Re: warning: compressing over-full page by 217.9 staff-spaces

[H. S. Teoh]

On Tue, Feb 20, 2018 at 09:51:48PM +0100, Urs Liska wrote:
> Sorry for the noise (pun intended), but I have to share this "incident" :-)
> 
> (result of joining three one-page pieces in one file and forgetting to
> update the \paper block ...)
[...]

LOL... reminds me of what happened to me once when I tried to squeeze
too much music into too few pages. It wasn't quite as bad as this, but
it did have lots of clashing systems. :-D


T

-- 
Who told you to swim in Crocodile Lake without life insurance??

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Re: Disable extra space around StaffGroup?

[Kieren MacMillan]

Hi again,

Here's another example, with interspersed single Staff contexts.
I can’t find any "extra space" above the groups…?

Best,
Kieren.

%%%  SNIPPET BEGINS
\version "2.18.2"

\paper {
  top-margin = 0
  top-system-spacing =
  #'((basic-distance . 0) (minimum-distance . 0) (padding . 0) 
(stretchability . 0))
}

\layout {
  \context {
\Score
\override VerticalAxisGroup.staff-staff-spacing =
#'((basic-distance . 0) (minimum-distance . 0) (padding . 0) 
(stretchability . 0))
\override VerticalAxisGroup.default-staff-staff-spacing =
#'((basic-distance . 0) (minimum-distance . 0) (padding . 0) 
(stretchability . 0))
  }
  \context {
\StaffGroup
\override VerticalAxisGroup.staff-staff-spacing =
#'((basic-distance . 0) (minimum-distance . 0) (padding . 0) 
(stretchability . 0))
  }
}

\score {
  <<
\new StaffGroup <<
  \new Staff << c''1 >>
  \new Staff << c''1 >>
>>
\new Staff << c''1 >>
\new StaffGroup <<
  \new Staff << c''1 >>
  \new Staff << c''1 >>
>>
\new Staff << c''1 >>
\new Staff << c''1 >>
  >>
}
%%%  SNIPPET ENDS


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Very small rhythmic values

[Simon Albrecht]

On 20.02.2018 22:05, Thomas Morley wrote:

If my math is correct it prints a
109074813561941592946298424473378286244826416199623269243183278618972133184911929521626423452520198722395729179615702527310987082017718406361097976507755479907890629884219298953860982522804820515969685161359163819677188654260932456012129055390188630101790025253579991720001007960002653583680090529780588095235050163019547565391100531236456001484742603529355124584392891875276869627934408805561751569434994540667782514081490061610592025643850457801332649356583604724240738244281224513151775751916489922636574372243227736807502762788304520650179276170094569916849725787968385173704999690096112051565505011556127149149251534210574896662954703278632150573082843022166497032439613863525162640951616800542762343599630892169144618118740639531066540488573943483287742816740749537099351186875635997039011702182361674945862096985700626361208270671540815706657513728102702231092756491027675916052087830463241104936456875492096732298245918476342738379027244843801852697776494107271561158043469082745933999196141424274141059911742606055648376375631452761136265862838336862115799363802087853767554533678991569423443395566631507008721353547025567031200413072549583450835743965382893607708097855057891296790735278005493562156109079584517295411597292747987752773856000820411855893000448727761853813510493840581861598652211605960308356405941821189714037868726219481498727603653616298856174822413033485438785324024751419417183012281078209729303537372804574372095228703622776363945290869806258422355148507571039619387449629866808188769662815778153079393179093143648340761738581819563002994422790754955061288818308430079648693232179158765918035565216157115402992120276155607873107937477466841528362987708699450152031231862594203085693838944657061346236704234026821102958954951197087076546186622796294536451620756509351018906023773821539532776208676978589731966330308893304665169436185078350641568336944530051437491311298834367265238595404904273455928723949525227184617404367854754610474377019768025576605881038077270707717942221977090385438585844095492116099852538903974655703943973086090930596963360767529964938414598185705963754561497355827813623833288906309004288017321424808663962671333528009232758350873059614118723781422101460198615747386855096896089189180441339558524822867541113212638793675567650340362970031930023397828465318547238244232028015189689660418822976000815437610652254270163595650875433851147123214227266605403581781469090806576468950587661997186505665475715792896th
note.


LOL indeed! ;-D

Using
\paper {
  page-breaking = #ly:one-line-auto-height-breaking
}
gives
warning: compressing over-full page by 8033.4 staff-spaces
but output is fine.

Best, Simon


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Hairpin solid with dashed end

[Andrew Bernard]

Is there any example of how to make a hairpin with normal solid lines, but
dashed at the end, say the last quarter or so? [Yep, some new complexity
notation again.]

Andrew
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Re: About assigning a function to Tie.direction, and "warning: type check for 'direction' failed"

[Thomas Morley]

Hi Stefano,

others already commented about quote/unquote.

Some other remark:

2018-02-20 18:55 GMT+01:00 Stefano Troncaro :
> Hello everyone!
>
> I recently wrote the function bellow to be able to set the direction of ties
> in a TieColumn by specifying a list of directions:
>>
>> \version "2.19.80"
>>
>> tieDirectionFromList =
>> #(define-music-function (dir-list) (list?)
>>#{
>>  \once \override Tie.before-line-breaking =
>>  #(lambda (grob)
>>(let* ((tie-column (ly:grob-parent grob Y))
>>   (tie-array (ly:grob-array->list (ly:grob-object tie-column
>> 'ties)))
>>   (i 0))
>>  (if (= (length dir-list) (length tie-array))
>>(for-each
>>  (lambda (tie)
>>(if (eq? tie grob)
>>  (ly:grob-set-property! grob 'direction (list-ref
>> dir-list i))

Why this resetting `i'? Use a second argument instead. See bottom.
>>(set! i (+ i 1
>>  tie-array)
>>  (ly:input-warning (*location*) "tieDirectionFromList:
>> dir-list has a different number of elements than the 'ties of the
>> TieColumn."))
>>  )) #} )
>>
>> \score {
>>   \new Staff \new Voice \relative c'' {
>> \tieDirectionFromList #'(-1 1 -1)
>> %The following gives warning: type check for `direction' failed; value
>> `DOWN' must be of type `direction'
>> %\tieDirectionFromList #'(DOWN UP DOWN)
>> 2~ q
>>   }
>> }
>
> This works when I give the directions as numbers. However, I get an error
> when I use UP and DOWN instead, and I don't understand why. Aren't these
> constants that have the values 1 and -1? Is the problem that
> ly:grob-set-property is trying to assign the symbol (UP or DOWN) to the
> property instead of the value that they evaluate to? If so, how can that be
> fixed?

tieDirectionFromList =
#(define-music-function (dir-list) (list?)
   #{
 \once \override Tie.before-line-breaking =
 #(lambda (grob)
   (let* ((tie-column (ly:grob-parent grob Y))
  (tie-array
(ly:grob-array->list (ly:grob-object tie-column 'ties
 (if (= (length dir-list) (length tie-array))
 (for-each
   (lambda (d tie)
 (if (eq? tie grob) (ly:grob-set-property! grob 'direction d)))
   dir-list
   tie-array)
 (ly:input-warning (*location*)
"tieDirectionFromList: dir-list has a different number of elements than the
'ties of the TieColumn."
   #})

\score {
  \new Staff \new Voice \relative c'' {
\tieDirectionFromList #`(,DOWN ,UP ,DOWN)
2~ q
  }
}

> My second question is the following. I see in the Notation Reference that
> Tie.direction has the default value of ly:tie::calc-direction, but when I
> override it with a function it doesn't call the function and uses the
> default direction instead:
>>
>> \version "2.19.80"
>>
>> \score {
>>   \new Staff \new Voice \relative c'' {
>> \override Tie.direction = #UP
>> 2~ q
>>   }
>> }
>>
>> \score {
>>   \new Staff \new Voice \relative c'' {
>> \override Tie.direction = #(lambda (irrelevant-var) UP)
>> 2~ q
>>   }
>> }
>
> I wanted to use Tie.direction instead of Tie.before-line-breaking, but it
> doesn't work and I would like to know if I'm doing something wrong or this
> is just the way it is.
>
> As a last question, is there a way to get the same results by overriding
> TieColumn.tie-configuration but keeping the default distance to the center
> of the Staff of each Tie? Or is there something like that already
> implemented but not documented?
>
> Thank you in advance for your help!
> Stéfano


TieColumn is a beasty thing...
I have no suggestion at hand (and not the time to dive in deeper).

Sorry being of not more help,
  Harm

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Re: Disable extra space around StaffGroup?

[Nathan Sprangers]

Hi Ben,

Thanks for the link, that might work for me. Do you happen to know, does
lilypond modify these parameters of the previous staff when it sees '\new
StaffGroup'?

If it helps, my interest is in creating band scores, which usually place an
extra bracket or brace around certain families (such as the clarinets,
cornets, etc in Holst's First Suite for Military Band
),
but there is typically no extra space around these staff groups.

Thanks,
Nathan

On Tue, Feb 20, 2018 at 12:43 PM, Ben  wrote:

> On 2/20/2018 12:24 PM, Nathan Sprangers wrote:
>
> Hi,
>
> The spacing settings I've found so far all relate to the space after a
> staff our staff group, but lilypond creates extra space above a staff group
> as well. Is there an engraver or something that can be turned off to
> disable this? I'd like to be able to keep all the other features of a staff
> group.
>
> Thank you,
> Nathan Sprangers
>
>
>
> Hi Nathan,
>
> Perhaps this thread could be of help?
>
> http://lilypond.1069038.n5.nabble.com/controlling-the-
> spacing-above-a-context-td162071.html
>
>
>
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Re: warning: compressing over-full page by 217.9 staff-spaces

[Karlin High]

On 2/20/2018 2:51 PM, Urs Liska wrote:

result of joining three one-page pieces in one file


Ah! This must be one of those "new complexity" pieces I keep reading 
about. :)

--
Karlin High
Missouri, USA

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Re: warning: compressing over-full page by 217.9 staff-spaces

[Andrew Bernard]

Saves paper, Urs.

Competent musicians should be able to read it.

Andrew
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Re: LilyPond 2.19.81 for Linux/Ubuntu

[David Wright]

On Tue 20 Feb 2018 at 16:21:19 (-0500), Ralph Palmer wrote:

> I went to the download site < ​
> http://lilypond.org/downloads/binaries/linux-64/ >, and tried to download <
> lilypond-2.19.81-1.linux-64.sh >. When I right-clicked on the .sh link,
> there was no "download" option, so I opened it in a separate tab. The
> browser tried to load it as a text file. I was able to right-click on the
> page and do a "save as", with a ".sh" extension, but when I tried to open
> it through terminal, it said "sh: 0: Can't open
> lilypond-2.19.81-1.linux-64.sh". Any suggestions? I just tried again, both
> in /Downloads and at my :~$ prompt, and in both cases got "sudo: ​​sh​​:
> command not found".

If you navigate to the link for a large download, the best way
to fetch it is to rightclick on the link and select
Copy Link Location
Then, at the commandline, type   wgetand paste the link.

wget 
http://lilypond.org/downloads/binaries/linux-64/lilypond-2.19.81-1.linux-64.sh

If the link has spaces in it, enclose it in "".

What's the benefit? If the download is interrupted and you have to
repeat it, make sure you're in the same directory and, when you
restart it, it'll will carry on from where it got up to.

The LilyPond binary is marginal, but the documentation tarball is huge.

Cheers,
David.

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Re: Hairpin solid with dashed end

[Shane Brandes]

Just out of curiosity what does it signify?

Shane



On Tue, Feb 20, 2018 at 9:25 PM, Andrew Bernard
 wrote:
> Is there any example of how to make a hairpin with normal solid lines, but
> dashed at the end, say the last quarter or so? [Yep, some new complexity
> notation again.]
>
> Andrew
>
>
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Re: Disable extra space around StaffGroup?

[Kieren MacMillan]

Hi Nathan,

Can you tell me where the "extra space" is around these StaffGroups?

\version "2.18.2"

\paper {
  top-margin = 0
  top-system-spacing =
  #'((basic-distance . 0) (minimum-distance . 0) (padding . 0) 
(stretchability . 0))
}

\layout {
  \context {
\StaffGroup
\override VerticalAxisGroup.staff-staff-spacing =
#'((basic-distance . 0) (minimum-distance . 0) (padding . 0) 
(stretchability . 0))
  }
}

\score {
  <<
\new StaffGroup <<
  \new Staff << c''1 >>
  \new Staff << c''1 >>
>>
\new StaffGroup <<
  \new Staff << c''1 >>
  \new Staff << c''1 >>
>>
  >>
}

Thanks,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Best practices for Da Capo/Dal Segno/al Fine/etc.

[Joel C. Salomon]

… what is the current (2.19) best practice for typesetting the Da
Capo/‌Dal Segno/‌al Fine/‌etc. repeat marks?

(Last time I saw this come up on the list, the discussion became about a
proposed input syntax, `\repeat coda {…} \alternative {…}`––which I’ll
certainly use if & when it’s implemented, but for now it seems I need to
hard-code it.)

At 
I’ve found this code:

\once \override Score.RehearsalMark #'break-visibility = #'#(#t #t #f)
\mark \markup { \small "D.C. al fine" }

but that leaves the mark above the score and centered over the final
bar-line––i.e., hanging into the margins.

Two years ago on 2016-02-01, in thread “D.C. al fine”
(/‌),
Graham King suggested a version that also adjusted the marks’ alignment.
 But then Brian Barker pointed out that this was typographically
incomplete, and quoted Elaine Gould with some more details––but if
anyone in the discussion implemented this in code it was not posted to
the list.

Searching LSR () again
turned up parts of solutions: multiple marks, complex ways of placing
such marks, etc.––so I know *approximately* what needs to happen, but
I’m still left without a concrete example.  Has anyone put one together
that I’m just not finding?

(Though I suspect my I’ll end up needing something like
 since the score I’m setting has
both “Fine” and a fermata mark attached to the same bar-line.)

––Joel C. Salomon




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Re: A couple of questions about Edition Engraver

[Kieren MacMillan]

Hi Jan-Peter,

On Feb 20, 2018, at 4:46 AM, Jan-Peter Voigt  wrote:
> At least I used it a lot in a score containing lyrics to balance the 
> syllables in order to get the rhythmic picture of the score intact.

A staggeringly large percentage of my \editionMods are Lyric-nudges.  =\
I *really* hope that whole spacing mechanism gets sorted out correctly soon 
(e.g., GSoC 2018?)…
For now, at least I have the EE — so thanks!

Best,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: Hairpin solid with dashed end

[Stefano Troncaro]

Well, I worked a bit with the stencil drawing procedure earlier, so I
adapted it for what you describe. It is not working well with line
breaks... I'll have to figure out why later, but for normal hairpins it
should do what you describe.

Hope that helps.

By the way I'm also curious about their meaning.

2018-02-20 23:44 GMT-03:00 Shane Brandes :

> Just out of curiosity what does it signify?
>
> Shane
>
>
>
> On Tue, Feb 20, 2018 at 9:25 PM, Andrew Bernard
>  wrote:
> > Is there any example of how to make a hairpin with normal solid lines,
> but
> > dashed at the end, say the last quarter or so? [Yep, some new complexity
> > notation again.]
> >
> > Andrew
> >
> >
> > ___
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> > lilypond-user@gnu.org
> > https://lists.gnu.org/mailman/listinfo/lilypond-user
> >
>
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>
\version "2.19.80"

#(define (proc-number-or-false? obj)
   (or (procedure? obj)
   (number? obj)
   (eq? obj #f)))

#(define (define-grob-property symbol type? description)
   (if (not (equal? (object-property symbol 'backend-doc) #f))
   (ly:error (_ "symbol ~S redefined") symbol))

   (set-object-property! symbol 'backend-type? type?)
   (set-object-property! symbol 'backend-doc description)
   symbol)

#(map
  (lambda (x)
(apply define-grob-property x))

  `(
 ;(circled-tip-radius ,number? "Radius for hairpin circled tip")
 (style-break-point ,number? "From 0 to 1")
 (styled-direction ,number? "-1 for LEFT and 1 for RIGHT")
 ))


#(define broken-neighbor
   (lambda (grob)
 (let* ((pieces (ly:spanner-broken-into (ly:grob-original grob)))
(me-list (member grob pieces)))
   (if (> (length me-list) 1)
   (cadr me-list)
   '()

#(define (interval-dir-set i val dir)
   (cond ((= dir LEFT) (set-car! i val))
 ((= dir RIGHT) (set-cdr! i val))
 (else (ly:error "dir must be LEFT or RIGHT"

#(define (other-dir dir) (- dir))

#(define hairpin::print-scheme
   (lambda (grob)
 (let ((grow-dir (ly:grob-property grob 'grow-direction)))
   (if (not (ly:dir? grow-dir))
   (begin
(ly:grob-suicide! grob)
'()))

   (let* ((padding (ly:grob-property grob 'bound-padding 0.5))
  (bounds (cons (ly:spanner-bound grob LEFT)
(ly:spanner-bound grob RIGHT)))
  (broken (cons
   (not (= (ly:item-break-dir (car bounds)) CENTER))
   (not (= (ly:item-break-dir (cdr bounds)) CENTER)

 (if (cdr broken)
 (let ((next (broken-neighbor grob)))
   (if (ly:spanner? next)
   (begin
(ly:grob-property next 'after-line-breaking)
(set-cdr! broken (grob::is-live? next)))
   (set-cdr! broken #f

 (let* ((common
 (ly:grob-common-refpoint (car bounds) (cdr bounds) X))
(x-points (cons 0 0))
(circled-tip (ly:grob-property grob 'circled-tip))
(height (* (ly:grob-property grob 'height 0.2)
  (ly:staff-symbol-staff-space grob)))
(rad (ly:grob-property grob 'circled-tip-radius (* 0.525 height)))
(thick (* (ly:grob-property grob 'thickness 1.0)
 (ly:staff-symbol-line-thickness grob)))
(shorten (ly:grob-property grob 'shorten-pair '(0 . 0

   (define (inner dir)
 (let* ((b (interval-bound bounds dir))
(e (ly:generic-bound-extent b common)))
   (interval-dir-set
x-points (ly:grob-relative-coordinate b common X) dir)

   (if (interval-bound broken dir)
   (if (= dir LEFT)
   (interval-dir-set
x-points (interval-bound e (other-dir dir)) dir)
   (let* ((broken-bound-padding
   (ly:grob-property grob 'broken-bound-padding 0.0))
  (chp (ly:grob-object grob 'concurrent-hairpins)))
 (let loop ((i 0))
   (if (and (ly:grob-array? chp)
(< i (ly:grob-array-length chp)))
   (let ((span-elt (ly:grob-array-ref chp i)))
 (if (= (ly:item-break-dir (ly:spanner-bound span-elt RIGHT))
LEFT)
 (set! broken-bound-padding
   (max broken-bound-padding
 (ly:grob-property span-elt 'broken-bound-padding 0.0
 (loop 

Re: About assigning a function to Tie.direction, and "warning: type check for 'direction' failed"

[Stefano Troncaro]

That fixes it, thank you everyone!

I'll have to spend some time with that Lilypond Scheme Book, it looks like
it will save me a lot of time and confusion. I wish I had found about it
earlier.

Also, I didn't know that for-each could iterate through many lists in
parallel, that's actually very useful.

Thank you for the suggestions!

2018-02-20 19:23 GMT-03:00 Thomas Morley :

> Hi Stefano,
>
> others already commented about quote/unquote.
>
> Some other remark:
>
> 2018-02-20 18:55 GMT+01:00 Stefano Troncaro :
> > Hello everyone!
> >
> > I recently wrote the function bellow to be able to set the direction of
> ties
> > in a TieColumn by specifying a list of directions:
> >>
> >> \version "2.19.80"
> >>
> >> tieDirectionFromList =
> >> #(define-music-function (dir-list) (list?)
> >>#{
> >>  \once \override Tie.before-line-breaking =
> >>  #(lambda (grob)
> >>(let* ((tie-column (ly:grob-parent grob Y))
> >>   (tie-array (ly:grob-array->list (ly:grob-object tie-column
> >> 'ties)))
> >>   (i 0))
> >>  (if (= (length dir-list) (length tie-array))
> >>(for-each
> >>  (lambda (tie)
> >>(if (eq? tie grob)
> >>  (ly:grob-set-property! grob 'direction (list-ref
> >> dir-list i))
>
> Why this resetting `i'? Use a second argument instead. See bottom.
> >>(set! i (+ i 1
> >>  tie-array)
> >>  (ly:input-warning (*location*) "tieDirectionFromList:
> >> dir-list has a different number of elements than the 'ties of the
> >> TieColumn."))
> >>  )) #} )
> >>
> >> \score {
> >>   \new Staff \new Voice \relative c'' {
> >> \tieDirectionFromList #'(-1 1 -1)
> >> %The following gives warning: type check for `direction' failed;
> value
> >> `DOWN' must be of type `direction'
> >> %\tieDirectionFromList #'(DOWN UP DOWN)
> >> 2~ q
> >>   }
> >> }
> >
> > This works when I give the directions as numbers. However, I get an error
> > when I use UP and DOWN instead, and I don't understand why. Aren't these
> > constants that have the values 1 and -1? Is the problem that
> > ly:grob-set-property is trying to assign the symbol (UP or DOWN) to the
> > property instead of the value that they evaluate to? If so, how can that
> be
> > fixed?
>
> tieDirectionFromList =
> #(define-music-function (dir-list) (list?)
>#{
>  \once \override Tie.before-line-breaking =
>  #(lambda (grob)
>(let* ((tie-column (ly:grob-parent grob Y))
>   (tie-array
> (ly:grob-array->list (ly:grob-object tie-column 'ties
>  (if (= (length dir-list) (length tie-array))
>  (for-each
>(lambda (d tie)
>  (if (eq? tie grob) (ly:grob-set-property! grob 'direction
> d)))
>dir-list
>tie-array)
>  (ly:input-warning (*location*)
> "tieDirectionFromList: dir-list has a different number of elements than the
> 'ties of the TieColumn."
>#})
>
> \score {
>   \new Staff \new Voice \relative c'' {
> \tieDirectionFromList #`(,DOWN ,UP ,DOWN)
> 2~ q
>   }
> }
>
> > My second question is the following. I see in the Notation Reference that
> > Tie.direction has the default value of ly:tie::calc-direction, but when I
> > override it with a function it doesn't call the function and uses the
> > default direction instead:
> >>
> >> \version "2.19.80"
> >>
> >> \score {
> >>   \new Staff \new Voice \relative c'' {
> >> \override Tie.direction = #UP
> >> 2~ q
> >>   }
> >> }
> >>
> >> \score {
> >>   \new Staff \new Voice \relative c'' {
> >> \override Tie.direction = #(lambda (irrelevant-var) UP)
> >> 2~ q
> >>   }
> >> }
> >
> > I wanted to use Tie.direction instead of Tie.before-line-breaking, but it
> > doesn't work and I would like to know if I'm doing something wrong or
> this
> > is just the way it is.
> >
> > As a last question, is there a way to get the same results by overriding
> > TieColumn.tie-configuration but keeping the default distance to the
> center
> > of the Staff of each Tie? Or is there something like that already
> > implemented but not documented?
> >
> > Thank you in advance for your help!
> > Stéfano
>
>
> TieColumn is a beasty thing...
> I have no suggestion at hand (and not the time to dive in deeper).
>
> Sorry being of not more help,
>   Harm
>
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Re: A couple of questions about Edition Engraver

[Stefano Troncaro]

>
> 4. Things would be way easier if the EE (and/or Frescobaldi) had a method
> to highlight (colour-ing the grobs?) all mods, and a linking method to
> navigate to the correct spot in the edition file. There was an example of
> this [colouring part] some time ago, but I don't know if it was "taken to
> the goal line"; it's worth looking at.
>

You are referring to overrides and such, right? Because objects inserted
into the score via the EE do link properly (from what I've seen). This also
"works" with mod lists, it is impractical however because the link is to
the object, which is always at the start of the list, and then you have to
navigate the list to find the proper moment. Not ideal but certainly better
than nothing. However, it's for this reason that I was thinking about
making a wrapper to make input with individual commands more convenient.

By the way, working with code such as your Mary Had a Little Lamb has to be
a nightmare.

2018-02-21 0:42 GMT-03:00 Kieren MacMillan :

> Hi Jan-Peter,
>
> On Feb 20, 2018, at 4:46 AM, Jan-Peter Voigt  wrote:
> > At least I used it a lot in a score containing lyrics to balance the
> syllables in order to get the rhythmic picture of the score intact.
>
> A staggeringly large percentage of my \editionMods are Lyric-nudges.  =\
> I *really* hope that whole spacing mechanism gets sorted out correctly
> soon (e.g., GSoC 2018?)…
> For now, at least I have the EE — so thanks!
>
> Best,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
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Re: Hairpin solid with dashed end

[Andrew Bernard]

Hi All,

For the composer I engrave for, the hairpin with a dashed section is used
when transitioning between two dynamic levels, but there is a rest or
silence in the line, and it is a way of reminding the performer that the
cresc or decresc continues but to be aware of the rest and not carry the
volume through it. This is by no means a universal or accepted convention.
It's what my colleague refers to as over specifying notation, to make sure
that as things get lost in performance as much as possible of the notated
meaning is captured.

Will try your code Stefano, thanks.


Andrew
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Re: A couple of questions about Edition Engraver

[Jan-Peter Voigt]

Hello Stefano,

this is a great idea! Setting global context variables can reduce the 
needed code significantly.

In
https://github.com/openlilylib/edition-engraver/blob/master/usage-examples/development-1.ly
I use global variables to create "dynamic" editionModLists.

The files development*.ly in the usage-example folder are created during 
implementation of the displayed feature. The developed code used in 
development-2.ly and -3.ly already made its way into the core module and 
is usable out of the box. The code in development-1.ly will be placed 
there if it proofed useful. (At least I used it a lot in a score 
containing lyrics to balance the syllables in order to get the rhythmic 
picture of the score intact.)


Jan-Peter


Am 20.02.2018 um 06:03 schrieb Stefano Troncaro:
I've been wanting to expand my earlier tutorial with a section dealing 
with \editionModList since I think the convenience of it can be useful 
to many users. However, it is not a solution for every situation. 
Particularly, it is not useful when you need to insert objects as part 
of your edition if they are going to need tweaks (for example, slurs 
that need to be shaped). Also, in these situations it takes away the 
convenience of the point and click support of Frescobaldi.


I've been thinking about the cases where \editionModList is not useful, 
and I think that a simple wrapping function should be enough. I had not 
had time to write it but it should be pretty easy to do something like this:


\quickEditionModSettings target-edition target-context 


\qM 1 2/4 ^"I'm a quick Mod. I reduce redundancy"


Where the \qM command would translate to \editionMod target-edition 1 
2/4 target-context ^"blabla". With proper input file structure this 
shouldn't impair readability of the code. The only thing that I can 
think of that could further decrease redundancy is to make it so that 
the position in the measure defaults to 0 if it is absent, but this is 
unnecessary in my opinion.


But the above represents the way I prefer to structure my files. Given 
the way you (David) structured the code in your original post, perhaps a 
wrapper that works like this would be closer to your intentions?


\qMSet 'edition test

   \qMSet 'measure 1

     \qM 0/4 Voice \(

     \qM 1/4 Lyrics #(make-music 'ExtenderEvent)

   \qMSet 'measure 2

     \qMSet 'moment 0/4

   \qMSet 'context Score

         \qM \time 3/4

         \qM \tempo "Allegro" 4=135

   \qMSet 'context Voice

         \qM \p

         \qM \<

     \qMSet 'moment 1/4

   \qM Lyrics #(make-music 'HyphenEvent)


As far as I know something like that could be done, although admittedly 
it's not as minimalistic as your desired example with brackets. It does 
have the logical structure you seem to prefer though.


2018-02-19 11:34 GMT-03:00 Jan-Peter Voigt >:


Hi David,

Urs already answered. I understand your concerns about the input and
I am always open for ideas to ease the input for the
edition-engraver. Like Urs already mentioned your proposal will be
difficult to implement because it doesn't use the standard parser
schemes. But it sheds light on how others might expect an
easy/consistent input.

What is not explained in the demo files (yet) is: You are always
free to use constructs like

\editionMod test 1 0/4 Voice {
   <>(
   \once \override NoteHead.color = #red
   \once \override Beam.color = #red
}

To address multiple time steps at once you can use \editionModList,
to address multiple contexts at once you can use regular expressions
and wildcards like in

https://github.com/openlilylib/edition-engraver/blob/master/usage-examples/development-3.ly



Your example implies that it would be a useful feature if one can
split timing and context information into several layers. I'll think
about it.

I am going to focus on the edition-engraver development in April or May.

Jan-Peter



Am 19.02.2018 um 11:59 schrieb David Sumbler:

As a newcomer to using Edition Engraver, and looking at the example
files etc., I wondered why they were written with so much
repetition.
   "Perhaps it is just to keep things easy for newcomers like me to
understand," I thought.

So I experimented with reformatting using braces as Lilypond does,
which seemed the method most likely method.  For instance,

\editionMod test 1 0/4 Voice \(
\editionMod test 1 1/4 Lyrics #(make-music 'ExtenderEvent)
\editionMod test 1 2/8 Voice [
\editionMod test 2 0/4 Score \time 3/4
\editionMod test 2 0/4 Score \tempo "Allegro" 4=135
\editionMod test 2 0/4 Voice \p
\editionMod test 2 0/4 Voice \<

fingering

[Gianmaria Lari]

I would like to write some fingering information on the left of the notes
like this:

[image: Inline images 2]
As you can see I need that some numbers are specified inside circles (on
the button accordion this means that the finger has to be played on the
additional rows). This is the code I used:

\version "2.19.81"
\fixed c' {
  \set fingeringOrientations = #'(left) \set stringNumberOrientations =
#'(left)
  1
}


The result is not nice because of the overlapping. I tried to reduce the
size like this:

[image: Inline images 1]

This is the code I used:

\version "2.19.81"
\fixed c' {
  \set fingeringOrientations = #'(left) \set stringNumberOrientations =
#'(left)
  1
}


But now the number inside the circle are too small. How could I keep the
size like in the first example and keep the fingering more separated?

Thank you, g.
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Re: [Spam] partcombine bug when using quoteDuring?

[Rutger Hofman]

On 02/19/2018 08:09 PM, Nathan Sprangers wrote:
When both voices in \partcombine finish a \quoteDuring at the same time, 
only one voice is rendered for subsequent notes.


\version "2.18.2"

\addQuote "melody" \relative c'' {
   a4 a a a
   d d d d
}

\addQuote "alto" \relative c'{
   f2 f
   g2 g
}

\partcombine
   { \quoteDuring #"melody" s1
     \quoteDuring #"melody" s1 }

   { \quoteDuring #"alto" s1
     % This does not get rendered:
     \quoteDuring #"alto" s1 }


Confirmed for version 2.19.80.

Rutger

If the last line is changed to notes, they are rendered but the 
\quoteDuring for the same measure in the first expression is not. 
Lilypond does not throw any errors or warnings when compiling these 
examples. Using the << \\ >> construct does not cause this issue.


If the quote durations overlap, there is no bug:

\partcombine
   { \quoteDuring #"melody" s1
     \quoteDuring #"melody" s1 }

   { \quoteDuring #"alto" s2
     % No problem:
     \quoteDuring #"alto" s1. }


Thanks,
Nathan



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Re: conditional breaks

[Urs Liska]

Hi Craig,


Am 20.02.2018 um 11:14 schrieb Craig Dabelstein:

Hi all,

I'm trying to get the edition engraver, scholarly and conditional 
breaks all to work at the same time. In the MWE I've attached, the 
edition engraver and scholarly are working but I can't seem to get the 
conditional breaks to work as well. Could someone please tell me what 
I'm doing wrong?


You didn't specify what not getting "the conditional breaks to work" 
actually means.


Please try using a different target for the breaks:

\registerBreakSet manuscript-breaks

If that fixes the issue I would look into the matter. The "breaks" 
package internally uses the edition-engraver, and maybe there's a 
conflict when using the same target with both packages. (Although I 
think it should be (made) possible).


BTW: You don't necessarily need to load edition-engraver explicitly 
because it will already be loaded by the breaks package. You could just 
start with the EE configuration *after* \loadPackage ... page-layout.


Good luck
Urs



Thanks in advance,

Craig


--
*Craig Dabelstein*
Maxime's Music
craig.dabelst...@gmail.com 
/http://maximesmusic.com/


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Re: fingering

[Andrew Bernard]

Hi Gianmaria,

Well it's obviously impossible if they have to be in a vertical line. Could
you offset the fingerings in a stagger perhaps?

Andrew




On 20 February 2018 at 21:28, Gianmaria Lari 
wrote:

>
> But now the number inside the circle are too small. How could I keep the
> size like in the first example and keep the fingering more separated?
>
>
>
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Re: fingering

[Gianmaria Lari]

On 20 February 2018 at 11:42, Andrew Bernard 
wrote:

> Hi Gianmaria,
>
> Well it's obviously impossible if they have to be in a vertical line.
> Could you offset the fingerings in a stagger perhaps?
>
>
My english didn't help me :) I would like to keep the different fingering
elements in a vertical line but introduce some space between them.
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conditional breaks

[Craig Dabelstein]

Hi all,

I'm trying to get the edition engraver, scholarly and conditional breaks
all to work at the same time. In the MWE I've attached, the edition
engraver and scholarly are working but I can't seem to get the conditional
breaks to work as well. Could someone please tell me what I'm doing wrong?

Thanks in advance,

Craig


-- 
*Craig Dabelstein*
Maxime's Music
craig.dabelst...@gmail.com
*http://maximesmusic.com *


test.ly
Description: Binary data
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Re: Fermatas with tremolos

[Ben]

On 2/19/2018 6:04 PM, Simon Albrecht wrote:

Hi Harm,

thanks for the help.


On 19.02.2018 23:47, Thomas Morley wrote:

Also, following links may be of interest. They provide excerpts of an
old and new edition of Janacek, Glagolitic Mass.
http://notovodstvo.ru/forum/fermata/tremolo_fermata_old.gif
http://notovodstvo.ru/forum/fermata/tremolo_fermata_new.gif




Not really a fermata question, but just curious...

What's the easiest way in LilyPond to create those beamed tremolos?

In the 'old.gif' you can see the beams connected for those first few 
measures, but in the 'new.gif' in LilyPond the tremolos are in between 
the half notes. Is that easy to do in LilyPond? Never found myself 
having to do that yet.





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Re: Fermatas with tremolos

[Peter Toye]

Simon,

I am less worried than yourselves about the "coldness" of the new engraving. As 
a performer, what I want is clarity and the new version wins hands down.

However, I hate the fermata tremolo which seems to me to combine the worst 
features of all possible solutions. Presumably whatever software they were 
using couldn't reproduce the "old" version. Just like Lilypond, but without the 
ability to tweak.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Monday, February 19, 2018, 11:04:05 PM, Simon Albrecht wrote:

> Hi Harm,

> thanks for the help.


> On 19.02.2018 23:47, Thomas Morley wrote:
>> Also, following links may be of interest. They provide excerpts of an
>> old and new edition of Janacek, Glagolitic Mass.
>> http://notovodstvo.ru/forum/fermata/tremolo_fermata_old.gif
>> http://notovodstvo.ru/forum/fermata/tremolo_fermata_new.gif

> Very much of interest. As so often, I find this comparison almost
> heart-rending. The old engraving is so
> beautiful and loveable, and the 
> new one so cold and mishapen – how could anyone prefer to use the new
> one[1]? …

> Best, Simon

> [1] Probably, they don’t; but I’ll assume there
> was need for a critical 
> edition, and someone thought it was a good idea to reengrave the whole
> thing instead of fixing whatever issues by
> graphically amending the old 
> engraving, in respect for its abounding virtues; and now often
> performers are stuck with such reengravings… RGH!___
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Re: Placement of clefs at repeat bars

[Peter Toye]

Mark,

This works for my example as given, but not for the following one. Here the 
problem is that two clef changes are needed:

1) for the repeat from bass to treble (bar 6 back to 4), and 
2) one for the continuation, from treble to bass (from 3 on to 7). 

LP sees the bass clef in bar 6 and thinks that it's not needed for bar 7. But 
the performer goes straight from bar 4 to bar 7 and doesn't see the bass clef. 
Also, when repeating after bar 6, the performer doesn't see any clef change, 
and after the clef changes in bars 1-3 won't remember what clef they are meant 
to be in.

I'm a performer and occasional arranger, not a musical typographer, so don't 
know the solution, but it would seem to me that there should be one fundamental 
rule: the flow of the music as performed should have all clef changes marked 
without the performer having to remember anything.

(1) could be solved by a courtesy treble clef (in brackets?) at the beginning 
of bar 4.
(2) needs a bass clef at the beginning or bar 7

How this can be achieved is way outside my competence.

\version "2.19.52"

\language "english"

\new Staff {
  \override Score.BarNumber.break-visibility = ##(#t #t #t)
  \time 4/4
  \clef "treble"  c''1
  \clef "bass" c
  \clef "treble" c''

  \repeat volta 2 { c'' }
  \alternative {
{ c'' \clef "bass" c }
{ \clef "bass" c }
  }
}



Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Monday, February 5, 2018, 2:08:07 PM, Mark Stephen Mrotek wrote:


Peter, 
 
You are welcome very much!
 
Mark
 
From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Monday, February 05, 2018 1:10 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars
 
Mark,

I see what you mean! That works fine. Thanks very much.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Sunday, February 4, 2018, 7:35:21 PM, you wrote:

Peter,

As I said in my suggestion, using the same “\once” command for the treble clef 
achieves want you want.
Try,

\version "2.19.52"

\language "english"

\new Staff {
\repeat volta 2 {
 c'' c''
 \once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
 \clef "bass"  c  c
}
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "treble" c''1

}

Perhaps I am not the only one who must read more carefully.

Mark

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Sunday, February 04, 2018 10:55 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

Thanks. You read my email correctly - the bass clef should be after the 
barline, not before. But your idea didn't change this. Should it have done so?

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Sunday, February 4, 2018, 3:45:33 PM, you wrote:

Peter,

I regret that my suggestion did not solve all of your issues. My reading of 
your e-mail lead me to the awkward placement of the bass clef. That is the crux 
of my recommendation.
The same command could be used to “accurately” place the subsequent treble clef.

Mark

Never let the perfect be the enemy of the good.
Don’t look a gift horse in the mouth.

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Sunday, February 04, 2018 3:45 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

Your snippet raises two points:

1) There really should be a treble clef before the final repeat, to remind the 
performer to switch back. This is important when there's music before the 
repeated section as the performer may have forgotten which clef the repeat 
started in. In your simplified example there's already a clef sign as the 
beginning of the stave, but in most music that would be just luck. This is a 
similar bug to mine, but different!

2) Your example doesn't have any music after the repeated section, which is 
when the problem occurs. If I add some, I'm afraid your solution doesn't help. 
My example is:

\version "2.19.52"

\language "english"

\new Staff {
\repeat volta 2 {
c'' c''
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "bass"  c  c
}
\clef "treble" c''1

}

Best regards

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Saturday, February 3, 2018, 7:25:06 PM, you wrote:

> Ptoye,

> Does this work?

> \repeat volta 2 {
>c'' c'' 
>\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
> 3 '(staff-bar clef ))
>\clef "bass" | c  c
>   }

> Mark

> -Original Message-
> From: lilypond-user
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
> ptoye
> Sent: Saturday, February 03, 2018 11:08 AM
> To: lilypond-user@gnu.org
> Subject: Re: Placement of 

Re: Fermatas with tremolos

[Noeck]

Hi Ben,

> What's the easiest way in LilyPond to create those beamed tremolos?

Just read the mail with code before in this thread. You can create them
via the \repeat tremolo command:

{
  \repeat tremolo 8 { c'32 e' }
  \repeat tremolo 4 { c'32 e' }
}

If you want to change the beam gap, here are the overrides:
http://lilypond.org/doc/v2.18/Documentation/snippets/repeats#repeats-engraving-tremolos-with-floating-beams

Best,
Joram

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Re:A couple of questions about Edition Engraver

[David Sumbler]

Thank you all for your responses to my original post, and for the
ensuing discussion which I am following with great interest.  I shall
not reply to each response individually, mainly because I have little
to offer that would be constructive: I made my original post because it
was my view as a complete "newbie" to Edition Engraver, and sometimes
comments from a naive user can be useful.

To pick out a few points:

On Mon, 2018-02-19 at 12:32 +, Urs Liska wrote:
> 
> 19. Februar 2018 12:00, "David Sumbler"  schrieb:
> 
> > \editionMod test {
> >   1 {
> >     0/4 Voice \(
> >     1/4 Lyrics #(make-music 'ExtenderEvent)
> >     2/8 Voice [
> >   }
> >   2 {
> >     0/4 {
> >       Score {
> >         \time 3/4
> >         \tempo "Allegro" 4=135
> >       } 
> >       Voice {
> >         \p
> >         \<
> >       }
> >     }
> >     1/4 Lyrics #(make-music 'HyphenEvent)
> >   } 
> > }
>
> I think it can't be made to work since it's quite un-
> LilyPond-y.

Perhaps not, looking at it from a functional point of view.  But
structurally (i.e. from the human editor's point of view) it is very
similar to something we are used to, such as:

\book {
  \score {
\new StaffGroup <<
  \new GrandStaff <<
\new Staff { \violinOne }
\new Staff { \violinTwo }
  >>
  \new Staff { \cello }
>>
\layout {
}
\midi { }
  }
}

and I reckon that even I could knock some Scheme together which would
convert it back to the standard basic form where each line starts with
\editionMod.  But as a stand-alone program, which is all I could
manage, that would not be practical.

> What about something like (just a shot in the dark)
> 
> \edMods test \with {
>   a = \with {
> m = 1
> mods = {
>   \eMod 1/4 Lyrics #(make-music 'ExtenderEvent)
>   \eMod 0/4 Voice \(
> }
>   }
>   b = \with {
> m = 2
> mods = {
>   \eMod Score \tempo "Allegro" 4=135
>   
> ...

That might be useful for an expert but, for me, it would not help in
finding my way around what might be quite a big file.

On Mon, 2018-02-19 at 15:34 +0100, Jan-Peter Voigt wrote:
> Hi David,
> 
> Urs already answered. I understand your concerns about the input
> and I 
> am always open for ideas to ease the input for the edition-engraver. 

Great!  My purpose in making the original suggestion was to suggest the
kind of thing that might be useful.

David

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Re: Very small rhythmic values

[Andrew Bernard]

Hi Amir,

>From the Notation Reference:

Durations as short as 128 notes can be entered but shorter values, while
possible, can only be entered as beamed notes.

Andrew


On 20 February 2018 at 22:04, Amir Teymuri  wrote:

>
> is a 128 the smallest possible rhythmic value one can write in Lilypond or
> is there a way to write even shorter values (e.g. 256 or even smaller)?
>
>
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Re: Fermatas with tremolos

[Ben]

On 2/20/2018 7:24 AM, Noeck wrote:

Hi Ben,


If you want to change the beam gap, here are the overrides:
http://lilypond.org/doc/v2.18/Documentation/snippets/repeats#repeats-engraving-tremolos-with-floating-beams

Best,
Joram



Ah, yes. Sorry I wasn't as clear as I meant to be - the beam gap link is 
very helpful, thank you!


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Re: Very small rhythmic values

[Pierre Perol-Schneider]

Hi Amir,

See: http://lsr.di.unimi.it/LSR/Item?id=995

HTH, Cheers,
Pierre

2018-02-20 12:04 GMT+01:00 Amir Teymuri :

> Hello,
>
> is a 128 the smallest possible rhythmic value one can write in Lilypond or
> is there a way to write even shorter values (e.g. 256 or even smaller)?
>
> Thanks in advance,
>
> - - - - - - - - - - -
> ateymur...@gmail.com
>
> - - - - - - - - - - -
>
> ___
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> lilypond-user@gnu.org
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>
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RE: Placement of clefs at repeat bars

[Mark Stephen Mrotek]

Peter,

 

Try this

 

\version "2.19.52"

 

\language "english"

 

\new Staff {

\override Score.BarNumber.break-visibility = ##(#t #t #t)

\time 4/4

\clef "treble"  c''1

\clef "bass" c

\clef "treble" c''

 

\repeat volta 2 { c'' }

\alternative {

   { c'' \clef "bass" c }

   { \set Staff.forceClef = ##t

 \once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(staff-bar clef ))

 \clef "bass" c }

}

}

 

Mark

 

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Tuesday, February 20, 2018 2:09 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

 

Mark,

This works for my example as given, but not for the following one. Here the
problem is that two clef changes are needed:

1) for the repeat from bass to treble (bar 6 back to 4), and 
2) one for the continuation, from treble to bass (from 3 on to 7). 

LP sees the bass clef in bar 6 and thinks that it's not needed for bar 7.
But the performer goes straight from bar 4 to bar 7 and doesn't see the bass
clef. Also, when repeating after bar 6, the performer doesn't see any clef
change, and after the clef changes in bars 1-3 won't remember what clef they
are meant to be in.

I'm a performer and occasional arranger, not a musical typographer, so don't
know the solution, but it would seem to me that there should be one
fundamental rule: the flow of the music as performed should have all clef
changes marked without the performer having to remember anything.

(1) could be solved by a courtesy treble clef (in brackets?) at the
beginning of bar 4.
(2) needs a bass clef at the beginning or bar 7

How this can be achieved is way outside my competence.

\version "2.19.52"

\language "english"

\new Staff {
 \override Score.BarNumber.break-visibility = ##(#t #t #t)
 \time 4/4
 \clef "treble"  c''1
 \clef "bass" c
 \clef "treble" c''

 \repeat volta 2 { c'' }
 \alternative {
   { c'' \clef "bass" c }
   { \clef "bass" c }
 }
}



Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Monday, February 5, 2018, 2:08:07 PM, Mark Stephen Mrotek wrote:


Peter, 

You are welcome very much!

Mark

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Monday, February 05, 2018 1:10 AM
To: Mark Stephen Mrotek 
>; lilypond-user@gnu.org  
Subject: Re: Placement of clefs at repeat bars

Mark,

I see what you mean! That works fine. Thanks very much.

Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Sunday, February 4, 2018, 7:35:21 PM, you wrote:


Peter,

As I said in my suggestion, using the same "\once" command for the treble
clef achieves want you want.
Try,

\version "2.19.52"

\language "english"

\new Staff {
\repeat volta 2 {
c'' c''
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "bass"  c  c
}
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "treble" c''1

}

Perhaps I am not the only one who must read more carefully.

Mark

From: Peter Toye [  mailto:lilyp...@ptoye.com] 
Sent: Sunday, February 04, 2018 10:55 AM
To: Mark Stephen Mrotek < 
carsonm...@ca.rr.com>;   lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

Thanks. You read my email correctly - the bass clef should be after the
barline, not before. But your idea didn't change this. Should it have done
so?

Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Sunday, February 4, 2018, 3:45:33 PM, you wrote:


Peter,

I regret that my suggestion did not solve all of your issues. My reading of
your e-mail lead me to the awkward placement of the bass clef. That is the
crux of my recommendation.
The same command could be used to "accurately" place the subsequent treble
clef.

Mark

Never let the perfect be the enemy of the good.
Don't look a gift horse in the mouth.

From: Peter Toye [  mailto:lilyp...@ptoye.com] 
Sent: Sunday, February 04, 2018 3:45 AM
To: Mark Stephen Mrotek < 
carsonm...@ca.rr.com>;   lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

Your snippet raises two points:

1) There really should be a treble clef before the final repeat, to remind
the performer to switch back. This is important when there's music before
the repeated section as the performer may have forgotten which clef the
repeat started in. In your simplified example there's already a clef sign as
the beginning of the stave, but in 

Re: Very small rhythmic values

[Simon Albrecht]

> Hello,
> 
> is a 128 the smallest possible rhythmic value one can write in Lilypond or 
> is there a way to write even shorter values (e.g. 256 or even smaller)?

Why didn't you just try? ;-)
https://en.wikipedia.org/wiki/Two_hundred_fifty-sixth_note#cite_ref-LilyPond_10-0

Best, Simon

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Another code AbMaj7(#11)/Eb

[Ming Tsang]

Hi, lilyponders,
I need help for code another chord per the image link
https://tsang94-rogers.tinytake.com/sf/MjM2OTAyOF83MjE0MDA1

Is there any resource that I can locate the solution?
Thank you,
Ming
Sent from Mail for Windows 10

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Re: chord name e2:m7(b5)/d

[Ming Tsang]

Thank You Torsten and Robert:
Thank you for the tips.  I use language English sot I change  c ees ges bes  to 
c ef gf bf.  The result is great.
Ming

Sent from Mail for Windows 10

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Re: Syllable count

[Karlin High]

On 2/19/2018 10:08 PM, Kieren MacMillan wrote:

Here's one pretty simple way that doesn’t require counting skips


Thank you, Kieren! That's an approach I hadn't considered at all.
--
Karlin High
Missouri, USA

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Very small rhythmic values

[Amir Teymuri]

Hello,

is a 128 the smallest possible rhythmic value one can write in Lilypond or 
is there a way to write even shorter values (e.g. 256 or even smaller)?


Thanks in advance,

- - - - - - - - - - -
ateymur...@gmail.com

- - - - - - - - - - -

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Re: Placement of clefs at repeat bars

[Peter Toye]

Mark,

Thanks. This solves problem 2, but I've adapted it for no 1 (see below). I 
can't see any way of printing the clef change immediately before the closing 
repeat bar (for the repeat) and after it (for the continuation). Does anyone 
here know what the accepted layout would be?

\version "2.19.52"

\language "english"

 
\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''
\set Staff.forceClef = ##t
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3 
'(staff-bar clef ))
\repeat volta 2 {\clef "treble" c'' }
\alternative {
   { c'' \clef "bass" c }
   { \set Staff.forceClef = ##t
 \once \override Score.BreakAlignment #'break-align-orders = #(make-vector 
3 '(staff-bar clef ))
 \clef "bass" c }
}
}

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Tuesday, February 20, 2018, 2:36:23 PM, Mark Stephen Mrotek wrote:


Peter,
 
Try this
 
\version "2.19.52"
 
\language "english"
 
\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''
 
\repeat volta 2 { c'' }
\alternative {
   { c'' \clef "bass" c }
   { \set Staff.forceClef = ##t
 \once \override Score.BreakAlignment #'break-align-orders = #(make-vector 
3 '(staff-bar clef ))
 \clef "bass" c }
}
}
 
Mark
 
From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Tuesday, February 20, 2018 2:09 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars
 
Mark,

This works for my example as given, but not for the following one. Here the 
problem is that two clef changes are needed:

1) for the repeat from bass to treble (bar 6 back to 4), and 
2) one for the continuation, from treble to bass (from 3 on to 7). 

LP sees the bass clef in bar 6 and thinks that it's not needed for bar 7. But 
the performer goes straight from bar 4 to bar 7 and doesn't see the bass clef. 
Also, when repeating after bar 6, the performer doesn't see any clef change, 
and after the clef changes in bars 1-3 won't remember what clef they are meant 
to be in.

I'm a performer and occasional arranger, not a musical typographer, so don't 
know the solution, but it would seem to me that there should be one fundamental 
rule: the flow of the music as performed should have all clef changes marked 
without the performer having to remember anything.

(1) could be solved by a courtesy treble clef (in brackets?) at the beginning 
of bar 4.
(2) needs a bass clef at the beginning or bar 7

How this can be achieved is way outside my competence.

\version "2.19.52"

\language "english"

\new Staff {
 \override Score.BarNumber.break-visibility = ##(#t #t #t)
 \time 4/4
 \clef "treble"  c''1
 \clef "bass" c
 \clef "treble" c''

 \repeat volta 2 { c'' }
 \alternative {
   { c'' \clef "bass" c }
   { \clef "bass" c }
 }
}



Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Monday, February 5, 2018, 2:08:07 PM, Mark Stephen Mrotek wrote:

Peter, 

You are welcome very much!

Mark

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Monday, February 05, 2018 1:10 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

I see what you mean! That works fine. Thanks very much.

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Sunday, February 4, 2018, 7:35:21 PM, you wrote:

Peter,

As I said in my suggestion, using the same “\once” command for the treble clef 
achieves want you want.
Try,

\version "2.19.52"

\language "english"

\new Staff {
\repeat volta 2 {
c'' c''
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "bass"  c  c
}
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "treble" c''1

}

Perhaps I am not the only one who must read more carefully.

Mark

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Sunday, February 04, 2018 10:55 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

Thanks. You read my email correctly - the bass clef should be after the 
barline, not before. But your idea didn't change this. Should it have done so?

Best regards,

Peter
mailto:lilyp...@ptoye.com
www.ptoye.com

-
Sunday, February 4, 2018, 3:45:33 PM, you wrote:

Peter,

I regret that my suggestion did not solve all of your issues. My reading of 
your e-mail lead me to the awkward placement of the bass clef. That is the crux 
of my recommendation.
The same command could be used to “accurately” place the subsequent treble clef.

Mark

Never let the perfect be the enemy of the good.
Don’t look a gift horse in the mouth.

From: Peter Toye 

Re: fingering

[DJF]

> Gianmaria Lari  wrote:
>  
> But now the number inside the circle are too small. How could I keep the size 
> like in the first example and keep the fingering more separated?
 
> My english didn't help me :) I would like to keep the different fingering 
> elements in a vertical line but introduce some space between them.

This first solution doesn’t address the spacing or small size concerns you 
have, but it does make what you currently have more readable:

\version “2.19.80"
\fixed c' { 
\override Fingering.whiteout = ##t 
\override StringNumber.whiteout = ##t
\override Fingering.font-size = #-8
\set fingeringOrientations = #'(left)
\set stringNumberOrientations = #'(left)
  1
}

Below is an alternate, above-the-staff solution. You can adjust the spacing 
with the StringNumber.padding setting.

\version “2.19.80"
\fixed c' { 
\override Fingering.font-size = #-5
\override StringNumber.padding = #0.1
\set fingeringOrientations = #'(up)
\set stringNumberOrientations = #'(up)
  1
}

I’m not sure if these help you or not … perhaps someone else knows if it’s 
possible to control the vertical spacing within the staff; various methods I 
tried didn’t work.

--
Dan
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Re: Very small rhythmic values

[Malte Meyn]

Am 20.02.2018 um 12:04 schrieb Amir Teymuri:

Hello,

is a 128 the smallest possible rhythmic value one can write in Lilypond 
or is there a way to write even shorter values (e.g. 256 or even smaller)?


Thanks in advance,

- - - - - - - - - - -
ateymur...@gmail.com


Hi Amir,

it’s possible with beamed notes but not (yet) for rests and flagged 
notes because there are no rest/flag glyphs in the font for these note 
durations. But they could be added … See also the thread you started at 
the German-speaking user forum.


Cheers,
Malte

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RE: Placement of clefs at repeat bars

[Mark Stephen Mrotek]

Peter,

 

I read your request as putting a treble clef at the end of measure 8.

To do that there must be a measure 9.

 

\version "2.19.52"

 

\language "english"

 

 

\new Staff {

\override Score.BarNumber.break-visibility = ##(#t #t #t)

\time 4/4

\clef "treble"  c''1

\clef "bass" c

\clef "treble" c''

\set Staff.forceClef = ##t

\once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3
'(staff-bar clef ))

\repeat volta 2 {\clef "treble" c'' }

\alternative {

  { c'' \clef "bass" c }

  { \set Staff.forceClef = ##t

\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(staff-bar clef ))

\clef "bass" c }

}

\clef treble c'' |

}

 

Mark

 

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Tuesday, February 20, 2018 7:01 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

 

Mark,

Thanks. This solves problem 2, but I've adapted it for no 1 (see below). I
can't see any way of printing the clef change immediately before the closing
repeat bar (for the repeat) and after it (for the continuation). Does anyone
here know what the accepted layout would be?

\version "2.19.52"

\language "english"


\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''
\set Staff.forceClef = ##t
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3
'(staff-bar clef ))
\repeat volta 2 {\clef "treble" c'' }
\alternative {
  { c'' \clef "bass" c }
  { \set Staff.forceClef = ##t
\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(staff-bar clef ))
\clef "bass" c }
}
}

Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Tuesday, February 20, 2018, 2:36:23 PM, Mark Stephen Mrotek wrote:


Peter,

Try this

\version "2.19.52"

\language "english"

\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''

\repeat volta 2 { c'' }
\alternative {
  { c'' \clef "bass" c }
  { \set Staff.forceClef = ##t
\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(staff-bar clef ))
\clef "bass" c }
}
}

Mark

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Tuesday, February 20, 2018 2:09 AM
To: Mark Stephen Mrotek 
>; lilypond-user@gnu.org  
Subject: Re: Placement of clefs at repeat bars

Mark,

This works for my example as given, but not for the following one. Here the
problem is that two clef changes are needed:

1) for the repeat from bass to treble (bar 6 back to 4), and 
2) one for the continuation, from treble to bass (from 3 on to 7). 

LP sees the bass clef in bar 6 and thinks that it's not needed for bar 7.
But the performer goes straight from bar 4 to bar 7 and doesn't see the bass
clef. Also, when repeating after bar 6, the performer doesn't see any clef
change, and after the clef changes in bars 1-3 won't remember what clef they
are meant to be in.

I'm a performer and occasional arranger, not a musical typographer, so don't
know the solution, but it would seem to me that there should be one
fundamental rule: the flow of the music as performed should have all clef
changes marked without the performer having to remember anything.

(1) could be solved by a courtesy treble clef (in brackets?) at the
beginning of bar 4.
(2) needs a bass clef at the beginning or bar 7

How this can be achieved is way outside my competence.

\version "2.19.52"

\language "english"

\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''

\repeat volta 2 { c'' }
\alternative {
  { c'' \clef "bass" c }
  { \clef "bass" c }
}
}



Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Monday, February 5, 2018, 2:08:07 PM, Mark Stephen Mrotek wrote:


Peter, 

You are welcome very much!

Mark

From: Peter Toye [  mailto:lilyp...@ptoye.com] 
Sent: Monday, February 05, 2018 1:10 AM
To: Mark Stephen Mrotek < 
carsonm...@ca.rr.com>;   lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

I see what you mean! That works fine. Thanks very much.

Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Sunday, February 4, 2018, 7:35:21 PM, you wrote:


Peter,

As I said in my suggestion, using the same "\once" command for the treble
clef achieves want you want.
Try,

\version "2.19.52"

\language "english"

\new Staff {
\repeat volta 2 {

RE: Placement of clefs at repeat bars

[Mark Stephen Mrotek]

Peter, 

Got the measure numbers wrong. The snippet is correct.

Mark

 

 

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Tuesday, February 20, 2018 7:01 AM
To: Mark Stephen Mrotek ; lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

 

Mark,

Thanks. This solves problem 2, but I've adapted it for no 1 (see below). I
can't see any way of printing the clef change immediately before the closing
repeat bar (for the repeat) and after it (for the continuation). Does anyone
here know what the accepted layout would be?

\version "2.19.52"

\language "english"


\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''
\set Staff.forceClef = ##t
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector 3
'(staff-bar clef ))
\repeat volta 2 {\clef "treble" c'' }
\alternative {
  { c'' \clef "bass" c }
  { \set Staff.forceClef = ##t
\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(staff-bar clef ))
\clef "bass" c }
}
}

Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Tuesday, February 20, 2018, 2:36:23 PM, Mark Stephen Mrotek wrote:


Peter,

Try this

\version "2.19.52"

\language "english"

\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''

\repeat volta 2 { c'' }
\alternative {
  { c'' \clef "bass" c }
  { \set Staff.forceClef = ##t
\once \override Score.BreakAlignment #'break-align-orders =
#(make-vector 3 '(staff-bar clef ))
\clef "bass" c }
}
}

Mark

From: Peter Toye [mailto:lilyp...@ptoye.com] 
Sent: Tuesday, February 20, 2018 2:09 AM
To: Mark Stephen Mrotek 
>; lilypond-user@gnu.org  
Subject: Re: Placement of clefs at repeat bars

Mark,

This works for my example as given, but not for the following one. Here the
problem is that two clef changes are needed:

1) for the repeat from bass to treble (bar 6 back to 4), and 
2) one for the continuation, from treble to bass (from 3 on to 7). 

LP sees the bass clef in bar 6 and thinks that it's not needed for bar 7.
But the performer goes straight from bar 4 to bar 7 and doesn't see the bass
clef. Also, when repeating after bar 6, the performer doesn't see any clef
change, and after the clef changes in bars 1-3 won't remember what clef they
are meant to be in.

I'm a performer and occasional arranger, not a musical typographer, so don't
know the solution, but it would seem to me that there should be one
fundamental rule: the flow of the music as performed should have all clef
changes marked without the performer having to remember anything.

(1) could be solved by a courtesy treble clef (in brackets?) at the
beginning of bar 4.
(2) needs a bass clef at the beginning or bar 7

How this can be achieved is way outside my competence.

\version "2.19.52"

\language "english"

\new Staff {
\override Score.BarNumber.break-visibility = ##(#t #t #t)
\time 4/4
\clef "treble"  c''1
\clef "bass" c
\clef "treble" c''

\repeat volta 2 { c'' }
\alternative {
  { c'' \clef "bass" c }
  { \clef "bass" c }
}
}



Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Monday, February 5, 2018, 2:08:07 PM, Mark Stephen Mrotek wrote:


Peter, 

You are welcome very much!

Mark

From: Peter Toye [  mailto:lilyp...@ptoye.com] 
Sent: Monday, February 05, 2018 1:10 AM
To: Mark Stephen Mrotek < 
carsonm...@ca.rr.com>;   lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

I see what you mean! That works fine. Thanks very much.

Best regards,

Peter
  mailto:lilyp...@ptoye.com
  www.ptoye.com

-
Sunday, February 4, 2018, 7:35:21 PM, you wrote:


Peter,

As I said in my suggestion, using the same "\once" command for the treble
clef achieves want you want.
Try,

\version "2.19.52"

\language "english"

\new Staff {
\repeat volta 2 {
c'' c''
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "bass"  c  c
}
\once \override Score.BreakAlignment #'break-align-orders = #(make-vector
3 '(staff-bar clef ))
\clef "treble" c''1

}

Perhaps I am not the only one who must read more carefully.

Mark

From: Peter Toye [  mailto:lilyp...@ptoye.com] 
Sent: Sunday, February 04, 2018 10:55 AM
To: Mark Stephen Mrotek < 
carsonm...@ca.rr.com>;   lilypond-user@gnu.org
Subject: Re: Placement of clefs at repeat bars

Mark,

Thanks. You read my 

Re: fingering

[Robin Bannister]

 DJF wrote:

 perhaps someone else knows if it’s possible to control the vertical spacing within the staff; 


You can splay it out using Y-offset:
 1


Cheers,
Robin

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Re: A couple of questions about Edition Engraver

[Kieren MacMillan]

Hi Stefano,

> I am undecided on what the best interface for it would be though, since as 
> Urs already mentioned there are trade-offs with each possibility. I too think 
> that a discussion should be had about that, to see what use-cases and needs 
> arise. How do you usually do that here? Do you make a new thread asking users 
> for feedback?

I personally think we could just keep chatting here…?

Other than Jan-Peter, I may be the person who has used the EE the most often 
for the most scores (well over 50 by now). Here are a couple of thoughts, based 
on my experiences:

1. Use of \editionModList and other convenience "compressors" can, in many 
cases, make for maintenance difficulties. I often find myself scanning back and 
forth through my (sometimes quite large!) edition file to try to see why a 
certain grob is behaving a certain way, only to discover a "hidden" mod in some 
\editionModList. Putting all the compressed mods together [at the top of the 
edition file] helps to some degree, but it's not a silver bullet.

2. Single mods are definitely easier to "find and replace" on than compressed 
mods.

3. The most redundant stuff is the "wrapper" stuff (\editionMod edition-ref 
context-ref), so a simplified way of

4. Things would be way easier if the EE (and/or Frescobaldi) had a method to 
highlight (colour-ing the grobs?) all mods, and a linking method to navigate to 
the correct spot in the edition file. There was an example of this [colouring 
part] some time ago, but I don't know if it was "taken to the goal line"; it's 
worth looking at.

In terms of use cases, I can pull a bunch of concrete ones from my current 
engravings, if that would be helpful. Let me know!

Best,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: A couple of questions about Edition Engraver

[Urs Liska]

Am 20. Februar 2018 18:42:03 MEZ schrieb Kieren MacMillan 
:
>Hi Stefano,
>
>> I am undecided on what the best interface for it would be though,
>since as Urs already mentioned there are trade-offs with each
>possibility. I too think that a discussion should be had about that, to
>see what use-cases and needs arise. How do you usually do that here? Do
>you make a new thread asking users for feedback?
>
>I personally think we could just keep chatting here…?
>
>Other than Jan-Peter, I may be the person who has used the EE the most
>often for the most scores (well over 50 by now). Here are a couple of
>thoughts, based on my experiences:
>
>1. Use of \editionModList and other convenience "compressors" can, in
>many cases, make for maintenance difficulties. I often find myself
>scanning back and forth through my (sometimes quite large!) edition
>file to try to see why a certain grob is behaving a certain way, only
>to discover a "hidden" mod in some \editionModList. Putting all the
>compressed mods together [at the top of the edition file] helps to some
>degree, but it's not a silver bullet.

interesting point.

>
>2. Single mods are definitely easier to "find and replace" on than
>compressed mods.
>
>3. The most redundant stuff is the "wrapper" stuff (\editionMod
>edition-ref context-ref), so a simplified way of
>
>4. Things would be way easier if the EE (and/or Frescobaldi) had a
>method to highlight (colour-ing the grobs?) all mods, and a linking
>method to navigate to the correct spot in the edition file. There was
>an example of this [colouring part] some time ago, but I don't know if
>it was "taken to the goal line"; it's worth looking at.
>

IIRC Jan-Peter recently pushed point-and-click support.

>In terms of use cases, I can pull a bunch of concrete ones from my
>current engravings, if that would be helpful. Let me know!
>
>Best,
>Kieren.
>
>
>Kieren MacMillan, composer
>‣ website: www.kierenmacmillan.info
>‣ email: i...@kierenmacmillan.info
>
>
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Re: About assigning a function to Tie.direction, and "warning: type check for 'direction' failed"

[Simon Albrecht]

On 20.02.2018 18:55, Stefano Troncaro wrote:

\tieDirectionFromList  #'(-1 1 -1)
 %The following gives warning: type check for `direction' failed; value 
`DOWN' must be of type `direction' %\tieDirectionFromList #'(DOWN UP DOWN)


That’s a problem with quoting: try
\tieDirectionFromList #(list DOWN UP DOWN)
or, if you were to mix literals and variables,
\tieDirectionFromList #`(-1 ,UP ,DOWN)

Best, Simon

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Disable extra space around StaffGroup?

[Nathan Sprangers]

Hi,

The spacing settings I've found so far all relate to the space after a
staff our staff group, but lilypond creates extra space above a staff group
as well. Is there an engraver or something that can be turned off to
disable this? I'd like to be able to keep all the other features of a staff
group.

Thank you,
Nathan Sprangers
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Re: fingering

[Gianmaria Lari]

On 20 February 2018 at 17:10, Robin Bannister  wrote:

>  DJF wrote:
>
>  perhaps someone else knows if it’s possible to control the vertical
>> spacing within the staff;
>>
>
> You can splay it out using Y-offset:
>  1
>

Do you know Robin, if there is any way to avoid the "\tweak ..." and make
Lilypond automatically spacing the fingering/stringNumber elements?

Thank you, g.
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Re: Disable extra space around StaffGroup?

[Ben]

On 2/20/2018 12:24 PM, Nathan Sprangers wrote:

Hi,

The spacing settings I've found so far all relate to the space after a 
staff our staff group, but lilypond creates extra space above a staff 
group as well. Is there an engraver or something that can be turned 
off to disable this? I'd like to be able to keep all the other 
features of a staff group.


Thank you,
Nathan Sprangers




Hi Nathan,

Perhaps this thread could be of help?

http://lilypond.1069038.n5.nabble.com/controlling-the-spacing-above-a-context-td162071.html


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About assigning a function to Tie.direction, and "warning: type check for 'direction' failed"

[Stefano Troncaro]

Hello everyone!

I recently wrote the function bellow to be able to set the direction of
ties in a TieColumn by specifying a list of directions:

> \version "2.19.80"
> tieDirectionFromList =
> #(define-music-function (dir-list) (list?)
>#{
>  \once \override Tie.before-line-breaking =
>  #(lambda (grob)
>(let* ((tie-column (ly:grob-parent grob Y))
>   (tie-array (ly:grob-array->list (ly:grob-object tie-column 
> 'ties)))
>   (i 0))
>  (if (= (length dir-list) (length tie-array))
>(for-each
>  (lambda (tie)
>(if (eq? tie grob)
>  (ly:grob-set-property! grob 'direction (list-ref 
> dir-list i))
>(set! i (+ i 1
>  tie-array)
>  (ly:input-warning (*location*) "tieDirectionFromList: dir-list 
> has a different number of elements than the 'ties of the TieColumn."))
>  )) #} )
> \score {
>   \new Staff \new Voice \relative c'' {
> \tieDirectionFromList #'(-1 1 -1)
> %The following gives warning: type check for `direction' failed; value 
> `DOWN' must be of type `direction'
> %\tieDirectionFromList #'(DOWN UP DOWN)
> 2~ q
>   }
> }
>
> This works when I give the directions as numbers. However, I get an error
when I use UP and DOWN instead, and I don't understand why. Aren't these
constants that have the values 1 and -1? Is the problem that
ly:grob-set-property is trying to assign the symbol (UP or DOWN) to the
property instead of the value that they evaluate to? If so, how can that be
fixed?

My second question is the following. I see in the Notation Reference
 that
Tie.direction has the default value of ly:tie::calc-direction, but when I
override it with a function it doesn't call the function and uses the
default direction instead:

> \version "2.19.80"
> \score {
>   \new Staff \new Voice \relative c'' {
> \override Tie.direction = #UP
> 2~ q
>   }
> }
> \score {
>   \new Staff \new Voice \relative c'' {
> \override Tie.direction = #(lambda (irrelevant-var) UP)
> 2~ q
>   }
> }
>
> I wanted to use Tie.direction instead of Tie.before-line-breaking, but it
doesn't work and I would like to know if I'm doing something wrong or this
is just the way it is.

As a last question, is there a way to get the same results by overriding
TieColumn.tie-configuration but keeping the default distance to the center
of the Staff of each Tie? Or is there something like that already
implemented but not documented?

Thank you in advance for your help!
Stéfano
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Re: A couple of questions about Edition Engraver

[Kieren MacMillan]

Hi Urs,

>> 1. Use of \editionModList and other convenience "compressors" can,
>> in many cases, make for maintenance difficulties.

> interesting point.

Yes… I didn't really think about it until I was well into using it heavily.

OT: That inspired me to write this "compressed" score of "Mary Had A Little 
Lamb":

%%%  LOLs BEGIN
\version "2.19.80"

allEs = {
  e''4 s2.
  e''4 4 2
  s1
  e''4 s2.
  e''4 s2.
  e''4 4 4 4
  s2 e''4 s
  s1
}

allDs = {
  s4 d'' s d''
  s1
  d''4 4 2
  s1
  s4 d'' s d''
  s1
  d''4 4 s d''
  s1
}

allCs = {
  s2 c''4 s
  s1*3
  s2 c''4 s
  s1*2
  c''1
}

allGs = {
  s1*3
  s4 g''4 2
  s1*4
}

\score {
  \new Staff << \allCs \allDs \allEs \allGs >>
}
%%%  LOLs END

This example of course seems ludicrous, but working with it does in certain 
ways mirror the experience of working with an edition that heavily uses 
\editionModList.

Cheers,
Kieren.


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info


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Re: A couple of questions about Edition Engraver

[Stefano Troncaro]

I completely missed development1.ly, that is great! The way the proc is
managed is particularly useful. It seemed to me that all the ingredients
for a convenience function are already there.

I am undecided on what the best interface for it would be though, since as
Urs already mentioned there are trade-offs with each possibility. I too
think that a discussion should be had about that, to see what use-cases and
needs arise. How do you usually do that here? Do you make a new thread
asking users for feedback?

2018-02-20 9:33 GMT-03:00 David Sumbler :

> Thank you all for your responses to my original post, and for the
> ensuing discussion which I am following with great interest.  I shall
> not reply to each response individually, mainly because I have little
> to offer that would be constructive: I made my original post because it
> was my view as a complete "newbie" to Edition Engraver, and sometimes
> comments from a naive user can be useful.
>
> To pick out a few points:
>
> On Mon, 2018-02-19 at 12:32 +, Urs Liska wrote:
> >
> > 19. Februar 2018 12:00, "David Sumbler"  schrieb:
> >
> > > \editionMod test {
> > >   1 {
> > > 0/4 Voice \(
> > > 1/4 Lyrics #(make-music 'ExtenderEvent)
> > > 2/8 Voice [
> > >   }
> > >   2 {
> > > 0/4 {
> > >   Score {
> > > \time 3/4
> > > \tempo "Allegro" 4=135
> > >   }
> > >   Voice {
> > > \p
> > > \<
> > >   }
> > > }
> > > 1/4 Lyrics #(make-music 'HyphenEvent)
> > >   }
> > > }
> >
> > I think it can't be made to work since it's quite un-
> > LilyPond-y.
>
> Perhaps not, looking at it from a functional point of view.  But
> structurally (i.e. from the human editor's point of view) it is very
> similar to something we are used to, such as:
>
> \book {
>   \score {
> \new StaffGroup <<
>   \new GrandStaff <<
> \new Staff { \violinOne }
> \new Staff { \violinTwo }
>   >>
>   \new Staff { \cello }
> >>
> \layout {
> }
> \midi { }
>   }
> }
>
> and I reckon that even I could knock some Scheme together which would
> convert it back to the standard basic form where each line starts with
> \editionMod.  But as a stand-alone program, which is all I could
> manage, that would not be practical.
>
> > What about something like (just a shot in the dark)
> >
> > \edMods test \with {
> >   a = \with {
> > m = 1
> > mods = {
> >   \eMod 1/4 Lyrics #(make-music 'ExtenderEvent)
> >   \eMod 0/4 Voice \(
> > }
> >   }
> >   b = \with {
> > m = 2
> > mods = {
> >   \eMod Score \tempo "Allegro" 4=135
> >
> > ...
>
> That might be useful for an expert but, for me, it would not help in
> finding my way around what might be quite a big file.
>
> On Mon, 2018-02-19 at 15:34 +0100, Jan-Peter Voigt wrote:
> > Hi David,
> >
> > Urs already answered. I understand your concerns about the input
> > and I
> > am always open for ideas to ease the input for the edition-engraver.
>
> Great!  My purpose in making the original suggestion was to suggest the
> kind of thing that might be useful.
>
> David
>
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Re: fingering

[Gianmaria Lari]

Thank you Robin and DJF for your kind help!

I made some experiments that I post here so that other can take advantages
of them or improve them. Attached the output result.

%overlapping fingering
\version "2.19.81"
\fixed c' {
  \set fingeringOrientations = #'(left) \set stringNumberOrientations =
#'(left)
  1
}

%reducing fingering size
\version "2.19.81"
\fixed c' {
  \set fingeringOrientations = #'(left) \set stringNumberOrientations =
#'(left)
  \override Fingering.font-size = #-9 \override StringNumber.font-size = #-9
  1
}

%reducing fingering size, blanking staff lines, padding fingering to
horizontally align it to stringNumber
\version "2.19.81"
\fixed c' {
  \override Fingering.whiteout = ##t  \override StringNumber.whiteout = ##t
  \override Fingering.font-size = #-9 \override StringNumber.font-size = #-9
  \set fingeringOrientations = #'(left) \set stringNumberOrientations =
#'(left)
  \override Fingering.padding = #0.8
  1
}

% moving fingering using Y-offset and X-offset
\version "2.19.81"
\fixed c' {
  \set fingeringOrientations = #'(left) \set stringNumberOrientations =
#'(left)
  1
}

% moving fingering using Y-offset and padding
\version "2.19.81"
\fixed c' {
  \set fingeringOrientations = #'(left) \set stringNumberOrientations =
#'(left)
  \override Fingering.padding = #0.8
  1
}

% moving fingering using Y-offset and X-offset and blanking staff lines
\version "2.19.81"
\fixed c' {
  \override Fingering.whiteout = ##t
  \override StringNumber.whiteout = ##t
  \set fingeringOrientations = #'(left)
  \set stringNumberOrientations = #'(left)

  1
}
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Re: LilyPond 2.19.81 for Linux/Ubuntu

[Ralph Palmer]

On Tue, Feb 20, 2018 at 3:44 PM, Ben  wrote:

> On 2/20/2018 3:38 PM, Ralph Palmer wrote:
>
> Hi -
>
> I'm runnning Linux via Ubuntu 16.04, with Frescobaldi 2.18.1.
>
> I just had to reinstall Linux/Ubuntu, and the latest package that's
> available through Frescobaldi in Ubuntu is 2.18.2, but I have a lot of
> files that were written in or upgraded to 2.19.80. I had previously
> installed 2.19.80 via the LilyPond website. That, as far as I can tell, is
> not currently working.
>
> I found the website for the binaries I need, but I have no clue how to
> download them or run the install. I have a modicum of experience with the
> terminal. Could someone respond (probably off-line) to help me figure out
> how to download and install Ly 2.19.81?
>
> Thanks for your help,
>
> Ralph
>
>
> Hi Ralph,
>
> No problem. Easy peasy :) Here's what you need to do:
>
> 1) Download binary:
> http://lilypond.org/downloads/binaries/linux-64/
> *lilypond-2.19.81-1.linux-64.sh  *
> 2018-01-28 19:51 30M
>
> 2) Install via terminal in Linux Mint/Ubuntu:
>
> type this command -->
>
> ​​
> sh
> ​​
> lilypond-2.19.81-1.linux-64.sh
>
> if you want to install to a certain location, just add this:
>
> sh lilypond-2.19.81-1.linux-64.sh --prefix 
> /home/YourHomeFolder/LilyPond/etc...whatever
> you want
>
> 3) Enjoy LilyPond :)
>
> Hope this helps!
>

​Hi, and thanks, Ben -

I went to the download site < ​
http://lilypond.org/downloads/binaries/linux-64/ >, and tried to download <
lilypond-2.19.81-1.linux-64.sh >. When I right-clicked on the .sh link,
there was no "download" option, so I opened it in a separate tab. The
browser tried to load it as a text file. I was able to right-click on the
page and do a "save as", with a ".sh" extension, but when I tried to open
it through terminal, it said "sh: 0: Can't open
lilypond-2.19.81-1.linux-64.sh". Any suggestions? I just tried again, both
in /Downloads and at my :~$ prompt, and in both cases got "sudo: ​​sh​​:
command not found".

Ralph

-- 
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com
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Re: fingering

[Thomas Morley]

2018-02-20 18:42 GMT+01:00 Gianmaria Lari :
> On 20 February 2018 at 17:10, Robin Bannister  wrote:
>>
>>  DJF wrote:
>>
>>>  perhaps someone else knows if it’s possible to control the vertical
>>> spacing within the staff;
>>
>>
>> You can splay it out using Y-offset:
>>  1
>
>
> Do you know Robin, if there is any way to avoid the "\tweak ..." and make
> Lilypond automatically spacing the fingering/stringNumber elements?
>
> Thank you, g.



How about:

\version "2.19.81"

circledFingerStil =
  #(lambda (grob)
 (circle-stencil (ly:text-interface::print grob) 0.1 0.1))

\fixed c' {
  \set fingeringOrientations = #'(left)

  1

  \override Fingering.stencil = \circledFingerStil
  1
}

There _is_ some buit-in code which avoids collisions of Fingering, but
 it does not work for StringNumbers or a mix of Fingerings and
StringNumbers, afaik.

Cheers,
  Harm

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Re: conditional breaks

[Craig Dabelstein]

Hi Urs,

I changed the conditional breaks target to "manuscript-breaks" to make sure
there wasn't a conflict but the breaks package is still not working (at
all). I get no errors but also no breaks.

Updated MWE attached.

Craig


On 20 February 2018 at 20:20, Urs Liska  wrote:

> Hi Craig,
>
> Am 20.02.2018 um 11:14 schrieb Craig Dabelstein:
>
> Hi all,
>
> I'm trying to get the edition engraver, scholarly and conditional breaks
> all to work at the same time. In the MWE I've attached, the edition
> engraver and scholarly are working but I can't seem to get the conditional
> breaks to work as well. Could someone please tell me what I'm doing wrong?
>
>
> You didn't specify what not getting "the conditional breaks to work"
> actually means.
>
> Please try using a different target for the breaks:
>
> \registerBreakSet manuscript-breaks
>
> If that fixes the issue I would look into the matter. The "breaks" package
> internally uses the edition-engraver, and maybe there's a conflict when
> using the same target with both packages. (Although I think it should be
> (made) possible).
>
> BTW: You don't necessarily need to load edition-engraver explicitly
> because it will already be loaded by the breaks package. You could just
> start with the EE configuration *after* \loadPackage ... page-layout.
>
> Good luck
> Urs
>
>
> Thanks in advance,
>
> Craig
>
>
> --
> *Craig Dabelstein*
> Maxime's Music
> craig.dabelst...@gmail.com
> *http://maximesmusic.com *
>
>
> ___
> lilypond-user mailing 
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>
>
>
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>


-- 
*Craig Dabelstein*
Maxime's Music
craig.dabelst...@gmail.com
*http://maximesmusic.com *


test.ly
Description: Binary data
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Re: LilyPond 2.19.81 for Linux/Ubuntu

[Ben]

On 2/20/2018 4:21 PM, Ralph Palmer wrote:
On Tue, Feb 20, 2018 at 3:44 PM, Ben >wrote:


On 2/20/2018 3:38 PM, Ralph Palmer wrote:

Hi -

I'm runnning Linux via Ubuntu 16.04, with Frescobaldi 2.18.1.

I just had to reinstall Linux/Ubuntu, and the latest package
that's available through Frescobaldi in Ubuntu is 2.18.2, but I
have a lot of files that were written in or upgraded to 2.19.80.
I had previously installed 2.19.80 via the LilyPond website.
That, as far as I can tell, is not currently working.

I found the website for the binaries I need, but I have no clue
how to download them or run the install. I have a modicum of
experience with the terminal. Could someone respond (probably
off-line) to help me figure out how to download and install Ly
2.19.81?

Thanks for your help,

Ralph



Hi Ralph,

No problem. Easy peasy :) Here's what you need to do:

1) Download binary:
http://lilypond.org/downloads/binaries/linux-64/

*lilypond-2.19.81-1.linux-64.sh
 * 2018-01-28 19:51     30M

2) Install via terminal in Linux Mint/Ubuntu:

type this command -->

​​
sh
​​
lilypond-2.19.81-1.linux-64.sh


if you want to install to a certain location, just add this:

sh lilypond-2.19.81-1.linux-64.sh
 --prefix
/home/YourHomeFolder/LilyPond/etc...whatever you want

3) Enjoy LilyPond :)

Hope this helps!


​Hi, and thanks, Ben -

I went to the download site < 
​http://lilypond.org/downloads/binaries/linux-64/ >, and tried to 
download < lilypond-2.19.81-1.linux-64.sh 
 >. When I right-clicked on the 
.sh link, there was no "download" option, so I opened it in a separate 
tab. The browser tried to load it as a text file. I was able to 
right-click on the page and do a "save as", with a ".sh" extension, 
but when I tried to open it through terminal, it said "sh: 0: Can't 
open lilypond-2.19.81-1.linux-64.sh 
". Any suggestions? I just 
tried again, both in /Downloads and at my :~$ prompt, and in both 
cases got "sudo: ​​sh​​: command not found".


Ralph

--
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com 


Ralph,

What browser are you using? There should be a download option, yes. It's 
also known as "save LINK as" ...

(see attached)

Once you do that, the command will work normally. :)







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Re: Placement of clefs at repeat bars

[Thomas Morley]

2018-02-20 11:08 GMT+01:00 Peter Toye :

> Mark,
>
> This works for my example as given, but not for the following one. Here
> the problem is that two clef changes are needed:
>
> 1) for the repeat from bass to treble (bar 6 back to 4), and
> 2) one for the continuation, from treble to bass (from 3 on to 7).
>
> LP sees the bass clef in bar 6 and thinks that it's not needed for bar 7.
> But the performer goes straight from bar 4 to bar 7 and doesn't see the
> bass clef. Also, when repeating after bar 6, the performer doesn't see any
> clef change, and after the clef changes in bars 1-3 won't remember what
> clef they are meant to be in.
>
> I'm a performer and occasional arranger, not a musical typographer, so
> don't know the solution, but it would seem to me that there should be one
> fundamental rule: the flow of the music as performed should have all clef
> changes marked without the performer having to remember anything.
>
> (1) could be solved by a courtesy treble clef (in brackets?) at the
> beginning of bar 4.
> (2) needs a bass clef at the beginning or bar 7
>
> How this can be achieved is way outside my competence.
>
> \version "2.19.52"
>
> \language "english"
>
> \new Staff {
>  \override Score.BarNumber.break-visibility = ##(#t #t #t)
>  \time 4/4
>  \clef "treble"  c''1
>  \clef "bass" c
>  \clef "treble" c''
>
>  \repeat volta 2 { c'' }
>  \alternative {
>{ c'' \clef "bass" c }
>{ \clef "bass" c }
>  }
> }
>
>
>
> Best regards,
>
> Peter
>

 How about:

\new Staff {
 \override Score.BarNumber.break-visibility = ##(#t #t #t)
 \time 4/4
 \clef "treble"  c''1
 \clef "bass" c
 \clef "treble" c''

 \repeat volta 2 { c'' }
 \alternative {
   {
  c''
  \clef "bass"
  \afterGrace
c
{
 \once \override Staff.Clef.X-extent = #'(-0.5 . -0.5)
\clef "treble"
}
   }
   {
  \once \override Score.BreakAlignment #'break-align-orders =
  #(make-vector 3 '(staff-bar clef ))
  \clef "bass" c
   }
 }
}

Cheers,
  Harm
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Re: LilyPond 2.19.81 for Linux/Ubuntu

[Ben]

On 2/20/2018 3:38 PM, Ralph Palmer wrote:

Hi -

I'm runnning Linux via Ubuntu 16.04, with Frescobaldi 2.18.1.

I just had to reinstall Linux/Ubuntu, and the latest package that's 
available through Frescobaldi in Ubuntu is 2.18.2, but I have a lot of 
files that were written in or upgraded to 2.19.80. I had previously 
installed 2.19.80 via the LilyPond website. That, as far as I can 
tell, is not currently working.


I found the website for the binaries I need, but I have no clue how to 
download them or run the install. I have a modicum of experience with 
the terminal. Could someone respond (probably off-line) to help me 
figure out how to download and install Ly 2.19.81?


Thanks for your help,

Ralph



Hi Ralph,

No problem. Easy peasy :) Here's what you need to do:

1) Download binary:
http://lilypond.org/downloads/binaries/linux-64/
*lilypond-2.19.81-1.linux-64.sh *   2018-01-28 19:51 30M

2) Install via terminal in Linux Mint/Ubuntu:

type this command -->

sh lilypond-2.19.81-1.linux-64.sh

if you want to install to a certain location, just add this:

sh lilypond-2.19.81-1.linux-64.sh --prefix 
/home/YourHomeFolder/LilyPond/etc...whatever you want


3) Enjoy LilyPond :)

Hope this helps!


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Re: Very small rhythmic values

[Thomas Morley]

2018-02-20 16:57 GMT+01:00 Malte Meyn :
>
>
> Am 20.02.2018 um 12:04 schrieb Amir Teymuri:
>>
>> Hello,
>>
>> is a 128 the smallest possible rhythmic value one can write in Lilypond or
>> is there a way to write even shorter values (e.g. 256 or even smaller)?
>>
>> Thanks in advance,
>>
>> - - - - - - - - - - -
>> ateymur...@gmail.com
>
>
> Hi Amir,
>
> it’s possible with beamed notes but not (yet) for rests and flagged notes
> because there are no rest/flag glyphs in the font for these note durations.
> But they could be added … See also the thread you started at the
> German-speaking user forum.
>
> Cheers,
> Malte



Hi all,

the limitation to 128th notes/rests is caused by the lack of glyphs
from the default notation-font.
If the stencil-procedure can't find the glyph it warns.

Though one can use a different procedure.

Pierre already linked to the lsr-snippet:
http://lsr.di.unimi.it/LSR/Item?id=995

Also, we have built-in procedures which _draws_ straight flags for
contemporary music and tbh, I never saw a _single_ 256th note in older
music.
I don't know another method to print very short rests than Pierre's
lsr-snippet, but below an example using straight-flags.

If my math is correct it prints a
109074813561941592946298424473378286244826416199623269243183278618972133184911929521626423452520198722395729179615702527310987082017718406361097976507755479907890629884219298953860982522804820515969685161359163819677188654260932456012129055390188630101790025253579991720001007960002653583680090529780588095235050163019547565391100531236456001484742603529355124584392891875276869627934408805561751569434994540667782514081490061610592025643850457801332649356583604724240738244281224513151775751916489922636574372243227736807502762788304520650179276170094569916849725787968385173704999690096112051565505011556127149149251534210574896662954703278632150573082843022166497032439613863525162640951616800542762343599630892169144618118740639531066540488573943483287742816740749537099351186875635997039011702182361674945862096985700626361208270671540815706657513728102702231092756491027675916052087830463241104936456875492096732298245918476342738379027244843801852697776494107271561158043469082745933999196141424274141059911742606055648376375631452761136265862838336862115799363802087853767554533678991569423443395566631507008721353547025567031200413072549583450835743965382893607708097855057891296790735278005493562156109079584517295411597292747987752773856000820411855893000448727761853813510493840581861598652211605960308356405941821189714037868726219481498727603653616298856174822413033485438785324024751419417183012281078209729303537372804574372095228703622776363945290869806258422355148507571039619387449629866808188769662815778153079393179093143648340761738581819563002994422790754955061288818308430079648693232179158765918035565216157115402992120276155607873107937477466841528362987708699450152031231862594203085693838944657061346236704234026821102958954951197087076546186622796294536451620756509351018906023773821539532776208676978589731966330308893304665169436185078350641568336944530051437491311298834367265238595404904273455928723949525227184617404367854754610474377019768025576605881038077270707717942221977090385438585844095492116099852538903974655703943973086090930596963360767529964938414598185705963754561497355827813623833288906309004288017321424808663962671333528009232758350873059614118723781422101460198615747386855096896089189180441339558524822867541113212638793675567650340362970031930023397828465318547238244232028015189689660418822976000815437610652254270163595650875433851147123214227266605403581781469090806576468950587661997186505665475715792896th
note.

And yes, the paper-values/stem-length-values are meant serious LOL

#(set! paper-alist (cons '("ooops" . (cons (* 60 mm) (* 1500 cm) ))
paper-alist))
#(set-default-paper-size "ooops")

{
  \override Stem.length = 16380
  \override Flag.stencil = #modern-straight-flag
  \applyMusic
#(lambda (mus)
  (ly:music-set-property! mus 'duration (ly:make-duration (expt 2 13)))
  mus)
  c'
}

Use a _good_ pdf-viewer to see the result...

Cheers,
  Harm

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Re: warning: compressing over-full page by 217.9 staff-spaces

[David Kastrup]

Urs Liska  writes:

> Sorry for the noise (pun intended), but I have to share this "incident" :-)
>
> (result of joining three one-page pieces in one file and forgetting to
> update the \paper block ...)

Sort of a cramped score.

-- 
David Kastrup

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Re: Another code AbMaj7(#11)/Eb

[Flaming Hakama by Elaine]

> From: Ming Tsang 
> To: "lilypond-user@gnu.org" 
> Subject: Another code AbMaj7(#11)/Eb
>
> Hi, lilyponders,
>
> I need help for code another chord per the image link
>
> https://tsang94-rogers.tinytake.com/sf/MjM2OTAyOF83MjE0MDA1
>
>
>
> Is there any resource that I can locate the solution?
>
> Thank you,
>
> Ming
>

\version "2.19.15"

myChordExceptions = {
  1-\markup { \raise #0.7 { \small "Maj" \normalsize
"7(#11)"} }
}
chExceptions = #(append (sequential-music-to-chord-exceptions
myChordExceptions #t) ignatzekExceptions)

chordSequence = \chordmode {
\set chordChanges = ##t
\set chordNameExceptions = #chExceptions
as1:7.7+.11+/es
}

myMelody = \relative c'' { es8 d c as g4 es }

\score {
  \new StaffGroup <<
\new ChordNames \chordSequence
\new Staff {
  \myMelody
}
  >>
}


HTH,

David Elaine Alt
415 . 341 .4954   "*Confusion is
highly underrated*"
ela...@flaminghakama.com
skype: flaming_hakama
Producer ~ Composer ~ Instrumentalist
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
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LilyPond 2.19.81 for Linux/Ubuntu

[Ralph Palmer]

Hi -

I'm runnning Linux via Ubuntu 16.04, with Frescobaldi 2.18.1.

I just had to reinstall Linux/Ubuntu, and the latest package that's
available through Frescobaldi in Ubuntu is 2.18.2, but I have a lot of
files that were written in or upgraded to 2.19.80. I had previously
installed 2.19.80 via the LilyPond website. That, as far as I can tell, is
not currently working.

I found the website for the binaries I need, but I have no clue how to
download them or run the install. I have a modicum of experience with the
terminal. Could someone respond (probably off-line) to help me figure out
how to download and install Ly 2.19.81?

Thanks for your help,

Ralph

-- 
Ralph Palmer
Brattleboro, VT
USA
palmer.r.vio...@gmail.com
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Re: About assigning a function to Tie.direction, and "warning: type check for 'direction' failed"

[Urs Liska]

Am 20. Februar 2018 20:20:19 MEZ schrieb Simon Albrecht 
:
>On 20.02.2018 18:55, Stefano Troncaro wrote:
>> \tieDirectionFromList  #'(-1 1 -1)
>>  %The following gives warning: type check for `direction' failed;
>value 
>> `DOWN' must be of type `direction' %\tieDirectionFromList #'(DOWN UP
>DOWN)
>
>That’s a problem with quoting: try
>\tieDirectionFromList #(list DOWN UP DOWN)
>or, if you were to mix literals and variables,
>\tieDirectionFromList #`(-1 ,UP ,DOWN)
>
>Best, Simon

Maybe this is if some help: https://scheme-book.ursliska.de/scheme/quoting/

Urs

>
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