Space before barline

[Andrew Bernard]

OK. This is the magic to make space after the barline.

\override BarLine.space-alist.next-note = #'(semi-fixed-space . 5)

But how does one get space between the last note in a bar and the barline?
There's a large number of combinations to try and I can't find anything
that works - although I am sure it's there somewhere.

Andrew
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Re: Adjusting space in a lyric tie

[Aaron Hill]

On 2019-01-19 9:15 pm, David F. wrote:
On Jan 19, 2019, at 10:06 PM, Aaron Hill  
wrote:


LyricText.word-space is what you want to adjust.  Note that it doesn't 
stretch the size of the tie.


Perfect!  Thanks!


And just for completeness, here is how you can manually construct a tie 
of arbitrary width:



\version "2.19.82"
\markup {
  \tied-lyric #"o~o"
  \concat {
o
\lower #0.4 \with-dimensions #'(0 . 0.6) #'(0 . 0) \scale #'(1 . 
0.65)

\stencil #(make-tie-stencil '(-0.5 . 0) '(1.1 . 0) 0.25 DOWN)
o
  }
  \concat {
>
\lower #0.4 \with-dimensions #'(0 . 2) #'(0 . 0) \scale #'(1 . 0.45)
\stencil #(make-tie-stencil '(-1 . 0) '(3 . 0) 0.4 DOWN)
<
  }
}


The first is the normal tied lyric behavior.  The second is a close 
approximation with the manual process.  The third is a wider example.


There are quite a few numbers to adjust, but you do get a lot more 
flexibility.


- \lower is used to place the stencil a specific distance away from the 
base of the lyrics.
- \with-dimensions is used to allow some horizontal overlap with the tie 
and the lyrics.  This is where you would want to specify the absolute 
space between words.
- \scale is used to flatten the tie which, over longer distances, will 
end up being too tall compared to the standard lyric tie.
- \stencil #(make-tie-stencil start stop thickness direction) is the 
actual command for generating the tie.  It is positioned slightly left 
and right of the previously defined horizontal extents to create the 
desired overlap.  Thickness is increased to counteract the vertical 
scaling.



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Re: output one bar at a time (midi and png)

[Ted Walther]

Thank you Thomas, this is beyond what I'd hoped for.  Lilypond is the
best.  I hope the changes can be incorporated in mainline lilypond.

On Sat, 19 Jan 2019 at 04:43, Thomas Morley 
wrote:

> Am Sa., 19. Jan. 2019 um 13:05 Uhr schrieb Ted Walther <
> tederi...@gmail.com>:
> >
> > I'm just getting back into lilypond after a ten year absence.  Can you
> suggest some search terms?
>
> Simply looking for video gives several hits:
>
> https://lists.gnu.org/archive/cgi-bin/namazu.cgi?query=video=Search=lilypond-user
>
> Cheers,
>   Harm
>
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Re: Adjusting space in a lyric tie

[David F.]

On Jan 19, 2019, at 10:06 PM, Aaron Hill  wrote:

> LyricText.word-space is what you want to adjust.  Note that it doesn't 
> stretch the size of the tie.

Perfect!  Thanks!


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Re: Adjusting space in a lyric tie

[Aaron Hill]

On 2019-01-19 8:02 pm, David F. wrote:

On Jan 19, 2019, at 8:53 PM, Kieren MacMillan
 wrote:


Hi David,

How do I adjust the space between two syllables/words that are tied?  
LyricSpace.minimum-distance works for words that are not tied.


\override Lyrics.LyricHyphen.minimum-distance = #2

Hope that helps!


Thanks Kieren, but I wasn’t clear enough in my initial request for
help.  I want to increase the space inside the lyric tie.  So if I
have “some~word”, I’d like to have a little more space between “some”
and “word”.  LyricHyphen.minimum-distance doesn’t do that.


LyricText.word-space is what you want to adjust.  Note that it doesn't 
stretch the size of the tie.



\version "2.19.82"
\new Lyrics \lyricmode {
  \override LyricText.word-space = #0 o~o
  \override LyricText.word-space = #1 o~o
  \override LyricText.word-space = #2 o~o
}


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Re: Adjusting space in a lyric tie

[David F.]

On Jan 19, 2019, at 8:53 PM, Kieren MacMillan  
wrote:

> Hi David,
> 
>> How do I adjust the space between two syllables/words that are tied?  
>> LyricSpace.minimum-distance works for words that are not tied.
> 
> \override Lyrics.LyricHyphen.minimum-distance = #2
> 
> Hope that helps!

Thanks Kieren, but I wasn’t clear enough in my initial request for help.  I 
want to increase the space inside the lyric tie.  So if I have “some~word”, I’d 
like to have a little more space between “some” and “word”.  
LyricHyphen.minimum-distance doesn’t do that.

David


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Re: Adjusting space in a lyric tie

[Kieren MacMillan]

Hi David,

> How do I adjust the space between two syllables/words that are tied?  
> LyricSpace.minimum-distance works for words that are not tied.

\override Lyrics.LyricHyphen.minimum-distance = #2

Hope that helps!
Kieren.


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


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Adjusting space in a lyric tie

[David F.]

How do I adjust the space between two syllables/words that are tied?  
LyricSpace.minimum-distance works for words that are not tied.

Thanks!
David

\version "2.19"

{
c'4 d'4 e'4 f'4
}
\addlyrics {
\override Lyrics.LyricSpace.minimum-distance = #2
Ly -- rics with~some~ly -- ric~ties
}


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Re: Overrun of right margin

[Aaron Hill]

On 2019-01-19 4:56 pm, Andrew Bernard wrote:

Problem solved after much deconstruction.

I am setting a string quartet. In this section almost every note has a
glissando, and some become to small to see. So I set this:

\override Glissando #'minimum-length = #5
\override Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods

This works fine to give the minimum length of the glissandi. It turns 
out
that this was forcing the score over the edge of the paper, not a 
rhythmic
error. Adjusting that solves the problem. It's only when there are a 
large
number of glissandi in the line that it occurs. I report this here in 
case

it may help future archive searchers.


This is probably because glissandi are unbreakable by default.  If you 
have one overlapping a bar line, then LilyPond cannot break there.


Consider the following:


\version "2.19.82"
{
  \override Glissando.minimum-length = #5
  \override Glissando.springs-and-rods = #ly:spanner::set-spacing-rods
  \override Glissando.breakable = ##t
  \repeat unfold 32 { f'8\glissando e''8\glissando } f'1
}


If you omit setting 'breakable to true, you'll see the result extends 
all on one line.


-- Aaron Hill

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Re: Ligatures, lyrics, and other arcana

[Aaron Hill]

On 2019-01-19 2:39 pm, Mark Probert wrote:

Put in the text you wish.


Huh. My assumption was that anything the \lyricmode{ }
brackets would be treated as separate strings. A newbie
mistake. Thanks!


This is an easy mistake to make.  When using \addlyrics or \lyricsto, 
you typically only provide the lyrics themselves within \lyricmode, 
omitting durations since they will be automatically assigned based on 
the notes in the associated voice.


However, \lyricmode does permit specify durations for individual lyrics 
directly.  The parser, therefore, has to be able to accept numbers as 
durations.  As such, to include numbers within lyrics literally, you 
need to place them within a pair of quotation marks.



-- Aaron Hill

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Re: Overrun of right margin

[Andrew Bernard]

Problem solved after much deconstruction.

I am setting a string quartet. In this section almost every note has a
glissando, and some become to small to see. So I set this:

\override Glissando #'minimum-length = #5
\override Glissando #'springs-and-rods =
#ly:spanner::set-spacing-rods

This works fine to give the minimum length of the glissandi. It turns out
that this was forcing the score over the edge of the paper, not a rhythmic
error. Adjusting that solves the problem. It's only when there are a large
number of glissandi in the line that it occurs. I report this here in case
it may help future archive searchers.

I am also tempted to this this may be a lilypond bug. Why does lilypond not
break at a valid barline break in this sort of case? It seems the glissandi
are interfering with page breaking. I am not sure.

Andrew
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Re: Overrun of right margin

[Andrew Bernard]

Aye, true enough indeed!

Nothing is simple in music.

Andrew


On Sun, 20 Jan 2019 at 04:31, Karlin High  wrote:

> On Sat, Jan 19, 2019 at 3:15 AM Andrew Bernard 
> wrote:
>
>> Sometimes I wish I could just get to set nice Marching Band music
>> instead. {No disrespect to Marching Bands!]
>>
>
> Past posts from Anthony "Wols" Youngman say that marching band music has
> its own difficulties.
>
>
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Re: select a note in a chord

[Aaron Hill]

On 2019-01-19 9:32 am, Davide Bonetti wrote:

%% rise a note of a chord, in num position from below
riseNote =


If a little pedantry is permitted, the verb should be "raise" not 
"rise".  The subtlety involves that we are *causing* a note to rise, 
therefore we are raising the note.


Of course, perhaps this is an imperative: "Rise, note!"  ;-)


-- Aaron Hill

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Re: Use of \vspace and \hspace

[Aaron Hill]

On 2019-01-19 8:55 am, Valentin Villenave wrote:

You can use a \markup block in any TextScript object (attached to
notes with -, ^ or _), any \mark or at the top level, outside of any
\score block.

\markup may also (obviously) be user in any definition inside the
\header block (e.g. title, subtitle, composer, and so on).


\markup may additionally be used for lyrics, in chord names, and as 
dynamics.  In fact, it is possible to use \markup to customize the 
appearance of virtually any object:



\version "2.19.82"
\paper { line-width = 8\cm }
\header { title = \markup "Header" }
\markup "Top-level markup"
dyn = #(make-dynamic-script #{ \markup \text "DynamicText" #})
\score { <<
  \new ChordNames
\with { majorSevenSymbol = \markup "majorSevenSymbol" }
\chordmode { c1:maj7 }
  \new Staff
{ \mark \markup "RehearsalMark"
  \once \override NoteHead.stencil = #ly:text-interface::print
  \once \override NoteHead.text = \markup \lower #0.5 "NoteHead"
  c''8^\markup "TextScript" }
  \new Lyrics \lyricmode { \markup "LyricText" 1 }
  \new Dynamics { s1\dyn } >> }


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Re: setting fretboard diagrams at the top of the page

[Mr Tim]

Oops, forgot to include the community.

On Sat, Jan 19, 2019 at 5:51 PM Mr Tim  wrote:

> This is fantastic.  I just changed how I do my chords.  I used to have
> "invisible" staff, notes, etc to do this.  This is very helpful.  I
> actually put all the "define" stuff in a separate file with definitions of
> all the different chords I have used so far for all my songs.  Then I
> include it in my typset file and put the "name-and-fret-markup" lines there
> for just the chords I need for that song.
>
> Thanks!
>
> On Thu, Jan 17, 2019 at 2:35 PM Carl Sorensen  wrote:
>
>> Hi Evan,
>>
>> Welcome to LilyPond!
>>
>> On 1/15/19, 11:10 AM, "Evan Levine"  wrote:
>>
>> Good afternoon! I've got a few things I'm brewing right now, but the
>> most pressing is that I'm looking to set all of the chord diagrams
>> for a
>> lead sheet at the top of the page under the title, and modify the
>> spacing of the diagrams to be centered on the page and have padding
>> between each diagram.
>>
>> The key here, in my opinion, is to set the fret diagrams as markups,
>> rather than as music.
>>
>> Thanks so much! Here's my code:
>>
>> Great job on providing a small example!  That was helpful to see what you
>> intended.
>>
>> The only problem with the example is that it wouldn't completely compile,
>> because the music and lyrics were missing.  It's much easier if you provide
>> those.
>>
>>
>> Please forgive me for any oversight of the protocol here, as this is
>> my
>> first interaction with the mailing list.
>>
>> The only oversight I see is that you put your mail at the top of another
>> unrelated post.  Please don't post your reply to the top of a full post,
>> and when you start a new thread, don't do it by replying to a previous
>> post.
>>
>> With that said, here's how I'd attack your problem.  I've created some
>> markup functions to allow you to have control over size, spacing, etc.
>>
>>  Beginning of sample code
>>
>> \version "2.19.82"
>>
>> \header {
>>   title = "Steven Universe Theme"
>>   composer = "Rebecca Sugar, Aivi & Surasshu"
>>   tagline = ##t
>> }
>>
>> #(define chord-name-fontsize 6)
>> #(define name-fretboard-separation .75)
>> #(define different-separation 8)
>> #(define same-separation 2)
>> #(define or-vspace 1.75)
>>
>> #(define fret-formatting "s:2.2;w:4;h:3;d:0.37;f:1;")
>>
>> #(define c-fret "4-x;3-4-2;2-3-2;1-x;")
>> #(define e-one-fret "c:4-2-4;4-4-3;3-4-3;2-4-3;1-x;")
>> #(define e-two-fret "4-x;3-4-2;2-4-3;1-2-1;")
>> #(define f-fret "4-x;3-5-2;2-5-3;1-3-1;")
>> #(define fm-fret "4-x;3-5-2;2-4-3;1-3-1;")
>>
>> #(define-markup-command  (chord-name-markup layout props chord-name)
>>(markup?)
>>"Display a chord name in the desired formatting"
>>(interpret-markup layout props
>> #{ \markup \sans \fontsize #chord-name-fontsize $chord-name #} ))
>>
>> #(define-markup-command (name-and-fret-markup layout props chord-name
>> fret-diagram)
>>(markup? markup?)
>>"Display a chord name and fretboard as stacked markups separated by
>> name-fretboard-separation"
>>(interpret-markup layout props
>>  #{ \markup \center-column {
>>   \chord-name-markup $chord-name
>>   \vspace #name-fretboard-separation
>>   $fret-diagram
>> }
>>  #}))
>>
>>  #(define-markup-command (or-markup layout props or-text)
>>(markup?)
>>"Display a separator between alternative fretboards"
>>(interpret-markup layout props
>>  #{ \markup \center-column {
>>   \vspace #or-vspace
>>   \chord-name-markup $or-text
>> }
>>  #}))
>>
>> \markup \line {
>>   \name-and-fret-markup "C"  \fret-diagram #(string-append
>> fret-formatting c-fret)
>>   \hspace #different-separation
>>   \center-column {
>> \name-and-fret-markup "E" \line {
>>   \fret-diagram #(string-append fret-formatting e-one-fret)
>>   \hspace #same-separation
>>   \or-markup "or"
>>   \hspace #same-separation
>>   \fret-diagram#(string-append fret-formatting e-two-fret)
>>   \hspace #same-separation
>>   \or-markup "or"
>>   \hspace #same-separation
>>   \fret-diagram#(string-append fret-formatting e-two-fret)
>> }
>>   }
>>   \hspace #different-separation
>>   \name-and-fret-markup "F"  \fret-diagram #(string-append
>> fret-formatting f-fret)
>>   \hspace #different-separation
>>   \center-column {
>> \name-and-fret-markup "Fm"  \fret-diagram #(string-append
>> fret-formatting fm-fret)
>>   }
>>
>> }
>>
>>
>> \score {
>>   <<
>> \new ChordNames {
>>   c1 e f c f
>> }
>>   \new Staff {
>> \new Voice = "melody" {
>> \repeat unfold 5 {c'4 d' e' f'}
>> }
>>   }
>> \new Lyrics {
>>   \lyricsto "melody" {
>>   \repeat unfold 5 {tra la la la }
>>   }
>> }
>>   >>
>> }
>>
>>  end of sample code
>>
>> HTH,
>>
>> Carl
>>
>>
>> 

Re: Ligatures, lyrics, and other arcana

[Mark Probert]

Hi, Harm.
> 
> Put in the text you wish.
>
Huh. My assumption was that anything the \lyricmode{ } 
brackets would be treated as separate strings. A newbie
mistake. Thanks!
 
> 
> In mensural-ligature-engraver.cc there's the comment about "ligature-flexa"
>   /*
> flexa requested, check whether allowed:
> - there should be a previous note
> - both of the notes must be of brevis shape
>   (i.e. can't be maxima or flexa;
>   longa is forbidden as well - it's nonexistent anyway)
> - no compulsory flexa for the next note,
>   i.e. it's not an ultimate descending breve
>   */
>
Huh. When I use [ \breve .. \breve ] I get what I am after (more or 
less).
When I use [ \maxima .. \breve \] I get a warning

  :8: warning: Invalid ligatura ending:
  when the last note is a descending brevis,
  the penultimate note must be another one,
  or the ligatura must be LB or SSB

that reflects this comment. Interesting. 
 
> 
> But I'm running out of my depth for both, ancient music (what may
> occur and what not) and cc-knowledge.
> 
This is good! Thank you! 

Kind regards 

 .. mark.

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Re: Maxima...

[Mark Probert]

Hi, Harm.

You wrote:
> 
> Well, it _is_ documented, imho
> ...
> Isn't it sufficient for _usage_?
> 
Absolutely. In my haste I missed that last piece. Mea culpa.
Thank you for the correction!

> 
> I'll think about how to improve this...
> 
In the end, this is a trivial issue, so I wouldn't worry
any more about it. There are ways of including maxima, 
there is documentation (if some of us would only read it!),
and there are threads in the archive discussing one minor
oddity. I think you have more important things to do :-)

Kind regards

 .. mark.


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Re: Lilybin troubles

[Ethan Sue]

Fixed it!
http://lilybin.com/a9h1sh/11
Thanks you.

On Sat, Jan 19, 2019 at 5:07 PM Ben  wrote:

> On 1/19/2019 4:59 PM, Ethan Sue wrote:
>
> I hope this email works.
> What I meant was where is the extra beat in the text window?
>
> Hi Ethan,
>
> Sorry but your threads are a bit scattered now. I've attached an image
> showing you what I removed in order to fix your beats issue. It's up to you
> how you want to proceed. :)
>
> It's just an extra note...
>
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Re: Lilybin troubles

[Ben]

On 1/19/2019 4:59 PM, Ethan Sue wrote:

I hope this email works.
What I meant was where is the extra beat in the text window?


Hi Ethan,

Sorry but your threads are a bit scattered now. I've attached an image 
showing you what I removed in order to fix your beats issue. It's up to 
you how you want to proceed. :)


It's just an extra note...

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Lilybin troubles

[Ethan Sue]

I hope this email works.
What I meant was where is the extra beat in the text window?
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Re: Lilybin troubles

[Ben]

On 1/19/2019 9:25 AM, Ethan Sue wrote:
The score is all bunching up and the left hand time values are wrong. 
If you delete the "aes8" on line 40 it works. How do I fix this?


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 Forwarded Message 
Subject:Re: Lilybin troubles
Date:   Sat, 19 Jan 2019 15:53:00 -0500
From:   Ethan Sue 
To: soundsfromsound



Yes, I just realized I forgot.
Here it is http://lilybin.com/a9h1sh/9 

-

Hi Ethan,

Don't forget to reply-list or reply-all :)

Also, just a quick note: you have too many beats in measure one, LH.
With your parenthesesonce you remove the extra beat, look what happens:

(see attached)


Do you see how to proceed?


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Re: select a note in a chord

[Davide Bonetti]

For the sake of the discussion, I copy there the code as it now is:

(thanks to Valentin and David)

D.

%%

#(define-public (move-chord-note n direction)
   (_i "Transpose a note (numbered as @var{n}) by one octave in 
@var{direction}."

 )
   (lambda (music)
 (let* ((elts (ly:music-property music 'elements))
    (l (length elts))
    ;; if direction is up, count from the bottom note upward,
    ;; if direction is down, count from the top note downward.
    (count-from (cond ((= direction UP) (- n 1))
  ((= direction DOWN) (- l n
    ;; Notes may not have been entered from bottom to top;
    ;; extract the pitches and put them in order.
    (pitches (map (lambda (x) (ly:music-property x 'pitch))
   (filter
    (lambda (y)
  (music-is-of-type? y 'note-event))
    elts)))
    (sorted (sort pitches ly:pitch= l n))
   (begin
    ;; first apply the sorted pitches
    ;; to the actual notes.
    (map (lambda (e p)
   (ly:music-set-property! e 'pitch p))
  elts sorted)
    ;; then transpose the note up or
    ;; down, depending on direction.
    (list-set! elts count-from
  (ly:music-transpose
   (list-ref elts count-from)
   (ly:make-pitch
    (cond
 ((= direction UP) +1)
 ((= direction DOWN) -1))
    0)
   music)))

%% drop a note of a chord, in num position from above
dropNote =
#(define-music-function (parser location num music) (integer? ly:music?)
   (_i "Drop a note of any chords in @var{music}, in @var{num} position 
from abo

  ve.")
   (music-map (move-chord-note num down) music))

%% rise a note of a chord, in num position from below
riseNote =
#(define-music-function (parser location num music) (integer? ly:music?)
   (_i "Rise a note of any chords in @var{music}, in @var{num} position 
from bel

  ow.")
   (music-map (move-chord-note num up) music))

%% invert chords
invertChords =
#(define-music-function (num music) (integer? ly:music?)
   (_i "Invert any chords in @var{music} into their @var{num}-th position.
       (Chord inversions may be directed downwards using negative 
integers.)")

   (let loop ((num num) (music music))
 (cond ((zero? num) music)
   ((negative? num) (loop (1+ num) (dropNote 1 music)))
   (else (loop (1- num) (riseNote 1 music))


ac = \relative c' {2  \chordmode {c:maj es:6}}

{
  <>^\markup "chords"
  \ac
  \bar "||"
  <>^\markup "drop 2"
  \dropNote 2 \ac
  \bar "||"
  <>^\markup "drop 4"
  \dropNote 4 \ac
  \bar "||"
  <>^\markup "drop 2 and 4"
  \dropNote 2 \dropNote 4 \ac
  \bar "||"
  <>^\markup "rise 1"
  \riseNote 1 \ac
  \bar "||"
  <>^\markup "rise 3"
  \riseNote 3 \ac
  \bar "||"
  <>^\markup "2nd inversion"
  \invertChords 2 \ac
  \bar "||"
  <>^\markup "\"down\" inversion"
  \invertChords -1 \ac
  \bar "||"
}

%


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Re: Overrun of right margin

[Karlin High]

On Sat, Jan 19, 2019 at 3:15 AM Andrew Bernard 
wrote:

> Sometimes I wish I could just get to set nice Marching Band music instead.
> {No disrespect to Marching Bands!]
>

Past posts from Anthony "Wols" Youngman say that marching band music has
its own difficulties.
-- 
Karlin High
Missouri, USA
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Re: select a note in a chord

[Davide Bonetti]

Il 19/01/2019 08:36, Valentin Villenave ha scritto:

On 1/18/19, David Kastrup  wrote:

Music functions share the same namespace as all other Scheme functions
and variables

OK, perhaps a better name would be \dropNote then (much like \hideNotes etc.).

Good choice.

Anyway, I like these functions (thanks to both of you guys) and I
wonder if they could be made part of the default distribution?

I like them too, and many thanks to you and David.

D.


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Re: Use of \vspace and \hspace

[Valentin Villenave]

On 1/19/19, Mr Tim  wrote:
> I go to the docs at
> http://lilypond.org/doc/v2.19/Documentation/notation/formatting-text
> and it tells me about what can go inside, but does not tell me in what
> context \markup can be used.

That’s the previous subsection:
http://lilypond.org/doc/v2.19/Documentation/notation/writing-text

You can use a \markup block in any TextScript object (attached to
notes with -, ^ or _), any \mark or at the top level, outside of any
\score block.

\markup may also (obviously) be user in any definition inside the
\header block (e.g. title, subtitle, composer, and so on).

\header {
  title = \markup { \bold This is a \hspace #4 markup. }
}

\markup \fill-line { "" "And this." ""}

\score {
  \new Staff {
b1_"Also, this."
\mark \markup \italic "And this as well."
b
  }
}

Cheers,
V.

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Re: Use of \vspace and \hspace

[Mr Tim]

Yes, but I don't understand where I can use \markup blocks.  I go to the
docs at http://lilypond.org/doc/v2.19/Documentation/notation/formatting-text
and it tells me about what can go inside, but does not tell me in what
context \markup can be used.


On Sat, Jan 19, 2019 at 10:22 AM David Kastrup  wrote:

> Mr Tim  writes:
>
> > I am really confused on where I can and cannot use the \vspace and
> > \hspace.
>
> They are markup commands.  They can only appear inside of markup and
> markup lists.
>
> --
> David Kastrup
>
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Re: Use of \vspace and \hspace

[David Kastrup]

Mr Tim  writes:

> I am really confused on where I can and cannot use the \vspace and
> \hspace.

They are markup commands.  They can only appear inside of markup and
markup lists.

-- 
David Kastrup

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Use of \vspace and \hspace

[Mr Tim]

I am really confused on where I can and cannot use the \vspace and
\hspace.  I've seen them inside \column expressions, is that the only place
they can be?  Reading the documentation does not help me at all.  So I see
it inside \markup { }.  Well, then where can I put \markup?  If markup has
to be inside something else, where can I put that something else.  I guess
the problem is that every where I try to use \vspace it's an error and the
examples in the docs do not help at all.  Can I put them between \score {}
expressions?  Apparently not, unless I am missing something else.  Can I
put them inside a \score {} at the beginning, again, apparently not unless
I am missing something else.  I just really want to understand how this
thing works so I can generally use it in my files.
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Re: Lilybin troubles

[Ben]

On 1/19/2019 9:25 AM, Ethan Sue wrote:
The score is all bunching up and the left hand time values are wrong. 
If you delete the "aes8" on line 40 it works. How do I fix this?


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Ethan,

Did you forget to attach the lilybin link or paste the code? :)

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Lilybin troubles

[Ethan Sue]

The score is all bunching up and the left hand time values are wrong. If
you delete the "aes8" on line 40 it works. How do I fix this?
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Re: output one bar at a time (midi and png)

[Thomas Morley]

Am Sa., 19. Jan. 2019 um 13:05 Uhr schrieb Ted Walther :
>
> I'm just getting back into lilypond after a ten year absence.  Can you 
> suggest some search terms?

Simply looking for video gives several hits:
https://lists.gnu.org/archive/cgi-bin/namazu.cgi?query=video=Search=lilypond-user

Cheers,
  Harm

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Re: Ligatures, lyrics, and other arcana

[Thomas Morley]

Am Sa., 19. Jan. 2019 um 02:40 Uhr schrieb Mark Probert :
>
> Hi, again.
>
> I'm getting out of my depth here but is it possible
> to set lyrics to mensural ligatures? I can't seem to
> get the following to work.

You define
verba = \lyricmode { 4 2 4  4 2  4 4 }
i.e. naked durations in lyricmode.
This comes out as note-events, see:
\void \displayMusic \verba

Put in the text you wish.


> Also, following the example [1] I don't seem to be
> able to get the ligature-flexa to work (2.19.82/OSX).
> I've tried quite a few flexa-widths but nothing seems
> to work...
>
> TIA  .. mark.
>
> [1]
> http://lilypond.org/doc/v2.18/Documentation/notation/typesetting-mensural-music#white-mensural-ligatures
>
> ---
> chant = \relative c { \clef bass
> \set Score.timing = ##f
> \set Score.defaultBarType = "-"
>
> \[ c\maxima b\longa a\maxima \]
> \[ c\maxima
>\override NoteHead.ligature-flexa = ##t
>\once \override NoteHead.flexa-width = #10
>f,\longa \]
> \[ c'\maxima a\maxima \]
> }
> verba = \lyricmode { 4 2 4  4 2  4 4 }
>
> \score {
>   \new Staff <<
> \new Voice  = "melody" \chant
> \new Lyrics = "one"   \lyricsto melody \verba
>   >>
>   \layout {
> \context { \Staff
>\remove "Time_signature_engraver"
>\override NoteHead.style = #'baroque
> }
> \context { \Voice
> \remove "Ligature_bracket_engraver"
> \consists "Mensural_ligature_engraver"
> }
>   }
> }
> ---

In mensural-ligature-engraver.cc there's the comment about "ligature-flexa"
  /*
flexa requested, check whether allowed:
- there should be a previous note
- both of the notes must be of brevis shape
  (i.e. can't be maxima or flexa;
  longa is forbidden as well - it's nonexistent anyway)
- no compulsory flexa for the next note,
  i.e. it's not an ultimate descending breve
  */

Strictly following it, the second one below shouldn't be possible:

chant = \relative c {
  \clef bass
  \set Score.timing = ##f
  \set Score.defaultBarType = "-"

  \[ c\breve
 \override NoteHead.ligature-flexa = ##t
 \once \override NoteHead.flexa-width = #30
 \once \override NoteHead.color = #red
 f,\breve \]
  \[ c'\longa
 \override NoteHead.ligature-flexa = ##t
 \once \override NoteHead.flexa-width = #30
 \once \override NoteHead.color = #red
 f,\breve \]
}

\score {
  \new Voice  = "melody" \chant
  \layout {
\context { \Staff
   \remove "Time_signature_engraver"
   \override NoteHead.style = #'baroque
}
\context { \Voice
\remove "Ligature_bracket_engraver"
\consists "Mensural_ligature_engraver"
}
  }
}

But I'm running out of my depth for both, ancient music (what may
occur and what not) and cc-knowledge.

Maybe others may be of more help.



Cheers,
  Harm

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Re: output one bar at a time (midi and png)

[Ted Walther]

I'm just getting back into lilypond after a ten year absence.  Can you
suggest some search terms?

On Sat, 19 Jan 2019 at 03:43, Thomas Morley 
wrote:

> Am Sa., 19. Jan. 2019 um 08:53 Uhr schrieb Ted Walther <
> tederi...@gmail.com>:
> >
> > Beautiful, thank you.  Is there a way to make the MIDI output go to a
> separate file for each page of output?
> >
> > On Fri, 18 Jan 2019 at 10:16, Valentin Villenave 
> wrote:
> >>
> >> On 1/18/19, Ted Walther  wrote:
> >> > Is there some simple way I can have lilypond put each bar (and its
> >> > corresponding midi) into separate files?  Then I can use standard
> software
> >> > to join them together.
> >>
> >> You could do that… or LilyPond can do it for you:
> >>
> http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline-page-breaking
> >>
> >> Cheers,
> >> V.
>
> Hi Ted,
>
> there was already some work put up to create videos with lilypond.
> Search the archives for it.
> No need to reinvent the wheel. ;)
>
> Cheers,
>   Harm
>
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Re: output one bar at a time (midi and png)

[Thomas Morley]

Am Sa., 19. Jan. 2019 um 08:53 Uhr schrieb Ted Walther :
>
> Beautiful, thank you.  Is there a way to make the MIDI output go to a 
> separate file for each page of output?
>
> On Fri, 18 Jan 2019 at 10:16, Valentin Villenave  
> wrote:
>>
>> On 1/18/19, Ted Walther  wrote:
>> > Is there some simple way I can have lilypond put each bar (and its
>> > corresponding midi) into separate files?  Then I can use standard software
>> > to join them together.
>>
>> You could do that… or LilyPond can do it for you:
>> http://lilypond.org/doc/v2.19/Documentation/notation/page-breaking#one_002dline-page-breaking
>>
>> Cheers,
>> V.

Hi Ted,

there was already some work put up to create videos with lilypond.
Search the archives for it.
No need to reinvent the wheel. ;)

Cheers,
  Harm

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setting one \book to landscape

[N. Andrew Walsh]

Hi List,

I have an input file with the following structure:

\paper {
  #(set-default-paper-size "a3" )
}

\include "file 1 - content.ly"
\include "file 2 - content.ly"

\book {
\include "file 1 - score.ly"
}

\book {
\include "file 2 - score.ly"
}

The second file has its own paper block as follows:

\paper {
  #(set-paper-size "a3" 'landscape )
  two-sided = "false"
  left-margin = 5\mm
  right-margin = 15\mm
   #(define fonts
 (set-global-fonts
  #:factor (/ staff-height pt 24 )
  ))
  system-system-spacing.basic-distance = #36
  score-system-spacing =
#'((basic-distance . 24)
   (minimum-distance . 12)
   (padding . 8)
   (stretchability . 12))

}

However, for reasons I don't understand, the system on that second page is
squashed horizontally, as if the system could only stretch to fill a
portrait-oriented page. Also, the staves are too close together vertically,
with no vertical distance given.

Is there something I'm doing wrong with my layout or the file structure?
The first file is a portrait-format a3 sheet with over 40 voice parts; the
second should be a landscape-format a3 sheet with maybe 10 staves, both
scaled appropriately. So far, only the scaling and spacing on the first
file works right.

Thanks for the help,

A
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Re: Maxima...

[Thomas Morley]

Hi Mark,

Am Sa., 19. Jan. 2019 um 02:32 Uhr schrieb Mark Probert :

> However, being a newbie to this package, when I
> have a problem, or a perceived problem, I can either ask
> on this forum or not.

Nothing wrong with asking on this list.
Pretty often some weaknesses or eaven bugs become known in the code or
documentation this way.

> My post is about a non-intuitive
> feature--Why the rest and not the note?--that is not clearly
> documented ("If you need a maxima/large use Baroque note heads,
> there is no maxima notes in the standard set").

Well, it _is_ documented, imho
http://lilypond.org/doc/v2.19/Documentation/notation/writing-rhythms
starts with
"The durations of notes are entered using numbers and dots. The number
entered is based on the reciprocal value of the length of the note.
For example, a quarter note is designated using the numerical value of
4 as it is a 1/4 note, a half note using 2, an eighth using 8 and so
on. Durations as short as 128 notes can be entered but shorter values,
while possible, can only be entered as beamed notes. [1] Also see
Beams.

For notes longer than a whole use the \longa – double breve – and
\breve commands. A note with the duration of a quadruple breve is
possible using the \maxima command but is only supported within
ancient music notation. See Ancient notation. "

Isn't it sufficient for _usage_?

If reasons for decisions would be discussed/explained the docs would
blow up more and more.

In short, maxima-notes don't happen in _modern_ notation, thus no need
to implement a glyph for it. But Rest or MultiMesureRest may occur in
arbitrary length. In modern notation they are printed assembling
shorter glyphs or as a beam-like line with MultiMeasureRestNumber:
{
  \compressFullBarRests
  R1*7
  R1*16
  %% other input, same outcome
  R\maxima *2
}

So I'm fine with the design-decision.

Otoh, I would have expected
http://lilypond.org/doc/v2.19/Documentation/notation/note-head-styles
would show a maxima where available and a remark (or something
similar) where not.
I'll think about how to improve this...


Cheers,
  Harm

[1]
This is not exactly true for current versions. See:
http://lists.gnu.org/archive/html/lilypond-user/2018-02/msg00640.html

For future versions there will be shorter values than 128 available.
https://sourceforge.net/p/testlilyissues/issues/5277/

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Re: How to define some context statements

[Werner Arnhold]

Hi Thomas,

thank you very much, that was helpful.

Werner

Am Freitag, den 18.01.2019, 22:25 +0100 schrieb Thomas Morley:
> Am Fr., 18. Jan. 2019 um 11:01 Uhr schrieb Werner Arnhold
> :
> >
> > Dear list,
> >
> > I often need to have Midi output with different volume or instruments in
> > some voices. Here an example:
> >
> > \version "2.18.2"
> >
> > global = {
> >   \key c \major
> >   \time 4/4
> > }
> >
> > soprannoten = \relative c'' {
> >   g e e2 f4 d d2
> > }
> >
> > altnoten = \relative c'' {
> >   c2 g g2 b4 f
> > }
> >
> > \score {
> >   \new ChoirStaff <<
> > \new Staff <<
> >   \set Staff.instrumentName = #"Sopran"
> >   \new Voice = "sopran" <<
> > \set midiInstrument = #"flute"
> > \global
> > \soprannoten
> >   >>
> > >>
> > \new Staff <<
> >   \set Staff.instrumentName = #"Alt"
> >   \new Voice = "alt" <<
> > \set midiInstrument = #"violin"
> > \global
> > \altnoten
> >   >>
> > >>
> >   >>
> >   \layout{}
> >   \midi{
> > \tempo 4 = 80
> >   \context {
> > \Staff
> > \remove "Staff_performer"
> >   }
> >   \context {
> > \Voice
> > \consists "Staff_performer"
> >   }
> >   }
> > }
> >
> > This works fine. Now I tried to separate the "\context" parts in the
> > midi section like
> >
> > verschiedene_stimmen = {
> >   \context \Staff \remove "Staff_performer"
> >   \context \Voice \consists "Staff_performer"
> > }
> >
> > score {
> > .
> > .
> > .
> >   \midi{
> > \verschiedene_stimmen
> >   }
> > }
> >
> > Lilypond complains about unvalid escape sequence "\Staff" at the Place
> > of the definition, unexpected "\remove" and so on. That happens even if
> > I do not call the defined macro in the midi section.
> >
> > What will be the reason and how can I make it better. I intend to
> > collect such often used constructs in a separate file.
> >
> > Thanks in advance!
> >
> > Werner
> 
> Hi Werner,
> 
> looking at your example, there is no need to move "Staff_performer" at all.
> Just set midiInstrument in Staff, You could do so with \set 
> Staff.midiInstrument
> But this is done better in \with { ... }, otherwise it may happen you
> meet issue 34 in some cases. Same for instrumentName.
> 
> Only if you have more than one Voice per Staff moving
> "Staff_performer" would make sense.
> 
> To store the settings in a callable variable you could do:
> 
> \version "2.18.2"
> 
> soprannoten = \relative c'' {
>   g e e2 f4 d d2
> }
> 
> altnoten = \relative c'' {
>   c2 g g2 b4 f
> }
> 
> verschiedene_stimmen_midi = \midi {
>   \context { \Staff \remove "Staff_performer" }
>   \context { \Voice \consists "Staff_performer" }
> }
> 
> \score {
>   \new ChoirStaff <<
> \new Staff <<
>   \new Voice = "sopran" \with { midiInstrument = #"flute" }
> { \voiceOne \soprannoten }
>   \new Voice = "alt" \with { midiInstrument = #"violin" }
> { \voiceTwo \altnoten }
> >>
>   >>
>   \layout{}
>   \midi {
> \verschiedene_stimmen_midi
> %% needs to be called after 'verschiedene_stimmen_midi'
> \tempo 4 = 80
>   }
> }
> 
> HTH,
>   Harm



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Re: Overrun of right margin

[Andrew Bernard]

Hi Jean,

Thank you. This is difficult New Complexity School music and the rhythms
are hugely complicated, and with rapid metric modulation all over I
sometimes have to leave out barchecks to get everything going (which is bad
practice).

So I am fairly certain you are right. I had not thought of that. Makes
sense.

Sometimes I wish I could just get to set nice Marching Band music instead.
{No disrespect to Marching Bands!]

Andrew


On Sat, 19 Jan 2019 at 19:52, Jean Bréfort  wrote:

> Looks like a rythm error. Somewhere a duration is wrong and then notes
> go through the bars. In that case lilypond does not know where the
> break should be inserted.
>
>
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Re: Overrun of right margin

[Jean Bréfort]

Looks like a rythm error. Somewhere a duration is wrong and then notes
go through the bars. In that case lilypond does not know where the
break should be inserted.

Hope this helps,
Jean

Le samedi 19 janvier 2019 à 19:39 +1100, Andrew Bernard a écrit :
> I have some fairly dense scoring, but not immensely packed. Using A4
> landscape, I find one page - only one - keeps running over the right
> margin. I have not see that before and I am not sure how to construct
> an MWE, and the score is too large to post.
> 
> What conditions would cause this behaviour? I don't know what to look
> for or what I am doing wrong, just business as usual as far as the
> engraving is concerned I would have thought.
> 
> Using 2.19.82.
> 
> I was unable so far to find any discussion of this in the archives.
> Maybe my search terms are incorrect, or is this very unusual?
> 
> Andrew
> 
> 
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Re: Overrun of right margin

[Andrew Bernard]

More info:

I am using this:

\override NonMusicalPaperColumn.line-break-permission = ##f
\override NonMusicalPaperColumn.page-break-permission = ##f

Which seems to be the cause.

This may yet again come down just to my ignorance. I have used the above
construct to stop pages breaking unless I explicitly ask for it. Is this
entirely wrong in terms of how to control that?

I readliy confess I do not really know what a non musical paper column is.

Andrew
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Overrun of right margin

[Andrew Bernard]

I have some fairly dense scoring, but not immensely packed. Using A4
landscape, I find one page - only one - keeps running over the right
margin. I have not see that before and I am not sure how to construct an
MWE, and the score is too large to post.

What conditions would cause this behaviour? I don't know what to look for
or what I am doing wrong, just business as usual as far as the engraving is
concerned I would have thought.

Using 2.19.82.

I was unable so far to find any discussion of this in the archives. Maybe
my search terms are incorrect, or is this very unusual?

Andrew
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