Re: Edition Engraver mod list question

[Craig Dabelstein]

Thank you gents


On 14 February 2018 at 09:58, Urs Liska  wrote:

>
>
> Am 14. Februar 2018 00:35:38 MEZ schrieb Kieren MacMillan <
> kieren_macmil...@sympatico.ca>:
> >Hi Craig,
> >
> >> In the edition engraver, is it possible to set a line break in the
> >middle of a bar?
> >> Something such as breaking bar 12 in the example below after the
> >second beat?
> >> \editionModList manuscript manuscript-score.Score \break #'(4 8 (12
> >2/4) 16 20)
> >
> >Yes… but in order to do that, you'll need to add a \bar "" at that
> >point (also using the EE, of course!).
> >
>
> or you can use the page-layout package for this, a wrapper around the EE,
> offering some more syntactic sugar.
>
> Urs
> >Hope that helps,
> >Kieren.
> >
> >
> >Kieren MacMillan, composer
> >‣ website: www.kierenmacmillan.info
> >‣ email: i...@kierenmacmillan.info
> >
> >
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>



-- 
*Craig Dabelstein*
Maxime's Music
craig.dabelst...@gmail.com
*http://maximesmusic.com *
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Re: Automatic vertical spacing when *some* values are fixed

[David Wright]

On Tue 13 Feb 2018 at 21:41:01 (+0100), Urs Liska wrote:

> I know that the music can't be properly printed with the given
> combination of paper size, margins and staffsize. But I want
> LilyPond to prefer the solution with two systems per page (in this
> example) because the compressed variant is *really* inacceptable.
> 
> Using further paper variables is of no help either. Of course, if
> I'd want to engrave that certain piece I'd experiment along these
> lines too, but that's not what I'm after.
> I'm working on a LaTeX package that includes scores in text
> documents and matches the layout as good as possible.
> While it is trivial to set the margins to exactly match the LaTeX
> ones I don't really like that solution because the pages will look
> uneven when the top margin does not match the stafflines but the
> top-most element. What I would like to achieve is something like
> this: 
> https://user-images.githubusercontent.com/1812148/35498550-1780de08-04cf-11e8-9553-2bb1aabbe33e.png
> 
> And actually it was possible to achieve it by fixing the margins of
> the staff, but it turns out that this will often result in
> absolutely inacceptable global spacing of the score.
> 
> Does all that finally mean I'll have to experiment with all the
> elements of the paper variables until I find something that promises
> to work generically (i.e. when I don't know the actual music and
> page layout beforehand)?

IIRC you're setting quartets, so two systems of 4 staves on each page.
Can you not just set their vertical positions explicitly as outlined
in §4.4.2 of NR. This might give a very uniform appearance.

\overrideProperty Score.NonMusicalPaperColumn.line-break-system-details 
#'((Y-offset . 0))

Other than that, my only suggestion is a workflow of one system per
page into a PDF → cropping (pdfcrop) → burst pages → \includegraphics
(in LaTeX) which gives you more vertical control of the systems.
But I might have suggested that already, to you or somebody else.

Cheers,
David.

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Re: Edition Engraver mod list question

[Urs Liska]

Am 14. Februar 2018 00:35:38 MEZ schrieb Kieren MacMillan 
:
>Hi Craig,
>
>> In the edition engraver, is it possible to set a line break in the
>middle of a bar?
>> Something such as breaking bar 12 in the example below after the
>second beat?
>> \editionModList manuscript manuscript-score.Score \break #'(4 8 (12
>2/4) 16 20)
>
>Yes… but in order to do that, you'll need to add a \bar "" at that
>point (also using the EE, of course!).
>

or you can use the page-layout package for this, a wrapper around the EE, 
offering some more syntactic sugar.

Urs
>Hope that helps,
>Kieren.
>
>
>Kieren MacMillan, composer
>‣ website: www.kierenmacmillan.info
>‣ email: i...@kierenmacmillan.info
>
>
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Re: Edition Engraver mod list question

[Kieren MacMillan]

Hi Craig,

> In the edition engraver, is it possible to set a line break in the middle of 
> a bar?
> Something such as breaking bar 12 in the example below after the second beat?
> \editionModList manuscript manuscript-score.Score \break #'(4 8 (12 2/4) 16 
> 20)

Yes… but in order to do that, you'll need to add a \bar "" at that point (also 
using the EE, of course!).

Hope that helps,
Kieren.


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


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Edition Engraver mod list question

[Craig Dabelstein]

Hi Lilyponders,

In the edition engraver, is it possible to set a line break in the middle
of a bar?

Something such as breaking bar 12 in the example below after the second
beat?

\editionModList manuscript manuscript-score.Score \break #'(4 8 (12 2/4) 16
20)

Thanks in advance,

Craig




-- 
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Maxime's Music
craig.dabelst...@gmail.com
*http://maximesmusic.com *
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Re: Backing track creation with LilyPond

[Hans Åberg]

> On 13 Feb 2018, at 21:04, David Kastrup  wrote:
> 
> I did a Bach Air from Orchestra Suite #3 version where I
> dubbed the omitted viola voice in  but
> it's really not all too great.

The cat is great, even giving an audience response after the performance.



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Re: Backing track creation with LilyPond

[David Kastrup]

Karlin High  writes:

> On 2/13/2018 2:04 PM, David Kastrup wrote:
>> So I decided maybe sing this time.  I am out of training (obviously) but
>> by plastering reverb in and using LilyPond for creating the backing
>> track, I got something annoyingly useful at first pitch.
>
> Is that you singing on both those tracks, David?

Well, the telltale final "s" should give it away.  Too similar to be
coincidence.

> Impressive voice range! I remember reading that the stroke had
> bothered higher ranges, so either you've made some good recovery or
> had something astounding before that.

Oh come on.  I sound like a strangled duck in the high range, and the
high range is not even high (my previous voice type had been alto, and
it was durable enough to do the choir alto in all 6 parts of the Bach
Christmas Oratory in one performance at modern pitch).  But a few weeks
of vocal exercise should get that under control for the purpose of this
talk.

I had a partial paresis of the left vocal cord which is mostly under
control.  What was affected then was durability of the voice more than
range.  But when I start coughing for some reason, it's basically game
over: I'm very bad at actually clearing stuff out from the throat.
Swallowing and throat clearing is still an incomplete job and I'd better
not eat something in proximity to having to talk or sing.

-- 
David Kastrup

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Re: Backing track creation with LilyPond

[David Kastrup]

"Christopher R. Maden"  writes:

> On 02/13/2018 03:04 PM, David Kastrup wrote:
>> So I decided maybe sing this time.  I am out of training (obviously) but
>> by plastering reverb in and using LilyPond for creating the backing
>> track, I got something annoyingly useful at first pitch.  Now I just
>> need to figure out how to do a proper count-in, and I think I can do the
>> talk with that piece.  The take itself is short, so I should have plenty
>> of time messing up.  And I need to work on my voice the next few weeks.
>>
>> So basically that is a "production with Ardour under Linux might be
>> worth bothering with" pitch.
>
> That’s excellent, David!
>
> There are a couple of ways to do the count-in... I’ve made MIDI files
> in LilyPond that have a wood-block percussion on every beat, starting
> a couple of bars before everything else.  You can open a multi-track
> MIDI in Ardour, I believe.  It makes a good guide for multi-track
> vocals, too, to keep everything in tune.  You can also make a click
> track in Ardour itself, which may turn out to be easier, though it can
> be harder to line up the MIDI with it, depending on how it all works
> out.

I think lining up the Midi should be no problem at all.  In fact, Ardour
lined up the Midi quite thoroughly when I first imported it, warping it
to 120 bpm (its apparent default).  That was surprising.  Changing
Ardour's speed immediately adapted the Midi as well.

I think I might try adding a count-in and perhaps something giving the
pitch in Ardour: that makes the task independent from LilyPond as the
producer of the Midi.

At any rate, taking one reasonably portable audio interface (in my case,
the "Satellite" portion of a Mackie Onyx Satellite) and the mics (of
which I can use one without a stand) and the required cables and power
adapters, and I should be set.  Well, and a small speaker.  And
headphones.

Still, should weigh less than the usual accordion.

-- 
David Kastrup

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Re: Backing track creation with LilyPond

[Karlin High]

On 2/13/2018 2:04 PM, David Kastrup wrote:

So I decided maybe sing this time.  I am out of training (obviously) but
by plastering reverb in and using LilyPond for creating the backing
track, I got something annoyingly useful at first pitch.


Is that you singing on both those tracks, David? Impressive voice range! 
I remember reading that the stroke had bothered higher ranges, so either 
you've made some good recovery or had something astounding before that.

--
Karlin High
Missouri, USA

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Re: Automatic vertical spacing when *some* values are fixed

[Urs Liska]

Hi Torsten,

thank you for these experiments and thoughts which will probably bring 
me forward. Although they essentially miss the point - probably I should 
have copied more information from the earlier thread.


Am 13.02.2018 um 20:45 schrieb Torsten Hämmerle:

Hi Urs,

With the top and bottom fixed, the only flexibility left lies in varying the
distances between systems and staves.
Unfortunately, the system-system-spacing has a default minimum distance of 8
(between the systems) and squeezing three systems into one page seems to be
better than stretching them too far apart.

I'd play around with system-system-spacing.minimum-distance.

1st attempt: When setting minimum-distance to 11, thus forcing a wider
distance between systems, LilyPond still complains about compressing (and
it's even worse).
Now, there is much more compression within the stave groups. No, that's not
good, either...

Even pushing up system-system-spacing.minimum-distance to 12 still squeezes
three systems on page 1, but only two on page 2 (because of the p standing
out in the last line).
That's just (!) because of the p in Vc bar 14., one might say.
So a tiny difference in hairpins, stems, ... makes a huge difference in the
resulting layout (three systems or two systems per page).
This looks awful and very unbalanced. But there's nothing in between: it's
either two or three systems per page.

Setting system-system-spacing.minimum-distance to 13, finally pushes the
systems so far apart that only two systems (but consistently at last) fit on
one page.

Doesn't look too good, either... No, none of the solutions really works.


The example file I gave is not the challenge I need to solve, it's just 
an example where the problem becomes very visible. My actual problem is 
that when I specify the margins the way I do (by setting stretchability 
of a number of variables to zero) LilyPond makes different decisions 
regarding page breaking than with the usual top-margin/bottom-margin layout.





*The actual problem*
The space available on the page does not at all go well with the system size
for a string quartet.
Just reduce the stave size and everything will fit neatly...

Sometimes, I just use one of the system-count, systems-per-page,
min-systems-per-page oder max-systems-per-page paper variables to achieve a
uniform number of systems on all pages.


I know that the music can't be properly printed with the given 
combination of paper size, margins and staffsize. But I want LilyPond to 
prefer the solution with two systems per page (in this example) because 
the compressed variant is *really* inacceptable.


Using further paper variables is of no help either. Of course, if I'd 
want to engrave that certain piece I'd experiment along these lines too, 
but that's not what I'm after.
I'm working on a LaTeX package that includes scores in text documents 
and matches the layout as good as possible.
While it is trivial to set the margins to exactly match the LaTeX ones I 
don't really like that solution because the pages will look uneven when 
the top margin does not match the stafflines but the top-most element. 
What I would like to achieve is something like this: 
https://user-images.githubusercontent.com/1812148/35498550-1780de08-04cf-11e8-9553-2bb1aabbe33e.png


And actually it was possible to achieve it by fixing the margins of the 
staff, but it turns out that this will often result in absolutely 
inacceptable global spacing of the score.


Does all that finally mean I'll have to experiment with all the elements 
of the paper variables until I find something that promises to work 
generically (i.e. when I don't know the actual music and page layout 
beforehand)?


Best
Urs



HTH
Torsten





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Re: Backing track creation with LilyPond

[Christopher R. Maden]

On 02/13/2018 03:04 PM, David Kastrup wrote:

So I decided maybe sing this time.  I am out of training (obviously) but
by plastering reverb in and using LilyPond for creating the backing
track, I got something annoyingly useful at first pitch.  Now I just
need to figure out how to do a proper count-in, and I think I can do the
talk with that piece.  The take itself is short, so I should have plenty
of time messing up.  And I need to work on my voice the next few weeks.

So basically that is a "production with Ardour under Linux might be 
worth bothering with" pitch.


That’s excellent, David!

There are a couple of ways to do the count-in... I’ve made MIDI files in 
LilyPond that have a wood-block percussion on every beat, starting a 
couple of bars before everything else.  You can open a multi-track MIDI 
in Ardour, I believe.  It makes a good guide for multi-track vocals, 
too, to keep everything in tune.  You can also make a click track in 
Ardour itself, which may turn out to be easier, though it can be harder 
to line up the MIDI with it, depending on how it all works out.


~Chris
--
Chris Maden, text nerd
http://crism.maden.org/ >
Emperor Norton had the right idea.

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Backing track creation with LilyPond

[David Kastrup]

Hi,

I am going to have a talk about Ardour multitrack recording in Chemnitz
 on the 10th of March.  My previous
demonstrations all were using an accordion but since an accordion is
really a full solo instrument, it's actually not that great for demoing
multitracking (I did a Bach Air from Orchestra Suite #3 version where I
dubbed the omitted viola voice in  but
it's really not all too great.  At least I discovered that I had been
omitting half a measure before the last repeat: dubbing _that_ was
tricky).

So I decided maybe sing this time.  I am out of training (obviously) but
by plastering reverb in and using LilyPond for creating the backing
track, I got something annoyingly useful at first pitch.  Now I just
need to figure out how to do a proper count-in, and I think I can do the
talk with that piece.  The take itself is short, so I should have plenty
of time messing up.  And I need to work on my voice the next few weeks.

So basically that is a "production with Ardour under Linux might be
worth bothering with" pitch.

Here goes the screen cast: 

I'll have to see whether I manage screencasting of my talk as well: it's
a bit of a stretch since obviously it gobbles up processing power and
disk space.

-- 
David Kastrup

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Re: Automatic vertical spacing when *some* values are fixed

[Torsten Hämmerle]

Hi Urs,

With the top and bottom fixed, the only flexibility left lies in varying the
distances between systems and staves.
Unfortunately, the system-system-spacing has a default minimum distance of 8
(between the systems) and squeezing three systems into one page seems to be
better than stretching them too far apart.

I'd play around with system-system-spacing.minimum-distance.

1st attempt: When setting minimum-distance to 11, thus forcing a wider
distance between systems, LilyPond still complains about compressing (and
it's even worse).
Now, there is much more compression within the stave groups. No, that's not
good, either...

Even pushing up system-system-spacing.minimum-distance to 12 still squeezes
three systems on page 1, but only two on page 2 (because of the p standing
out in the last line).
That's just (!) because of the p in Vc bar 14., one might say.
So a tiny difference in hairpins, stems, ... makes a huge difference in the
resulting layout (three systems or two systems per page).
This looks awful and very unbalanced. But there's nothing in between: it's
either two or three systems per page.

Setting system-system-spacing.minimum-distance to 13, finally pushes the
systems so far apart that only two systems (but consistently at last) fit on
one page.

Doesn't look too good, either... No, none of the solutions really works.


*The actual problem*
The space available on the page does not at all go well with the system size
for a string quartet.
Just reduce the stave size and everything will fit neatly...

Sometimes, I just use one of the system-count, systems-per-page,
min-systems-per-page oder max-systems-per-page paper variables to achieve a
uniform number of systems on all pages.

HTH
Torsten





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Re: missing document browser

[Daryls_Produce]

Hi Knute

I use Frescobaldi 2.18.2 with Ubuntu Linux, and launch it by clicking on the
Frescobaldi application icon.

Thanks,
Phil



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Automatic vertical spacing when *some* values are fixed

[Urs Liska]

Hi all,

recently 
(http://lists.gnu.org/archive/html/lilypond-user/2018-01/msg00576.html) 
I asked about how to use the vertical spacing variables to force the top 
system to an absolute position, which I could achieve with the 
basic-distance and minimal-distance of top-system-spacing and its 
stretchability set to 0.


However, this setting proves to have serious side-effects for vertical 
spacing in general as it seems to encourage LilyPond to squeeze much 
more music on a page. I will have a few questions related to this 
challenge, but I'll start with the most pressing (sorry for the pun) one 
with this email.


Attached you'll find a score with some quartet music in it. You can 
compile it with the vertical margins set through top-margin and 
bottom-margin or through the paper spacing variables.


With the paper variables (which is also the saved state in the 
attachment) LilyPond squeezes three systems on the page, severely 
compressing the music, while with the regular top-margin/bottom-margin 
settings only two systems are put on the page.

(Behaviour is basically the same in 2.18 and 2.19.80.)

My suspicion is that when forcing *some* stretchability values to zero 
the other flexible variables wreak havoc.


Is there a way to force these absolute top and bottom values and still 
have acceptable (or even beautiful) overall vertical spacing?


For your reference: I need this because I want to strictly align the top 
and bottom system of a score to the type area of the surrounding text 
document (this is also where the strange values are from, they are 
calculated from the LaTeX document).


Any suggestions?

Thanks
Urs

%%File header
\version "2.18.2"

\paper{
#(set-paper-size "a5")
print-page-number = ##f
print-first-page-number = ##t
first-page-number = 8
inner-margin = 35.091735839844\pt
left-margin = 35.091735839844\pt
%top-margin = 27\pt
%bottom-margin = 52\pt
% {
top-margin = 0\pt
bottom-margin = 0\pt
top-system-spacing =
#'((basic-distance . 11.958465576172)
   (minimum-distance . 11.958465576172)
   (padding . 0)
   (stretchability . 0))
top-markup-spacing =
#'((basic-distance . 11.958465576172)
   (minimum-distance . 11.958465576172)
   (padding . 0)
   (stretchability . 0))
last-bottom-spacing =
#'((basic-distance . 19.243121337891)
   (minimum-distance . 19.243121337891)
   (padding . 0)
   (stretchability . 0))
%}
two-sided = ##t
line-width = 315.82562255859\pt

}

\header {
%  title=Beethoven
  tagline = ##f
  copyright = ##f
}

global = {
  \key f \major
  \numericTimeSignature
  \time 3/4
  \tempo "Allegro con brio"
}

scoreAViolinI = \relative f' {
  \global
  f4 \p ~ f8 ( g16 f ) e8-. f-. |
  c4 r r |
  f4  ~ f8 ( g16 f ) e8-. f-. |
  d4 r r |

  f'4 \< ~ f8 ( g16 f ) e8-. f-. |
  g2 \> ( bes,4) |
  a2 \! ( d8. bes16 ) |
  a2( g4 ) |

  f4 \f ~ f8 ( g16 f ) e8-. f-. |
  c4 r r |
  f4  ~ f8 ( g16 f ) e8-. f-. |
  d4 r r |

  f'4 \p ~ f8 ( g16 f ) e8-. f-. |
  a2 ( \< g4 ) \> |
  g4 \! ~ g8 ( a16 g ) fis8 -. g -. |
  bes2 ( a4 ) |
  a4 \! ~ a8 ( bes16 a ) g8 -. a -. |
  c4. ( bes8 a g ) |


}

scoreAViolinII = \relative f' {
  \global
  % Music follows here.
  f4 \p ~ f8 ( g16 f ) e8-. f-.
  c4 r r |
  f4 ~ f8 ( g16 f ) e8-. f-. |
  d4 r r |
  bes'2. ~ \< |
  bes2 \> ( g4 ) |
  f2 \! ( bes8. g16 ) |
  f2 ( e4 ) |

  f4 \f ~ f8 ( g16 f ) e8-. f-.
  c4 r r |
  f4 ~ f8 ( g16 f ) e8-. f-. |
  d4 r r |
  R2. |
  e'2.\p % espressivo missing!|
  R2. |
  c2. |
  R2. |
  es4. ( d8 c bes ) |


}

scoreAViola = \relative f {
  \global
  f4 \p ~ f8 ( g16 f ) e8-. f-.
  c4 r r |
  f4 ~ f8 ( g16 f ) e8-. f-. |
  d4 r r |
  d'2. \< ( |
  c2. \> ) ~  |
  c4 \! ( d f, ) |
  c'8 _( b c b c4 )

  f,4 \f ~ f8 ( g16 f ) e8-. f-.
  c4 r r |
  f4 ~ f8 ( g16 f ) e8-. f-. |
  d4 r r |
  R2.
  bes''2. \p |
  R2. |
  es2. |
  R2. |
  fis,4. ( g8 a bes ) |

}

scoreACello = \relative f {
  \global
  f4 \p ~ f8 ( g16 f ) e8-. f-.
  c4 r r |
  f4 ~ f8 ( g16 f ) e8-. f-. |
  d4 r r
  d2. \< ( |
  e2. \> ) ( |
  f4 ) \! ( d bes ) |
  c2.

  f4 \f ~ f8 ( g16 f ) e8-. f-.
  c4 r r |
  f4 ~ f8 ( g16 f ) e8-. f-. |
  d4 r r |
  R2.
  cis'2. \p |
  R2.
  \break
  fis2. |
  \once \override MultiMeasureRest.Y-extent = #'(-5 . 1)
  R2.
  bes,4. bes8 bes bes  |

}

scoreAViolinIPart = \new Staff \with {
  instrumentName = "Vl. I"
} \scoreAViolinI

scoreAViolinIIPart = \new Staff \with {
  instrumentName = "Vl. II"
} \scoreAViolinII

scoreAViolaPart = \new Staff \with {
  instrumentName = "Vla."
} { \clef alto \scoreAViola }

scoreACelloPart = \new Staff \with {
  instrumentName = "Vc."
} { \clef bass \scoreACello }

\score {
  \new StaffGroup <<
\scoreAViolinIPart
\scoreAViolinIIPart
\scoreAViolaPart
\scoreACelloPart
  >>
  \layout { }
}
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Re: \include path

[David Sumbler]

On Tue, 2018-02-13 at 00:57 +0100, Urs Liska wrote:
> Hi David,
> 
> 
> Am 13.02.2018 um 00:33 schrieb David Sumbler:
> > 
> > Is there a way of getting Lilypond to search for \include files in
> > a particular directory, other than by using the command line option
> > -I ?  This is not very convenient, because I usually run Lllypond
> > from Emacs, using Ctrl-C Ctrl-F.
> > 
> > In bash I can add items to the environment variable PATH; perhaps
> > there is something similar in Lilypond?
> > 
> > The reason I ask is that, with the help of Stefano's very helpful
> > "quick rundown", I thought I would experiment with the Edition
> > Engraver.  I am completely new to using 'git', but after some
> > effort I managed to get the relevant parts of OpenLilyLib into a
> > directory called ~/openlilylib/ .
> > 
> > When I added \include "oll-core/package.ily" to my test.ly file, I
> > got a "cannot find file" error, because Lilypond doesn't know where
> > to look for it.  If I give an absolute path or a relative path,
> > package.ily loads OK, but then in that file the line '\include
> >  "oll-core/internal/os-path.ily"' produces an error for the same
> > reason.
> > 
> > Perhaps the answer is to put a symbolic link from somewhere in the
> > lilypond code tree to the openlilylib directory, but then I would
> > have to remember to recreate it every time I install a newer
> > version of Lilypond, which again is less than convenient.
> If Emacs doesn't have an option to construct a command line (like 
> Frescobaldi does) I would say the most straightforward way for you
> would be to write a simple wrapper script that adds these command
> line options for you and call that instead of 'lilypond'.

Thanks very much for your help.

I looked at lilypondmode.el, but I couldn't figure out how to modify
the command that Emacs executes when I press Ctrl-C Ctrl-F.

So following your other suggestion I wrote a script:

#!/bin/sh
exec /usr/local/bin/lilypond -I /home/david/openlilylib/ "$@"

and saved it as ~/bin/lilypond .

Works perfectly!

David

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Re: missing document browser

[Knute Snortum]

What version of Frescobaldi?  What OS?  How do you launch it?


---
Knute Snortum
(via Gmail)

On Sat, Feb 10, 2018 at 12:28 PM, Daryls_Produce <
daryls.prod...@protonmail.com> wrote:

> Yes. I'm in Frescobaldi!
>
> :-)
>
>
>
> --
> Sent from: http://lilypond.1069038.n5.nabble.com/User-f3.html
>
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Re: More than one tempo mark in a score

[Martin Neubauer]

On 12/02/2018 16:42, Peter Toye wrote:
> Monday, February 12, 2018, 3:22:27 PM, you wrote:
> 
> *> Hi Peter,
> 
>>> The nuisance is that you have to count all the silent bars where there 
>>> aren't any tempo changes, which is far less convenient than simply adding a 
>>> \tempo "Allegro" at the relevant place in the score!
> 
>> So you're only adding your tempo markings to one context? And now
>> you're going to manually add it to a second context? What happens if
>> you change the tempo marking? You'll have to (manually) change it in both 
>> places, yes?
> 
> *True - though in my score there are just 2 contexts (as I said, it's
> piano 4-hands)
> 
> *>> Or is there a way of moving to a particular bar number without all
> the counting?
> 
>> There are several such functions floating around: the
>> edition-engraver (EE) of course supports this kind of thing; David K
>> once wrote an "addAt" (I think?) function; and I remember at least one other 
>> attempt some years ago.
> 
> *You've lost me here - what is the EE? It's not in the Internals ref.
I think that was meant as an abbreviation for the aforementioned edition
engraver. (Which isn't part of lilypond itself, but can be found here:
https://github.com/openlilylib/edition-engraver)
> *>> That would be difficult if there are \set Score.currentBarNumber
> commands to cope with as well.
> 
>> The EE handles that situation; I don't remember if the addAt function does.
> 
>> Another possibility — essentially exactly what you're asking about
>> — would be to write a [Scheme?] engraver that checked all contexts
>> in a score for a MetronomeMark event, and added any event found to
>> all "flagged" contexts automatically. Maybe look into that option!
> 
> *My programming days are over now - it's been some time since I was a
> professional and I really don't want to have to learn yet another
> language! Also, I'm on a windows-based machine, and I gather that this
> gives difficulties with developing LP (and many other public domain
> programs).
Although developing lilypond itself on a windows machine might indeed be
challenging, all the programming capabilities you'd need in your scores
should just work anywhere lp runs. And even if you don't intend to write
engravers or other somewhat complex functions from scratch yourself, a
basic understanding of Scheme will certainly be helpful in the long run.
You most certainly will come across solutions (in the LSR or elsewhere)
that are almost right for the challenges you are faced with, but can be
easily adapted to fit your needs. As these adjustments often don't
require lots of skill, even a small learning effort can go a long way.
And maybe curiosity will get the better of you...

All the best,
Martin



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