Re: Stanzas over staves

[Helge Kruse]

Am 17.04.2018 um 21:13 schrieb Kieren MacMillan:

it looks like you simply want to stack the text as markup above a measure-long 
rest (with fermatas in all parts, I would assume?).

Oh, my bad wording. I mean not above the lines but inside.


That's definitely a simple situation, easy to accomplish in Lilypond. Maybe try 
something like
Combining your snippet with snippet #780 from the Lilypond snippet 
repository I was able to create a minimum example. This shows how the 
text should overlap the staff. The choosen staff idicates what player is 
the narrator at the given measure.


But there are some open points.

- The harp requires two staff lines. I managed to remove the 
outside-staff-priority for one staff. But the other staff line is pushed 
away. How can I use both staves of one harp for the text? How could I 
place the text covering all staves of the score and avoid Lilyponds 
anti-collision routines that moves the staff lines away?


- The readability of the text could be improved by changing to color of 
the lines in the narrative measure to gray, light gray, or probably 
white. LSR #700 shows a way to color staff lines. But is there a simpler 
way when I need a common color for all lines?


Best regards
Helge

\version "2.19.80"

\header {
  title = "Max and Moritz"
}

% http://lsr.di.unimi.it/LSR/Item?id=780
narrative = {
  \once\override TextScript.extra-spacing-width = #'(0 . 0)
  \once\override TextScript.Y-offset = #-.5
  \once\override TextScript.outside-staff-priority = ##f
  \once\override TextScript.self-alignment-X = #LEFT
  \once\override Stem.transparent = ##t
  \once\override NoteHead.transparent = ##t
  \once\override NoteHead.no-ledgers = ##t
}


scoreAUpperHarpI = \relative c'' {
  c4 4 4 4
  s1
  s
  \narrative s1^\markup 
\override #'(line-width . 40)
\wordwrap { Of two youths, named Max and Moritz, Who, instead of early turning Their young minds to useful learning, Often leered with horrid features At their lessons and their teachers. }
  s
}

scoreALowerHarpI = \relative c' { s1 s s s s }

scoreAUpperHarpII = \relative c'' {
  s1
  \narrative 
   s^\markup 
\override #'(line-width . 20) 
\wordwrap   { Ah, how oft we read or hear of  Boys we almost stand in fear of!  For example, take these stories  
   }
   s1
   s
   e4 4 4 4
}

scoreALowerHarpII = \relative c' { s1 s s s s }

scoreAUpperHarpIII = \relative c'' { s s | d4 4 4 4 | s1 s }

scoreALowerHarpIII = \relative c' { s1 s s s s }

scoreAHarpIPart = \new PianoStaff \with {
  instrumentName = "Harfe I"
} <<
  \new Staff = "upper" \scoreAUpperHarpI
  \new Staff = "lower" { \clef bass \scoreALowerHarpI }
>>

scoreAHarpIIPart = \new PianoStaff \with {
  instrumentName = "Harfe II"
} <<
  \new Staff = "upper" \scoreAUpperHarpII
  \new Staff = "lower" { \clef bass \scoreALowerHarpII }
>>

scoreAHarpIIIPart = \new PianoStaff \with {
  instrumentName = "Harfe III"
} <<
  \new Staff = "upper" \scoreAUpperHarpIII
  \new Staff = "lower" { \clef bass \scoreALowerHarpIII }
>>

\score {
  <<
\scoreAHarpIPart
\scoreAHarpIIPart
\scoreAHarpIIIPart
  >>
  \layout { }
}
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Re: Consistent vertical alignment of annotations, disable time signiture

[Andrew Bernard]

Hello Robert,

Speaking as a programmer myself with over forty years of experience, and an
advanced lilypond users, I can categorically assert that lilypond is not
trying to be 'clever'. This is an utter misunderstanding. Lilypond is
however trying to engrave music to the highest possible standard, and this
is an immensely difficult programming proposition, hence the complexity
under the hood, and the slight difficulties in the syntax. It's not meant
to be simplistic or easy like ABC.

Music notation itself is a complex abstraction refined over hundreds of
years. It does not 'leak'.

If you are not happy with the system, and it seems it does mot match your
expectations of what a domain specific language should be like for music,
it may be that you simply need to add ornaments such as cut to ABC, given
that the safe mode in lilypond won't allow you to achieve what you want in
a web app.

To give you a bit of context, David Kastrup is one of the principal ongoing
developers of lilypond and few people have the in depth knowledge of the
internals that he does. He is well aware of the various infelicities we
have, but they are generally being worked on continously. As for lilypond
breaking, I do massively complex New Complexity scores with many code
extensions I wrote in Scheme, and I hammer the software all day long, and I
can't break it, even when stretched to the limits. A testimony to the
fundamental good underlying design and architecture. Most others have the
same experience.

As a final remark, I have learned ABC over the last two days in order to
help you out. It seems to me that it is better suited to Irish music tune
notation, having just enough expressivity to set thousands of tunes.
Lilypond is capable of it, but it is a big machine, and probably like
killing a mosquito with a B 52 bomber. Given the near universal adoption of
ABC by Irish players, I'm surprised nobody has created the Larsen ornaments
for ABC - but then, notating precise ornaments in that music is probably
more for academic analysis and comparison purposes than for session playing.

Andrew



On 18 April 2018 at 05:15, Robert Hickman  wrote:

> > Trying to understand LilyPond syntax based on how
> > it actually processes input is not likely to make learning easy since a
> > lot of complicated mechanisms work behind the scenes in order to make
> > things look easy.
>
> In my general experience, systems which try to be cleaver and are not
> explicit about what they are doing tend to break in weird, unexpected
> ways. Complex abstractions always leak. It is also a constant burden
> on the user if they have to remember that some things are added
> implicitly.
>
>
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Trouble with trill spanner avoiding slur

[Knute Snortum]

In this example...

%%% Start
\version "2.19.81"
\language "english"

{
  \override TrillSpanner.avoid-slur = #'inside
  \override TrillSpanner.outside-staff-priority = ##f
  c''1( | c''2. \startTrillSpan c''4 \stopTrillSpan | c''1) |
}
%%% End

...the slur doesn't avoid the trill spanner.  Do I need to adjust the slur
with \shape or is the slur supposed to adjust its position automatically?

---
Knute Snortum
(via Gmail)
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Dotted notes

[foxfanfare]

I struggle on this:

\version "2.19.80"

\paper {
  #(set-paper-size "a7")
}
\bookpart {

  \score {
\relative c' {
  \cadenzaOn
  \omit Staff.TimeSignature 
  c1.^"Default" d4.. e8... f16
}
  }
}

\bookpart {
  
  \paper {
#(define fonts
(set-global-fonts
  #:music "beethoven"
  #:brace "beethoven"
  #:factor (/ staff-height pt 20)
  ))
  }
  \score {

   \relative c' {
 \cadenzaOn
 \omit Staff.TimeSignature
 
 c1.^"New Font" d4.. e8... f16 \bar "" \break
 
 \override Staff.Dots.font-size = #-1.5
 %closer to note head:
 \override Staff.Dots.extra-offset = #'(-0.1 . 0)
 
 c1.^"Some Changes ?" d4.. e8... f16
 
   }
  }
}

\layout {
  ragged-right = ##t
}

When the font is changed, the dotted notes doesn't avoid the flags as it did
with default emmentaler!
I think it could be solved by settting some "padding" for the flags, but I
wasn't able to find this command! (?)

Also, when playing with their options, I was able to find a way to make them
smaller and closer to the notehead (extra-offset) but I am unable to find
the solution get the following dots closer to each other! 

Any suggestions?



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

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Re: Ottava mark: edge dashed line

[foxfanfare]

Thomas Morley-2 wrote
> 'bound-details allows for left/right/left-broken/right-broken
> subproperties.
> Possible subsubproperties (read by ly:line-spanner::print) are documented
> here:
> http://lilypond.org/doc/v2.19/Documentation/notation/spanners#using-the-line_002dspanner_002dinterface
> 
> Please specify which problem(s) you see with you're example-code in
> the future. ;)
> 
> My guessing below:

You're right, I'm sorry. But once again, thank you very much Thomas! Your
help was very much appreciated! Now I understand a bit more about this
bound-detail thing! I'm currently reading the notation book but haven't
reached this section yet!

I also moved the first text markup directly in the "left" section with help
of your code in "left-broken" which I found better codded!
#`((left . ((Y . -0.2)
(text
 .
 ,#{ \markup \bold "8")

And replaced the hspace in my markup command with: (stencil-offset . #'(-0.3
. 0)) in order to get some space after the text.

Btw, is there any interest to put "(text . #f)" for the right-broken? Or was
this just for me to understand how the code should be written?

I also discovered that I can then alterate some individual values directly
in the score block:
\once \override Staff.OttavaBracket.bound-details.right-broken.padding = #4 

Gosh, I'm starting to fall in love for this software! So many capabilites,
it's amazing!



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

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Re: Lilypond interfaces

[Karlin High]

On 4/17/2018 3:17 PM, Amir Teymuri wrote:
does anyone knows about interfaces and/or notation systems written in 
other programming languages which use lilypond as backend?


Music Blocks, teaching tool for exploring musical concepts



--
Karlin High
Missouri, USA

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Re: Lilypond interfaces

[Mason Hock]

On 04/17, Amir Teymuri wrote:
> Hello,
> 
> does anyone knows about interfaces and/or notation systems written in other
> programming languages which use lilypond as backend?

GNU Denemo is a graphical frontend to Lilypond.

http://denemo.org/

Mason

> Two examples of such
> interfaces are fomus (https://common-lisp.net/project/fomus/doc/)
> and abjad (http://projectabjad.org/).
> 
> cheers,
> Amir
> 
> 
> - - - - - - - - - - -
> ateymur...@gmail.com
> - - - - - - - - - - -
> 
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Lilypond interfaces

[Amir Teymuri]

Hello,

does anyone knows about interfaces and/or notation systems written in 
other programming languages which use lilypond as backend? Two examples 
of such interfaces are fomus (https://common-lisp.net/project/fomus/doc/)

and abjad (http://projectabjad.org/).

cheers,
Amir


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

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Re: Consistent vertical alignment of annotations, disable time signiture

[David Kastrup]

Robert Hickman  writes:

>> Trying to understand LilyPond syntax based on how it actually
>> processes input is not likely to make learning easy since a lot of
>> complicated mechanisms work behind the scenes in order to make things
>> look easy.
>
> In my general experience, systems which try to be cleaver and are not
> explicit about what they are doing tend to break in weird, unexpected
> ways. Complex abstractions always leak. It is also a constant burden
> on the user if they have to remember that some things are added
> implicitly.

It turns out I have some bits of specific experience with LilyPond and
its design and its users in addition to non-trivial amounts of general
experience to rely on.

It may save you some headaches to just trust me on that.

-- 
David Kastrup

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Re: Consistent vertical alignment of annotations, disable time signiture

[Robert Hickman]

> Trying to understand LilyPond syntax based on how
> it actually processes input is not likely to make learning easy since a
> lot of complicated mechanisms work behind the scenes in order to make
> things look easy.

In my general experience, systems which try to be cleaver and are not
explicit about what they are doing tend to break in weird, unexpected
ways. Complex abstractions always leak. It is also a constant burden
on the user if they have to remember that some things are added
implicitly.

On 17 April 2018 at 17:43, David Kastrup  wrote:
> Robert Hickman  writes:
>
>>> That's not Lisp/Scheme syntax but LilyPond syntax.  There is a
>>> manual for it.  Several, in fact.
>>
>> I'm aware.
>>
>> \context {
>>   \Staff
>>   \omit TimeSignature
>> }
>>
>> If I'm understanding this correctly, this would be written something
>> like the following in a typical OO syntax:
>>
>> x =  Staff.clone();
>> x.omit(TimeSignature);
>
> And
>
> currentlayout.set (x.name, x);
>
> or something when the above appears in
>
> \layout { ... }
>
> Though \omit TimeSignature is short for the music expression
>
> \override TimeSignature.stencil = ##f
>
> and is translated into the identical looking context modification by
> some hook function.  Trying to understand LilyPond syntax based on how
> it actually processes input is not likely to make learning easy since a
> lot of complicated mechanisms work behind the scenes in order to make
> things look easy.
>
> --
> David Kastrup

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Re: Stanzas over staves

[Kieren MacMillan]

Hi again,

Given your example:

> measure 1: some notes
> measure 2: text: This is the story of Max and Moritz
> measure 3: some notes
> measure 4: text: Moritz
> measure 5,6: more notes
> measure 7: text AH, how oft we read or hear of Boys we almost stand in
> fear of! For example, take these stories of two youths, named Max and
> Moritz (as stack of lines)
> measure 8-20: many notes

it looks like you simply want to stack the text as markup above a measure-long 
rest (with fermatas in all parts, I would assume?). That's definitely a simple 
situation, easy to accomplish in Lilypond. Maybe try something like

%%%  SNIPPET BEGINS
\version "2.19.80"
\language "english"

musicandtext = {
  c'4 d' e' f'
  \tweak minimum-length #24 R1\fermataMarkup^\markup \override #'(line-width . 
20) \override #'(baseline-skip . 2.3) \wordwrap { This is a very long bit of 
dialogue, which will wrap to the length you want. }
}

\score { \musicandtext }
%%%  SNIPPET ENDS

Of course, if you’re doing a lot of it, you should make a function which does 
all the appropriate things for you. Syntactic sugar is the best kind of sugar.  
=)

Hope this helps!
Kieren.


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


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Stanzas over staves

[Helge Kruse]

I am starting a small project for a harp trio. The score is in most part
"just" harp music. But in some measure one of the players shall recite
some text of the literary source. Example:

measure 1: some notes
measure 2: text: This is the story of Max and Moritz
measure 3: some notes
measure 4: text: Moritz
measure 5,6: more notes
measure 7: text AH, how oft we read or hear of Boys we almost stand in
fear of! For example, take these stories of two youths, named Max and
Moritz (as stack of lines)
measure 8-20: many notes

This is different from lyrics to a song since there
- is no melody, even no rythm, for the syllables
- is not sufficient space to write this outside the staves
- are multiple lines to place at (to stack)

Do you have a snippet where something similar has already been
implemented or some hint how I can approach this?

One approach would be to spread empty measures and to add the text
manually or with some glue and additional paper. This leads to the
question how to stretch an empty measure?

But it would be nice to enter the text in the Lilypond score.


Best regards
Helge


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Re: Changing spacing between notes a lot

[Kieren MacMillan]

Hi,

> I was wondering if there is a way to change the spacing between notes
> many times in a staff.

There are many ways of accomplishing the thing you describe.

> What I would like to do is to make something like this.
>  

Here’s one way of doing that:

%%%  SNIPPET BEGINS
\version "2.19.80"
\language "english"

\layout {
  \context {
\Staff
\omit Stem
\remove "Time_signature_engraver"
\remove "Clef_engraver"
  }
}

stuff = {
  \cadenzaOn
  \tweak NoteHead.X-extent #'(-3 . -1) g'4
  \tweak NoteHead.X-extent #'(-1.75 . 2) f' g' c''1 4
  \tweak NoteHead.X-extent #'(1 . 2.5) a' f'1
}

\score { \stuff }
%%%  SNIPPET ENDS

Hope that helps!
Kieren.


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


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Re: Ottava mark: edge dashed line

[Thomas Morley]

2018-04-17 13:03 GMT+02:00 foxfanfare :
> One more thing: I have this problem when the modified 8va breaks lines:
[skipping example-code]
> How is it possible to modify the "ottavaUp" shortcut to personalize this?

'bound-details allows for left/right/left-broken/right-broken subproperties.
Possible subsubproperties (read by ly:line-spanner::print) are documented here:
http://lilypond.org/doc/v2.19/Documentation/notation/spanners#using-the-line_002dspanner_002dinterface

Please specify which problem(s) you see with you're example-code in
the future. ;)

My guessing below:

\version "2.19.81"

ottavaUp = {

  \once \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \once \override Staff.OttavaBracket.bound-details =
#`((left . ((Y . -0.2)
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,UP)))
   (left-broken . ((Y . -0.2)
   (text
 .
 ,#{ \markup \bold \concat { "8" \hspace #0.25 } #})
   (padding . 2.5)
   (attach-dir . ,RIGHT)))
   (right-broken . ((text . #f)
(padding . 0)))
   (right . ((Y . -0.2)
 (padding . -0.75)
 (attach-dir . ,RIGHT)
 (text . ,#{
\markup
\override #'(full-length . #f)
\override #'(on . 0.15)
\override #'(off . 0.5)
\override #'(thickness . 1.8)
\draw-dashed-line #'(0 . -1.5)
  #}

  \once \override Staff.OttavaBracket.left-bound-info =
 #ly:line-spanner::calc-left-bound-info-and-text
  \once \override Staff.OttavaBracket.right-bound-info =
 #ly:line-spanner::calc-right-bound-info
  \override Staff.OttavaBracket.style = #'dashed-line
  \override Staff.OttavaBracket.dash-fraction = #0.2
  \override Staff.OttavaBracket.dash-period = #0.7
  \override Staff.OttavaBracket.thickness = #1.5

  \ottava #1
  \set Staff.ottavation = \markup \bold \concat { "8" \hspace #0.25 }
}

\relative c' {

  \ottava #1
  a'''1^"Default" a a a \break
  a a a a4 \ottava #0 r2. \break

  \ottavaUp a^"Modified" a a a \break
  a a a a4 \ottava #0 r2.
}

\layout {
 ragged-right = ##t
}


HTH,
  Harm

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Re: Consistent vertical alignment of annotations, disable time signiture

[David Kastrup]

Robert Hickman  writes:

>> That's not Lisp/Scheme syntax but LilyPond syntax.  There is a
>> manual for it.  Several, in fact.
>
> I'm aware.
>
> \context {
>   \Staff
>   \omit TimeSignature
> }
>
> If I'm understanding this correctly, this would be written something
> like the following in a typical OO syntax:
>
> x =  Staff.clone();
> x.omit(TimeSignature);

And

currentlayout.set (x.name, x);

or something when the above appears in

\layout { ... }

Though \omit TimeSignature is short for the music expression

\override TimeSignature.stencil = ##f

and is translated into the identical looking context modification by
some hook function.  Trying to understand LilyPond syntax based on how
it actually processes input is not likely to make learning easy since a
lot of complicated mechanisms work behind the scenes in order to make
things look easy.

-- 
David Kastrup

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Re: Consistent vertical alignment of annotations, disable time signiture

[Robert Hickman]

> That's not Lisp/Scheme syntax but LilyPond syntax.  There is a manual for it. 
>  Several, in fact.

I'm aware.

\context {
  \Staff
  \omit TimeSignature
}

If I'm understanding this correctly, this would be written something
like the following in a typical OO syntax:

x =  Staff.clone();
x.omit(TimeSignature);


On 17 April 2018 at 16:40, David Kastrup  wrote:
> Robert Hickman  writes:
>
>> Thanks, I have a vague familiarity with lisps, but have never used scheme.
>>
>> I'm not certain how to visually parse a statment like \Staff \omit
>> TimeSignature. It kind of looks like \Staff is a function taking two
>> arguments, where \omit is either a constant or a function that returns
>> a constant, and TimeSignature is some kind of constant. But it could
>> also be that TimeSigniture is being passed to \omit, which returns to
>> \staff. It's difficult to read because it doesn't parenthesise like
>> typical programming languages.
>
> That's not Lisp/Scheme syntax but LilyPond syntax.  There is a manual
> for it.  Several, in fact.
>
> \context {
>   \Staff
>   \omit TimeSignature
> }
>
> is a context definition that starts by copying the existing "Staff"
> context definition and adds an omission of the stencil for the
> TimeSignature grob (graphical object) to it, then takes this as a new
> context definition.  Since this copies the original "\name Staff"
> definition of the origin Staff definition, it overrides the existing
> Staff definition.  If you specified a different name, it would instead
> create a new context definition under the given name.
>
> I am not enthused with that syntax either.
>
> --
> David Kastrup

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Re: Consistent vertical alignment of annotations, disable time signiture

[David Kastrup]

Robert Hickman  writes:

> Thanks, I have a vague familiarity with lisps, but have never used scheme.
>
> I'm not certain how to visually parse a statment like \Staff \omit
> TimeSignature. It kind of looks like \Staff is a function taking two
> arguments, where \omit is either a constant or a function that returns
> a constant, and TimeSignature is some kind of constant. But it could
> also be that TimeSigniture is being passed to \omit, which returns to
> \staff. It's difficult to read because it doesn't parenthesise like
> typical programming languages.

That's not Lisp/Scheme syntax but LilyPond syntax.  There is a manual
for it.  Several, in fact.

\context {
  \Staff
  \omit TimeSignature
}

is a context definition that starts by copying the existing "Staff"
context definition and adds an omission of the stencil for the
TimeSignature grob (graphical object) to it, then takes this as a new
context definition.  Since this copies the original "\name Staff"
definition of the origin Staff definition, it overrides the existing
Staff definition.  If you specified a different name, it would instead
create a new context definition under the given name.

I am not enthused with that syntax either.

-- 
David Kastrup

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Re: Consistent vertical alignment of annotations, disable time signiture

[Robert Hickman]

Thanks, I have a vague familiarity with lisps, but have never used scheme.

I'm not certain how to visually parse a statment like \Staff \omit
TimeSignature. It kind of looks like \Staff is a function taking two
arguments, where \omit is either a constant or a function that returns
a constant, and TimeSignature is some kind of constant. But it could
also be that TimeSigniture is being passed to \omit, which returns to
\staff. It's difficult to read because it doesn't parenthesise like
typical programming languages.

On 17 April 2018 at 01:57, Andrew Bernard  wrote:
> Hi Robert,
>
> As I mentioned and others have said, there is no substitute for studying the
> NR and the Learning Manual, in detail, exhaustively. It's a powerful program
> with enormous control, unlike typical GUI programs. It's no different to
> learning to play tin whistle. Nobody would expect to learn it in a week.
> Because lilypond is text based, you have to fully understand the syntax and
> semantics for advanced work. If you are keen, you can learn Scheme and
> program functions and extensions. The documentation is exceptionally good,
> given that this is open source software.
>
> [Re the Larsen ornaments, I can't see how to integrate Scheme and Lilypond
> in safe mode. Possibly impossible!]
>
> cheerio!
> Andrew
>
>
> On 17 April 2018 at 04:50, Robert Hickman  wrote:
>>
>>
>> I'm finding it quite difficult to find out how to do what I want to do
>> with lilypond.
>>
>

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Re: Pedal bracket alignment

[Edward Neeman]

Still, I appreciate your help Mark.

Thanks,
Edward

> On 16 Apr 2018, at 12:48 am, Mark Stephen Mrotek  wrote:
> 
> Edward,
> Your requirements are more exacting than my knowledge/skill can meet.
>  
> Mark
>  
> From: lilypond-user 
> [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of 
> Edward Neeman
> Sent: Saturday, April 14, 2018 8:04 PM
> To: Lilypond-user 
> Subject: Re: Pedal bracket alignment
>  
> Hello Mark,
>  
> After playing around with this problem, I’ve found a few ways to get a 
> reasonable result. Some of the strategies I tried are in the attached file. 
> My dream option would be to be able to create a function that would give one 
> set of shorten-pair values at the Ped. marking, and another set of values for 
> the pedal changes.
>  
> Thanks,
> Edward

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Re: Pedal bracket alignment

[Edward Neeman]

Brilliant thanks Harm! I’ll let you know if I manage to “break” it.

Best,
Edward

> On 15 Apr 2018, at 8:36 pm, Thomas Morley  wrote:
> 
> 2018-04-15 5:04 GMT+02:00 Edward Neeman :
>> My dream option would be to be able to create a function that would give one
>> set of shorten-pair values at the Ped. marking, and another set of values
>> for the pedal changes.
> 
> 
> How about attached.
> 
> It doesn't move the "Ped."-marking, though.
> Please read comments and doc-strings.
> Not tested beyond the given example!
> 
> Cheers,
>  Harm
> 


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Re: Ottava mark: edge dashed line

[foxfanfare]

One more thing: I have this problem when the modified 8va breaks lines:

ottavaUp = {
  
  \once \override Staff.OttavaBracket.stencil = #ly:line-spanner::print
  \once \override Staff.OttavaBracket.bound-details =
#`((left . ((Y . -0.2)
(attach-dir . ,LEFT)
(padding . 0)
(stencil-align-dir-y . ,UP)))
   (right . ((Y . -0.2)
 (padding . -0.75)
 (attach-dir . ,RIGHT)
 (text . ,#{
\markup
\override #'(full-length . #f)
\override #'(on . 0.15)
\override #'(off . 0.5)
\override #'(thickness . 1.8)
\draw-dashed-line #'(0 . -1.5)
  #}

  \once \override Staff.OttavaBracket.left-bound-info =
 #ly:line-spanner::calc-left-bound-info-and-text
  \once \override Staff.OttavaBracket.right-bound-info =
 #ly:line-spanner::calc-right-bound-info
  \override Staff.OttavaBracket.style = #'dashed-line
  \override Staff.OttavaBracket.dash-fraction = #0.2
  \override Staff.OttavaBracket.dash-period = #0.7
  \override Staff.OttavaBracket.thickness = #1.5

  \ottava #1
  \set Staff.ottavation = \markup \bold \concat { "8" \hspace #0.25 }
}

\relative c' {
  
  \ottava #1
  a'''1^"Default" a a a \break
  a a a a4 \ottava #0 r2. \break

  \ottavaUp a^"Modified" a a a \break
  a a a a4 \ottava #0 r2.
}

\layout {
 ragged-right = ##t
}

How is it possible to modify the "ottavaUp" shortcut to personalize this?



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Re: Ottava mark: edge dashed line

[Thomas Morley]

2018-04-17 9:16 GMT+02:00 foxfanfare :
> Thomas Morley-2 wrote
>> Would be nice the default would offer more tweaking-possibilities to
>> avoid such messing around.
>> Also, ly:line-spanner::print should have at least the option to cover
>> the whole specified length, _avoiding_ space at start/end.
>>
>>
>> Best,
>>   Harm
>
> Isn't this working? :
>
> with-ottava-line-spanner =
> \with {
> \override OttavaBracket.stencil =
>   #(lambda (grob) (box-stencil (ly:line-spanner::print grob) 0 0))
> \override OttavaBracket.bound-details =
>   #`((left . ((Y . 0)
>   (attach-dir . ,LEFT)
>   (padding . 0)
>   (stencil-align-dir-y . ,UP)))
>  (right . ((Y . 0)
>(padding . 0)
>(attach-dir . ,RIGHT
>
> \override OttavaBracket.style = #'dashed-line
> \override OttavaBracket.dash-period = #4
> \override OttavaBracket.dash-fraction = #0.001
> \override OttavaBracket.thickness = #4
> \override OttavaBracket.left-bound-info =
>#ly:line-spanner::calc-left-bound-info-and-text
> \override OttavaBracket.right-bound-info =
>#ly:line-spanner::calc-right-bound-info
> }
>
> $@(map
> (lambda (val)
>   #{
> \new Staff \with \with-ottava-line-spanner
>   {
> \ottava #1
> c''4
> \override NoteColumn.X-offset = $val
> d''
>   }
>   #})
> (iota 10 0 2))

Sure.

Though, I think every dashed/dotted line should start/end without
space out of the box. Or at least with an option to ensure this. And
without the need for manual adjustments.

Cheers,
  Harm

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Re: lyluatex: call for Fedora users

[Federico Bruni]

Il giorno mar 27 mar 2018 alle 19:10, Sam Bivens  
ha scritto:

Hi Federico,

The MWE I compiled a couple weeks ago that *did* work fine now no 
longer does, and now I have the exact problem that you have. Curious. 
I have TeXLive 2016, which was downloaded from the Fedora 
repositories along with LilyPond. I just have the lyluatex files in 
my file's directory.




Hi Sam

I've just installed "native" TeX Live 2017 on Fedora and everything 
works fine.

So it's definitely an issue with some texlive package in Fedora.

If you want give it a try, follow this guide:
https://www.tug.org/texlive/quickinstall.html




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Re: Key signatures in modes other than Ionian & Aeolian

[Erik Ronström]

>> Even if my opinion may differ from the general opinion here, I think that in
>> popular music, one would use standard D major key signature.
>> Reason: Two sharps clearly show D major tonic and the characteristic mixo
>> tone C (flat seventh) stands out in the sheet music by the accidental used.

> I very much agree. In my impression, nowadays most musicians (save medieval 
> or Renaissance music specialists and maybe Jazz musicians) tend to only 
> differentiate between "major-like" and "minor-like" scales/keys

Another exception is the pretty large and vivid community of Irish/Celtic 
traditional music, where key signatures usually written corresponding to the 
actual mode (so e.g. a tune in D mixolydian would be written with only one 
sharp). This makes sense as the music is (for the most part) strictly modal and 
diatonic.

Many musicians in this genre use abc notation rather than sheet music, and in 
abc, mode is (almost) always defined explicitly:
http://abcnotation.com/wiki/abc:standard:v2.1#kkey

Erik




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Re: Key signatures in modes other than Ionian & Aeolian

[Henning Hraban Ramm]

Am 2018-04-17 um 07:47 schrieb Lukas-Fabian Moser :

> Am 17.04.2018 um 01:24 schrieb Torsten Hämmerle:
> 
>> Even if my opinion may differ from the general opinion here, I think that in
>> popular music, one would use standard D major key signature.
>> Reason: Two sharps clearly show D major tonic and the characteristic mixo
>> tone C (flat seventh) stands out in the sheet music by the accidental used.
> I very much agree. In my impression, nowadays most musicians (save medieval 
> or Renaissance music specialists and maybe Jazz musicians) tend to only 
> differentiate between "major-like" and "minor-like" scales/keys, which means 
> that every modal scale is measured against the one of the two "standard" 
> scales/keys more similar to what is at hand. ...

Speaking as a singer/songwriter with limited musical knowledge: I don’t care 
about the correct description of the scale, I just adhere to whatever 
accidentals and chord names are given.

My own songs often change keys for a few measures (or how do you call chord 
progressions like c a f g?) or use scales that I don’t know how to classify (a 
bes cis d e f g = a freylach?), and I use that \key (major/minor) that fits 
most of the accidentals.


Greetlings, Hraban
---
fiëé visuëlle
Henning Hraban Ramm
http://www.fiee.net




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Re: Ottava mark: edge dashed line

[foxfanfare]

Thomas Morley-2 wrote
> Would be nice the default would offer more tweaking-possibilities to
> avoid such messing around.
> Also, ly:line-spanner::print should have at least the option to cover
> the whole specified length, _avoiding_ space at start/end.
> 
> 
> Best,
>   Harm

Isn't this working? :

with-ottava-line-spanner =
\with {
\override OttavaBracket.stencil =
  #(lambda (grob) (box-stencil (ly:line-spanner::print grob) 0 0))
\override OttavaBracket.bound-details =
  #`((left . ((Y . 0)
  (attach-dir . ,LEFT)
  (padding . 0)
  (stencil-align-dir-y . ,UP)))
 (right . ((Y . 0)
   (padding . 0)
   (attach-dir . ,RIGHT

\override OttavaBracket.style = #'dashed-line
\override OttavaBracket.dash-period = #4
\override OttavaBracket.dash-fraction = #0.001
\override OttavaBracket.thickness = #4
\override OttavaBracket.left-bound-info =
   #ly:line-spanner::calc-left-bound-info-and-text
\override OttavaBracket.right-bound-info =
   #ly:line-spanner::calc-right-bound-info
}

$@(map
(lambda (val)
  #{
\new Staff \with \with-ottava-line-spanner
  {
\ottava #1
c''4
\override NoteColumn.X-offset = $val
d''
  }
  #})
(iota 10 0 2)) 




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