Re: Slur inside tuplet bracket

[Andrew Bernard]

H Manuela,

I did, naturally. The slur intersects the bracket, and commenting out the
override you show produces the same result as having it. So I don't think
this is the answer.

Andrew


On 25 April 2017 at 15:06, Manuela  wrote:

> Try this code:
>
> \version "2.19.48"
> {
>   \override TupletBracket.avoid-slur = #'outside
>   \tuplet 5/4 { c''( bes' fis' d' ges') }
> }
>
>
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Re: Slur inside tuplet bracket

[Manuela]

Try this code:

\version "2.19.48"
{
  \override TupletBracket.avoid-slur = #'outside
  \tuplet 5/4 { c''( bes' fis' d' ges') }
}




--
View this message in context: 
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Sent from the User mailing list archive at Nabble.com.

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Re: Feedback on cross stave slur

[Andrew Bernard]

Hi Michiel,

The Artaria engraving of about 1819 is freely available at IMSLP. This is
very beautifully done, a model of excellence. Possibly better than finding
the MS because I suspect it contains many corrections.

http://imslp.org/wiki/Piano_Sonata_No.29,_Op.106_(Beethoven,_Ludwig_van)

No slur is present over the sequence you referred to.

If I were engraving this work, I would be doing it off this edition. The
large amount of 'air' in the edition is something I find very important.


Andrew
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Re: Feedback on cross stave slur

[Andrew Bernard]

Hi Michael,

The Henle Verlag edition has no slur over this section. What source are you
engraving from?

Aside from that if you need to shape slurs the best tool is the \shapeII
function in the openlilylib library. If you need help setting it up, just
mail me.

Fingerings? Unless the composer wrote them in, leave them out. They are
always just opinion, and always wrong! I am delighted to report that
_finally_ after decades Henle is now producing various editions available
either with, or without fingerings. At last. I suspect this may have come
about because amusingly the new digital software from Henle allows you to
install any of several or many fingering annotations for a score, (which
proves my point) and also to turn off fingerings altogether. Unwittingly
they provided a great service to players!

My other comment relates to The Curse of A4 Paper. It's just too small.
Same applies to US Letter. Your score has such narrow margins it is very
hard to read. This is because A4/etc is simply too small for piano music.
It is interesting to note that piano music has been printed on
Klavierformat size (only available in Germany, otherwise a printers trim
size) since mid 19c. There's enough room for a decent chunk of music at
that size, still allowing generous margins. I do not know what can be done
about this problem, except perhaps reduce the global size of everything
(easily done in lilypond) but then you get into legibility problems.
Although I see people on the train reading 4 point type on their phones
regularly quite happily! B4 seems to be a solution to this problem, but it
is a bit hard to buy.


Andrew
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Re: Lines to edges of \center-column

[David Wright]

On Mon 24 Apr 2017 at 21:35:48 (+0200), caag...@gmail.com wrote:
> Seems the latest devel version (2.19.59) has fixed that bug, so it's
> probably not important anymore.
> 
> On 04/24/17 19:43, David Wright wrote:
> >Well, I can't take a view on that because AFAICT the source in the OP
> >only contained kanji (complicated-looking) characters. Would that be
> >correct? Could you give the source with which you produced your
> >seam.png output (preferably as an attachment so I don't have to rely
> >on my paste's behaviour).
> 
> Sure, attached. (The two japanese words are "kana" and "kanji".)
> >I agree, but I'm more concerned about the contents of the window than
> >the window itself.
> 
> That's true, but ugly chrome can be rather distracting.

I don't know what chrome is.

> >Well, I've taken a closer look with evince at my box.pdf and I can see
> >the effect you mention. However, I think they're just artifacts of its
> >display, because when you magnify the areas in question, the blemishes
> >don't get magnified but disappear, or appear elsewhere. So I don't
> >think the problem lies in the PDF at all. One also has to bear in mind
> >that the screen resolution can lead to odd effects just because of
> >where the grid of pixels happen to be relative to the image.
> 
> Yeah, I'm pretty sure those gaps are just some kind of rounding error.
> 
> >Are those characters the same height? I think you should put some
> >characters into both lines for control purposes; some ordinary Roman
> >alphabeticals, say.
> 
> I'm pretty sure they are, assuming they use the same font. Oddly
> enough, manually specifying the font fixes it (tested with Takao
> Gothic and Takao Mincho). The Japanese characters look identical
> with and without manual font override, but the boxes don't.
> 
> I'm guessing it's just some weird font bug, which is fixed in 2.19.

Looking back at your seam.png, and at my output from the modified LP
that you posted, I would guess that different fonts were used for the
two lines. Now the actual thicknesses aren't defined, though HEAVY
will presumably be at least as thick as normal. But what might affect
you is if one of your fonts is, for some reason, doing some sort of
double-width operation.

IOW is it possible that something looks at a double-width font
and decides to pull out the matching double-width box characters
to put alongside it? This decision could have been made differently
for the two fonts/character sets you were using, hence one set of
lines being roughly twice as long as the other. The easiest way
to test this might be with box characters that are not just simple
horizontals, ie using characters like ┳ and ╔.

> By the way, is it possible to have both 2.18 and 2.19 installed at
> the same time (preferrably with 2.19 as the default `lilypond`), on
> Arch Linux? Having to uninstall and then recompile if I want to test
> something with 2.18 isn't very fun.

Yes. I don't know which version Arch installs itself, but you can
install as many versions of LP as you like so long as you use prefixes
to distinguish them. Here's my crib for installation. Obviously you
don't uninstall the others if you want several.

✁✂✁✂✁✂✁✂
Uninstall the old development version:

$ (bash) /home/david/lilypond-xxxoldxxx/bin/uninstall-lilypond

This does not remove links in ~/bin, or the ~/bin/lilypond executable,
because of the copying shown below.

Install the newly downloaded one:

$ cd ~
$ bash .../lilypond-xxxnewxxx.linux-x86.sh --prefix lilypond-xxxnewxxx

Copy links in ~/lilypond-xxxnewxxx/bin/ and  ~/lilypond-xxxnewxxx/bin/lilypond
into ~/bin/, overwriting the old ones there.
✃✂✃✂✃✂✃✂

~/bin/ is in my $PATH, of course, which handles my defaulting version,
but you can use the various versions ~/lilypond-xxxnewxxx/bin/lilypond
directly, or give them more convenient aliases.

Cheers,
David.
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Feedback on cross stave slur

[Michiel Sikma]

Hi all,

I've been working a bit on Beethoven's Op.106, here's my first version of
the scherzo: http://lilybin.com/adlr67/1
There's a lot of code in there, including unused code, because I had to
copy over two includes files.

In case it doesn't show up correctly, here's a PDF:
http://wedemandhtml.com/tmp/sonata-op106-ii.pdf

Still a lot of work to be done obviously, including fingering. But for now
I'm wondering if anyone can help me a bit with the large cross-stave slur
on M 112. It doesn't quite look very good I think (it actually bends a bit
past the leftmost edge) but I'm not sure how to fix it or write custom
bezier curves.
I don't mind if it gets a bit of a non-round shape...maybe it should go
through the "prestissimo" and the text should get a whiteout?
(Also, I'm not sure if prestissimo should get a big/bold tempo indication
or if it's fine being a minor markup note...wish I had the original
manuscript).

Any other feedback would be appreciated too!

Regards,
Michiel


Let's Deliver

http://letsdeliver.com/

m...@letsdeliver.com
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Slur inside tuplet bracket

[Andrew Bernard]

Why does this mess up?
\version "2.19.59"

{
  \override TupletNumber.avoid-slur = #'outside
  \tuplet 5/4 { c''( bes' fis' d' ges') }
}

How do you get a slur to go inside a tuplet bracket?


Andrew
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Re: RehearsalMark adds unwanted space

[Peter Crighton]

2017-04-25 0:01 GMT+02:00 Thomas Morley :

> 2017-04-24 23:02 GMT+02:00 Peter Crighton :
> > Hello all,
> >
> > when removing both the Clef and BarNumber engraver, an occasional
> > RehearsalMark at the beginning of a line affects the horizontal position
> of
> > the following note. How can I prevent this, so the first note of every
> line
> > is in the same horizontal position? See example below.
> >
> > This is not unique to RehearsalMarks. For instance, if you did not remove
> > the BarNumber engraver, every line would have that space at the
> beginning.
> >
> >
> > \version "2.19.59"
> >
> > \relative c' {
> >   R1 \break
> >   \mark \default
> >   \repeat unfold 2 {
> > \repeat unfold 2 {
> >   c4 c c c
> > } \break
> >   }
> >   \mark \default
> >   \repeat unfold 2 {
> > \repeat unfold 3 {
> >   c4 c c c
> > } \break
> >   }
> > }
> >
> > \layout {
> >   \context {
> > \Staff
> > \remove "Clef_engraver"
> >   }
> >
> >   \context {
> > \Score
> > \remove "Bar_number_engraver"
> >   }
> > }
> >
> >
> > Thanks,
> > Peter
>
>
> Not sure why this happens, as a workaround you could do:
>
> \layout {
>   \context {
> \Staff
> %\remove "Clef_engraver"
> \override Clef.stencil = #point-stencil
> \override Clef.space-alist.first-note = #'(fixed-space . 0) %% adjust!
>   }
>
>   \context {
> \Score
> %\remove "Bar_number_engraver"
> \override BarNumber.stencil = #point-stencil
> \override LeftEdge.space-alist.clef = #'(fixed-space . 0) %% adjust!
>   }
> }
>
>
> Cheers,
>   Harm



Thank you, that works for me.
Although I think LeftEdge.space-alist.clef should be using extra-space;
fixed-space is only compatible with first-note and next-note, according to
the Internals Reference.


--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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Re: Is it possible to change the PDF title?

[caagr98]

`pdftitle` seems to be exactly what I was looking for. I also added 
`midititle = #pdftitle` for good measure.


On 04/25/17 02:21, Thomas Morley wrote:

2017-04-25 2:18 GMT+02:00 Thomas Morley :

2017-04-25 1:43 GMT+02:00  :

```
title = \markup {
   \concat {
 "W"
 \scale #'(15/22 . 15/22) \combine
   "o"
   \translate-scaled #'(0 . 1.2) "a"
 "ndering"
   }
}
```

This is extracted as "Wandering" (or at least that's what Atril shows).


The function doing so is markup->string.
I'll have to think whether it's the desired behaviour for combine-markup.

Though it's not likely it will ever insert brackets or "a o"->"ꜵ"


I want it to be "W[ao]ndering" (or maybe "Wꜵndering"), because it's supposed
to be ambiguous.



Try:

\header {
   title = \markup
 \concat {
   "W"
   \scale #'(15/22 . 15/22) \combine
 "o"
 \translate-scaled #'(0 . 1.2) "a"
   "ndering"
 }
   pdftitle = "W[ao]ndering"
   %% or
   %pdftitle = "Wꜵndering"
}

Cheers,
   Harm


Also, see NR 3.2.3 Creating output file metadata



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Re: Is it possible to change the PDF title?

[Thomas Morley]

2017-04-25 2:18 GMT+02:00 Thomas Morley :
> 2017-04-25 1:43 GMT+02:00  :
>> ```
>> title = \markup {
>>   \concat {
>> "W"
>> \scale #'(15/22 . 15/22) \combine
>>   "o"
>>   \translate-scaled #'(0 . 1.2) "a"
>> "ndering"
>>   }
>> }
>> ```
>>
>> This is extracted as "Wandering" (or at least that's what Atril shows).
>
> The function doing so is markup->string.
> I'll have to think whether it's the desired behaviour for combine-markup.
>
> Though it's not likely it will ever insert brackets or "a o"->"ꜵ"
>
>> I want it to be "W[ao]ndering" (or maybe "Wꜵndering"), because it's supposed
>> to be ambiguous.
>
>
> Try:
>
> \header {
>   title = \markup
> \concat {
>   "W"
>   \scale #'(15/22 . 15/22) \combine
> "o"
> \translate-scaled #'(0 . 1.2) "a"
>   "ndering"
> }
>   pdftitle = "W[ao]ndering"
>   %% or
>   %pdftitle = "Wꜵndering"
> }
>
> Cheers,
>   Harm

Also, see NR 3.2.3 Creating output file metadata

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Re: Is it possible to change the PDF title?

[Thomas Morley]

2017-04-25 1:43 GMT+02:00  :
> ```
> title = \markup {
>   \concat {
> "W"
> \scale #'(15/22 . 15/22) \combine
>   "o"
>   \translate-scaled #'(0 . 1.2) "a"
> "ndering"
>   }
> }
> ```
>
> This is extracted as "Wandering" (or at least that's what Atril shows).

The function doing so is markup->string.
I'll have to think whether it's the desired behaviour for combine-markup.

Though it's not likely it will ever insert brackets or "a o"->"ꜵ"

> I want it to be "W[ao]ndering" (or maybe "Wꜵndering"), because it's supposed
> to be ambiguous.


Try:

\header {
  title = \markup
\concat {
  "W"
  \scale #'(15/22 . 15/22) \combine
"o"
\translate-scaled #'(0 . 1.2) "a"
  "ndering"
}
  pdftitle = "W[ao]ndering"
  %% or
  %pdftitle = "Wꜵndering"
}

Cheers,
  Harm

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Re: Is it possible to change the PDF title?

[caagr98]

```
title = \markup {
  \concat {
"W"
\scale #'(15/22 . 15/22) \combine
  "o"
  \translate-scaled #'(0 . 1.2) "a"
"ndering"
  }
}
```

This is extracted as "Wandering" (or at least that's what Atril shows). 
I want it to be "W[ao]ndering" (or maybe "Wꜵndering"), because it's 
supposed to be ambiguous.


On 04/25/17 01:35, Thomas Morley wrote:

2017-04-25 0:49 GMT+02:00  :

By PDF title I mean the one shown in the PDF viewer's title bar. It seems to
be extracted from the header:title field, but in my case, the title contains
some complex markup and isn't extracted properly.


It should.
Could you post the title-markup?

Cheers,
   Harm



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Re: Is it possible to change the PDF title?

[Thomas Morley]

2017-04-25 0:49 GMT+02:00  :
> By PDF title I mean the one shown in the PDF viewer's title bar. It seems to
> be extracted from the header:title field, but in my case, the title contains
> some complex markup and isn't extracted properly.

It should.
Could you post the title-markup?

Cheers,
  Harm

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Is it possible to change the PDF title?

[caagr98]

By PDF title I mean the one shown in the PDF viewer's title bar. It 
seems to be extracted from the header:title field, but in my case, the 
title contains some complex markup and isn't extracted properly. Can I 
override the title somehow?


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Re: Hairpin endings

[Thomas Morley]

Hi David,

2017-04-24 1:34 GMT+02:00 David Nalesnik :
> On Sun, Apr 23, 2017 at 6:15 PM, Thomas Morley  
> wrote:
>> 2017-04-23 12:34 GMT+02:00 Andrew Bernard :
>>
>>> Next thing to do is to achieve the half dashed/half solid appearance - or
>>> can this be done already, in the same way that slurs can?
>>
>> How about:
>
> This is great!

Glad you like it.

>
>>
>> #(define (solid-dashed-print-proc grob startx starty endx endy)
>>   (let* ((dash-def (ly:grob-property grob 'dash-definition))
>>  (thick
>>(* (layout-line-thickness grob)
>>   (ly:grob-property grob 'thickness 0.1
>> (if (null? dash-def)
>> (ly:line-interface::line grob startx starty endx endy)
>> (apply ly:stencil-add empty-stencil
>
> Why not reduce instead of apply?  Tiny point, but then you won't have
> the extra empty stencil in the stencil expression.

True, so the above should read:

[...]
 (reduce ly:stencil-add empty-stencil
[...]

Thanks,
  Harm

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Re: RehearsalMark adds unwanted space

[Thomas Morley]

2017-04-24 23:02 GMT+02:00 Peter Crighton :
> Hello all,
>
> when removing both the Clef and BarNumber engraver, an occasional
> RehearsalMark at the beginning of a line affects the horizontal position of
> the following note. How can I prevent this, so the first note of every line
> is in the same horizontal position? See example below.
>
> This is not unique to RehearsalMarks. For instance, if you did not remove
> the BarNumber engraver, every line would have that space at the beginning.
>
>
> \version "2.19.59"
>
> \relative c' {
>   R1 \break
>   \mark \default
>   \repeat unfold 2 {
> \repeat unfold 2 {
>   c4 c c c
> } \break
>   }
>   \mark \default
>   \repeat unfold 2 {
> \repeat unfold 3 {
>   c4 c c c
> } \break
>   }
> }
>
> \layout {
>   \context {
> \Staff
> \remove "Clef_engraver"
>   }
>
>   \context {
> \Score
> \remove "Bar_number_engraver"
>   }
> }
>
>
> Thanks,
> Peter


Not sure why this happens, as a workaround you could do:

\layout {
  \context {
\Staff
%\remove "Clef_engraver"
\override Clef.stencil = #point-stencil
\override Clef.space-alist.first-note = #'(fixed-space . 0) %% adjust!
  }

  \context {
\Score
%\remove "Bar_number_engraver"
\override BarNumber.stencil = #point-stencil
\override LeftEdge.space-alist.clef = #'(fixed-space . 0) %% adjust!
  }
}


Cheers,
  Harm

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RehearsalMark adds unwanted space

[Peter Crighton]

Hello all,

when removing both the Clef and BarNumber engraver, an occasional
RehearsalMark at the beginning of a line affects the horizontal position of
the following note. How can I prevent this, so the first note of every line
is in the same horizontal position? See example below.

This is not unique to RehearsalMarks. For instance, if you did not remove
the BarNumber engraver, every line would have that space at the beginning.


\version "2.19.59"

\relative c' {
  R1 \break
  \mark \default
  \repeat unfold 2 {
\repeat unfold 2 {
  c4 c c c
} \break
  }
  \mark \default
  \repeat unfold 2 {
\repeat unfold 3 {
  c4 c c c
} \break
  }
}

\layout {
  \context {
\Staff
\remove "Clef_engraver"
  }

  \context {
\Score
\remove "Bar_number_engraver"
  }
}


Thanks,
Peter

--
Peter Crighton | Musician & Music Engraver based in Mainz, Germany
http://www.petercrighton.de
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musicxmll2ly

[Ralph Fröhlich]

when I try to convert musicxml to lilypond 2.18. with frescobaldi 3.0. 
(windows) there is no output.


in frescobali I use the dialog for import with $musicxml2ly --nd --nrp 
--npl --no-beaming -m $filename


do I need any information for the output file?

best regards

ralph


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Re[2]: Repeat sign in stanzas below score

[Gregor Buchholz]

Am 24.04.2017 um 19:42 schrieb Simon Albrecht:


I don’t know if there is anything easier than this:
...

Thank you very much, it works like a charm!


Maybe you’ll want to scale it.
I do! And I did it by adding a "#(layout-set-staff-size 9)" to your 
\layout section and a "\override StaffSymbol.staff-space = #0.6" to the 
\new Staff \with - Section. It needs a little experimenting for the 
repeat signs' appearance to match the text font's dimensions.


Thanks again,
Gregor.


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Re: Lines to edges of \center-column

[caagr98]

Seems the latest devel version (2.19.59) has fixed that bug, so it's 
probably not important anymore.


On 04/24/17 19:43, David Wright wrote:

Well, I can't take a view on that because AFAICT the source in the OP
only contained kanji (complicated-looking) characters. Would that be
correct? Could you give the source with which you produced your
seam.png output (preferably as an attachment so I don't have to rely
on my paste's behaviour).


Sure, attached. (The two japanese words are "kana" and "kanji".)

I agree, but I'm more concerned about the contents of the window than
the window itself.


That's true, but ugly chrome can be rather distracting.


Well, I've taken a closer look with evince at my box.pdf and I can see
the effect you mention. However, I think they're just artifacts of its
display, because when you magnify the areas in question, the blemishes
don't get magnified but disappear, or appear elsewhere. So I don't
think the problem lies in the PDF at all. One also has to bear in mind
that the screen resolution can lead to odd effects just because of
where the grid of pixels happen to be relative to the image.


Yeah, I'm pretty sure those gaps are just some kind of rounding error.


Are those characters the same height? I think you should put some
characters into both lines for control purposes; some ordinary Roman
alphabeticals, say.


I'm pretty sure they are, assuming they use the same font. Oddly enough, 
manually specifying the font fixes it (tested with Takao Gothic and 
Takao Mincho). The Japanese characters look identical with and without 
manual font override, but the boxes don't.


I'm guessing it's just some weird font bug, which is fixed in 2.19.

By the way, is it possible to have both 2.18 and 2.19 installed at the 
same time (preferrably with 2.19 as the default `lilypond`), on Arch 
Linux? Having to uninstall and then recompile if I want to test 
something with 2.18 isn't very fun.
\version "2.18.2"
\paper {
  #(define fonts
 (make-pango-font-tree "Takao Gothic" "" ""
   (/ staff-height pt 20)))
}
\markup {
  "かな━━━"
}
\markup {
  "漢字━━━"
}
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Re: is the lyric tie tweakable?

[Kieren MacMillan]

Hi David (et al.),

>> Is the built-in** lyric tie/elision tweakable?

> There's no LyricTie grob, so no convenient way to tweak it.   You
> could modify "tied-lyric" in scm/define-markup-commands.scm, since
> that's what's engaged with the tilde.

I manually tweaked that function (see snippet, below), by adding an #:hspace 
-1.25 and #:hspace -1 as “[negative] padding”. The default gives


while the tweaked version gives the far more pleasing


But I can’t seem to figure out how to add left-pad and right-pad as properties 
(with default 0) — I keep getting “unbound variable” errors. If anyone could 
help, I’d appreciate it.

Thanks,
Kieren.

%%%  SNIPPET BEGINS
(define-markup-command (tied-lyric layout props str)
  (string?)
  #:category music
  #:properties ((word-space))
  "
@cindex simple text strings with tie characters

Like simple-markup, but use tie characters for @q{~} tilde symbols.

@lilypond[verbatim,quote]
\\markup \\column {
  \\tied-lyric #\"Siam navi~all'onde~algenti Lasciate~in abbandono\"
  \\tied-lyric #\"Impetuosi venti I nostri~affetti sono\"
  \\tied-lyric #\"Ogni diletto~e scoglio Tutta la vita~e~un mar.\"
}
@end lilypond"
  (define (replace-ties tie str)
(if (string-contains str "~")
(let*
((half-space (/ word-space 2))
 (parts (string-split str #\~))
 (tie-str (markup #:hspace half-space #:hspace -1.25
  #:musicglyph tie
  #:hspace half-space #:hspace -1))
 (joined  (list-join parts tie-str)))
  (make-concat-markup joined))
str))

  (define short-tie-regexp (make-regexp "~[^.]~"))
  (define (match-short str) (regexp-exec short-tie-regexp str))

  (define (replace-short str mkp)
(let ((match (match-short str)))
  (if (not match)
  (make-concat-markup (list
   mkp
   (replace-ties "ties.lyric.default" str)))
  (let ((new-str (match:suffix match))
(new-mkp (make-concat-markup (list
  mkp
  (replace-ties "ties.lyric.default"
(match:prefix 
match))
  (replace-ties "ties.lyric.short"
(match:substring 
match))
(replace-short new-str new-mkp)

  (interpret-markup layout
props
(replace-short str (markup
  SNIPPET ENDS


Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info 
‣ email: i...@kierenmacmillan.info 
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Re: Lines to edges of \center-column

[David Wright]

On Sun 23 Apr 2017 at 04:12:32 (+0200), caag...@gmail.com wrote:
> On 04/23/17 03:47, David Wright wrote:
> >Then I don't know what you mean. When you drag over them, they turn
> >blue because you _have_ selected them (drag.png, apologies for the
> >size). Then you can paste them into, say, a bash shell command line
> >(pasted.png, the box at the right is the inactive cursor).
> 
> The top (kana) line can't be selected at all, is what I'm trying to
> say. It acts a bit different in different viewers, but none seem to
> be able to select+copy it.

Well, I can't take a view on that because AFAICT the source in the OP
only contained kanji (complicated-looking) characters. Would that be
correct? Could you give the source with which you produced your
seam.png output (preferably as an attachment so I don't have to rely
on my paste's behaviour).

> >But why do you want to select part of a PDF like that when _you_
> >generated it? I often do that with _other_ people's PDFs when I
> >want to get at their text.
> 
> It's not that I want to select it, it's just that I hate when things
> are inconsistent like that.
> 
> >The rendition of the dragged area is entirely a function of the
> >viewer you're using. Xpdf always shows a rectangle and lifts
> >just the text therein, rather than being constrained by the lines
> >of text (xpdf.png, more apologies). However, I think it mixes up
> >its encodings so the pasted text makes little sense.
> >
> >That looks a lot like evince that you're using. Very good for reading
> >Chase credit card statements and encrypted PDFs, which xpdf can't
> >manage, but I hate the interface.
> 
> It's actually Atril, MATE's Evince fork. I use it because it
> respects my GTK theme, and unlike Evince, it doesn't use client-side
> window decorations, so it works with i3. I think xpdf's UI looks
> horrible, btw. Its rendering quality seems good, though.

I agree, but I'm more concerned about the contents of the window than
the window itself.

> >Anyway, my guess is that evince
> >treats keeping the characters _as_ individual characters as its
> >priority, whereas xpdf tries to render what will print.
> 
> Yeah, I've noticed that Atril often renders things slightly
> differently when zoomed-out.
> 
> >One really needs an armoury of PDF viewers.
> 
> And yet, PDF's main point is that it looks identical on all devices...

Well, I've taken a closer look with evince at my box.pdf and I can see
the effect you mention. However, I think they're just artifacts of its
display, because when you magnify the areas in question, the blemishes
don't get magnified but disappear, or appear elsewhere. So I don't
think the problem lies in the PDF at all. One also has to bear in mind
that the screen resolution can lead to odd effects just because of
where the grid of pixels happen to be relative to the image.

When I wrote armoury, I really meant in terms of their functionality
rather than differences in the document display. Xpdf has flexible
navigation (by page, by 10 pages, by history, and by pagenumber),
zoom (width, height, entire page, selected area), rotation, page/
continuous view, 'q' to quit, and so on. Evince can handle some PDFs
that xpdf can't, as mentioned before, but also view different types
of document. Xournal can annotate PDFs with text and drawings. Etc.
But the PDFs all look the same.

> >So now the question becomes what do you want to produce these PDFs
> >for, and how are you going to ascertain which browser the consumers
> >are using? If I were sending them to my printers, my expectations
> >(and theirs) would be the sort of copies that I've shown magnified.
> 
> That kind of minutiae doesn't bother me very much (only a
> little...); the big problem is that the lines on the kana row and
> the kanji row are different shapes. They're both three box-drawings
> on each side, but they look quite different in all PDF viewers I've
> tried (Firefox, Chromium, Atril, Okular, xpdf).

Are those characters the same height? I think you should put some
characters into both lines for control purposes; some ordinary Roman
alphabeticals, say.

> Also, I wouldn't say 70kb is much to apologize for.

I meant screen size rather then file size. I usually select the area
of my screenshots (like pasted.png), but I needed to use my
delayed-screenshot button to capture evince's and xpdf's own selection
correctly; you can't drag a mouse to select an area over an already
active mouse selection without destroying the latter.

Cheers,
David.
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Re: Repeat sign in stanzas below score

[Simon Albrecht]

Am 24.04.2017 um 15:25 schrieb Gregor Buchholz:

Is there a way to get some nice repeat signs printed in the text?


I don’t know if there is anything easier than this:


repeatBarMarkupClose =
\markup {
  \raise #.6
  \with-dimensions #'(-.5 . .8) #'(-1.6 . 1.6)
  \score {
\layout {
  indent = -7
}
\new Staff \with {
  \hide StaffSymbol
  \remove Clef_engraver
  \remove Note_heads_engraver
  \remove Time_signature_engraver
  \remove Key_engraver
} \repeat volta 2 { \once\omit BarLine s }
  }
}
repeatBarMarkupOpen = \markup \rotate #180 \repeatBarMarkupClose

\markup {
  \repeatBarMarkupOpen
  test
  \repeatBarMarkupClose
}


(tested only with 2.19.58)
The negative indent is something of a hack, of course. But it works :-)
Maybe you’ll want to scale it.

- I could not find a repeat sign here: 
http://lilypond.org/doc/v2.18/Documentation/notation/the-feta-font


That’s because the repeat signs are drawn as bar lines by the 
Bar_line_engraver, to match the staff.


Best, Simon

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Re: strict notespacing with lyrics

[Simon Albrecht]

Am 24.04.2017 um 19:19 schrieb Urs Liska:

Maybe we could revive the stalled lyric project?  Janek did a lot of
work breaking lyric issues down into manageable chunks.

Where is this available?


They are around a dozen issues, around #2450. I don’t know if the Lyrics 
project label made its way to sourceforge.


Best, Simon

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Re: strict notespacing with lyrics

[Urs Liska]

Am 24. April 2017 18:50:47 MESZ schrieb David Nalesnik 
:

>>
>
>This seems to me to be an extremely complex undertaking, involving a
>rewrite of a lot of spacing code.  I would vote to implement something
>more modest, a simple adjustment of self-alignment-X, as per Abraham's
>suggestion.  Much more likely to get takers.
>

Sounds reasonable.

>Maybe we could revive the stalled lyric project?  Janek did a lot of
>work breaking lyric issues down into manageable chunks.

Where is this available?

Urs
>
>My 2 cents...
>
>David
>
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Re: lilypond duet writing

[Simon Albrecht]

Am 24.04.2017 um 03:35 schrieb Margaret Voorhaar:

I have written a flute  melody which is is complete at 32 bars in length. Is it 
too late to integrate a second flute part beneath this?


There is no problem at all with that, you can make every change to your 
score that you like :-)

But how?
Normally, you would save the music for the first flute in a variable, 
i.e. instead of just writing


\relative c'' {
…
}

on top-level in the file (that means, not enclosed in any \score or 
other section)

you write

fluteOne = \relative c'' {
…
}

and later you can reference that using \fluteOne.
The second flute part is just entered the same way:

fluteTwo = \relative c'' {
…
}

Now it comes to combining the two. LilyPond has two ways of combining 
music expressions: {} combines them _sequentially_ and <<>> combines 
them _simultaneously_. So all you need after defining those two 
variables with the music is:


<<
  \fluteOne
  \fluteTwo
>>

If you want to really get into using LilyPond and lay a proper 
foundation, the Learning Manual is an absolute must-read. You can find 
it at , and it really covers all you 
need for a basic understanding of how to use LilyPond and also where to 
find information. Read it completely, and try to understand it well :-) 
I know from experience that starting with LilyPond can be tough at 
times, and often that comes from overlooking things that are described 
in the Learning Manual, sometimes even details that make a big 
difference. But it pays off :-)


Happy LilyPonding and all the best,
Simon

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Re: strict notespacing with lyrics

[David Nalesnik]

On Mon, Apr 24, 2017 at 11:13 AM, Kieren MacMillan
 wrote:
> Abraham,
>
>> So, the real question is this: can we make LyricText.self-alignment-X 
>> dynamic instead of static? In other words, can we use a springs-like 
>> mechanism between LyricText syllables, but that are more flexible than the 
>> springs-and-rods between NoteColumns? That way, the NoteColumns would more 
>> likely get into their normal rhythmic positions and the LyricText grobs 
>> could float horizontally a bit, pushing each other around within their -1 to 
>> 1 self-alignment-X range.
>
> This sounds really familiar…  ;)
>
>> Looking forward to everyone's thoughts on the matter.
>
> Love the basic idea — now let’s polish it, and implement it!
>
> 1. There should be a way to “group” a set of notes [with attached lyrics] — 
> from 2 adjacent notes all the way up to “the whole score” — and then set the 
> rigidity of the note-springs and lyric-springs as separate parameters.
>
> 2. There should be a parameter for how much “flex" the block has. Say you set 
> notes.spring-rigidity = #1, so that Lilypond forces the notes to be “in 
> perfect proportion” (essentially ignoring the lyrics). If the block of lyrics 
> underneath are (e.g.) twice as wide as the set of notes, it would be nice for 
> Lilypond to take that into account. Naively: perhaps Lily should try to 
> compute the minimum amount of horizontal space required for the associated 
> lyrics, and use that width as a ‘frame’ in which the notes are then 
> distributed “perfectly”?
>

This seems to me to be an extremely complex undertaking, involving a
rewrite of a lot of spacing code.  I would vote to implement something
more modest, a simple adjustment of self-alignment-X, as per Abraham's
suggestion.  Much more likely to get takers.

Maybe we could revive the stalled lyric project?  Janek did a lot of
work breaking lyric issues down into manageable chunks.

My 2 cents...

David

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Re: strict notespacing with lyrics

[Kieren MacMillan]

Abraham,

> So, the real question is this: can we make LyricText.self-alignment-X dynamic 
> instead of static? In other words, can we use a springs-like mechanism 
> between LyricText syllables, but that are more flexible than the 
> springs-and-rods between NoteColumns? That way, the NoteColumns would more 
> likely get into their normal rhythmic positions and the LyricText grobs could 
> float horizontally a bit, pushing each other around within their -1 to 1 
> self-alignment-X range.

This sounds really familiar…  ;)

> Looking forward to everyone's thoughts on the matter.

Love the basic idea — now let’s polish it, and implement it!

1. There should be a way to “group” a set of notes [with attached lyrics] — 
from 2 adjacent notes all the way up to “the whole score” — and then set the 
rigidity of the note-springs and lyric-springs as separate parameters.

2. There should be a parameter for how much “flex" the block has. Say you set 
notes.spring-rigidity = #1, so that Lilypond forces the notes to be “in perfect 
proportion” (essentially ignoring the lyrics). If the block of lyrics 
underneath are (e.g.) twice as wide as the set of notes, it would be nice for 
Lilypond to take that into account. Naively: perhaps Lily should try to compute 
the minimum amount of horizontal space required for the associated lyrics, and 
use that width as a ‘frame’ in which the notes are then distributed “perfectly”?

Looking forward to seeing where this goes!
Kieren.


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


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Re: openlilylib: edition-engraver and \partial

[arnepe]

thanks for the information

cheers
Arne



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Re: strict notespacing with lyrics

[tisimst]

On Sun, Apr 23, 2017 at 8:09 AM, Kieren MacMillan [via Lilypond] <
ml+s1069038n202546...@n5.nabble.com> wrote:

> Hi Johannes,
>
> any ideas how to get a more even - ot lets say rhytmic - distribution of
> the notes with lyrics?
>
>
> This is an ongoing frustration I have. (I *just* talked about this
> off-list with Abraham a few days ago!)
>
> may be there is a way to get a little bit more even spacing?
>
>
> There are many ways — but they all require manual effort.
>

So, the real question is this: can we make LyricText.self-alignment-X
dynamic instead of static? In other words, can we use a springs-like
mechanism between LyricText syllables, but that are more flexible than the
springs-and-rods between NoteColumns? That way, the NoteColumns would more
likely get into their normal rhythmic positions and the LyricText grobs
could float horizontally a bit, pushing each other around within their -1
to 1 self-alignment-X range. I'm only brainstorming, but it seems that this
would be a generally good approach to provide the least disruption of note
spacing.

Looking forward to everyone's thoughts on the matter.

Best,
Abraham




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RE: lilypond duet writing

[Mark Stephen Mrotek]

Margaret,

Two methods are described at
http://lilypond.org/doc/v2.18/Documentation/notation/multiple-voices

Mark

-Original Message-
From: lilypond-user [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] 
On Behalf Of Margaret Voorhaar
Sent: Sunday, April 23, 2017 6:35 PM
To: Hans Åberg 
Subject: lilypond duet writing

Hi Hans, 
Thank-you very much for responding to my first efforts at learning Lilypond. 

I am going to take advantage of your kindness and submit my next conundrum to 
you. 

I have written a flute  melody which is is complete at 32 bars in length. Is it 
too late to integrate a second flute part beneath this?  

I have tried following the various directives from the youtube tutorials on to 
the Lilypond manuals and cannot manage to add an extra line after the fact. Is 
this too hard for a beginner such as myself? 

Thank-you for taking the time to respond. 
:) margaret. Port Stanley, ON, Canada

Here is a bit of the code:

\version "2.18.2-1"
% this to be added to Oogway's assent. 

\header {

title = "Alex's Dance"
composer = "Margaret"

}

\relative c''

{

\tempo "Lively"
\clef "treble"
\key d\minor
\time  3/8
\tempo "Lively"

d8( f8 a8)  | %m1
g4( f8  | %m2
g4 f8   | %m3
g4 a8)  | %m4








> On Apr 10, 2017, at 4:22 PM, Hans Åberg  wrote:
> 
> 
>> On 10 Apr 2017, at 00:47, Margaret Voorhaar  
>> wrote:
> 
>> Even though it appears that I have saved my Lilypond file as a desktop pdf 
>> on my mac, my score becomes integrated with the email addresses etc when I 
>> go to send or print. Can I sent this score as an attachment, just as I do my 
>> Word Docs and photos? 
> 
> In Mail, just write the letter, and then drop into the PDF or whatever where 
> you want it.
> 
> 


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Re: Ottava only for Voice

[Andrew Bernard]

Hi Stephan,

This is described in the NR Section 1.1.3 (version 2.19.59), "

* Adding an ottava marking to a single voice".*
Something I use all the time. But a bit hard to find in the doc as it is
not indexed specifically.

Andrew
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Re: Ottava only for Voice

[Stephan Zitzmann]

Thank you, that was the solution.

Regards


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Repeat sign in stanzas below score

[Gregor Buchholz]

Hello,

I added additional stanzas below a score as described in the doc 
(http://lilypond.org/doc/v2.18/Documentation/notation/stanzas#printing-stanzas-at-the-end-in-multiple-columns).


Now I want to print repeat signs at the beginning and at the end of a 
line. Of course, I could use the pipe symbol (vertical bar, |) and a 
colon (punctuation mark, :) in order for the reader to sing the 
respective line twice, like:


\score {
...
}

\markup {
 \fill-line {
  ...
   \column {
\line { \bold "2."
 \column {
  "Land of hope and glory, mother of the free"
  ...
  "|: God, who made thee mighty, make thee mightier yet :|"
 }
   }
  }
 }
}

But it would be much nicer to print a "real" repeat sign. Obviously, I 
cannot use \bar "|:" in the text. Is there a way to get some nice repeat 
signs printed in the text?


Remarks:
- I could not find a repeat sign here: 
http://lilypond.org/doc/v2.18/Documentation/notation/the-feta-font
- I could not find a snippet in the LSR with any combination of 
"stanza/s" | "markup" | "text" + "repeat"
- I found some interesting things at 
http://lilypond.org/doc/v2.18/Documentation/snippets/text but nothing 
that helped me here


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Re: Can't refer to variable directly after defining it

[Dmytro O. Redchuk]

% -- 8< --
foo = {c' c' c' c'}
{ \foo }
% -- 8< --

--- is ok.


soprano = { \soprano \anotherSoprano }
--- is ok also.

I mean:

% -- 8< --
soprano = \lyricmode {
  la -- la -- la
}

refrain = \lyricmode {
  ha -- ha -- ha
}

soprano = { \soprano \refrain }
% -- 8< --

--- will also be ok.

2017-04-23 0:50 GMT+03:00  :
> 4On 04/22/17 23:47, Thomas Morley wrote:
>>
>> The reason for it: The parser needs to check whether there is
>> something else which needs to be added to the definition of 'foo',
>> (most common example for those stuff is 'addlyrics') or, something
>> else makes clear the declaration of 'foo' is complete.
>
>
> Ah, that makes sense. `fff = a''4 \fff` is a bit ambigous.
>
>
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-- 
  Dmytro O. Redchuk

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Re: Fwd: lilypond duet writing

[Martin Tarenskeen]

On Mon, 24 Apr 2017, Margaret Voorhaar wrote:


I have  a flute  melody which is 32 bars in length. Is it too late to integrate 
a second flute part beneath this?  Thank-you!
First two bars are below:


It's never too late for anything, once you learn the habit to put your 
parts in variables, and organise these in a score afterwards.


e.g.

fluteOne = \relative {  music for flute One  }

fluteTwo = \relative {  music for flute Two  }

\score {
<<
\new Staff \fluteOne
\new Staff \fluteTwo
>>
\layout {}
\midi {}
}

There are also commands for things like staffname, to make the midi 
playback sound like 2 flutes instead of the default pianosound, to tweak 
the layout, and much more. Check the LilyPond manuals.


--

MT

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Re: Fwd: lilypond duet writing

[Martin Tarenskeen]

On Mon, 24 Apr 2017, Margaret Voorhaar wrote:


\version "2.18.2-1"


I don't think is valid version number syntax (is it?)
use

\version "2.18.2"

--

MT



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Re: German User Forum down

[Malte Meyn]

Am 24.04.2017 um 10:49 schrieb zs.has...@gmx.de:
> Sagt mal, was ist aus dem Forum geworden. Ich frage, weil ich mir überlege,
> dem Domainbesitzer einen Brief zu schreiben, um das Forum, wenn der Aufwand
> entsprechend gering ist, zu übernehmen.

DE: In den nächsten Tagen übernehme ich die Domain, ein neues Forum ist
schon eingerichtet und die alten Threads sind auch schon gerettet und
werden dann in einem Archiv online gehen. Ich werde das dann hier
ankündigen.

EN: There’ll be a new german user forum in the next few days. I’ll write
a mail to this list when it is online.

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German User Forum down

[zs.hassia]

Sagt mal, was ist aus dem Forum geworden. Ich frage, weil ich mir überlege,
dem Domainbesitzer einen Brief zu schreiben, um das Forum, wenn der Aufwand
entsprechend gering ist, zu übernehmen.


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Re: lilypond duet writing

[Urs Liska]

Am 24.04.2017 um 10:35 schrieb David Kastrup:
> Urs Liska  writes:
>
>> Am 24.04.2017 um 03:35 schrieb Margaret Voorhaar:
>>> Hi Hans, 
>>> Thank-you very much for responding to my first efforts at learning 
>>> Lilypond. 
>>>
>>> I am going to take advantage of your kindness and submit my next
>>> conundrum to you.
>>>
>>> I have written a flute melody which is is complete at 32 bars in
>>> length. Is it too late to integrate a second flute part beneath
>>> this?
>> No, not at all.  It is one of the beauties of text-based work that you
>> will very rarely run into such a situation. While in a graphical
>> program adding something "after the fact" may indeed break things, in
>> a text based program the whole text is considered newly upon each
>> compilation.
> Well, "considered new" is not the fundamental difference: a graphical
> program will consider its input "new" on each load.  Graphical programs
> offer a number of transformations you can do to your project and any
> work you need to do have to be matched to what the program can do.
>
> With a text-based program, you have access to the "meat" of the matter
> independently.  If there is no sensible _structural_ transformation you
> can do to your project, you can still strip all the meat (the notes) off
> the bones of an existing project and put them on a different skeleton.
> So if you want to have a giraffe and all you have is an elephant, you
> just need a giraffe skeleton (which is comparably lightweight) and you
> can hang all the elephant meat off that skeleton and are finished.
> Don't ask me what to do the with the trunk, though.
>
> So the bulk of work you already invested rarely goes to waste.  The
> downside, of course, is that it is easy to create invalid input,
> something that graphical programs usually only do due to bugs.  But
> recovery is often straightforward, and you can continue working on your
> material even while it is in invalid state and you are waiting for help
> to fix that.

This is even true when it's not invalid  *input*. You may want to read
the last section of this blog post
(http://lilypondblog.org/2014/10/segmented-workflows/) describing how a
team could continue working on a big score while we were suffering from
a LilyPond bug that prevented the score from being properly compiled at all.

Urs

>
> Like the help from Urs.
>

-- 
u...@openlilylib.org
https://openlilylib.org
http://lilypondblog.org


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Re: lilypond duet writing

[David Kastrup]

Urs Liska  writes:

> Am 24.04.2017 um 03:35 schrieb Margaret Voorhaar:
>> Hi Hans, 
>> Thank-you very much for responding to my first efforts at learning Lilypond. 
>>
>> I am going to take advantage of your kindness and submit my next
>> conundrum to you.
>>
>> I have written a flute melody which is is complete at 32 bars in
>> length. Is it too late to integrate a second flute part beneath
>> this?
>
> No, not at all.  It is one of the beauties of text-based work that you
> will very rarely run into such a situation. While in a graphical
> program adding something "after the fact" may indeed break things, in
> a text based program the whole text is considered newly upon each
> compilation.

Well, "considered new" is not the fundamental difference: a graphical
program will consider its input "new" on each load.  Graphical programs
offer a number of transformations you can do to your project and any
work you need to do have to be matched to what the program can do.

With a text-based program, you have access to the "meat" of the matter
independently.  If there is no sensible _structural_ transformation you
can do to your project, you can still strip all the meat (the notes) off
the bones of an existing project and put them on a different skeleton.
So if you want to have a giraffe and all you have is an elephant, you
just need a giraffe skeleton (which is comparably lightweight) and you
can hang all the elephant meat off that skeleton and are finished.
Don't ask me what to do the with the trunk, though.

So the bulk of work you already invested rarely goes to waste.  The
downside, of course, is that it is easy to create invalid input,
something that graphical programs usually only do due to bugs.  But
recovery is often straightforward, and you can continue working on your
material even while it is in invalid state and you are waiting for help
to fix that.

Like the help from Urs.

-- 
David Kastrup

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Re: Ottava only for Voice

[Malte Meyn]

Am 24.04.2017 um 10:23 schrieb zs.has...@gmx.de:
> I do not know, how to switch off the influence of \ottava #1 in the  upper
> voice to the lower voice.

\ottava seems to change the middleCPosition for the whole staff so try

\set Voice.middleCPosition = 1

in the lower voice.

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Ottava only for Voice

[zs.hassia]

The example with the problem is

[Example]

\version "2.19.41"

global = {
  \key c \major
  \time 4/4
}

upper = \relative c' {\voiceOne
  \global
 e'1 \ottava #1 e'1
  
}

lower = \relative c' { \voiceTwo
  \global
 e,1 ~  e1
  
}

\score {
  \new Staff  { \clef "treble_8" << \upper \\ \lower >> }
  \layout { }
 
}

[\example]

I do not know, how to switch off the influence of \ottava #1 in the  upper
voice to the lower voice.

Regards


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Re: lilypond duet writing

[Urs Liska]

Am 24.04.2017 um 03:35 schrieb Margaret Voorhaar:
> Hi Hans, 
> Thank-you very much for responding to my first efforts at learning Lilypond. 
>
> I am going to take advantage of your kindness and submit my next conundrum to 
> you. 
>
> I have written a flute  melody which is is complete at 32 bars in length. Is 
> it too late to integrate a second flute part beneath this?  

No, not at all.
It is one of the beauties of text-based work that you will very rarely
run into such a situation. While in a graphical program adding something
"after the fact" may indeed break things, in a text based program the
whole text is considered newly upon each compilation.

>
> I have tried following the various directives from the youtube tutorials on 
> to the Lilypond manuals and cannot manage to add an extra line after the 
> fact. Is this too hard for a beginner such as myself? 
>
> Thank-you for taking the time to respond. 
> :) margaret. Port Stanley, ON, Canada
>
> Here is a bit of the code:
>
> \version "2.18.2-1"
> % this to be added to Oogway's assent. 
>
> \header {
>
> title = "Alex's Dance"
> composer = "Margaret"
>
> }
>
> \relative c''
>
> {
>
> \tempo "Lively"
> \clef "treble"
> \key d\minor
> \time  3/8
> \tempo "Lively"
>
> d8( f8 a8)| %m1
> g4( f8| %m2
> g4 f8 | %m3
> g4 a8)  | %m4
>
>

What you are doing is writing a "music expression" at the top level of
your input file. This is fine for simple use cases (like a plain melody)
but should be extended for more complex scores.

Your code will implicitly be expanded by LilyPoind to (I'm leaving out
many things):

\score {
  \new Staff \relative c'' {
% your music
  }
}

The first thing you can do is give the music expression a name (or:
store it as a variable:

fluteOne = \relative c'' {
  % flute one music goes here
}

\score {
  \new Staff \fluteOne
}

This should produce the same score as previously.

In order to add a second staff you create a second variable fluteTwo and
extend the score block to:

\score {
  <<
\new Staff \fluteOne
\new Staff \fluteTwo
  >>
}

The << >> tells LilyPond to treat the elements within the construct as
*parallel*, so the two new Staff elements will be placed below each other.

You should try this out and then (or before) read through
http://lilypond.org/doc/v2.18/Documentation/learning/how-lilypond-input-files-work

HTH
Urs


>
>
>
>
>
>> On Apr 10, 2017, at 4:22 PM, Hans Åberg  wrote:
>>
>>
>>> On 10 Apr 2017, at 00:47, Margaret Voorhaar  
>>> wrote:
>>> Even though it appears that I have saved my Lilypond file as a desktop pdf 
>>> on my mac, my score becomes integrated with the email addresses etc when I 
>>> go to send or print. Can I sent this score as an attachment, just as I do 
>>> my Word Docs and photos? 
>> In Mail, just write the letter, and then drop into the PDF or whatever where 
>> you want it.
>>
>>
>
> ___
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-- 
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https://openlilylib.org
http://lilypondblog.org


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lilypond duet writing

[Margaret Voorhaar]

Hi Hans, 
Thank-you very much for responding to my first efforts at learning Lilypond. 

I am going to take advantage of your kindness and submit my next conundrum to 
you. 

I have written a flute  melody which is is complete at 32 bars in length. Is it 
too late to integrate a second flute part beneath this?  

I have tried following the various directives from the youtube tutorials on to 
the Lilypond manuals and cannot manage to add an extra line after the fact. Is 
this too hard for a beginner such as myself? 

Thank-you for taking the time to respond. 
:) margaret. Port Stanley, ON, Canada

Here is a bit of the code:

\version "2.18.2-1"
% this to be added to Oogway's assent. 

\header {

title = "Alex's Dance"
composer = "Margaret"

}

\relative c''

{

\tempo "Lively"
\clef "treble"
\key d\minor
\time  3/8
\tempo "Lively"

d8( f8 a8)  | %m1
g4( f8  | %m2
g4 f8   | %m3
g4 a8)  | %m4








> On Apr 10, 2017, at 4:22 PM, Hans Åberg  wrote:
> 
> 
>> On 10 Apr 2017, at 00:47, Margaret Voorhaar  
>> wrote:
> 
>> Even though it appears that I have saved my Lilypond file as a desktop pdf 
>> on my mac, my score becomes integrated with the email addresses etc when I 
>> go to send or print. Can I sent this score as an attachment, just as I do my 
>> Word Docs and photos? 
> 
> In Mail, just write the letter, and then drop into the PDF or whatever where 
> you want it.
> 
> 


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Re: LSR down

[Thomas Morley]

2017-04-24 5:52 GMT+02:00 Andrew Bernard :
> LSR down again.
>
> Who is the maintainer? I'd be happy to mail them.
>
> Andrew



:((
I'll send you the contact-data privately, afaik he's not subscribed to
the user-list.

Cheers,
  Harm

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Re: Speedup with recent lilypond

[Michael Käppler]

Thanks!

Am 24.04.2017 um 09:39 schrieb Phil Holmes:

- Original Message - From: "Michael Käppler" 
To: "David Kastrup" 
Cc: 
Sent: Monday, April 24, 2017 8:24 AM
Subject: Re: Speedup with recent lilypond


I'm on Win7 x64. When has the font caching been fixed? I could not 
find the commit.




Probably 
https://github.com/gperciva/gub/commit/4092624f4fa85ae8c38fcb87646942f13583b26a


--
Phil Holmes




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Re: Speedup with recent lilypond

[Phil Holmes]

- Original Message - 
From: "Michael Käppler" 

To: "David Kastrup" 
Cc: 
Sent: Monday, April 24, 2017 8:24 AM
Subject: Re: Speedup with recent lilypond


I'm on Win7 x64. When has the font caching been fixed? I could not find 
the commit.




Probably 
https://github.com/gperciva/gub/commit/4092624f4fa85ae8c38fcb87646942f13583b26a


--
Phil Holmes 



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Re: Speedup with recent lilypond

[David Kastrup]

Michael Käppler  writes:

> I'm on Win7 x64. When has the font caching been fixed? I could not
> find the commit.

If I remember correctly, this was an update in GUB, our crosscompiling
setup.  Probably preceded by some upstream change of whatever library
was involved.

-- 
David Kastrup

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Re: Speedup with recent lilypond

[Michael Käppler]

I'm on Win7 x64. When has the font caching been fixed? I could not find 
the commit.



Am 24.04.2017 um 09:14 schrieb David Kastrup:

Michael Käppler  writes:


Hi all,

just for curiosity: I upgraded from 2.19.55 to 2.19.59 and noticed an
enormous speedup. That is really great

and I would like to know which change(s) are responsible for that.

You did not mention your operating system, but an "enormous speedup"
would likely be a fix of the defective Freetype font caching.




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Re: Speedup with recent lilypond

[Werner LEMBERG]

> [...] but an "enormous speedup" would likely be a fix of the
> defective Freetype font caching.

Just to be clear: FreeType itself provides font caching within the
library.  However, lilypond doesn't use this functionality (and right
so).

You rather mean problems with the fontconfig library.


Werner

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Re: Speedup with recent lilypond

[David Kastrup]

Michael Käppler  writes:

> Hi all,
>
> just for curiosity: I upgraded from 2.19.55 to 2.19.59 and noticed an
> enormous speedup. That is really great
>
> and I would like to know which change(s) are responsible for that.

You did not mention your operating system, but an "enormous speedup"
would likely be a fix of the defective Freetype font caching.

-- 
David Kastrup

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Speedup with recent lilypond

[Michael Käppler]

Hi all,

just for curiosity: I upgraded from 2.19.55 to 2.19.59 and noticed an 
enormous speedup. That is really great


and I would like to know which change(s) are responsible for that.

All the best,

Michael


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Re: openlilylib: edition-engraver and \partial

[Jan-Peter Voigt]

Good morning Arne,

to address times before "1 0/4" one might use "1 #(ly:make-moment -1/4)" 
... but unfortunately that doesn't work (right now).

Both versions don't catch the mod.
The EE acts early in each timestep. When a Context is newly created, 
e.g. at the beginning of a piece, the timing information is not set up 
ready, so that the measurePosition -1/4 is not visible yet. The same 
applies for Voices created instantaneously.

But I am aware of this problem and hope to find a solution soon!

Cheers
Jan-Peter

Am 24.04.2017 um 05:49 schrieb arnepe:

good morning,

can someone please enlighten me how to use the edition-engraver for tweaks
on a note before the first bar - when a piece starts with an upbeat?

Using " \editionMod xxx ... " on anything before "1 0/4" has not worked for
me so far...
(I'm using the "old" version, as found on openlilylib in
".../snippets/editorial-tools/edition-engraver")

cheers
Arne



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View this message in context: 
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