Sidekick error

[Brent Annable]

Hello people,

I'm getting an error message when using Sidekick with LilyPondTool and
jEdit. When I try to set Sidekick to Parse on Keystroke, I get the
following error message:

Error in method invocation: Method putBooleanProperty( java.lang.String,
boolean ) not found in class'org.gjt.sp.jedit.Buffer' : at Line: 4 : in
file: inline evaluation of: ``__runCachedMethod(ns) {
this.callstack.set(0,ns);   buffer.putBooleanProperty( . . . '' : buffer
.putBooleanProperty ( sidekick.keystroke-parse , ! buffer
.getBooleanProperty ( sidekick.keystroke-parse ) )

at
org.gjt.sp.jedit.bsh.BSHMethodInvocation.eval(BSHMethodInvocation.java:77)
at
org.gjt.sp.jedit.bsh.BSHPrimaryExpression.eval(BSHPrimaryExpression.java:102)
at
org.gjt.sp.jedit.bsh.BSHPrimaryExpression.eval(BSHPrimaryExpression.java:47)
at org.gjt.sp.jedit.bsh.BSHBlock.evalBlock(BSHBlock.java:130)
at org.gjt.sp.jedit.bsh.BSHBlock.eval(BSHBlock.java:80)
at org.gjt.sp.jedit.bsh.BshMethod.invokeImpl(BshMethod.java:362)
at org.gjt.sp.jedit.bsh.BshMethod.invoke(BshMethod.java:258)
at org.gjt.sp.jedit.bsh.BshMethod.invoke(BshMethod.java:186)
at org.gjt.sp.jedit.BeanShellFacade.runCachedBlock(BeanShellFacade.java:225)
at org.gjt.sp.jedit.BeanShell.runCachedBlock(BeanShell.java:423)
at org.gjt.sp.jedit.BeanShellAction.invoke(BeanShellAction.java:73)
at org.gjt.sp.jedit.gui.InputHandler.invokeAction(InputHandler.java:342)
at org.gjt.sp.jedit.jEdit$4.invokeAction(jEdit.java:3249)
at org.gjt.sp.jedit.jEdit$4.invokeAction(jEdit.java:3231)
at org.gjt.sp.jedit.EditAction$Wrapper.actionPerformed(EditAction.java:212)
at javax.swing.AbstractButton.fireActionPerformed(Unknown Source)
at javax.swing.AbstractButton$Handler.actionPerformed(Unknown Source)
at javax.swing.DefaultButtonModel.fireActionPerformed(Unknown Source)
at javax.swing.DefaultButtonModel.setPressed(Unknown Source)
at javax.swing.AbstractButton.doClick(Unknown Source)
at javax.swing.plaf.basic.BasicMenuItemUI.doClick(Unknown Source)
at javax.swing.plaf.basic.BasicMenuItemUI$Handler.mouseReleased(Unknown
Source)
at java.awt.AWTEventMulticaster.mouseReleased(Unknown Source)
at java.awt.Component.processMouseEvent(Unknown Source)
at javax.swing.JComponent.processMouseEvent(Unknown Source)
at java.awt.Component.processEvent(Unknown Source)
at java.awt.Container.processEvent(Unknown Source)
at java.awt.Component.dispatchEventImpl(Unknown Source)
at java.awt.Container.dispatchEventImpl(Unknown Source)
at java.awt.Component.dispatchEvent(Unknown Source)
at java.awt.LightweightDispatcher.retargetMouseEvent(Unknown Source)
at java.awt.LightweightDispatcher.processMouseEvent(Unknown Source)
at java.awt.LightweightDispatcher.dispatchEvent(Unknown Source)
at java.awt.Container.dispatchEventImpl(Unknown Source)
at java.awt.Window.dispatchEventImpl(Unknown Source)
at java.awt.Component.dispatchEvent(Unknown Source)
at java.awt.EventQueue.dispatchEventImpl(Unknown Source)
at java.awt.EventQueue.access$000(Unknown Source)
at java.awt.EventQueue$1.run(Unknown Source)
at java.awt.EventQueue$1.run(Unknown Source)
at java.security.AccessController.doPrivileged(Native Method)
at java.security.AccessControlContext$1.doIntersectionPrivilege(Unknown
Source)
at java.security.AccessControlContext$1.doIntersectionPrivilege(Unknown
Source)
at java.awt.EventQueue$2.run(Unknown Source)
at java.awt.EventQueue$2.run(Unknown Source)
at java.security.AccessController.doPrivileged(Native Method)
at java.security.AccessControlContext$1.doIntersectionPrivilege(Unknown
Source)
at java.awt.EventQueue.dispatchEvent(Unknown Source)
at java.awt.EventDispatchThread.pumpOneEventForFilters(Unknown Source)
at java.awt.EventDispatchThread.pumpEventsForFilter(Unknown Source)
at java.awt.EventDispatchThread.pumpEventsForHierarchy(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.pumpEvents(Unknown Source)
at java.awt.EventDispatchThread.run(Unknown Source)


Google hasn't been much help. The system I'm working on is brand-spanking
new, just out of the box today, with Windows 7 (64-bit). Otherwise
LilyPondTool is working fine, and it produces a PDF preview once I run
Lilypond from the LilyPondTool menu, but it just can't update on the fly
because of this Sidekick error.

Can anybody help?

Many thanks,

Brent.
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Spacing between continuo figures and staff/notes

[Brent Annable]

Hi everyone,

I have a question about figured bass/continuo that's been bugging me for a
while now.

Lilypond always puts the continuo figures too far from the staff for my
taste. When I use an \override BassFigure #'extra-offset command, the
figures get closer but of course they start bumping into things. What I want
is to be able to tell Lilypond to put the figures a minimum distance from
the lower limit of the staff, or if the bass note is below the staff, a
minimum distance from the bass note.

Does anybody know what code would achieve this effect? I'd really appreciate
any help.

Many thanks,

Brent.
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Can't get after-title-spacing to work (version 2.13.55)

[Brent Annable]

Hello everyone,

I'm trying to get some extra space between my header block and the first
system of my score, but I can't seem to get after-title-spacing to work. I
see that previous users have had this problem, and the problem usually
seemed to be the installed version. I am using the most recent (unstable)
version, but I still can't get the following to work:

\version 2.13.55
\paper {
after-title-spacing = #'((padding . 3))
annotate-spacing = ##t
 }
\header {
   title = Test score
   composer = Test composer
   poet = Test poet
   }
\score {
c''1
 }

The annotations still show 0.50 padding. Can anyone see what I'm doing
wrong?

Brent.
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Whole bar rest disappears

[Brent Annable]

Hi everyone,

I'm sorry for spamming the list with my little problem, but it's driving me
bananas and I'm at the end of my rope.

I produced a score from which I am now removing various sections by
commenting them out. When I do this, the whole-bar rest in the final system
of the piece disappears, and in the log file Lilypond complains of a
barcheck failure (among other less fatal things). My guess is that, despite
my efforts to tell Lilypond that I don't want any time signature in the
piece (by turning off the engraver), it is still counting somehow, and that
without the cuts the barlines coincidentally match up with what Lilypond is
counting, and with the cuts, they don't.

My question is: what is the easiest way to solve this? I've racked my brain
but am obviously still too new at this.

I've attached the files. Sorry for the lack of minimal example, but I don't
think that would be much use here anyway as the problem would probably
disappear. And I couldn't attach the PDF as it made the email too big, but
I'm using the latest release so it's simple to generate.

Many thanks for any help,

Brent.
\version 2.13.55

\header {
title = Tafelgebed voor de Epifaniëntijd
composer =  \markup {\small Jan Jansen (geb. 1946)}
poet = \markup {\small Sytze de Vries (geb. 1945)}
tagline = ##f
}

\paper  {
%%min-systems-per-page = 6
ragged-last-bottom = ##f
markup-system-spacing = #'((padding . 3))
}

figureright = \once \override BassFigure #'X-offset = 1.5
noteright = \once \override NoteHead #'X-offset = 1.5
leftalign = \once \override LyricText #'self-alignment-X = #-1

invis = \override NoteHead #'transparent = ##t
vis = \revert NoteHead #'transparent
nt = \set Score.timing = ##f
t = \set Score.timing = ##t

headS= {
\once \override NoteHead  #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup S) }

headA= {
\once \override NoteHead  #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup A) }

headT= {
\once \override NoteHead  #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup T) }

headB= {
\once \override NoteHead  #'stencil = #ly:text-interface::print
\once \override NoteHead #'text = #(markup B) }


topstaff = 
\new Voice = melody \relative c'' {
\key d \major
\override TextScript #'extra-offset = #'(-1 . 0)
r2 a^ \markup {\normalsize Voorganger} \bar |
a4 a a a \bar |
a2 r4 a^ \markup {\normalsize Allen} \bar |
a4 a b a \bar |
%{5%}   a2 fis2 \bar |
r4 fis^ \markup {\normalsize V.} fis e \bar |
fis fis r fis^ \markup {\normalsize  A.} \bar |
fis2 e4 e \bar |
d2 cis4 cis \bar |
%{10%}  d1 \bar |
a'4^ \markup {\normalsize V.} a a \bar |
a a a \bar |
b b b \bar |
a2 r4 fis^ \markup {\normalsize A.} \bar |
%{15%}  fis2 e4 e \bar |
d2 cis \bar |
d1 \bar |
d1 \bar ||
r2 d4^ \markup {\normalsize (A.)} d \bar |
%{020%} fis2 e4 e \bar |
a2 fis4 fis \bar |
b2 b4 a2 fis4 \bar |
e2 e \bar |
r2 a4 a  \bar |
%{025%} b2 b4 cis d \bar |
b2 a4 \bar |
fis2 fis4 \bar |
e2 d4 d cis \bar |
d2 d \bar ||
%{030%} r2 fis4^ \markup {\normalsize V.} fis \bar |
fis2 fis4 e \bar |
fis1 \bar |
fis4 fis8 fis fis4 e \bar |
fis2 fis \bar |
%{035%} r2 a4 a \bar |
b2 b4 b4 \bar |
a a a a \bar |
b2 b4 b \bar |
a2 fis4 fis \bar |
%{040%} e1  \bar ||

%{  ***Coupure voor Epifaniëntijd ***

r2 d4^ \markup {\normalsize A.} d \bar | 
fis2 e4 e \bar |
a2 fis4 fis \bar |
045 b2 b4 b4 \bar |
a2 fis \bar |
r2 a4 a \bar |
b2 cis4 d \bar |
b2 a4 fis \bar |
050 e4 d2 cis4 \bar |
d2 d \bar ||
r2 fis4^ \markup {\normalsize V.} fis \bar |
fis2 fis4 e \bar |
fis fis r fis \bar |
055 fis fis fis e  \bar |
fis2 fis \bar |
r2 d4 d \bar |
a'2 fis4 fis \bar |
d2 d4 a' a \bar |
060 b2 b4 b4 \bar |
a2 fis \bar || 

***Eind Coupure*** %}

r2 d4^ \markup {\normalsize Cantorij} d  \bar |
a'2 a4 a \bar |
fis2 fis4 d a' \bar |
%{065%} b2 b4 b4 \bar |
a1 \bar |
d2 d2 \bar |
cis2 b4 a \bar |
b2( a) \bar |
%{070%} a2 a4 a4 \bar |
b2 a4 g2 fis4  \bar |
e1 \bar ||
a2^ \markup {\normalsize A.} fis \breathe a2 fis  \bar |
a2 a4 a  \bar |
%{075%} fis fis fis e \bar |
fis2 fis \bar |
a2 b4 cis4 \bar |
d2 d4 d \bar |
cis2 b4 a \bar |
%{080%} b2 b2 \bar |
a2 r4 a4 \bar |
b2 a4 g2 fis4 \bar |
e2 e2 \bar |
r4 fis4^ \markup {\normalsize C.} \bar |
%{085%} fis fis fis e \bar |
fis2 fis4 fis \bar |
a2 

Re: Complicated duration

[Brent Annable]

Do you need to specify the duration? If the notes are all tied together,
won't the lyrics engraver align the syllable automatically?

Brent.

On 6 June 2011 17:14, Christopher Culver crcul...@christopherculver.comwrote:

 I am typesetting a peace of music and trying to align the lyrics to the
 melody. While this is generally simple, one climactic syllable lasts for
 a whole note plus an eighth note plus the first note of the following
 tuplet:

 \times 2/3 { a8[ aes8 ges8] }

 What is the Lilypond expression of the entire duration that I must write
 after
 the lyric?



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Old version 2.6.0?

[Brent Annable]

Hi y'all,

I'm arranging some Haydn string quartets and found some Lilypond files of
them on Mutopia, but when I go to generate them I get an error saying that
the version is too old (2.6.0) and that only versions 2.7.38 and up are
supported. I'd hate to have to create the whole thing again, so does anyone
know an easy (or at least easier) way around this? I tried simply deleting
the version number from the text file, but somehow Lilypond still knows. I
can't seem to find an old enough version of Lilypond to download either that
might still support 2.6.0.

These are the files I'm talking about:

http://www.mutopiaproject.org/ftp/HaydnFJ/O76/op76-n2/op76-n2-lys.zip

One possible solution I thought of was to find more recent files providing
string quartet architecture, and just transfer the Haydn music into that.
But if anyone has a better idea, any help would be much appreciated!

Brent.
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Re: Old version 2.6.0?

[Brent Annable]

Hi Colin,

Thanks very much, I'm still relatively new to all this and never knew about
convert-ly. Just so you know, it can be run in batch mode: to convert all
the files in a directory you type:

convert-ly -e *.ly

I had everything converted in a jiffy! Much obliged.

Brent.

On 11 June 2011 16:58, Colin Campbell c...@shaw.ca wrote:

  On 11-06-11 08:38 AM, Brent Annable wrote:

 Hi y'all,

 I'm arranging some Haydn string quartets and found some Lilypond files of
 them on Mutopia, but when I go to generate them I get an error saying that
 the version is too old (2.6.0) and that only versions 2.7.38 and up are
 supported. I'd hate to have to create the whole thing again, so does anyone
 know an easy (or at least easier) way around this? I tried simply deleting
 the version number from the text file, but somehow Lilypond still knows. I
 can't seem to find an old enough version of Lilypond to download either that
 might still support 2.6.0.

 These are the files I'm talking about:

 http://www.mutopiaproject.org/ftp/HaydnFJ/O76/op76-n2/op76-n2-lys.zip

 One possible solution I thought of was to find more recent files providing
 string quartet architecture, and just transfer the Haydn music into that.
 But if anyone has a better idea, any help would be much appreciated!

 Brent.



 It will be a bit tedious, Brent, but convert-ly seems to do the trick.
 I've no idea if it can be run in batch mode, but using a tool such as Jedit
 or Frescobaldi should make the process a bit easier.

 Colin Campbell
 Bug Squad

 --
 A chief event of life is the day in which we have encountered a mind
 that startled us.
  -Ralph Waldo Emerson, writer and philosopher (1803-1882)


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Re: Old version 2.6.0?

[Brent Annable]

Hey Janek,

I'm using the latest stable version (2.14?).

When I first tried to compile the file, I got at least a dozen messages
telling me that files were too old (probably because of the structure, with
lots of different files containing information, etc.) and I was a little
overwhelmed; I can't honestly say whether there was anything there about
convert-ly. I just tried converting again and this time I did find a
convert-ly message (in Dutch this time, for some reason), but to be honest
I'm SO not a programmer, and even if I had seen it the first time I would
have had no idea what to do, and would have asked for help anyway. I would
have needed a really dumbed-down message, like This file is too old for
your current version of Lilypond; you need to use a feature called
'convert-ly' to update the file first. To find out how to use it, please
visit [link or reference to convert-ly manual]. Everything will be OK -
trust me.

Don't know if this helps, but I don't think there's a bug. It's probably
just me being either inattentive or scared of technology.

Brent.

2011/6/12 Janek Warchoł lemniskata.bernoull...@gmail.com

 Hi Brent,

 2011/6/11 Brent Annable brentanna...@gmail.com
  Thanks very much, I'm still relatively new to all this and never knew
 about convert-ly.

 When i tried to compile the files you provided (with version 2.13.61),
 i got the following in log:

 [...]
 error: file too old: 2.6.0 (oldest supported: 2.7.38)
 error: consider updating the input with the convert-ly script
 [...]

 Convert-ly is mentioned here. Was it present in your log?
 If not, this means we have a bug - what LilyPond version did you use?
 If yes, this means the log message was not good enough, since you
 missed some important information. What was misleadig? Maybe the fact
 that there were two errors? In other words, would

 error: file too old: 2.6.0 (oldest supported: 2.7.38). consider
 updating the input with the convert-ly script

 be better in your opinion?

 thanks,
 Janek

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Re: font survey: which clef do you prefer?

[Brent Annable]

I prefer the second one.

In the first, the space outlined by the top loop of the clef and the top
line of the staff is too large, and the third just appears too 'grainy' to
me for some reason (although I find it hard to spot any differences between
it and the second).

Brent.

On 6 July 2011 22:37, Reinhold Kainhofer reinh...@kainhofer.com wrote:

 On Mi.,6. Jul. 2011 21:10:51 CEST, Janek Warchoł 
 lemniskata.bernoull...@gmail.com wrote:

  Which one of the clefs in the attachment do you like best?

 The last one.
 In the first one, the vertical strike looks too straight. The second one
 feels unbalanced and looks loke it's falling over to the right any second.

 However, even in the third clef, the curvature of the vertical line looks a
 bit too straight in the lower half...

 Cheers,
 Reinhold

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Lowering AccidentalSuggestion objects

[Brent Annable]

Hi everyone,

Does anyone know how I can tell the AccidentalSuggestion engraver to push
the accidentals closer to the noteheads (i.e. downwards)? I don't mind if
they're in the middle of the staff. The purpose of this is to avoid the
combination of a suggested accidental above the staff and a fermata taking
up too much space between staves.

I've tried using \override AccidentalSuggestion #'Y-extent = (number), but
this only seems to push the accidentals upwards, starting from about 5. If
the number specified is any less than 5, the accidental stays where it is,
it won't go any closer to the notehead. Negative numbers seem to have no
effect.

Brent.
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Re: Lowering AccidentalSuggestion objects

[Brent Annable]

Hello everyone,

Here's a little example of the situation I'm talking about:

\score {
\new Staff = Discantus
\new Voice = Discantus \relative c'' {
\set suggestAccidentals = ##t
\override AccidentalSuggestion #'Y-offset = 1
g1 g g g g g g g \break
g g g g gis \fermata

}
}

Here, with a Y-offset value of 1, the accidental is in the same place as it
would be if the \override command weren't there. Only when the number is
above 5 does the accidental start to move upwards.

Brent.

On 10 September 2011 03:28, Brent Annable brentanna...@gmail.com wrote:

 Hi everyone,

 Does anyone know how I can tell the AccidentalSuggestion engraver to push
 the accidentals closer to the noteheads (i.e. downwards)? I don't mind if
 they're in the middle of the staff. The purpose of this is to avoid the
 combination of a suggested accidental above the staff and a fermata taking
 up too much space between staves.

 I've tried using \override AccidentalSuggestion #'Y-extent = (number), but
 this only seems to push the accidentals upwards, starting from about 5. If
 the number specified is any less than 5, the accidental stays where it is,
 it won't go any closer to the notehead. Negative numbers seem to have no
 effect.

 Brent.



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Re: Lowering AccidentalSuggestion objects

[Brent Annable]

Hey Xavier,

Thanks for the reply. I had a deadline this afternoon so did some
coffee-fuelled research of my own this morning, and came across precisely
that solution. And it worked! Now it looks pretty.

Cheers,

Brent.

On 10 September 2011 13:18, Xavier Scheuer x.sche...@gmail.com wrote:

 On 10 September 2011 10:18, Brent Annable brentanna...@gmail.com wrote:
 
  Hello everyone,
  Here's a little example of the situation I'm talking about:
  \score {
  \new Staff = Discantus
  \new Voice = Discantus \relative c'' {
  \set suggestAccidentals = ##t
  \override AccidentalSuggestion #'Y-offset = 1
  g1 g g g g g g g \break
  g g g g gis \fermata
  }
  }
  Here, with a Y-offset value of 1, the accidental is in the same place as
 it
  would be if the \override command weren't there. Only when the number is
  above 5 does the accidental start to move upwards.

 Hi,

 Add  \override AccidentalSuggestion #'outside-staff-priority = ##f
 to permit the AccidentalSuggestion to be printed inside the staff.

 Then you can play with  \override AccidentalSuggestion #'Y-offset = #2

 Hope that helps.

 Cheers,
 Xavier

 --
 Xavier Scheuer x.sche...@gmail.com

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Re: High-level users?

[Brent Annable]

I'd like to add that I think that Lilypond's main strength is as a
typesetting/publishing programme. For composing and arranging, I find it's
better to have a page of blank manuscript in front of you that you can 'fill
in', something that Lilypond's text-input paradigm doesn't really allow for.
But once all the information is there, making changes is relatively easy,
and the printed results are, of course, sublime.

Brent.

On 23 September 2011 01:53, Tim Roberts t...@probo.com wrote:

 Janek Warchoł wrote:
  If your friend would like to see what Lily can do, i'd show him this:
  http://www.apollinemike.com/scores/granini.pdf

 From a publishing perspective, that's impressive on a nearly magical
 scale.  As a musician, please forgive my parochial and archaic attitude,
 but that's nuts.

 --
 Tim Roberts, t...@probo.com
 Providenza  Boekelheide, Inc.


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Re: [ANN] LilyPondTool 2.14 prerelease available

[Brent Annable]

Hello,

I have never been able to get LilyPondTool to work. I only just now
reinstalled the latest versions of Java, jEdit and now this version of
Lilypondtool, and again it will not work. I unzipped the file to .jEdit as
instructed, but when I go to the Plugin Manager to install it, the Lilypond
line is red, the status column says error and the rightmost column says
0 bytes. Dos anybody have idea of what could be wrong? Or can someone
direct me to a helpful source?

Thanks for any help,

Brent.

On 17 November 2011 22:48, Bertalan Fodor (LilyPondTool) 
lilypondt...@organum.hu wrote:

 The long awaited 2.14 release of LilyPondTool is now available for
 download from

 https://sourceforge.net/projects/lily4jedit/files/latest/download?source=files

 Unzip to your jEdit settings directory (e.g. c:\documents and
 settings\YOU\.jedit)

 The most important new features are:
 - completely rewritten parser (best used with Parse on keystroke - See
 Plugins  Plugin Options  SideKick) (the new parser is created using flex
 and bison so very closely mirrors the actual lilypond parser)
 - instant compile - LilyPond will be called to compile your file in the
 background while you are working, and the PDF preview is updated
 automatically
 - compile on save
 - a lot of bugfixes

 This release should be available from jEdit plugin repository in 1-2 weeks
 - I'm waiting for bugreports until that :)
 Send them to the bug tracker at http://sf.net/projects/lily4jedit

 Enjoy!

 Bert
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Re: [ANN] LilyPondTool 2.14 prerelease available

[Brent Annable]

Great thanks! I'm not getting those error messages anymore.

And is there a decent user's manual somewhere? I have *zero* experience
with jEdit (but lots with lilypond), and can't seem to figure out how to
get the background compiler working. Or anything, actually. Is there a nice
little set of instructions somewhere (open this, click here, click there)
for getting started?

Brent.

On 18 November 2011 08:00, Bertalan Fodor (LilyPondTool) 
lilypondt...@organum.hu wrote:

 You need some other plugins installed as well. This will be automatic
 if LilyPondTool is released to the jEdit plugin manager. Meanwhile
 install Console, Errorlist, ProjectViewer, SideKick and Jakarta
 Commons. I think that's it. Though jEdit should display the missing
 stuff on startup.

 2011/11/18, Brent Annable brentanna...@gmail.com:
  Hello,
 
  I have never been able to get LilyPondTool to work. I only just now
  reinstalled the latest versions of Java, jEdit and now this version of
  Lilypondtool, and again it will not work. I unzipped the file to .jEdit
 as
  instructed, but when I go to the Plugin Manager to install it, the
 Lilypond
  line is red, the status column says error and the rightmost column says
  0 bytes. Dos anybody have idea of what could be wrong? Or can someone
  direct me to a helpful source?
 
  Thanks for any help,
 
  Brent.
 
  On 17 November 2011 22:48, Bertalan Fodor (LilyPondTool) 
  lilypondt...@organum.hu wrote:
 
  The long awaited 2.14 release of LilyPondTool is now available for
  download from
 
 
 https://sourceforge.net/projects/lily4jedit/files/latest/download?source=files
 
  Unzip to your jEdit settings directory (e.g. c:\documents and
  settings\YOU\.jedit)
 
  The most important new features are:
  - completely rewritten parser (best used with Parse on keystroke - See
  Plugins  Plugin Options  SideKick) (the new parser is created using
 flex
  and bison so very closely mirrors the actual lilypond parser)
  - instant compile - LilyPond will be called to compile your file in the
  background while you are working, and the PDF preview is updated
  automatically
  - compile on save
  - a lot of bugfixes
 
  This release should be available from jEdit plugin repository in 1-2
 weeks
  - I'm waiting for bugreports until that :)
  Send them to the bug tracker at http://sf.net/projects/lily4jedit
 
  Enjoy!
 
  Bert
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 --
 Mobilkészülékről küldve

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LilyPondTool: Bugs bugs bugs

[Brent Annable]

Hi all,

So I've just started using LilyPondTool and jEdit and I really love the
environment and layout, but in some ways it's driving me absolutely
bananas. After consulting with Bertalan (also on this list) and receiving
various explanations/tips, this describes my current situation:

To avoid errors associated with the server:

- After booting up my machine, I kill the javaw (server) process using the
task manager then restart the machine
- I check that the javaw process is not running, then start jEdit using the
command prompt and jedit -noserver
- the program launches successfully, but it invariably starts the javaw
server process anyway (at least this way the error messages are gone).

Other stuff:

- If I create a new file using the score wizard, the Lilypond buttons
appear in the toolbar. When I reopen a file I previously worked on, they
are gone;
- So are all other settings I would like to use by default, such as
starting the PDF preview and Sidekick (I also have to tell Sidekick *every
time* to parse on keystroke and use the lilypond parser, I find this
incredibly annoying)
- The PDF previewer periodically crashes anyway, and I have to go through
all these steps again from the start to get it working again.

I do love the convenience that LilyPondTool offers, but all of this is
becoming incredibly frustrating. I'm just wondering whether there are
people who ave had similar problems who could offer some help, or whether
I'm missing something because I'm new to jEdit and LPT. I would greatly
appreciate any advice/assistance people could give.

Warm regards,

Brent.
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Including notes in rhythm indications

[Brent Annable]

Hi y'all,

I'm trying to include a direction in the 'meter' section of the header
block that says this:

Heavy four-beat swing (quaver[ quaver] = quaver[ quaver])


I tried following the instructions given at
http://lsr.dsi.unimi.it/LSR/Item?u=1id=204, but nothing would appear in
the 'meter' heading at all. Here's a watered-down version of what I tried:


rhythmMark = #(define-music-function (parser location label musicI musicII
) (string? ly:music? ly:music?)
   #{
  \markup {
\line \vcenter {
  \combine % 1st column in line
\italic \fontsize #rhythmMarkLabelFontSize $label
\transparent \italic \fontsize #rhythmMarkLabelFontSize f
% This fakes a uniform baseline (ie. create common anchor
for vcenter)

  \score { % 2nd column in line
\new Staff \with {
  fontSize = #rhythmMarkStaffReduce
  \override StaffSymbol #'staff-space = #(magstep
rhythmMarkStaffReduce)
  \override StaffSymbol #'line-count = #0
  \override VerticalAxisGroup #'Y-extent = #'(0 . 0)  % td
  \override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0) %RV
}

\relative { \stemUp $musicI }

\layout {
  ragged-right= ##t
  indent = 0
  \context {
\Staff
\remove Clef_engraver
\remove Time_signature_engraver }
} % layout

  } % 1st Score end

  \hspace #-0.1% 3rd column in line

   % 4th column in line
  \italic \fontsize #rhythmMarkStaffReduce =

  \score { % 5th column in line

\new Staff \with {
  fontSize = #rhythmMarkStaffReduce
  \override StaffSymbol #'staff-space = #(magstep
rhythmMarkStaffReduce)
  \override StaffSymbol #'line-count = #0
  \override VerticalAxisGroup #'Y-extent = #'(0 . 0)  % td
  \override VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0) %RV
}

\relative { \stemUp $musicII }

\layout {
  ragged-right= ##t
  indent = 0
  \context {
\Staff
\remove Clef_engraver
\remove Time_signature_engraver }
} % layout end

  } % 2nd Score end

} % line end
  } % markup end
   #})

rhyMarkIIEighths = {
  % \override Score.SpacingSpanner #'common-shortest-duration =
#(ly:make-moment 1 4) % tight
  \override Score.SpacingSpanner #'common-shortest-duration =
#(ly:make-moment 3 16) % even
  b'8[ b8]
}

 \header {
 title = My piece
 meter = \rhythmMark #Heavy four-beat swing \rhyMarkIIEighths
\rhyMarkIIEighths
}

 \score {
 \relative c' {c1}
}


I'm afraid I don't have a programming background, so when things get
complicated like this, I hit a dead-end pretty quickly. Can somebody help?

Many thanks,

Brent.
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Re: Including notes in rhythm indications

[Brent Annable]

Hey Harm,

What I mean is that I'm producing both a score and parts, and if this
indication is in a rehearsal mark, doesn't that mean that the mark will
need to be included in the music for each separate part? And if I do that,
won't the indication appear 4 times in the score? What I would like is for
the indication to appear once at the start of the score and once at the
start of each part. What would be the easiest way to do that?

Brent.

On 29 January 2012 16:01, Thomas Morley thomasmorle...@googlemail.comwrote:

 Hi Brent,

 2012/1/29 Brent Annable brentanna...@gmail.com:
  Thomas,
 
  Thanks very much for your reply and your solution. The reason I wanted to
  use it in the meter line is because I plan to extract parts and wanted to
  centralise the information - is there a way to do this with rehearsal
 marks
  too?

 I don't know exactly what you want to do. Could you post an example?

 (Sorry if I'm outing myself as an inexperienced user.)

 No problem! I remember very well the situation, when I started with
 LilyPond and sometimes I'm still at a complete loss. :)

  One other thing: in your working example, a small dot appears underneath
 the
  H in Heavy... and I can't figure out where it's coming from. Do you
 have
  any ideas?

 sorry, there is a typo in the line:
 meterScoreMarkup = \markup {· -!!
 replace with
 meterScoreMarkup = \markup {

 HTH,
  Harm

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Tie at end of first repeat

[Brent Annable]

Hello all,

I'm typesetting a piece with repeats, for which I'm using the volta 2
construction with a first-time and second-time ending. My problem is that I
have a note that is tied from the *end* of the *first* ending back to the
start of the volta section. This doesn't seem to work with a normal tie,
so I'm trying to use a \repeatTie and attach it to the right-hand side of
the notehead, but I can't figure out how to do it. Here's what I've tried
so far:

\score {
 \relative c' {
 \override RepeatTie #'side-axis = #0
 \override RepeatTie #'direction = #RIGHT

 c2 c2~ \repeat volta 2 { c2 c2 }

\alternative {
{ c2 c2 \repeatTie}
{d2 d2}
 }
 c2 c2 \bar |. }
}

I just can't get it to work, I would be really grateful if someone could
explain where I'm going wrong.

Many thanks,

Brent.
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Fwd: Tie at end of first repeat

[Brent Annable]

Forwarding the message I sent to Xavier, forgot to include the group.



THAT is an AWESOME suggestion, and works like a charm. Thanks Xavier!

Now I also feel incredibly stupid. Is this tip already in the manual
somewhere? If it isn't, I think it would make a valuable addition as it
solves the problem quickly and easily without any excessive tweaking.

Brent.


On 2 February 2012 00:04, Xavier Scheuer x.sche...@gmail.com wrote:

 On 1 February 2012 22:54, Brent Annable brentanna...@gmail.com wrote:
  Hello all,
 
  I'm typesetting a piece with repeats, for which I'm using the volta 2
  construction with a first-time and second-time ending. My problem is
 that I
  have a note that is tied from the end of the first ending back to the
 start
  of the volta section. This doesn't seem to work with a normal tie, so
 I'm
  trying to use a \repeatTie and attach it to the right-hand side of the
  notehead, but I can't figure out how to do it. Here's what I've tried so
  far:
 
  \score {
   \relative c' {
   \override RepeatTie #'side-axis = #0
   \override RepeatTie #'direction = #RIGHT
 
   c2 c2~ \repeat volta 2 { c2 c2 }
 
  \alternative {
  { c2 c2 \repeatTie}
  {d2 d2}
   }
   c2 c2 \bar |. }
  }
 
  I just can't get it to work, I would be really grateful if someone could
  explain where I'm going wrong.

 This is a workaround, but you could use  \laissezVibrer  instead of
 using \repeatTie .

 Hope that helps (a little).

 Cheers,
 Xavier

 --
 Xavier Scheuer x.sche...@gmail.com

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Re: Tie at end of first repeat

[Brent Annable]

Perhaps this is impertinent of me, but I would suggest the following
phrasing:

A LaissezVibrer tie can be used to tie a note from the end of the first
repeat back to the start of the repeated section. The length of the tie can
be tweaked using LSR-snippet 715 as shown.

Brent.

On 2 February 2012 10:16, Thomas Morley thomasmorle...@googlemail.comwrote:

 Hi James,

 2012/2/2 James pkx1...@gmail.com:
  Hello,
 
  Hi Nick,
 
  of course! This is the upgraded LSR-snippet
  http://lsr.dsi.unimi.it/LSR/Search?q=extendLV
  And I forgot it. :(
  But have a second look at the function by Enternix. With very few
  changes you can adapt it to nearly all stencils. This might be useful
  sometimes.
 
  Well ties over Voltas is asked for quite regularly.
 
  If this is a good solution for this case then I suggest that a new LSR
 snippet is made showing an example with Voltas, then we could link to the
 snippet in the LSR from the NR.
 
  At the moment the snippet isn't obviously relevant for repeat sections
 and not everyone (including me) knows what a 'lassie-veebray' tie is let
 alone how to pronounce it!
 
  James

 done.
 http://lsr.dsi.unimi.it/LSR/Item?u=1id=794
 Please have a look on the description, I'm not convinced about my english.

 Cheers,
  Harm

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Tremolos between two whole notes

[Brent Annable]

Hello everyone,

I have a question, and perhaps a suggestion. I just typeset the following
tremolo between two whole notes:

\score {
\relative c'' {

\repeat tremolo 16  { gis32 b }

}
}

and was quite disappointed by the fact that Lilypond places the tremolo
beams horizontally and above the notes in question. I much prefer the look
of the first tremolo in this image:

http://media.wiley.com/assets/25/94/0-7645-5105-1_1309.jpg

with the beams tilted and occupying the space in-between the whole notes. I
read through the manual and searched for some snippets, but couldn't find
any reference to this tremolo style at all. Is there any relatively simple
way of achieving this look that I'm missing? And if not, could a tremolo
style option perhaps be added for those who prefer them this way?

Brent.
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Re: Tremolos between two whole notes

[Brent Annable]

Xavier,

Ok thanks for the reply. Sorry if I'm talking about things already under
discussion; I do my best, but still find it very difficult to sift through
all the old stuff online to see if these issues are known or not. I've put
the issues link in my bookmarks and I'll look there first from now on.

I suppose, since the issue is already known and I'm not a programmer, I
just need to wait then?

Brent.

On 4 February 2012 00:44, Xavier Scheuer x.sche...@gmail.com wrote:

 On 3 February 2012 17:00, Brent Annable brentanna...@gmail.com wrote:
  Hello everyone,
 
  I have a question, and perhaps a suggestion. I just typeset the following
  tremolo between two whole notes:
 
  \score {
  \relative c'' {
 
  \repeat tremolo 16  { gis32 b }
 
  }
  }
 
  and was quite disappointed by the fact that Lilypond places the tremolo
  beams horizontally and above the notes in question. I much prefer the
 look
  of the first tremolo in this image:
 
  http://media.wiley.com/assets/25/94/0-7645-5105-1_1309.jpg
 
  with the beams tilted and occupying the space in-between the whole
 notes. I
  read through the manual and searched for some snippets, but couldn't find
  any reference to this tremolo style at all. Is there any relatively
 simple
  way of achieving this look that I'm missing? And if not, could a tremolo
  style option perhaps be added for those who prefer them this way?

 You are not the first one to ask for this.
 And IIRC there was quite a consensus on the fact that your suggestion
 should actually be the default behaviour.

 AFAICS this is tracked as issue #318
 http://code.google.com/p/lilypond/issues/detail?id=318
 but as I said, there have been several discussions about this issue
 (later than the initial report).  Maybe the last time this was discussed
 was in a thread with Janek and his new tremolo styles?

 Cheers,
 Xavier

 --
 Xavier Scheuer x.sche...@gmail.com

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Re: Tremolos between two whole notes

[Brent Annable]

Neil,

Thanks for your answer. I knew there would be a way of doing it with
centering beams and so forth; trouble is I'm soo NOT a programmer and even
the simplest override often takes me a while to work out. If you have any
concrete examples of using these overrides for me, perhaps I could just
plug them in and tweak the numbers a little to suit my own situation? Do
you perhaps have any code you could send so I could have a fiddle?

Brent.

On 4 February 2012 16:42, Neil Thornock neilthorn...@gmail.com wrote:

 As far as getting the look you want, you need to use a combination of
 Beam #'gap, Beam #'positions, Beam #'extra-offset, and NoteHead
 #'stem-attachment.  I've gotten very nice results with those
 overrides.  It's a pain, but it's worth avoiding the horrible default.

 Hope that helps,
 Neil

 On Fri, Feb 3, 2012 at 9:00 AM, Brent Annable brentanna...@gmail.com
 wrote:
  Hello everyone,
 
  I have a question, and perhaps a suggestion. I just typeset the following
  tremolo between two whole notes:
 
  \score {
  \relative c'' {
 
  \repeat tremolo 16  { gis32 b }
 
  }
  }
 
  and was quite disappointed by the fact that Lilypond places the tremolo
  beams horizontally and above the notes in question. I much prefer the
 look
  of the first tremolo in this image:
 
  http://media.wiley.com/assets/25/94/0-7645-5105-1_1309.jpg
 
  with the beams tilted and occupying the space in-between the whole
 notes. I
  read through the manual and searched for some snippets, but couldn't find
  any reference to this tremolo style at all. Is there any relatively
 simple
  way of achieving this look that I'm missing? And if not, could a tremolo
  style option perhaps be added for those who prefer them this way?
 
  Brent.
 
 
 
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 --
 Neil Thornock, D.M.
 No Stopping, Standing, or Parking:
 http://neilthornock.net/mp3s/nostopping.mp3
 Assistant Professor of Music
 Composition/Theory
 Brigham Young University

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Re: Tremolos between two whole notes

[Brent Annable]

Thanks guys for this! I'm ultra-busy right now so don't have time to play
around with it just yet, but I'm very grateful.

Brent.

On 8 February 2012 01:03, Thomas Morley thomasmorle...@googlemail.comwrote:

 I should have written:
 based on Neil's suggestion I worked out the function _below_ (not above).
 :)

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Instrument line in header block - first piece only?

[Brent Annable]

Hi everyone,

Quick question for the group: I'm producing part books for all the fugues
in the well-tempered clavier, and I don't like the fact that the
instrument name is printed every time there's a new heading:

\book {

\header {
title = Das Wohltemperierte Clavier
composer = J.S. Bach
instrument = Superius }

\score {
\new Staff { \relative c' {c1} }
\header {
title = FUGA I
piece = a 4}
  }
\score {
\new Staff { \relative c' {c1} }
\header {
title = FUGA II
piece = a 4}

}
\paper { print-all-headers = ##t }
}

I'd like to use the instrument line because I do want the name of the
instrument at the top of each page, just not below the heading for each
fugue. And I'd like to use either the title or subtitle line for the
heading of each fugue, and the piece line for indicating the number of
parts. If I switch on all the headers, I get the instrument name
everywhere, and if I turn them off, I get no titles or subtitles. Can
anybody help?

TIA,

Brent.
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Re: Thinking about putting together a grant to support development on LilyPond

[Brent Annable]

Just an idea: how about a Kickstarter  http://www.kickstarter.com/project?
Or has this already been considered?

Brent.

On 9 February 2012 12:08, Han-Wen Nienhuys hanw...@gmail.com wrote:

 On Wed, Feb 8, 2012 at 12:29 PM, Carl Sorensen c_soren...@byu.edu wrote:
  I've been thinking about the problem of sustaining LilyPond development
  long-term (and specifically the problem of obtaining enough money to
  support David K as long as he's interested).
 
  As I've thought about it, going after a grant seems the most logical
 thing
  to do.  So I looked into the National Endowment for the Arts and the
  National Endowment for the Humanities.  NEA has nothing that looks
  interesting, unfortunately.  However, NEH has two initiatives that seem
  interesting.  One is concerned with preservation; the other is concerned
  with improve digital access to collected materials.
 
  Guidelines for the preservation grant (which will probably be due in
 July)
  are shown here:
 
  http://www.neh.gov/grants/guidelines/HCRR.html
 
 
  Guidelines for the digital humanities grants are shown here:
 
  http://www.neh.gov/grants/guidelines/digitalhumanitiesstartup.html

 Some comments:

 I have tried getting grants from different EU and national bodies with
 various partner institutions (including the one where Graham now
 works, IIRC). My impression is that you need people (preferably many)
 with lots of academic clout that can sign off on the proposal, since
 LilyPond itself has little formal recognition. Also, for EU research
 grants specifically, they were focused a lot on partnerships with and
 things that helped small and medium enterprises, and we couldn't
 invent a story around that.

 As for these grants specifically: you will need to invent something
 outrageously new involving LilyPond (now in its 14th year of
 existence), to qualify for the startup grant; the collections
 initiative looks like a better fit.

  A) Development of ly2xml
  B) Development of a lilypond scoring standard for the project, so that
  scholars would know how to compare scores.
  C) Development of score_ocr2ly, which would take a score pdf and turn it
  into .ly files matching the lilypond scoring standard

 Heh.  This is a known problem, and the OCR part is very, very
 difficult. It also has nothing to do with lilypond.

  So I'd like to ask the developers (and the users):  Does this seem
  interesting to you?  Is this something that is worth trying to put
  together?  Is anybody interested in contributing to a grant proposal?

 I'd be happy to provide any references or recommendations for the
 LilyPond project as a whole.

  If there seems to be enough interest, I'll visit with the music librarian
  at BYU, and see if there is any institutional interest.

 I'd talk with someone from the local music/humanities department that
 has experience with writing grants and the funding body.  Of course,
 if you got grants in the past, that might be less necessary.

 --
 Han-Wen Nienhuys - han...@xs4all.nl - http://www.xs4all.nl/~hanwen

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Re: Instrument line in header block - first piece only?

[Brent Annable]

Ok, so it looks like I need to include print-all-headers = ##t, and then
suppress the 'instrument' line in all subsequent scores.

Can someone direct me to a document describing how to do that? My search
didn't reveal anything.

Brent.

On 9 February 2012 15:07, -Eluze elu...@gmail.com wrote:



 Brent Annable wrote:
 
  Hi everyone,
 
  Quick question for the group: I'm producing part books for all the fugues
  in the well-tempered clavier, and I don't like the fact that the
  instrument name is printed every time there's a new heading:
 
  \book {
 
  \header {
  title = Das Wohltemperierte Clavier
  composer = J.S. Bach
  instrument = Superius }
 
  \score {
  \new Staff { \relative c' {c1} }
  \header {
  title = FUGA I
  piece = a 4}
}
  \score {
  \new Staff { \relative c' {c1} }
  \header {
  title = FUGA II
  piece = a 4}
 
  }
  \paper { print-all-headers = ##t }
  }
 
  I'd like to use the instrument line because I do want the name of the
  instrument at the top of each page, just not below the heading for each
  fugue. And I'd like to use either the title or subtitle line for the
  heading of each fugue, and the piece line for indicating the number of
  parts. If I switch on all the headers, I get the instrument name
  everywhere, and if I turn them off, I get no titles or subtitles. Can
  anybody help?
 
 

 you can customize the layout with

 http://lilypond.org/doc/v2.15/Documentation/notation-big-page#custom-layout-for-headers-and-footers

 hth
 Eluze
 --
 View this message in context:
 http://old.nabble.com/Instrument-line-in-header-block---first-piece-only--tp33292446p33293442.html
 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


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Re: Instrument line in header block - first piece only?

[Brent Annable]

Actually, now that I think about it, the default 'instrument' line
behaviour in the header seems a little odd to me. Does the instrument
really need to be so demonstratively announced between movements or pieces
if they are all part of the same document?

Brent.

On 9 February 2012 15:22, Brent Annable brentanna...@gmail.com wrote:

 Ok, so it looks like I need to include print-all-headers = ##t, and

then suppress the 'instrument' line in all subsequent scores.

 Can someone direct me to a document describing how to do that? My search
 didn't reveal anything.

 Brent.


 On 9 February 2012 15:07, -Eluze elu...@gmail.com wrote:



 Brent Annable wrote:
 
  Hi everyone,
 
  Quick question for the group: I'm producing part books for all the
 fugues
  in the well-tempered clavier, and I don't like the fact that the
  instrument name is printed every time there's a new heading:
 
  \book {
 
  \header {
  title = Das Wohltemperierte Clavier
  composer = J.S. Bach
  instrument = Superius }
 
  \score {
  \new Staff { \relative c' {c1} }
  \header {
  title = FUGA I
  piece = a 4}
}
  \score {
  \new Staff { \relative c' {c1} }
  \header {
  title = FUGA II
  piece = a 4}
 
  }
  \paper { print-all-headers = ##t }
  }
 
  I'd like to use the instrument line because I do want the name of the
  instrument at the top of each page, just not below the heading for each
  fugue. And I'd like to use either the title or subtitle line for the
  heading of each fugue, and the piece line for indicating the number of
  parts. If I switch on all the headers, I get the instrument name
  everywhere, and if I turn them off, I get no titles or subtitles. Can
  anybody help?
 
 

 you can customize the layout with

 http://lilypond.org/doc/v2.15/Documentation/notation-big-page#custom-layout-for-headers-and-footers

 hth
 Eluze
 --
 View this message in context:
 http://old.nabble.com/Instrument-line-in-header-block---first-piece-only--tp33292446p33293442.html
 Sent from the Gnu - Lilypond - User mailing list archive at Nabble.com.


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Re: Music runs off the page (LY version 2.9.9)

[Brent Annable]

Wow Pierre, thank you very much! Problem solved :-)

Brent.

On 12 September 2016 at 19:54, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> Hi Brent,
>
> Simply delete these lines.
> See enclosed file.
> You'll get some warnings. See here to change the beam slope manually
> (click on the image to see the coding):
> http://lsr.di.unimi.it/LSR/Item?id=97
>
> HTH,
> Pierre
>
>
> 2016-09-12 10:24 GMT+02:00 Brent Annable <brentanna...@gmail.com>:
>
>> Hello everyone,
>>
>> I am not a frequent Lilypond user, and am writing to ask for a (hopefully
>> quick) favour here. I hope that's okay.
>>
>> I wanted to transpose BWV 848 from c-sharp major into d-flat major to
>> make it easier for me to read, so I downloaded some old Mutopia engraving
>> files from IMSLP and added a simple 'transpose' command. That worked fine,
>> except the final bars of the piece now run off the last page. I have
>> attached the modified .ly file and PDF.
>>
>> Frescobaldi gives error messages for the following beaming instructions
>> in the engraving file:
>>
>> #(override-auto-beam-setting '(end * * * *) 1 4 'PianoStaff)
>>   #(override-auto-beam-setting '(end * * * *) 1 2 'PianoStaff)
>>   #(override-auto-beam-setting '(end * * * *) 3 4 'PianoStaff)
>>
>> Could that have anything to do with it? My only Lilypond experience has
>> been with version 2.14; this file is from 2.9 and the current version is
>> 2.18, so I'm at a loss for why it isn't working. I'm hoping someone with a
>> better knowledge of the program's history and syntax can help identify the
>> problem? I would be very grateful.
>>
>> Many thanks for any help,
>>
>> Brent Annable.
>>
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>>
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Re: Lilypond merging quarter-note head with half-note head

[Brent Annable]

Ugh sorry, here's the right PDF.

Brent.

On 10 October 2017 at 03:04, Brent Annable <brentanna...@gmail.com> wrote:

> Hi all,
>
> I'm notating some four-part harmony for organ manuals that sometimes has
> optional small bass notes for the pedals. In one spot, I'm having trouble
> stopping Lilypond from merging the heads of a half-note G in the upper
> voice with a quarter-note G in the lower voice when there are small notes
> added in the bass part. Please see the code and pdf.
>
> What I want is to get the quarter note positioned to the right of the half
> note (as in the top example), but with the large and small quarter-notes
> vertically aligned. Any ideas on how to achieve this?
>
> Regards,
>
> Brent.
>
>
>
> \version "2.18.2"
>
> rightOne = \relative c'' {
>
>   \voiceOne
>b2
> }
>
> rightTwo = \relative c' {
>
>d2
> }
>
> leftOne = \relative c' {
>
>   \clef bass
>g2
> }
>
> leftTwo = \relative c {
>
>g'4 e
> \bar "|."
>
> }
>
>
> \score {
>
>   \header {
> piece = \markup \bold \underline \large "desired position of quarter notes"
> }
>
>   \new PianoStaff  <<
> \new Staff = "right"  << \rightOne \\ \rightTwo >>
> \new Staff = "left"   << \leftOne \\ \leftTwo >>
>   >>
>
> }
>
>
> rightOneII = \relative c'' {
>
>   \voiceOne
>b2
> }
>
> rightTwoII = \relative c' {
>d2
> }
>
> leftOneII = \relative c' {
>
>   \clef bass
>g2
> }
>
> leftTwoII = \relative c {
>   \override Stem.length = 4.6
><<\voiceOne {\stemDown g'4 e }
>  \new Voice {\voiceTwo \teeny g, e} >>
> \bar "|."
>
> }
>
>
> \score {
>
>   \header {
> piece = \markup \bold \underline \large "when I add the small notes"
> }
>   \new PianoStaff  <<
> \new Staff = "right"  << \rightOneII \\ \rightTwoII >>
> \new Staff = "left"   << \leftOneII \\ \leftTwoII >>
>   >>
>
> }
>


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Lilypond merging quarter-note head with half-note head

[Brent Annable]

Hi all,

I'm notating some four-part harmony for organ manuals that sometimes has
optional small bass notes for the pedals. In one spot, I'm having trouble
stopping Lilypond from merging the heads of a half-note G in the upper
voice with a quarter-note G in the lower voice when there are small notes
added in the bass part. Please see the code and pdf.

What I want is to get the quarter note positioned to the right of the half
note (as in the top example), but with the large and small quarter-notes
vertically aligned. Any ideas on how to achieve this?

Regards,

Brent.



\version "2.18.2"

rightOne = \relative c'' {

  \voiceOne
   b2
}

rightTwo = \relative c' {

   d2
}

leftOne = \relative c' {

  \clef bass
   g2
}

leftTwo = \relative c {

   g'4 e
\bar "|."

}


\score {

  \header {
piece = \markup \bold \underline \large "desired position of quarter notes"
}

  \new PianoStaff  <<
\new Staff = "right"  << \rightOne \\ \rightTwo >>
\new Staff = "left"   << \leftOne \\ \leftTwo >>
  >>

}


rightOneII = \relative c'' {

  \voiceOne
   b2
}

rightTwoII = \relative c' {
   d2
}

leftOneII = \relative c' {

  \clef bass
   g2
}

leftTwoII = \relative c {
  \override Stem.length = 4.6
   <<\voiceOne {\stemDown g'4 e }
 \new Voice {\voiceTwo \teeny g, e} >>
\bar "|."

}


\score {

  \header {
piece = \markup \bold \underline \large "when I add the small notes"
}
  \new PianoStaff  <<
\new Staff = "right"  << \rightOneII \\ \rightTwoII >>
\new Staff = "left"   << \leftOneII \\ \leftTwoII >>
  >>

}


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Incorrectly merged noteheads

[Brent Annable]

Hello everybody. My recent message didn't get any replies so I'm posting it
again just in case.

I'm notating some four-part harmony for organ manuals that sometimes has
optional small bass notes for the pedals. In one spot, I'm having trouble
stopping Lilypond from merging the heads of a half-note G in the upper
voice with a quarter-note G in the lower voice when there are small notes
added in the bass part. Please see the code and pdf.

What I want is to get the quarter note positioned to the right of the half
note (as in the top example), but with the large and small quarter-notes
vertically aligned. Any ideas on how to achieve this?

Regards,

Brent.



\version "2.18.2"

rightOne = \relative c'' {

  \voiceOne
   b2
}

rightTwo = \relative c' {

   d2
}

leftOne = \relative c' {

  \clef bass
   g2
}

leftTwo = \relative c {

   g'4 e
\bar "|."

}


\score {

  \header {
piece = \markup \bold \underline \large "desired position of quarter notes"
}

  \new PianoStaff  <<
\new Staff = "right"  << \rightOne \\ \rightTwo >>
\new Staff = "left"   << \leftOne \\ \leftTwo >>
  >>

}


rightOneII = \relative c'' {

  \voiceOne
   b2
}

rightTwoII = \relative c' {
   d2
}

leftOneII = \relative c' {

  \clef bass
   g2
}

leftTwoII = \relative c {
  \override Stem.length = 4.6
   <<\voiceOne {\stemDown g'4 e }
 \new Voice {\voiceTwo \teeny g, e} >>
\bar "|."

}


\score {

  \header {
piece = \markup \bold \underline \large "when I add the small notes"
}
  \new PianoStaff  <<
\new Staff = "right"  << \rightOneII \\ \rightTwoII >>
\new Staff = "left"   << \leftOneII \\ \leftTwoII >>
  >>

}


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Re: Fwd: Compile crashing... help!

[Brent Annable]

Thanks everyone. Yeah I forgot to mention: I'm on a Windows 10 Thinkpad
machine with i7 and 16GB RAM. So looks like the errors are coming through
on the same systems.

Sigh. What to do? I have an old laptop with a rocket-engine fan that I
could try

Brent.

On 9 May 2018 at 23:28, David Kastrup <d...@gnu.org> wrote:

> Ben <soundsfromso...@gmail.com> writes:
>
> > On 5/9/2018 8:35 AM, Brent Annable wrote:
> >> Hi everyone,
> >>
> >> I'm trying to compile a very large project, it keeps crashing and
> >> I'm at a loss as to the cause. Some details:
> >>
> >> - The error first appears as a Windows notification saying: "
> >> Runtime error! This application has requested the Runtime to
> >> terminate it in an unusual way. Please contact the application's
> >> support team for more information." The error code in Frescobaldi
> >> varies, I've had 255, 3 and 1073741395.
> >>
> >> - I've monitored my laptop's CPU and memory usage during the
> >> compiling process, and neither even comes close to reaching capacity
> >> (CPU around 30%; Memory 5.6/16 gig).
> >>   the file to compile is 'SG_complete_DE.ly".
> >>
> >> I would be very grateful for any ideas, suggestions or help.
> >>
> >>
> >
> > Hi Brent,
> >
> > I also ran into your issue by compiling "SG_complete_DE.ly" on my
> > Windows 10 machine. 32GB RAM. Newest i7 build.
> > So, there is some consistency...I see the same errors you do.
> >
> > However, I compiled your project successfully (and quite fast) on my
> > Linux Mint laptop, 2GB RAM, old thinkpad. Took about 3 minutes total.
>
> With an i5 2520M:
>
> dak@lola:/tmp$ time lilypond SG_complete_DE.ly
> GNU LilyPond 2.21.0
> Processing `SG_complete_DE.ly'
> Parsing...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144][152]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144][152][160][168][176][184][192][192]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144][152]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144][152][160]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144][152][160][168]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144]
> Preprocessing graphical objects...
> Interpreting music...[8][16][24][32][40][48][56][64][72][80][88][96][
> 104][112][120][128][136][144][152][160][168][176][184][192][
> 200][208][216][224][232][240][248][256]
> Preprocessing graphical objects...
> Finding the ideal number of pages...
> Fitting music on 10 or 11 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 11 or 12 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 13 or 14 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 13 or 14 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 14 or 15 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 13 or 14 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 17 or 18 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 14 or 15 pages...
> Drawing systems...
> Finding the ideal number of pages...
> Fitting music on 14 or 15 pages...
> Drawin

Re: Fwd: Compile crashing... help!

[Brent Annable]

Being a layman, most of this is all going over my head. But I gather that
compiling this particular project will not be possible for the time being
on my current machine, so I’ll either try to get my decrepit laptop up and
running, or ask a friend to help out :-)

Thanks for the replies,

Brent.
On Thu, 10 May 2018 at 6:55 am, Michael Gerdau  wrote:

> > I have no idea what it would entail to also provide 64bit Windows
> > binaries.
>
> Last time I looked (about 1.5 years ago) the problem was a missing
> mingw-w64 package that exists for mingw (the 32bit version) for which I
> think it is not actually required for the lilypond build, only for GUB
> in general.
>
> I'm not very knowledgeable w/r to GUB. So here is a question for those
> with better knowledge:
> Is it possible to reduce the required packages for GUB for particular
> software (as in lilypond)?
>
> If that's the case I'd expect it to be fairly straight forward to
> replace the mingw stuff by mingw-w64 since the later is (or was)
> supposed to be a dropin replacement for the former.
>
> Kind regards,
> Michael
> --
>  Michael Gerdau   email: m...@qata.de
>  GPG-keys available on request or at public keyserver
>
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Re: Fwd: Compile crashing... help!

[Brent Annable]

FWIW, I just tried this out on my decrepit Windows 7 machine (64-bit, 8GB,
i7 core). After about 8 minutes of whizzing and whirring at 12% CPU
capacity and utilising just under 5 GB of RAM, it returned the same error.

Brent.


On Thu, 10 May 2018 at 1:14 pm, Brent Annable <brentanna...@gmail.com>
wrote:

> Being a layman, most of this is all going over my head. But I gather that
> compiling this particular project will not be possible for the time being
> on my current machine, so I’ll either try to get my decrepit laptop up and
> running, or ask a friend to help out :-)
>
> Thanks for the replies,
>
> Brent.
> On Thu, 10 May 2018 at 6:55 am, Michael Gerdau <m...@qata.de> wrote:
>
>> > I have no idea what it would entail to also provide 64bit Windows
>> > binaries.
>>
>> Last time I looked (about 1.5 years ago) the problem was a missing
>> mingw-w64 package that exists for mingw (the 32bit version) for which I
>> think it is not actually required for the lilypond build, only for GUB
>> in general.
>>
>> I'm not very knowledgeable w/r to GUB. So here is a question for those
>> with better knowledge:
>> Is it possible to reduce the required packages for GUB for particular
>> software (as in lilypond)?
>>
>> If that's the case I'd expect it to be fairly straight forward to
>> replace the mingw stuff by mingw-w64 since the later is (or was)
>> supposed to be a dropin replacement for the former.
>>
>> Kind regards,
>> Michael
>> --
>>  Michael Gerdau   email: m...@qata.de
>>  GPG-keys available on request or at public keyserver
>>
>> ___
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>> https://lists.gnu.org/mailman/listinfo/lilypond-user
>>
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Trouble with notation fonts when resizing

[Brent Annable]

Hello everyone,

I've been trying out some new notation fonts (gonville and haydn), but am
running into problems when resizing the staves. Basically if I use
#(set-global-staff-size), the staff size changes but the grobs don't, and
if I use  #(layout-set-staff-size), everything resizes proportionately but
the font reverts to emmentaler. I've googled around but couldn't find
anything.

My code and results are below/attached:

\version "2.19.65"
music = \relative c' { \autoBeamOff c8 d e f g a b c}

#(set-global-staff-size 15)

\score {
\new Staff \music
}
\score {
  \new Staff \music
  \layout {
  #(layout-set-staff-size 15)
  }
}
\paper {
  #(define fonts
(set-global-fonts
 #:music "gonville"
 #:brace "gonville"
   ))
}


Can anyone help?

Regards and thanks,

Brent.


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Changing default \partcombine rest behaviour

[Brent Annable]

Hi all,

I've just started using \partcombine, and have noticed that, by default, it
doesn't print a rest in one part that coincides with a note of the same
duration in the other part. I want it to print both the note and the rest.
I know that I can use \partcombineApart to get around individual instances
of this behaviour, but a recent editing decision means I have to go through
about 70 existing pieces and change them all using \partcombine, and I'd
rather not have to manually search for missing rests and insert a bunch of
\partcombineApart commands.

Is there any way to override this behaviour globally, and make it print the
rest and note separately? I enclose an example to show what I mean:

\version "2.19.65"

partA = \relative c' {e4^"Default" e r e}

partB = \relative c' {e4 e \once \partcombineApart r e}

partC = \relative c' {c4 c c c}

\score {
 \new Staff \with {printPartCombineTexts = ##f}
 \partcombine \partA \partC
}

\score {
 \new Staff \with {printPartCombineTexts = ##f}
 \partcombine \partB \partC
}


Many thanks for your time and any input,

Brent.


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Parenthesis/bracket/brace questions

[Brent Annable]

Hi all,

So I'm working on a score at the moment and have run into two challenges:

1. Does anybody have an idea how to insert large, cross-staff square braces
(effectively parenthesizing the entire staff) as in the link below? I have
no idea how to even start.

https://imgur.com/a/gTnREC6

2. I would like to parenthesize a couple of two-note chords in the tenor
part. Has anybody come up with a decent way to put parentheses around
entire chords yet? I've rummaged around the old threads but can't really
find anything that fits the bill.

The below example shows the two chords I need; the solution to the second
one kind of works because the chord has a middle note that can be
parenthesized and made invisible (and I assume the dot as well, although I
haven't figured that out yet), then the parenthesis enlarged to span the
entire chord. But the chord before it doesn't, and I can't figure out a way
to either move or centre the parentheses:


\version "2.19.65"

\relative c' { \override ParenthesesItem.font-size = #3
\key es \major
 < bes \hide \parenthesize g es>2.
}


I would be grateful for any help.

Thanks and regards,

Brent.
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Re: Parenthesis/bracket/brace questions

[Brent Annable]

Hey Andrew,

Wow, this looks like exactly like my score! Thank you very much, I managed
to tweak the values of this code to get exactly the shape I needed.

On a side note, in my searches I noticed it's now possible to define
different barline types, and the bracket type looks like it would also do
the job very well here... but I can't get the brace to span both staves
without having 'horns' (there seems to be some weird spanning behaviour
too):

\version "2.19.65"

\defineBarLine "[" #'("" "[" ".")
\defineBarLine "]" #'("]" "" ".")

upper = {
  c''4 \bar "[" 4 4 \bar "]" 4
}

lower = {
  \clef bass
  c4 4 4 4
}

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

Any ideas? I'm stumped.

Brent.

On 21 May 2018 at 17:10, Andrew Bernard <andrew.bern...@gmail.com> wrote:

> Hi Brent,
>
> Unless I am totally missing the point, this was discussed on the list a
> couple of years ago, and a simple solution provided oin LSR 957. Is the
> following not what you want?
>
> Andrew
>
> 
>
>
> % LSR 957
>
> #(define-markup-command (openBracket layout props heitgh) (number?)
>(interpret-markup layout props
>  (markup #:line (#:with-dimensions (cons 0 0) (cons 0 0)
>   (#:path 0.25
> (list (list (quote moveto) 0 0)
>   (list (quote lineto) -1 0)
>   (list (quote lineto) -1 (* heitgh -1))
>   (list (quote lineto) 0 (* heitgh -1
>
> #(define-markup-command (closeBracket layout props heitgh) (number?)
>(interpret-markup layout props
>  (markup #:line (#:with-dimensions (cons 0 0) (cons 0 0)
>   (#:path 0.25
> (list (list (quote moveto) 1.3 0)
>   (list (quote lineto) 2.3 0)
>   (list (quote lineto) 2.3 (* heitgh -1))
>   (list (quote lineto) 1.3 (* heitgh -1
>
>
> %%%
>
> upper = {
>   c''4 4^\markup\openBracket #14  4^\markup\closeBracket #14  4
> }
>
> lower = {
>   \clef bass
>   c4 4 4 4
> }
>
> \score {
>   <<
> \new Staff {
>   \upper
> }
> \new Staff {
>   \lower
> }
>   >>
>   \layout {
>   }
> }
>
> 
>
>
>
> On 21 May 2018 at 00:31, Brent Annable <brentanna...@gmail.com> wrote:
>
>>
>> 1. Does anybody have an idea how to insert large, cross-staff square
>> braces (effectively parenthesizing the entire staff) as in the link below?
>> I have no idea how to even start.
>>
>>
>>


brace-barline.pdf
Description: Adobe PDF document
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Re: Website down?

[Brent Annable]

Ok thanks Aaron :-)

Brent.

On 24 May 2018 at 15:16, Aaron Hill <lilyp...@hillvisions.com> wrote:

> On 2018-05-23 21:40, Brent Annable wrote:
>
>> Hey all,
>>
>> Is the Lilypond website down right now? I can't access lilypond.org, the
>> manual or the internals reference from either my laptop or my phone, I get
>> the following message:
>>
>> Internal Server Error
>>
>> The server encountered an internal error or misconfiguration and was
>> unable
>> to complete your request.
>>
>> Please contact the server administrator at [no address given] to inform
>> them of the time this error occurred, and the actions you performed just
>> before this error.
>>
>> More information about this error may be available in the server error
>> log.
>> --
>> Apache/2.4.18 (Ubuntu) Server at lilypond.org Port 80
>>
>>
>> Was there planned maintenance or something?
>>
>
> It's been down for most of the day.  Karlin mentioned that archive.org
> has most of the site available in the meantime:
>
> https://web.archive.org/web/20180516024136/http://lilypond.org/
>
> I haven't seen any other announcements or status updates, so I take it the
> server admin is not on this list.
>
> -- Aaron Hill
>
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Website down?

[Brent Annable]

Hey all,

Is the Lilypond website down right now? I can't access lilypond.org, the
manual or the internals reference from either my laptop or my phone, I get
the following message:

Internal Server Error

The server encountered an internal error or misconfiguration and was unable
to complete your request.

Please contact the server administrator at [no address given] to inform
them of the time this error occurred, and the actions you performed just
before this error.

More information about this error may be available in the server error log.
--
Apache/2.4.18 (Ubuntu) Server at lilypond.org Port 80


Was there planned maintenance or something?


Brent.
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Re: Changing default \partcombine rest behaviour

[Brent Annable]

Just bumping this up, since nobody has replied yet.

Brent.

On 17 May 2018 at 19:50, Brent Annable <brentanna...@gmail.com> wrote:

> Hi all,
>
> I've just started using \partcombine, and have noticed that, by default,
> it doesn't print a rest in one part that coincides with a note of the same
> duration in the other part. I want it to print both the note and the
> rest. I know that I can use \partcombineApart to get around individual
> instances of this behaviour, but a recent editing decision means I have to
> go through about 70 existing pieces and change them all using \partcombine,
> and I'd rather not have to manually search for missing rests and insert a
> bunch of \partcombineApart commands.
>
> Is there any way to override this behaviour globally, and make it print
> the rest and note separately? I enclose an example to show what I mean:
>
> \version "2.19.65"
>
> partA = \relative c' {e4^"Default" e r e}
>
> partB = \relative c' {e4 e \once \partcombineApart r e}
>
> partC = \relative c' {c4 c c c}
>
> \score {
>  \new Staff \with {printPartCombineTexts = ##f}
>  \partcombine \partA \partC
> }
>
> \score {
>  \new Staff \with {printPartCombineTexts = ##f}
>  \partcombine \partB \partC
> }
>
>
> Many thanks for your time and any input,
>
> Brent.
>
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Re: Parenthesis/bracket/brace questions

[Brent Annable]

Hey Mark,

Thank you for your response. Yes I considered the arpeggio bracket option,
but the problem is I'm using that extensively throughout the edition to
indicate right-hand chords, so I wanted something that looks a little
different to avoid confusion. A staff brace would seem ideal, but I'm not a
programmer so I have no idea how to manipulate one into the middle of the
staff.

I suppose I could just use another solution (such as small notes), but this
looks rather elegant so I'd like to stick at it if possible.

Brent.

On 21 May 2018 at 01:16, Mark Stephen Mrotek <carsonm...@ca.rr.com> wrote:

> Brent,
>
>
>
> As to No. 1, perhaps a cross staff arpeggio/bracket?
>
>
>
> http://lilypond.org/doc/v2.19/Documentation/notation/
> expressive-marks-as-lines#arpeggio
>
>
>
> Mark
>
>
>
> *From:* lilypond-user [mailto:lilypond-user-bounces+carsonmark=
> ca.rr@gnu.org] *On Behalf Of *Brent Annable
> *Sent:* Sunday, May 20, 2018 7:31 AM
> *To:* lilypond-user <lilypond-user@gnu.org>
> *Subject:* Parenthesis/bracket/brace questions
>
>
>
>
>
> Hi all,
>
>
>
> So I'm working on a score at the moment and have run into two challenges:
>
>
>
> 1. Does anybody have an idea how to insert large, cross-staff square
> braces (effectively parenthesizing the entire staff) as in the link below?
> I have no idea how to even start.
>
>
>
> https://imgur.com/a/gTnREC6
>
>
>
> 2. I would like to parenthesize a couple of two-note chords in the tenor
> part. Has anybody come up with a decent way to put parentheses around
> entire chords yet? I've rummaged around the old threads but can't really
> find anything that fits the bill.
>
>
>
> The below example shows the two chords I need; the solution to the second
> one kind of works because the chord has a middle note that can be
> parenthesized and made invisible (and I assume the dot as well, although I
> haven't figured that out yet), then the parenthesis enlarged to span the
> entire chord. But the chord before it doesn't, and I can't figure out a way
> to either move or centre the parentheses:
>
>
>
>
>
> \version "2.19.65"
>
>
>
> \relative c' { \override ParenthesesItem.font-size = #3
>
> \key es \major
>
>  < bes \hide \parenthesize g es>2.
>
> }
>
>
>
>
>
> I would be grateful for any help.
>
>
>
> Thanks and regards,
>
>
>
> Brent.
>
>
>
>
>
>
>
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Re: Parenthesis/bracket/brace questions

[Brent Annable]

Hey Robin!

Thank you, this works just fine in this case. What would be really neat now
would be the ability to parenthesize entire chordal passages, so with the
left half around one chord and the right half around some other chord later
on in the music. So like a combination of this function:

startParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list (car par-list) point-stencil )))
}

endParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list point-stencil (cadr par-list
}


And this function:


parch =  #(define-music-function (parser location gap) (number?)
#{
   \once \override Arpeggio #'stencil = #(lambda (grob)
 (ly:stencil-add
   (ly:arpeggio::brew-chord-slur grob)
   (ly:stencil-translate-axis
 (ly:stencil-rotate (ly:arpeggio::brew-chord-slur grob) 180 0 0)
 gap X)))
   \once \override Arpeggio #'X-extent = #(lambda (grob)
 (ly:stencil-extent (ly:arpeggio::brew-chord-slur grob) X))
   \once \override Arpeggio #'positions = #(lambda (grob)
 (interval-widen (ly:arpeggio::calc-positions grob) 0.5))
   $(make-music 'EventChord 'elements (list (make-music 'ArpeggioEvent)))
#})


Here's a sample of the startParenthesis/endParenthesis in use:

\version "2.19.65"
startParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list (car par-list) point-stencil )))
}
endParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list point-stencil (cadr par-list
}

\relative c' { \override ParenthesesItem.font-size = #2
   c d \startParenthesis \parenthesize e f
   g a \endParenthesis \parenthesize b c
  }


Any takers?

Regards,

Brent.

On 21 May 2018 at 06:14, Robin Bannister <r...@dabble.ch> wrote:

> Brent Annable wrote:
>
> 2. I would like to parenthesize a couple of two-note chords in the tenor
>> part. Has anybody come up with a decent way to put parentheses around
>> entire chords yet? I've rummaged around the old threads but can't really
>> find anything that fits the bill.
>>
>
>
> Maybe you can make do with the \parch function given (at the end of)
> https://archiv.lilypondforum.de/index.php/topic,347.msg10786
> /topicseen.html#msg10786
>
> Then you would just write
> >
> > \parch #2.5 4 \parch #3.7 2.
> >
>
> But this hack doesn't prevent the right bracket colliding with things.
>
>
> Cheers,
> Robin
>


parentheses.pdf
Description: Adobe PDF document
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Font trouble when compiling via Windows Subsystem for Linux

[Brent Annable]

Hi all,

Some of you may remember my memory allocation error from a while ago:
trying to compile a 200-page PDF using a 32-bit version of Lilypond on a
64-bit Windows 10 system caused it to run out of memory. I eventually
solved the problem by running Lilypond under the Windows Subsystem for
Linux (WSL), but now I have a notation font problem.

I have successfully installed and used several notation fonts (Ross, Haydn,
Sebastiano, etc.) on my Windows installation of Lilypond, but now when I
compile under the WSL it says "fatal error: cannot find font: 'ross-11'". I
have copied the relevant font files into the following directory:

C:\Users\%user%\AppData\Local\Packages\CanonicalGroupLimited.UbuntuonWindows_79rhkp1fndgsc\LocalState\rootfs\usr\share\lilypond\2.18.2\fonts\otf
(and svg as well)

but the error keeps occurring. I don't know what else to do. Any thoughts?

Kind regards,

Brent.
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Re: Font trouble when compiling via Windows Subsystem for Linux

[Brent Annable]

Hey Andrew,

Yeah I tried that solution first, but got an error message when I tried to
install Ubuntu the first time. I was at the height of my frustration at
that point, so I rage quit and never went back to that solution. I think
you’re right, I should probably reconsider it as this bash shell
environment is doing my head in.

Brent.
On Sun, 17 Jun 2018 at 5:59 pm, Andrew Bernard 
wrote:

> Hi Brent,
>
> Not to answer your question, but why don't you run full blown proper Linux
> under Virtualbox on Windows 10? This is what I do. Has large advantages.
>
> Andrew
>
>
>
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\magnifyStaff alters thickness of barlines

[Brent Annable]

Hi all,

I'm creating an organ part where the right-hand staff is supposed to be
slightly narrower than the left-hand staff. When I use \magnifyStaff to
achieve this effect, it also alters the thickness of the final barlines so
they don't match up:

\version "2.19.65"

\score {
\new PianoStaff <<
\new Staff = "right" \relative c'' {\magnifyStaff #6/7 a4 a a a \bar "|."}
\new Staff = "left" \relative c {\clef bass a4 a a a \bar "|."}
 >>
}

Is there anything that can be done about this, or am I doing something
wrong? I would appreciate any advice.

Kind regards,

Brent.


magnifyStaff.pdf
Description: Adobe PDF document
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Printing lower continuo figures only

[Brent Annable]

Hi all,

I am currently reproducing a continuo part, and am having trouble achieving
a particular effect: printing a continuo figure in the *lower *position
only. So in the first example in the attached image, I want the '3' to
appear on the lower line, at the same height as the '4' to the left of it.

I've tried inserting a dummy figure above it and using \once \hide
FiguredBass.BassFigure, but it hides both figures. And I tried turning Bass
Extender Lines on and then hiding the line stencil (see second example),
but this doesn't seem to work either.

Anyone got an idea how to do this, or what I might be doing wrong? (aside
from messing with the offsets, which is a bit approximate for me).

And while I'm here: is there any easy way of adjusting the font size of the
continuo *figures*, but not the *symbols *(#, b, etc)?

Regards,

Brent.


\version "2.19.65"
<<
\relative c' { \clef bass
  g2 ~ g
}
\figures {
<7 3>2 <6 4>4 <3>
}
>>

%trying to hide the figure with an extender line, and then
%deleting the extender line

<<
\relative c' { \clef bass
  g2 ~ g
}
\figures { \bassFigureExtendersOn

\override FiguredBass.BassFigureLine.stencil = ##f <7 3>2 <6 4>4 <6 3>
}
>>
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Merge_rests_engraver broken?

[Brent Annable]

Hi all,

Is the Merge_rests_engraver broken? I just copied and pasted the example
from the Lilypond manual into Frescobaldi (Lilypond version 2.19.65), and
the rests did not merge like they do on the relevant page of the manual

:

voiceA = \relative { d''4 r d2 | R1 | }
voiceB = \relative { fis'4 r g2 | R1 | }
\score {
  <<
\new Staff \with {
  instrumentName = "unmerged"
}
<<
  \new Voice { \voiceOne \voiceA }
  \new Voice { \voiceTwo \voiceB }
>>
\new Staff \with {
  instrumentName = "merged"
  \consists "Merge_rests_engraver"
}
<<
  \new Voice { \voiceOne \voiceA }
  \new Voice { \voiceTwo \voiceB }
>>
  >>
}

Is there a workaround for this, or am I doing something wrong?

Brent.
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Re: Grace notes immediately following repeat barline cause extra barline

[Brent Annable]

Thank you both. Silly me, didn't read the fine print.

Sorry to bother you!

Brent.

On Tue, 7 Apr 2020, 8:20 pm Noeck,  wrote:

> This is a longstanding issue. You need to add invisible grace notes in
> the other staves:
>
>
> http://lilypond.org/doc/v2.20/Documentation/notation/special-rhythmic-concerns.html#Known-issues-and-warnings-58
>
> Joram
>
>

Grace notes immediately following repeat barline cause extra barline

[Brent Annable]

Hi all,

I'm typesetting a multi-staff score, and whenever one part begins with
grace notes immediately following a repeat barline, an extra barline is
placed after the grace notes, between them and the note to which they are
attached. It doesn't matter whether I use volta repeats or just insert
repeat barlines, and inserting line breaks results in the same behaviour
(just with line breaks). See attached PDF; code is given below.

Does anybody know a way around this?

Many thanks,

Brent.


\version "2.20.0"

scoreAViolinI = \relative c'' {
  c c c c
  c c c c
  \repeat volta 2 {b b b b}
  \repeat volta 2 {b b b b}
  a a a a \bar ":..:"
  a a a a

}

scoreAViolinII = \relative c'' {
  c c c c %break
  \grace {e32 d} c4 c c c
  \repeat volta 2 {b b b b} %break
  \repeat volta 2 {\grace {d32 c} b4 b b b}
  a a a a \bar ":..:" %break
  \grace {d32 c} a4 a a a
}

scoreAViolinIPart = \new Staff \with {
  instrumentName = "Violin I"
} \scoreAViolinI

scoreAViolinIIPart = \new Staff \with {
  instrumentName = "Violin II"
} \scoreAViolinII

\score {
  <<
\scoreAViolinIPart
\scoreAViolinIIPart
  >>
  \layout { }
}


grace notes + repeat signs.pdf
Description: Adobe PDF document

Re: Combining roughly 70 separate files into a single book

[Brent Annable]

Hi Richard,

Does that do page numbers as well?  I'd really like to eliminate any extra
steps if possible; my goal is to have a master file that I can adjust as
necessary, and then just press a button to spit the whole thing out every
time I need a new version.

Based on Jerry's suggestion I've done a little experimenting. Using a
structure like this:

\book {
\bookpart {\include "O-Welt-ich-muss-dich.ly"}
\bookpart {\include "O-Welt-ich-muss-dich.ly"}
}

does produce scores in sequence with headings, etc. in place, but the music
processing is full of errors and the output is nonsensical (see
attachment). Can someone explain to me why this approach doesn't work? I
thought that anything in a \bookpart block should be independent of
everything around it, is that not the case? I even tried it with multiple
\book blocks, but that produced nothing at all.

Brent.

On Wed, 29 Apr 2020 at 02:18, Richard Shann  wrote:

> On Tue, 2020-04-28 at 23:37 +1000, Brent Annable wrote:
> > Hi all,
> >
> > I'm looking for some general advice on how to combine about 70 files
> > into one, to turn multiple files into a single PDF.
>
> I guess you are aware that ghostscript can concatenate your pdfs?
>
> gs -dBATCH -dNOPAUSE -q -sDEVICE=pdfwrite -sOutputFile=merged.pdf *.pdf
>
> Richard Shann
>
> >
> > Over the past two years or so I've been typesetting a collection of
> > organ pieces for a friend. After doing the first few I created a
> > template that I subsequently used to set the rest, adding to it as I
> > went along whenever new problems presented themselves. Now the
> > collection is finished and I need to put them all together, and I'm
> > just wondering about the easiest way to go about it.
> >
> > Most of the Lilypond files contain multiple \score blocks (usually 2
> > or 3) and the variables in each file all have the same names. I've
> > attached a typical file to give an idea of what I'm dealing with
> > (plus the file with my macros, for convenience).
> >
> > So I have about 70 files like this. How should I go about putting
> > everything together? Can I do an 'include' for every file somehow? Or
> > do I need to rename all the variables in each separate file to do
> > that? I've never done this before, so would really appreciate being
> > steered in the right direction to avoid having to reinvent the wheel.
> >
> > Many thanks,
> >
> > Brent.
>


Master.pdf
Description: Adobe PDF document

Can system-system spacing be altered within a \score block?

[Brent Annable]

Hi all,

I'm currently putting a whole bunch of separate pieces together into one
document, and occasionally I want to manually adjust the distance between
systems in one piece without affecting the spacing in the others. Because
of the file structure I've chosen, I can't include any top-level
instructions in \paper blocks without affecting all the other pieces in the
document. Is there a way of including an instruction within a \score block
(or below), or some other way to help adjust between-system spacing?

Regards,

Brent.

Re: Can system-system spacing be altered within a \score block?

[Brent Annable]

Hi Pierre,

Thanks for your answer. I did try that, but because of my file structure it
doesn't work. As soon as I use \bookpart anywhere in my master file, the
output is corrupted for some reason -- probably because I'm including
multiple files that use higher-level expressions and variables with the
same names. I could reorganize everything, but that's precisely the hassle
I'm trying to avoid.

I enclose a few files as an example. What I want to do is bring the systems
of 'All things bright and beautiful' closer together on the page. If I do
ragged-bottom = ##t they are too close together; I could insert some
\vspaces to move the whole piece down a bit, but the systems remain too
bunched-up for my liking. If I put the coding for that section into a
\bookpart block, the output is immediately corrupted, so I can't use a
separate \paper block to achieve what I want.

Any ideas on the best way to solve this?

Regards,

Brent.

On Fri, 1 May 2020 at 16:09, Pierre Perol-Schneider <
pierre.schneider.pa...@gmail.com> wrote:

> Hi Brent,
> You can put the paper bloc in a bookpart, e.g.:
>
> \version "2.20.0"
>
> music = { \repeat unfold 100 s1 }
>
> \book {
>   \bookpart {
> \score { \music }
> \header { piece = \markup\bold\fontsize #5 \fill-line { "15" } }
> \paper { system-system-spacing.basic-distance = 15 }
>   }
>   \bookpart {
> \score { \music }
> \header { piece = \markup\bold\fontsize #5 \fill-line { "20" } }
> \paper { system-system-spacing.basic-distance = 20 }
>   }
>   \bookpart {
> \score { \music }
> \header { piece = \markup\bold\fontsize #5 \fill-line { "30" } }
> \paper { system-system-spacing.basic-distance = 30 }
>   }
> }
>
> HTH,
> Cheers,
> Pierre
>
> Le ven. 1 mai 2020 à 05:32, Brent Annable  a
> écrit :
>
>> Hi all,
>>
>> I'm currently putting a whole bunch of separate pieces together into one
>> document, and occasionally I want to manually adjust the distance between
>> systems in one piece without affecting the spacing in the others. Because
>> of the file structure I've chosen, I can't include any top-level
>> instructions in \paper blocks without affecting all the other pieces in the
>> document. Is there a way of including an instruction within a \score block
>> (or below), or some other way to help adjust between-system spacing?
>>
>> Regards,
>>
>> Brent.
>>
>
arpOffIII = { \once \override PianoStaff.Arpeggio.extra-offset = #'(0.3 . 0.0)}
arpOffIV = { \once \override PianoStaff.Arpeggio.extra-offset = #'(0.4 . 0.0)}
arpOffV = { \once \override PianoStaff.Arpeggio.extra-offset = #'(0.5 . 0.0)}
arpOffVI = { \once \override PianoStaff.Arpeggio.extra-offset = #'(0.6 . 0.0)}
arpOffVII = { \once \override PianoStaff.Arpeggio.extra-offset = #'(0.7 . 0.0)}
arpOffVIII = { \once \override PianoStaff.Arpeggio.extra-offset = #'(0.8 . 0.0)}
arpOffIX = { \once \override PianoStaff.Arpeggio.extra-offset = #'(0.9 . 0.0)}
arpOffX = { \once \override PianoStaff.Arpeggio.extra-offset = #'(1.0 . 0.0)}
arpOffXI = { \once \override PianoStaff.Arpeggio.extra-offset = #'(1.1 . 0.0)}
arpOffXII = { \once \override PianoStaff.Arpeggio.extra-offset = #'(1.2 . 0.0)}

breatheSymbol = {\override BreathingSign.text = \markup {
\line {
  \musicglyph #"scripts.lvarcomma"
}
  }}

pcc = {\partcombineChords}
pca = {\partcombineApart}
pcau = {\partcombineAutomatic}

ssf = {\once \override Stem.length = 4.6}
ss = { 
   \once \override Stem.length = 
#(lambda (grob) (- (ly:stem::calc-length grob) 1.5)) 
 }

stemOff = {\once \hide Staff.Stem}
tsOff = {\once \override Score.TimeSignature.stencil = ##f}
ov = {\once \oneVoice}
ovo = {\once \voiceOne}
ovt = {\once \voiceTwo}
sd = {\once \stemDown}
su = {\once \stemUp}
tn = {\once \tieNeutral }
td = {\once \tieDown}
tu = {\once \tieUp}
pca = {\once \partcombineApart}

startParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list (car par-list) point-stencil )))
}

endParenthesis = {
  \once \override ParenthesesItem.stencils = #(lambda (grob)
(let ((par-list (parentheses-item::calc-parenthesis-stencils grob)))
  (list point-stencil (cadr par-list
}

parch =  #(define-music-function (parser location gap) (number?) 
#{
   \once \override Arpeggio #'stencil = #(lambda (grob)
 (ly:stencil-add
   (ly:arpeggio::brew-chord-slur grob)
   (ly:stencil-translate-axis 
 (ly:stencil-rotate (ly:arpeggio::brew-chord-slur grob) 180 0 0)
 gap X)))
   \once \override Arpeggio #'X-extent = #(lambda (grob)
 (ly:stencil-extent (ly:arpeggio::brew-chord-slur grob) X))
   \once \override Arpeggio #'positions = #(lambda (grob) 
 (interval-widen (l

Re: Combining roughly 70 separate files into a single book

[Brent Annable]

Hi Federico,

Your strategy seems like good advice, and I've changed the files around so
I can do it. But the master file is getting very long and complicated with
all the \score blocks, so I have a question: can you put a \score block
into a variable, to avoid all the extra code in the master file? Whenever I
try to do that I get an error message, using the syntax below:

myScore = { \score { \new Staff [etc.] } }

\myScore

Is there some special way of putting the \score block into a variable so it
doesn't produce an error?

Regards,

Brent.

On Wed, 29 Apr 2020 at 06:37, Federico Bruni  wrote:

> Il giorno mer 29 apr 2020 alle 02:36, Brent Annable
>  ha scritto:
> > Does that do page numbers as well?  I'd really like to eliminate any
> > extra steps if possible; my goal is to have a master file that I can
> > adjust as necessary, and then just press a button to spit the whole
> > thing out every time I need a new version.
> >
> > Based on Jerry's suggestion I've done a little experimenting. Using a
> > structure like this:
> >
> > \book {
> > \bookpart {\include "O-Welt-ich-muss-dich.ly"}
> > \bookpart {\include "O-Welt-ich-muss-dich.ly"}
> > }
> >
> > does produce scores in sequence with headings, etc. in place, but the
> > music processing is full of errors and the output is nonsensical (see
> > attachment). Can someone explain to me why this approach doesn't
> > work? I thought that anything in a \bookpart block should be
> > independent of everything around it, is that not the case? I even
> > tried it with multiple \book blocks, but that produced nothing at all.
>
> IIRC the reason is that you cannot include, within a bookpart, a file
> which contains top level expressions.
> This means that, even if you remove the top level expressions (such as
> \score), in any case you'll need an extra file to produce the PDF of
> the single piece.
>
> I usually follow this strategy:
>
> - Piece-Name.ily: file containing only music variables (doesn't produce
> any output), including a variable for the \score block. You'd better
> use variable names which are unique within your project.
> - Piece-Name.ly: here I include above file and call the \score
> variable, to print a single PDF.
> - If the piece is part of a collection, the collection.ly file will
> include only the .ily file and call the \score variable.
>
> HTH
> Federico
>
>
>

Re: Combining roughly 70 separate files into a single book

[Brent Annable]

Federico,

Thank you very much for this. I had no idea that's what I'd been doing
wrong all this time! I tried it many years ago and just assumed it was
impossible -- my eyes have been opened. Now I can get on with things.

With much gratitude,

Brent.

On Mon, 4 May 2020 at 19:56, Federico Bruni  wrote:

> Il giorno lun 4 mag 2020 alle 14:39, Brent Annable
>  ha scritto:
> > Your strategy seems like good advice, and I've changed the files
> > around so I can do it. But the master file is getting very long and
> > complicated with all the \score blocks, so I have a question: can you
> > put a \score block into a variable, to avoid all the extra code in
> > the master file? Whenever I try to do that I get an error message,
> > using the syntax below:
> >
>
> This is exactly what I do: I save each score block in a variable so I
> can use it wherever I want to.
>
> > myScore = { \score { \new Staff [etc.] } }
> >
> > \myScore
> >
> > Is there some special way of putting the \score block into a variable
> > so it doesn't produce an error?
>
> David has already given the solution: you should not wrap it using {}
>
>
>
>

Re: Inserting a one-time Volta bracket

[Brent Annable]

Hi Jacques,

Thanks, but I don't really need a lower bracket on the text, and I'd like
the object to be linked to the measure rather than the text. Any way I can
use the voltabracket spanner to do that?

Regards,

Brent.

On Tue, 15 Jun 2021 at 16:47, Jacques Menu  wrote:

> Hello Brent,
>
> What about:
>
>
> JM
>
> Le 15 juin 2021 à 08:43, Brent Annable  a écrit :
>
> Here are my efforts so far. I don't think this solution is very elegant,
> but if I could find a way to extend the measure length to accommodate the
> text, this might work. But I'm sure there must be an easier way.
>
> Sorry for the massive file, but I thought it was best to include the
> entire context since the spanner for the bracket seems to be affected by
> lots of different things.
>
> Brent.
>
> On Tue, 15 Jun 2021 at 14:41, Brent Annable 
> wrote:
>
>> Hi all,
>>
>> I'm trying to create the effect in the picture, of a one-time Volta
>> bracket above the staff with the text "last time only". I would prefer the
>> text to be inside the bracket, but that's another matter. Right now I'm
>> just looking for a way to get the bracket up there - I've tried using
>> actual Volta repeats and deleting/removing/changing things with tips from
>> previous emails and snippets, but after an hour I'm just not getting
>> anywhere.
>>
>> Does somebody know an easy way?
>>
>> Many thanks and regards,
>>
>> Brent.
>>
> 
>
>
>

Re: Bottom-right-aligned, multi-line paragraphs within headings

[Brent Annable]

Just resending this to the whole list.

Thanks for that Lukas. And yeah, I did notice a slight misalignment, but I
think it's so minor that it won't matter. Unless there are any code wizards
out there who can tweak it one last time...?

Brent.


On Wed, 9 Jun 2021 at 03:06, Lukas-Fabian Moser  wrote:

> Hi Brent,
>
> > This is marvellous, thank you! Just one question: if I wanted to
> > remove the preceding zeros from the number, how would I do that?
>
> Just omit the (not very elegant) code that I added in order to add the
> preceding zeros. :-)
>
> To wit, replace
>
>(markup (format #f
>(string-append "~" (number->string digits)
> ",'0d")
>n)))
>
> by
>
>(number->string n))
>
> I attach a complete version.
>
> One problem with my code is the fine-tuning of the bottom-alignment of
> the various \markup's: If you look closely, you see that LilyPond
> doesn't use the baselines of the text lines, but the actual lowest point
> of the markups: The lowest point of "Gottes Sohn ist kommen" (no
> descenders) are aligned to the lowest point of the 'g' in 'long'. Not
> ideal, but I don't know how to improve this.
>
> Lukas
>
>

Beamed eighth notes in markup

[Brent Annable]

Hi all,

I'm trying to create a markup indication that includes two beamed
eighth-notes, but I can't seem to figure out how using \note or
\note-by-number. Can anyone help? My efforts are attached.

\version 2.19.65
\relative c' { c4
 f^\markup {\center-align \italic \small { "(v. 6" }
 \teeny { \note-by-number #3 #0 #1 }
 \teeny { \note-by-number #3 #0 #1 \italic \small ")" }
 }
  f a }

Many thanks,

Brent.
\version 2.19.65

\relative c' { c4 
 f^\markup {\center-align \italic \small { "(v. 6" } 
 \teeny { \note-by-number #3 #0 #1 } 
 \teeny { \note-by-number #3 #0 #1 \italic \small ")" }

 }
  f a } 

beamed-eighths-in-markup.pdf
Description: Adobe PDF document

Re: Bottom-right-aligned, multi-line paragraphs within headings

[Brent Annable]

Brilliant Harm, thank you! And thanks again to everybody who contributed to
the thread, this is such a great community :-)

Brent.

On Thu, 10 Jun 2021 at 08:25, Thomas Morley 
wrote:

> Am Di., 8. Juni 2021 um 19:07 Uhr schrieb Lukas-Fabian Moser :
> >
> > Hi Brent,
> >
> > > This is marvellous, thank you! Just one question: if I wanted to
> > > remove the preceding zeros from the number, how would I do that?
> >
> > Just omit the (not very elegant) code that I added in order to add the
> > preceding zeros. :-)
> >
> > To wit, replace
> >
> >(markup (format #f
> >(string-append "~" (number->string digits)
> > ",'0d")
> >n)))
> >
> > by
> >
> >(number->string n))
> >
> > I attach a complete version.
> >
> > One problem with my code is the fine-tuning of the bottom-alignment of
> > the various \markup's: If you look closely, you see that LilyPond
> > doesn't use the baselines of the text lines, but the actual lowest point
> > of the markups: The lowest point of "Gottes Sohn ist kommen" (no
> > descenders) are aligned to the lowest point of the 'g' in 'long'. Not
> > ideal, but I don't know how to improve this.
> >
> > Lukas
> >
>
> Hi Lukas,
>
> some remarks:
> You refer to my very first LSR snippet
> https://lsr.di.unimi.it/LSR/Item?id=765
> originally coded with 2.14. (or was it even 2.12.?, don't remember exactly
> ...)
>
> There I c/p-ed general-column from define-markup-commands.scm, because
> it is not public.
> For wordwrap-right you obviously had copied (and renamed) the original
> textRight (with a hardcoded baseline-skip).
>
> Nowadays I'd rather use general-column from a more recent version. The
> LSR-snippet was already improved to have baseline-skip adjustable.
>
>
> That said...
> The problem of not base-aligned texts persist, because general-align
> aligns the whole markup, not respecting baselines.
> Thus I took a different approach.
> Remember, dir-column _respects_ baselines. Following this idea means:
> - create a list of line-stencils
> - right-align them
> - stack them up(!) in reverse order
> And after deleting \general-align #Y #DOWN from scoreTitleMarkup we're
> done.
>
> Leading to:
> #(define-markup-command (column-right-up layout props args) (markup-list?)
>   #:properties ((baseline-skip))
>   (let* ((lines (wordwrap-internal-markup-list layout props #f args))
>  (right-aligned-lines
>(map (lambda (stil) (ly:stencil-aligned-to stil X RIGHT))
> lines)))
> (stack-lines
>   UP
>   0.0
>   baseline-skip
>   (reverse right-aligned-lines
>
> #(define-markup-command (number-fromproperty layout props digits symbol)
>(index? symbol?)
>(let ((n (chain-assoc-get symbol props)))
>  (if (index? n)
>  (interpret-markup
>   layout props
>   (markup (format #f
>   (string-append "~" (number->string digits)
> ",'0d")
>   n)))
>  empty-stencil)))
>
> #(define-markup-command (wordwrap-right-field layout props symbol)
>(symbol?)
>(let* ((m (chain-assoc-get symbol props)))
>  (if (markup-list? m)
>  (column-right-up-markup layout props m)
>  empty-stencil)))
>
> \paper {
>   scoreTitleMarkup = \markup
>   \overlay {
>   %% Only to demonstrate aligning to baseline, delete me!
>   \translate #'(0 . -0.1) \draw-hline
> \fill-line {
>   \line {
> \fontsize #7 \number-fromproperty #3 #'header:piece-nr
> \hspace #1
> \normal-text \large \fromproperty #'header:piece-title
>   }
>   \italic \small
>   %% probably:
>   \override #'(baseline-skip . 2.5)
>   \override #'(line-width . 50)
>   \wordwrap-right-field #'header:infotext
> }
>   }
> }
>
> \paper {
>   indent = 0
> }
>
> \score {
>   \header {
> piece-nr = 0
> piece-title = "Gottes Sohn ist kommen"
> infotext = \markuplist {
>   This paragraph is in two or more rows, and the last line needs
>   to be level with the bit on the left. It really can be as long
>   as you want.
> }
>   }
>   \relative c' { c1 c e f g a g }
> }
>
>
> \score {
>   \header {
> piece-nr = 1
> piece-title = "Another piece"
> infotext = \markuplist {
>   This paragraph is in two or more rows, and the last line needs
>   to be level with the bit on the left. It really can be as long
>   as you want. Bla bla text, bla bla text? Really important bla
> bla text, bla bla text.
> }
>   }
>   \relative g' { g2 f e c d b c1 }
> }
>
> The draw-hline is only there to visualize baselines, should be deleted ...
>
> Best,
>   Harm
>

Re: Using partCombine with beamed melismata in cadenza mode

[Brent Annable]

Ok cool thanks everyone, I'll definitely be mindful of that in future.

Any ideas about my partcombine problem?

Brent.

On Thu, 17 Jun 2021, 11:19 pm Knute Snortum,  wrote:

> I've also found that this works most of the time:
>
> lilypond 2.22 "search words"
>
> --
> Knute Snortum
>
>
> --
> Knute Snortum
>
>
>
> On Thu, Jun 17, 2021 at 5:15 AM Phil Holmes  wrote:
> >
> > On 17/06/2021 12:51, Brent Annable wrote:
> >
> > Hi Phil,
> >
> > I was here:
> >
> >
> https://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#automatic-part-combining
> >
> > I see now in the URL that the version is 2.20, but this is where Google
> sent me when I searched for "Lilypond partcombine" (without the quotation
> marks). Should I always check to see where I end up, or was this a cached
> page, or will it perhaps be taken down at some point?
> >
> > Brent.
> >
> > On Thu, 17 Jun 2021, 9:29 pm Phil Holmes,  wrote:
> >>
> >> On 17/06/2021 12:19, Brent Annable wrote:
> >> > Hi all,
> >> >
> >> > I'm trying to use \partCombine to merge two parts with beamed eighth
> notes in cadenza mode (see attached). What I want is for the three eighth
> notes in the lower part to merge into chords with the upper part, but
> Lilypond doesn't seem to want to do it. When I take out the [ ] beaming
> marks, it merges the second two notes, but the first one (tied to the
> previous e-flat) still won't merge with the part above it.
> >> >
> >> > Is there a way to get \partCombine to do this?
> >> >
> >> > Regards,
> >> >
> >> > Brent.
> >> >
> >> > PS: I've noticed that the online documentation still says to use
> \partcombine with a lower-case "c", but when I try that I get error
> messages. It only works for me in version 2.22.1 when I use camel case
> (\partCombine).
> >>
> >> Are you sure you're actually using the 2.22 documentation?  See:
> >>
> >>
> http://lilypond.org/doc/v2.22/Documentation/notation/multiple-voices#index-part-combiner
> >>
> >> where the c is clearly upper case.
> >>
> >> --
> >> Phil Holmes
> >>
> > Unfortunately Google frequently fails to direct you to the latest
> documentation, so it's better to start from the lilypond site and use the
> documentation index.  We leave old versions of the docs for people who are
> still using old versions of lilypond.
> >
> > --
> > Phil Holmes
>

Using partCombine with beamed melismata in cadenza mode

[Brent Annable]

Hi all,

I'm trying to use \partCombine to merge two parts with beamed eighth notes
in cadenza mode (see attached). What I want is for the three eighth notes
in the lower part to merge into chords with the upper part, but Lilypond
doesn't seem to want to do it. When I take out the [ ] beaming marks, it
merges the second two notes, but the first one (tied to the previous
e-flat) still won't merge with the part above it.

Is there a way to get \partCombine to do this?

Regards,

Brent.

PS: I've noticed that the online documentation still says to use
\partcombine with a lower-case "c", but when I try that I get error
messages. It only works for me in version 2.22.1 when I use camel case
(\partCombine).
\version "2.22.1"

global = {
\cadenzaOn
\key es \major

}

partOneBeams = \relative c'' {
  \global 
  g8[ as bes c bes g as] bes4
}

partTwoBeams = \relative c'{
  \global
  d es~ es8[ d c] d4
}

partOneCorrect = \relative c' {

}

\score {
\new Staff {
\partCombine \partOneBeams \partTwoBeams
}

\layout {
\context {
\Staff \remove Time_signature_engraver}
}

}


partcombine-beams-example.pdf
Description: Adobe PDF document

Re: Using partCombine with beamed melismata in cadenza mode

[Brent Annable]

Hi Phil,

I was here:

https://lilypond.org/doc/v2.20/Documentation/notation/multiple-voices#automatic-part-combining

I see now in the URL that the version is 2.20, but this is where Google
sent me when I searched for "Lilypond partcombine" (without the quotation
marks). Should I always check to see where I end up, or was this a cached
page, or will it perhaps be taken down at some point?

Brent.

On Thu, 17 Jun 2021, 9:29 pm Phil Holmes,  wrote:

> On 17/06/2021 12:19, Brent Annable wrote:
> > Hi all,
> >
> > I'm trying to use \partCombine to merge two parts with beamed eighth
> notes in cadenza mode (see attached). What I want is for the three eighth
> notes in the lower part to merge into chords with the upper part, but
> Lilypond doesn't seem to want to do it. When I take out the [ ] beaming
> marks, it merges the second two notes, but the first one (tied to the
> previous e-flat) still won't merge with the part above it.
> >
> > Is there a way to get \partCombine to do this?
> >
> > Regards,
> >
> > Brent.
> >
> > PS: I've noticed that the online documentation still says to use
> \partcombine with a lower-case "c", but when I try that I get error
> messages. It only works for me in version 2.22.1 when I use camel case
> (\partCombine).
>
> Are you sure you're actually using the 2.22 documentation?  See:
>
>
> http://lilypond.org/doc/v2.22/Documentation/notation/multiple-voices#index-part-combiner
>
> where the c is clearly upper case.
>
> --
> Phil Holmes
>
>

Re: Using partCombine with beamed melismata in cadenza mode

[Brent Annable]

Timothy, gang,

OMG you can just hide the beam? 臘‍♂️

Thank you very much!

Brent.

On Fri, 18 Jun 2021 at 08:14, Timothy Lanfear  wrote:

> On 17/06/2021 15:28, Brent Annable wrote:
> > Ok cool thanks everyone, I'll definitely be mindful of that in future.
> >
> > Any ideas about my partcombine problem?
> >
> > Brent.
> >
> Will this do?
>
> version "2.22.1"
>
> global = {
>\cadenzaOn
>\key es \major
> }
>
> partOneBeams = \relative c'' {
>\global
>g8[ as bes c bes g as] bes4
> }
>
> partTwoBeams = \relative c'{
>\global
>d es~ \hide Beam \stemUp es8[ d c] d4
> }
>
> partOneCorrect = \relative c' {
> }
>
> \score {
>\new Staff {
>  \partCombine \partOneBeams \partTwoBeams
>}
>
>\layout {
>\context {
>  \Staff \remove Time_signature_engraver}
>}
> }
>
>
> --
> Timothy Lanfear, Bristol, UK.
>
>
>

Displaying 4/2 as cut common

[Brent Annable]

Hi all,

Just a quick question: is there any way to display a 4/2 time signature as
cut common? I've tried 4/2, 8/4 and 2/1, but none of them seem to default
to cut common.

I've had a look around, but there doesn't seem to be a way for me to
'force' this behaviour... is there a way? Or do I need to set the time
signature normally, and then just tell Lilypond to print a different glyph?
If so, how do I do that?

I would appreciate any help!

Regards,

Brent.

Bottom-right-aligned, multi-line paragraphs within headings

[Brent Annable]

Hi all,

I'm looking for a way to create a multi-line paragraph of text on the
bottom-right-hand side of the heading section, the last line of which
aligns with the lowest line of text on the left. I have attached a sample
of what I want.

The problems with my current solution are: 1. it is confusing and
inelegant, since the text in the paragraph is split over multiple heading
types; 2.  the lines in the rightmost paragraph are too far apart, and 3.
this solution doesn't accommodate three or more lines of text.

Does anyone know of a way to create an independent, right-aligned box of
text on the lower-right of the heading section, whose lowest line is on the
same level as the stuff on the left?

Many thanks,

Brent.
\version "2.19.65"
\header {
  title = "ADVENT"
  composer = \markup {\normal-text \italic \small "This paragraph is in two or more rows,"}
  meter = \markup {\fontsize #7 "000" \hspace #1 \normal-text \large "GOTTES SOHN IST KOMMEN"}
  arranger = \markup {\normal-text \italic \small "and the last line needs to be level with the bit on the left."}
  tagline = ##f
} 

\paper {indent = 0}
\score { \relative c' {c1}}

lilypond_text_alignment.pdf
Description: Adobe PDF document

Re: Bottom-right-aligned, multi-line paragraphs within headings

[Brent Annable]

Lukas,

This is marvellous, thank you! Just one question: if I wanted to remove the
preceding zeros from the number, how would I do that?

Regards,

Brent.

On Tue, 8 Jun 2021 at 23:00, Lukas-Fabian Moser  wrote:

>
> > I'm sure our scheme wizards will be able to provide a much better
> > solution (for instance, the number "000" should really be a number,
> > not a string), but here is an approximation:
>
> Here an improved version which allows the number to entered as a number
> (and the descriptive text as a simple markup-list).
>
> Lukas
>
>

Re: Displaying 4/2 as cut common

[Brent Annable]

Thanks Lukas and everyone! Much obliged.

Brent.

On Thu, 24 Jun 2021 at 17:28, Vaughan McAlley 
wrote:

> On Thu, 24 Jun 2021 at 14:52, Lukas-Fabian Moser  wrote:
>
>> Hi Brent,
>>
>> Am 24.06.21 um 03:53 schrieb Brent Annable:
>> > Just a quick question: is there any way to display a 4/2 time
>> > signature as cut common? I've tried 4/2, 8/4 and 2/1, but none of them
>> > seem to default to cut common.
>>
>> That's a sufficiently common notation (in Renaissance and faux-archaic
>> music e.g. by later Church composers) that maybe this should be an
>> feature.
>>
>> But it's not hard to force the desired behaviour. I know of two ways
>> (and have no idea if one is better than the other):
>>
>> a) Ask for \time 2/2 and tamper with the measure length.
>> b) Ask for \time 4/2 and tamper with the printed symbol.
>>
>> \version "2.22.1"
>>
>> {
>>\time 2/2
>>\set Timing.measureLength = #(ly:make-moment 4/2)
>>c'2 2 2 2
>> }
>>
>> {
>>\time 4/2
>>\set Timing.timeSignatureFraction = 2/2
>>c'2 2 2 2
>> }
>>
>> Lukas
>>
>>
>>
> The first solution creates unexpected beaming, so I would vote for the
> second:
>
> \version "2.22.1"
>
> \relative c'
> {
>\time 2/2 % (first solution)
>\set Timing.measureLength = #(ly:make-moment 4/2)
>c8 c c c c c c c
>d d d d d d d d
>e e e e e e e e
>f f f f f f f f
> }
>
> It would be a good standard feature to have—I use it all the time.
>
> Vaughan
>
>

Hiding slurs but retaining melismata

[Brent Annable]

Hi everybody,

I'm preparing some choral motets, and so far I have used slurs to tell the
lyric engine where to put the melismata. I am finding the page a little too
cluttered, so bow I want to see what the score would look like without the
slurs in it.

When I use \hide Slur, they disappear but the layout and spacing is the
same; obviously the engraver still creates them, they just aren't shown.
When I remove the engraver, the lyric engine no longer recognises them so
the syllables all end up in the wrong place.

Is there a way to tell Lilypond to use the slur indications to position the
lyrics, but to tell the slur engraver not to generate them?

Brent.

Re: Hiding slurs but retaining melismata

[Brent Annable]

Lukas,

Perfect, thanks so much again! Gee I'm learning a lot right now.

Brent.

On Sat, 3 Jul 2021 at 17:53, Lukas-Fabian Moser  wrote:

> Hi Brent,
>
> Am 03.07.21 um 09:40 schrieb Brent Annable:
> > Hi everybody,
> >
> > I'm preparing some choral motets, and so far I have used slurs to tell
> > the lyric engine where to put the melismata. I am finding the page a
> > little too cluttered, so bow I want to see what the score would look
> > like without the slurs in it.
> >
> > When I use \hide Slur, they disappear but the layout and spacing is
> > the same; obviously the engraver still creates them, they just aren't
> > shown. When I remove the engraver, the lyric engine no longer
> > recognises them so the syllables all end up in the wrong place.
> >
> > Is there a way to tell Lilypond to use the slur indications to
> > position the lyrics, but to tell the slur engraver not to generate them?
>
> \hide'ing is too weak (it just makes the slurs transparent), \remove'ing
> the Slur_engraver is too much (the slurs cease to exist). \omit'ting is
> the right thing in between: The stencil is removed, so the slur won't be
> printed and won't take up space, but the lyrics engine still "sees" the
> slur.
>
> So:
>
> \version "2.22.1"
>
> \layout {
>\omit Slur
> }
>
> \relative {
>g'4.( f8 e d c d)
>e4 c
> }
> \addlyrics {
>Me -- lis -- ma
> }
>
> Another, somewhat brutal alternative would be to re-define the meaning
> of ( and ):
>
> \version "2.22.1"
>
> "(" = \melisma
> ")" = \melismaEnd
>
> \relative {
>g'4.( f8 e d c d)
>e4 c
> }
> \addlyrics {
>Me -- lis -- ma
> }
>
> Lukas
>
>

Appending minor chords with "sus2/sus4"

[Brent Annable]

Hi all,

I'm currently adding chords to some music, and I can't seem to find
anywhere how to create a "Gmsus2" chord name. When I type "g:msus2"
lilypond freaks out, and as far as I can tell, this particular combination
of a minor chord with an added suspension never appears in the
documentation (at
https://lilypond.org/doc/v2.22/Documentation/notation/displaying-chords ).

I feel like I'm just missing something, is there an easy way to display
this chord type?

Regards,

Brent.

Re: Appending minor chords with "sus2/sus4"

[Brent Annable]

Lukas,

Aaaah, that makes sense. As a classical stiff I just assumed that
suspensions resolve downwards by default, so the 2 was in fact a suspended
tonic, not a suspended third. And since the minor third is already present
in the chord I'm dealing with, I think I'll just change it to Gm add9.

Thanks again!

Brent.

On Mon, 12 Jul 2021 at 18:10, Lukas-Fabian Moser  wrote:

> Hi Brent,
>
> > I'm currently adding chords to some music, and I can't seem to find
> > anywhere how to create a "Gmsus2" chord name. When I type "g:msus2"
> > lilypond freaks out, and as far as I can tell, this particular
> > combination of a minor chord with an added suspension never appears in
> > the documentation (at
> > https://lilypond.org/doc/v2.22/Documentation/notation/displaying-chords
> > 
>
> > ).
> >
> > I feel like I'm just missing something, is there an easy way to
> > display this chord type?
>
> It's not very common to ask for Gm-sus2 oder Gm-sus4: The sus2/sus4
> replace the third in the chord, so there's no trace of "minor" left.
>
> But you speak of _added_ suspensions: This sounds to me as if you are
> looking for Gm-add9 or Gm-add11?
>
> All of these may be forced with chordNameExceptions:
>
> \version "2.22.1"
>
> chExceptionMusic = {
>1-\markup { m\super "sus4" } % Semi-advisable? :-)
>1-\markup { m\super "sus2" } % Semi-advisable? :-)
>
>1-\markup { m\super "add9" }
>1-\markup { m\super "add11" }
>
> }
>
> % Convert music to list and prepend to existing exceptions.
> chExceptions = #(append
>(sequential-music-to-chord-exceptions chExceptionMusic #t)
>ignatzekExceptions)
>
> exampleChords = \relative {
>   
> }
>
> theMusic = {
>\mark "Standard"
>\exampleChords
>\bar "||"
>\set chordNameExceptions = #chExceptions
>\mark "Custom"
>\exampleChords
> }
>
> <<
> \new ChordNames \theMusic
> \new Voice \theMusic
>  >>
>
> Lukas
>
>

Setting \compressEmpryMeasures globally

[Brent Annable]

Hi all,

Just a quick question: I'm currently re-using some vocal music files I've
set to create instrumental parts. I have all the notes stored as variables
in separate files, and am working in a parent file to create the
instrumental parts. I want to introduce a \compressEmptyMeasures command
somewhere in my parent file without having to mess with the notes files,
but I can't seem to find a way to do it. I've read through the
documentation, I've tried putting it into \Score, \Staff and \Voice
contexts in the \layout block, I've tried \with { \compressEmptyMeasures},
but nothing seems to work.

Is there a way to set this globally somehow, or at least without having to
paste it dozens of times into the individual voice files?

Many thanks,

Brent.

Re: Setting \compressEmpryMeasures globally

[Brent Annable]

Damn, I was sure I tried all of them.

Oh well, thanks for the reply, and sorry for the bother :-S

Brent.

On Sun, 8 Aug 2021 at 15:22, Jean Abou Samra  wrote:

> Le 08/08/2021 à 07:15, Brent Annable a écrit :
> > Hi all,
> >
> > Just a quick question: I'm currently re-using some vocal music files
> > I've set to create instrumental parts. I have all the notes stored as
> > variables in separate files, and am working in a parent file to create
> > the instrumental parts. I want to introduce a \compressEmptyMeasures
> > command somewhere in my parent file without having to mess with the
> > notes files, but I can't seem to find a way to do it. I've read
> > through the documentation, I've tried putting it into \Score, \Staff
> > and \Voice contexts in the \layout block, I've tried \with {
> > \compressEmptyMeasures}, but nothing seems to work.
> >
> > Is there a way to set this globally somehow, or at least without
> > having to paste it dozens of times into the individual voice files?
> >
> > Many thanks,
> >
> > Brent.
>
>
> In \layout { \context { \Score ... } }, it should work fine. What am I
> missing?
>
>
> \version "2.22.1"
>
> \layout {
>\context {
>  \Score
>  \compressEmptyMeasures
>}
> }
>
> { R1*30 }
>
>
> Best,
> Jean
>

Re: Setting global staff size after the \paper block nullifies font setting

[Brent Annable]

Aah, thank you for clarifying that Aaron. And thank you for the hack, I'll
give that a go!

Regards,

Brent.

On Sat, 31 Jul 2021, 5:42 pm Aaron Hill,  wrote:

> On 2021-07-30 11:05 pm, Brent Annable wrote:
> > I've come across a little problem that I don't know how to fix. I've
> > changed the text font in a vocal score by using the scheme #define font
> > procedure, and have noticed that if I subsequently use
> > #(set-global-staff-size) *after* the \paper block, the font reverts
> > back to
> > the default. It doesn't do this if I use #(set-global-staff-size)
> > *before *the
> > paper block.
>
> This is a long-standing known issue [1] with LilyPond.  You need to set
> the staff size before specifying any custom fonts because
> layout-set-absolute-staff-size-in-module rebuilds the font tree for the
> new staff size.
>
> [1]: https://gitlab.com/lilypond/lilypond/-/issues/1129
>
> The best I can come up with is a hack that redefines the
> make-default-fonts-tree procedure:
>
> 
> \version "2.22.0"
>
> changeDefaultFonts =
> #(define-void-function
>(roman-str sans-str typewrite-str)
>(string? string? string?)
>(define (proc factor)
> (make-pango-font-tree roman-str sans-str typewrite-str factor))
>(set! make-default-fonts-tree proc))
>
> \paper { indent = 0 }
>
> foo = {
>\mark \markup \sans Sans
>b'1^\markup \typewriter Mono
>   _\markup \roman Serif
> }
> \markup {
>\score { \foo \layout { #(layout-set-staff-size 15) } }
>\score { \foo \layout { #(layout-set-staff-size 20) } }
>\score { \foo \layout { #(layout-set-staff-size 25) } }
> }
> \changeDefaultFonts "Cambria" "Calibri" "Consolas"
> \markup {
>\score { \foo \layout { #(layout-set-staff-size 15) } }
>\score { \foo \layout { #(layout-set-staff-size 20) } }
>\score { \foo \layout { #(layout-set-staff-size 25) } }
> }
> 
>
>
> -- Aaron Hill

Setting global staff size after the \paper block nullifies font setting

[Brent Annable]

Hi all,

I've come across a little problem that I don't know how to fix. I've
changed the text font in a vocal score by using the scheme #define font
procedure, and have noticed that if I subsequently use
#(set-global-staff-size) *after* the \paper block, the font reverts back to
the default. It doesn't do this if I use #(set-global-staff-size) *before *the
paper block.

This is a little annoying, because I would like to use a global \paper
block for all the motets in the edition, but still be able to tweak the
staff sizes for each score somewhat to achieve consistent system counts
(which messes up the font setting if I do it before each \score in the
file). I am also using a global \layout block, so I can't put the staff
size setting there either (unless someone can show me a way of defining *some
*layout settings in a global variable file without freaking Lilypond out -
I have tried but not succeeded.)

 A sample file is attached. Just toggle the staff-sizing commands before
and after the \paper block to see how the header font changes.

I would appreciate any help!

Regards,

Brent.
\version "2.22.1"

  %Setting staff size before the paper block, everything is okay
  
  %#(set-global-staff-size 16)
  
\paper {
  #(define fonts
(set-global-fonts 
 #:roman "Cambria"
 #:factor (/ staff-height pt 20)
   ))
}

%Setting staff size after the paper block, the font setting reverts.

#(set-global-staff-size 16)

\header {
  title = "HEADER" }

\relative c' { c4 c c c 
c4 c c c
c4 c c c
c4 c c c
c4 c c c
c4 c c c
c4 c c c}

Re: Elision slur below entire syllable

[Brent Annable]

Valentin,

Marvellous, thank you!

Brent.

On Thu, 12 Aug 2021, 3:16 am ,  wrote:

> Hi Brent,
>
> This is usually called an undertie. You can do this in markup with the
> \undertie command. Note that you can use any markup in lyricsmode, so you
> can
> do
>
> \new Staff { c' c'} \addlyrics {lov --  \markup\undertie"liest"}
>
> to get this even in lyrics.
>
> Cheers,
> Valentin
>
>
> Am Mittwoch, 11. August 2021, 19:05:20 CEST schrieb Brent Annable:
> > Hi everyone,
> >
> > Is there any way to place an elision slur below an entire syllable (not
> > between syllables), as shown in the example? And does anybody know the
> > proper name for this thing?
> >
> > Since I'm not interlining the lyrics for this hymn,  I actually want to
> do
> > this in a \markup block, not in \lyricmode.
> >
> > Any guidance much appreciated!
> >
> > Brent.

Elision slur below entire syllable

[Brent Annable]

Hi everyone,

Is there any way to place an elision slur below an entire syllable (not
between syllables), as shown in the example? And does anybody know the
proper name for this thing?

Since I'm not interlining the lyrics for this hymn,  I actually want to do
this in a \markup block, not in \lyricmode.

Any guidance much appreciated!

Brent.

Re: Elision slur below entire syllable

[Brent Annable]

Oh just one more thing: how do I get the "love" and the "liest" to join
together as one word, without a space in between? At the moment I have:

\column {
\line {  "See, the love"\undertie"liest""blooming rose," }
  "   Alleluia!"
  "From the branch of Jesse grows,"
  "   Alleluia!"
}

But that produces "love" and "liest" as two separate words.

Brent.

On Thu, 12 Aug 2021 at 03:37, Brent Annable  wrote:

> Valentin,
>
> Marvellous, thank you!
>
> Brent.
>
> On Thu, 12 Aug 2021, 3:16 am ,  wrote:
>
>> Hi Brent,
>>
>> This is usually called an undertie. You can do this in markup with the
>> \undertie command. Note that you can use any markup in lyricsmode, so you
>> can
>> do
>>
>> \new Staff { c' c'} \addlyrics {lov --  \markup\undertie"liest"}
>>
>> to get this even in lyrics.
>>
>> Cheers,
>> Valentin
>>
>>
>> Am Mittwoch, 11. August 2021, 19:05:20 CEST schrieb Brent Annable:
>> > Hi everyone,
>> >
>> > Is there any way to place an elision slur below an entire syllable (not
>> > between syllables), as shown in the example? And does anybody know the
>> > proper name for this thing?
>> >
>> > Since I'm not interlining the lyrics for this hymn,  I actually want to
>> do
>> > this in a \markup block, not in \lyricmode.
>> >
>> > Any guidance much appreciated!
>> >
>> > Brent.
>
>

Naturals before restored accidentals

[Brent Annable]

Hi all,

I'm trying to set the default Lilypond behaviour *not* to print natural
signs before restored accidentals, but I can't figure out the proper
syntax. Can someone tell me why the \override line in the following example
doesn't work but the \tweak does, and what I need to do to apply this
behaviour to the whole file? Obviously I'm missing something, but I can't
figure out what.

\version "2.22.1"
\relative c' {
\key b \major
\override Accidental.restore-first = ##f
cisis2 cis2
cisis2 \tweak Accidental.restore-first ##f cis2
}

Many thanks as always,

Brent.

Re: Naturals before restored accidentals

[Brent Annable]

David,

Many thanks!

Brent.

On Wed, 13 Oct 2021 at 00:24, David Kastrup  wrote:

> Brent Annable  writes:
>
> > Hi all,
> >
> > I'm trying to set the default Lilypond behaviour *not* to print natural
> > signs before restored accidentals, but I can't figure out the proper
> > syntax. Can someone tell me why the \override line in the following
> example
> > doesn't work but the \tweak does, and what I need to do to apply this
> > behaviour to the whole file? Obviously I'm missing something, but I can't
> > figure out what.
> >
> > \version "2.22.1"
> > \relative c' {
> > \key b \major
> > \override Accidental.restore-first = ##f
> > cisis2 cis2
> > cisis2 \tweak Accidental.restore-first ##f cis2
> > }
> >
> > Many thanks as always,
>
> I have been digging through the code, and the Accidental_engraver sets
> this property based on the extraNatural context property.  So because of
> the Accidental_engraver's context location, you need to set
>
> \set Staff.extraNatural = ##f
>
> Now the restore-first property is documented as a "user backend
> property" rather than an internal one, so overriding it in this manner
> seems like a breach of promise.  Directing this behavior through a
> context property, however, would be consistent with where accidental
> rules are normally established.
>
> There is a Documentation snippet that tweaks one instant of
> restore-first (to ##t), strengthening the impression that this is a
> user-level property.
>
> So this is somewhat of a mess.  Setting Staff.extraNatural should
> usually be what you want.
>
> --
> David Kastrup
>

Re: New Musescore

[Brent Annable]

Hi Everyone,

Can anybody tell me how to actually use the new Leland font in lilypond? I
went to the GitHub link and downloaded all the files, but as far as I can
tell there are no Leland-11, Leland-13, Leland-14, etc. files. I downloaded
the available .otf anyway, and when I tried to compile a Lilypond file the
log said 'cannot find Leland-11'. How do I actually do this?

Regards,

Brent.

On Sat, 23 Jan 2021 at 07:56, Xavier Scheuer  wrote:

> On Fri, 22 Jan 2021 at 19:44, Noeck  wrote:
> >
> > FYI: The new MuseScore version 3.6 comes with a new default music font
> > and text font.
> >
> > https://musescore.org/de/node/315523
> >
> > There is a sample image in this article
> > https://gnulinux.ch/neue-version-von-musescore
>
> This is super interesting, thanks for the information.
>
> After making inquiries I would like to add that the new music font is
> called Leland in tribute to Leland Smith, the creator of the SCORE
> application. It is available in SMuFL format and under the OFL license.
> The text font is based on New Century Schoolbook and is also released
> under OFL license.
>
> For a quick overview of these fonts you can watch the Musescore 3.6
> presentation video and for a more detailed explanation of the origin of the
> design of the new music font the video of Tantacrul "How I Designed a Free
> Music Font for 5 Million Musicians (MuseScore 3.6)".
> https://www.youtube.com/watch?v=qLR40BGNy68
> https://www.youtube.com/watch?v=XGo4PJd1lng
>
> In short, there are many reasons to be happy about this, since it can be
> reused in LilyPond.
> Cc lilypond-devel as these fonts under OFL as well as these design
> explanations could trigger some discussions for LilyPond as well, I think.
>
> Cheers,
> Xavier
>
> --
> Xavier Scheuer 
>
>

Re: New Musescore

[Brent Annable]

Thanks Jean!

Brent.

On Sun, 24 Oct 2021 at 18:52, Jean Abou Samra  wrote:

> Le 24/10/2021 à 08:02, Brent Annable a écrit :
> > Hi Everyone,
> >
> > Can anybody tell me how to actually use the new Leland font in lilypond?
> I
> > went to the GitHub link and downloaded all the files, but as far as I can
> > tell there are no Leland-11, Leland-13, Leland-14, etc. files. I
> downloaded
> > the available .otf anyway, and when I tried to compile a Lilypond file
> the
> > log said 'cannot find Leland-11'. How do I actually do this?
> >
> > Regards,
> >
> > Brent.
>
> It is not possible yet. The font is in SMuFL
> format, for which support is an ongoing project.
> See the latest news about this here:
>
> https://lists.gnu.org/archive/html/lilypond-devel/2021-10/msg00078.html
>
> Regards,
> Jean
>

Re: Extra padding between ChordNames and custom headers

[Brent Annable]

Xavier,

Awesome thank you. What would I do if I wanted the extra padding on only
one score on the page? In my music, each page will have two scores on it,
but only the second one has chords requiring the extra distance. I tried
adding another \paper variable before the second score, but lilypond freaks
out, and when I separate the scores with \bookpart, they are placed on
separate pages. Is there a way to get the extra padding only on one score,
with both being on the same page?

Brent.

On Fri, 16 Jul 2021 at 16:52, Xavier Scheuer  wrote:

> On Fri, 16 Jul 2021 at 06:19, Brent Annable 
> wrote:
> >
> > Hi everyone,
> >
> > I'm producing some music that uses some custom headers as well as chord
> names above the staff. Sometimes the chord names are a little too close to
> the headers for my liking, and I'd like a way to add more padding above the
> chord names when necessary.
> >
> > Because of the custom headers, it seems like I can't just add a \markup
> \vspace before the score (also this score is the second on the page, so
> that just adds more space between the two scores, not after the headers.)
> >
> > I've fiddled around with the ChordName VerticalAxisGroup, but there
> doesn't seem to be a property I can tweak that will create more space
> between them and the headers. I've included a little example (somewhat
> lengthy - my apologies), does anyone have any suggestions for how to create
> more distance between the headers and the chord names?
>
> Hello,
>
> The fact that you use custom header fields does not change the way to add
> spacing between header and score.
>
> Increase markup-system-spacing.padding, which is the variable controlling
> the distance between a (title or top-level) markup and the system that
> follows it, as documented in NR 4.1.4 Flexible vertical spacing
>
> https://lilypond.org/doc/v2.22/Documentation/notation/flexible-vertical-spacing-paper-variables
>
> \paper {
>   markup-system-spacing.padding = #5
> }
>
> Per default the spacing between the title and the first system is mainly
> due to markup-system-spacing.basic-distance but as the top element of your
> system is a ChordNames context (i.e. non-staff), as explained in the same
> section of the NR, you cannot really count on basic-distance and would
> better increase padding.
>
> Cheers,
> Xavier
>
> --
> Xavier Scheuer 
>
>

Re: Extra padding between ChordNames and custom headers

[Brent Annable]

Hi Elaine,

Thanks for your answer. Your solution actually puts space between the chord
names and the staff below, but I want the extra space between the chord
names and the headers above them. I couldn't find a parameter in the
VerticalAxisGroup that does this. Xavier's solution of increasing the
padding in a \paper block does work, but I only want it in one score on the
page, not both.

Can anyone help me with how to achieve that?

Many thanks,

Brent.

On Sat, 17 Jul 2021 at 01:28, Flaming Hakama by Elaine <
ela...@flaminghakama.com> wrote:

> -- Forwarded message --
>> From: Xavier Scheuer 
>> To: Brent Annable 
>> Cc: lilypond-user 
>> Bcc:
>> Date: Fri, 16 Jul 2021 08:52:07 +0200
>> Subject: Re: Extra padding between ChordNames and custom headers
>> On Fri, 16 Jul 2021 at 06:19, Brent Annable 
>> wrote:
>> >
>> > Hi everyone,
>> >
>> > I'm producing some music that uses some custom headers as well as chord
>> names above the staff. Sometimes the chord names are a little too close to
>> the headers for my liking, and I'd like a way to add more padding above the
>> chord names when necessary.
>> >
>> > Because of the custom headers, it seems like I can't just add a \markup
>> \vspace before the score (also this score is the second on the page, so
>> that just adds more space between the two scores, not after the headers.)
>> >
>> > I've fiddled around with the ChordName VerticalAxisGroup, but there
>> doesn't seem to be a property I can tweak that will create more space
>> between them and the headers. I've included a little example (somewhat
>> lengthy - my apologies), does anyone have any suggestions for how to create
>> more distance between the headers and the chord names?
>>
>> Hello,
>>
>> The fact that you use custom header fields does not change the way to add
>> spacing between header and score.
>>
>> Increase markup-system-spacing.padding, which is the variable controlling
>> the distance between a (title or top-level) markup and the system that
>> follows it, as documented in NR 4.1.4 Flexible vertical spacing
>>
>> https://lilypond.org/doc/v2.22/Documentation/notation/flexible-vertical-spacing-paper-variables
>>
>> \paper {
>>   markup-system-spacing.padding = #5
>> }
>>
>> Per default the spacing between the title and the first system is mainly
>> due to markup-system-spacing.basic-distance but as the top element of your
>> system is a ChordNames context (i.e. non-staff), as explained in the same
>> section of the NR, you cannot really count on basic-distance and would
>> better increase padding.
>>
>> Cheers,
>> Xavier
>>
>> --
>> Xavier Scheuer 
>>
>>
>>
>>
>> -- Forwarded message --
>> From: Brent Annable 
>> To: Xavier Scheuer 
>> Cc: lilypond-user 
>> Bcc:
>> Date: Fri, 16 Jul 2021 17:55:14 +1000
>> Subject: Re: Extra padding between ChordNames and custom headers
>> Xavier,
>>
>> Awesome thank you. What would I do if I wanted the extra padding on only
>> one score on the page? In my music, each page will have two scores on it,
>> but only the second one has chords requiring the extra distance. I tried
>> adding another \paper variable before the second score, but lilypond freaks
>> out, and when I separate the scores with \bookpart, they are placed on
>> separate pages. Is there a way to get the extra padding only on one score,
>> with both being on the same page?
>>
>> Brent.
>>
>
>
> Here's an MFE.
>
> Please, no more 'helpful' refs to the docs.
> No one will ever figure out where to put the property by RTFM.
> That is just a recipe for frustration and intimidation.
>
> Even though the override appears semantically to be related to the Staff,
> the override actually goes in the ChordNames.
>
>
> \version "2.19.81"
>
> myChords = \chordmode {
> c1 | d1:m9 | g:13 | g:m7 |
> }
>
> \score {
> <<
> \new ChordNames {
> \override
> VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = 3
> \myChords
> }
> \new Staff { c''1 d''1 e''1 f'' }
> >>
> }
> \score {
> <<
> \new ChordNames {
> \myChords
> }
> \new Staff { c''1 d''1 e''1 f'' }
> >>
> }
>
>
> HTH,
>
> Elaine Alt
> 415 . 341 .4954   "*Confusion is
> highly underrated*"
> ela...@flaminghakama.com
> Producer ~ Composer ~ Instrumentalist ~ Educator
>
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Re: Extra padding between ChordNames and custom headers

[Brent Annable]

Hey Jacques,

Yeah I've used that before, but in this instance because the headers have
been redefined I can't really do it (check out the scripts in my
header-code file above). If I were a better programmer I could probably
modify them myself, but I don't really know how to mess with the code that
someone else made for me.

Any other thoughts?

Brent.

On Sat, 17 Jul 2021 at 14:59, Jacques Menu  wrote:

> Hello Brent,
>
> The good old ‘" "’ in \column trick:
>
> \version "2.22.0"
>
> \header {
>   title  =
>   \markup {
> \column {
>   "Space after title"
>   " "
> }
>   }
> }
>
> myChords = \chordmode {
>   c1 | d1:m9 | g:13 | g:m7 |
> }
>
> \score {
>   <<
> \new ChordNames {
>   \override VerticalAxisGroup.nonstaff-relatedstaff-spacing.padding = 3
>   \myChords
> }
> \new Staff { c''1 d''1 e''1 f'' }
>   >>
> }
> \score {
>   <<
> \new ChordNames {
>   \myChords
> }
> \new Staff { c''1 d''1 e''1 f'' }
>   >>
> }
>
>
> Le 17 juil. 2021 à 05:58, Brent Annable  a écrit :
>
> Hi Elaine,
>
> Thanks for your answer. Your solution actually puts space between the
> chord names and the staff below, but I want the extra space between the
> chord names and the headers above them. I couldn't find a parameter in the
> VerticalAxisGroup that does this. Xavier's solution of increasing the
> padding in a \paper block does work, but I only want it in one score on the
> page, not both.
>
> Can anyone help me with how to achieve that?
>
> Many thanks,
>
> Brent.
>
> On Sat, 17 Jul 2021 at 01:28, Flaming Hakama by Elaine <
> ela...@flaminghakama.com> wrote:
>
>> -- Forwarded message --
>>> From: Xavier Scheuer 
>>> To: Brent Annable 
>>> Cc: lilypond-user 
>>> Bcc:
>>> Date: Fri, 16 Jul 2021 08:52:07 +0200
>>> Subject: Re: Extra padding between ChordNames and custom headers
>>> On Fri, 16 Jul 2021 at 06:19, Brent Annable 
>>> wrote:
>>> >
>>> > Hi everyone,
>>> >
>>> > I'm producing some music that uses some custom headers as well as
>>> chord names above the staff. Sometimes the chord names are a little too
>>> close to the headers for my liking, and I'd like a way to add more padding
>>> above the chord names when necessary.
>>> >
>>> > Because of the custom headers, it seems like I can't just add a
>>> \markup \vspace before the score (also this score is the second on the
>>> page, so that just adds more space between the two scores, not after the
>>> headers.)
>>> >
>>> > I've fiddled around with the ChordName VerticalAxisGroup, but there
>>> doesn't seem to be a property I can tweak that will create more space
>>> between them and the headers. I've included a little example (somewhat
>>> lengthy - my apologies), does anyone have any suggestions for how to create
>>> more distance between the headers and the chord names?
>>>
>>> Hello,
>>>
>>> The fact that you use custom header fields does not change the way to
>>> add spacing between header and score.
>>>
>>> Increase markup-system-spacing.padding, which is the variable
>>> controlling the distance between a (title or top-level) markup and the
>>> system that follows it, as documented in NR 4.1.4 Flexible vertical spacing
>>>
>>> https://lilypond.org/doc/v2.22/Documentation/notation/flexible-vertical-spacing-paper-variables
>>>
>>> \paper {
>>>   markup-system-spacing.padding = #5
>>> }
>>>
>>> Per default the spacing between the title and the first system is mainly
>>> due to markup-system-spacing.basic-distance but as the top element of your
>>> system is a ChordNames context (i.e. non-staff), as explained in the same
>>> section of the NR, you cannot really count on basic-distance and would
>>> better increase padding.
>>>
>>> Cheers,
>>> Xavier
>>>
>>> --
>>> Xavier Scheuer 
>>>
>>>
>>>
>>>
>>> -- Forwarded message --
>>> From: Brent Annable 
>>> To: Xavier Scheuer 
>>> Cc: lilypond-user 
>>> Bcc:
>>> Date: Fri, 16 Jul 2021 17:55:14 +1000
>>> Subject: Re: Extra padding between ChordNames and custom headers
>>> Xavier,
>>>
>>> Awesome thank you. What would I do if I wanted the extra padding on only
>

Extra padding between ChordNames and custom headers

[Brent Annable]

Hi everyone,

I'm producing some music that uses some custom headers as well as chord
names above the staff. Sometimes the chord names are a little too close to
the headers for my liking, and I'd like a way to add more padding above
the chord names when necessary.

Because of the custom headers, it seems like I can't just add a \markup
\vspace before the score (also this score is the second on the page, so
that just adds more space between the two scores, not after the headers.)

I've fiddled around with the ChordName VerticalAxisGroup, but there doesn't
seem to be a property I can tweak that will create more space between them
and the headers. I've included a little example (somewhat lengthy - my
apologies), does anyone have any suggestions for how to create more
distance between the headers and the chord names?

Any help much appreciated,

Brent.

#(define-markup-command (column-right-up layout props args) (markup-list?)
  #:properties ((baseline-skip))
  (let* ((lines (wordwrap-internal-markup-list layout props #f args))
 (right-aligned-lines
   (map (lambda (stil) (ly:stencil-aligned-to stil X RIGHT)) lines)))
(stack-lines
  UP
  0.0
  baseline-skip
  (reverse right-aligned-lines

#(define-markup-command (number-fromproperty layout props digits symbol)
   (index? symbol?)
   (let ((n (chain-assoc-get symbol props)))
 (if (index? n)
 (interpret-markup
  layout props
  (number->string n))
 empty-stencil)))

#(define-markup-command (wordwrap-right-field layout props symbol)
   (symbol?)
   (let* ((m (chain-assoc-get symbol props)))
 (if (markup-list? m)
 (column-right-up-markup layout props m)
 empty-stencil)))






chordnames-padding.pdf
Description: Adobe PDF document
\version "2.22.1"
\include "heading-code.txt"

globalB = {
  \key d \major
  \time 4/4
  %\partial 2
  \numericTimeSignature
}
\paper { indent = 0 
print-all-headers = ##t

scoreTitleMarkup = \markup
  \overlay {
  %% Only to demonstrate aligning to baseline, delete me!
  \translate #'(0 . -0.1)  %\draw-hline
\fill-line {
  \line {
\fontsize #7 \number-fromproperty #3 #'header:piece-nr
\hspace #1
\normal-text \large \fromproperty #'header:piece-title
	\hspace #2
	\normal-text \large \fromproperty #'header:piece-meter
  }
  \italic \small
  %% probably:
  \override #'(baseline-skip . 2.5)
  \override #'(line-width . 30)
  \wordwrap-right-field #'header:infotext
}
  }
}

theChordsB = \chords {
  d2 b:m
  g:6 d
  d fis:m
  b4:m7 e:7 a2
  d/fis g/b
  g:6 e:m
  a:7/cis d
  a4:sus4 a d2
  }


rightOneAltB =
   \relative c'' {
 \globalB
 a4 fis e d
  e e fis2 
  a4 d cis a
  a gis a2 
  d4 a g fis
  e fis g2 
  g4 a fis d
  d cis d2
 \bar "|."
}


rightTwoAltB = \relative c' {
  \globalB
  fis2 b,
  b a
  fis' cis
  d cis
  d d
  b b
  a1 a2 a
  \bar "|."
}


leftTwoAltB = \relative c {
  \globalB
  d2 b
  g d'
  d fis
  b,4 e a,2
  fis b
  g e'
  cis d a d
  \bar "|."
 
}

\markup \vspace #0.1

\score {
  
  \header {   
piece-title = \markup \bold \italic "Three-part setting"
infotext = \markuplist { "L.G. Hayne 1836-1883 1863"
} }
  
  \new PianoStaff  << \new ChordNames \theChordsB 
\new Staff = "right" << \rightOneAltB \\ \rightTwoAltB >>
\new Staff = "left"  { \clef bass \leftTwoAltB }
  >>
  
  \layout { 
  \context {
\Score
\omit BarNumber }
  \context { \ChordNames \override ChordName.font-size = #-1 }
  }
}

Re: TOC entries listed in order of \include

[Brent Annable]

Valentin,

You're quite right. Sorry about my previous response, I read it after a
long and frustrating night of typesetting with a deadline close at hand,
and was just frustrated that there was no ready-made solution that my
non-programmer mind could instantly grasp.

But I got a good night's sleep, 'manned-up,' and put your solution into
practice, which - of course - worked just fine. Thank you.

Brent.

On Sun, 25 Sept 2022 at 17:54, Valentin Petzel  wrote:

> Hi Brent,
>
> this is exactly what my suggestion does. There are of course multiple ways
> of achieving things. You could give the toc Items labels and then order
> them by these labels.
>
> But my suggestion simply delays interpretation of \tocItem to the point
> where you need it, by using a function (code is executed while calling the
> function) instead of a macro (code is executed while parsing).
>
> Cheers,
> Valentin
>
> 24.09.2022 18:52:12 Brent Annable :
>
> Hey Valentin,
>
> Thanks so much for the reply, but I have to say I don't understand your
> suggestion at all. Isn't there a way for me to put in the tocItems so that
> when I move the scores in the master file, they all just reorder as they
> should?
>
> Brent.
>
> On Sat, 24 Sep 2022, 11:41 pm Valentin Petzel, 
> wrote:
>
>> Hi Brent,
>>
>> you could simply delay the execution of your code until the point where
>> you need it like this:
>>
>> bpI =
>> #(define-scheme-function (parser location) ()
>> #{
>> \bookpart {
>> \tocItem "toc1" "a"
>> { c' }
>> }
>> #})
>>
>> bpII =
>> #(define-scheme-function (parser location) ()
>> #{
>> \bookpart {
>> \tocItem "toc2" "b"
>>     { d' }
>> }
>> #})
>>
>> \markuplist \table-of-contents
>>
>> $(bpII)
>> $(bpI)
>>
>> (Sorry for the mess, I'm writing from my phone.)
>>
>> Cheers,
>> Valentin
>>
>> 24.09.2022 13:36:04 Brent Annable :
>>
>> Hi all,
>>
>> I'm creating a book of music using a master file where I call on
>> \bookpart variables from lots of different files, which are included in the
>> master file using the \include function. I have a list of included files in
>> a separate file, and the master just includes that one file.
>>
>> I want to create a table of contents at the beginning of the book, so I
>> need to add a \tocItem to each score. The only place I have found where
>> that works is inside the \bookpart variable in each individual file, before
>> the score. So in my master file, each score entry looks like this:
>>
>> \bookpart { \myBookPart }
>>
>> And the variables in the individual files look like this:
>>
>> myBookPart = \bookpart {  \tocItem \markup "Name of song"
>> {c1 c1 c1 c1}
>> }
>>
>> I'm currently putting all the separate scores into the master file, and I
>> plan to shuffle them around later to get the ordering right.
>>
>> I've noticed that when the table of contents is generated, the items are
>> always listed *in the order in which the files are \included*, not the
>> order in which the scores actually appear in the book. So even though the
>> page numbers are correct, the TOC lists the songs in the order in which I
>> include the files in the \include file. When I start shifting things around
>> later in the master, I really don't want to have to re-order the \include
>> list as well, that will be double the work.
>>
>> I've attached some files that replicate my problem. One thing I noticed
>> that the master wouldn't compile at all when the version number was set to
>> 2.22.1, it only worked when I set it to 2.19.65, the version number in all
>> the files I'm using. Does that mean I'm using incorrect syntax for the TOC?
>>
>> Otherwise, is there anywhere else I can put the \tocItem command so that
>> the items are automatically re-ordered when I switch them around in the
>> master file?
>>
>> Sorry for the voluminous email and thanks for any help,
>>
>> Brent.
>>
>>
>>

Alphabetised table of contents?

[Brent Annable]

Hi all,

I'm just wondering if it's possible in Lilypond to create a table of
contents that is alphabetical by item, rather than by page number order?
I'm trying to create an alphabetical index by hymn tune or first line that
will go in the back of a book.

Many thanks for any help,

Brent.

Re: Alphabetised table of contents?

[Brent Annable]

Thanks for all the tips everyone! I will look into these snippets.

I do actually need to create multiple indices (alphabetical by first line
and by tune name0, so maybe my dream won't be possible for the time being,
but it's good to know this functionality exists.

Brent.

On Thu, 22 Sept 2022 at 04:49, Jean Abou Samra  wrote:

> Le 21/09/2022 à 20:39, Valentin Petzel a écrit :
> > Hello Jean,
> >
> > at least for me this code fails to change the order of the toc. The
> reason for
> > this is that toc-markup does not in fact contain the markup, but the
> symbol
> > under which the formatting markup is saved in layout.
> >
> > So I suppose you rather want to use the text property:
> >
> > (sorted-toc-alist
> > (sort toc-alist
> >   ;; Could use comparator-from-key in 2.23
> >   (lambda (item1 item2)
> > (let ((mkup1 (assoc-get 'text (cdr item1)))
> >   (mkup2 (assoc-get 'text (cdr item2
> >(string >(markup->string mkup1)
> >(markup->string mkup2))
>
>
>
>
> Whoops, yes. Not sure how I didn't see that they weren't sorted.
> Maybe I did a test and sent the wrong version? Weird. Anyway,
> thanks for the correction.
>
>

Can a \bookpart be a variable?

[Brent Annable]

Hi all,

I've been typesetting a bunch of hymns for inclusion in a larger
publication, and I now have about 100 separate Lilypond files that I need
to collate into a single master file. It seems easiest to me to turn each
individual file into a \bookpart, set the bookpart as a variable, then
\include the file name in a separate master file and call on the variable
there.

But when I do that and try to compile the master, I just get a bunch of
error messages in the original file (I'm using Frescobaldi, and all of the
variables in the original file are highlighted in red). My question is: is
this possible? Should it work if I turn the \bookpart into a variable and
call on it elsewhere, and am I just making a silly programming error? Or
should I try another method?

If it should be possible, I'm happy to share some files to illustrate.

Thanks for any help,

Brent.

TOC entries listed in order of \include

[Brent Annable]

Hi all,

I'm creating a book of music using a master file where I call on \bookpart
variables from lots of different files, which are included in the master
file using the \include function. I have a list of included files in a
separate file, and the master just includes that one file.

I want to create a table of contents at the beginning of the book, so I
need to add a \tocItem to each score. The only place I have found where
that works is inside the \bookpart variable in each individual file, before
the score. So in my master file, each score entry looks like this:

\bookpart { \myBookPart }

And the variables in the individual files look like this:

myBookPart = \bookpart {  \tocItem \markup "Name of song"
{c1 c1 c1 c1}
}

I'm currently putting all the separate scores into the master file, and I
plan to shuffle them around later to get the ordering right.

I've noticed that when the table of contents is generated, the items are
always listed *in the order in which the files are \included*, not the
order in which the scores actually appear in the book. So even though the
page numbers are correct, the TOC lists the songs in the order in which I
include the files in the \include file. When I start shifting things around
later in the master, I really don't want to have to re-order the \include
list as well, that will be double the work.

I've attached some files that replicate my problem. One thing I noticed
that the master wouldn't compile at all when the version number was set to
2.22.1, it only worked when I set it to 2.19.65, the version number in all
the files I'm using. Does that mean I'm using incorrect syntax for the TOC?

Otherwise, is there anywhere else I can put the \tocItem command so that
the items are automatically re-ordered when I switch them around in the
master file?

Sorry for the voluminous email and thanks for any help,

Brent.
\version "2.19.65"


\include "SongThree.ly"
\include "SongTwo.ly"
\include "SongOne.ly"


\book {
  
\bookpart {\markuplist \table-of-contents}
  \pageBreak
  
\bookpart { \scoreOne }
\bookpart { \scoreTwo }
\bookpart { \scoreThree }
}\version "2.19.65"

scoreTwo =  \bookpart { \tocItem \markup "Song number two"
 \score { \relative c' {e1 e e e} }
 
 
}
 \version "2.19.65"

scoreThree =  \bookpart { \tocItem \markup "Song number three"
 \score { \relative c'' {g1 g g g} }
 
 
}
 \version "2.19.65"

scoreOne =  \bookpart { \tocItem \markup "Song number one"
 \score { \relative c' {c1 c c c} }
}



master.pdf
Description: Adobe PDF document

Table-of-contents subheadings on separate pages

[Brent Annable]

Hi all,

I'm just wondering if there's a way to get each subheading in a table of
contents to automatically appear on a new page? My table of contents is
divided into three sections, and I would like each section to start on a
new page:

\version "2.22.1"
\paper {
tocSubMarkup = \markup \large \column {
\hspace #1
\fill-line { \null \fontsize #3 \bold \fromproperty #'toc:text \null }
\hspace #1
\vspace #1 }

  tocInsMarkup = \markup { \fontsize #1.5 \italic \fromproperty #'toc:text }

tocTitleMarkup = \markup \bold \column {
\fill-line { \null \fontsize #8 \underline "Table of Contents" \null }
\hspace #1
\vspace #1 }
  tocItemMarkup = \markup {\fontsize #1.5 \italic \tocItemWithDotsMarkup }
}

tocSub =
#(define-music-function (parser location text) (markup?)
   (add-toc-item! 'tocSubMarkup text))

  tocIns =
#(define-music-function (parser location text) (markup?)
   (add-toc-item! 'tocInsMarkup text))


scoreOne = \bookpart {
\tocSub \markup "Subtitle 1"
\tocItem \markup "List of items 1"
\score { \relative c' {c1} }
}

scoreTwo = \bookpart {
\tocSub \markup "Subtitle 2"
\tocItem \markup "List of items 2"
\score { \relative c' {c1} }
}

scoreThree = \bookpart {
\tocSub \markup "Subtitle 3"
\tocItem \markup "List of items 3"
\score { \relative c' {c1} }
}

\markuplist \table-of-contents

\bookpart { \scoreOne }
\bookpart { \scoreTwo }
\bookpart { \scoreThree }

Thanks for any help,

Brent.