Re: How to force tempo markings on single line

On Tue, Nov 03, 2015 at 08:38:45AM +0100, Jacques Menu wrote: [...] > \markLengthOn [...] On Tue, Nov 03, 2015 at 08:28:33AM +0100, Malte Meyn wrote: [...] > There is a way: It’s the command \markLengthOn [...] Thanks so much, everyone!! That was exactly what I needed. T -- It's amazing

Re: Cadenza...

On Tue, Nov 03, 2015 at 09:33:57PM +, Alberto Simões wrote: > Hello > > First, sorry if the name is not the correct one. For me the lilypond > website is down for two days, making it hard to look the glossary :-) > > What is the correct/best/modern way to obtain something like the > excerpt

How to force tempo markings on single line

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

Re: ottavation function

On Fri, Oct 30, 2015 at 10:31:22AM -0700, Gilberto Agostinho wrote: > Hello LilyPonders, > > I would like to share a little function I created for myself. > According to Elaine Gould's /Behind Bars/, the ottava dashed line > should attach itself to the top of the 8va (or 15ma) and to the bottom >

Re: loco function which adds markup to the *next* musical moment

On Tue, Oct 20, 2015 at 12:03:37PM -0400, Kieren MacMillan wrote: > Hello, > > I’m trying to put together a bunch of syntactical sugar around > octavation. (n.b. I am aware that there are open issues regarding > octavation; even when those are solved, there will need to be some > sugar.) > > I

Re: OT: Beauty of programming languages

[...] > > On Sep 10, 2015, at 7:00 AM, Peter Bjuhr wrote: > > > > On 2015-08-26 22:10, Urs Liska wrote: > >>> This thread makes me wonder: what's the average age of LilyPond > >>> users and developers? > >> Remind me in two weeks and I'll start a poll on Scores of Beauty

Re: Generating scores from Scheme

-paste, which I hope to avoid by factoring out the common parts into Scheme functions. [...] On 12 July 2015 at 12:18:17, H. S. Teoh (hst...@quickfur.ath.cx) wrote: Is it possible to use Scheme to generate \score blocks? What's the correct syntax for doing this? I'm working on a set of Scheme

Generating scores from Scheme

Hi, Is it possible to use Scheme to generate \score blocks? What's the correct syntax for doing this? I'm working on a set of Scheme functions to facilitate working with orchestral scores, and I'd like a way to loop over a list of instrument names and generate \score blocks for the corresponding

Re: How many lilypond users are there?

On Tue, May 12, 2015 at 11:18:02AM -0400, Shane Brandes wrote: I agree no useful way to make a solid conclusion on numbers. I also know several people that use Lilypond but either don't need the functionality to the point they need to be here on this list or don't want to have the clutter in

Re: How many lilypond users are there?

On Tue, May 12, 2015 at 12:41:12PM -0700, Paul Scott wrote: On Tue, May 12, 2015 at 08:10:03AM -0700, H. S. Teoh wrote: On Tue, May 12, 2015 at 06:15:55PM +1000, Andrew Bernard wrote: Greetings All, I am wondering how large the lilypond end user community is. Are there any

Re: How many lilypond users are there?

On Tue, May 12, 2015 at 04:19:41PM -0400, Sam Bivens wrote: Hi Andrew, Mark me down as another Fedora 21 Lilypond user. Unfortunately I don't have the skills (or time...) to aid in your development issue, but I still thought I'd share! To address something that Martin hinted at--what

Re: How many lilypond users are there?

On Tue, May 12, 2015 at 06:15:55PM +1000, Andrew Bernard wrote: Greetings All, I am wondering how large the lilypond end user community is. Are there any estimates? Additional to this, I am wondering what the breakdown is by computer platform, for example, how many people use Fedora, and

Re: Do we really offer the future?

On Sun, Apr 26, 2015 at 10:23:26AM -0400, Kieren MacMillan wrote: Hi, Am I the only one who puts bar checks at *both* the beginning and end of a bar? | a4 b c d | | e f g a | You’re the only one I’ve ever heard of doing so. =) Exactly ½ of your bar checks are

Re: Do we really offer the future?

On Sun, Apr 26, 2015 at 06:15:13AM +, Keith OHara wrote: Michael Hendry hendry.michael at gmail.com writes: I routinely put the bar checks at the _beginnings_ of the bars, thus... | a4 b c d | a8 b c d e f g a | a16 b c d e f g a b c d e f g a b That works

Re: Do we really offer the future?

On Sun, Apr 26, 2015 at 12:47:02PM -0400, Kieren MacMillan wrote: Hi all, Why would you want to check each bar twice? These bar checks are mostly for humans to ease reading of the code, not for machine interpreting. Does it double the time required? And if so, what total amount of

Re: Standard LilyPond score structure (Was: How do new users feel about LilyPond's documentation?)

On Thu, Apr 23, 2015 at 01:55:57PM +0200, Gilles wrote: [...] Of course, if you are used to it, nobody forces you to change. The suggestion was certainly that LilyPond should forbid all input other than the standard (best practice) layout. [Yet I want to stress that what you seem to

Re: How do new users feel about LilyPond's documentation?

On Thu, Apr 23, 2015 at 07:11:27AM -0700, Knute Snortum wrote: LilyPond has a great glossary, but I'd like to see cross-references back to the Notation manual. For instance, I might lookup grace note which gives me acciaccatura

Re: Standard LilyPond score structure (Was: How do new users feel about LilyPond's documentation?)

On Thu, Apr 23, 2015 at 09:32:56AM +0200, Simon Albrecht wrote: Am 23.04.2015 um 04:39 schrieb H. S. Teoh: I even apply this structure to long rests -- instead of R1*50 (or however many bars it is), I break it up into groups under passage labels, and within each passage label groups of R1*4

Re: Jianpu Notation

On Thu, Apr 23, 2015 at 12:34:32PM +, Carl Sorensen wrote: On 4/22/15 10:57 PM, Super-User david...@qq.com wrote: Seheme, as a dialect of Lisp, can be annotated with ;; so that our Scheme codes implementing Jianpu can be documented as well. Comments in the code are not the

Re: What is the problem with \relative? (Was: Do we really offer the future?)

On Thu, Apr 23, 2015 at 03:35:59PM +0200, Federico Bruni wrote: Hi Kieren 2015-04-23 14:40 GMT+02:00 Kieren MacMillan kieren_macmil...@sympatico.ca: personally I find lilypond code in \relative mode easier to read. Really? I look at \relative c,, { c4 g' a b e f' g' a, b,, c’

Re: Standard LilyPond score structure (Was: How do new users feel about LilyPond's documentation?)

On Thu, Apr 23, 2015 at 04:19:08AM +0200, Gilles wrote: On Wed, 22 Apr 2015 21:53:42 -0400, Kieren MacMillan wrote: [...] So, to output a simple 16-bar lead sheet, a user should always [be forced to] create 3 files (voice.ily, chords.ily, score.ly)? Or maybe four (lyrics.ily)? Or more?

Re: Music notation in our lives survey RESULTS

On Tue, Apr 21, 2015 at 11:39:00PM +0200, Pierre Perol-Schneider wrote: Hi Abraham, Thanks for sharing the results. And I'm surprised too : 5a persons, that's roughly 20% of the member's list (I'd bet on 100 persons at least). Too bad. I missed this survey... But FWIW, what is my

Re: Survey: Large scores

On Mon, Apr 20, 2015 at 09:18:39AM -0400, Kieren MacMillan wrote: Hi, This is not hard to implement at all, you just have to set things up appropriately. You give a perfect example of why we need to improve Lilypond’s implementation. The method clarinetIPart = \relative c'' {

Re: Survey: Large scores

On Sun, Apr 19, 2015 at 03:12:20PM +0200, Orm Finnendahl wrote: [...] Another thing: For me, also the implementation of transposing instruments is less than ideal (I prefer to write the pitches in concert pitch and have them transposed for the parts, rather than the other way around, as it is

Re: Survey: Large scores

On Sat, Apr 18, 2015 at 05:54:44PM -0400, Kieren MacMillan wrote: [...] The only really painful part was the partcombiner This is a big one for me. I would love to see — and would be happy to help fund — a GUPPY (Grand Unified Partcombiner Project, Yay!) to tackle a rewrite from the ground

Re: Survey: Large scores

On Fri, Apr 17, 2015 at 10:51:41AM +0200, Orm Finnendahl wrote: [...] The only really painful part was the partcombiner which seems very buggy, but was indispensable as I needed to save as much vertical space as possible. Yeah, I've run into quite a number of \partcombine myself. Most of it

Re: Survey: Large scores

On Fri, Apr 17, 2015 at 11:44:57AM -0700, H. S. Teoh wrote: On Fri, Apr 17, 2015 at 10:51:41AM +0200, Orm Finnendahl wrote: [...] The only really painful part was the partcombiner which seems very buggy, but was indispensable as I needed to save as much vertical space as possible. Yeah

Re: Survey: Large scores

On Fri, Apr 17, 2015 at 09:12:50PM +0200, Urs Liska wrote: Am 17.04.2015 um 20:44 schrieb H. S. Teoh: [...] More annoying is the fact that \partcombine often gets confused when the two voices have very divergent rhythms -- crescendo hairpins don't merge, dynamics get printed twice, I have

Re: Survey: Large scores

On Thu, Apr 16, 2015 at 07:43:38PM +0200, Urs Liska wrote: Hey all, this is not related to the discussion about the recently improved processing speed, although it may sound related: I'd like to have an idea how many people have already or are regularly dealing with big scores, and maybe

Re: Survey: Large scores

On Thu, Apr 16, 2015 at 07:55:48PM +0200, Urs Liska wrote: [...] What's your definition of a big score? Well, actually that depends on the results of the survey, I guess ... Basically I'd be interested in an estimate if there are practical limitations where one would be better off skipping

Re: Doubled entries with partcombiner

On Wed, Apr 08, 2015 at 06:18:20PM +0200, Reinhold Kainhofer wrote: Dear Urs, I'm using a tag for those items: r8 r8 c,8(-\tag #'non-partcombine \pp | % 91 d4) cis8 | % 92 And then in the partcombine call, I filter out that tag: \partcombine{\removeWithTag #'non-partcombine

How to use keep-alive-together / hara-kiri-together

Hi All, I have a ScoreMarks context (basically, something to collect score marks, tempo changes, etc.) placed above a StaffGroup, that I want to elide when the StaffGroup is elided by \removeEmptyStaves. How do I do this? I've tried searching online and found references to keep-alive-together

Re: Creating Rest of length of music variable

On Tue, Mar 17, 2015 at 06:06:58PM +0100, Urs Liska wrote: Hi, I'm looking for a way to create a MultiMeasureRest of exactly the same length as a music variable. I think having read about exactly this but I don't seem to be able to find anything, so I hacked a solution that actually seems

Re: Some MIDI questions

On Tue, Mar 17, 2015 at 11:04:52AM -0400, Peter Teeson wrote: [...] But I didn't see anything about being able to choose the MIDI channel for a specific instrument. All that it says is: The MIDI output allocates a channel for each staff, and reserves channel 10 for drums. There are only 16

Re: Some MIDI questions

On Mon, Mar 16, 2015 at 10:09:18PM -0400, Peter Teeson wrote: My lead sheet is done and now I want to work on the instruments. So my first question is #1 How to I stop the lyrics from appearing in the MIDI file? When it comes to working with MIDI in lilypond, your best bet is always to put

Copying metronome marks to multiple \StaffGroup's

Hi, Apologies if this is already answered somewhere, 'cos I couldn't find it in the docs or on google, but I'm working on an orchestral score and would like for each \tempo marking to appear above each orchestral choir (winds, brass, strings). E.g., I'd like to just write \tempo 4 = 120 once, and

Re: Copying metronome marks to multiple \StaffGroup's

On Wed, Mar 11, 2015 at 02:40:52PM -0400, Kieren MacMillan wrote: Hi, Search for “ScoreMarks” or “MarkLine” in the archives and snippets. There are lots of discussions about this. [...] Hi Kieran, I browsed through several google search results for those keywords, but all I found were

Re: Copying metronome marks to multiple \StaffGroup's

On Wed, Mar 11, 2015 at 05:47:15PM -0400, Stephen MacNeil wrote: You could always do a markup ? tpo = \markup { {\bold Allegro \hspace #1 \concat { \lower #.25 ( \small \raise #.25 \note #4 #UP } \hspace #.5 { = 90 \raise #.5 \musicglyph #scripts.tenuto\concat{ 120\bold )}} } } [...]

Re: Copying metronome marks to multiple \StaffGroup's

On Wed, Mar 11, 2015 at 07:47:34PM +0100, Pierre Perol-Schneider wrote: Hi Vladimir, How about : \version 2.18.2 myMusic = { \tempo 4 = 120 a' } \score { \new Staff \with { \consists Metronome_mark_engraver } \myMusic \new Staff \myMusic \new

Re: Copying metronome marks to multiple \StaffGroup's

On Wed, Mar 11, 2015 at 08:40:20PM -0400, Kieren MacMillan wrote: [...] Hopefully the snippet below helps. Thanks so much!!! I finally figured out the problem with my score: I had inadvertently put \numericTimeSignature inside a staff instead of a \layout block, and somehow that caused strange

Re: Quoted music and midi

On Fri, Mar 06, 2015 at 02:17:08PM -0600, Christopher R. Maden wrote: On 03/06/2015 11:36 AM, Cynthia Karl wrote: The printed output is fine: but although it makes a midi file with two channels, there don't seem to be any notes in midi channel 2: Is this a known problem? I wouldn’t

How to slur into a split voice past a volta repeat

I ran into a rather complicated typesetting problem in one of my piano pieces. Conceptually, the music goes like this: g8( fis | g2) \\ r4 ees bes g16 ... % and so on The slur needs to cross into the first split voice inside the ..., but I can't find

Re: How to slur into a split voice past a volta repeat

On Fri, Mar 06, 2015 at 09:53:49PM +0100, Thomas Morley wrote: [...] Please (re-)read and _follow_ http://www.lilypond.org/website/tiny-examples.html Will do, sorry about that. \new Voice = me \relative c'' { f1( \repeat volta 2 { \context Voice = me { \voiceOne

Re: Non-printing score-wide dynamics

On Tue, Mar 03, 2015 at 04:12:23PM +, David Sumbler wrote: The first 2 bars of a score are as follows: invP = \tweak stencil ##f \p \parallelMusic #'(mid Vone Vtwo Va Vc) { % bar 0 \tempo 4 = 152 \partial 2 r2 | \tempo Allegro non troppo 4 = 152 \partial 2 r2 |

Re: String Concatenation, and Use of Unicode characters

On Mon, Mar 02, 2015 at 04:40:27PM +, Michael Hendry wrote: [...] 2. The LilyJazzText font uses small capitals instead of lower case letters, so using “Eb” produces a capital E followed by a small capital B. On my Mac I know how to produce a flat sign, and LilyPond will use the flat sign

Re: Bug in articulate.ly

On Sun, Mar 01, 2015 at 11:40:29PM +0100, Simon Albrecht wrote: Am 28.02.2015 um 20:11 schrieb H. S. Teoh: [...] Another example is that you could indicate tempo rubato and then specify as interpretation one of the many possible actual tempo(s) that would be used for rendering the MIDI. If I

Re: Bug in articulate.ly

On Sun, Mar 01, 2015 at 10:44:24AM +0100, Anton Curl wrote: On 28/02/2015 20:11, H. S. Teoh wrote: Ideally, I'd like to be able to specify interpretations of elements in the typeset score, for example, something like: % (This is hypothetical syntax) | \interpret{ a1\prall } { b16 a gis b a2

Re: ugly default output

On Sat, Feb 28, 2015 at 07:47:58PM +0100, Martin Tarenskeen wrote: Hi, I am typesetting a simple Beethoven 4-mains. I am in the very first stage of entering the notes - without additional tweaks to optimize the output. Having entered one line of music it occurred to me that the spacing

Re: Bug in articulate.ly

On Fri, Feb 27, 2015 at 05:14:09PM -0800, Flaming Hakama by Elaine wrote: [...] I've recently been using lilypond with articulate.ly to produce midi versions of pieces and have to say that, despite its limitations, I've been getting results that are not terrible. I've been getting mixed

Re: Bug in articulate.ly + TrillSpan + full-measure rests

On Wed, Feb 25, 2015 at 08:58:07AM +1100, Peter Chubb wrote: [...] BTW, articulate was developed as a hack for the Artemis robot instrument challenge; changes in Lilypond since then mean that it's rather out of date. Some of the functionality is now already in the Lilypond C++ core

Re: rit. in Midi - was: Re: lilypond-user Digest, Vol 137, Issue 62

On Sun, Feb 15, 2015 at 12:14:19PM +, David Sumbler wrote: From: Patrick Karl patrickk...@me.com Date: Sat, 14 Feb 2015 11:18:49 -0600 I think the most disturbiing thing is that \articulate is interpreting rit. to mean ritenuto rather than ritardando, which I think is the

Re: \sustainOff\sustainOn produces inconsistent MIDI results

On Sun, Feb 15, 2015 at 02:58:11AM -0700, bensonby wrote: I have the same problem too. As a quick solution, I split the note into two with a tie, one for sustainOff and one for sustainOn. If there are no real solutions, I guess someone may write a function to automatically achieve this, say,

Re: Levelling hairpins

On Sat, Feb 14, 2015 at 12:44:44AM -0800, Nathan Ho wrote: On Fri, Feb 13, 2015 at 12:53 PM, Peter Gentry peter.gen...@sunscales.co.uk wrote: This is very true but the dynamics context is very cumbersome for this purpose alone. Surely there must be a simpler way to align hairpins.

Re: Git/Lilypond workflow

On Thu, Feb 12, 2015 at 02:07:36PM -0800, Tim Walters wrote: [...] Different strokes, I guess! Indeed. :-) On 2/12/15 1:44 PM, H. S. Teoh wrote: It's not *that* much easier than `mkdir new_composition; cd new_composition; git init`. :-) Then you have to push it to the remote server

Re: Git/Lilypond workflow

On Thu, Feb 12, 2015 at 08:33:31PM +, Craig Dabelstein wrote: Hi list, Would anyone be able to briefly share with me how they use Git with Lilypond; i.e. do you create a separate repository for each composition you are working on, do you make a separate branch for each part while you

Re: Git/Lilypond workflow

On Thu, Feb 12, 2015 at 01:29:55PM -0800, Tim Walters wrote: My approach is almost the opposite. I have everything in one repository, with each composition in its own folder, because: --I have files that are common to all compositions. Having separate copies of these all over the place is

Re: How to encapsulate TextSpanner?

On Thu, Feb 12, 2015 at 09:48:52PM +, Kevin Barry wrote: On Thu, Feb 12, 2015 at 9:25 PM, H. S. Teoh hst...@quickfur.ath.cx wrote: I've tried various ways of doing this -- putting the commands in a variable, using various Scheme make-script / make-music constructs, etc., but lilypond

How to encapsulate TextSpanner?

In my piece, I have several passages where I'd like to use a TextSpanner to indicate rall. - - - . Currently, I have to do this: \override TextSpanner.bound-details.left.text = rall. \override TextSpanner.direction = #DOWN | a b c\startTextSpanner d | d c b

Re: Octave check for c

On Sun, Feb 08, 2015 at 08:28:00AM +0100, Noeck wrote: Hi Teoh, I can see no problem: \version 2.18.2 { g=4 } \relative c'' { g='4 g,=4 g=4 } Can you send a minimal example showing your problem? [...] Sorry for the false alarm, folks, I can't reproduce the problem now either. The

Octave check for c

Hi, Sorry for the stupid question, but I can't seem to find this anywhere in the manuals: inside a \relative passage, how do I insert an octave check for the octave below middle C? For middle C and above, I know the syntax is: g='4 and for c, and below, it's: g=,4 But for the

\sustainOff\sustainOn produces inconsistent MIDI results

Hi All, I'm having some trouble with the MIDI output from lilypond for a new piano composition. I have a lot of \sustainOff\sustainOn sequences in the music, and while they show up fine on the score, the MIDI file appears to sometimes turn off sustain completely instead, instead of turning off

Re: \sustainOff\sustainOn produces inconsistent MIDI results

On Mon, Feb 02, 2015 at 09:27:44PM -0800, H. S. Teoh wrote: [...] So, I decided to try the latest git version of lilypond (2.19.16) to see if this glitch still exists, and I'm happy to report that it's now fixed!! [...] Oops, I spoke too soon. :-( The glitch still exists, just in a different

Re: \sustainOff\sustainOn produces inconsistent MIDI results

On Mon, Feb 02, 2015 at 05:34:56PM -0800, H. S. Teoh wrote: Hi All, I'm having some trouble with the MIDI output from lilypond for a new piano composition. I have a lot of \sustainOff\sustainOn sequences in the music, and while they show up fine on the score, the MIDI file appears

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