Re: Unpitched notes/sounds

[Robert Schmaus]

Hi Jaques,

This could simply refer to ghost notes, usually written with x note heads ...

Best,
Robert

__

It is wrong always, everywhere, and for anyone, to believe anything upon 
insufficient evidence. 
-- William Kingdon Clifford


> On 19 Oct 2016, at 17:40, Menu Jacques  wrote:
> 
> Hello folks,
> 
> MusicXML has the notion of an unpitched sound:
> 
>
>  E
>  5
>
> 
> I didn’t seem to find a way to write that in LP syntax in the documentations.
> 
> How can one approach that? Maybe a markup above the note?
> 
> Thanks for your help!
> 
> JM
> 
> 
> 
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Re: Problem with understanding results with multiple voices and Note_heads_engraver

[David Bellows]

> Before mentioning where one problem is, I suspect that I'm not
handling the multiple voices properly so that could be a problem as
well.

> The offending code in mwe.ly appears to be the following:

Ok, I discovered that there was an easier way to code multiple voices
across staves and now all the problems are gone. Still an interesting
problem, I suppose, but I've moved on.

Dave Bellows

On Wed, Oct 19, 2016 at 6:31 PM, David Bellows  wrote:
> I've attached mwe.ly and mwe.png. I'm using Lilypond 2.19.49 but I've
> observed the same results in other versions including 2.18.
>
> Before mentioning where one problem is, I suspect that I'm not
> handling the multiple voices properly so that could be a problem as
> well.
>
> The offending code in mwe.ly appears to be the following:
>
> \context { \Voice \remove "Note_heads_engraver" \consists
> "Completion_heads_engraver" \remove "Rest_engraver" \consists
> "Completion_rest_engraver"}
>
> Remove this line and the it prints out as you'd expect with those two
> B's as 16th notes in the lower staff. Here's the thing, the Lilypond
> code is generated automatically by my software and it's rare that
> notes fit within the bar lines so I always have that line included so
> that Lilypond prints things out accurately no matter what happens at
> bar lines (Lilypond automatically splits up and ties notes across bar
> lines and it does it really, really well).
>
> So I'm not sure if I've formed that line incorrectly or if there is
> something else going on or a combination of things.
>
> Thanks for any help,
> David Bellows

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Problem with understanding results with multiple voices and Note_heads_engraver

[David Bellows]

I've attached mwe.ly and mwe.png. I'm using Lilypond 2.19.49 but I've
observed the same results in other versions including 2.18.

Before mentioning where one problem is, I suspect that I'm not
handling the multiple voices properly so that could be a problem as
well.

The offending code in mwe.ly appears to be the following:

\context { \Voice \remove "Note_heads_engraver" \consists
"Completion_heads_engraver" \remove "Rest_engraver" \consists
"Completion_rest_engraver"}

Remove this line and the it prints out as you'd expect with those two
B's as 16th notes in the lower staff. Here's the thing, the Lilypond
code is generated automatically by my software and it's rare that
notes fit within the bar lines so I always have that line included so
that Lilypond prints things out accurately no matter what happens at
bar lines (Lilypond automatically splits up and ties notes across bar
lines and it does it really, really well).

So I'm not sure if I've formed that line incorrectly or if there is
something else going on or a combination of things.

Thanks for any help,
David Bellows
\version "2.19.49" 

\header { 
}

\language "english"

voice_one = {
  \key c \major
  \clef "treble"
  \time 4/4
  \tempo "adagio" 4 = 60
  r8 c'16 e'16 d'16 s16 s16 c'16 e'16 d'16 a'16 c'16 c'16 a'16 e'16 f'16 c'1
}

voice_five = {
  \key c \major
  \clef "treble"
  \time 4/4
  \tempo "adagio" 4 = 60
  s1 s1
}

voice_two = {
  \key c \major
  \clef "bass"
  \time 4/4
  \tempo "adagio" 4 = 60
  s8 s16 s16 s16 b16\ff b16 s16 s16 s16 s16 s16 s16 s16 s16 s16 s1
}

voice_six = {
  \key c \major
  \clef "bass"
  \time 4/4
  \tempo "adagio" 4 = 60
  e,1 d,1\bar "|."
}

\paper {#(set-paper-size "letter") }

\score { 
  \new PianoStaff << 
\new Staff = "upper" << 
  \new Voice = "first"  
  { \voiceOne {
	\voice_one}} 
  {\voiceThree {
	\voice_five}}  >> 
\new Staff = "lower" << 
  \new Voice = "second" 
  {\voiceTwo {
	\voice_two}} 
  {\voiceFour {
	\voice_six}}  >> 
  >> 
  \layout{ragged-bottom = ##t ragged-right = ##t
	  \context { \Voice \remove "Note_heads_engraver" \consists "Completion_heads_engraver" \remove "Rest_engraver" \consists "Completion_rest_engraver"}
	} 
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Re: Server error?

[Bernhard Kleine]

Am 19.10.2016 um 20:27 schrieb Malte Meyn:
> Am 19.10.2016 um 18:59 schrieb Jan-Peter Voigt:
>> http://lsr.di.unimi.it/LSR/Search
>>
>> This annoying dead-link came somehow, somewhere into the net ...
>>
>
> This link hasn’t always been dead: Some years ago the computer science
> department of the University of Milano changed it’s name/abbreviation
> from DSI to DI; they changed the subdomain (now di.unimi.it) as well.
I am pointed to http://lsr.di.unimi.it/LSR/Item?id=748. This works.
There is supposed to be a snippet at
http://lsr.dsi.unimi.it/LSR/Item?id=684. And there is the error/typo!
Maybe someone needs to go over the links and correct them.

Bernhard

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RE: Dorico release and tutorials

[Andrew Bernard]

It's A$838 (US$647) over here in Australia, which is the usual rip-off extra
factor we have to pay for living in our fair country. It needs to be
understood that the cost of delivery of software downloads is much higher to
Australia as we are so far from Europe and America and the data packets have
to pass through many more routers and longer lengths of fibre optics. :-)

There's no trial download version, and no educational or other discount
pricing.

It's a lot of money for a program you can't see or touch on your own
computer.

Obviously there is a need to recoup development costs, but it would be nice
if they could be a bit more generous. Or even offer a subscription service.
I know many people don't like subscription software, but it often makes
things actually affordable in practice.


Andrew


-Original Message-
From: lilypond-user On Behalf Of Michael Rivers
Sent: Thursday, 20 October 2016 4:01 AM
To: lilypond-user@gnu.org
Subject: Re: Dorico release and tutorials

Yikes -- $559! Even if the output were better than Lilypond's, that's way
out of my reach.



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RE: Unpitched notes/sounds

[Andrew Bernard]

Hello Jacques,

By unpitched are you referring to percussion? There's a section (2.5)  in the 
NR on that.

Andrew

-Original Message-
From: lilypond-user 
[mailto:lilypond-user-bounces+andrew.bernard=gmail@gnu.org] On Behalf Of 
Menu Jacques
Sent: Thursday, 20 October 2016 2:41 AM
To: LilyPond Users 
Cc: Menu Jacques 
Subject: Unpitched notes/sounds

MusicXML has the notion of an unpitched sound:




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Problems installing Version 2.19.49 on Windows 10

[Joseph N. Srednicki]

Hello:

 

I am having issues installing version 2.19.49 on Windows 10.

 

I repeated the installation twice and received the same results.

 

I followed these steps:

 

1.   Uninstall the previous version.

2.   Download lilypond-2.19.49-1.mingw.exe.

3.   Click lilypond-2.19.49-1.mingw.exe and follow the prompts. 

 

The installation process appears to operate normally. I don't see any errors
during the process.

 

4.   Restart the computer.

5.   Open a command prompt and enter the following:

 

C:\Users\Owner>lilypond -v

GNU LilyPond 2.18.2 .

 

Is it possible that the EXE is mislabeled or what am I doing incorrectly?

 

Thanks to anyone who can help.

 

Joe Srednicki

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Re: [Spam] Re: [Spam] Re: Spanner right-hand text may disappear when padded

[David Kastrup]

Rutger Hofman  writes:

> Even though I solved my problem: you asked above for my use-case, and
> in this case it is the Adagio for solo violin and 13 winds from Alban
> Berg's Kammerkonzert, see
> http://imslp.org/wiki/Kammerkonzert_(Berg,_Alban) for the score. The
> Adagio starts at page 48, bar 241. That page and the following few
> clearly show the behaviour I want: accel, rit, a tempo, etc in a close
> sequence, but obviously tied to their start times, and all at the same
> vertical offset. For individual, more time-compressed, parts (e.g. the
> woodwind parts that start out with rests!), I need to explicitly avoid
> the instructions getting partly on top of each other.

Doesn't \tempo work?

-- 
David Kastrup

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Re: [Spam] Re: [Spam] Re: Spanner right-hand text may disappear when padded

[Rutger Hofman]

On 10/17/2016 06:49 PM, David Nalesnik wrote:

On Mon, Oct 17, 2016 at 9:35 AM, David Nalesnik
 wrote:

On Mon, Oct 17, 2016 at 8:26 AM, Rutger Hofman  wrote:

Thanks for all the help! First I post some rationale, then my real question,
which is targeted at the developers I guess.

The behaviour I am after is a thing I really do want: it is visually
confusing if the 'a tempo' comes halfway the 'poco rit.)' when it is clearly
meant to be after it.

I am afraid that solutions involving staff-padding are not general enough;
if I try to move the \markup{a tempo} in my example to the beginning of its
bar, there is no value for right.text padding or staff-padding that lets it
be both visible and at the same vertical position. And even then I am unsure
if it will work for all 14 instrument parts (the tempo indications are
needed in all), the skyline can be wildly different.


I'm having difficulty understanding exactly what it is that you want
or why the solutions presented are insufficient.  Is it possible to
provide some sort of mockup--if if hand-drawn--to show exactly how
you'd like this to look?


OK... Now for the real question.

I am really unenlightened why the right.text (or for that matter, both
left.text and right.text if the padding is chosen sufficiently large)
disappears for largish values of padding. After all, the padding is intended
to stretch outside the texts, isn't that correct?

For a quick attempt to see if things crash or whatever if this test is
disabled, I cloned git and built on my Ubuntu, verified quickly that the
unmodified install works, then commented out that test (line 329 in
lily/line-spanner.cc) and ran again. Lo and behold, everything looks OK in
my first quick tests.

I am not familiar with Lilypond internals, so this raises my question: what
is this test for? What problems does it guard against? Should it only hold
for other spanners than text spanners? Or for right-broken text spanners?
Etc. Or is it just a bug/feature silently living on from the past?


When I fiddled around this a few days ago, the dashed line would
disappear when doing this.  Modifying the code to show the dashed line
again (another condition) shows the line superimposed on the right
text.

I can't investigate this further/pass along my test code for you to
investigate, b/c unfortunately I'm having a file permissions disaster
on my Win10 system.



Sorry about the empty email!

I've attached a Scheme rewrite of ly:text-spanner::print which allows
for easy demonstration of the problems I mention above.

I've removed the padding check.  This only brings back the right text.
The line is suppressed b/c the endpoint of the right side is actually
LEFT of the endpoint of the left side

Removing the check (line 161) draws the line, and you can see the consequences.

You could experiment with finding a way to set the X of the broken
second-half of the spanner to some value under 0.  I don't have a
rewrite of that C++ stuff, so it will mean messing with the source.


Again, thanks for all your efforts!

With removal of 'the' test, it finally dawned on me that the spanner 
right-hand text moves to the left upon padding, and the place in time 
where the right-hand text starts moves with it to the left. That is 
exactly /not/ the behaviour I want. I want each of these instructions to 
visually start at their very well-defined point in time. I came to the 
conclusion that instructions that start at a given time and are (more or 
less) aligned on the same Y-coordinate* will probably all have to be 
text spanners. So I solved my problem by converting the 'a tempo' markup 
in my original MWE to be the right-hand text of a second text spanner, 
which starts with the 'poco rit.)' incantation.


Even though I solved my problem: you asked above for my use-case, and in 
this case it is the Adagio for solo violin and 13 winds from Alban 
Berg's Kammerkonzert, see 
http://imslp.org/wiki/Kammerkonzert_(Berg,_Alban) for the score. The 
Adagio starts at page 48, bar 241. That page and the following few 
clearly show the behaviour I want: accel, rit, a tempo, etc in a close 
sequence, but obviously tied to their start times, and all at the same 
vertical offset. For individual, more time-compressed, parts (e.g. the 
woodwind parts that start out with rests!), I need to explicitly avoid 
the instructions getting partly on top of each other.


So, in conclusion: I solved my issues without using padding; again many 
thanks for your efforts in helping me clear this out.


Rutger Hofman
Amsterdam

*) is this horizontal or vertical alignment? I am always so confused 
about this...


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Re: Crash! -1073741819

[Noeck]

Hi,

>> Where does the error number come from? 

It happens to be 5 - 2^30. That does not explain anything, it is
probably either an integer overflow (underflow) or just some value
interpreted as an integer. It might point experts to the origin in the
source code or be a completely arbitrary number.

>> At least when LP crashes there
>> should be more verbal information, otherwise it is totally useless.

Of course, error messages should convey some useful information.
There are useful error messages whenever the developers expect some
failure. Perhaps you found a condition which nobody was expecting? If
you can describe how to reproduce it, an exception with a useful error
message can catch this case. But you have to know where it comes from,
first.

So, that's enough of my guesses. I hope that at least some of them are
correct.

Best,
Joram

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Re: Server error?

[Malte Meyn]

Am 19.10.2016 um 18:59 schrieb Jan-Peter Voigt:

http://lsr.di.unimi.it/LSR/Search

This annoying dead-link came somehow, somewhere into the net ...



This link hasn’t always been dead: Some years ago the computer science 
department of the University of Milano changed it’s name/abbreviation 
from DSI to DI; they changed the subdomain (now di.unimi.it) as well.


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Re: vertically aligning text/marks/tempo

[Kieren MacMillan]

Hi all,

> Hm, quoting order is somewhat strange here.
> But I have the impression with "sarcastic" Michael was referring to your 
> "really?”.

Ah! I see…
No, as you perceived, I was honestly questioning whether you had tried 
#’padding and found it not to work.  =)

Okay… move along… nothing to see here.

Cheers,
Kieren.


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


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Re: Dorico release and tutorials

[David Kastrup]

Michael Rivers  writes:

> Yikes -- $559! Even if the output were better than Lilypond's, that's way out
> of my reach.

Well, they are probably orienting themselves after Sibelius pricing and
Steinberg had to sink money into this before first sale.

I expect the price/value ratio to improve over time (though the price
will rather rise than fall) but the early adopters are likely getting to
bear more of the weight.  At any rate, a live project is more
interesting than a project in pure money-making mode (like Sibelius) and
the font work of Spreadbury and his team may even be useful for LilyPond
users.

And maybe the videos give Richard Shann a few ideas...

-- 
David Kastrup

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Re: mac unstable 2.19.49

[Trevor Bača]

Agreed.

I can confirm the MacOS fix in 2.19.49: works perfectly under MacOS 10.12.
And does, in fact, appear faster than 2.19.46!

The work applied towards this fix is very much appreciated.

Trevor.

On Mon, Oct 17, 2016 at 3:45 PM, Stan Sanderson  wrote:

>
> Many thanks to all who worked on the problem and found the solution.
> v2.19.49 seems faster than v2.19.46!
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Re: vertically aligning text/marks/tempo

[Urs Liska]

Am 19.10.2016 um 19:16 schrieb Kieren MacMillan:
> Hi Michael,
>
>>> Overriding #'padding or #'outside-staff-padding doesn't have any useful 
>>> effect either.
>> No need to be sarcastic in a reply to an honest question.
> I don’t believe Urs was being sarcastic…  =)

Hm, quoting order is somewhat strange here.
But I have the impression with "sarcastic" Michael was referring to your
"really?".

Well, I definitely didn't intend to be or sound sarcastic, and I didn't
perceive Kieren's messages as such either ...

>
> He just didn’t understand that adjusting TextScript.padding is insufficient 
> (a.k.a. “not useful”), and that you also need to account for Lily’s 
> bottom-alignment text-handling.
>
> Cheers,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>
>
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Re: vertically aligning text/marks/tempo

[Kieren MacMillan]

Hi Michael,

>> Overriding #'padding or #'outside-staff-padding doesn't have any useful 
>> effect either.
> No need to be sarcastic in a reply to an honest question.

I don’t believe Urs was being sarcastic…  =)

He just didn’t understand that adjusting TextScript.padding is insufficient 
(a.k.a. “not useful”), and that you also need to account for Lily’s 
bottom-alignment text-handling.

Cheers,
Kieren.


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


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Re: vertically aligning text/marks/tempo

[Michael Rivers]

Really?
Hi Urs,

> Overriding #'padding or #'outside-staff-padding doesn't have any useful
> effect either.

Really?

No need to be sarcastic in a reply to an honest question.




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Re: Dorico release and tutorials

[Michael Rivers]

Yikes -- $559! Even if the output were better than Lilypond's, that's way out
of my reach.



--
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http://lilypond.1069038.n5.nabble.com/Dorico-release-and-tutorials-tp195437p195490.html
Sent from the User mailing list archive at Nabble.com.

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Re: Server error?

[Jan-Peter Voigt]

Hi Bernhard,

no, there is a typo:

http://lsr.di.unimi.it/LSR/Search

This annoying dead-link came somehow, somewhere into the net ...

HTH

Jan-Peter

Am 19.10.2016 um 18:56 schrieb Bernhard Kleine:

Hi

Der Server unter lsr.dsi.unimi.it konnte nicht gefunden werden. Server
could not be found?

Bernhard




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Server error?

[Bernhard Kleine]

Hi

Der Server unter lsr.dsi.unimi.it konnte nicht gefunden werden. Server
could not be found?

Bernhard


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Unpitched notes/sounds

[Menu Jacques]

Hello folks,

MusicXML has the notion of an unpitched sound:


  E
  5


I didn’t seem to find a way to write that in LP syntax in the documentations.

How can one approach that? Maybe a markup above the note?

Thanks for your help!

JM



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Re: Dorico release and tutorials

[Kieren MacMillan]

Hi Gilles,

> ?
> The initial post was about manually setting the margins for each page.

The discussion quickly replaced that original query with a two-option approach. 
For whatever reason, it's clear that you don’t see how/when that happened. I 
simply tried to point out that it has. Since my attempt apparently isn't 
working, I’ll stop trying.

Kieren.


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


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Re: Dorico release and tutorials

[Kieren MacMillan]

Hi Gilles,

> What I'm saying is that *if* the feature is to allow a given
> number of systems onto one page, it is better to have an explicit
> command to that effect, rather than "manually" fiddle with the
> margin and/or staff-size settings.

Of course — I don’t see where anyone suggested otherwise.

Cheers,
Kieren.


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‣ email: i...@kierenmacmillan.info


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About manually setting the margins for each page (Was: Re: Dorico release and tutorials)

[Gilles]

On Wed, 19 Oct 2016 11:01:21 -0400, Kieren MacMillan wrote:

Hi Gilles,


?
The initial post was about manually setting the margins for each 
page.


The discussion quickly replaced that original query with a two-option
approach. For whatever reason, it's clear that you don’t see how/when
that happened. I simply tried to point out that it has. Since my
attempt apparently isn't working, I’ll stop trying.


Thanks for the attempt; it would have been successful, had
you quoted, or referred to, the said query change, rather
than commenting on text that was not present on the post
to which I replied.

It would be less easy to get lost if posters would change
the subject line when they indeed change subject...

Regards,
Gilles



Kieren.



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Re: Dorico release and tutorials

[Gilles]

On Wed, 19 Oct 2016 10:42:58 -0400, Kieren MacMillan wrote:

Hi Gilles,


What I'm saying is that *if* the feature is to allow a given
number of systems onto one page, it is better to have an explicit
command to that effect, rather than "manually" fiddle with the
margin and/or staff-size settings.


Of course — I don’t see where anyone suggested otherwise.


?
The initial post was about manually setting the margins for
each page.

Gilles



Cheers,
Kieren.



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Re: Dorico release and tutorials

[Gilles]

On Wed, 19 Oct 2016 16:20:11 +0200, Urs Liska wrote:

Am 19.10.2016 um 16:14 schrieb Gilles:

Hi.

On Wed, 19 Oct 2016 09:47:01 -0400, Kieren MacMillan wrote:

Hi Gilles,


Unforced breaks can depend on previous margin settings,
possibly making the numbering wrong when the user reruns
the compilation with different settings.


Of course that *can* happen… but it doesn’t have to. In all my
scores, once the layout is fixed, I no longer *ever* let Lilypond 
make
layout choices: I turn off auto-breaking and manually force-break 
all
lines and pages, i.e., page numbers in my scores never change 
[after

that point].


Why “rather”? Why not “in addition to”?


Because (I guess that) the former will not likely produce
the expected output, particularly when there are many pages.
Unless you mean that the typesetting should only rely on
forced breaks.


No… I’m saying I don’t understand why there cannot be options — 
then

users (like me) who control breaks completely can do one thing, and
those who don’t can do another.

That’s one of my favourite philosophical features about Lilypond: 
it

so often allows the user to choose, offering many parameters for
adjustment (with reasonable defaults).


I think that we say the same thing: the feature would work
reliably only when the user specify all page breaks.


I think that *if* a score requires differently-sized sections it's
pretty common that you'll end up with manual breaks. So t option 
should

be there, as an alternative.
Of course such a feature could also be useful to apply to "the 
current
page", so you'll write an explicit break followed by the command. 
That

way it would be independent from the actual page number.


What I'm saying is that *if* the feature is to allow a given
number of systems onto one page, it is better to have an explicit
command to that effect, rather than "manually" fiddle with the
margin and/or staff-size settings.

Of course, I can well imagine that it would be much more complicated
to implement than a margin setting, while for users that enter all the
page breaks manually, all that would be required is the margin setting.

Best regards,
Gilles





Best,
Gilles



Cheers,
Kieren.





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Re: vertically aligning text/marks/tempo

[Urs Liska]

Am 19.10.2016 um 16:28 schrieb Kieren MacMillan:
> Hi Urs,
>
>>> Maybe you can be the one to finally tackle this issue?  =)
>> I don't have the slightest idea how that should be approached, sorry …
> Okay… thanks anyway.
>
>> Well, for this example I simply added white letters to the two markups,
>> ehm ... (after I didn't immediately manage to automatically concat them
>> through a function)
> \combine works for me:
>
>   SNIPPET BEGINS
> \version "2.19"
> \language "english"
>
> strut = \markup \transparent { Tj }
>
> #(define-markup-command (mstrut layout props mkp)
>(markup?)
>  (interpret-markup layout props
>  (markup #:combine mkp strut)))
>
> \paper { ragged-right = ##f }
>
> baselines = {
>   \override TextScript.padding = #2.5
>   c'4^\markup \mstrut "Du liebst mich nicht" c' c' c' c'1 \bar "||"
>   e'16^\markup \mstrut "Der Zwerg" a' e' a' e' a' e' a' r2
>   2^\markup \mstrut "An mein Herz" r
> }
>
> \score { \baselines }
>   SNIPPET BEGINS

Thanks!
I think I should eventually write a chapter about markup commands in
order to finally understand how to use them ;-)

>
> Which makes me think… maybe there’s a way to make a global callback so that 
> all markup is automatically mstrut-ted?
> I would just have no idea how to do that…
>
> Cheers,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>


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Re: vertically aligning text/marks/tempo

[Kieren MacMillan]

Hi Urs,

>> Maybe you can be the one to finally tackle this issue?  =)
> I don't have the slightest idea how that should be approached, sorry …

Okay… thanks anyway.

> Well, for this example I simply added white letters to the two markups,
> ehm ... (after I didn't immediately manage to automatically concat them
> through a function)

\combine works for me:

  SNIPPET BEGINS
\version "2.19"
\language "english"

strut = \markup \transparent { Tj }

#(define-markup-command (mstrut layout props mkp)
   (markup?)
 (interpret-markup layout props
 (markup #:combine mkp strut)))

\paper { ragged-right = ##f }

baselines = {
  \override TextScript.padding = #2.5
  c'4^\markup \mstrut "Du liebst mich nicht" c' c' c' c'1 \bar "||"
  e'16^\markup \mstrut "Der Zwerg" a' e' a' e' a' e' a' r2
  2^\markup \mstrut "An mein Herz" r
}

\score { \baselines }
  SNIPPET BEGINS

Which makes me think… maybe there’s a way to make a global callback so that all 
markup is automatically mstrut-ted?
I would just have no idea how to do that…

Cheers,
Kieren.


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


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Re: Dorico release and tutorials

[Urs Liska]

Am 19.10.2016 um 16:14 schrieb Gilles:
> Hi.
>
> On Wed, 19 Oct 2016 09:47:01 -0400, Kieren MacMillan wrote:
>> Hi Gilles,
>>
>>> Unforced breaks can depend on previous margin settings,
>>> possibly making the numbering wrong when the user reruns
>>> the compilation with different settings.
>>
>> Of course that *can* happen… but it doesn’t have to. In all my
>> scores, once the layout is fixed, I no longer *ever* let Lilypond make
>> layout choices: I turn off auto-breaking and manually force-break all
>> lines and pages, i.e., page numbers in my scores never change [after
>> that point].
>>
 Why “rather”? Why not “in addition to”?
>>>
>>> Because (I guess that) the former will not likely produce
>>> the expected output, particularly when there are many pages.
>>> Unless you mean that the typesetting should only rely on
>>> forced breaks.
>>
>> No… I’m saying I don’t understand why there cannot be options — then
>> users (like me) who control breaks completely can do one thing, and
>> those who don’t can do another.
>>
>> That’s one of my favourite philosophical features about Lilypond: it
>> so often allows the user to choose, offering many parameters for
>> adjustment (with reasonable defaults).
>
> I think that we say the same thing: the feature would work
> reliably only when the user specify all page breaks.

I think that *if* a score requires differently-sized sections it's
pretty common that you'll end up with manual breaks. So t option should
be there, as an alternative.
Of course such a feature could also be useful to apply to "the current
page", so you'll write an explicit break followed by the command. That
way it would be independent from the actual page number.

>
> Best,
> Gilles
>
>>
>> Cheers,
>> Kieren.
>
>
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Re: vertically aligning text/marks/tempo

[Urs Liska]

Am 19.10.2016 um 15:37 schrieb Kieren MacMillan:
> Hi Urs,
>
>>> Of course, you still have to manually deal with the [long-standing and 
>>> long-irritating] fact that texts are not baseline-aligned, but 
>>> bottom-aligned… 
>> Oh my, this is the reason ...
> Yes. I’ve never seen a good reason for why Lilypond chose (chooses) this 
> implementation, nor a good explanation of why it would be any more difficult 
> to fix it to be the more intuitive (and text-setting industry standard) 
> baseline alignment. As long as the skylines are calculated according to the 
> new alignment/placement, it should be equally easy to manipulate 
> baseline-aligned text.
>
> Maybe you can be the one to finally tackle this issue?  =)

I don't have the slightest idea how that should be approached, sorry ...

>
> Thanks,
> Kieren.
>
> p.s. Do you need help implementing the strut?

Well, for this example I simply added white letters to the two markups,
ehm ... (after I didn't immediately manage to automatically concat them
through a function)

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


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Re: Dorico release and tutorials

[Gilles]

Hi.

On Wed, 19 Oct 2016 09:47:01 -0400, Kieren MacMillan wrote:

Hi Gilles,


Unforced breaks can depend on previous margin settings,
possibly making the numbering wrong when the user reruns
the compilation with different settings.


Of course that *can* happen… but it doesn’t have to. In all my
scores, once the layout is fixed, I no longer *ever* let Lilypond 
make

layout choices: I turn off auto-breaking and manually force-break all
lines and pages, i.e., page numbers in my scores never change [after
that point].


Why “rather”? Why not “in addition to”?


Because (I guess that) the former will not likely produce
the expected output, particularly when there are many pages.
Unless you mean that the typesetting should only rely on
forced breaks.


No… I’m saying I don’t understand why there cannot be options — then
users (like me) who control breaks completely can do one thing, and
those who don’t can do another.

That’s one of my favourite philosophical features about Lilypond: it
so often allows the user to choose, offering many parameters for
adjustment (with reasonable defaults).


I think that we say the same thing: the feature would work
reliably only when the user specify all page breaks.

Best,
Gilles



Cheers,
Kieren.



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Re: \omit TupletNumber reversal

[Martin Neubauer]

\once \undo \omit TupletNumber ?

On 19/10/2016 15:39, Bernhard Kleine wrote:
> For a long sequence of trioles I have shown the tupletNumber once and
> omitted thereafter. Now a next triole sequence starts and would show
> again the tupletNumber only once. But it is no longer there. How to
> bring it back.
> 
> (in the documentation for 2.19.49 there is no hint for this as far as I
> can see)
> 
> Thanks for invaluable help so far.
> 
> Bernhard
> 
> 
> 
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Re: Dorico release and tutorials

[Kieren MacMillan]

Hi Gilles,

> Unforced breaks can depend on previous margin settings,
> possibly making the numbering wrong when the user reruns
> the compilation with different settings.

Of course that *can* happen… but it doesn’t have to. In all my scores, once the 
layout is fixed, I no longer *ever* let Lilypond make layout choices: I turn 
off auto-breaking and manually force-break all lines and pages, i.e., page 
numbers in my scores never change [after that point].

>> Why “rather”? Why not “in addition to”?
> 
> Because (I guess that) the former will not likely produce
> the expected output, particularly when there are many pages.
> Unless you mean that the typesetting should only rely on
> forced breaks.

No… I’m saying I don’t understand why there cannot be options — then users 
(like me) who control breaks completely can do one thing, and those who don’t 
can do another.

That’s one of my favourite philosophical features about Lilypond: it so often 
allows the user to choose, offering many parameters for adjustment (with 
reasonable defaults).

Cheers,
Kieren.


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


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\omit TupletNumber reversal

[Bernhard Kleine]

For a long sequence of trioles I have shown the tupletNumber once and
omitted thereafter. Now a next triole sequence starts and would show
again the tupletNumber only once. But it is no longer there. How to
bring it back.

(in the documentation for 2.19.49 there is no hint for this as far as I
can see)

Thanks for invaluable help so far.

Bernhard

-- 
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Re: vertically aligning text/marks/tempo

[Kieren MacMillan]

Hi Urs,

>> Of course, you still have to manually deal with the [long-standing and 
>> long-irritating] fact that texts are not baseline-aligned, but 
>> bottom-aligned… 
> Oh my, this is the reason ...

Yes. I’ve never seen a good reason for why Lilypond chose (chooses) this 
implementation, nor a good explanation of why it would be any more difficult to 
fix it to be the more intuitive (and text-setting industry standard) baseline 
alignment. As long as the skylines are calculated according to the new 
alignment/placement, it should be equally easy to manipulate baseline-aligned 
text.

Maybe you can be the one to finally tackle this issue?  =)

Thanks,
Kieren.

p.s. Do you need help implementing the strut?


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


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Re: Dorico release and tutorials

[Gilles]

Hi.

On Wed, 19 Oct 2016 09:21:32 -0400, Kieren MacMillan wrote:

Hi Gilles,


Doesn't the page number depend on how the previous material
has been typeset?


Not if breaks are forced, etc.


Unforced breaks can depend on previous margin settings,
possibly making the numbering wrong when the user reruns
the compilation with different settings.


It seems to me that, rather than "specify the global-staff-size
for individual pages", it should be "from now on, magnify the
global-staff-size so that  systems fit the page”.


Why “rather”? Why not “in addition to”?


Because (I guess that) the former will not likely produce
the expected output, particularly when there are many pages.

Unless you mean that the typesetting should only rely on
forced breaks.

Regards,
Gilles



Cheers,
Kieren.


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



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Re: Dorico release and tutorials

[Kieren MacMillan]

Hi Gilles,

> Doesn't the page number depend on how the previous material
> has been typeset?

Not if breaks are forced, etc.

> It seems to me that, rather than "specify the global-staff-size
> for individual pages", it should be "from now on, magnify the
> global-staff-size so that  systems fit the page”.

Why “rather”? Why not “in addition to”?

Cheers,
Kieren.


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


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Re: No readline in scheme-sandbox

[David Sumbler]

On Wed, 2016-10-19 at 11:34 +0200, David Kastrup wrote:
> David Sumbler  writes:
> 
> > 
> > Given that, on my 64-bit Linux system, I have Guile 1.8 installed
> > complete with readline, I'd be very grateful if somebody could
> > explain
> > to me how I can get readline to load when I type 'lilypond scheme-
> > sandbox' with Lilypond v.2.19.40 .
> Did you compile LilyPond yourself?

(There is an error in my previous email: I have Lilypond v.2.19.48)

I downloaded lilypond-2.19.48-1.linux-64.sh from http://lilypond.org/de
velopment.html and then ran

sudo sh ./lilypond-2.19.48-1.linux-64.sh --doc

David

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Re: Dorico release and tutorials

[Gilles]

On Wed, 19 Oct 2016 12:44:22 +0200, Urs Liska wrote:

Am 19.10.2016 um 12:41 schrieb David Kastrup:

Pierre Perol-Schneider  writes:


I just watched the vids. One thing I appreciate is the pages layout
possibilities.
It would be great if LP had something like:

\paper {
  %defaults settings:
  right-margin = 10
  left-margin = 10

  %specific page settings:
  \page #1 {
right-margin = 20
left-margin = 20
  }

page.1.right-margin = 20
page.1.left-margin = 20

}
I'm not saying that we currently have this, just that this would be 
one

possible interface.


Doesn't the page number depend on how the previous material
has been typeset?



That looks very nice.
On a related note (not knowing whether Dorico has this) it would also 
be
great to be able to specify the global-staff-size for individual 
pages.

It's pretty common in larger orchestral scores that you have only a
small number of pages where you need the full orchestra and want to 
have

smaller staff size.


It seems to me that, rather than "specify the global-staff-size
for individual pages", it should be "from now on, magnify the
global-staff-size so that  systems fit the page".

Regards,
Gilles


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Re: vertically aligning text/marks/tempo

[Urs Liska]

Am 19.10.2016 um 13:50 schrieb Kieren MacMillan:
> Hi Urs,
>
>> Overriding #'padding or #'outside-staff-padding doesn't have any useful 
>> effect either.
> Really?
>
>   SNIPPET BEGINS
> \version "2.19"
> \language "english"
>
> \paper { ragged-right = ##f }
>
> baselines = {
>   \override TextScript.padding = #2.5
>   c'4^\markup { Du liebst mich nicht } c' c' c' c'1 \bar "||"
>   e'16^\markup { Der Zwerg } a' e' a' e' a' e' a' r2
>   2^\markup { An mein Herz } r
> }
>
> \score { \baselines }
>   SNIPPET ENDS
>
> Of course, you still have to manually deal with the [long-standing and 
> long-irritating] fact that texts are not baseline-aligned, but 
> bottom-aligned… 

Oh my, this is the reason ...
You see I'm not very experienced with TextScripts.

Thanks
Urs

> but that’s easily done by adding a strut in each markup.
>
> Hope this helps,
> Kieren.
> 
>
> Kieren MacMillan, composer
> ‣ website: www.kierenmacmillan.info
> ‣ email: i...@kierenmacmillan.info
>


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Re: Start a staff later

[Urs Liska]

Am 19.10.2016 um 11:46 schrieb David Kastrup:
> Urs Liska  writes:
>
>> Hi all,
>>
>> I have created the attached music example, using some polymetrics
>> trickery to align the differing music. As you can see the lower sample
>> is shorter, starting later and stopping earlier. The lower PianoStaff
>> simply stops when the music stops, and I would be happy to have the same
>> effect at the beginning of the system as well.
>>
>> Is it possible to have the lower PianoStaff start only at its second
>> measure, that is, with having the brace and the time signature only there?
> Uh, have you tried something like

Quite close, but I'd have to experiment with the way the PianoStaff
actually starts. The brace without a barline looks strange still.

Best
Urs
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Re: Crash! -1073741819

[Robert Schmaus]

It could be coincidence, but there's a Windows error code of just that number:
http://www.tenforums.com/general-support/9872-file-system-error-1073741819-a.html

__

It is wrong always, everywhere, and for anyone, to believe anything upon 
insufficient evidence. 
-- William Kingdon Clifford


> On 19 Oct 2016, at 13:12, Bernhard Kleine  wrote:
> 
> Where does the error number come from? At least when LP crashes there
> should be more verbal information, otherwise it is totally useless. The
> same should apply to Frescobaldi.
> 
> My 5 cents
> 
> Bernhard
> 
> 
> 
> -- 
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Re: vertically aligning text/marks/tempo

[Kieren MacMillan]

Hi Urs,

> Overriding #'padding or #'outside-staff-padding doesn't have any useful 
> effect either.

Really?

  SNIPPET BEGINS
\version "2.19"
\language "english"

\paper { ragged-right = ##f }

baselines = {
  \override TextScript.padding = #2.5
  c'4^\markup { Du liebst mich nicht } c' c' c' c'1 \bar "||"
  e'16^\markup { Der Zwerg } a' e' a' e' a' e' a' r2
  2^\markup { An mein Herz } r
}

\score { \baselines }
  SNIPPET ENDS

Of course, you still have to manually deal with the [long-standing and 
long-irritating] fact that texts are not baseline-aligned, but bottom-aligned… 
but that’s easily done by adding a strut in each markup.

Hope this helps,
Kieren.


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


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Re: Crash! -1073741819

[bb]

I think that is not a good question as you try to compile an erroneous 
code.


Firstly correct your lilypond code and secondly then ask for the meaning 
of an error message - if any!


On 19.10.2016 13:12, Bernhard Kleine wrote:

Where does the error number come from? At least when LP crashes there
should be more verbal information, otherwise it is totally useless. The
same should apply to Frescobaldi.

My 5 cents

Bernhard





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Re: Crash! -1073741819

[Bernhard Kleine]

Where does the error number come from? At least when LP crashes there
should be more verbal information, otherwise it is totally useless. The
same should apply to Frescobaldi.

My 5 cents

Bernhard



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Re: Crash! -1073741819

[bb]

I tried with the old version 2.18 (the code needs 2.19.33) and get a 
barcheck error:


/tmp/frescobaldi-z8g5a2pn/tmp4w88rb38/document.ly:31:22 <0>: warning: 
barcheck failed at: 1/8


c4 h16 a f8 g 16 a

| g4.

On 19.10.2016 11:53, Thomas Morley wrote:

2016-10-19 11:17 GMT+02:00 Bernhard Kleine :

Can you please explain?

Win7, amd64, the  .ly could no longer to be saved in Frescobaldi, but
mark and copied to a fresh document and could be compiled from there
with any error.

I am stymied

Regards Bernhard


No crash here, apart from a failed bar-check warning.
Try compiling from command-line, if success, it's likely a frescobaldi-issue.

Cheers,
   Harm

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Re: Crash! -1073741819

[bb]

Check if it is reproducible, say, if it repeats.

Simply sh... happens some time.

Regards

On 19.10.2016 11:17, Bernhard Kleine wrote:

\version "2.19.33"
\language "deutsch"

\paper {
   #(set-paper-size "a4")
}

\layout {
   \context {
 \Voice
 \consists "Melody_engraver"
 \override Stem #'neutral-direction = #'()
   }
}

global = {
   \key c \major
   \numericTimeSignature
   \time 2/4
  
   \tempo "Allegretto"

}

sopranoVoice = \relative c'' {
   \global
   \dynamicUp
   % Die Noten folgen hier.
   s8 | s2 |s2 | s2|\break
   s4 s8 e,16(f) |
   g8 f16( e) f8 g16 a | g4 e8 d'8\rest|
   c4 h16 a f8 g 16 a | g4.
}

verseOne = \lyricmode {
   % Liedtext folgt hier.
   Die Kin -- der sit -- zen im Zim -- mer Weih -- nach -- ten ist nicht mehr 
weit
   bei trau -- li -- chem Lam -- pen -- schim -- mer und ju -- beln: es 
schneit, es schneit!
   Das leich -- te Floc -- ken -- ge -- wim -- mel, es schwebt durch die däm 
-- mern -- de Nacht,
   her -- un -- ter vom ho -- hen Him -- mel, vor -- ü -- ber am Fen -- ster 
sacht.
   
   Und wo ein Flöckchen im Tanze den Schweiben vorüber schweift,

   da flimmerst in silbernem Glanze, vom Lichte der Lampe gestreift.
   Die Kindlein sehn's mit Frohlocken und drängen sich ans Fenster dicht,
   verfolgen die Silberflocken, die Mutter lächelnd spricht:
   
   Wißt, Kinder, die Englein schneidern im Himmel jetzt früh und spät,

   an Puppenbettchen und Kleidern wird fleißig auf Weihnacht genäht.
   Da fällt von Jäckchen und Röckchen manch silberner Flitter beiseit,
   vom Bettchen manch Federflöckchen, auf Erden sagt man: es schneit, es 
schneit.
   
   Und seid ihr lieb und vernünftig, ist manches für Euch auch bestellt;

   wer weiß es, was Schönes auch künftig vom Tische der Englein fällt!
   Die Mutter spricht's, vor Entzücken den Kleinen das Herze lacht,
   sie träumen mit seligen Blicken hinaus in die zaubrische Nacht.
}



rightOne = \relative c'' {
   \global
   % Die Noten folgen hier.
   \partial 8 \stemDown
   \tuplet 3/2 {d'16( \p c f,} | \omit TupletNumber
   \tuplet 3/2 {d'16^>_"con gracia"  [c e,]} \tuplet 3/2 {a g h,}
   \tuplet 3/2 {a' [g c,]} \tuplet 3/2 {f\< e b} |
   \tuplet 3/2 { g'\> [f a,\!]} \tuplet 3/2 {e' [d a]} \tuplet 3/2 {e' [d g,]} 
\tuplet 3/2 {a [g e']}|
   \stemUp
   c8~ \tuplet 3/2 {c16 [ais h]} c8~ \tuplet 3/2 {c16 [ais h]} |c4.)
   
}


rightTwo = \relative c'' {
   \global
   % Die Noten folgen hier.
   s8|s2|s2| \omit TupletNumber
   \tuplet 3/2 {c16 [e, g] } f8 \tuplet 3/2 { c'16 [e, g]} f8 | e4.
}

leftOne = \relative c' {
   \global
   % Die Noten folgen hier.
   \clef treble \stemDown
   8 |
   \stemUp ^>   |
\clef bass  4|
   \stemUp g,8( as g as|g4.)
}

leftTwo = \relative c' {
   \global
   % Die Noten folgen hier.
   s8|s2|s2|
   c,4 c |c4.
}

sopranoVoicePart = \new Staff \with {
   instrumentName = "S."
   \consists "Ambitus_engraver"
} { \sopranoVoice }
\addlyrics { \verseOne }


pianoPart = \new PianoStaff \with {
   instrumentName = "Kl."
} <<
   \new Staff = "right" << \rightOne \\ \rightTwo >>
   \new Staff = "left" { \clef bass << \leftOne \\ \leftTwo >> }

>>

\score {
   <<
 \sopranoVoicePart
 \pianoPart
   >>
   \layout { }
}


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Re: Dorico release and tutorials

[Urs Liska]

Am 19.10.2016 um 12:41 schrieb David Kastrup:
> Pierre Perol-Schneider  writes:
>
>> I just watched the vids. One thing I appreciate is the pages layout
>> possibilities.
>> It would be great if LP had something like:
>>
>> \paper {
>>   %defaults settings:
>>   right-margin = 10
>>   left-margin = 10
>>
>>   %specific page settings:
>>   \page #1 {
>> right-margin = 20
>> left-margin = 20
>>   }
> page.1.right-margin = 20
> page.1.left-margin = 20
>> }
> I'm not saying that we currently have this, just that this would be one
> possible interface.

That looks very nice.
On a related note (not knowing whether Dorico has this) it would also be
great to be able to specify the global-staff-size for individual pages.
It's pretty common in larger orchestral scores that you have only a
small number of pages where you need the full orchestra and want to have
smaller staff size.
>


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Re: Dorico release and tutorials

[David Kastrup]

Pierre Perol-Schneider  writes:

> I just watched the vids. One thing I appreciate is the pages layout
> possibilities.
> It would be great if LP had something like:
>
> \paper {
>   %defaults settings:
>   right-margin = 10
>   left-margin = 10
>
>   %specific page settings:
>   \page #1 {
> right-margin = 20
> left-margin = 20
>   }

page.1.right-margin = 20
page.1.left-margin = 20
> }

I'm not saying that we currently have this, just that this would be one
possible interface.

-- 
David Kastrup

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Re: Dorico release and tutorials

[Pierre Perol-Schneider]

I just watched the vids. One thing I appreciate is the pages layout
possibilities.
It would be great if LP had something like:

\paper {
  %defaults settings:
  right-margin = 10
  left-margin = 10

  %specific page settings:
  \page #1 {
right-margin = 20
left-margin = 20
  }
  \page #2 {
right-margin = 30
left-margin = 30
  }
}

Pierre

2016-10-19 11:31 GMT+02:00 David Kastrup :

> "Andrew Bernard"  writes:
>
> > How do you watch these videos which induce sea sickness with the unstable
> > camera? Is this supposed to be trendy film making, or just complete
> > incompetence? What is Steinberg thinking? I cannot imagine a worse
> promotion
> > for a product. They are unwatchable. Perhaps shot by a drone with the
> > stabiliser system gone defective. It's simply bizarre. Does not exactly
> > instil confidence in the product for me.
> >
> > Sorry David about the Anglocentric keyboard world they adopt.
>
> It does not bother me in person: I am using a U.S. keyboard layout
> anyway (my computing career started on ASCII terminals like the ADM3A,
> and while I don't remember distinctly, I assume that the card punching
> stations for the CDC had a U.S. keyboard as well), regardless on what is
> printed on my keycaps (currently some sort of Scandinavian layout with
> Æ, Ø and Å where German would have Ä Ö Ü in some order I think).
>
> > Perhaps users should complain. And I thought Steinberg was a German
> > company?
>
> Germans are not that bad off I think: the keys in question looked like
> they would be more or less the same.  LilyPond is probably more annoying
> with its necessity for characters like [] {} which are a nuisance to
> generate on German keyboards, possibly using AltGr and 7...0 if they do
> it the same way as the Danish (?).
>
> But the French need Shift for producing numerals, and their A is in the
> top row and there are a number of other rearrangements as well.  That
> already was seen as a drawback for the Wordstar keybindings in the 80s
> (which relied on the arrangement of aesdxf and rc for cursor movement).
>
> Since this is a frequent issue for renegotiations on the Emacs developer
> list, it struck me as a detail that something like asdfg was used for
> input.
>
> And of course, they'll not enamour Dvorak keyboard users...
>
> --
> David Kastrup
>
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InstrumentName on right side

[Thomas Morley]

Hi,

for some very special project I'd like to print the InstrumentName on
the _right_ side.

Here an example to play with

\version "2.19.48"

\paper { line-width = 60 indent = 0 }

\new Staff
  \with {
instrumentName = "f"
shortInstrumentName = "f"
  }
 { c'1 \break c' }


Is it even possible?
Any hint appreciated.

Cheers,
  Harm

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Re: Crash! -1073741819

[Thomas Morley]

2016-10-19 11:17 GMT+02:00 Bernhard Kleine :
> Can you please explain?
>
> Win7, amd64, the  .ly could no longer to be saved in Frescobaldi, but
> mark and copied to a fresh document and could be compiled from there
> with any error.
>
> I am stymied
>
> Regards Bernhard


No crash here, apart from a failed bar-check warning.
Try compiling from command-line, if success, it's likely a frescobaldi-issue.

Cheers,
  Harm

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Re: Start a staff later

[David Kastrup]

Urs Liska  writes:

> Hi all,
>
> I have created the attached music example, using some polymetrics
> trickery to align the differing music. As you can see the lower sample
> is shorter, starting later and stopping earlier. The lower PianoStaff
> simply stops when the music stops, and I would be happy to have the same
> effect at the beginning of the system as well.
>
> Is it possible to have the lower PianoStaff start only at its second
> measure, that is, with having the brace and the time signature only there?

Uh, have you tried something like

<<
  \new PianoStaff << \new Staff \repeat unfold 24 e'4
		 \new Staff \repeat unfold 24 c'4
		   >>
  { \skip 1*2
\new PianoStaff << \new Staff \repeat unfold 16 e''4
		   \new Staff \repeat unfold 16 c''4
		 >>
  }
>>


-- 
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Re: No readline in scheme-sandbox

[David Kastrup]

David Sumbler  writes:

> Given that, on my 64-bit Linux system, I have Guile 1.8 installed
> complete with readline, I'd be very grateful if somebody could explain
> to me how I can get readline to load when I type 'lilypond scheme-
> sandbox' with Lilypond v.2.19.40 .

Did you compile LilyPond yourself?

-- 
David Kastrup

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Re: Dorico release and tutorials

[David Kastrup]

"Andrew Bernard"  writes:

> How do you watch these videos which induce sea sickness with the unstable
> camera? Is this supposed to be trendy film making, or just complete
> incompetence? What is Steinberg thinking? I cannot imagine a worse promotion
> for a product. They are unwatchable. Perhaps shot by a drone with the
> stabiliser system gone defective. It's simply bizarre. Does not exactly
> instil confidence in the product for me.
>
> Sorry David about the Anglocentric keyboard world they adopt.

It does not bother me in person: I am using a U.S. keyboard layout
anyway (my computing career started on ASCII terminals like the ADM3A,
and while I don't remember distinctly, I assume that the card punching
stations for the CDC had a U.S. keyboard as well), regardless on what is
printed on my keycaps (currently some sort of Scandinavian layout with
Æ, Ø and Å where German would have Ä Ö Ü in some order I think).

> Perhaps users should complain. And I thought Steinberg was a German
> company?

Germans are not that bad off I think: the keys in question looked like
they would be more or less the same.  LilyPond is probably more annoying
with its necessity for characters like [] {} which are a nuisance to
generate on German keyboards, possibly using AltGr and 7...0 if they do
it the same way as the Danish (?).

But the French need Shift for producing numerals, and their A is in the
top row and there are a number of other rearrangements as well.  That
already was seen as a drawback for the Wordstar keybindings in the 80s
(which relied on the arrangement of aesdxf and rc for cursor movement).

Since this is a frequent issue for renegotiations on the Emacs developer
list, it struck me as a detail that something like asdfg was used for
input.

And of course, they'll not enamour Dvorak keyboard users...

-- 
David Kastrup

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Start a staff later

[Urs Liska]

Hi all,

I have created the attached music example, using some polymetrics
trickery to align the differing music. As you can see the lower sample
is shorter, starting later and stopping earlier. The lower PianoStaff
simply stops when the music stops, and I would be happy to have the same
effect at the beginning of the system as well.

Is it possible to have the lower PianoStaff start only at its second
measure, that is, with having the brace and the time signature only there?

Any pointers would be appreciated
Urs

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Crash! -1073741819

[Bernhard Kleine]

Can you please explain?

Win7, amd64, the  .ly could no longer to be saved in Frescobaldi, but
mark and copied to a fresh document and could be compiled from there
with any error.

I am stymied

Regards Bernhard


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\version "2.19.33"
\language "deutsch"

\paper {
  #(set-paper-size "a4")
}

\layout {
  \context {
\Voice
\consists "Melody_engraver"
\override Stem #'neutral-direction = #'()
  }
}

global = {
  \key c \major
  \numericTimeSignature
  \time 2/4
 
  \tempo "Allegretto"
}

sopranoVoice = \relative c'' {
  \global
  \dynamicUp
  % Die Noten folgen hier.
  s8 | s2 |s2 | s2|\break
  s4 s8 e,16(f) |
  g8 f16( e) f8 g16 a | g4 e8 d'8\rest|
  c4 h16 a f8 g 16 a | g4.
}

verseOne = \lyricmode {
  % Liedtext folgt hier.
  Die Kin -- der sit -- zen im Zim -- mer Weih -- nach -- ten ist nicht mehr weit
  bei trau -- li -- chem Lam -- pen -- schim -- mer und ju -- beln: es schneit, es schneit!
  Das leich -- te Floc -- ken -- ge -- wim -- mel, es schwebt durch die däm -- mern -- de Nacht, 
  her -- un -- ter vom ho -- hen Him -- mel, vor -- ü -- ber am Fen -- ster sacht.
  
  Und wo ein Flöckchen im Tanze den Schweiben vorüber schweift,
  da flimmerst in silbernem Glanze, vom Lichte der Lampe gestreift.
  Die Kindlein sehn's mit Frohlocken und drängen sich ans Fenster dicht, 
  verfolgen die Silberflocken, die Mutter lächelnd spricht:
  
  Wißt, Kinder, die Englein schneidern im Himmel jetzt früh und spät,
  an Puppenbettchen und Kleidern wird fleißig auf Weihnacht genäht. 
  Da fällt von Jäckchen und Röckchen manch silberner Flitter beiseit,
  vom Bettchen manch Federflöckchen, auf Erden sagt man: es schneit, es schneit.
  
  Und seid ihr lieb und vernünftig, ist manches für Euch auch bestellt; 
  wer weiß es, was Schönes auch künftig vom Tische der Englein fällt!
  Die Mutter spricht's, vor Entzücken den Kleinen das Herze lacht,
  sie träumen mit seligen Blicken hinaus in die zaubrische Nacht.
}



rightOne = \relative c'' {
  \global
  % Die Noten folgen hier.
  \partial 8 \stemDown 
  \tuplet 3/2 {d'16( \p c f,} | \omit TupletNumber 
  \tuplet 3/2 {d'16^>_"con gracia"  [c e,]} \tuplet 3/2 {a g h,} 
  \tuplet 3/2 {a' [g c,]} \tuplet 3/2 {f\< e b} |
  \tuplet 3/2 { g'\> [f a,\!]} \tuplet 3/2 {e' [d a]} \tuplet 3/2 {e' [d g,]} \tuplet 3/2 {a [g e']}|
  \stemUp
  c8~ \tuplet 3/2 {c16 [ais h]} c8~ \tuplet 3/2 {c16 [ais h]} |c4.)
  
}

rightTwo = \relative c'' {
  \global
  % Die Noten folgen hier.
  s8|s2|s2| \omit TupletNumber
  \tuplet 3/2 {c16 [e, g] } f8 \tuplet 3/2 { c'16 [e, g]} f8 | e4.
}

leftOne = \relative c' {
  \global
  % Die Noten folgen hier.
  \clef treble \stemDown
  8 |
  \stemUp ^>   |
   \clef bass  4|
  \stemUp g,8( as g as|g4.)
}

leftTwo = \relative c' {
  \global
  % Die Noten folgen hier.
  s8|s2|s2|
  c,4 c |c4.
}

sopranoVoicePart = \new Staff \with {
  instrumentName = "S."
  \consists "Ambitus_engraver"
} { \sopranoVoice }
\addlyrics { \verseOne }


pianoPart = \new PianoStaff \with {
  instrumentName = "Kl."
} <<
  \new Staff = "right" << \rightOne \\ \rightTwo >>
  \new Staff = "left" { \clef bass << \leftOne \\ \leftTwo >> }
>>

\score {
  <<
\sopranoVoicePart
\pianoPart
  >>
  \layout { }
}


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Re: Help required with tuplets

[Bernhard Kleine]

Am 19.10.2016 um 09:59 schrieb David Kastrup:
> Bernhard Kleine  writes:
>
>> Am 19.10.2016 um 08:23 schrieb Marc Hohl:
>>> Am 19.10.2016 um 08:14 schrieb Bernhard Kleine:
 Hi,

 I do not see what is wrong with the following extract which is
 compilable but totally wrong.
>>> I think you misunderstood the way \tuplet works:
>>>
>>> \tuplet 3/2 is the way to go, because you want *3* notes to last as
>>> long as *2* notes normally do.
>>>
>>> HTH,
>>>
>>> Marc
>>>
>> With all the examples in 4/4 measures and the tuplett spanning a halfs,
>> there is ambiguity.
> There is text in the manuals as well, not just pictures.
>
>
> Tutorial:
>
> File: lilypond-learning.info,  Node: Tuplets,  Next: Grace notes,  Prev: 
> Partial measure,  Up: Advanced rhythmic commands
>
> Tuplets
> ...
>
> Music Glossary: *note (music-glossary)note value::, *note
> (music-glossary)triplet::.
>
>Tuplets are made with the ‘\tuplet’ keyword.  It takes two arguments:
> a fraction and a piece of music.  The fraction is the number of tuplet
> notes over the number of notes normally filling the same duration.  For
> triplets, there are three notes instead of two, so triplets have 3/2 as
> their fraction.
>
>  \relative {
>\tuplet 3/2 { f''8 g a }
>\tuplet 3/2 { c8 r c }
>\tuplet 3/2 { f,8 g16[ a g a] }
>\tuplet 3/2 { d4 a8 }
>  }
>
> [image]
>
>
>
>
> Manual:
>
> File: lilypond-notation.info,  Node: Tuplets,  Next: Scaling durations,  
> Prev: Durations,  Up: Writing rhythms
>
> Tuplets
> ...
>
> Tuplets are made from a music expression with the ‘\tuplet’ command,
> multiplying the speed of the music expression by a fraction:
>
>  \tuplet FRACTION { MUSIC }
>
> The fraction’s numerator will be printed over or under the notes,
> optionally with a bracket.  The most common tuplets are triplets
> (3 notes sound within the duration normally allowed for 2).
>
>  \relative {
>a'2 \tuplet 3/2 { b4 4 4 }
>c4 c \tuplet 3/2 { b4 a g }
>  }
>
> [image]
>
> When entering long passages of tuplets, having to write a separate
> ‘\tuplet’ command for each group is inconvenient.  It is possible to
> specify the duration of one tuplet group directly before the music in
> order to have the tuplets grouped automatically:
>
>  \relative {
>g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
>  }
>
> [image]
>
>
I agree! Tried pulling your, it didnot work, no harm intended :)
Regards Bernhard

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Re: No readline in scheme-sandbox

[David Sumbler]

On Mon, 2016-10-17 at 09:02 +0100, David Sumbler wrote:
> On Sun, 2016-10-16 at 23:09 +0200, David Kastrup wrote:
> > 
> > David Sumbler  writes:
> > > 
> > > On Sun, 2016-10-16 at 21:19 +0200, David Kastrup wrote:
> > > > 
> > > > David Sumbler  writes:
> > > > > 
> > > > > Further to the above, I find that if I type
> > > > > 
> > > > > /usr/local/lilypond/usr/bin/guile
> > > > > 
> > > > > then readline works just fine.
> > > > Guile 2.0
> > > > 
> > > > > 
> > > > >  But not when guile is invoked with
> > > > > 
> > > > > lilypond scheme-sandbox
> > > > Guile 1.8
> > > Sorry, this hasn't helped me.
> > > 
> > > True, if I type 'guile' it runs /usr/bin/guile-2.0, but if I type
> > > /usr/bin/guile-1.8 readline also works.
> > That's the system installation of Guile, not the one used in
> > LilyPond.
> > 
> > > 
> > > Presumably when I type 'lilypond scheme-sandbox' it runs the
> > > guile at
> > > /usr/local/lilypond/usr/bin/guile, rather than the one in
> > > /usr/bin/.
> > LilyPond doesn't run any Guile executable.  It just loads the Guile
> > REPL and runs it in LilyPond as LilyPond is linked with libguile.
> I don't quite understand that, but may be it's not important for me
> to understand.
> > > 
> > > 
> > >  As Lilypond seems to have readline files in
> > > /usr/local/lilypond/usr/lib/ and
> > > /usr/local/lilypond/usr/share/guile/1.8/ice-9/
> > > I would have expected readline to work.  Why are the files there
> > > if
> > > they can't be used?
> > Probably you don't have the necessary libraries installed.  Wrong
> > architecture?  Is your LilyPond a 64bit version?
> Yes, I'm running the 64-bit version of Lilypond 2.19.40.
> 
> David

Given that, on my 64-bit Linux system, I have Guile 1.8 installed
complete with readline, I'd be very grateful if somebody could explain
to me how I can get readline to load when I type 'lilypond scheme-
sandbox' with Lilypond v.2.19.40 .

David


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Re: Dorico release and tutorials

[David Kastrup]

Urs Liska  writes:

> Am 19.10.2016 um 09:53 schrieb David Kastrup:
>> Urs Liska  writes:
>>
>>> Hi all,
>>>
>>> as some of you may know today is the official release of Dorico, the
>>> notation program that has been written from scratch by the developer
>>> team that had developed Sibelius until they were fired and then re-hired
>>> by Steinberg.
>>>
>>> I haven't had the time to look into these but maybe the set of video
>>> tutorials available at
>>> https://www.youtube.com/playlist?list=PLoyaeouPUsdu-A1Lq6sfXj01zwn_mVRAE
>>> is interesting for people on this list as well.
>> Well, two observations from skimping over the first movies: the keyboard
>> shortcuts are apparently focused on English keyboard layout.
>>
>> And those movies look a lot more interesting as inspiration to
>> developers of Denemo (and possibly less graphic input layers) than of
>> LilyPond: this is very much about how to talk with the graphical input
>> surface.
>>
>
> Well, it was not intended as material to digest for the LIlyPond
> developers, rather an opportunity to see what the competition does.

Well, the actual "competition" is about the typesetting quality.  It
will be interesting to compare "untweaked output".  The videos (at least
those I looked at) focus on user interface and its friendliness, and
that's really more the realm of Denemo, at most Frescobaldi (which could
conceivably use similar keyboard shortcuts).

It's not that LilyPond hasn't invested heavily into user friendliness as
well in the last years, but the "user interface" just is so different
that comparisons seems a bit strained.

The most important metric is probably "how fast are persons creating
output with what level of experience?".  And of course particularly for
beginners, the ability to read explanations and instructions as opposed
to the ability of quick experimentation are completely different.

-- 
David Kastrup

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RE: Dorico release and tutorials

[Andrew Bernard]

How do you watch these videos which induce sea sickness with the unstable
camera? Is this supposed to be trendy film making, or just complete
incompetence? What is Steinberg thinking? I cannot imagine a worse promotion
for a product. They are unwatchable. Perhaps shot by a drone with the
stabiliser system gone defective. It's simply bizarre. Does not exactly
instil confidence in the product for me.

Sorry David about the Anglocentric keyboard world they adopt. Perhaps users
should complain. And I thought Steinberg was a German company?

Dear me.

Andrew


-Original Message-
From: lilypond-user
[mailto:lilypond-user-bounces+andrew.bernard=gmail@gnu.org] On Behalf Of
Urs Liska
Sent: Wednesday, 19 October 2016 6:41 PM
To: lilypond-user 
Subject: Dorico release and tutorials

I haven't had the time to look into these but maybe the set of video
tutorials available at
https://www.youtube.com/playlist?list=PLoyaeouPUsdu-A1Lq6sfXj01zwn_mVRAE
is interesting for people on this list as well.



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Re: Dorico release and tutorials

[Urs Liska]

Am 19.10.2016 um 09:53 schrieb David Kastrup:
> Urs Liska  writes:
>
>> Hi all,
>>
>> as some of you may know today is the official release of Dorico, the
>> notation program that has been written from scratch by the developer
>> team that had developed Sibelius until they were fired and then re-hired
>> by Steinberg.
>>
>> I haven't had the time to look into these but maybe the set of video
>> tutorials available at
>> https://www.youtube.com/playlist?list=PLoyaeouPUsdu-A1Lq6sfXj01zwn_mVRAE
>> is interesting for people on this list as well.
> Well, two observations from skimping over the first movies: the keyboard
> shortcuts are apparently focused on English keyboard layout.
>
> And those movies look a lot more interesting as inspiration to
> developers of Denemo (and possibly less graphic input layers) than of
> LilyPond: this is very much about how to talk with the graphical input
> surface.
>

Well, it was not intended as material to digest for the LIlyPond
developers, rather an opportunity to see what the competition does.

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vertically aligning text/marks/tempo

[Urs Liska]

Somehow I feel this is a dumb question, but I didn't manage to find the
relevant info in the manual.

In the attached file you can see that each text element above the staff
is aligned individually, but I want to have them on a single baseline.

Putting the texts in a separate variable and Dynamics context improves
the situation but the texts are still not aligned against each other.
The same is true when trying \tempo or \mark. Overriding #'padding or
#'outside-staff-padding doesn't have any useful effect either.

So how can I force consecutive text elements to align vertically on a
single baseline?

Thanks
Urs


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Re: Dorico release and tutorials

[David Kastrup]

Urs Liska  writes:

> Hi all,
>
> as some of you may know today is the official release of Dorico, the
> notation program that has been written from scratch by the developer
> team that had developed Sibelius until they were fired and then re-hired
> by Steinberg.
>
> I haven't had the time to look into these but maybe the set of video
> tutorials available at
> https://www.youtube.com/playlist?list=PLoyaeouPUsdu-A1Lq6sfXj01zwn_mVRAE
> is interesting for people on this list as well.

Well, two observations from skimping over the first movies: the keyboard
shortcuts are apparently focused on English keyboard layout.

And those movies look a lot more interesting as inspiration to
developers of Denemo (and possibly less graphic input layers) than of
LilyPond: this is very much about how to talk with the graphical input
surface.

-- 
David Kastrup

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Re: Help required with tuplets

[David Kastrup]

Bernhard Kleine  writes:

> Am 19.10.2016 um 08:23 schrieb Marc Hohl:
>> Am 19.10.2016 um 08:14 schrieb Bernhard Kleine:
>>> Hi,
>>>
>>> I do not see what is wrong with the following extract which is
>>> compilable but totally wrong.
>>
>> I think you misunderstood the way \tuplet works:
>>
>> \tuplet 3/2 is the way to go, because you want *3* notes to last as
>> long as *2* notes normally do.
>>
>> HTH,
>>
>> Marc
>>
> With all the examples in 4/4 measures and the tuplett spanning a halfs,
> there is ambiguity.

There is text in the manuals as well, not just pictures.


Tutorial:

File: lilypond-learning.info,  Node: Tuplets,  Next: Grace notes,  Prev: 
Partial measure,  Up: Advanced rhythmic commands

Tuplets
...

Music Glossary: *note (music-glossary)note value::, *note
(music-glossary)triplet::.

   Tuplets are made with the ‘\tuplet’ keyword.  It takes two arguments:
a fraction and a piece of music.  The fraction is the number of tuplet
notes over the number of notes normally filling the same duration.  For
triplets, there are three notes instead of two, so triplets have 3/2 as
their fraction.

 \relative {
   \tuplet 3/2 { f''8 g a }
   \tuplet 3/2 { c8 r c }
   \tuplet 3/2 { f,8 g16[ a g a] }
   \tuplet 3/2 { d4 a8 }
 }

[image]




Manual:

File: lilypond-notation.info,  Node: Tuplets,  Next: Scaling durations,  Prev: 
Durations,  Up: Writing rhythms

Tuplets
...

Tuplets are made from a music expression with the ‘\tuplet’ command,
multiplying the speed of the music expression by a fraction:

 \tuplet FRACTION { MUSIC }

The fraction’s numerator will be printed over or under the notes,
optionally with a bracket.  The most common tuplets are triplets
(3 notes sound within the duration normally allowed for 2).

 \relative {
   a'2 \tuplet 3/2 { b4 4 4 }
   c4 c \tuplet 3/2 { b4 a g }
 }

[image]

When entering long passages of tuplets, having to write a separate
‘\tuplet’ command for each group is inconvenient.  It is possible to
specify the duration of one tuplet group directly before the music in
order to have the tuplets grouped automatically:

 \relative {
   g'2 r8 \tuplet 3/2 8 { cis16 d e e f g g f e }
 }

[image]


-- 
David Kastrup

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Re: Notes on wrong side of stem in triads

[Davide Liessi]

2016-10-18 22:39 GMT+02:00 Stanton Sanderson :
> The following also works:
>
> \version "2.19.47"
> \paper {
>   #(layout-set-absolute-staff-size (* 19 pt))
> }
> {  }

This also seems to work (although I don't know if it makes sense, I
just took set-global-staff-size and removed bits of it):

\version "2.19.47"
#(define-public (new-layout-set-staff-size sz)
   (layout-set-absolute-staff-size-in-module
(ly:output-def-scope (ly:parser-lookup '$defaultpaper))
(* (eval 'pt (current-module)) sz)))
\score{
  \layout { #(new-layout-set-staff-size 19) }
  {  }
}

(Which maybe means that line 118 in paper.scm is not paranoid, see
comment above that line:
http://git.savannah.gnu.org/cgit/lilypond.git/tree/scm/paper.scm#n113 :D)

But I probably don't understand what's going on in
(ly:output-def-scope (ly:parser-lookup '$defaultpaper)), because I
would have expected the following to produce wrong first and third
chords and correct second chord.

\version "2.19.47"
#(define-public (new-layout-set-staff-size sz)
   (layout-set-absolute-staff-size-in-module
(ly:output-def-scope (ly:parser-lookup '$defaultpaper))
(* (eval 'pt (current-module)) sz)))
\score{
  \layout { #(layout-set-staff-size 19) }
  {  }
}
\score{
  \layout { #(new-layout-set-staff-size 19) }
  {  }
}
\score{
  \layout { #(layout-set-staff-size 19) }
  {  }
}

Instead all chords are correct.
But if you change the size of the middle one to something different
from 19, then the first and third chords are wrong.

Best wishes.
Davide

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Re: Help required with tuplets

[Bernhard Kleine]

Am 19.10.2016 um 08:23 schrieb Marc Hohl:
> Am 19.10.2016 um 08:14 schrieb Bernhard Kleine:
>> Hi,
>>
>> I do not see what is wrong with the following extract which is
>> compilable but totally wrong.
>
> I think you misunderstood the way \tuplet works:
>
> \tuplet 3/2 is the way to go, because you want *3* notes to last as
> long as *2* notes normally do.
>
> HTH,
>
> Marc
>
With all the examples in 4/4 measures and the tuplett spanning a halfs,
there is ambiguity.
Thanks a lot!
Regards Bernhard

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Dorico release and tutorials

[Urs Liska]

Hi all,

as some of you may know today is the official release of Dorico, the
notation program that has been written from scratch by the developer
team that had developed Sibelius until they were fired and then re-hired
by Steinberg.

I haven't had the time to look into these but maybe the set of video
tutorials available at
https://www.youtube.com/playlist?list=PLoyaeouPUsdu-A1Lq6sfXj01zwn_mVRAE
is interesting for people on this list as well.

Urs


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Re: Help required with tuplets

[Marc Hohl]

Am 19.10.2016 um 08:14 schrieb Bernhard Kleine:

Hi,

I do not see what is wrong with the following extract which is
compilable but totally wrong.


I think you misunderstood the way \tuplet works:

\tuplet 3/2 is the way to go, because you want *3* notes to last as long 
as *2* notes normally do.


HTH,

Marc



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Help required with tuplets

[Bernhard Kleine]

Hi,

I do not see what is wrong with the following extract which is
compilable but totally wrong. The structure is fully from what
Frescobaldi offered, however missing voices not yet added are skipped.

Thank you for any help.

Bernhard

--

\version "2.19.33"
\language "deutsch"
\layout {
  \context {
\Voice
\consists "Melody_engraver"
\override Stem #'neutral-direction = #'()
  }
}

global = {
  \key c \major
  \numericTimeSignature
  \time 2/4
 
  \tempo "Allegretto"
}
rightOne = \relative c'' {
  \global
  % Die Noten folgen hier.
  \partial 8 \stemDown
  \tuplet 3/8 {d'16 \p c f,} | \omit TupletNumber
  \tuplet 3/8 {d'16  c e,} \tuplet 3/8 {a g c,} \tuplet 3/8 {f e b} |

}
pianoPart = \new PianoStaff \with {
  instrumentName = "Kl."
} <<
  \new Staff = "right" << \rightOne  >>
 
>>

\score {
  <<
  
\pianoPart
  >>
  \layout { }
}

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