mark



 *From:* Stephen MacNeil [mailto:classicalja...@gmail.com]
 *Sent:* Tuesday, June 02, 2015 4:49 AM
 *To:* carsonm...@ca.rr.com; Lilypond-User Mailing List
 *Subject:* tuplet beam



 use [ ]

 eg

 %%%

 \version 2.18.0



 \score {

 \new PianoStaff 

 \new Staff = upper

 \relative c'' {

 \clef treble

 \key g \major

 \time 6/8

 \tempo \markup {Variation 5}



 \set Timing.beamExceptions = #'()

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

 \set Timing.beatStructure = #'(1 1 1 1 1 1 )

 \override TupletNumber #'stencil = ##f

 \override TupletBracket #'bracket-visibility = ##f

 \partial 8 r8 |

 \tuplet 3/2 {r16 d'-3 c b [bes-3 a] } g8-.

 \tuplet 3/2 {r16 c-3 b a [gis g-2 ]} fis8-. |

 }

 \new Staff = lower

 \relative c {

 \clef bass

 \key g \major

 \time 6/8

 \partial 8 \clef treble  b''_3 d-1 8^. |

 }

 

 }

 %%%



 HTH

 Stephen



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Re: Dynamic mark at the end of a bar

[Stephen MacNeil]

this one centers it



Long =


#(define-music-function


(parser location str dyn)


(number? string?)


#{


-\markup


{


\halign #-1


\rotate #180


\combine


\draw-line #`(,str . 0.7)


\draw-line #`(,str . -0.7)

\vcenter

\dynamic $dyn


}


#}


)


{


c''4_\Long #-15.5 f


}


{


c''4_\Long #-15.5 p


}


{


c''4_\Long #-15.5 


}



On Tue, Jun 2, 2015 at 12:20 PM, Stephen MacNeil classicalja...@gmail.com
wrote:

 it works on one note and an none - i added dynamic markup for you


 Long =


 #(define-music-function


 (parser location str dyn)


 (number? string?)


 #{


 -\markup


 {


 \halign #-1


 \rotate #180


 \combine


 \draw-line #`(,str . 0.7)


 \draw-line #`(,str . -0.7)


 \dynamic $dyn

 }


 #}


 )


 {


 c''4_\Long #-15.5 f


 }


 {


 c''4_\Long #-15.5 p


 }

 {


 c''4_\Long #-15.5 


 }


 Stephen

 On Tue, Jun 2, 2015 at 11:47 AM, David Sumbler da...@aeolia.co.uk wrote:

 Thanks to all for your consideration of the problem I have been having
 in placing a dynamic at the end of a bar.

 Stephen's 2 solutions are quite effective in some cases, but so far as I
 can see cannot be made to work when there is a single note (e.g. a
 semibreve) which has to carry the hairpin.

 The solution using \afterGrace is not dissimilar (or so it seems to me)
 to David's original suggestion of using a parallel music expression with
 spacer rests to position the final dynamic.

 The trouble is, that these are all in one sense work-arounds, and might
 give problems where the music in question is to be used in both a score
 and parts.  Of course, this difficulty can easily be got around by using
 tags to create 2 different versions, one for the score and one for the
 part.

 Why do I refer to all of these as work-arounds?  It is because none of
 them actually directly achieves what we want.  Whether it is my dynamic
 at the end of a bar (which some people seem to consider unorthodox,
 though I disagree) or a pair of grace-notes after a trill, we know where
 the item should appear: it is just before the barline (or the following
 note, if it is not at the end of a bar).  All the work-arounds fake this
 by placing the object in relation to a note or rest which occurs near
 the end of the bar, and then if necessary adjusting the horizontal
 offset.  And, so far as I can see, we cam only find the correct values
 by trial and error.  Even then we might have to change them because of
 later editing.

 There is absolutely nothing at all wrong with this.  But it would be
 nice if we could just place the object where we actually want it, i.e.
 in relation to the bar-line, and know that that is where it is going to
 appear no matter what might happen with the spacing of the bar during
 editing or compilation.

 David



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Re: Dynamic mark at the end of a bar

[Stephen MacNeil]

it works on one note and an none - i added dynamic markup for you


Long =


#(define-music-function


(parser location str dyn)


(number? string?)


#{


-\markup


{


\halign #-1


\rotate #180


\combine


\draw-line #`(,str . 0.7)


\draw-line #`(,str . -0.7)


\dynamic $dyn

}


#}


)


{


c''4_\Long #-15.5 f


}


{


c''4_\Long #-15.5 p


}

{


c''4_\Long #-15.5 


}


Stephen

On Tue, Jun 2, 2015 at 11:47 AM, David Sumbler da...@aeolia.co.uk wrote:

 Thanks to all for your consideration of the problem I have been having
 in placing a dynamic at the end of a bar.

 Stephen's 2 solutions are quite effective in some cases, but so far as I
 can see cannot be made to work when there is a single note (e.g. a
 semibreve) which has to carry the hairpin.

 The solution using \afterGrace is not dissimilar (or so it seems to me)
 to David's original suggestion of using a parallel music expression with
 spacer rests to position the final dynamic.

 The trouble is, that these are all in one sense work-arounds, and might
 give problems where the music in question is to be used in both a score
 and parts.  Of course, this difficulty can easily be got around by using
 tags to create 2 different versions, one for the score and one for the
 part.

 Why do I refer to all of these as work-arounds?  It is because none of
 them actually directly achieves what we want.  Whether it is my dynamic
 at the end of a bar (which some people seem to consider unorthodox,
 though I disagree) or a pair of grace-notes after a trill, we know where
 the item should appear: it is just before the barline (or the following
 note, if it is not at the end of a bar).  All the work-arounds fake this
 by placing the object in relation to a note or rest which occurs near
 the end of the bar, and then if necessary adjusting the horizontal
 offset.  And, so far as I can see, we cam only find the correct values
 by trial and error.  Even then we might have to change them because of
 later editing.

 There is absolutely nothing at all wrong with this.  But it would be
 nice if we could just place the object where we actually want it, i.e.
 in relation to the bar-line, and know that that is where it is going to
 appear no matter what might happen with the spacing of the bar during
 editing or compilation.

 David


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Re: Dynamic mark at the end of a bar

[Stephen MacNeil]

Hi david

Can you tell me where this is located in the lilypond directory. what file
etc. or where one could get the information on line ie where you got it!


Thanks
Stephen
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Re: Arrastres: function scheme question - Built from ideas of Simon and David -- Dynamic mark at the end of a bar

[Stephen MacNeil]

Thank you for that

Stephen
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Arrastres: function scheme question - Built from ideas of Simon and David -- Dynamic mark at the end of a bar

[Stephen MacNeil]

I used the first snippet posted by Simon for an Arrastres function. Then I
noticed Davids post for afterGrace so I tried my hand at that.

Both work but I have a few questions.

In the first posted by simon I did it my typical way. And it works like all
my other functions. Typically I use modified lily functions like bendAfter
(one of my favorite to use). In all cases I can't figure out how to add the
command in the function. So although it works it could be better.

Here is the code

 %%%

\version 2.18.2

Arrastres =

#(define-music-function

(parser location len

mus note)

(number?

ly:music? ly:music?)

#{

\afterGrace

$mus

{

\once \override Flag.stroke-style = #grace

\once \override NoteHead.extra-spacing-width = #`(,len . 1)

s1*0 \stemUp $note

}

#})


mus = \relative c' {

\time 2/4

\key g \major

\stemDown dis16 fis dis b c a g \Arrastres #-3 fis \glissando c'8|

a c2

}


\score {

\mus

}

%%


My question is where do I add \glissando in the function so I don't have to
write it everytime.


The second modified from the snippet posted by David afterGrace works great
and I even got it so i don't need \glissando. But again I have questions.


Here is the code


%

\version 2.18.2

Fraction = #(cons 6 8)

Arrastres =

#(define-music-function (parser location len main grace) (number? ly:music?
ly:music?)

(_i Create @var{grace} note(s) after a @var{main} music _expression_.)

(let ((main-length (ly:music-length main))

(fraction (ly:parser-lookup parser 'Fraction)))

(make-simultaneous-music

(list

main

(make-sequential-music

(list


 (make-music 'SkipMusic

'duration (ly:make-duration

0 len

(* (ly:moment-main-numerator main-length)

(car fraction))

(* (ly:moment-main-denominator main-length)

(cdr fraction

 #{

\once \override Flag.stroke-style = #grace

#}

 (make-music

'GraceMusic

'element grace)))

#{

\glissando

#}


\relative c' {c \Arrastres #6 c e8 e}


%%%


well where to begin...


first why is Fraction = #(cons 6 8) and not Fraction = #(cons 1 1) or 2 2
etc. 6 8 seams rather small. Is it so in some cases there is not to much
space?


second

'duration (ly:make-duration

0 len

was set 0 0 ... again why. I assume the first number is notes occupied? and
the second distance. Why 0 on the second. and isn't this just a recap of
Fraction = #(cons 6 8)? or is one gliss length and the other note distance
(both having the same effect -- so make one 0 )-- i assume.


Thanks


Stephen
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RE:Arrastres: function scheme question - Built from ideas of Simon and David -- Dynamic mark at the end of a bar

[Stephen MacNeil]

the second didn't work correctly so i changed it

\version 2.18.2

Fraction = #(cons 6 8)

Arrastres =

#(define-music-function (parser location len main grace) (number? ly:music?
ly:music?)

(_i Create @var{grace} note(s) after a @var{main} music _expression_.)

(let ((main-length (ly:music-length main))

(fraction (ly:parser-lookup parser 'Fraction)))

(make-simultaneous-music

(list

main

(make-sequential-music

(list


 (make-music 'SkipMusic

'duration (ly:make-duration

0 0

(* (ly:moment-main-numerator main-length)

(car fraction))

(* (ly:moment-main-denominator main-length)

(cdr fraction

 #{

\once \override Flag.stroke-style = #grace

\once \override NoteHead.extra-spacing-width = #`(,len . 1)

#}

 (make-music

'GraceMusic

'element grace)))

#{

\glissando

#}


\relative c' { \time 2/4 dis16 fis dis b c a g \Arrastres #-3 fis c' |

a c2~ q4 s4 |}





but now it needs a negative number


stephen
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beaming problem

[Stephen MacNeil]

Haipeng

Lily isn't wrong as there is no indication on grouping. 5/4 and 6/4 can be
grouped many ways is 5/4 2+3 3+2 1+4 etc. The same as 6/4 3+3 2+2+2 2+4
etc. Anyway I think sibelius just chose a default and you happened to want
that. Or, your some how indicated to it that is what you wanted. Anyway, to
group it like that


\score {

 \new Staff \relative c'' {

 \clef treble \time 2/4

b16 b b b b b b b |

\time 3/4

b b b b b b b b b b b b |

\time 4/4

b b b b b b b b b b b b b b b b |

\time 5/4

% disable beamExceptions

\set Timing.beamExceptions = #'()

%%%

% beat

\set beatStructure = #'(3 2)

\repeat unfold 20 b

\time 6/4

\set Timing.beamExceptions = #'()

\set baseMoment = #(ly:make-moment 1/4)

\set beatStructure = #'(3)

\repeat unfold 24 b

}

}

However the following is more clear IMHO

 \score {

 \new Staff \relative c'' {

 \clef treble \time 2/4

b16 b b b b b b b |

\time 3/4

b b b b b b b b b b b b |

\time 4/4

b b b b b b b b b b b b b b b b |

\time 5/4

% disable beamExceptions

\set Timing.beamExceptions = #'()

%%%

\set subdivideBeams = ##t

\set beatStructure = #'(3 2)

\repeat unfold 20 b

\time 6/4

\set Timing.beamExceptions = #'()

\set subdivideBeams = ##t

\set baseMoment = #(ly:make-moment 1/4)

\set beatStructure = #'(3)

\repeat unfold 24 b

 }

}

you can also use [ ] to manually set the beams

{\time 6/4 b [b b b b b b b b b b b] b [b b b b b b b b b b b] |}

HTH
Stephen



 Hello,
   I'm now composing an orchestral work, in which there are plenty of
 meter changes such as 5/4 and 6/4. Since I'm blind, I gave part of it
 to a teacher, and he told me that the beaming in 5/4 and 6/4 is
 incorrect. He told me the beaming must be clear for performance, so
 5/4 must be 3/4+2/4, and 6/4 3+3. So, please look at the two pictures
 in zipped attachment. The one was directly from Lilypond, and the
 other from Sibelius, in which I imported the midi file. The beaming in
 Sibelius is correct, while in Lilypond, all 16th notes are grouped as
 4th. I checked the time-signature-setting.scm, and found the setting
 for 6/4 is wrong. Although the comment says for 32nd notes, the line
 below it still groups 16ths as 4ths. Is this a mistake? Could anyone
 check the theory book for beaming rules and correct the scm file? I
 myself modified it and added 5/4, but don't know whether the problem
 has been solved.
 Thank you in advance!

 Regards
 Haipeng
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RE:Center note column bug

[Stephen MacNeil]

You would need to talk to david or harm, I have no idea.

But a workaround is

\once \override Staff.Dots.extra-offset = #'(-2.6 . 0)

you would need to adjust it as the measures in the line increase/decrease
with formatting


HTH

Stephen
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Re: Is Sibelius really as bad as this?

[Stephen MacNeil]

In frescobaldi the tie was picked up as a slur

Stephen
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