Re: Percussion Notation

[Malte Meyn]

Am 07.10.2015 um 02:57 schrieb Spencer Raybourne:

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

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


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


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


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Stem-to-stem slurs

[Javier Ruiz-Alma]

Other than adding \shape overrides, is there a way to tell LP to anchor the
slurs to the stems instead of noteheads?

 

%%---Begin snippet

\version "2.18.2"

<<{ \clef bass 2  }\\{ f'4( e') d'( c') }>>

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Re: Percussion Notation

[Kevin Tough]

Hi Spencer,

Standard notation is something of a desire normally wished by persons
like myself starting into drumming. As far as it relates to a standard
drumset many online sites are now using a very similar drum key but
there are still small differences. Lilypond's "standard" in my little
experience is nothing but standard. Standard with Lilypond is however
that it is highly configurable!

Just a short example. In your file where you are writing your score
include this "include" statement or something similar...

 \version "2.18.2"

 % SweetHomeAlabama_LynrydSkynrd.ly

 \include "./KatDrumConfig.ly"
 ...


The file "KatDrumConfig.ly" should exist in the directory with your
main *.ly file. The name of my main file is noted after the percent
sign. My config file is slightly altered from a file created by another
user of Lilypond. When you look at Lilypond's documentation for
percussion and take a quick look at my file that follows you will see
that you can make Lilypond set your drum score just as you want it.
Here is my current file.

flam = \drummode { 
  \override Stem #'length = #4 
  \acciaccatura {sn8} 
  \revert Stem #'length  
} 

#(define katdrums '(
  (acousticbassdrum () #f -3)
  (bassdrum () #f -3)
  (sidestick cross #f 1)
  (acousticsnare () #f 1)
  (snare () #f 1)
  (handclap triangle #f 1)
  (electricsnare () #f 1)
  (lowfloortom () #f -4)
  (closedhihat cross "stopped" 5)
  (hihat cross #f 5)
  (highfloortom () #f -1)
  (pedalhihat cross #f -5)
  (lowtom () #f 2)
  (openhihat cross "open" 5)
  (halfopenhihat xcircle #f 5)
  (lowmidtom () #f 2)
  (himidtom () #f 3)
  (crashcymbala cross #f 7)
  (crashcymbal cross #f 7)
  (hightom () #f 3)
  (ridecymbala cross #f 4)
  (ridecymbal cross #f 6)
  (chinesecymbal xcircle #f 6)
  (ridebell () #f 6)
  (splashcymbal cross #f 9)
  (cowbell triangle #f 5)
  (crashcymbalb cross #f 8)
  (vibraslap diamond #f 4)
  (ridecymbalb cross #f 5)
))

As you play with the numbers on each line you will see that the related
symbol will be placed at a relative height on the drum staff. Who used
Lilypond's standard? I still do not know but this file of mine should
be a good start towards a modern drum key used today online. I don't
think however that you will find an official standard.

Namaste,
Kevin Tough




On Wed, 2015-10-07 at 00:57 +, Spencer Raybourne wrote:
> Could someone please explain Lilypond percussion notation vs.
> Standard percussion notation (if there is such a thing). I have seen
> several examples in books that are different from Lilypond.
> 
> Thank you,
> 
> Spencer
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Re: Percussion Notation

[Michael Gerdau]

Dear Spencer,

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

could you be a bit more specific?

E.g. by providing examples of such differences?

i.e. Lilypond scripts and if possible scans of the book examples such
that it becomes clear what you mean?

Kind regards,
Michael
-- 
 Michael Gerdau   email: m...@qata.de
 GPG-keys available on request or at public keyserver

signature.asc
Description: This is a digitally signed message part.
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Tweaking a footnote

[David Sumbler]

I want to annotate a particular passage with a footnote.

So far I have managed to get what I want in the music itself with:

\override Score.FootnoteItem.annotation-line = ##f
\footnote "*" #'(0 . 3) "Theme by Louis Drouet"

This produces an asterisk over the first note of the relevant passage,
which is exactly what I want.

But there are 3 things about the footnote itself which I would like to
alter.

1) If I don't specify a mark, Lilypond puts a "1" by the grob and by the
footnote.  But if I do specify a mark, the footnote itself does not show
it, i.e. it has no asterisk (in this case) by it.  I want the footnote
to display the asterisk, otherwise it will not be clear why there is an
asterisk in the score.

2) Lilypond produces a horizontal line separating the footnote area from
the main part of the page.  I would prefer not to have this - assuming
that I can get the asterisk to be displayed next to the footnote, there
is no ambiguity about what the footnote is there for.

3) I would like this footnote centred, rather than left-aligned on the
page, but I haven't figured out how to do this.  No doubt it involves
normal markup commands, but I can't work out how to apply them in this
case.  (I have never used footnotes before.)

Thanks for any suggestions.

David


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Re: Tweaking a footnote

[Pierre Perol-Schneider]

Hi David,

Try:

\version "2.18.2"
#(set-default-paper-size "a6")

\paper {
  tagline = ##f
  footnote-separator-markup = ##f
}

{
  \override Score.FootnoteItem.annotation-line = ##f
  \footnote "*" #'(0 . 3) \markup \fill-line { "*Theme by Louis Drouet" }
  c'4
}

Cheers,
Pierre

2015-10-06 16:43 GMT+02:00 David Sumbler :

> I want to annotate a particular passage with a footnote.
>
> So far I have managed to get what I want in the music itself with:
>
> \override Score.FootnoteItem.annotation-line = ##f
> \footnote "*" #'(0 . 3) "Theme by Louis Drouet"
>
> This produces an asterisk over the first note of the relevant passage,
> which is exactly what I want.
>
> But there are 3 things about the footnote itself which I would like to
> alter.
>
> 1) If I don't specify a mark, Lilypond puts a "1" by the grob and by the
> footnote.  But if I do specify a mark, the footnote itself does not show
> it, i.e. it has no asterisk (in this case) by it.  I want the footnote
> to display the asterisk, otherwise it will not be clear why there is an
> asterisk in the score.
>
> 2) Lilypond produces a horizontal line separating the footnote area from
> the main part of the page.  I would prefer not to have this - assuming
> that I can get the asterisk to be displayed next to the footnote, there
> is no ambiguity about what the footnote is there for.
>
> 3) I would like this footnote centred, rather than left-aligned on the
> page, but I haven't figured out how to do this.  No doubt it involves
> normal markup commands, but I can't work out how to apply them in this
> case.  (I have never used footnotes before.)
>
> Thanks for any suggestions.
>
> David
>
>
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Re: Two questions about key signatures

[T. Michael Sommers]

On 10/5/2015 12:58 PM, Noeck wrote:

Hi Michael,

Am 05.10.2015 um 11:33 schrieb T. Michael Sommers:

Hmmm.  When I change from a key with sharps or flats in it to one with
no sharps or flats, the cancelling accidentals still appear.  I can
understand that, since otherwise there would be no indication that the
key had changed, but for my application, it's a little annoying.  Not
annoying enough to do anything about, though.


Well, the result is misleading in the last bar, but I guess that is what
you are looking for:

\version "2.19.21"

{
   \textLengthOn  % only for this snippet
   \set Staff.printKeyCancellation = ##f  % removes key cancellation
   a'1
   \key d \major
   a'1
   \key f \major
   a'1 ^"no naturals"
   \key c \major
   a'1 ^"natural"
   \key f \major
   a'1
   \once \omit Staff.KeyCancellation % removes it even for C major
   \key c \major
   b'1 ^"no natural"
}


Thanks.  I think, though, that eventually I will end up putting the keys 
with no sharps or flats first, thus avoiding the problem (it's also the 
natural order to put the keys in).



--
T.M. Sommers -- tmsomme...@gmail.com -- ab2sb

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Re: Two questions about key signatures

[T. Michael Sommers]

On 10/5/2015 2:59 PM, Simon Albrecht wrote:

On 05.10.2015 11:33, T. Michael Sommers wrote:

Hmmm. When I change from a key with sharps or flats in it to one with
no sharps or flats, the cancelling accidentals still appear.  I can
understand that, since otherwise there would be no indication that the
key had changed, but for my application, it's a little annoying.


{ \key as \minor ces \key c \major c }

How on earth would the performer know that the second one is a c natural
if there is no key cancellation?


That's what I said.  My application, though, is not something to be 
performed, so that's not a problem.  I'm just creating a chart of all 
the keys in all the modes.


--
T.M. Sommers -- tmsomme...@gmail.com -- ab2sb

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Re: Offset fermata problem

[Simon Albrecht]

On 06.10.2015 15:45, David Kastrup wrote:

Simon Albrecht  writes:


Hello Jacques,

On 05.10.2015 17:25, Menu Jacques wrote:

Hello folks,

I’d like to obtain the following from Poulenc, in which the fermata
is in-between a2 and r4:



based on an idea by David Kastrup I wrote a music function, which
provides a nice interface for this kind of things:


\version "2.19.28"

after = #(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
#{ << #m { \skip $t <> -\tweak extra-spacing-width #empty-interval
$e } >> #})

\score {
   \relative c'' {
 \key f \major \time 2/2 | % 147
 \after 4*5/4 \fermata a2 r4
 e16 -\markup{\dynamic "ff" \italic "librement"}  ^\markup{\bold
"solo"} [ f16 g16 f16 ]
   }
}
%

It has proved an invaluable tool, mostly with placing dynamics: no
need to maintain extra <> constructs, much less typing, far easier
readable code. Only drawback: point-and-click doesn’t work for the
grobs created thus, it always points to the music function code.

Issue 4630.

Folks, if you fail to report errors they will never get fixed.


All the more thanks for addressing this nevertheless!
Yours, Simon

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Re: How write cross-staff slur (in combination with lyrics)

[jurgen . lamsens]

Thanks a lot everyone for those smart responses. I've been reading and 
re-reading the thread multiple times ;-)

Must say, reading let stand writing code like this for such an easy part is not 
that easy for a beginner I'm afraid...

Best regards!
Jurgen L.


- Original Message -
From: "Simon Albrecht" 
To: "David Wright" 
Cc: "jurgen lamsens" , lilypond-user@gnu.org
Sent: Tuesday, October 6, 2015 9:06:29 PM
Subject: Re: How write cross-staff slur (in combination with lyrics)

On 06.10.2015 06:40, David Wright wrote:
> However, I just wanted to observe two things about the OP's original: 
> the words are much smaller, and the first three bars look as though 
> they are using proportional spacing.

No, they don’t. Proportional spacing is a very specific means for 
complicated situations in mostly ‘modern’ music, and what the example 
shows is just unnecessary loose spacing, less proficient by far than 
LilyPond’s solution.

> One of the things that I've noticed about LP is that by default the 
> lyrics are scaled up in size relative to the music, compared with many 
> publishers' scores, which can lead to a more irregular note spacing. 
> This isn't a criticism: it's easily "correctable" but I much prefer it 
> anyway because of my eyesight.

And legibility is the exact reason why LilyPond’s lyrics are larger than 
commonly used nowadays.

> Mind you, I'm not sure why a beginner's piano book has lyrics at all, 
> particularly placing them between the staves.

In order to make the connection to a tune the child knows, or to teach 
the actual song to sing it as well; also, thinking text is a good means 
to achieve more musical playing.

Yours, Simon

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Re: How write cross-staff slur (in combination with lyrics)

[Simon Albrecht]

On 06.10.2015 22:22, jurgen.lams...@telenet.be wrote:

Thanks a lot everyone for those smart responses. I've been reading and 
re-reading the thread multiple times ;-)

Must say, reading let stand writing code like this for such an easy part is not 
that easy for a beginner I'm afraid...


If you have any questions about the constructs I used, feel free to ask! 
I’m aware that there were probably many new things in there.


Yours, Simon

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Removing several accidentals from a chord?

[Jesús Jiménez Abril]

Hello everybody,
I need to eliminate one accidental, possibly two different ones from a chord.As 
you may know, the stencil/transparent tweaks work as long as one doesn't care 
about the weird spacing that's left after it, but I personally do. 
I copypaste here a partial solution that was given many years ago:
Another option which doesn't have this side effect would be to create a custom 
accidental style which checks for a particular pitch (I've copied 'dodecaphonic 
here for the sake of simplicity): \relative c' {   \set Staff.autoAccidentals = 
#`(Staff ,(lambda (context pitch barnum position)   (if 
(equal? pitch (ly:make-pitch 0 6 FLAT))   '(#f . #f)
   '(#f . #t   4 } Regards, Neil
The thing is that this solution really takes out the accidental BUT makes every 
other note in the chord show either its accidental or a natural if it doesn't 
have sharp or flat.
My question is if there's any way to modify the "if" statement so the booleans 
afterwards can take out as many accidentals as wanted, maybe with "and" or 
"or", or an "else" afterwards. I've tried many stuff but I'm stuck. Any ideas 
or input?
Thank you so much for your time!
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Re: Question re title formatting

[David Wright]

I've replied to the original post because it had a Reply-To which was
not honoured by most of the responses in the thread.

Quoting Karen Billings (ksbilli...@att.net):

> I hate bothering the you all with a dumb question, but I've been wracking my
> brain with this for two hours.
> 
> I am arranging a standard Latin setting for our Choir to use Sunday, and seem
> to be having trouble with something that worked before.
> 
> I'm still working in 2.18.2
> 
> My title information is 
> 
> piece = "St. Thomas"
> title = "Pange, Lingua, Gloriosi"
> titleb = "(Hymn Setting)"
> composer = "John F. Wade, 1711-1786"
> meter = "87.87.87"
> arranger = "Thomas Aquinas, 1225-1274"
> 
> My initial markup line is:
> 
> \markup {
>   \column {
> \fill-line { \large \bold \title } % title
> \fill-line { \titleb }
> \fill-line { \caps \piece   % piece
> \caps \composer  % composer
>  }
> \fill-line { \meter  % meter
> \arranger   % arranger
>  }
>   }
> }
> 
> For some reason, Lilypond incorporates the "meter" but ignores the
> "arranger"... Any ideas?

I notice you post here in HTML which made me wonder what you're using
to prepare your LP input files, and which platform you run LP on.

David Kastrup  writes:
> I suspect that the preceding line has a non-standard line ending, most
> likely just a CR or the line being wrapped by spaces rather than a
> proper line end.

At least on linux, CR is enough to terminate a line of LP, so the
latter is more likely, but see below.

Because you (KSB) post in HTML, I looked at your mail client's text
rendition. The email contains only 11 lines, and the two of interest
are:

piece_=_"St._Thomas"title_=_"Pange,_Lingua,_Gloriosi"titleb_=_"(Hymn_Setting)"composer_=_"John_F._Wade,_1711-1786"meter_=_"87.87.87"arranger_=_"Thomas_Aquinas,_1225-1274"

where I've replaced space characters with _ and:

\markup_{+_\column_{+_+_\fill-line_{_\large_\bold_\title_}_%_title+_+_\fill-line_{_\titleb_}+_+_\fill-line_{_\caps_\piece_+_+_+_+_+_+_+_%_piece__+_+_+_+_\caps_\composer_+_+_+%_composer__+}+_+_\fill-line_{_\meter_+_+_+_+_+%_meter__+_+_+_+_\arranger_+_+_+_+_+_%_arranger__+}+_}}

where I've also replaced NBSP (non-breakable space) with +.

So it looks as if you've fooled your mail client and it wouldn't be
surprising if LP gets confused as well.

When we cut and paste from the email, we add another layer of decoding
by our own mail clients, of course, so it's almost impossible to know
what your LP is consuming with your attaching the actual LP file (or a
cut-down version), as Simon said.

On 03.10.2015 14:53, Brian Barker wrote:
> I think one can see from the rendering of the original enquiry in the
> archive at
> http://www.mail-archive.com/lilypond-user@gnu.org/msg105369.html that
> something of this sort is indeed the case.

Displaying this in my browser adds yet another layer of mangling,
adding extra linebreaks in order to show a marginal menu. So I
downloaded this URL with wget and it does appear that the HTML code is
mangled in just the way required to provoke the error:

--8<
My initial markup line is:
\markup {  \column {    \fill-line { \large \bold \title } % title    
\fill-line { \titleb }    \fill-line { \caps \piece               % piece       
   \caps \composer      % composer   }    \fill-line { \meter          % meter  
        \arranger           % arranger   }  }}
For some reason, [...]
--8<

I then decoded the HTML in the email and looked at what lies between
"% meter" and "\arranger". Here it is, slightly edited (I shortened
the "id"s and replaced the NBSPs).

% meter        \arranger

So that's a line-ending! And no trace of it in the text version of the
OP's email on the list.

Summarising my ideas:

. Be careful, when using tools that hide the real source code, not to
feed LP (or anything else) with the resulting presentation version.
. Please don't post HTML to technical forums. It only adds a layer of
obfuscation.
. Your comments in the source, while useful in provoking the problem
so that you become aware of it, would best be removed as they add
nothing, being at the level of:
   total = total / 2 # Divide the total by 2.

Cheers,
David.

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Re: MIDI "volume"

[Heikki Tauriainen]

On Mon, 2015-10-05 at 22:07 -0500, msk...@ansuz.sooke.bc.ca wrote:
> The discussion of MIDI in the manual refers to "volume" throughout. 
> It appears that at least some of the time, that actually means MIDI
> velocity, which is not the same thing.

Based on my experience with the MIDI code (I'm not a core developer,
but I've added support for a few context properties for adjusting
values of some MIDI controls), I can confirm your observation:
according to the change history, LilyPond has assumed a strict
"velocity-as-volume" model since version 2.14
.

> For instance, dynamic marks like \f and \pp seem to set the velocity.


Yes, this is correct.

> Do *all* references to "volume" really mean velocity,

To my understanding, I think it's safe to assume so (at least I've
learned to interpret this term in the documentation in this way).

>  or are there also some LilyPond features that set the true MIDI
> volume (control change 7)?

I don't think that it's currently possible to control CC#7 using any
input file level features.

I've observed that LilyPond actually emits CC#7 events to a generated
MIDI file on dynamic (MIDI velocity) changes created by the
Dynamic_performer, but these CC#7 changes seem to always just set the
MIDI volume to 100 (in the range from 0 to 127).  To me this looks like
a possible bug (and could be just a remnant of the implementation prior
to 2.14), but this is only my personal opinion...

That said, it wouldn't be too difficult to add support for controlling
CC#7 via another Staff-level context property (similar to those
available for controlling MIDI pan position, balance, expression, and
chorus and reverb levels), but such a context property would certainly
not work well without also disabling the emission of the automatically
generated CC#7 events that I mentioned above.

Do the core developers have any opinions (or knowledge) about the
purpose of the automatically generated CC#7 events?

-- 
Heikki Tauriainen


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Re: How write cross-staff slur (in combination with lyrics)

[Urs Liska]

Am 06.10.2015 um 21:06 schrieb Simon Albrecht:
>> One of the things that I've noticed about LP is that by default the
>> lyrics are scaled up in size relative to the music, compared with
>> many publishers' scores, which can lead to a more irregular note
>> spacing. This isn't a criticism: it's easily "correctable" but I much
>> prefer it anyway because of my eyesight.
>
> And legibility is the exact reason why LilyPond’s lyrics are larger
> than commonly used nowadays.

This issue is partially due to the relative width of LilyPond's default
text font. Using different fonts with condensed variants is much more
efficient (while keeping legibility) than simply decreasing
LyricText.font-size.

Urs

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Re: How write cross-staff slur (in combination with lyrics)

[David Wright]

Quoting Simon Albrecht (simon.albre...@mail.de):
> On 06.10.2015 06:40, David Wright wrote:
> >However, I just wanted to observe two things about the OP's
> >original: the words are much smaller, and the first three bars
> >look as though they are using proportional spacing.
> 
> No, they don’t. Proportional spacing is a very specific means for
> complicated situations in mostly ‘modern’ music, and what the
> example shows is just unnecessary loose spacing, less proficient by
> far than LilyPond’s solution.

Forgive me if I gave the impression that I was criticising anybody
or anything. It wasn't a technical comment; I was just making a
light-hearted observation regarding the roughly crochet-sized gaps
after the minims in the original photograph, which might be mimicked
by dropping in a line like
\set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
No more than that.

Cheers,
David.
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Re: How write cross-staff slur (in combination with lyrics)

[Urs Liska]

Am 6. Oktober 2015 22:22:48 MESZ, schrieb jurgen.lams...@telenet.be:
>Thanks a lot everyone for those smart responses. I've been reading and
>re-reading the thread multiple times ;-)
>
>Must say, reading let stand writing code like this for such an easy
>part is not that easy for a beginner I'm afraid...

Yes, this is understandable.
But after all your example is not that easy. There are several things that are 
non-standard notation, and LilyPond "thinks" in semantics and structure. 
On the long run this is a terrific strength
, but for a start it may be daunting that you can't simply pull things around 
like in a graphics program.

Best
Urs

>
>Best regards!
>Jurgen L.
>
>
>- Original Message -
>From: "Simon Albrecht" 
>To: "David Wright" 
>Cc: "jurgen lamsens" , lilypond-user@gnu.org
>Sent: Tuesday, October 6, 2015 9:06:29 PM
>Subject: Re: How write cross-staff slur (in combination with lyrics)
>
>On 06.10.2015 06:40, David Wright wrote:
>> However, I just wanted to observe two things about the OP's original:
>
>> the words are much smaller, and the first three bars look as though 
>> they are using proportional spacing.
>
>No, they don’t. Proportional spacing is a very specific means for 
>complicated situations in mostly ‘modern’ music, and what the example 
>shows is just unnecessary loose spacing, less proficient by far than 
>LilyPond’s solution.
>
>> One of the things that I've noticed about LP is that by default the 
>> lyrics are scaled up in size relative to the music, compared with
>many 
>> publishers' scores, which can lead to a more irregular note spacing. 
>> This isn't a criticism: it's easily "correctable" but I much prefer
>it 
>> anyway because of my eyesight.
>
>And legibility is the exact reason why LilyPond’s lyrics are larger
>than 
>commonly used nowadays.
>
>> Mind you, I'm not sure why a beginner's piano book has lyrics at all,
>
>> particularly placing them between the staves.
>
>In order to make the connection to a tune the child knows, or to teach 
>the actual song to sing it as well; also, thinking text is a good means
>
>to achieve more musical playing.
>
>Yours, Simon
>
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Re: How write cross-staff slur (in combination with lyrics)

[Simon Albrecht]

On 06.10.2015 06:40, David Wright wrote:
However, I just wanted to observe two things about the OP's original: 
the words are much smaller, and the first three bars look as though 
they are using proportional spacing.


No, they don’t. Proportional spacing is a very specific means for 
complicated situations in mostly ‘modern’ music, and what the example 
shows is just unnecessary loose spacing, less proficient by far than 
LilyPond’s solution.


One of the things that I've noticed about LP is that by default the 
lyrics are scaled up in size relative to the music, compared with many 
publishers' scores, which can lead to a more irregular note spacing. 
This isn't a criticism: it's easily "correctable" but I much prefer it 
anyway because of my eyesight.


And legibility is the exact reason why LilyPond’s lyrics are larger than 
commonly used nowadays.


Mind you, I'm not sure why a beginner's piano book has lyrics at all, 
particularly placing them between the staves.


In order to make the connection to a tune the child knows, or to teach 
the actual song to sing it as well; also, thinking text is a good means 
to achieve more musical playing.


Yours, Simon

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Percussion Notation

[Spencer Raybourne]

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


Thank you,


Spencer
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How to get X/Y-extent of a bezier-curve?

[Thomas Morley]

Hi all,

I'm going to write a generic bow-stencil.
Below you'll find a boiled down example.

The main problem: how to determine the correct extents.
Looks like I need to calculate the actual X/Y-extents of the resulting
bezier-curve.
Though, obviously my maths-skills are not sufficient.

Any hints?

\version "2.18.2"

%% `overlay' is in the source for 2.19.28
%% for lower versions use:
#(define-markup-command (overlay layout props args) (markup-list?)
  (apply ly:stencil-add (interpret-markup-list layout props args)))

#(define (make-simple-bezier-stencil coords)
  (let* ((command-list `(moveto
,(car (list-ref coords 3))
,(cdr (list-ref coords 3))
curveto
,(car (list-ref coords 0))
,(cdr (list-ref coords 0))
,(car (list-ref coords 1))
,(cdr (list-ref coords 1))
,(car (list-ref coords 2))
,(cdr (list-ref coords 2))
)))
  (ly:make-stencil
`(path 0.1 `(,@' ,command-list) 'round 'round #f)
 TODO
 How to get correct extents?
;; xext:
(cons
  (car (list-ref coords 2))
  (car (list-ref coords 3)))
;;yext:
(cons
  (cdr (list-ref coords 2))
  (cdr (list-ref coords 1)))
)))

%
%% EXAMPLE
%

#(define pts-list
  '((12 . 8)
(5 . 8)
(2 . 2)
(15 . 2)))

#(define (rotated-pts-list degree)
  (map
(lambda (c)
   TODO
  ;; coord-rotate rotates around '(0 . 0)
  ;; make it generic
  (coord-rotate c (degrees->radians degree)))
pts-list))

\markup
  \column {
\vspace #3
 \fill-line {
   \overlay {
 \circle \null %% representing point '(0 . 0)
 \override #'(box-padding . 0)
 \box \with-color #red {
   \stencil
 #(make-simple-bezier-stencil pts-list)
   \stencil
 #(make-simple-bezier-stencil (rotated-pts-list 90))
   \stencil
 #(make-simple-bezier-stencil (rotated-pts-list 60))
 }
   }
 }
  }



Cheers,
  Harm

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Re: How write cross-staff slur (in combination with lyrics)

[tisimst]

My daughter is learning the piano right now and the very simple songs she
is learning all are very "cleaned up", meaning that there are no key
signatures, no rests, etc. There are only clefs, notes, and lyrics (besides
the two piano staves).

It all seems to be working out. As she progresses, more notation elements
are introduced.

Just wanted to add another reason why the "standard" way of writing the
music may not be employed in the OP's original image.

Best,
Abraham

On Monday, October 5, 2015, David Wright [via Lilypond] <
ml-node+s1069038n182080...@n5.nabble.com> wrote:

> Quoting Simon Albrecht ([hidden email]
> ):
>
> > One small amendment: The spacing is less grotesque if you insert
> > %%%
> > selfAl = #(define-music-function (parser location num) (number?)
> > #{ \once \override LyricText . self-alignment-X  = $num #})
> >
> > text = \lyricmode {
> >   Rid -- ing, | rid -- ing, | \selfAl #.5 ’round \selfAl #-.5 and a
> > -- round
> > }
> > %%%
> > instead of the lyrics.
>
> Thanks for another snippet to file away for later use.
>
> However, I just wanted to observe two things about the OP's original:
> the words are much smaller, and the first three bars look as though
> they are using proportional spacing.
>
> One of the things that I've noticed about LP is that by default the
> lyrics are scaled up in size relative to the music, compared with many
> publishers' scores, which can lead to a more irregular note spacing.
> This isn't a criticism: it's easily "correctable" but I much prefer it
> anyway because of my eyesight.
>
> > On 05.10.2015 12:46, [hidden email]
>  wrote:
> > > Notice: the "full-measure rests" are not shown in the screenshot
> > > (beginner piano book), but I want to engrave them anyway.
>
> Might the lack of rests indicate that it is music for one voice/hand?
>
> > – Nitpick: the typographical apostrophe ’ – hard to achieve, alas,
> > on most keyboard layouts. And apparently most people don’t seem to
> > mind, but I find it much nicer.
>
> Another reason to use curly quotes is that you can write lyrics like
> “All hail,” instead of "\"All" "hail,\"" which improves the appearance
> of the source as well as the output.
>
> Mind you, I'm not sure why a beginner's piano book has lyrics at all,
> particularly placing them between the staves.
>
> Cheers,
> David.
>
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>
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> If you reply to this email, your message will be added to the discussion
> below:
>
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> To start a new topic under User, email ml-node+s1069038n...@n5.nabble.com
> 
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> 
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> 
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Re: How to get X/Y-extent of a bezier-curve?

[BB]

I do not really understand what you desire to get. May be my response is 
not helpful but silly.


#(define pts-list
  '((12 . 8)
(5 . 8)
(2 . 2)
(15 . 2)))

In your List you have the start point defined with ay (x.y)= (2,2) and 
the end point (15,2) - that is the last pair of coordinates.


Looks like I need to calculate the actual X/Y-extents of the resulting
bezier-curve.

The x extent of your curve therefore is 15-2 = 13.
The y extent is harder to calculate as it depends on the parameters of 
the bezier definition. A good description is here:

http://www.math.ucla.edu/~baker/149.1.02w/handouts/bb_bezier.pdf

The line override does nothing?

 \override #'(box-padding . 0)

If you set (0,0) instead of (2.2) the starting point is at (0.0) and 
this is the rotation center. (You rotate in your example around this 
point.) Then you have to change the last corrdinate pair to (13,0) for 
to get the seme base length and to stay in the box.


The first coordinate pair of the definition in

#(define pts-list

controls the steepness of the start and end of the curve and the form, 
please see the link above for details.


May be I missed the point?

Regards





On 06.10.2015 13:37, Thomas Morley wrote:

Hi all,

I'm going to write a generic bow-stencil.
Below you'll find a boiled down example.

The main problem: how to determine the correct extents.
Looks like I need to calculate the actual X/Y-extents of the resulting
bezier-curve.
Though, obviously my maths-skills are not sufficient.

Any hints?

\version "2.18.2"

%% `overlay' is in the source for 2.19.28
%% for lower versions use:
#(define-markup-command (overlay layout props args) (markup-list?)
   (apply ly:stencil-add (interpret-markup-list layout props args)))

#(define (make-simple-bezier-stencil coords)
   (let* ((command-list `(moveto
 ,(car (list-ref coords 3))
 ,(cdr (list-ref coords 3))
 curveto
 ,(car (list-ref coords 0))
 ,(cdr (list-ref coords 0))
 ,(car (list-ref coords 1))
 ,(cdr (list-ref coords 1))
 ,(car (list-ref coords 2))
 ,(cdr (list-ref coords 2))
 )))
   (ly:make-stencil
 `(path 0.1 `(,@' ,command-list) 'round 'round #f)
  TODO
  How to get correct extents?
 ;; xext:
 (cons
   (car (list-ref coords 2))
   (car (list-ref coords 3)))
 ;;yext:
 (cons
   (cdr (list-ref coords 2))
   (cdr (list-ref coords 1)))
 )))

%
%% EXAMPLE
%

#(define pts-list
   '((12 . 8)
 (5 . 8)
 (2 . 2)
 (15 . 2)))

#(define (rotated-pts-list degree)
   (map
 (lambda (c)
    TODO
   ;; coord-rotate rotates around '(0 . 0)
   ;; make it generic
   (coord-rotate c (degrees->radians degree)))
 pts-list))

\markup
   \column {
 \vspace #3
  \fill-line {
\overlay {
  \circle \null %% representing point '(0 . 0)
  \override #'(box-padding . 0)
  \box \with-color #red {
\stencil
  #(make-simple-bezier-stencil pts-list)
\stencil
  #(make-simple-bezier-stencil (rotated-pts-list 90))
\stencil
  #(make-simple-bezier-stencil (rotated-pts-list 60))
  }
}
  }
   }



Cheers,
   Harm

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Re: How to get X/Y-extent of a bezier-curve?

[David Kastrup]

Thomas Morley  writes:

> Hi all,
>
> I'm going to write a generic bow-stencil.
> Below you'll find a boiled down example.
>
> The main problem: how to determine the correct extents.
> Looks like I need to calculate the actual X/Y-extents of the resulting
> bezier-curve.
> Though, obviously my maths-skills are not sufficient.

Oh, that's a nuisance.

> Any hints?

I'd just call make-path-stencil and use the bounding box results from
that.  No need to reinvent the wheel.

While this particular wheel could likely profit from a do-over with more
of a view towards efficiency and numerical robustness, there is no point
in code duplication.

-- 
David Kastrup

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Re: Offset fermata problem

[David Kastrup]

Simon Albrecht  writes:

> Hello Jacques,
>
> On 05.10.2015 17:25, Menu Jacques wrote:
>> Hello folks,
>>
>> I’d like to obtain the following from Poulenc, in which the fermata
>> is in-between a2 and r4:
>>
>>
>
> based on an idea by David Kastrup I wrote a music function, which
> provides a nice interface for this kind of things:
>
> 
> \version "2.19.28"
>
> after = #(define-music-function (t e m) (ly:duration? ly:music? ly:music?)
>#{ << #m { \skip $t <> -\tweak extra-spacing-width #empty-interval
> $e } >> #})
>
> \score {
>   \relative c'' {
> \key f \major \time 2/2 | % 147
> \after 4*5/4 \fermata a2 r4
> e16 -\markup{\dynamic "ff" \italic "librement"}  ^\markup{\bold
> "solo"} [ f16 g16 f16 ]
>   }
> }
> %
>
> It has proved an invaluable tool, mostly with placing dynamics: no
> need to maintain extra <> constructs, much less typing, far easier
> readable code. Only drawback: point-and-click doesn’t work for the
> grobs created thus, it always points to the music function code.

Issue 4630.

Folks, if you fail to report errors they will never get fixed.

-- 
David Kastrup

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