Re: Slurs do not work with Larsen articulations

[Carl Sorensen]

Here's a proposed patch for the documentation.  I haven't posted it on Rietveld 
because I'm having some problems with make doc (that are unrelated to this 
change).

-- a/Documentation/learning/common-notation.itely
+++ b/Documentation/learning/common-notation.itely
@@ -275,6 +275,9 @@ Notation Reference:
 @funindex ( ... )
 @funindex \( ... \)
 
+Ties and slurs are indicated by adding special codes after the
+notes to which they apply.
+
 @menu
 * Ties::
 * Slurs::
@@ -318,7 +321,8 @@ Music Glossary: @rglos{slur}.
 
 A @notation{slur} is a curve drawn across many notes.  The
 starting note and ending note are marked with @code{(} and
-@code{)} respectively.
+@code{)} respectively. Note that @code{(} and @code{)} do
+not enclose the notes to be slurred.
 
 @lilypond[verbatim,quote]
 \relative { d''4( c16) cis( d e c cis d) e( d4) }
@@ -369,6 +373,9 @@ Notation Reference:
 @node Articulation and dynamics
 @subsection Articulation and dynamics
 
+Articulations and dynamics are indicated by adding special codes
+after the notes to which they apply,
+
 @menu
 * Articulations::
 * Fingerings::
@@ -526,6 +533,8 @@ All @notation{beams} are drawn automatically:
 If you do not like the automatic beams, they may be overridden
 manually.  To correct just an occasional beam mark the first note
 to be beamed with @code{[} and the last one with @code{]}.
+Note that @code{[} and @code{]} do not enclose the notes to be
+beamed.

Comments welcome.

Thanks,

Carl



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RE: V 2.19

[Mark Stephen Mrotek]

Aaron,

Got it. Thank you!

Mark

-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Aaron Hill
Sent: Tuesday, April 24, 2018 9:15 PM
To: lilypond-user@gnu.org
Subject: Re: V 2.19

On 2018-04-24 21:05, Mark Stephen Mrotek wrote:
> Aaron,
> 
> Thank you. My jargon is limited. Which file do I select?
> 
> Mark

Depends on your operating system and which version you want.

The latest development build there is 2.19.81.  Here are (probably) the most
relevant links:

Linux (x64): 
http://lilypond.org/downloads/binaries/linux-64/lilypond-2.19.81-1.linux-64.
sh
Mac (Intel): 
http://lilypond.org/downloads/binaries/darwin-x86/lilypond-2.19.81-1.darwin-
x86.tar.bz2
Windows: 
http://lilypond.org/downloads/binaries/mingw/lilypond-2.19.81-1.mingw.exe

-- Aaron Hill

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Re: V 2.19

[Aaron Hill]

On 2018-04-24 21:05, Mark Stephen Mrotek wrote:

Aaron,

Thank you. My jargon is limited. Which file do I select?

Mark


Depends on your operating system and which version you want.

The latest development build there is 2.19.81.  Here are (probably) the 
most relevant links:


Linux (x64): 
http://lilypond.org/downloads/binaries/linux-64/lilypond-2.19.81-1.linux-64.sh
Mac (Intel): 
http://lilypond.org/downloads/binaries/darwin-x86/lilypond-2.19.81-1.darwin-x86.tar.bz2
Windows: 
http://lilypond.org/downloads/binaries/mingw/lilypond-2.19.81-1.mingw.exe


-- Aaron Hill

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RE: V 2.19

[Mark Stephen Mrotek]

Aaron,

Thank you. My jargon is limited. Which file do I select?

Mark

-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Aaron Hill
Sent: Tuesday, April 24, 2018 8:13 PM
To: lilypond-user@gnu.org
Subject: Re: V 2.19

On 2018-04-24 19:58, Mark Stephen Mrotek wrote:
> Hello,
> 
> Tried to download for Windows. Get a "404 not found" error message.
> 
> Please direct me.
> 
> Thank you,
> 
> Mark

Try here: http://lilypond.org/downloads/binaries/

-- Aaron Hill

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Re: V 2.19

[Aaron Hill]

On 2018-04-24 19:58, Mark Stephen Mrotek wrote:

Hello,

Tried to download for Windows. Get a "404 not found" error message.

Please direct me.

Thank you,

Mark


Try here: http://lilypond.org/downloads/binaries/

-- Aaron Hill

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V 2.19

[Mark Stephen Mrotek]

Hello,

 

Tried to download for Windows. Get a "404 not found" error message.

 

Please direct me. 

 

Thank you,

 

Mark

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Re: Lilypond slow to start up on the Mac

[Andrew Bernard]

Hi Tim,

The development versions are very stable. I hammer them all day with
massively complex scores, and no problems arise. The term 'unstable' is a
self deprecating conventional trope of modesty used in the open source
world.

Take the risk - it's worth it. And there are so many good new features I
could not live without. What can you lose? If on the off chance it crashes,
go back to 2.18.

Andrew


On 24 April 2018 at 23:46, Tim McNamara  wrote:

>
> I am seeing these very long launch times with 2.18.2-1 which the thread
> states is not showing the font cache rebuild problem.  I don’t use the
> development versions as I lack the actual computer skills necessary to deal
> with any problems that might occur.  I can’t even code “Hello, world” in
> any language.  ;-)
>
>
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Re: Slurs do not work with Larsen articulations

[Simon Albrecht]

On 24.04.2018 22:02, foxfanfare wrote:

I missed
more exemples in the huge "Internal Manual"!


I don’t think any will be added, for two reasons:
The technical reason is that the Internals Reference is auto-generated 
from the program code, so possibilities to manually add stuff are very 
limited.
The other reason is that that’s not what the IR is for. It’s not 
intended for learning, but for continuous reference to those well 
familiar with the Learning Manual. I always found these relations 
between the different manuals pretty well explained in the LM.


Best, Simon

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Re: \textLengthOn relative to bar lines instead of following note

[Kieren MacMillan]

Hi Harm,

> I read
> https://lists.gnu.org/archive/html/lilypond-user/2018-04/msg00741.html
> different, i.e. the OP wants the needed space inserted at the end of the bar.

Hmmm… Looking back, I see that the OP wrote:

> I want the space that is inserted to be at the end of the bar
> so the notes are otherwise spaced normally.

I was incorrectly remembering "so the notes are spaced normally" (i.e., without 
the "otherwise").
I stand (type?) corrected!

Thanks,
Kieren.


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


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Re: \textLengthOn relative to bar lines instead of following note

[Thomas Morley]

2018-04-25 0:10 GMT+02:00 Kieren MacMillan :

> That version, while good to know about, doesn’t allow the notes to space 
> themselves normally:
>
> I believe the OP wanted (and I definitely want) the notes in that measure to 
> be spaced normally.


Hi Kieren,

I read
https://lists.gnu.org/archive/html/lilypond-user/2018-04/msg00741.html
different, i.e. the OP wants the needed space inserted at the end of the bar.

Anyway, ofcourse my code was made with the purpose _not_ to stretch or
compress, just inserting space at a certain location.

Cheers,
  Harm

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Re: \textLengthOn relative to bar lines instead of following note

[Kieren MacMillan]

Hi Harm,

> Another hack:

That version, while good to know about, doesn’t allow the notes to space 
themselves normally:



I believe the OP wanted (and I definitely want) the notes in that measure to be 
spaced normally.

Thanks,
Kieren.


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

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Re: \textLengthOn relative to bar lines instead of following note

[Thomas Morley]

2018-04-24 17:09 GMT+02:00 Kieren MacMillan :
> Hi all,
>
>>> It would be nice to be able to arbitrarily set the duration of the moment 
>>> that would (if necessary) be stretched.
>> Ah, I follow now. Interesting! Thanks Kieren!
>
> Here’s a hack that shows the desired outcome [in the first measure]:
>
> \version "2.18.2"
>
> {
>\partial 2
><<
>  { \oneVoice a'4^\markup { Unprefixed }( a'4) }
>  \\
>  { \once \hide Rest \tweak extra-spacing-width #'(10 . 10) r2 }
>>>
>a'4( a'4^\markup { Prefixed } a'4)
> }
>
> Cheers,
> Kieren.



Another hack:

\version "2.18.2"

pushRight =
#(define-event-function (parser location amount)(number?)
#{
  \tweak text \markup \with-dimensions #(cons 0 amount) #'(0 . 0) ""
  -\rightHandFinger #5
#})

{
  \partial 2
  a'4^"Unprefixed" a'\pushRight 7
  |
  a' a'^"Prefixed" a' a'
}

Cheers,
  Harm

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Re: is the lyric tie tweakable?

[Risto Vääräniemi]

Hi Kieren, David & all,

I was searching for a way to shift the lyric tie around and I found this
thread from a year back. It looked promising and so I tried David's cool
looking tiedLyricOverrides thingy but it only worked partially. I can
adjust the word-space but the left-pad does not have any effect. It doesn't
matter if I enter positive or negative values. The word-space accepts
negative values, though. How should the left-pad affect the text-tie-text
combo?

For most of the time the default results are fine for me but if there's a
comma between the syllables, e.g. "ro,~e" I'd like to move the tie just a
little bit to the left (negative padding) while keeping the space as it is.
I'm currently using 2.19.65 but I tested it also on .55 with similar
results. I attached the default results and the desired results as an image.

As a plan B I tried to use markup as the text following the tie (so I could
use negative hspace or something to shift the second part) but that did not
seem to work. The text inside the markup was attached to the following note.

Now we get to plan C... I found a way to cheat the system to get what I
wanted but I'd really appreciate a "proper" way to move the tie around. If
I use it for different text I'll have to tweak the X-offset of the tie
glyph.
\markup \combine "ro, e" { \translate #'(3 . 0)  \musicglyph
#"ties.lyric.default" }

Any other pointers? Did I miss something? Perfectionist? Moi? :-)

BR,
Risto



On 26 April 2017 at 03:48, David Nalesnik  wrote:

> On Tue, Apr 25, 2017 at 7:45 PM, David Nalesnik
>  wrote:
> > On Tue, Apr 25, 2017 at 7:16 PM, Kieren MacMillan
> >  wrote:
> >> Hi David,
> >>
> >>> \markup \tied-lyric \override #'(word-space . 2) #"le,~au”
> >>
> >> Bingo! Didn’t even need to add the extra parameters!
> >>
> >>> Don't know at the moment how to make this less cumbersome.
> >>
> >> I don’t need this to be less cumbersome — this completely solves my
> original problem.
> >> (But this exercise did serve to fractionally increase my Scheme-fu…)
> >>
> >
> > Nice to hear!
> >
> > In any case, here's an experiment.  It allows for varying the
> > parameters within the lyricmode expression:
> >
> > \version "2.19.59"
> >
> > #(define (lyric-text::special-print overrides)
> >(lambda (grob)
> >  (let ((text (ly:grob-property grob 'text)))
> >(grob-interpret-markup
> > grob
> > (if (string? text)
> > (fold
> >  make-override-markup
> >  (make-tied-lyric-markup text)
> >  overrides)
> > text)
> >
> > tiedLyricOverrides =
> > #(define-music-function (overrides) (list?)
> >#{
> >  \override Lyrics.LyricText.stencil = #(lyric-text::special-print
> overrides)
> >#})
> > {
> >   \relative {
> > \autoBeamOff
> > r8 b' c fis, fis c' b e,
> >   }
> >   \addlyrics {
> > \tiedLyricOverrides #'((word-space . 5) (left-pad . 3))
> > Che~in ques -- ta~e~in quel -- l'al -- tr'on -- da
> >   }
> > }
> >
> > %%
> >
> > Of course, you'd need to add the left-pad property and functionality
> > to \tied-lyric for it to have any effect.
> >
>
> One more thing: you can use \once too.
>
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Re: Slurs do not work with Larsen articulations

[foxfanfare]

If I may intervene here: about the documentation quality, I'd must say I
disagree.

As I said in another post, I find it (globaly) very high ended. I started LP
about 3 weeks from now, I'm just finishing the full notation PDF book of
almost 900 pages!

Of course, I still have a lot more to learn and understand, and still make
many mistakes in my codes. I need constantly the manual when working for the
moment.

What I like about it, are the numerous exemples. For the "slur" page you
were pointing out, I personnaly learnt more in reading the codes exemple
rather than the full sentences that were sometimes a bit abstract for me.

Now I have the feeling it would be necessary to read it again as I missed
some points in the first pages for which I gathered all the elements at the
end of the manual.

I spend more time now in the "Internal Manual" even if I don't fully
understand how to use yet. But I found many commands which sometime worked,
sometime didn't!

If I may suggest, it would be perfect if we had an illustration for each
command available in the "Internal Manual". An exemple of the code in a
small context, or maybe a picture. I know this would be a hell of a job
considering the numerous of all the commands... ! But for instance, I found
that very helpful in the \markup chapter, and I'm sure I would have won some
time if this was present.

The "Snippets" page is also very helpful. But still, sometimes I wanted to
try some of the Internal propriety commands, without succes, and when I
pasted its name in all documentations, couldn't find any exemple which could
have helped me understand my mistake.

So yeah, for me, the manual was very good, very helpful, though I missed
more exemples in the huge "Internal Manual"!



--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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Re: Slurs do not work with Larsen articulations

[Karlin High]

On Tue, Apr 24, 2018 at 1:58 PM, David Kastrup  wrote:
> Except when it's a clever way of getting rid of an unwanted semicolon.
> Or in this case, create a semicolon hole, a negative semicolon count.
> Add one semicolon, and none remains.

:)

Clean forgot about macros in C. I stand corrected.
-- 
Karlin High
Missouri, USA

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Re: bug with accacciatura and appoggiatura?

[David Kastrup]

Maurits Lamers  writes:

> One of my students came to me with something peculiar with
> accacciatura and appoggiatura when used as the first item in a score
> with multiple staffs.

Issue 34.

-- 
David Kastrup

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Re: Off topic - SITT 20 Studies in Double Stops

[Trevor Bača]

On Tue, Apr 24, 2018 at 2:06 AM, Gianmaria Lari 
wrote:

> My question is off topic. I hope it will not be a problem.
>
> The following is one excerpt from the Sitt book, 20 studies in Double
> Stops.
>
>
> Why in the first three measures the G, D and A are written as g4~4~4~4  d
> 4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea?
>

To reinforce the connection between interval width and spread of fingers in
the left hand; each measure isn't so much a scalar figure (with pedal) but
rather a slurred sequence of double stops of increasing width.




-- 
Trevor Bača
www.trevorbaca.com
soundcloud.com/trevorbaca
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Re: Off topic - SITT 20 Studies in Double Stops

[David Kastrup]

Lukas-Fabian Moser  writes:

>>> One might add that string players sometimes tend to not precisely
>>> adhere to the written note length in polyphonic double stops: Think of
>>> the instances where Bach writes a longer note combined in polyphony
>>> with shorter notes which are _not_ legato.
>>> Playing non-legato and repeating the long note over and over again
>>> would be silly.
>> So?  You detach the bow from the string with the non-legato note and
>> keep it on the string with the long note.  Then you make bow contact
>> with the non-legato string again for its next note, never stopping the
>> sounding of the long note.
>>
>> It's sort of a rocking bow action while continually playing the long
>> note.  Been there, done that.  Indeed, in Bach partitas.  Takes a bit of
>> practice in order not to let the long note wobble too much but very well
>> worth it.
> Yes, of course one can do that, albeit with some upper bound on the
> tempo in which this is possible (which can be practiced to some quite
> high level and is no obstacle for most of the Bach cello works I
> cited). It does not help, though, for the example from BWV 1011, for
> fingering reasons. (I seriously doubt whether Bach intended the high
> position for the left hand you need to move to in order to realize
> this strictly as written, but admit that I'm no expert in period
> string playing style.)
>
> Also thanks for the fascinating insight into accordion technique!

If you are dealing for too long with any instrument capable of
polyphony, I suspect that weird tricks raise their head.

One theory I've heard about the overly simplistic Toccata and Fugue
BWV565 is that it was an organ test piece by Bach, among others for
checking out the robustness of its air supply.  Alternating tutti
passages with descending full chords followed single thin-registered
high lines: without good air management, the main bellows weight would
continue travelling downwards driven by inertia after the tutti passage,
cruelly overblowing the small pipes.  There was sort of an arms race
between Bach and Silbermann, with the result that the only historic
organs from that time considered to be playable by modern standards
without significant reconstruction are Silbermann's.

Also Silbermann hated Bach who in turn held Silbermann in highest
esteem.

The accordion's air management is a hand-operated microcosmetic model
reenacting that epic battle.

-- 
David Kastrup

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Re: Slurs do not work with Larsen articulations

[David Kastrup]

Karlin High  writes:

> On Tue, Apr 24, 2018 at 9:18 AM, Robert Hickman  wrote:
>> The only way to create good documentation is to listen to your users
>> problems and progressively make improvements.
>
> Yes, exactly! The LilyPond community has a process for this.
> 
>
> However, in any software development community, some suggestions are
> more likely to be accepted than others. For example, if I went to a
> forum for a C-family language and said "This whole business of ending
> each line with a semicolon is just stupid; you need to change that!"
> what response would I get? Swift and overwhelmingly negative, right?

Uh, no?  There is a reason

#define BLA(...) do { ... } while (0)

is an idiom.  Exactly in order _not_ to end with a semicolon when doing

if (...)
  BLA (xxx);
else
  blubb ();

> That language element was settled years ago, and my opinions on it are
> irrelevant. Whatever help I would get from the C-people, getting rid
> of the semicolons would not be part of it.

Except when it's a clever way of getting rid of an unwanted semicolon.
Or in this case, create a semicolon hole, a negative semicolon count.
Add one semicolon, and none remains.

-- 
David Kastrup

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Re: Slurs do not work with Larsen articulations

[David Kastrup]

Robert Hickman  writes:

> The only way to create good documentation is to listen to your users
> problems and progressively make improvements.

"your users" paints a false dichotomy.  There is no fundamental
difference between you and anybody else writing documentation.

-- 
David Kastrup

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Re: bug with accacciatura and appoggiatura?

[Paul Scott]

On Tue, Apr 24, 2018 at 10:18:42AM -0700, Mark Stephen Mrotek wrote:
> Maurits,
> 
>  
> 
> This is a known glitch. A “dummy” acciaccatura or appoggiatura must be
> added to all other voices. See below

\grace of the same value will do (it's easier to type).

Paul


> 
>  
> 
> From: lilypond-user 
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org]
> On Behalf Of Maurits Lamers
> Sent: Tuesday, April 24, 2018 8:12 AM
> To: Lilypond-User Mailing List 
> Cc: Martijn Bressers 
> Subject: bug with accacciatura and appoggiatura?
> 
>  
> 
> Hi all,
> 
>  
> 
> One of my students came to me with something peculiar with accacciatura and
> appoggiatura when used as the first item in a score with multiple staffs.
> 
> I tried to find any obvious errors in his code, but I couldn't find anything. 
> I
> managed to create a minimal working example, included below and have attached
> the resulting notation.
> 
>  
> 
> When used with a single voice in a single staff, they work as expected.
> However, when used in a score with some kind of a staff group it seems that 
> the
> system is unable to detect the current staffs and recreates the staffs,
> overwriting any existing settings (such as instrument names) and doubling time
> signatures and clefs in the process.
> 
>  
> 
> cheers
> 
>  
> 
> Maurits
> 
>  
> 
> ---
> 
>  
> 
> \version "2.18.2"
> 
> 
> \score {
><<
>   \new Staff {
>  \time 2/4
>  \new Voice {
> \appoggiatura { a'16 } bes'2
>   }
>   }
>   \new Staff {
> \time 2/4
> \new Voice {
>   \appoggiatura {s16} bes2
> }
>   }
>>>
>  }
> }
> 
>  
> 
> [cid]
> 



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Re: Slurs do not work with Larsen articulations

[Kieren MacMillan]

Hi Robert (and Karlin),

>> Whatever help I would get from the C-people, getting rid
>> of the semicolons would not be part of it.
> 
> This is **NOT** the point I am making

No, of course not — I would imagine Karlin was simply responding to your comment

> Personally I prefer the syntax used by ABC notation, with all notes of
> a slur inside the parans, but I don't see it being changed at this point.

Best regards,
Kieren.


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


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RE: bug with accacciatura and appoggiatura?

[Mark Stephen Mrotek]

Maurits,

 

This is a known glitch. A "dummy" acciaccatura or appoggiatura must be added
to all other voices. See below

 

From: lilypond-user
[mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of
Maurits Lamers
Sent: Tuesday, April 24, 2018 8:12 AM
To: Lilypond-User Mailing List 
Cc: Martijn Bressers 
Subject: bug with accacciatura and appoggiatura?

 

Hi all,

 

One of my students came to me with something peculiar with accacciatura and
appoggiatura when used as the first item in a score with multiple staffs.

I tried to find any obvious errors in his code, but I couldn't find
anything. I managed to create a minimal working example, included below and
have attached the resulting notation.

 

When used with a single voice in a single staff, they work as expected.
However, when used in a score with some kind of a staff group it seems that
the system is unable to detect the current staffs and recreates the staffs,
overwriting any existing settings (such as instrument names) and doubling
time signatures and clefs in the process.

 

cheers

 

Maurits

 

---

 

\version "2.18.2"


\score {
   <<
  \new Staff {
 \time 2/4
 \new Voice {
\appoggiatura { a'16 } bes'2
  }
  }
  \new Staff {
\time 2/4
\new Voice {
  \appoggiatura {s16} bes2
}
  }
   >>
 }
}

 



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Re: Slurs do not work with Larsen articulations

[Robert Hickman]

On 24 April 2018 at 16:18, Karlin High  wrote:
> On Tue, Apr 24, 2018 at 9:18 AM, Robert Hickman  wrote:
>> The only way to create good documentation is to listen to your users
>> problems and progressively make improvements.
>
> Yes, exactly! The LilyPond community has a process for this.
> 
>
> However, in any software development community, some suggestions are
> more likely to be accepted than others. For example, if I went to a
> forum for a C-family language and said "This whole business of ending
> each line with a semicolon is just stupid; you need to change that!"
> what response would I get? Swift and overwhelmingly negative, right?
> That language element was settled years ago, and my opinions on it are
> irrelevant. Whatever help I would get from the C-people, getting rid
> of the semicolons would not be part of it.
> --

This is **NOT** the point I am making, I am saying that the
existing documentation should be improved to clearly explain the
syntax and I have already given an example of how that can be done.

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bug with accacciatura and appoggiatura?

[Maurits Lamers]

Hi all,

One of my students came to me with something peculiar with accacciatura and 
appoggiatura when used as the first item in a score with multiple staffs.
I tried to find any obvious errors in his code, but I couldn't find anything. I 
managed to create a minimal working example, included below and have attached 
the resulting notation.

When used with a single voice in a single staff, they work as expected. 
However, when used in a score with some kind of a staff group it seems that the 
system is unable to detect the current staffs and recreates the staffs, 
overwriting any existing settings (such as instrument names) and doubling time 
signatures and clefs in the process.

cheers

Maurits

---

\version "2.18.2"

\score {
   <<
  \new Staff {
 \time 2/4
 \new Voice {
\appoggiatura { a'16 } bes'2
  }
  }
  \new Staff {
\time 2/4
\new Voice {
  bes2
}
  }
   >>
 }
}

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Re: Hairpins, brackets and dynamics

[Davide Liessi]

2018-04-24 12:02 GMT+02:00 Thomas Morley :
> How about below?

It's working perfectly!

> It is ensured the bracketed hairpin is always of equal length as the
> original. Ofcourse this means the visible hairpin is shortened a
> little.

Exactly what I had in mind!
Many thanks!

Best wishes.
Davide

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Re: Slurs do not work with Larsen articulations

[Karlin High]

On Tue, Apr 24, 2018 at 9:18 AM, Robert Hickman  wrote:
> The only way to create good documentation is to listen to your users
> problems and progressively make improvements.

Yes, exactly! The LilyPond community has a process for this.


However, in any software development community, some suggestions are
more likely to be accepted than others. For example, if I went to a
forum for a C-family language and said "This whole business of ending
each line with a semicolon is just stupid; you need to change that!"
what response would I get? Swift and overwhelmingly negative, right?
That language element was settled years ago, and my opinions on it are
irrelevant. Whatever help I would get from the C-people, getting rid
of the semicolons would not be part of it.
--
Karlin High
Missouri, USA

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Re: \textLengthOn relative to bar lines instead of following note

[Kieren MacMillan]

Hi all,

>> It would be nice to be able to arbitrarily set the duration of the moment 
>> that would (if necessary) be stretched.
> Ah, I follow now. Interesting! Thanks Kieren!

Here’s a hack that shows the desired outcome [in the first measure]:

\version "2.18.2"

{
   \partial 2
   <<
 { \oneVoice a'4^\markup { Unprefixed }( a'4) }
 \\
 { \once \hide Rest \tweak extra-spacing-width #'(10 . 10) r2 }
   >>
   a'4( a'4^\markup { Prefixed } a'4)
}

Cheers,
Kieren.


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


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Re: \textLengthOn relative to bar lines instead of following note

[Ben]

On 4/24/2018 11:04 AM, Kieren MacMillan wrote:

Hi Ben,


I don't quite follow what you're asking.

I know what he’s asking about… It’s something I’ve been asking about for quite a long time 
(>5 years): forcing a *measure* or even *group of measures* (in OP's case, a single 
measure) to stretch to accommodate another grob (in OP’s case, a TextScript), rather than 
the current behaviour ("stretch the current moment"). The problem is particularly 
acute in parts with lots of tempo markings over multi-measure rests, which don’t tend to 
stretch accordingly.


* The action of \textLengthOn extends the length of the moment in time at which 
it occurs.
*All notes which occur at a later musical moment will be displaced to the end 
of the text.

It would be nice to be able to arbitrarily set the duration of the moment that 
would (if necessary) be stretched.



Ah, I follow now. Interesting! Thanks Kieren!


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Re: \textLengthOn relative to bar lines instead of following note

[Robert Hickman]

> ___
> lilypond-user mailing list
> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
>
> I don't quite follow what you're asking.
>
> Info from other threads a while back, which could assist you:
>
> * The action of \textLengthOn extends the length of the moment in time at
> which it occurs.
> *All notes which occur at a later musical moment will be displaced to the
> end of the text.
> * \textLengthOn does not necessarily increase the spacing of the note that
> the text is attached to -
>  the shortest moment in time when the text occurs will get the added space.
>
> Does this help you understand better?
>
> Do you happen to have an image showing what you're after?
>

Yes but that's not the effect I want. I want the space that is
inserted to be at the end of the bar so the notes are otherwise spaced
normally. See attached. The annotation is an annotation of the whole
bar, not a single note. It also probably dosn't make sense outside the
document I'm writing.
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Re: \textLengthOn relative to bar lines instead of following note

[Kieren MacMillan]

Hi Ben,

> I don't quite follow what you're asking. 

I know what he’s asking about… It’s something I’ve been asking about for quite 
a long time (>5 years): forcing a *measure* or even *group of measures* (in 
OP's case, a single measure) to stretch to accommodate another grob (in OP’s 
case, a TextScript), rather than the current behaviour ("stretch the current 
moment"). The problem is particularly acute in parts with lots of tempo 
markings over multi-measure rests, which don’t tend to stretch accordingly.

> * The action of \textLengthOn extends the length of the moment in time at 
> which it occurs.  
> *All notes which occur at a later musical moment will be displaced to the end 
> of the text.

It would be nice to be able to arbitrarily set the duration of the moment that 
would (if necessary) be stretched.

Cheers,
Kieren.


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


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Re: \textLengthOn relative to bar lines instead of following note

[Ben]

On 4/24/2018 10:50 AM, Robert Hickman wrote:

On 24 April 2018 at 15:41, Robert Hickman  wrote:

\textLengthOn Makes lilypond format relative to the length of the
textual annotations instead of the notes. However it does this by
inserting a huge gap between the note with the annotation and the next
note. Is there a command that does the same thing relative to the bar
lines. e.g. formats notes normally and moves the gap to the end of the
bar?

I am annotating only the first note in the bar and the large gap which
is being added looks bad.

\version "2.18.2"

\header {tagline = ""}
{
 %\override TextScript.Y-offset = #5
 %\override TextScript.staff-padding = #5
 \numericTimeSignature
 \textLengthOn
 \time 4/4
 %\omit Staff.TimeSignature

 \partial 2 a'4\cut^\markup { Unprefixed }( a'4\strike) | a'4
(a'4\cut^\markup { Prefixed } a'4\strike)
}

_


A down and dirty quick fix for this example could be just to forget the 
textlength and just nudge it over a bit manually:

(see attached)

Does that work?

\version "2.19.81"

\header {tagline = ""}
{
    %\override TextScript.Y-offset = #5
    %\override TextScript.staff-padding = #5
    \numericTimeSignature
*% \textLengthOn*
    \time 4/4
    %\omit Staff.TimeSignature

    \partial 2 a'4^\markup { Unprefixed }(
*  \once \override NoteColumn.X-offset = #3*
    a'4) | a'4
(a'4^\markup { Prefixed } a'4)
}


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Re: \textLengthOn relative to bar lines instead of following note

[Ben]

On 4/24/2018 10:41 AM, Robert Hickman wrote:

\textLengthOn Makes lilypond format relative to the length of the
textual annotations instead of the notes. However it does this by
inserting a huge gap between the note with the annotation and the next
note. Is there a command that does the same thing relative to the bar
lines. e.g. formats notes normally and moves the gap to the end of the
bar?

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I don't quite follow what you're asking.

Info from other threads a while back, which could assist you:

* The action of \textLengthOn extends the length of the moment in time 
at which it occurs.
*All notes which occur at a later musical moment will be displaced to 
the end of the text.
* \textLengthOn does not necessarily increase the spacing of the note 
that the text is attached to -

 the shortest moment in time when the text occurs will get the added space.

Does this help you understand better?

Do you happen to have an image showing what you're after?


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Re: \textLengthOn relative to bar lines instead of following note

[Robert Hickman]

On 24 April 2018 at 15:41, Robert Hickman  wrote:
> \textLengthOn Makes lilypond format relative to the length of the
> textual annotations instead of the notes. However it does this by
> inserting a huge gap between the note with the annotation and the next
> note. Is there a command that does the same thing relative to the bar
> lines. e.g. formats notes normally and moves the gap to the end of the
> bar?

I am annotating only the first note in the bar and the large gap which
is being added looks bad.

\version "2.18.2"

\header {tagline = ""}
{
%\override TextScript.Y-offset = #5
%\override TextScript.staff-padding = #5
\numericTimeSignature
\textLengthOn
\time 4/4
%\omit Staff.TimeSignature

\partial 2 a'4\cut^\markup { Unprefixed }( a'4\strike) | a'4
(a'4\cut^\markup { Prefixed } a'4\strike)
}

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\textLengthOn relative to bar lines instead of following note

[Robert Hickman]

\textLengthOn Makes lilypond format relative to the length of the
textual annotations instead of the notes. However it does this by
inserting a huge gap between the note with the annotation and the next
note. Is there a command that does the same thing relative to the bar
lines. e.g. formats notes normally and moves the gap to the end of the
bar?

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Re: frescobaldi clipboard file name

[David Wright]

On Tue 24 Apr 2018 at 08:53:01 (+0200), Gianmaria Lari wrote:
> On 23 April 2018 at 15:48, David Wright  wrote:
> 
> > On Mon 23 Apr 2018 at 09:43:01 (+0200), Gianmaria Lari wrote:
> > > The following frescobaldi snippet call the "more.com" program with the
> > > parameter "\\readme"
> > >
> > > -*- python;
> > > from subprocess import call
> > > call(["more.com", "\\readme"])
> > >
> > > This other one-line snippet pastes, in the frescobaldi editor window at
> > the
> > > cursor position, the lilypond file name (including path) of the current
> > > document
> > >
> > > $FILE_NAME
> > >
> > > Now I would like to merge the two worlds:) I would like a snippet that
> > > calls an external application passing as parameter $FILE_NAME.
> > > Any suggestion?
> >
> > import os # likely to have been imported already
> > call(["more.com", os.environ['FILE_NAME']])
> >
> 
> I have not been able to make it working.
> Let's make a step back and simplify things.
> Let's use FRESCOBALDI_VERSION that should always be defined (FILE_NAME is
> not defined when the file has not been explicitly saved).
> And let's use a simple assignement instead of an external call.
> 
> The following code paste in the editor window the text "ciccio" at the
> cursor position.
> 
> -*- python;
> 
> text = "ciccio"
> 
> 
> 
> 
> Now if I try
> 
> -*- python;
> import os
> text = os.environ['FRESCOBALDI_VERSION']
> 
> 
> I expect to see pasted the frescobaldi version. But this does not work and
> I get the errror KeyError: FRESCOBALDI_VERSION.
> Maybe the variables are not part of os.environ?

I think we're falling foul of this:

This mapping is captured the first time the os module is imported,
typically during Python startup as part of processing
site.py. Changes to the environment made after this time are not
reflected in os.environ, except for changes made by modifying
os.environ directly.

So if Fresco is running a child process, that child could interrogate
the environment set by the parent. As it is, I don't know where your
FRESCOBALDI_VERSION and FILE_NAME come from. If they're being set in
a Fresco parent process, then they would have to be inserted into
the environment for you to use them:

$ pyth
Python 3.5.3 (default, Jan 19 2017, 14:11:04) 
[GCC 6.3.0 20170118] on linux
Type "help", "copyright", "credits" or "license" for more information.
>>> import os
>>> os.environ["SHELL"]
'/bin/bash'
>>> os.environ["SPQR"]
Traceback (most recent call last):
  File "", line 1, in 
  File "/usr/lib/python3.5/os.py", line 725, in __getitem__
raise KeyError(key) from None
KeyError: 'SPQR'
>>> os.environ["SPQR"]="Senatus Populusque Romanus"
>>> os.environ["SHELL"],os.environ["SPQR"]
('/bin/bash', 'Senatus Populusque Romanus')
>>> 

Cheers,
David.

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Re: Slurs do not work with Larsen articulations

[Robert Hickman]

The only way to create good documentation is to listen to your users
problems and progressively make improvements.

On 24 April 2018 at 14:49, Kieren MacMillan
 wrote:
> Hi Robert,
>
>> If I misinterpreted it you can guarantee
>> that other people are also doing so.
>
> Well, that’s a faulty generalization…  ;) … but IMO more clarity is always 
> better.
>
> As they say: "Patches [to the docs] are always gratefully accepted."
>
> Cheers,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>

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Re: Off topic - SITT 20 Studies in Double Stops

[Lukas-Fabian Moser]

One might add that string players sometimes tend to not precisely
adhere to the written note length in polyphonic double stops: Think of
the instances where Bach writes a longer note combined in polyphony
with shorter notes which are _not_ legato.
Playing non-legato and repeating the long note over and over again
would be silly.

So?  You detach the bow from the string with the non-legato note and
keep it on the string with the long note.  Then you make bow contact
with the non-legato string again for its next note, never stopping the
sounding of the long note.

It's sort of a rocking bow action while continually playing the long
note.  Been there, done that.  Indeed, in Bach partitas.  Takes a bit of
practice in order not to let the long note wobble too much but very well
worth it.
Yes, of course one can do that, albeit with some upper bound on the 
tempo in which this is possible (which can be practiced to some quite 
high level and is no obstacle for most of the Bach cello works I cited). 
It does not help, though, for the example from BWV 1011, for fingering 
reasons. (I seriously doubt whether Bach intended the high position for 
the left hand you need to move to in order to realize this strictly as 
written, but admit that I'm no expert in period string playing style.)


Also thanks for the fascinating insight into accordion technique!

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Re: \include command and local network folders

[David Wright]

On Tue 24 Apr 2018 at 00:42:32 (-0700), foxfanfare wrote:
> Knute Snortum wrote
> > My tests on Windows 10 indicate that lilypond.exe can't handle UNC
> > notation.  This is true even of a local file.
> 
> Let me wonder if everybody here use linux!
> Maybe is it time for me to go for it...

All the windows users I come into contact with would only know network
drives that are associated with a drive letter, and those would have
been set up by some institutional administrator/technician.
Few if any would recognise a UNC.

I'm aware that there are places in windows where forward slashes can
be used in filenames (places like system calls, I think), but I don't
know all the whys and wherefores. Probably best avoided.

I've never enjoyed interworking with MS products—there always seem to
be hiccups (like BOMs, TNEFs, MSCHAP, hiding stuff, etc)—but if you
stick to one side or the other (and make a few small allowances like
in this thread), you should be all right with a program like LP.

OTOH...

Cheers,
David.

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Re: Slurs do not work with Larsen articulations

[Kieren MacMillan]

Hi Robert,

> If I misinterpreted it you can guarantee
> that other people are also doing so.

Well, that’s a faulty generalization…  ;) … but IMO more clarity is always 
better.

As they say: "Patches [to the docs] are always gratefully accepted."

Cheers,
Kieren.


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


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Re: Lilypond slow to start up on the Mac

[Tim McNamara]

> On Apr 23, 2018, at 1:13 PM, David Wright  wrote:
> 
> On Mon 23 Apr 2018 at 11:40:46 (-0400), Arle Lommel wrote:
>> I’ve noticed on the Mac for some time that the first time I invoke Lilypond 
>> from an external application after a reboot, it can take quite a while for 
>> it to respond. Normally this is something like a 40–60 second delay, after 
>> which Lilypond behaves normally. But a few days ago, after I updated to OS X 
>> 10.13.4, it seemed that Lilypond was totally unresponsive over much longer 
>> periods. After waiting about ten minutes, I finally walked away for dinner, 
>> and when I came back, it was working normally. This happened with the latest 
>> development build, but I’ve also had delays with the stable build (although 
>> never as long as this was).
>> 
>> I was invoking Lilypond through Frescobaldi, but I’ve had the same (shorter) 
>> initial delays on JEdit, and on multiple machines in the past.
>> 
>> During this longer wait, I could launch Lilypond.app and initiate a 
>> typesetting activity from within it with no problem, so it is not Lilypond 
>> itself that seems to be the problem, but rather something specific to 
>> external applications calling it.
>> 
>> Is this a known issue? If so, any ideas on ways to fix it other than 
>> typesetting something and walking away for 20 minutes before it responds?
> 
> Maybe you've hit this one which used to be a frequent problem here.
> The cure is usually either a newer version, or you could try
> deleting the font cache and hoping it will get rebuilt correctly
> (if there was a problem before) on the next run.
> 
> http://lists.gnu.org/archive/html/lilypond-user/2017-03/msg00066.html

I am seeing these very long launch times with 2.18.2-1 which the thread states 
is not showing the font cache rebuild problem.  I don’t use the development 
versions as I lack the actual computer skills necessary to deal with any 
problems that might occur.  I can’t even code “Hello, world” in any language.  
;-)
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Re: Slurs do not work with Larsen articulations

[Robert Hickman]

> The example looks pretty clear to me.  "marked with" is not really
> synonymous with "surrounded with" in my book even though it could be
> more explicit about just how the marks are supposed to be made.
>

If I misinterpreted it you can guarantee that other people are also
doing so. The documentation is full of vagueness like this which will
almost certainly be frustrating and putting off newcomers. Always be
explicit.

It will make sense to you because you are used it it, if you are
familiar with something you will not see the problems with it.

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Re: Slurs do not work with Larsen articulations

[David Kastrup]

Robert Hickman  writes:

> Personally I prefer the syntax used by ABC notation, with all notes of
> a slur inside the parans, but I don't see it being changed at this
> point.

How does this work for consecutive slurs, like LilyPond's

{ c4( d)( e2) }

?

{ (c4 (d) e2) }

looks rather peculiar, wouldn't you say?

-- 
David Kastrup

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Re: Slurs do not work with Larsen articulations

[Robert Hickman]

On 24 April 2018 at 14:25, Kieren MacMillan
 wrote:
> Hi Robert,
>
>> Instead the correct syntax should be:
>>
>> g (b d g)
>
> No… the correct syntax is
>
> g( b d g)
>
> The ( is attached, postfix, to the first note of the slurred group.

Stating that in the page I referenced would be a good idea.

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Re: Slurs do not work with Larsen articulations

[Kieren MacMillan]

Hi Robert,

> Instead the correct syntax should be:
> 
> g (b d g)

No… the correct syntax is

g( b d g)

The ( is attached, postfix, to the first note of the slurred group.

Hope this helps!
Kieren.


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


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Re: Slurs do not work with Larsen articulations

[David Kastrup]

Robert Hickman  writes:

> Actually it's a misinterpretation. The documentation does not make it
> clear that the start of the slur should be after the first note of the
> slur.
>
>  a'2 (a'4 a'4 )

What documentation are you talking about here?

-- 
David Kastrup

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Re: Slurs do not work with Larsen articulations

[David Kastrup]

Robert Hickman  writes:

> The documentation says that slurs can be created by putting notes
> within '()'

What documentation would state that?

-- 
David Kastrup

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Re: Slurs do not work with Larsen articulations

[Robert Hickman]

Hi Karlin

"Unclear documentation can be improved. Need a reference for it,
though; where was this found?"

I'm talking about the following page:

http://lilypond.org/doc/v2.16/Documentation/learning/ties-and-slurs.en.html

The page states:

"A slur is a curve drawn across many notes. The starting note and
ending note are marked with ( and ) respectively. "

To me this says that a slur should be written (g b d g), with the
first note inside the slur. That would align with ABC notation which
I'm more familiar with. Instead the correct syntax should be:

g (b d g)

I'd modify the explanation as follows:

"A slur is a curve drawn across many notes. The starting note and
ending note are marked with ( and ) respectively. The opening paran
should be placed after the first note of the slur, and the closing
paran should come after the last note. For example: g (b d g). "

Personally I prefer the syntax used by ABC notation, with all notes of
a slur inside the parans, but I don't see it being changed at this
point.

On 24 April 2018 at 14:05, Karlin High  wrote:
> On 4/24/2018 7:57 AM, Robert Hickman wrote:
>>
>> The documentation does not make it
>> clear that the start of the slur should be after the first note of the
>> slur.
>
>
> Unclear documentation can be improved. Need a reference for it, though;
> where was this found?
> --
> Karlin High
> Missouri, USA

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Re: Off topic - SITT 20 Studies in Double Stops

[David Kastrup]

David Kastrup  writes:

> Lukas-Fabian Moser  writes:
>>
>> One might add that string players sometimes tend to not precisely
>> adhere to the written note length in polyphonic double stops: Think of
>> the instances where Bach writes a longer note combined in polyphony
>> with shorter notes which are _not_ legato.
>> Playing non-legato and repeating the long note over and over again
>> would be silly.
>
> So?  You detach the bow from the string with the non-legato note and
> keep it on the string with the long note.  Then you make bow contact
> with the non-legato string again for its next note, never stopping the
> sounding of the long note.
>
> It's sort of a rocking bow action while continually playing the long
> note.  Been there, done that.  Indeed, in Bach partitas.  Takes a bit of
> practice in order not to let the long note wobble too much but very well
> worth it.

Funny thing here: right now I am working on pounding out the right
articulation for some movie music extract on accordion and the
fundamental problem I am working with here is the same: there is just
one bellows to do phrasing with, like the violin has only one bow.  But
like with interrupting bow/string contact for phrasing purposes, I can
use the buttons for interrupting bellows/reed contact for phrasing
purposes without needing to _hack_ off the tone rather than phrase it
nicely.

Listen to the first few measures of
: basically the trick here
is to have sustained pressure on the bellows for the continuous sound of
the chord and the long treble phrases while phrasing off the bass
_gently_ (so that only the attack is conspicuous).  This sort of
non-binary button use is something that electronic accordions are
notoriously bad at and it's not like Midi is particularly good at
expressing it either.

The polyphonic phrasing of double stops on a violin requires similar
thinking out of the box.

-- 
David Kastrup

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Re: Slurs do not work with Larsen articulations

[Karlin High]

On 4/24/2018 7:57 AM, Robert Hickman wrote:

The documentation does not make it
clear that the start of the slur should be after the first note of the
slur.


Unclear documentation can be improved. Need a reference for it, though; 
where was this found?

--
Karlin High
Missouri, USA

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Re: Slurs do not work with Larsen articulations

[Robert Hickman]

Actually it's a misinterpretation. The documentation does not make it
clear that the start of the slur should be after the first note of the
slur.

 a'2 (a'4 a'4 )

On 24 April 2018 at 13:50, Robert Hickman  wrote:
> The documentation says that slurs can be created by putting notes
> within '()' however this does not work in combination with the Larsen
> articulation symbols:
>
> {
> (a'2 a'4\cut a'4\strike)
> }
>
> I get the following error:
>
> error: syntax error, unexpected EVENT_IDENTIFIER
>
> (a'2 a'4\cut a'4\strike)
> input.ly:82:1: error: errors found, ignoring music expression
>
> {
> fatal error: failed files: "input.ly"
>
> ---
>
> This is the full code:
>
> \version "2.18.2"
>
>
> % OPTIONS -- ADJUST AS DESIRED
>
>   larsenSymbolsScale = #1.5
> % Adjust this to scale all symbols up or down (default #1.5).
> Known issue: adjusting this affects the spacing of the components of
> the long and short double-cut roll symbols.
>
>   larsenSymbolsOutlineWidth = #.065
> % Adjust this to change outline thicknesses for all symbols.
>
> % DON'T CHANGE ANYTHING BELOW HERE UNLESS YOU KNOW WHAT YOU'RE DOING
>
>
> % SOME VARIABLES
>   larsenSymbolsHalignFactor = #(+ (* larsenSymbolsScale ( / 2 3 ) )
> .15 ) % this is an arbitrary number discovered by trial and error; it
> helps keep the symbols roughly aligned with noteheads if the symbols
> are resized using \larsenSymbolsScale
>   larsenSymbolsHalfSize = #(* .5 larsenSymbolsScale)
>   larsenSymbolsFlipVertical = #(* -1 larsenSymbolsScale)
>
> % SYMBOL: CUT
>
>   cutCoordinates =   #'(
> (.4 .9)
> (.55 .825)
>   )
>
>   cutStencil =
> \markup \halign #(/ -3 larsenSymbolsHalignFactor) \stencil
> #(make-connected-path-stencil
>   cutCoordinates
>   larsenSymbolsOutlineWidth
>   larsenSymbolsScale
>   larsenSymbolsScale
>   #t
>   #t
> )
>
>   cut = ^\cutStencil
>
>   tinyCutStencil = % The "tiny cut" is used as a component of some of
> the more complex symbols
> \markup \stencil
> #(make-connected-path-stencil
>   cutCoordinates
>   larsenSymbolsOutlineWidth
>   larsenSymbolsHalfSize
>   larsenSymbolsHalfSize
>   #t
>   #t
> )
>
>   tinyCut = \tinyCutStencil
>
>   tinyCuts =
> \markup
>   \halign #(/ -6.25 larsenSymbolsHalignFactor) \raise #(/ .35
> larsenSymbolsHalignFactor)
>   \combine
> \tinyCut
> \halign #(/ .25 larsenSymbolsHalignFactor) \raise #(/ .2
> larsenSymbolsHalignFactor) \tinyCut
>
> % SYMBOL: STRIKE
>
>   strikeStencil = \markup \halign #(/ -1.75 larsenSymbolsHalignFactor) 
> \stencil
> #(make-connected-path-stencil
>   '(
> (.234 .831)
> (.156 .831)
> (-.012 .317)
> (-.156 .831)
> (-.293 .831)
>)
>   larsenSymbolsOutlineWidth
>   larsenSymbolsScale
>   larsenSymbolsScale
>   #t
>   #t
> )
>
>   strike = ^\strikeStencil
>
>
> \header {tagline = ""}
> {
> \numericTimeSignature
> \time 4/4
>
> (a'2 a'4\cut a'4\strike)
> }

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Slurs do not work with Larsen articulations

[Robert Hickman]

The documentation says that slurs can be created by putting notes
within '()' however this does not work in combination with the Larsen
articulation symbols:

{
(a'2 a'4\cut a'4\strike)
}

I get the following error:

error: syntax error, unexpected EVENT_IDENTIFIER

(a'2 a'4\cut a'4\strike)
input.ly:82:1: error: errors found, ignoring music expression

{
fatal error: failed files: "input.ly"

---

This is the full code:

\version "2.18.2"


% OPTIONS -- ADJUST AS DESIRED

  larsenSymbolsScale = #1.5
% Adjust this to scale all symbols up or down (default #1.5).
Known issue: adjusting this affects the spacing of the components of
the long and short double-cut roll symbols.

  larsenSymbolsOutlineWidth = #.065
% Adjust this to change outline thicknesses for all symbols.

% DON'T CHANGE ANYTHING BELOW HERE UNLESS YOU KNOW WHAT YOU'RE DOING


% SOME VARIABLES
  larsenSymbolsHalignFactor = #(+ (* larsenSymbolsScale ( / 2 3 ) )
.15 ) % this is an arbitrary number discovered by trial and error; it
helps keep the symbols roughly aligned with noteheads if the symbols
are resized using \larsenSymbolsScale
  larsenSymbolsHalfSize = #(* .5 larsenSymbolsScale)
  larsenSymbolsFlipVertical = #(* -1 larsenSymbolsScale)

% SYMBOL: CUT

  cutCoordinates =   #'(
(.4 .9)
(.55 .825)
  )

  cutStencil =
\markup \halign #(/ -3 larsenSymbolsHalignFactor) \stencil
#(make-connected-path-stencil
  cutCoordinates
  larsenSymbolsOutlineWidth
  larsenSymbolsScale
  larsenSymbolsScale
  #t
  #t
)

  cut = ^\cutStencil

  tinyCutStencil = % The "tiny cut" is used as a component of some of
the more complex symbols
\markup \stencil
#(make-connected-path-stencil
  cutCoordinates
  larsenSymbolsOutlineWidth
  larsenSymbolsHalfSize
  larsenSymbolsHalfSize
  #t
  #t
)

  tinyCut = \tinyCutStencil

  tinyCuts =
\markup
  \halign #(/ -6.25 larsenSymbolsHalignFactor) \raise #(/ .35
larsenSymbolsHalignFactor)
  \combine
\tinyCut
\halign #(/ .25 larsenSymbolsHalignFactor) \raise #(/ .2
larsenSymbolsHalignFactor) \tinyCut

% SYMBOL: STRIKE

  strikeStencil = \markup \halign #(/ -1.75 larsenSymbolsHalignFactor) \stencil
#(make-connected-path-stencil
  '(
(.234 .831)
(.156 .831)
(-.012 .317)
(-.156 .831)
(-.293 .831)
   )
  larsenSymbolsOutlineWidth
  larsenSymbolsScale
  larsenSymbolsScale
  #t
  #t
)

  strike = ^\strikeStencil


\header {tagline = ""}
{
\numericTimeSignature
\time 4/4

(a'2 a'4\cut a'4\strike)
}

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Re: Off topic - SITT 20 Studies in Double Stops

[David Kastrup]

Lukas-Fabian Moser  writes:

>>> The following is one excerpt from the Sitt book, 20 studies in
>>> Double Stops.
>>>
>>>
>>> Why in the first three measures the G, D and A are written as
>>> g4~4~4~4  d4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea?
>>
>> That’s clearly due to the pedagogical purpose; since the etudes are
>> about Double Stops, the author wanted to make more immediately
>> obvious what exact double stop is played at the moment. (Which I
>> feel would make more sense if neither note was on an open string,
>> but I guess that also appears later in the work.)
> One might add that string players sometimes tend to not precisely
> adhere to the written note length in polyphonic double stops: Think of
> the instances where Bach writes a longer note combined in polyphony
> with shorter notes which are _not_ legato.
> Playing non-legato and repeating the long note over and over again
> would be silly.

So?  You detach the bow from the string with the non-legato note and
keep it on the string with the long note.  Then you make bow contact
with the non-legato string again for its next note, never stopping the
sounding of the long note.

It's sort of a rocking bow action while continually playing the long
note.  Been there, done that.  Indeed, in Bach partitas.  Takes a bit of
practice in order not to let the long note wobble too much but very well
worth it.

Not relevant for the original question: I agree that the notation is
pedagogical (and focused on the execution) rather than musical there.

-- 
David Kastrup

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Re: New to Lilypond - Questions about using Python to structure Lilypond scores

[Ben]

On 4/23/2018 4:45 PM, AikiZen wrote:

Le Mon, 23 Apr 2018 14:57:24 -0400,
Ben  a écrit :

Now that I think about it, you may actually find better success with
Music21 - have you heard of it? It's a large collection of goodies
that will tick a lot of boxes for a lot of interesting music-related
projects. Works well w/ LilyPond as well.

Check it out if you haven't already :)

http://web.mit.edu/music21/doc/moduleReference/moduleLilyLilyObjects.html

http://web.mit.edu/music21/doc/about/what.html

music21 are python library for create score in python ?

How can i create tab for guitar in python ?

Best Regard,
Aiki



Hi Aiki,

Music21 has a fantastic active community mailing list here:
https://groups.google.com/forum/#!forum/music21list

Michael Scott Cuthbert is very involved in the group and there are a lot 
of people offering helpful advice among the threads - try posting there 
and you should get some feedback.


Good luck!


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Re: Off topic - SITT 20 Studies in Double Stops

[Lukas-Fabian Moser]

The following is one excerpt from the Sitt book, 20 studies in Double 
Stops.



Why in the first three measures the G, D and A are written as 
g4~4~4~4  d4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea?


That’s clearly due to the pedagogical purpose; since the etudes are 
about Double Stops, the author wanted to make more immediately obvious 
what exact double stop is played at the moment. (Which I feel would 
make more sense if neither note was on an open string, but I guess 
that also appears later in the work.)
One might add that string players sometimes tend to not precisely adhere 
to the written note length in polyphonic double stops: Think of the 
instances where Bach writes a longer note combined in polyphony with 
shorter notes which are _not_ legato.
Playing non-legato and repeating the long note over and over again would 
be silly. But not always the alternative of playing the whole thing on a 
single bow movement is reasonable; so, sometimes the longer note is 
shortened.

Examples:
BWV 1008, Menuet I, Bars 11/13
BWV 1009, Sarabande, Bar 9/10
BWV 1011, Prélude, Bar 3 (the E flat is nearly impossible to sustain 
over the lower C - one can do it by using fingerings of dubious 
appropriateness in Baroque music)


So, in a pedadogical volume, I'd also recommend writing "homophonic" 
double stops to make the meaning clear. (Especially in situations where 
the player might be forced to switch fingers on the "constant" note; on 
the Cello I could write down examples where this is necessary, and if I 
were to write Etudes, I would make sure to put this technique in as a 
very healthy exercise in intonation.)


Best
Lukas

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Re: Lilypond slow to start up on the Mac

[Arle Lommel]

I'm using the latest development build, but had notes the same problem using 
the latest 2.18 build, so I don't see a way to update to anything more recent 
in this case. 

I wouldn't have thought of a font cache, but that gives me something to test 
and report back on. Perhaps it is a recurrence of that problem or some 
variation. If it is, though, it's not likely to be identical because Lilypond 
works fine on its own and hangs only when invoked, and then only on the first 
run after a reboot (although that would lend some credence to a font caching 
issue). 

I'm not where I can test now, but I'll do so later. 

Thanks for the pointer. 

Arle

--
Misit de iPhone meo. 

> On Apr 23, 2018, at 14:13, David Wright  wrote:
> 
>> On Mon 23 Apr 2018 at 11:40:46 (-0400), Arle Lommel wrote:
>> I’ve noticed on the Mac for some time that the first time I invoke Lilypond 
>> from an external application after a reboot, it can take quite a while for 
>> it to respond. Normally this is something like a 40–60 second delay, after 
>> which Lilypond behaves normally. But a few days ago, after I updated to OS X 
>> 10.13.4, it seemed that Lilypond was totally unresponsive over much longer 
>> periods. After waiting about ten minutes, I finally walked away for dinner, 
>> and when I came back, it was working normally. This happened with the latest 
>> development build, but I’ve also had delays with the stable build (although 
>> never as long as this was).
>> 
>> I was invoking Lilypond through Frescobaldi, but I’ve had the same (shorter) 
>> initial delays on JEdit, and on multiple machines in the past.
>> 
>> During this longer wait, I could launch Lilypond.app and initiate a 
>> typesetting activity from within it with no problem, so it is not Lilypond 
>> itself that seems to be the problem, but rather something specific to 
>> external applications calling it.
>> 
>> Is this a known issue? If so, any ideas on ways to fix it other than 
>> typesetting something and walking away for 20 minutes before it responds?
> 
> Maybe you've hit this one which used to be a frequent problem here.
> The cure is usually either a newer version, or you could try
> deleting the font cache and hoping it will get rebuilt correctly
> (if there was a problem before) on the next run.
> 
> http://lists.gnu.org/archive/html/lilypond-user/2017-03/msg00066.html
> 
> Cheers,
> David.

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Re: Hairpins, brackets and dynamics

[Thomas Morley]

2018-04-24 9:51 GMT+02:00 Davide Liessi :
> Dear all,
> I need to engrave a hairpin in brackets after a \fz.
> I tried LSR 771 (http://lsr.di.unimi.it/LSR/Item?id=771) with the
> following results:
>
> \version "2.19.65"
>
> %http://lsr.di.unimi.it/LSR/Item?id=771
> hairpinBetweenText =
> #(define-music-function (leftText rightText) (markup? markup?)
>#{
>  \once \override Hairpin.stencil =
>  #(lambda (grob)
> (ly:stencil-combine-at-edge
>  (ly:stencil-combine-at-edge
>   (ly:stencil-aligned-to (grob-interpret-markup grob leftText) Y 
> CENTER)
>   X RIGHT
>   (ly:stencil-aligned-to (ly:hairpin::print grob) Y CENTER)
>   0.6)
>  X RIGHT
>  (ly:stencil-aligned-to (grob-interpret-markup grob rightText) Y 
> CENTER)
>  0.6))
>#})
>
> music = { c'1\fz\> c' c' c' d'1\! }
>
> \score {
>   <<
> \new Staff {
>   \music
> }
> \new Staff {
>   \hairpinBetweenText "[" "]"
>   \music
> }
> \new Staff {
>   \once \hide DynamicText
>   \hairpinBetweenText \markup { \dynamic { fz } "[" } "]"
>   \music
> }
> \new Staff {
>   \once \override Hairpin.shorten-pair = #'(0 . 2)
>   \once \hide DynamicText
>   \hairpinBetweenText \markup { \dynamic { fz } "[" } "]"
>   \music
> }
>   >>
> }
>
> Is there a way to make the second Staff look like the last one?
> I.e., is it possible to avoid the clash between the dynamic mark and
> the hairpin and to automatically shorten the hairpin?
>
> (By the way, in the third and fourth Staff hiding the DynamicText is
> not necessary, since the normal \fz and the one in \hairpinBetweenText
> are perfectly aligned; however if the DynamicText is omitted instead
> of hidden the hairpin is shifted to the right, which I didn't expect.)
>
> Best wishes.
> Davide



How about below?
It is ensured the bracketed hairpin is always of equal length as the
original. Ofcourse this means the visible hairpin is shortened a
little.
Applying 'shorten-pair is still possible, though. The "kerning" is adjustable.

\version "2.19.81"

#(define (hairpin-between-text kern left-text right-text)
  (lambda (grob)
(let* ((v-centered-left-text
 (ly:stencil-aligned-to
   (grob-interpret-markup grob left-text) Y CENTER))
   (left-text-x-ext (ly:stencil-extent v-centered-left-text X))
   (v-centered-right-text
 (ly:stencil-aligned-to
   (grob-interpret-markup grob right-text) Y CENTER))
   (right-text-x-ext (ly:stencil-extent v-centered-right-text X))
   (prev-shorten-pair
 (ly:grob-property grob 'shorten-pair '(0 . 0)))
   (thick
 (ly:grob-property grob 'thickness 1))
   (line-thick (ly:staff-symbol-line-thickness grob))
   (actual-thick (* thick line-thick))
   (shorten
 (+ (* 2 kern)
(cdr right-text-x-ext)
(cdr left-text-x-ext)
(- (* 2 actual-thick)

  (ly:grob-set-property! grob 'shorten-pair
(coord-translate
  prev-shorten-pair
  (cons 0 shorten)))

  (let* ((v-centered-hairpin
   (ly:stencil-aligned-to
 (ly:hairpin::print grob) Y CENTER))
 (hairpin-x-ext (ly:stencil-extent v-centered-hairpin X)))

(ly:stencil-translate-axis
  (ly:stencil-add
(ly:stencil-translate-axis
  v-centered-left-text
  (-
(car hairpin-x-ext)
(cdr left-text-x-ext)
actual-thick)
  X)
(ly:stencil-translate-axis
  v-centered-hairpin
  (- kern actual-thick)
  X)
(ly:stencil-translate-axis
  v-centered-right-text
  (+
(cdr hairpin-x-ext)
(* 2 kern))
  X))
  (cdr left-text-x-ext)
  X)

hairpinBetweenText =
#(define-music-function (space text-left text-right)
  ((number? 0.6) markup? markup?)
  #{
 \once \override Hairpin.stencil =
   #(hairpin-between-text space text-left text-right)
  #})

music = { c'1\fff\> c' c' c' d'1\! }

\score {
  <<
\new Staff {
  \music
}
\new Staff {
  \hairpinBetweenText "[" "]"
  \music
}
\new Staff {
  \hairpinBetweenText 0.2 "[" "]"
  \music
}
\new Staff {
  \override Hairpin.shorten-pair = #'(1 . 2)
  \hairpinBetweenText "[" "]"
  \music
}
  >>
}

HTH,
  Harm

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Hairpins, brackets and dynamics

[Davide Liessi]

Dear all,
I need to engrave a hairpin in brackets after a \fz.
I tried LSR 771 (http://lsr.di.unimi.it/LSR/Item?id=771) with the
following results:

\version "2.19.65"

%http://lsr.di.unimi.it/LSR/Item?id=771
hairpinBetweenText =
#(define-music-function (leftText rightText) (markup? markup?)
   #{
 \once \override Hairpin.stencil =
 #(lambda (grob)
(ly:stencil-combine-at-edge
 (ly:stencil-combine-at-edge
  (ly:stencil-aligned-to (grob-interpret-markup grob leftText) Y CENTER)
  X RIGHT
  (ly:stencil-aligned-to (ly:hairpin::print grob) Y CENTER)
  0.6)
 X RIGHT
 (ly:stencil-aligned-to (grob-interpret-markup grob rightText) Y CENTER)
 0.6))
   #})

music = { c'1\fz\> c' c' c' d'1\! }

\score {
  <<
\new Staff {
  \music
}
\new Staff {
  \hairpinBetweenText "[" "]"
  \music
}
\new Staff {
  \once \hide DynamicText
  \hairpinBetweenText \markup { \dynamic { fz } "[" } "]"
  \music
}
\new Staff {
  \once \override Hairpin.shorten-pair = #'(0 . 2)
  \once \hide DynamicText
  \hairpinBetweenText \markup { \dynamic { fz } "[" } "]"
  \music
}
  >>
}

Is there a way to make the second Staff look like the last one?
I.e., is it possible to avoid the clash between the dynamic mark and
the hairpin and to automatically shorten the hairpin?

(By the way, in the third and fourth Staff hiding the DynamicText is
not necessary, since the normal \fz and the one in \hairpinBetweenText
are perfectly aligned; however if the DynamicText is omitted instead
of hidden the hairpin is shifted to the right, which I didn't expect.)

Best wishes.
Davide

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Re: Off topic - SITT 20 Studies in Double Stops

[Simon Albrecht]

On 24.04.2018 09:06, Gianmaria Lari wrote:
The following is one excerpt from the Sitt book, 20 studies in Double 
Stops.



Why in the first three measures the G, D and A are written as 
g4~4~4~4  d4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea?


That’s clearly due to the pedagogical purpose; since the etudes are 
about Double Stops, the author wanted to make more immediately obvious 
what exact double stop is played at the moment. (Which I feel would make 
more sense if neither note was on an open string, but I guess that also 
appears later in the work.)


Best, Simon

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Re: Off topic - SITT 20 Studies in Double Stops

[Aaron Hill]

On 2018-04-24 00:06, Gianmaria Lari wrote:

My question is off topic. I hope it will not be a problem.

The following is one excerpt from the Sitt book, 20 studies in Double 
Stops.


Why in the first three measures the G, D and A are written as g4~4~4~4  
d

4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea?


I am not familiar with how this work is intended to be performed nor am 
I a music theorist by any standard, but I found a copy online for 
reference.


It is possible that the composer (or engraver) felt that keeping the 
open string paired with the moving voice in quarters made more sense 
visually.  At the end of the day, the following two snippets should 
basically express the same thing:



4 (    )

<< { \voiceOne d'4 e' fs' g' } \\ { \voiceTwo g1 } >>


One difference I can imagine with the explicit tied quarters is a sense 
of emphasis.  A whole note would imply a steady volume throughout, 
whereas the quarters could be indicating a subtle, pulsing volume change 
in time with the upper voice.



-- Aaron Hill

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Re: \include command and local network folders

[foxfanfare]

Knute Snortum wrote
> My tests on Windows 10 indicate that lilypond.exe can't handle UNC
> notation.  This is true even of a local file.

Let me wonder if everybody here use linux!
Maybe is it time for me to go for it...




--
Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html

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Re: lyluatex: cannot increase the line width

[Federico Bruni]

I've added this issue:
https://github.com/jperon/lyluatex/issues/195


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Off topic - SITT 20 Studies in Double Stops

[Gianmaria Lari]

My question is off topic. I hope it will not be a problem.

The following is one excerpt from the Sitt book, 20 studies in Double Stops.


Why in the first three measures the G, D and A are written as g4~4~4~4  d
4~4~4~4  a4~4~4~4 instead of g1 d1 a1? Any idea?

Ciao, g.
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Re: frescobaldi clipboard file name

[Gianmaria Lari]

On 23 April 2018 at 15:48, David Wright  wrote:

> On Mon 23 Apr 2018 at 09:43:01 (+0200), Gianmaria Lari wrote:
> > The following frescobaldi snippet call the "more.com" program with the
> > parameter "\\readme"
> >
> > -*- python;
> > from subprocess import call
> > call(["more.com", "\\readme"])
> >
> > This other one-line snippet pastes, in the frescobaldi editor window at
> the
> > cursor position, the lilypond file name (including path) of the current
> > document
> >
> > $FILE_NAME
> >
> > Now I would like to merge the two worlds:) I would like a snippet that
> > calls an external application passing as parameter $FILE_NAME.
> > Any suggestion?
>
> import os # likely to have been imported already
> call(["more.com", os.environ['FILE_NAME']])
>

I have not been able to make it working.
Let's make a step back and simplify things.
Let's use FRESCOBALDI_VERSION that should always be defined (FILE_NAME is
not defined when the file has not been explicitly saved).
And let's use a simple assignement instead of an external call.

The following code paste in the editor window the text "ciccio" at the
cursor position.

-*- python;

text = "ciccio"




Now if I try

-*- python;
import os
text = os.environ['FRESCOBALDI_VERSION']


I expect to see pasted the frescobaldi version. But this does not work and
I get the errror KeyError: FRESCOBALDI_VERSION.
Maybe the variables are not part of os.environ?

Thank you David,
g.
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