Re: Installing 2.24.1
On 11/04/2024 21:37, Jean Abou Samra wrote: Is voiceTromboneB.ily really in the*current* directory? Namely D:\Users\Anthony\My Git\music\GBB-Concert\_Grandioso\ (and not, e.g., D:\Users\Anthony\My Git\music\GBB-Concert\)? Well, if voiceTromboneB.ily was in the parent directory, it would really mess things up. I split the notes, the layout etc into separate files in the same directory, and there's no way things would work if I tried to have multiple files, each with the the notes for their piece, all with the same name, and all in the same folder ... !!! > > Bear in mind I'm running Windows, so I don't want to run lilypond > > from the command line. I double-click a .ly file, it runs lilypond, > > and my pdf appears (or at least it does, running the old version). > That particular workflow however is not supported out of the box > anymore, since the distributed artifacts are no longer .exe > installers. ??? > It might be possible to recreate it, but I don't know if Windows will > let you associate a file extension with an arbitrary program or if it > only supports associating with a GUI app. Given that it works fine for the previous version of lilypond (which once installed is pretty much identical) why wouldn't it work for this version? I'll have to try Aaron's instructions to see if they work. Cheers, Wol
Re: Installing 2.24.1
On 07/04/2024 11:50, Werner LEMBERG wrote: There is a web page that deals with command-line installation, if that's what you want: https://lilypond.org/doc/v2.24/Documentation/learning/command-line-setup Thanks. So basically "yes", I guessed as much. I just need to re-associate the new version of lilypond with .ly files... If you have a chance please check these instructions for correctness; I'm not a regular Windows user, and there might be errors and/or problems due to my clumsy testing. Well, it doesn't appear to work ... Bear in mind I'm running Windows, so I don't want to run lilypond from the command line. I double-click a .ly file, it runs lilypond, and my pdf appears (or at least it does, running the old version). What I did was open a command shell as administrator, and extracted lilypond into Program Files. I then opened a .ly file and - nothing happened! Or rather, nothing useful happened. A popup window opened, and disappeared. No log files, no output, no nothing. Okay. Tried to run it the un-windows way of using the command line. Complete pain in the ass, I'm afraid. And at least I can see the error messages ... D:\Users\Anthony\My Git\music\GBB-Concert\_Grandioso>"c:\Program Files\lilypond-2.24.3\bin\lilypond.exe" partTromboneB.ly GNU LilyPond 2.24.3 (running Guile 2.2) Processing `partTromboneB.ly' Parsing... partTromboneB.ly:6:10: error: cannot find file: `voiceTromboneB.ily' (search path: `c:/Program Files/lilypond-2.24.3/share/lilypond/2.24.3/ly;c:/Program Files/lilypond-2.24.3/share/lilypond/2.24.3/ps;c:/Program Files/lilypond-2.24.3/share/lilypond/2.24.3/scm;c:/Program Files/lilypond-2.24.3/share/lilypond/2.24.3/fonts/otf/;c:/Program Files/lilypond-2.24.3/share/lilypond/2.24.3/fonts/svg/;') \include "voiceTromboneB.ily" partTromboneB.ly:23:41: error: unknown escaped string: `\voiceTromboneB' \voiceTromboneB partTromboneB.ly:23:41: error: string outside of text script or \lyricmode \voiceTromboneB Note: compilation failed and \version outdated, did you update input syntax with convert-ly? https://lilypond.org/doc/v2.24/Documentation/usage/updating-files-with-convert_002dly Interpreting music...[8] Preprocessing graphical objects... Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Converting to `partTromboneB.pdf'... fatal error: failed files: "partTromboneB.ly" D:\Users\Anthony\My Git\music\GBB-Concert\_Grandioso> So it looks like it's searching the program directory for my include files, and not the current directory where they actually are! Note that running the older lilypond correctly compiles the file. Cheers, Wol
Re: Landscape printing
On 07/04/2024 21:15, David Wright wrote:
\version "2.24.0" % 2017-06-14
%% Seehttp://lists.gnu.org/archive/html/lilypond-devel/2017-05/msg00017.html
%% The paper itself is rotated to landscape.
\paper {
#(set-paper-size "letterlandscape")
}
Cheers,
David.
So I guess what SHOULD work is
\paper {
#(set-paper-size "a4landscape")
\include "../../Include/paper.bookTitleMarkup.ily"
}
Guess what :-( it has absolutely no effect. (And I tried putting the
paper block both before, and after, the score. I think I also had it
inside the score block at one point.)
That's why I'm so puzzled, because Colonel Bogey has landscape music.
Grandioso - absolutely nothing works.
Cheers,
Wol
Landscape printing
I'm having fun trying to get things to print landscape. Okay, I'm doing
"monkey see monkey do" programming, but I have two apparently almost
identical files, one of which prints landscape, the other portrait.
Even worse, putting the stuff in the paper block seems to be completely
ignored. Okay, part of it is confusion between "set-paper-size" and
"set-default-paper-size", but at the end of the day, nothing makes
sense. I attach two "part" files which are almost identical. Both have
set-default-paper-size in the layout block. Both are physically
portrait, but Grandioso (the one I'm working on) is fully portrait.
Colonel Bogey is on its side, so it's effectively landscape that's been
rotated 90 degrees.
Okay, my ideal scenario would be to have the page properly landscape,
but I can't even get the music to rotate on the page ... is there
anything obviously different and wrong with Grandioso compared to
Colonel Bogey?
The other ideal scenario would be to actually understand what's going on
:-) I've read the manual
https://lilypond.org/doc/v2.25/Documentation/notation/setting-the-paper-size
but like most man pages it probably only makes sense once you already
understand it ...
(Comment out bookTitleMarkup - I've just redefined/overridden the
standard one to give a Brass Band header rather than an orchestral header.)
Cheers,
Wol\version "2.10.2"
\include "english.ly"
%\include "header.ily"
\include "voiceStaff.ily"
\include "voiceTrombone.ily"
\header {
\include "header.ily"
instrument = \markup \line { "1st Trombone" \tiny \smaller \smaller \musicglyph #"clefs.F" }
}
%#(ly:set-option 'point-and-click #f)
%#(set-global-staff-size 15.87)
\score {
\new Staff {
\set Score.skipBars = ##t
{
\clef "bass"
<<
\voiceTimeSig
\keepWithTag #'TromI \voiceTrombone
\voiceMarkup
% \voiceDynamicsI
>>
}
}
\layout {
% system-system-spacing #'minimum-distance = #0
system-system-spacing #'padding = #0
%#(set-default-paper-size "a4" 'landscape)
% systems-per-page = 6
page-count = 1
% #(layout-set-staff-size 5)
}
}
\paper {
% systems-per-page = 6
\include "../../Include/paper.bookTitleMarkup.ily"
}
\version "2.10.0"
voiceTimeSig = {
% \numericTimeSignature
\time 6/8
\key bf \major
s2.*8
s2.*70
s1*16
s1*16
s1*16
\key bf \major
\repeat volta 2 { s1*14 } \alternative { { s1*2 } { s1*2 } }
\repeat volta 2 { s1*29 } \alternative { { s1*2 } { s1*2 } }
}
voiceMarkup = {
s2.*8 \bar "||"
s2.*70 \bar "||"
s1*16 \bar "||"
s1*16 \bar "||"
s1*16
\repeat volta 2 { s1*14 } \alternative { { s1*2 } { s1*2 } }
\repeat volta 2 { s1*29 } \alternative { { s1*2 } { s1*2 } }
}
% mbreak = {}
mbreak = { \break }
voiceTrombone = \transpose c' c' \relative c' {
r4 f8\ff ef4 d8 | c2. r4 ef8 d4 c8 | bf2. r8 d c bf a g | f4.-> fs-> g-> a->
bf4-> r8 r4 r8 ||
bf,2.->\p ~ bf4. c-> d-> ef-> ~ ef2. | f2.-> ~ f4. g->
\mbreak % 2
f-> ef-> ~ ef2. | d-> ~ d c-> ~ c |
bf-> ~ bf ~ bf8\<( b c cs d ef | e f fs g gs a) bf2.\f ~ bf4. c-> d-> ef-> ~
ef2. | f-> ~ f4. g4.-> |
\mbreak % 3
f4.-> ef-> ~ | ef2. d-> ~ d c-> ~ c | bf8( a af g gf f | ff ef d df c cf | bf
r4
<<
\tag #'TromI { bf'4. ~ bf2. ~ bf8 r4 bf4.-> ~ bf2. a8\<( fs g gs a bf
\mbreak b c cs d df ef) }
\tag #'TromII { df4.-> ~ df2.( d8) r4 df4.-> ~ df2. c8\<( fs g gs a bf
\mbreak b c cs d df ef) }
>>
\resetRelativeOctave f'
f2.->\ff ~ f4. g,-> a->bf-> ~ bf2. c2.-> ~ c4. d-> | c-> bf-> ~ bf2. a-> ~ a
g-> ~ g | f'8(\> e ef d df c | cf bf a af g gf)\!
\mbreak % 5
f4 r8
<<
\tag #'TromI { c'4.( d ef) }
\tag #'TromII { a'( bf c) }
>>
\resetRelativeOctave bf,
bf2.-> ~ bf4. c-> d-> ef-> ~ ef2. f-> f4. g-> f-> ef-> ~ ef2. d-> ~ d c-> ~ c
bf4-> r8 r4 r8 r4 r8
<<
\tag #'TromI { ef4.->( \mbreak d8) r4 r4 r8 r4 r8 ef4.->( d8) r4 d4.-> ~
d2. }
\tag #'TromII { a'4->( \mbreak bf8) r4 r r8 af4.-> bf8 r4 af4.-> ~ af2. }
>>
||
<<
\tag #'TromI { g4. ~ g4 a8 bf2. ef d4. c f,4. ~ f4 g8 af2. d c4. bf g4. ~
g4 a8 bf2. c c4. c }
\tag #'TromII { ef4. ~ ef4 f8 g2. ef d4. c d,4. d4 ef8 f2. d' c4. bf ef,4.
~ ef4 f8 g2. c a4. a }
>>
\mbreak 7
\mbreak
\mbreak
\mbreak
\mbreak
\mbreak
\mbreak
}
\version "2.18.2"
\include "english.ly"
%\include "../../functions.ily"
%\include "header.ly"
\include "voiceStaff.ily"
\include "voiceTromboneI.ily"
\header {
\include "header.ily"
instrument = "1st Trombone"
}
%#(ly:set-option 'point-and-click #f)
%#(set-global-staff-size 15.87)
\score {
\new Staff {
\set Score.skipBars = ##t
{
\clef "bass"
<<
\voiceTimeSig
\voiceTromboneI
\voiceMarkup
>>
}
}
\layout {
#(set-default-paper-size "a4" 'landscape)
}
}
\paper {
\include "../../Include/paper.bookTitleMarkup.ily"
}
Re: Installing 2.24.1
On 13/03/2023 02:57, Jeff Olson wrote: On 3/11/2023 10:37 PM, Mark Stephen Mrotek wrote: My experience installing Lilypond is with the Windows Installer. I know what a Zip file is yet I have never used one to install a program. Is there some more detailed instructions than what is provided in The Graphical Setup for Windows? Quoting the Graphical setup under Windows: http://lilypond.org/doc/v2.24/Documentation/learning/graphical-setup-under-windows "The file will a ZIP archive called ‘lilypond-x.y.z-mingw-x86_64.zip’ (where “mingw” means it’s for Windows). Extract this in the file explorer. Place the resulting directory lilypond-x.y.z-mingw-x86_64 in a permanent location; the actual folder doesn’t matter, you just need to put it somewhere you won’t move it afterwards. For example, you could choose your home folder." Actually, on Windows the folder *does* matter. Depending upon where you want the installed location to be, you may need to do some extra steps to overtly "run as administrator". Previous releases of LilyPond used the Windows installer to handle this aspect for you (the familiar "Do you want to allow this program to make changes on your computer?"). But the extract step in the 2.24 instructions fails if you choose the typical (protected) Windows place under Program Files. Following up on this, I've just gone to upgrade my lilypond installation. There's two problems, in that going to the 2.25 download page says "here is 2.24". BUT ALSO > What exactly is your problem? > The basic procedure is simple, assuming that you are using > Frescobaldi: What if this assumption is wrong? I've NEVER used Frescobaldi (or rather, the one time I tried I didn't see the point). Will it work if I "install as administrator" and then tell Windows to run lilypond when I click on a .ly file? Is there any reason for expecting me to install an unwanted program, in order to get a program I do want? Or are you trying to force everybody to use Frescobaldi? Why? Cheers, Wol
Re: [large/complex projects] where should transpositions go?
On 28/01/2024 21:56, Timothy Lanfear wrote: Set up new contexts (TrebleStaff, TenorStaff) that automatically insert the right clef, and transpose the notes up an octave in the TrebleStaff. Are the notes supposed to be PLAYED an octave higher/lower, or just written. Cause if they're just to be written, then don't transpose, just use the treble_8 or treble^8 clefs (not sure whether I've got the latter right :-) But I use treble_8 all the time for my trombone music ... Cheers, Wol
Re: Transpose from major to minor key
On 10/01/2024 21:26, Butter Cream wrote: Hi, I have a piece of music written in the key of G major and I want the pitches to transpose to e minor. How do I do this. When I use the command \transpose g e it changes to E major (all g notes are sharped) You need to remember lilypond thinks in terms of pitch, not note names. Unlike some (most?) other music software. So "\transpose g e" says "transpose EVERY note up A TONE". As someone who plays a transposing instrument, this is very important to me - if my part gets transposed and others don't, the resulting piece of music is going to sound awful. I get the sort of transposition you want CAN be useful, and I'm glad it's available, but for my normal, I want transpose to behave the way it does. I work at score level in concert pitch, and then have to print off my parts transposed as appropriate. If transpose starts mucking about with modes, all of my parts are going to be a mess. Cheers, Wol
Re: Recommend practice to engrave Tutti/Solo marks for Beethoven's piano concerto
On 09/10/2023 13:05, Jun Tamura wrote: Dear List, I’ve been engraving an arrangement (for a smaller orchestra) of Beethoven’s 3rd piano concerto and I’d like your advice. There are Tutti/Solo marks on the original score https://imslp.org/wiki/Special:ImagefromIndex/761965/wc13 <https://imslp.org/wiki/Special:ImagefromIndex/761965/wc13> at the beginning and then at bars 111, 172, etc. These marks should appear above the top staff of the multi-staff score and on each part of every instrument. Is there a recommended practice to achieve this? I initially thought that \textmark would be a good choice. I embedded '\textmark “Tutti”’ on every part and then realized that several (actually, the number of the parts in the score) “Tutti” are stacked vertically above the top staff of the multi-staff score. I understand that \mark and \tempo aggregate identical marks into one line but I can’t use \mark or \tempo since only one \mark or \tempo is allowed at a specific moment and Tutti/Solo marks sometimes coincide with a tempo indication (at bar 1) or a rehearsal mark (at bar 172). Any suggestions would be greatly appriceated. Declare a voiceTuttiSolo variable and just use spacers to put them in the right place? Then when printing parts you can merge this voice in, when printing the score you can merge it in, but it's not in every part to cause that chaos. The other approach I would consider is to declare variables Tutti and Solo so you can just put \Tutti and \Solo at the appropriate places, and improve the code as and when you can. Okay, you'll have that mess initially, but once you find out how to fix it, you'll only have that one place to fix. Cheers, Wol
Re: Automatic annotation of slide positions/fingerings for brass instruments.
On 30/08/2023 09:17, samarutuk wrote: Hi Michael, thanks a lot, this looks very, very promising! I will fine tune it a bit more and then send it back to this list. The great thing is that you can also adapt it for other brass instruments e.g. tuba, French horn etc. I think the Lilypond code for my sheet music is often ugly too, and some geeks here would probably roll their eyes. But the main thing is that it works and the output is pretty (the music engraving is really wonderful (has to be said), which is why I torture myself with Lilypond then and don't always use MuseScore). When I was thinking about it, I was going to write something that would take the open harmonic scale. So for the trombone I'd pass "Bb," into the function and that would tell it that Bb,, F, Bb etc are the open notes. That then maps exactly to any other brass instrument - knowing the pitch difference between the note of interest and the next higher harmonic gives you the position / fingering (and alternatives by looking at higher harmonics). By the way, the tones of brass instruments are created by the vibrations of the lips... which also makes playing difficult and from a certain pitch quite exhausting. I tell students the easiest way to learn is just blow a raspberry down the instrument :-) so the poor tuba player is trying to blow a raspberry with his mouth open - very tricky - while the cornet player is squeezing his lips as tight as possible ... The tube is the amplifier, the slide or valves modify the tube length. It's almost like singing, with the vocal folds vibrating, and the oral cavity and throat as the amplifier, plus the tongue and jaw as the modifier …somewhat simplistically speaking. That's just as a note, because a lot of people think you're just blowing air in and pushing something I explained it to a (professional) violinist who was learning Euphonium. He said he couldn't get to grips with how brass instruments worked so I said think of it like a single-string violin. The harmonics are the equivalent of you resting your finger on a fraction to play the higher notes, and just like you move your finger up the fretboard to shorten the string and raise the note, you press valves to lengthen the tube and lower the note. The lightbulb went on :-) Cheers, Wol
Re: Automatic annotation of slide positions/fingerings for brass instruments.
On 28/08/2023 13:42, samarutuk wrote: The final hurdle with your code now is that it doesn't really take pitch into account. C3 (c) has a different default slide position on the trombone than C4 (c'). So no matter if you notate notes absolute or relative in Lilypond, you would always have to use the absolute pitch (also for transposing instruments) as basis, so that the assigned slide positions or fingerings are correct. Yup. Just remember that defaults aren't always right ... 1+3 doesn't always equal 4 ... I was looking at doing something like this, but I don't seem to "get" scheme programming to be able to do it. And as a trombonist, I often don't use default positions - given that a lot of brass music is fast chromatics, scales or arpeggios, the most appropriate position often depends on the neighbouring notes. And I remember my trumpet/cornet friends - usually when squeaking up high - actively avoiding default positions because they're dreadfully out-of-tune ... Doing this well is a lot harder than it looks. Cheers, Wol
Re: Discourse proposal status
On 06/03/2023 02:52, David Kastrup wrote: Andrew Bernard writes: I should add that a normal fresh install does not require large RAM. It's only the mbox import script. I think it's poorly written and does not constrain itself when it comes to memory. Is it necessary to run the import on the same machine that is going to run the server? What sort of VM does your hosting provider use? Can you set up the VM at home, punch a hole through the firewall/router for testing purposes, and then move it to the hosting provider as/when you think it could go live? Cheers, Wol
Re: Tips for code reusability
On 28/02/2023 22:02, TJ Kolev wrote:
I would appreciate any suggestions for the above issues. Or comments on
how I am putting together the whole score.
I do a load of brass (and concert) band stuff. And because I play
trombone I'm sensitive to transposition issues. So I always store my
parts in variables IN CONCERT PITCH.
When copying from a part, let's say it's a treble-clef trombone part, I
always wrap it in "\transpose c' bf {}". Then if I want to print a
treble-clef part I wrap the variable in "\transpose bf c' {}". And while
it may seem redundant, when printing a bass-clef part I always wrap it
in "\transpose c c {}".
And I always print parts using "\clef treble_8" or whatever as appropriate.
It means that I have no problem wondering what pitch the original part
was in - my variables are always concert. I can print it out for eg Sop,
Repiano or ordinary cornet. I can print trombone parts in bass or treble
clef. I can shift between Eb, EEb, Bb, BBb basses. Whatever.
If the conductor wants the score all in the same transposition, or in
the instrument's transposition ...
It's just knowing the internal representation is *always* concert just
makes my mental gymnastics much simpler.
Cheers,
Wol
Re: Discourse
On 26/02/2023 06:21, Werner LEMBERG wrote: But (contrary to a false statement I made about import into Discourse) you can't import mailbox format lists into Discourse simply, because, for example, the creation of users from 25 years ago who most probably no longer have the same email addresses is very problematic for various reasons. It's really a pity that such a conversion is not supported, since it would be extremely helpful in the long run. However, e-mail addresses shouldn't be exposed in the web interface (the already existing e-mail list archive doesn't do that either). The construction of threads rather relies on the 'In-Reply-To:' and 'References:' fields, AFAIK. That other list I mentioned imported their archives into Discourse - they said it would take about 5 hours there was so much, so it sounds like they went back quite a way. I know nothing about how it went, but I'm surprised there isn't some way of importing old archives into Discourse, especially as others seem to be doing exactly that. Cheers, Wol
Re: Page turning in song book: Only \scores with more than 1 page should be forced to start on even page number
On 24/02/2023 20:34, Johannes Maibaum wrote: I wanted to ask if it would be possible to improve the page-turn- breaking algorithm for the case where the user also has ragged-bottom set to #t (which you correctly assumed I was trying to use as well). If we're looking at demerits for page-breaking, can that be user-tweaked? You know I moan about page-breaking, and would usually much prefer to take a hit in readability than have to turn a page. Lilypond usually doesn't pack stuff precisely to make it easily readable, but if that means a page turn outside on a windy day... jacking it up to force one or even two systems onto the previous page would be brilliant. Cheers, Wol
Re: Policy for posts from non-members
On 21/02/2023 23:20, Andrew Bernard wrote: [Of course the moment I post people will provide proof of lists that do not need joining, but seriously, most lists do. Also, services such as Reddit require registration. It's a very basic concept.] :-) I believe pretty much all kernel.org lists don't require joining. And joining is actually pretty serious friction for some people - the more lists I join, the more likely I am to abandon attempts to help if I'm required to register. That said, I'm very sympathetic to wanting people to join. Certainly an automated response saying "you'll get a quicker response if you subscribe", but I'm not sure whether forcing people to subscribe is a good idea. (Like I've seen plenty of lists ruined by aggressively trying to prevent off-topic posts - all too often the unintended consequence is the loss of on-topic posts too ...) Cheers, Wol
Re: German notation
On 29/01/2023 18:03, Christian wrote: As a trombone player myself: yes, bass clef in anything else than concert pitch is weird... to us. But it's pretty common with bass clarinet (bass clef in b/flat or in a) and low horn parts (bass clef in f). Bass clef in F? Just pull the trigger and keep it there :-) Cheers, Wol
Re: German notation
On 29/01/2023 17:46, Lukas-Fabian Moser wrote: Bass clef for bass clarinet is not mentioned in Strauss-Berlioz (Study of instrumentation), but e.g. Rachmaninoff uses it routinely (2nd symphony, Symphonic Dances, Isle of the Dead). I'm certain Werner will be able to provide more details . Bass clef, or bass clef transposed? After all, Bass clef is simply (I presume) a case of "play the note that's written". Same as the Trombone. Treble clef, I regularly describe as "Brass Tablature" - the written notes tell you the fingering, not pitch. What I'm *NOT* used to is "tablature in bass clef" where you DON'T pitch the written note. Cheers, Wol
Re: German notation
On 29/01/2023 10:03, Mark Knoop wrote: I think Wim may be referring to the various standards of transposing the B-flat bass clarinet. - either in bass clef a major 2nd higher than sounding (as in this Strauss excerpt) IME (I'm a trombone player) this is extremely unusual. I've met maybe two pieces (could have been the same one twice) in bass clef Bb. That's in 50 years of playing ... Even worse, it was without key signature (ie all parts had accidentals only) and it didn't say it was transposed... - or in treble clef a major 9th higher than sounding (which is what he wants) This is every transposed piece I've ever seen (with the above exception). Dunno if Bass Clarinet is the same as Trombone (and maybe this is more common in Orchestral parts), but if I hit a transposed part like that it'd be a nightmare ... Cheers, Wol
Re: Supress Instrument after P. 1
On 05/01/2023 20:29, Xavier Scheuer wrote:
On Thu, 5 Jan 2023 at 21:11, Mark Mathias <mailto:d8val...@gmail.com>> wrote:
>
> Partly to duplicate a 1910 popular song layout, and partly to
continue growing in LilyPond skill, I'm wanting to suppress the
bookTitleMarkup instrument field after page 1.
>
> I've read the sections on Titles and Headers, Customizing, etc., and
other parts of the manual, and I've made a number of attempts, but I'm
not yet at the point where I understand what to do.
Hello,
The best way is to look at the definition of oddHeaderMarkup and
evenHeaderMarkup in ‘ly/titling-init.ly <http://titling-init.ly>’ and to
modify it accordingly.
If you comment (or remove) the lines containing \fromproperty
#'header:instrument, you get what you want (see below).
\paper {
oddHeaderMarkup = \markup
\fill-line {
""
% \unless \on-first-page-of-part \fromproperty #'header:instrument
\if \should-print-page-number \fromproperty #'page:page-number-string
}
evenHeaderMarkup = \markup
\fill-line {
\if \should-print-page-number \fromproperty #'page:page-number-string
% \unless \on-first-page-of-part \fromproperty #'header:instrument
""
}
}
And, because it's a system file, you have a choice. Do you want to
modify the system file, or do you want to copy it.
I've done this with header.ly or whatever it's called, and while others
might disagree, I've got my own copy of this file which I include in my
projects (don't remember off the top of my head how I did it).
But imho this is the best way to do it. When the system is updated, your
changes don't get over-written. And you remember, because your layout is
different from the default, that you have a modified version of a system
file.
(My header file lays out the piece title, composer, instrument etc in
typical brass band layout which is both noticeably different and more
compact from lily's default orchestral layout.)
Cheers,
Wol
Re: Handbell notation
On 04/12/2022 17:46, J Martin Rushton wrote:
Hi all,
Our handbell team rings some pieces from normal scores, and some from a
tablature notation. I had a go at converting one of our favourite pieces
from tablature to scores, but some of the bars become so complex that
I'm not sure this helps at all.
Has anyone else done handbells on Lilypond? As a supplementary question,
does anyone know of any software that can generate handbell tablatures?
Bit late to the party, but I attach the following piece I did for our
Rainbow Bells. We got the full set, the 8-bell octave, the 5
accidentals, and the 7 extenders. So that's, what, a range of a 12th?
It could be improved :-)
Cheers,
Wol\include "english.ly"
%Association list of pitches to colors.
#(define color-mapping
(list
(cons (ly:make-pitch 0 0 0) (x11-color 'red))
(cons (ly:make-pitch 0 1 0) (x11-color 'orange))
(cons (ly:make-pitch 0 2 0) (x11-color 'yellow))
(cons (ly:make-pitch 0 3 0) (x11-color 'green))
(cons (ly:make-pitch 0 4 0) (x11-color 'turquoise))
(cons (ly:make-pitch 0 5 0) (x11-color 'blue))
(cons (ly:make-pitch 0 6 0) (x11-color 'plum))
(cons (ly:make-pitch 0 6 -1/2) (x11-color 'blue))
(cons (ly:make-pitch 0 3 1/2) (x11-color 'green
%(cons (ly:make-pitch 0 0 1/2) (x11-color 'red))
%(cons (ly:make-pitch 0 1 -1/2) (x11-color 'red))
%(cons (ly:make-pitch 0 2 1/2) (x11-color 'green))
%(cons (ly:make-pitch 0 3 -1/2) (x11-color 'red))
%(cons (ly:make-pitch 0 4 1/2) (x11-color 'red))
%(cons (ly:make-pitch 0 5 -1/2) (x11-color 'red))
%(cons (ly:make-pitch 0 6 1/2) (x11-color 'red))
%(cons (ly:make-pitch 0 3 1/2) (x11-color 'green))
%(cons (ly:make-pitch 0 4 -1/2) (x11-color 'blue))
%(cons (ly:make-pitch 0 5 1/2) (x11-color 'blue))
%Compare pitch and alteration (not octave).
#(define (pitch-equals? p1 p2)
(and
(= (ly:pitch-alteration p1) (ly:pitch-alteration p2))
(= (ly:pitch-notename p1) (ly:pitch-notename p2
#(define (pitch-to-color pitch)
(let ((color (assoc pitch color-mapping pitch-equals?)))
(if color
(cdr color
#(define (color-notehead grob)
(pitch-to-color
(ly:event-property (event-cause grob) 'pitch)))
#(set-default-paper-size "a4" 'landscape)
#(set-global-staff-size 52)
\score {
\new Staff \relative c' {
\override NoteHead #'color = #color-notehead
\easyHeadsOn
\time 3/4
\key f \major
\partial 8
c8 | f8. f16 f4. g8 | a8. a16 a4. a8 | g a bf4 e, | g f r8 c |
\break
f8. f16 f4. g8 | a8. a16 a4. a8 | g a bf4 e, | g f r8 c' |
\break
c a d4. c8 | c bf bf4. bf8 | bf g c4. bf8 | bf g c4. bf8 | bf a a4 c, |
\break
f8. f16 f4. g8 | a8. a16 a4. a8 | g a bf4 e, | g f4. \bar "||"
}
}
Re: Duet part, rehearsal marks for both parts?
On 16/10/2022 16:47, Kieren MacMillan wrote: Hi Kenneth, I guess I should just learn how to do tags :-) Well, yes, you should… but I don't think that's the proper solution to the problem you've stated (as I understand it). 1. Put all your "global" data (time signatures, rehearsal marks, tempi, etc.) in a single variable. 2. Add that variable in a non-staff context (e.g., TextLine or MarkLine) above whichever staff context(s) you want to see the rehearsal marks. It's that simple — no tags required. =) And this is probably not the right solution in the right place, but the other "obvious" solution is, is your rehearsal mark engraver in the right context? Should you move it from staff to score context, or vice versa (I don't know which one it is, or which one it should be, just that the question makes it sound like it's the wrong one). As I say, I don't think this is your answer, but this should have been one of the first possible answers you should have thought of. Cheers, Wol
Re: Score vs. Individual Parts
On 12/09/2022 18:25, Greg Lindstrom wrote:
I have created my first full score for brass band and euphonium solo
using Lilypond (and Frescobaldi). The score looks wonderful; I've had it
bound at a local print shop and it looks downright professional. There
are a number of things to correct and I've created an issue for each and
will correct them and reengrave. Being a professional computer
programmer, I went to the trouble of checking everything into a code
repository (github) to ensure I can track all my changes and not lose
all this work if my computer decides to die.
I've ordered the Lilypond manual from Lulu and plan to read through it
to learn more about Lilypond; I do much better with printed media rather
than electronic. but have questions:
1. I'd like to place line and page breaks in the individual parts.
Being a player, I appreciate when consideration is taken as to where
page breaks fall. I have individual files for each part with the
"notes" in a separate file and the score bringing everything
together. Is it possible to place breaks in the part so it does not
affect the score?
Dead easy. Different approach to Valentin, but I always create a part
that is the music structure. No notes, just spacers, with all the
rehearsal marks, repeats, that sort of stuff. Then I overlay the notes
and if there is a mistake in either, it sticks out. I've had at least
one piece where the copy parts had gone wrong, so the two parts and the
structure all fought each other. Get that right for one part and it
makes all the other parts easy.
Okay - that's not what you were asking, but just as I have two parts -
overlaying the notes and the music, there's absolutely no reason why you
can't overlay a third part - the page structure, spacers, line breaks,
page breaks, ...
2. The score looks best on 11" x 17" paper but the first print shop
I contacted could not spiral bind anything that large (I found
another shop which could do it and I'm glad I did). I set the paper
size in the score to 8.5" x 11" and while things can fit, it is
extremely cramped. Is there a setting to reduce the size of
everything (staves, notes, dynamics, etc.) as I reduce the paper size?
Again, somewhere there is, and you just place that in the part file. I
don't think it "scales with the size of the paper", but you will need a
separate file for each part (what I call a part file) with the paper
settings etc, and the scale settings just go in that.
3. On the individual part, I'd like to place the instrument name in the
upper left corner of the page. Currently, it is on the first staff.
Same as 2, you just set the settings differently in the part file.
4. Can I place a header on the second and following pages which would
show the title and page number of the piece in a smaller font than
the first page?
Again, same as 2. I've actually redefined the header .ly file (which is
orchestral defaults) with a replacement that is more Brass Band defaults.
So much of what lilypond does is actually pull in a bunch of .ly macros
and defaults, any of which you can over-ride and replace. So that's what
I've done.
Perhaps all of this is in the manual which will be arriving in the next
few days. But any help or direction would be greatly appreciated.
Thanks for your help. I hope to start writing code snippets and
answering questions as I gain more experience.
Dunno how you've laid out your current file, but I break all my bits
into separate music variables. So I have a file for all the trombone
parts in separate variables, likewise, cornet, bass etc etc.
As I said, a variable for the music structure ... all these are suffixed
.ily (lilypond insert files).
And then my score and parts are in .ly files, and contain things like
the \score structure, the \paper structure, the \layout, etc etc.
So a single piece will be splatted across quite a few files. But because
everything makes heavy use of includes, it's all coherent.
One thing I ALWAYS ALWAYS do (because I'm a trombonist, I learnt in a
Brass Band, then had a teacher who was an orchestra guy, NOT a brass
band guy, so I read both treble and bass properly), is make sure ALL my
music variables are in concert pitch.
If it's a treble clef part, the notes are wrapped in a "\transpose c' Bf
{}", (or Ef, or F, or whatever whatever). If it's a bass clef part it's
wrapped in "\transpose c' c' {}". I know that last seems odd, but it
tells me that this part *has* been transposed, and *is* in concert.
Then when I output the part, I simply wrap it in "\transpose bf c' {}"
for a treble part, or "\transpose c' c' {}" for a bass part. I don't
have to think or worry about what sort of part my original was (and on
the odd occasion where it matters, I also know whether my input part was
treble or bass. I have VERY RARELY had the odd BF part in bass clef.
Extremely confusing ...).
Cheers,
Wol
Re: \time 9/8 (3/4)
On 29/07/2022 12:30, Kieren MacMillan wrote: Hi Carl, Just curious, because I know precious little about polymetry. Does 9/8 (3/4) mean anything different from (3 + 3 + 3)/8 ? Yes: the parenthetical notation is usually an instruction to alternate time signatures, not simply a clarification of intention. For example, in “West Side Story”, Bernstein uses 6/8 (3/4) to indicate that alternate bars should be felt/conducted as 6/8 then 3/4 then 6/8 then 3/4… You get the exact same thing with 633 Squadron. I don't know what the time signature is in the original, but I'm sure I've played arrangements where the piece is in standard 3/4, and others where it's 6/8 (3/4). In the latter, the quavers are tripleted, but the crotchets are written and played in 3/4. Even worse, if it's 3/4 it's usually conducted in waltz time one to a bar but if it's 6/8 it's conducted in 6/8. You need to make sure you know which arrangement you're playing :-) Cheers, Wol
Re: Windows laptop
On 13/02/2022 18:35, David Zelinsky wrote: Wols Lists writes: On 13/02/2022 17:36, David Zelinsky wrote: Wols Lists writes: Oh - and the other route to consider, there always used to be Ubuntu Virtualbox or Vmware images of lilypond. Virtualbox is a freebie, and I think you can get free Vmware. Why would you need that? Just run lilypond natively in Ubuntu. (Or am I misunderstanding?) Sorry yes you are. The whole point of the suggestion is (1) run lilypond natively in Ubuntu, and (2) avoid shelling out for a new PC! I wholeheartedly agree with those points! But why would you need Virtualbox or VMware? Just install the binaries from lilypond.org. If you'd been following the thread ... the whole point was the binaries wouldn't run on updated MacOS. That appears to be fixed, which was why I opened my original email with the comment that I hoped the information would be irrelevant ... :-) (but useful :-) Cheers, Wol
Re: Feedback wanted: syntax highlighting in the LilyPond documentation
On 04/01/2022 19:32, Jean Abou Samra wrote: Forgive my igorance with the inner workings of the Internet: what does this mean in connection with GDPR and all that? Am I right that the fact that the information stored on the user's device serves a purpose essential to satisfying the very request of the user means that it would fall under PECR exceptions to the requirement of a banner asking for explicit consent of the user? Otherwise, as far as I can read, the requirement is that you must ask for permission before storing or using the data, so this permission could be asked to the reader just when toggling highlighting and not for everyone reading the documentation, right? I'm a bit at loss trying to understand what is OK or not in this respect. The fact that it's stored on the user's own device (and the server never sees it) means that the GDPR is irrelevant. The GDPR places an onus on you to take appropriate care of OTHER PEOPLES' information. If you never have that information, then the GDPR is irrelevant. If you only have that information transiently, for the purpose of satisfying the user's web session, then I guess you just need to make sure that it's wiped when the session ends. The big problem actually is with the webserver itself. If it keeps logs of people accessing the website, those logs are far more of a GDPR problem than all this stuff on the web site. Cheers, Wol
Re: Advice for vocal score
On 28/11/2021 18:56, Shane Brandes wrote: Hi all, I am finishing up a larger scale work for chorus and orchestra. I started making a vocal score with piano reduction. The instruction manual A.5.2. details well enough how to make a reduction of the choral parts, but how can one drag in the bits from the orchestra parts that lay between chorus entrances in such a way that one only needs to maintain the parts themselves without making duplicate editing if changes are made? iirc it's called tags. You want to tag the orchestral part where the vocal part goes silent or re-starts. Then you can declare that tag in in the choral part and either only print the orchestral part where it's tagged, or only print it where it's untagged, I think which way round will be dictated by whatever makes the orchestral part print easily. Cheers, Wol
Re: Windows Media Player alternatives for midi playing?
On 30/10/2021 08:42, Pablo Cordal wrote: Hi, Until now, I use WMP to play the midi compiled in lilypond. I have coolsoft virtualmidisynth installed with a sf2 of my taste and no problem, everything works fine. The problem: WMP blocks the midi file while (and after) it's playing, so if I modify something in lilypond and I want to hear it, I have to close WMP, then compile, go to the folder and reproduce again.. and I'm composing so I do it a LOT of times. Except that's NOT the problem. The problem is that WINDOWS locks the file against writing if anything else has it open. You need to get WMP to drop the file. I have exactly the same problem with Acrobat Reader - if I'm viewing a score I can't run lilypond until I close Acrobat, otherwise it just fails on me because it can't overwrite the pdf. Question: anybody knows a mid player with does not block the file, so it loads the file each time for playing it? Switch to linux? Because linux doesn't tie the file name to the file, it can delete the old file without messing up any program that's got the file open, and create a new file with the same name. Many programs will then recognise the file has changed underneath it and re-read it. But basically, if you're using Windows, you're stuffed. Sorry. Cheers, Wol
Re: Licensing and custom lines
On 28/10/2021 14:39, Carl Sorensen wrote: *From: *lilypond-user on behalf of Charlie Boilley *Date: *Thursday, October 28, 2021 at 1:37 AM *To: *"lilypond-user@gnu.org" *Subject: *Licensing and custom lines Dear Lilypond community, Then, how can be 100% sure that I can keep : - my musical work closed source and share it along the license I wany by using some scripts from other users or built on snippets ? https://lists.gnu.org/archive/html/lilypond-user/2021-10/msg00398.html <https://lists.gnu.org/archive/html/lilypond-user/2021-10/msg00398.html> You have copyright in the music, not in the engraving. If your copyright were in the engraving, all one would have to do to break your copyright is to re-engrave the music. Um, no. If that were true, how come Beethoven is still copyright ... (or rather, scores of Beethoven are). Copyright exists SEPARATELY in the composition, the arrangement, the performance, and the edition. As long as you distribute only engravings (output from LilyPond), there is no assertion in GPL of a need to release source, as described in my answer to Karsten. You are free to keep the source used for the engraving closed and share it with nobody. Because the engraving is a mechanical transformation of the source, I think the correct argument is these two are one copyright. And yes, because, IFF it is all your own work, then you are under no obligation to share anything, you set your own terms, you can share the engraving separately from the source with no reference to any other licences. This also holds true when engraving eg *original* Beethoven - the original music is PD, you hold copyright in the engraving ... (and as Carl says, this will break the copyright PROVIDING the publisher doesn't hold a copyright in the arrangement ...) (Which means you can't stop anyone from using your work to re-engrave any work for which you do not hold copyright in the composition) It gets murky when engraving a lot of music from other sources, because modern composers will hold copyright in the composition. And it's not unusual for something described as "Beethoven" to be in a modern arrangement, for which the arranger will hold copyright ... In those scenarios, you're NOT free to do as you will... Copyright is a legal hairball - as soon as you start dealing with OTHER PEOPLE'S work, there be dragons ... Cheers, Wol
Re: clef change in 1st ending
On 26/10/2021 08:46, Lukas-Fabian Moser wrote: While this is technically perfect, I'd strongly advise against doing it this way: It's a recipe for disaster regarding the start of the 2nd alternative. Half of your cellists (or whatever instrument uses tenor and bass clef here) is going to play a g' here, because there's this tenor clef directly in front of the the note, separated only by the bar line (which is what you're used to in any clef change). Unfortunately, as a trombone player (for whom orchestral parts sometimes mix tenor and bass clef), parts like this aren't unusual. Yes they might confuse players, but as the tenor clef is INSIDE the first time bar, the player should ignore it when going to the second time bar. And as plenty of experienced players have drummed into me over the years, before you play a piece, CHECK THE LAYOUT. Key signatures, time signatures, clefs, etc etc. Cheers, Wol
Re: How to proofread?
On 30/11/2019 15:35, Jinsong Zhao wrote:
Hi there,
It's may be some off topic. After a long struggle, I have nearly done
the input of a sheet music. Then, I need to proofread it.
Generally, I split the screen into left and right frames, and put the
score that Lilypond output and the original one into each frame, and
read/compare notes one by one.
Is there any other ways you prefer to do proofread?
I proof-read as I go. I can't remember where it came from, but someone
on the list said "create a variable mbreak, and use it everywhere the
original manuscript has a line break. Set it to { \break } while you're
entering the music, then set it to {} when you're done."
Like you, I have one window with the original scan, and obviously
another with lilypond output, and a third with the lilypond source. But
I always proof-read the score line by line - I enter a line, compile,
proof-read, and move on to the next. Once I'm done, I null out mbreak
and let lilypond format the score as it will.
I mostly do this to transpose parts seeing as I play the trombone, so
the part may be in Bb treble clef, tenor clef, or bass clef, and I want
to print it out in treble or bass.
I also separate out the notes from the layout, so once I've
done/proofread my first part, when I do a second part I know the layout
is correct so (and I've found the parts were wrong once) if the notes
and repeats and double bars etc don't match up, I know that normally
I've messed up the notes. (On that occasion, a previous copyist had
messed up the bars ... :-)
Cheers,
Wol
